One of the more popular trends in photography today is the use of parabolic reflectors. Now we are not talking about small metal reflectors but rather large and in several cases significantly larger umbrella shaped reflectors; at one end of the spectrum are the 5 to 10 foot tools like the Broncolor Paras, and the Profoto Giants, and at the other end the Mola Setti and the Elinchrom Deep Octa, are examples that come to mind. The quality of light that these shapers produce is truly wonderful, and is owed in part to a combination of their size, shape, depth, surface finish, and in some cases the ability to focus the light source. With the exception of the Elinchrom, few of these light shapers are extremely portable, and none lend themselves for use with speedlights.
I have had a long standing love affair with these larger parabolics, as I like the directional properties of light they produce. They play a prominent role in my photographic lighting. I found myself looking for a smaller version that I could easily carry and have the option of using with speedlights. Hensel must have seen me coming, because their 32 inch (80cm) Master White Parabolic Umbrella is just what I was looking for.
Now I am not a big user of ‘traditional’ photographic umbrellas. I have four of them: Three came in lighting kits, and the fourth, a 60” silver model I purchased after using a 5 foot Profoto Giant, hoping I might get similar results for a fraction of the cost. Not even close! The distinctive deep profile of the Hensel was too hard to resist. Vinnie at Foto Care, placed an order with Hensel USA and within a few days the umbrella which I have dubbed “Paralite” arrived.
The umbrella which is extremely well made comes in its own carry bag. The setup and take down couldn’t be easier; if you have ever used an umbrella, photographic or rain, you know exactly what to do. Get a light stand, the flash of your choice and you are ready to go. The light from this umbrella is smooth as opposed to brilliant, which is no surprise as the interior is white. Because of its shape, the angle of spread is narrower than a conventional umbrella of the same size. The results are a directional but diffused light, with more defined shadow and contrast. While you may be able adjust the position of some lights along the umbrella shaft, I would not characterize the Hensel as “focusable” in the same way that the Broncolor, Profoto, and Mola products are, as the shaft is relatively short.
For the portrait, wedding and/or location shooter looking to travel light, this umbrella is just different enough to be compelling. It’s portable, easy to set up, and offers diffuse yet very efficient light. If you are using a speedlight, consider using the widest setting for the best light distribution. Hensel USA tells me that contrary to conflicting information on some retail sites, the umbrella comes with a two year warranty.
In my opinion, the “Paralite” is a real winner.
When LPA Design announced the new Pocket Wizard MiniTT1 transmitter and FlexTT5 transceiver earlier this year, there was a tremendous amount of buzz and excitement. The makers of the best known and probably most widely used flash triggering devices, was coming to market with products capable of communicating Canon’s E-TTL-II and Nikon’s I-TTL protocols wirelessly via radio signals. While Leap Devices with their Radio Poppers line and Quantum Industries with their Trio line brought radio TTL products to market before LPA, neither of these brands have the user base that PocketWizards has. The good news was and is that users of Canon and Nikon flash systems now have 3 wireless radio system alternatives, all of which work differently, to the Nikon and Canon “line of sight” wireless solutions.
As reports surfaced over range limitations with respect to several Canon Speedlites including the flagship, 580EX II, and some initial operational incompatibility with the very popular 5D Mark II camera, some of the excitement gave way to disappointment. Add to that product shortages at release, and the new generation of PocketWizard products was off to a less that auspicious start here in the USA.
To its credit, LPA Design was quick to acknowledge and address issues. While the radio interference issues with certain Canon flashes will be addressed by a soon to be announced “supplemental” product, many of the performance related issues and bugs have been addressed via firmware updates. They have also demonstrated the ability to enhance performance via firmware. I have been impressed with the firmware updates which LPA has made, as well as by the customer service and technical assistance which both the MAC Group (the U.S distributor of PocketWizards) and LPA Design have rendered.
My interest in the new generation of PocketWizard products was fueled by several factors:
- I wanted to carry a light weight lighting kit that would afford me reliable wireless triggering without having to rely on line of sight.
- I liked the idea of having a small transmitter atop the camera as opposed to a flash acting as transmitter, or the MultiMax.
- I wanted one wireless triggering system that could be used with my studio strobes, light meter and Speedlites.
- I wanted E-TTL II functionality
The new PocketWizard products appeared to address all of my desires. I was less concerned about being able to trigger an E-TTL II controlled flash 800 to 900 feet away as my outdoor shooting on the streets of New York City would preclude that anyway. When I thought about it further, I decided that I needed some context as to how long 900 feet really is. Thanks to Google, I now know that 900 feet is the length of the USS Intrepid, three times the length of a football field and a tad under 2/3 the height of the Empire State Building.
Now I have to admit, that I did feel a bit like Dorothy, the Lion, the Tin Man and the Scarecrow on the way to “OZ” as the journey down this wireless road was fraught with obstacles: For starters, only one of the two Flex units I ordered came in. While waiting for the second Flex to arrive I discovered that with the 580EX II/Flex combination mounted on my 1DS Mark III there were extreme fluctuations in shutter speed. At this point I was questioning my heart, my brain and my courage and wondering could the “Wizard” deliver! There was a little voice screaming “send the Flex back!” Had it not been for the excellent technical support and assurances that the issues were noted and would be addressed, coupled with my longstanding experience and satisfaction with PocketWizard products, I probably would have sent it back. My decision was made, I would press on. So what’s a guy to do with one FlexTT5? In my case it was read and re-read the manual, as there is a lot there to digest, and then learn how to integrate using my one Flex into my existing PocketWizard/MultiMax workflow.
The MiniTT1 and the additional FlexTT5 arrived between the two firmware updates. The Wicked Witch of the West clearly had put a hex on the Mini! With the Mini mounted to either of my cameras, any button I touched on the camera resulted in the triggering of the remote mounted flashes. A call to tech support resulted in a preliminary diagnosis of a contact problem with the Mini. The next morning I took the Mini back to Foto Care where they exchanged it for another unit. No random firing with the new Mini. There were noticeable performance improvements with the first firmware update, but with the second update, the Mini and Flex became a joy to use: No more erratic behavior, reliable triggering and perfect execution of E-TTL II.
Indoors I have shot with the both the 580EX II and 430EX II flashes mounted to the Flex units behind me, in two different rooms lighting a hallway, in dimly lit rooms at relatively slow shutter speeds and in sun dappled bright environments with fast shutter speeds and the units have fired without any issues. Outdoors with either a Flex or the Mini on camera, I have gotten the 580EX II mounted on a Flex to fire at a distance of 80 feet away from the camera. I stopped testing at 80 feet simply because I realized that this distance is substantially in excess of where I would typically place my flashes. To put some context to it, 80 feet is a tad under a 1/3 of the length of a North -South block in Manhattan. I do not want to minimize the concern that some have over range. Based on venue, subject matter and location, as well as focal length of lens, there are those shooters for whom greater range latitude is critical. There is information and suggestions for increasing the range of affected flashes when used in combination with the FlexTT5 on the Pocket Wizard site which may prove helpful. For some photographers however, the necessity of having to take some of these extra steps in order to get the performance they need, significantly reduces the attractiveness of the system.
Given the feedback of people getting more or less range with the same model of flash, there may be some credence to the anecdotal accounts that the degree of radio interference attributable to the 580 II may vary by production run. It is not uncommon during the lifecycle of a product for components to be substituted based on changes in availability for example. In most instances these changes are not apparent to end users as the overall performance as the manufacturer originally specified remains the same. While production changes could be a possibility which helps to explain some of the range differentials 580EX II users are reporting, there is no evidence that indicates this is the case. For those who have criticized Canon with respect to the radio frequency and shielding issue, it should be remembered that few to none of us would be having this discussion about radio frequency interference if we were talking about using the wireless protocol as designed by Canon for use with Canon products.
If there is anything that I’m not wild about with the Mini and the Flex it is the fact that the with the latest firmware update, in order to enjoy the new 5D Mark II functionalities, one needs to specify the camera model in the PocketWizard Utility. This can be a problem for people like me who shoot with multiple Canon models. Prior to the update I had the model selection set to auto and used the units with either camera.
The other area of concern has to do with changing the Mini and Flex settings in the field: If you have a PocketWizard product such as a Multi-Max or one of the Plus models, you can at least use the learn process to change the channels on the Mini and the Flex should it be necessary. Without a MultiMax or Plus, or access to the PocketWizard Utility, the only option you have if you need to change settings is a reset to the defaults. For me this is less of an issue as I rarely am shooting in an area with other photographers, but for those shooting in venues with other photographers or who discover while on location the need to adjust the offset, disable Control TL, change to a channel other than the defaults or make other changes, this may indeed be an issue.
Now, I have decided to take a slow and deliberate approach in unlocking the full power of the new PocketWizards. The first steps included getting my arms around E-TTL functionality as well as getting the new units to function in a more “traditional” PocketWizard role in the studio. There is a lot of capability packed in these units and a lot of complexity with regards to the settings, and performance. There are things that can be done with one flash that cannot be done with another, so it is imperative that you read the manual very carefully. The truth is that there is more capability in these new PocketWizard products than I will probably ever need or use.
My benchmark for evaluating the Mini and Flex was how they stacked up against the “line of sight” Canon system as I have used and would use it. For my shooting and lighting needs and desires, the Mini and Flex work extremely well. In real world usage, I have not experienced the same reliability issues and frustrations that I have had from time to time with the camera mounted St-e2 controlling flash activity and I have certainly not gotten the range and versatility from the St-e2 as master that I am seeing with the Mini or Flex.
While one would hope for a seamless and smooth product launch, the Mini and Flex introduction for use with Canon products was not; it is unfortunate because a lot of the focus as to what these tool can do has taken a back seat to what they can’t do at this time. It is clear from talking with the folks at LPA that they are committed to addressing both current issues as well as those that may surface, and refining and enhancing performance.
The newest generation of PocketWizards for me is a reminder that much of the technology that we purchase and use today, are works in progress. Our computer software, printers and digital media devices are routinely updated though patches and firmware which fix bugs, address problems and enhance operations. And this is how I have come to regard the new PocketWizards-“Functional Works in Progress” that will evolve as we use them and just keep getting better.
And as far as this trip to “see the Wizard” is concerned, it looks like the USB cable gets the coveted role of the ruby red slippers!
Note: I have been told that an official update on the availability of the Nikon compatible products will be released soon. Check the news on the PocketWizard Site.
Update - July 13: PocketWizard has released a firmware update for the Mini and Flex. For details, follow the link below: http://www.pocketwizard.com/news_events/news/firmware_v4.300_press_release/
I have been intending to write about the new PocketWizard products for the past several weeks, but every time I’ve scheduled an outdoor shoot, we’ve been rained out. Hopefully the weather will cooperate this weekend and I will be able to finally shoot the project that has been thrice postponed and put the MiniTT1 and FlexTT5s through their paces as I normally would use them and share my experience. I’ll warn you now since I will be shooting on the streets of New York, that I won’t be going for distance records with respect to flash placement.
All has not been lost during this wet spell: LPA Design has been busy updating firmware which addresses issues and enhances the performance of the new PocketWizard products; and I added the Profoto D1 Air 500s to my lighting arsenal. The very favorable impression I had of the D1 Airs when the MAC Group made them available for my review in March continues.
Over the past week I was assessing my lighting equipment – Profoto packs with built in PocketWizards, a couple of MultiMax units, a MiniTT1, a couple of FlexTT5 units , a couple of current generation Canon Speedlites, the D1 Air 500 units and last but not least, a Sekonic 758 meter. I found myself trying to make sense of all this stuff and how I could get it all to work best together.
Since I like the low profile of the MiniTT1, it has become my PW apparatus of choice on top of the camera. I set configuration 1 in the PocketWizard utility to allow for Control TL and triggering my MultiMax units and Profoto packs on the Standard/Legacy Channels. For configuration 2, I disabled ControlTL, and set the receiving channel on the Flex units to match the receiving channel for MultiMax units and the Profoto packs.
I hooked up a couple of speedlites to the FlexTT5s put the Mini on the camera and ControlTL worked flawlessly–in the same room, down the hallway and two rooms away. I then hooked up my Profoto packs and in configuration 1, they fired along with the Canon Speedlites. This served as confirmation that I had set the ControlTL and Standard/Legacy Channels up correctly.
I decided to add a single D1 Air 500 to the mix. I placed the Air Remote in the shoe of the camera mounted Mini, turned the Mini on, then the Air Remote and last the camera. I took a shot. In configuration 1, with the Air Remote seated on the Mini, the D1 Air fired along with the Canon flashes and the Profoto packs. I got adventurous and added the Sekonic 758 Light Meter to the equation. One of the perceived drawbacks of the Profoto Air System is the lack of wireless triggering compatibility with their products with Built-in PocketWizards as well as with the PW equipped Sekonic meters. I already knew from earlier experimentation that ControlTL had to be disabled and the Speedlites had to be in manual mode in order to be metered with the Sekonic. So I changed the Flex units setting to configuration 2, and left the Air Remote seated on the Mini on board the camera. When I triggered the Sekonic meter, everything fired except the D1 Air! As I was getting ready to take the setup down, it occurred to me that since the Mini TT1 was a transmitter, it was not receiving the signal from the Sekonic, whereas the Flex units as transceivers were getting the signal. So I mounted the Air Remote on a Flex unit and triggered the Sekonic meter. Yes, the D1 Air fired with the other lights. I then removed the Mini from atop the camera, and placed the “Air Remote /FlexTT5” combo on camera and triggered the Sekonic: the D1 Air fired again. And this photographer became one very happy camper because I discovered that I can have the contol capability of the Profoto Air system and full PocketWizard triggering functionality right on the hot shoe of my camera.
Footnote: I was about to hook the Air Remote up to a MultiMax to check whether that combination would work with the Sekonic meter, when I realized that my two dogs who had been exceedingly well behaved during my testing session, were having a good time chewing up the miniplug connector cable!
Whether you are an enthusiast, emerging or working photographer, wherever you reside or are planning to shoot, it is prudent to find out what the regulations are with respect to photography and photographic equipment. I can think of very few places where this is truer than in New York City.
I thought I would start with a quiz on taking photographs on the sidewalks of New York City. Answer each question True, False or Depends:
1. I am using a tripod/monopod on the street: I do not need a permit.
2. I will be using an apple box as a prop: I do not need a permit.
3. A permit gives me exclusive right to use the designated sidewalk.
4. I am shooting with off camera strobes: I need a permit.
5. I need a permit if I put my tripod on a dolly.
6. I’m working with just a reflector and no flash: I do not need a permit.
7. I need insurance to get a permit.
8. The Permit is free.
9. I am planning on shooting in Central Park and will be using a couple of light stands and props: I need permission from the Park management before I can get a permit.
10. All parks in New York City are subject to the same regulations with respect to permits and fees.
The answers:
1-True, 2-False, 3-False, 4-Depends, 5-True, 6-Depends, 7-True, 8-False (see update), 9-True, 10-False
There is a very easy way to determine whether or not you need a permit to photograph on the streets of New York City: If your camera equipment is handheld, you do not need a permit. Tripods, monopods, and shoulder stabilizers like the Bushhawk 320 are all considered handheld. Place anything down on the ground — an apple box, a prop such as a chair, a light stand with either a flash head or reflector attached, a battery pack, any wires, or mount your tripod to a dolly base, and you need a permit. If your light, power source and all wires, or reflector, are being held by an assistant as opposed to being placed on a stand, you do not need a permit as the equipment is considered handheld. Even with a permit, the photographer does not have exclusive rights to use or block the sidewalk. You must leave adequate space for people to use the sidewalk, as well as having ingress and egress to residences and businesses.
The regulations for still photography on the streets of New York City fall under the purview of The Mayors Office of Film, Theater and Broadcasting (MOFTB). The Regulations as they relate to whether you need a permit or not are clearly meant to separate the casual shooter, enthusiast and tourist from working photographers. The MOFTB production coordinators are knowledgeable, helpful and efficient with respect to answering questions, directing you to appropriate parties when permission is required prior to permitting, as well as processing permits. It should be noted that if you need a permit for still photography, you actually will be filing out and submitting the Motion Picture-Television Permit form. The process and documentation required to be filed is outlined and available online.
UPDATE: As of July 11, 2010, the processing fee for initial applications for permits goes from no cost to $300. The fee, which is being implemented to offset budget cuts, must be paid in the form of a certified check or money order, and must accompany the permit application. To read more click here.
If you are not utilizing equipment which requires a permit, you may want to apply for what is called an Optional Permit. While you need to know the date, time and specific location where you will be shooting, there is no insurance requirement. An Optional Permit offers some evidence to property owners, security or law enforcement personnel, who may not be familiar with the subtleties and nuances of the regulations for photography on City owned property and question your right to photograph at a location, that you have the “right and permission” to use the sidewalk for your activities.
If there is one area where the permission and permitting process may appear difficult to navigate, it is where the Parks are concerned. The handheld rule applies to most New York City Parks (including Central Park). If you are using equipment that requires a permit, you must get permission from the Department of Parks and Recreation manager for that park or in the case of Central Park, the Film Office of the Central Park Conservancy, before applying for the permit through MOFTB. There are, however, three public parks in Manhattan — Bryant Park, Battery Park City and the Hudson River Park— for which permission to shoot and permitting are administered through dedicated Conservancies, which results in very different application processes and cost, permit fees and regulations. While the permitting process for these parks is aimed at photographers shooting for commercial use, if you are shooting for a non-commercial use and are planning on using any equipment (tripod included) in addition to your camera, it is best to check with the appropriate Conservancy in advance because their definition of “handheld” is much narrower than that used by MOFTB. In checking with the Battery Park City Authority, for example, I was told that use of a tripod would require a permit.
Many people do not realize that the park property extends to the adjacent sidewalks. So in the case of Gramercy Park, for example, which is a privately owned park located on Manhattan’s Eastside between 20th and 21st Streets, while you can get a permit from MOFTB to shoot on the sidewalks across the street from the Park, the permit will explicitly exclude photographing on the sidewalk which runs around the Park because while it is open to pedestrian traffic, it is viewed as an extension of the Park property.
A lot of the process of shooting stills in New York or any city involves using common sense:
· Whether you have a permit or not, you are expected to comply with any request that law enforcement officials may make. So if you are asked to move…
· If you have equipment, keep it as contained as possible. Have adequate assistance to help setup and dismantle your equipment. Make sure your equipment is not left unattended and/or does not become a safety hazard.
· Be respectful of people living and doing business in the location.
· Be mindful of pedestrian and vehicular traffic and do not block the sidewalks, buildings or streets in a way which is disruptive.
· Remember that you are expected to comply with all posted City regulations and rules-including parking and those governing park admissions.
Now go take some pictures!
Here are links to some additional resources that were not embedded in the above text:
Last fall, I got a taste of “rare air” at Photo Plus Expo in New York, courtesy of Profoto and their magnificent Pro-8 Air system. I refer to it as “rare air” because its performance and price point put it in the stratosphere for many photographers and small studio owners. While the blazing speed was impressive, the most interesting aspect of the Pro-8 Air system to me was the switch from the analogue controls of the Pro-7 series to digital and the wireless control capabilities that evolved as a result. I left the show wondering if and when we might see “Air” in other Profoto products.
Last month, with the announcement of the D1 monolights, Profoto has made “Air” available to a broader audience. 
It is also an indicator that the Pro Air system is becoming a standard wireless protocol for Profoto products. As a user of Profoto battery packs and ComPacts, I was particularly interested in the D1 system as the specs seemed to address my issues with the current generation of monolights.
If you have ever worked with monolights on a boom or placed high up, you know that making manual adjustments to output can be difficult and time consuming. The Profoto D1 Air system addresses this problem with the Air Remote which literally puts control of the lights in your hand or in the camera hot shoe. No more raising and lowering light stands to fine tune the power or to adjust the modeling lamp. While Profoto is not the first major lighting manufacturer to move in this direction, it is a welcome move nevertheless!
My other issues with the current ComPact units are size and weight: My ComPact 600 from the end of the unit to the tip of the glass cover measures a whopping 16 inches long. The D1 is nearly 5 inches shorter, is lighter, and includes an integrated handle and reflector. While the power may vary, the housing of the D1 units is the same, so if you are shooting with a 250 or a 1000 w/s unit, the physical dimensions of the units are identical, but weight will vary. The D1s also offer a greater degree of lighting control than the ComPacts: 7 stops (500-7.8w/s) adjustable in whole stops or in 1/10 increments versus 5 stops (600-37.5 w/s) adjustable in 1/8 increments; shorter recycling times and for the international traveler, they are multi-voltage.
One of the biggest concerns I had with respect to the D1s design was the built-in reflector. With a 77 degree spread, I worried that light quality/quantity would be compromised especially when using a beauty dish, one of the giant parabolic reflectors, or the magnum reflector. The folks at Profoto must have anticipated this reaction because there is an optional dome-shaped glass cover available that should give the additional spread that many of us are use to. Since I did not have access to the dome, I cannot comment on the spead differential. I suspect that transport and handling concerns may have influenced the decision to go with a built-in reflector.
I found the D1 well-designed, well-built and extremely easy to use. The controls are straightforward and intuitive. Now the D1s come in several flavors: the big question if you are considering the 250 or 500 watt/sec units is whether “to Air or not to Air?” The 1000w/s unit only comes with Air. Personally, I would have to have Air. Much of a photographer’s work is about control, consistency, and efficiency; all benefits of the Pro Air system. Users of the Pro-8s may find the D1s attractive as they are fully compatible and controllable with the same Air Remote and optional software. The optional Air Sync makes it possible to trigger non air equipped packs and monolights. Profoto also has indicated that an external battery will be available, possibly as early as this summer, as an option for the D1 system making it a potent tool for both studio and location work.
The D1s are not priced for the faint of heart. If you have a limited lighting budget, at $1179 for a single 500 w/s Air unit, (the Air Remote must be purchased separately) or $2679 for the D1 500 Air Studio Kit (which includes: two D1 500 Air units; a case; two light stands and umbrellas; and the Air Remote), the D1s may not be a viable option. If, however, you like or use Profoto generators and the Profoto Light Shaping System, or use criteria other than or in addition to absolute cost to determine value, the D1 Air units may be a very attractive and versatile addition to your lighting arsenal.
While I believe the D1s have tremendous appeal on their own and in conjunction with the Pro-8 system, as well as with more products as the Pro Air “stable” expands, for many users of Profoto products like myself, with built in Pocket Wizards, there are some interesting considerations, none of which are product killers or insurmountable. Unlike the Pro-8, there is no option for a built in Pocket Wizard with the D1s. If I were to use a D1 500 Air in conjunction with Pocket Wizard equipped Profoto products, I would use the Air Remote to adjust power, and plug a Pocket Wizard in to trigger the lights. Another option, but in my case not a cost effective one, would be to purchase a couple of Air Syncs to trigger the non air equipped lights and generators. And what about metering? My Sekonic light meter works perfectly with the Pocket Wizard set up. If I were opting to shoot only with the D1 Air units, I would have to set the light meter to “cordless flash mode” and make sure the lights are triggered with the Air Remote within the 90 second timeframe. These are not the most seamless solutions, but they are workable. Profoto does not appear to be resting on their laurels, so the options and considerations may change.
For more information on the Profoto D1s and other Profoto products, click.here.
Update: After purchasing the D1 Airs in April, I discovered that it is possible to mount the Air Remote to a PocketWizard Flextt5, and fire the D1Airs and my PocketWizard equipped packs simultaneously! Additionally, in this configuration, the Sekonic Meter with the PW module will also trigger the D1 Airs. To read more about this, check out my May 5, 2009 entry.
I often look at equipment with an eye on whether it will allow me to accomplish a task more efficiently: More efficiently for me usually translates to mean easier to carry and easier to set up, as most of my work is on location. So it was with great interest, and I’ll admit a healthy dose of skepticism, that I went to the Calumet Photographic Store on West 22nd Street here in New York, to spend some quality time with their Portable On-Site Background System (PBS). I say skepticism because I have tried collapsible 8′ muslin systems, as well as the more traditional crossbar type background support systems and have yet to find one that has impressed me enough for consistent use. In fact one of my more embarrassing photo shoot related stories centers around the difficulty I had trying to get a collapsible background back in the bag.
When I arrived at Calumet, I was greeted by Ron Herard. Ron handed me the bag which housed the Calumet system and we headed upstairs to their second floor gallery space. While Calumet lists the kit as weighing 12 pounds, it did not feel that heavy. When we got upstairs Ron asked me if I would time how long it takes him to get the system out of the bag and up for use. One of his colleagues doubted it could be done in less than five minutes. Well for the doubting Thomas, it took Ron a grand total of 2 minutes and 40 seconds. I watched in absolute amazement: An adjustable stand, a central cylinder in which you insert 4 flexible rods with round ends, 4 flexible extension rods, an 8×8 sheet of muslin which fits on the “arrow” tips of the extension rods, and you are good to go! It is simple and intuitive. It took me 3 minutes and 12 seconds to take the PBS out of the bag and erect it. Not bad for a first timer! I was able to dismantle the frame as quickly as I erected it.
Also surprising to me was the fact that the system does not require any additional clearance beyond 8 feet to erect. Unlike the traditional cross bar support systems which require additional space on each side to accommodate the footprint of each stand, the Calumet PBS does not. This is one elegant and efficient solution. The muslin sheets have pockets on each corner which fit securely on the rod arrow heads. The pockets are well reinforced. Additionally the tautness of the fabric and frame interface, acts to stretch the fabric: This resulted in a substantial number of wrinkles and creases in the folded sheet that was used either being reduced significantly or eliminated. If you are getting a sense that I like this system, it is because I do.
One of the downsides to this system is that you may not want to use this system against a window or with a light source directly behind it as the stretched muslin is thin enough that the x frame may be seen. Others may find the lack of availability of a floor apron as a drawback. But all in all I found the system superior to the other alternatives I have tried and yet competitively priced.
I thanked Ron and Store Manager John Dessereau as I left, but not before placing an order for my very own.
For more information on the Calumet PBS, click on the blue highlighted text in this entry.
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- the contents of the kit
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- the start
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- the finish
With the availability of full frame dslrs from Canon, Nikon and Sony, there has been a lot of discussion, both on Internet forum boards and in print about camera pricing and in particular, the pricing of “professional” dslrs. John Rettie in an article called “The Pricing Controversy on High-End DSLRS” which is in the current copy of Rangefinder Magazine commented that in his opinion, only the “top of the line” (in marketing speak – professional designated models) of Canon and Nikon cameras are overpriced and shares his take on where he believes these cameras should be priced.
It seems that a fair amount of disappointment with respect to the announced $8,000 price of the 24mp D3X, Nikons flagship camera was the result of Internet speculation and guesses, as well as Sony’s pricing of the A900, as opposed to any real indication from Nikon as to what the price would be. I have never regarded the professional designated cameras from Nikon or Canon, even though objects of desire in photo publications and on Internet forums, as the sales volume leaders for either company relative to their consumer-oriented entry and mid range products.
Rettie’s article got me thinking: “How much longer can companies charge a premium for their professional designated camera products?” It took a while but I had an epiphany: The answer is “as long as there are photographers who feel that the product will add value to their work flow and have the level of business to justify the expenditure.” There will also be a home for these expensive dslrs in many of the same rental houses that have $30,000 digital backs and $15,000 lighting systems available. And like the high end lighting products, the cache and halo of marquee dslrs often spills onto the less expensive, more mass consumer-oriented product lines.
As I consider the number of working photographers I know and/or am acquainted with, their specialties, clients, and billings vary tremendously. I wondered whether their decision making practices as it relates to equipment varies in the same manner.
Dave Black is a world class sports photographer, and Nikon shooter. Dave recently shared his rationale for buying the Nikon flagship in an article entitled “The Nikon D3x…Part 1″ on his site. Dave’s analysis led him to conclude, that the addition of the D3X will open up new opportunities for him. Whether you agree with him or not, isn’t the point or an issue: Dave has made his decision based on the analysis of his business and market evaluation. This is a vastly different decision making process from the enthusiast who bases his or her purchase decision on the availability of discretionary income; or the person who lust for it but finds the price is too big a stretch for him or her, and expresses discontent.
Photographers who use the Canon 1DS series cameras have been making similar analyses for longer, as Canon has been offering a full frame professional designated model since 2002. John Pinderhughes, a premier commercial and fine arts photographer, and Canon Explorer of Light, shoots with a Canon 1DS Mark II and a 5D Mark II. When I asked John why he is still shooting with the 1DS Mark II and not the more current 1DS Mark III, he said that he felt “no need to rush” to change bodies sixteen months ago when the Mark III was introduced. He felt that he was still getting so much “amazing output” from the 1DS Mark II. His stance runs counter to the prevailing but unsubstantiated belief that every time a new body is released the working photographer automatically upgrades. As for his reason for shooting with a 5D Mark II: John cites the size, weight and output as major factors. When asked is the camera good enough for professional use, John’s response was “absolutely.” He did however say that under some circumstances and shooting conditions, he would opt to use the more robust 1 series camera. Additionally, he is considering adding a new 1 series camera to the fold “sometime in the not too distant future.”
Today, the high mp count is no longer limited to the top of the line. Both Sony and Canon have twenty-something mp cameras for under $3,000. So do they have all the bells and whistles of the Canon and Nikon flagships? No, but for many shooters who need and/or want the resolution advantages, all the bells and whistles of the flagships may not be necessary.
New York based photographer and studio owner Rod Goodman recently made the decision to replace his cropped sensor Canon camera with the 5D Mark II. Goodman felt that a 21mp camera at under $2,700 was a business expense he could justify; the $8000 1DS Mark III was not. As for Goodman’s reasons for shooting with the mid-level Canon consumer/prosumer cropped sensor models until recently; the driving factor in that decision was economics: 1) because he had opened a studio which was a major investment, 2) he primarily shoots head shots where the margins are smaller; and 3) the fact that his clients rarely need prints larger than 8×10. Goodman is quick to admit that he drooled over full frame dslrs for some time, but points out that running a business is about knowing how to allocate resources. His decision to stick with mid-level cameras and the “non-professional” designated 5D Mark II has not been a stumbling block in building his business.
Three working photographers, three different specialties and clients, and yet, all have made their camera equipment choices around their business needs, sometimes opting for the top of the line, sometimes not; sometimes opting for the new, and sometimes holding the line.
From a photographer’s vantage point and even that of product reviewers, it is dangerous to get into the camera company’s business model and workings. While it might be interesting, I know that personally, I am better off not ruminating on what their production costs and the like should be as there are too many unknowns and it sets a dangerous precedent: How long will it be before my customers or yours start telling us what the cost our product/services should be and how much profit we should be able to make? Or how long before readers tell publishing entities how much their magazines should sell for based on their analysis of ad sales, ink and printing costs and circulation? As photographers, we are consumers of camera company products, not Wall Street analysts, not investors or shareholders. We run our business and the camera companies run theirs. We should be making our decisions to spend our dollars based on good business sense.
I’d like to thank Dave Black, John Pinderhughes, and Rod Goodman for their willingness to be resources for this entry.
To learn more about Dave, John and Rod or view their work, or view referenced articles, scroll over or click on the blue highlighted text in the entry.
One of the most significant products that I have come across in my examination of stabilizers for hslrs is the U-Boat Commander. The Commander, as I will refer to it, is an innovative product developed by photographer/director Bruce Dorn, a Canon Explorer of Light, writer, and gadgeteer extraordinaire. I call him a gadgeteer because Bruce has a wonderful ability to craft solutions to meet his shooting needs. A visit to his site www.idcphotography.com/blog/ is extremely enlightening.
I consider the Commander significant because it is, to my knowledge, the first stabilizing rig developed from scratch to accommodate the Canon 5D Mark II for video capture. The other rigs which I looked at were existing products. I have had use of the Commander for the last five days, and I will admit that as I boxed it up this morning to send it back to Arizona, there was a bit of mist in my eyes. Nikon D90 users do not feel slighted: I encourage you to read on.
Canon 5D Mark II mounted on the U-Boat Commander
The Commander offers something for lots of people due to its modular nature: In its most basic form it is a two-handled platform; the intermediate configuration adds a plate on top (bridge) as well as a handle and cold shoes, which allows you to mount a microphone and/or lights, as well as facilitating low angle shooting; and in its most complete form it adds a shoulder stabilizer, which can also aid in table top stabilization and or panning and tilting movements.) The anodized aluminum plates and bars are beautifully finished. I do want to note that the knurled handle grips come without handle pads: They will take standard bike handle grips (I used weightlifting grips.)
In many respects, the Commander reminded me of shooting with the Fig Rig, in that the unit is held out in front of you and the body acts as a shock absorber when moving. I also found that there was tremendous mobility although the Fig Rig does enjoy an edge here due to the circular frame. Unlike the Fig Rig, since the bottom plate of the Commander is flat, the camera can be safely placed on a flat surface when not in use. The 5D Mark II can be mounted directly to the commander base or attachment can be achieved via an optional quick release assembly. Either way, you have access to the 5D Mark II battery door. 
For those shooting with the Nikon D90, the battery door of the camera is also fully accessible when it is mounted to the Commander base.
The modular nature of the Commander brings together the best aspects of many of the other products I own/have used and/or considered, both less expensive and more expensive. It offers good range of motion, and shoulder stabilization on demand, the ability to mount accessories such as lights, microphones and monitors. The low angle shooting ability is a functionality that can be very costly with other systems.
Low angle shooting with the Commander
I found setting up the Commander pretty intuitive. There is, however, an excellent video demonstration on Bruce’s site for those who want an understanding of how all the pieces fit and work together. While I spent most of the time with the Commander in the intermediate configuration (Kit 2) with the bridge and handle attached, there is a lot to be said for attaching the shoulder stabilizer. I found it much easier to access camera controls while moving around with the shoulder stabilizer than without it. I liked the option of being able to use the stabilizer either over my shoulder or pressed into my shoulder. I also “pimped” the Commander and discovered that with the addition of small furniture gliders on the bottom of the base plate that I could achieve similar action to a dolly and track system on flat surfaces.
As I was mulling over my thoughts, I realized that most equipment reviews/commentary are written by men. I asked my sister to try the stabilizers out and share her reactions. Of the three pieces of equipment, her hands down favorite was the Commander. For her use, the Commander offered the best balance, was lighter than it looked and than she thought it would be, and she liked the over the shoulder stabilization option as opposed to the into the shoulder bracing.
The Commander kits are not inexpensive: While the intermediate configuration (Kit 2) exceeded the $300 budget I set by $69, the basic configuration (Kit 1) at $239 would have been within the parameters. The Works (Kit 3) would have been way out of range. The good news is that very soon there will be upgrade modules available for purchasers of Kits 1 and 2 so that you can add on as you need to and/or grow.
In looking at the options for products, I always suggest to the extent possible that consumers not only look at how they think they are going to use a product, but to try to look at the versatility and the range of applications for which a particular product can be adapted or used. I think that this is the most appropriate way to consider a tool like the U-Boat Commander. When I look at its functionality, and modular nature relative to the universe of available tools and add ons, the U-Boat Commander looks very, very good.
Don’t be surprised if you see one of my cameras mounted to my own Commander in the near future!
If you want to seriously stabilize your Canon 5d Mark II or Nikon D90 (referred to as “hslrs,”) a tripod and/or monopod along with a fluid head are, at a bare minimum, essentials. They are available in different configurations and at various price points. A critical consideration is making sure the tripod/monopod and the head can support the camera and lenses that you are going to mount. Be sure to check the load capacity of the equipment you are considering. While tripods and monopods address relatively stationary shooting where you may primarily be interested in panning and tilting movements and you have the space to use them, they do not address dynamic shooting conditions or shooting in tight spaces. And that’s when you need to look at the portable stabilizing solutions.
Just like with tripods/monopods and fluids heads, there are portable stabilizing options to fit every budget. Personally, I did not want to wear a belt, vest or any contraption which made me look like I was in traction while trying to stabilize my hslr. In addition to keeping the camera steady, I also wanted to keep my wallet steady. After giving the matter serious consideration, I arbitrarily set my budget for a portable stabilizing solution at $300 maximum: Too much over that amount and I felt that the solution would be overkill since my primary usage for both cameras is still work. The solution had to be easy to transport; easy to set up and break down; and just as importantly, easy to use. The stabilizer also had to be able to support the camera body and substantial telephoto lenses. I was aware that this last consideration might knock out some of the support products aimed at the palm sized camcorders. My last requirement was that I had to be able to physically handle the product before purchase. The “video virgin” in me was driving this requirement.
After doing a lot of research, I found two products that piqued my interest, and were readily available here in New York for purchase. The Manfrotto Fig Rig which I found at Calumet Photographic and the BushHawk 320D camera support which I picked up the next day at Adorama. These are two very different solutions, but two products with impressive lineage: The Fig Rig being the brainchild of writer/director Mike Figgis in conjunction with Manfrotto, and BushHawk offering stabilization products for many nature and wildlife photographers.
The Fig Rig
What do you get when you mount a camera inside a steering wheel? You get a Fig Rig!! I keep hearing the Joni Mitchell song “Big Yellow Taxi” every time I think about the Fig Rig! People may find the concept of walking around holding a “steering wheel” in front of you, strange but I have to tell you it works. The Fig Rig offers incredible freedom of movement. The two handed navigation if you will, results in tremendous stability and smooth shooting. The body acts as the shock absorber and does not transfer the jarring movement to the Fig Rig. The wheel itself can accommodate add on’s such as video lights or a microphone using the optional Fig Rig clamp.
The Fig Rig is made of aluminum with padded hand grips. You attach the supplied quick release mounting assembly to the frame and plate to the camera and you are essentially ready to roll. Also supplied are 4 cable clips which allow you to manage any wires for accessories you might attach to the frame. You are looking at somewhere in the vicinity of 2 pounds before you add the camera.
The biggest drawback with the Fig Rig is the fact that it is impossible to place the camera down in a stable position when it is mounted. I find myself removing the camera from the cross bar when it is not in use (perhaps some sort of surface brace or stand can address this.) The other possible drawback is that you do look a bit weird walking down the street with one. But to those worried about how they look, I say get over it! The price of admission: $299.
The BushHawk 320D
The other product that I found myself very excited about is the BushHawk 320D Shoulder Support System. If you think steering wheel with the Fig Rig, think shotgun with the BushHawk! This shoulder based stabilizing system is what is called gun mount with a trigger which with the appropriate cable release will “fire” the shutter. Now one of my big concerns about taking this thing out and using it on the streets of New York is that someone is going shout “gun” (as Clint Eastwood in “In the Line of Fire” does in a crowd) and wrestle me to the ground!!
The 320D Pro Kit (one of two Canon versions and there is a Nikon version as well) I purchased included:
The 320D double handle stabilizer with trigger and shoulder pad; Canon shutter release cord; Quick release assembly and wrenches; Window Pod; Strap; Release cord case; and Storage bag.
The 320D is a modular thermoplastic frame which is extremely light and strong. An adjustable arm, which has a shoulder pad at the end slides into the main frame, and is locked into place by tightening a knob. While BushHawk advertises the product with both hand grips in the same plane, I loosened the front hand grip and rotated it 90 degrees (as pictured to the left,) which gave me better balance and greater stability while shooting video.
One of the biggest plusses for the BushHawk 320D is that with the cable release cord attached, you can effortlessly capture stills while shooting video with the 5D MarkII via the trigger button. I also found the BushHawk worked well for normal viewfinder shooting, live view shooting or video. If there is a negative associated with the 320D, for some people it will undoubtedly be having the shoulder pad braced against them. It does take a little getting use to. The price for all this at Adorama was $212.
Whether you go with either of these systems, or with another, the stabilizer is only part of the equation. The other part of the success of any of these systems depends on you and your ability to hold and move with the product of your choice. For me, a heel toe combination seems to work best for removing variability from my stride under most circumstances when moving with either of these stabilizers. I urge anyone buying a stabilizer to practice moving and finding their own “right” stride. And don’t forget about picking up a light set of weights to get your shoulders and arms into shape. You will thank me for this advice!
In Part 3 of this series, I will be looking at the Bruce Dorn U Boat Commander. I have elected to talk about this system independently because unlike the Fig Rig and the BushHawk, both of which I purchased, the U-Boat commander is on loan for evaluation purposes. Also unlike many of the available solutions, the U Boad commander was developed specifically for use with the 5D Mark II.
Early last August, I had an opportunity to shoot wedding pictures for a couple in New York’s Central Park. As my assistant and I were walking a few hundred feet behind the happy couple, and I looked at them leaning into each other as we moved to another location, I remarked how we were witnessing a video moment! The problem was that I had no video camera: Just two dslrs, one a Nikon and the other a Canon. Just a few short weeks later, Nikon and Canon announced the D90 and the 5D Mark ll respectively, both of which would have high definition video capability, and in many respects will alter the feature set of still cameras going forward.
Now the reaction to video in dslrs has been mixed to say the least. Some people both professional and enthusiast, embrace it, and others call it a gimmick. Funny, I think back to only a few short years ago when Olympus put a dust shake system, and live view in their cameras. Features which many marginalized then have become the expected norm today.
After experiencing that “Ah Ha” moment in Central Park last August, I am happy that I now have the option to shoot a little video and stills in a single package. We do live in a multimedia age. With the rise of YouTube, Vimeo, social networking and image sharing sites such as My Space and Flicker, as well as commercial product advertisement and news sites, the importance of video capture capability in any imaging device, should not be lost or minimized.
These hybrid cameras, as I refer to them, are not meant to replace dedicated hi def video cameras nor are they intended to shoot a box office blockbuster; but for clips and even shorts, they are indeed valuable and intriguing tools. I can tell you in shooting with both available options, that there are things I like about both and things which I don’t care for! Each manufacturer could learn a thing or two from how the other has incorporated the video feature for future refinement. The most important thing for those of us who are embracing the feature is to learn how the system of our choice operates and to exploit it to the fullest. What is clear is that the technology will develop and develop rapidly. A year or two from now the amount of control and flexibility in shooting speed will make today’s groundbreakers seem crude. But for now I encourage all who have purchased them to enjoy the feature.
Coming next week – Part 2: Mounting the Hybrid Camera for Movement
Resources for learning more on shooting video with dslrs:
http://www.usa.canon.com/dlc/controller?act=GetArticleAct&articleID=2186
http://cpn.canon-europe.com/content/masterclass/eos_5d_mark_II_masterclass.do
