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Click here to view the embedded video.
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In this video he shows how various combinations of lighting can effect the look of your video.
Enjoy it!
Manfrotto
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I’ve an old Manfrotto 190 tripod, the NAT series, (you know, those painted a matte green, ideal for nature photographers) that has been with me, uphill, downhill, for ages. It’s half corroded by oceanic waters, leg locks half-stuck from too much sand and mud (although I clean them, they tend to become hard to lock/unlock with age), and dented here and there. But I love it, and although I’ve had some different tripods through all these years, the 190NAT has been the one I pick for everything.
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| The 190NAT3 tripod is designed for nature photography and bird watching outdoor use, using either small format conventional and digital cameras equipped with telephoto lenses or spotting scopes. The 190NAT3 has top leg sections and castings in green, lower leg sections in black. It weighs 2.2 kg, has 55.7cm length (closed) extends to 119cm (center column down), and can take a 5 kg load. There’s a similar version on the 055 series, the 055NAT3 (extends to 138cm), but it weights some 600 grams more, so when you carry your gear on your back, these things have to be taken in consideration. |  |
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A New and Versatile Tripod
Although the 190NAT3 is not a carbon fiber tripod, and it is rather heavy, I’ve tried to take it everywhere with me, when I feel I need a tripod. And to make sure I had it with me when I needed it, I always carried it in the trunk of my car. When people ask me for advice about tripods I usually tell them to get a 190, a version more recent than mine, because they offer some options I would gladly have on my old tripod. Still, I never changed.
Now, Manfrotto introduced their new 190 series, and I absolutely fell in love with it. The marketing blurb says that “The new 190 is a unique tripod that holds compactness and more transportability. It offers ultra-versatile settings that make it easier to release the imagination and creativity of every photographer” and I’ve to agree entirely with it. I’ve opted in for the new series, and this is the reason why my 190NAT3 is going to be put aside. It is still going to be used, in workshops, to make sure participants have a good tripod to support their camera, but I’ve selected the 190 series as my choice for the moment.
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As I carry my tripod with me, on my backpack or suspended from my shoulder, I prefer the 4 section leg versions, that are usually more compact (some 10cm less in length), but the version I’ve got has 3 sections, and I’ve carried it along without problems. It is about the same size the 190NAT3, but extends further. In fact, it goes up to 135cm with the center column down, it can take loads up to 7 kg and the carbon fiber version weights some fantastic 1,6 kg and has 61cm length. The specs are similar to the 055 series, meaning that the new series is a step closer to the bigger brother, in fact.
How Low Can Your Tripod Go?
Because I had a chance to compare models, as I’ve a 190CXPRO4 tripod with me, I’ve decided it could be interesting for some to check the data for this model belonging to the previous 190 series. This is a really portable tripod. Again, there are different versions online, but this one offers a length of 50cm closed, extends to 122cm (without the center column) takes a load of 5 kg and has a weight of 1.34 kg.
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There’s one value on the 190CXPRO4 that I want to discuss. The tripod can go down to the ground at 8 cm. My old 190NAT3 can only go down to… 41cm. There’s a good reason for it: the 190 series adopted a system allowing for the center column to be moved horizontally, something crucial for a lot of photographers. Manfrotto designed a system allowing the column to be moved from its shaft, and that opened new doors for macro photography, for example. This is a feature I have been living without, so that was a good reason to look with awe at the new 190 series.
In fact, the new 190 model I have goes down to 9cm, making it a fantastic tool for much of the photography I do. Although this and all the other specifications for the new 190 series (and yes, check online the different models and versions, please) are interesting, what was, for me, like the cherry on top of the cake, was the inclusion of the Easy Link system on this tripod.
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The Magic of Easy Link
The marketing for the new 190 states that “taking its lead from our professional equipment lines, the new 190 also includes an Easy Link attachment in the top casting, allowing the tripod to expand shooting possibilities by holding a LED light, reflector or other accessory, and turning the 190 into a mobile studio.” It was this Easy Link that made me so much interested in the system. Yes, I want to be able to move my center column horizontally, but the Easy Link takes that option to a new level. And I am not just thinking about using it to support lights, as suggested, something I also tried. I’ve taken it further, to build my field studio for photographing wildlife.
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| You see, the new tripod made it easier for me build what I call a Field Light Studio, a portable solution that lets me photograph small animals (insects, bugs) on a white table, and at the same time offers me a white background for subjects like flowers. To hold the A4 size acrylic plate I use a JustinClamp attached to a Heavy Duty Arm, a Manfrotto studio flexible arm, 52cm long that attaches to the EasyLink (you’ll need an adapter). The Field Light StudioThe Manfrotto 175F Justin Spring Clamp is essential, because it has a small ballhead with a Flash Shoe, meaning you can place a flash on the clamp, in case you need it. For some subjects photographed on the table, the flash offers enough coverage, and fast recycling times, as it is working very close to the subject. The second flash sits on the tripod head, which is a 054 Magnesium Ball Head with Q2 Quick Release, made especially for 190 tripods. Great piece of machinery that will keep your camera/flash steady. |  |
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Although the use with the Field Light Studio is a good reason in itself to buy a tripod like this, the new 190 is apt for many other things, as any other tripod. I’ve used it to photograph streams, something I will do quite a bit during this Winter, placing the tripod legs in water, and have had no problems yet. Although the legs became soiled with water and mud, they’ve been easy to clean, and I do appreciate the new Quick Power Lock leg lever design. QPL is ultra fast – all the locks on each leg can be released with one hand and a single movement. It is considerably easier than with the previous 190 models.
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Using the new 190 with a JustinClamp attached to a Heavy Duty Arm, a Manfrotto studio flexible arm, 52cm long, that attaches to the EasyLink.
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Together with the EasyLink, the moving center column makes this an excellent tripod. The new 90° centre column mechanism is, I’ve to agree “an impressive match of imagination and engineering” and explains the new 190′s significantly more compact folded length. The new vertical-horizontal column mechanism is hidden inside the tripod’s top casting until it’s needed. In combination with the brand new flat top disc for the centre column, the new PRO mechanism considerably reduces the overall closed length of the tripod.
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Nice Little Touches
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There also some little touches that show how engineers looked at the tripod from a photographers point of view. The bubble level can be rotated 360°so it never falls inconveniently under a head locking lever, and can always be positioned where it’s more convenient for the user, something absent from older models and other tripods. Also the new leg angle selectors are more intuitive and more ergonomic, again cutting set-up time while also making the new 190 safer to use.
The 190 is the first example of a new house style that’s distinct, yet still distinctly Manfrotto, with bold, clean shapes and lines dictated by function. The Manfrotto logo and “Made in Italy” feature prominently, and help the new 190 to stand out from the crowd everywhere from point of sale to photo location. I do know that tripods are something most of us buy for life, but if you’re about to buy a new tripod, do yourself a favour and look at this model from Manfrotto. You might be surprised! I was and I am absolutely delighted with the things I can do with this tripod. It is the kind of gear that helps you to make better photographs.
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Follow the link to know more about the new 190 series of tripods from Manfrotto
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Lucky enough I got the bag one day before I was heading to Frankfurt to start a 10 days Europe tour with the balkan band „Shantel“. The band played 10 gigs in a row including clubs in London, Paris, Antwerp, Germany and Austria. Therefore it was a good opportunity to test the new Manfrotto Advanced Gear backpack in a music photographers life.
For me as concert photographer it´s important to have a compact backpack with me that fits all my gear. Furthermore the bag should not attract too much attention and scream „Take me, I have photogear worth thousands of Euros sitting inside“, because often you have to leave your bag in the photopit or backstage area.
As I first saw the backpack I was astonished how small this bag actually is. Compared to other professional camera backpacks the Manfrotto Advanced Gear Backpack (even the large one) looks more like a school bag then a kick-ass concert photography tool. However when I examined the backpack more closely I recognized that this bag provides everything I need.
.When opening the back lid with the zipper there is space for all my concert-photography equipment: Nikon D800 camera body with attached Nikon 85mm f1.4G, the 24-70mm f2,8, the 80-200 f2.8 and the Samyang 14mm 2.8. Inside the front lid is enough space for an ipad, memory cards, earprotection, wallet, iphone, pens and cables. An additional pocket provides space for your businesscards. The backpack is ergonomically designed and only the Manfrotto logo button gives a hint of a professional camera tool.
When I was traveling with the band the Manfrotto Advanced Gear Backpack was always with me. Either the bag was staying in the nightliner bus, backstage or onstage it was always easy to access my gear and switch lenses on the fly.
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Plus: fits a lot of professional gear for it´s compact size, ergonomically designed, don´t attract much attention
Minus: if you need a to carry a second camera body it might be too small
Conclusion:
I totally fell in love with the Manfrotto Advanced Gear Backpack and it will be my go-to concert photography camera bag in hte future. If you are in need of a small and clever bag don´t look any further.
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© Text and photos by Matthias Hombauer
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My name is Reiji Oe , an advertising photographer based in Shiogama City in Miyagi prefecture. I take photos of nature and cityscapes and their peaceful dwellers. A lot of my work also involves recording the scenery in the Tohoku area as well as the recovery progress after the 3.11 earthquake. Photography is my life work.
The equipment I am now mainly using is a Canon 5D Mark III, EF24-1051. For filming, I use a Mamiya 645TL. I usually use wide angle～standard and macro lenses. However, when I shoot in mountainous areas, I take along a telescopic lens.
When doing photography trailing through the mountains or when on photography trips, I try my best to reduce my belongings, including my lenses and camera equipment. Tripods are by far the bulkiest and heaviest items, but when you want to take photos with a lot of depth, when you have firmly decided on the composition or when you want to take clear beautiful shots in the forest, this is an indispensable tool, so however heavy they are, they are a must-take item.
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I took the Gitzo Traveler tripod to Zao Moutain range in Yamagata prefecture to shoot frost-covered trees, which can only be seen from December to March This phenomenon only occurs in a part of north-east Hokkaido. It is well know abroad and goes by names such as the “ICE MONSTER,” etc., since the snow-covered trees really do look like monsters sculpted by nature.
When taking ice-covered trees, if the weather on that particular part of the mountain is not cooperating, you can’t take good shots. I feel like I had good luck for this project – but that is also maybe because I went to Zao three times to do it.
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On the mountain peak, it is very cold, reaching as low as -20℃. Also, weather conditions on the mountain are very volatile. You think it’s getting a little misty, but 30 minutes later it’s so foggy that the view in front of you completely whites out, and it gets dangerous. In this kind of severe environment, speed is of the essence.
The Gitzo Traveler tripod series features high load capacity and portability that only tripods made with light and strong carbon fiber can have. Weighing in at 1.4 kg, it’s lighter than a two-liter pet bottle.
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As a result, holding it with one hand is not a burden at all, and it’s a cinch to fold up and stow away. This portability helps you reduce the amount of time getting to the location of your shoot as well.
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With a load capacity of 5.5 kg, there is no need to fret about the instability you usually get with a portable tripod. It is steady as a rock with a 35mm single reflex lens mounted. Even in typically unstable snowy conditions, there is no problem taking photos. You’ll find yourself saying: “the next thing I gotta try with this is long exposure shots at night!”
The free platform of the overhauled kit allows even speedier tripod attachment and set-up, and the ball portion operates smoothly even in low temperatures. Even when the camera is in horizontal position with a 200mm telescopic lens mounted, the head does not sway, though when the telescopic lens is used with the camera in vertical position, it’s a littler less stable.
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“I wasn’t planning on doing photography that requires a tripod here, and I didn’t feel like bringing it along because it’s too heavy to use in this place.” Many places I have traveled to evoke these thoughts; however, there were also places for which I ended up regretting not taking along a tripod.
Even on the present winter scenery shoot, when I got to the point where I really wanted to put down my things, I was able to affix the camera to the tripod stably and so there was nothing to worry about.
Knowing that a tripod that is as light and easy to use as this one exists, the potential number of places I want to try photo shoots has multiplied in my mind.
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© Text and photos by Reiji Oe
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I had the chance to test Manfrotto Backpack 50, the larger on their Professional Series, some time ago, and had the chance to explore it in the multiple roles a backpack like this can perform, from a single day outing to a trip abroad.
I usually get my most used gear at hand and explore the multiple solutions I need, for different assignments, trying to understand how much a single backpack can cover, showing its versatility.
What Manfrotto did on this backpack is, somehow, a feat. The backpack looks slim, being only 31cm large, something immediately noticeable when you see it on someone’s back.
Still, it offers a lot of space inside, with the interchangeable dividers offering a modularity and ease of use, allowing you to custom fit the inside of your bag around your gear by creating the exact size compartment for your gear.
Due to the backpack’s depth of 28cm, the compartments for lenses cannot fit a lens like my EF 100-400mm upright, but I can easily place it in the center area, strongly protected, right after my camera body and lens.
The centre of a camera bag is its most vulnerable spot, so Manfrotto’s CPS (Camera Protection System) provides a thick layer of structured, shock-absorbing dividers around the core section that safely cushions the equipment kept at the heart of the backpack.
In the space left, at the bottom, I can place the removable waterproof cover that, in case I need it, will protect my backpack from heavy rain. Then, I can place smaller lenses, flashes and other items on the side compartments. The dividers let me adapt those spaces for different situations.
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This backpack has a special padded compartment for a 15″ laptop but I also found interesting that it has a smaller space, inside the lid, where a tablet can travel fully protected.
Due to the fact many photographers these days will probably just use a tablet, the laptop computer area can be used for stuff like reflectors and diffusers (some rather large), a solution I appreciate and use.
Although it is a slim and considerable light backpack (2.33Kgs) it offers the protection you expect to find in a professional bag. The outer face has a rigid multi-layered construction (Exo-Tough Construction) that buffers the initial sharp impact shock, diffuses it by allowing it to spread across the surface and thus lessens the force that actually reaches the center of the bag.
Sturdy TPU feet keep the bag off the ground and serve as shock absorbers (in all backpacks, rollers, shoulder bags and slings).
Multiple pockets inside the lid and also external pockets on the sides offer space tor cables, maps, all those little things photographers tend to carry about with them. External straps for tripod, a specialized base for Manfrotto tripods and a side pocket for additional tripod are notes to remember about the Manfrotto Backpack 50, the biggest of the three versions available in this family.
With an Easy Grip handle for when you want to move the backpack from one place to another, the bag fits snugly on your back, with padded adjustable shoulder straps and padded back system that make it comfortable to “wear” when moving about.
The top opening makes for easy access to the camera, while two safety locks close to the top guarantee you do not accidentally open the top flap fully.
I fully enjoyed trying the bag, and although my collection of bags and backpacks is growing every year, something I believe all photographers go through, I do believe it will be hard to part with this offer from Manfrotto, due to its versatility. I like bags that I can adapt for small or big assignments: the Backpack 50 fits that bill.
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Find more about the Manfrotto Professional Backpack 50 following the link.
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© Text by Jose Antunes
.I asked my friend and amazing photographer Settimio Benedusi to let me shoot for half a day doing my experiments in his studio. The result, the complete result, you will be seen very soon. Meanwhile enjoy the backstage and the preview images which I would call name it “teaser” because it’s half way for what it will look like. Enjoy it and feel free to let me know what you think!
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Light set up
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| Model set on a table, light schema . . . . |
Camera data: Hasselblad H4D-40 on tripod Lens 80mm Speed 1/60 sec Aperture F/4 ISO 200 |
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Equipment:
1 Spectra MLS900FT back left shoulder to light up shoulder and hair
1 Spectra MLS500F on the background
1 Spectra Flood MLS900F on the left side of model face with white soft filter
1 Spectra Flood MLS900F + 1 Maxima-84 Hybrid on model right face position with white soft filter
1 Maxima-84 Hybrid up above model head
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See backstage video here:
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Photographer Monica Silva
Model Rossella Rasulo
Make-up & Hair Stefania Gilardi
Set Assistant Carlotta Coppo & Bruno Calicchio
Video Backstage & Editing Cristiano Zabeo
Post Production Pietro Rochetta Casadio
Studio Settimio Benedusi, Milano
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© Text and photos by Monica Silva
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Pump cups are great gear for photographers and videographers. They allow you to mount small lights and accessories from walls, floors, doors, ceilings, windows, mirrors or any other smooth surfaces where no other mount can go. They will also be seen on multiple car shoots, supporting cameras, either mounted inside or outside (a fearful sight for some people, me included), for some unique imagery that would not, usually, be possible otherwise.
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The Manfrotto 241V is such a tool. It is a handy grip that adheres to any non-porous surface via its large 15cm suction cup. This piece of information is something very important to retain in mind: the suction cup only adheres properly to non-porous surfaces. So, if you’re using it on materials that are porous, be aware that you may get in trouble. The information provided in the instruction leaflet for the Manfrotto 241V explain exactly the safety procedures.
Placed on a flat (glass works perfectly) or slightly curved surface (a car bonnet, for example) the Manfrotto Suction Cup 241V will hold a camera or any other equipment up to 3kg in place. This product reference is usually associated with Video, as Manfrotto has other products in the family: the 241FB, with a flat base , and the 241, a pump cup with 16mm swivel socket, and 241S, a suction cup with a fixed 16mm socket incorporating a safety pin for added security, both for payloads up to 2kg and conceived for other uses.
The version I received to test comes with a 20cm shaft which has clamped to it a versatile ball-joint socket which rotates within a half hemisphere, and which comes topped with a 1/4″-20 screw. The head will also accept accessories that use a 5/8″ stud connection. The box also contains an extensible support arm (85cm maximum) that can be helpful to keep the equipment in place.
Operation of the suction cup is easy. Once you find a surface it can adhere to, remove the protection from the base, lean the cup against the surface and press the blue piston repeatedly until the red line disappears into the blue shaft. Only after confirming that everything is working perfectly you should mount your equipment in place. The vacuum created will keep the suction cup in place, but it is wise to keep an eye on the equipment, as it tends to lose grip over time. Watch for the red line and pump the blue piston again when it reappears.
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The 20cm shaft at the center of the suction cup covers what Manfrotto considers to be the safe distance to use with equipment up to 3kg, especially on vertical surfaces. The extensible support arm can be used for extra support, but the safety procedures should be followed so there is no damage to equipment… or accidents with people, if the suction cup falls from a high place in someone’s head.
The Manfrotto 241V, as some of the others suction cups, can be used with an articulated arm, such as the magic arm with bracket – reference 143A – , one from an extended family offering multiple solutions for studio or location work.
The magic arm 143A (which has 53cm extended), allows you to extend the working distance of the suction cup and place equipment (it is a great tool for small lights, like LED lights, for example) in awkward positions and angles. I should say that not being a studio photographer myself, and even less a motorsports photographer, I looked at this piece of gear from Manfrotto not knowing exactly what to do with it.
Well, it has revealed itself as a very useful piece of gear for photography and, in the immediate future, for video. As the suction cup works well over a variety of surfaces (wood, some walls, glass panels, marble, etc.) I can easily mount it in different places, a bonus for some of the photography I do.
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Although I must confess it frightens me to trust a DSLR camera to the Manfrotto 241V, when attached to a car’s bonnet, I intend to explore that possibility – having seen some videos that suggest it works – to try some pictures with a car in movement. I intend to do some video using the equipment, and I might write about the experience sometime in the future. For now, having tested the suction cup practicality in some interior shots with LED lights and flash, I intend to keep using it for some of my work. It also works well as a car window support for a camera, in case you’ve wondered!
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© Text by Jose Antunes
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As we all know, the tripod can be your best friend or your worst enemy. Too heavy and cumbersome and you will not use it; too light and unstable – your pictures will be ruined. For over ten years I have been extremely happy with my 055PROB, but the time has come to get something lighter but equally reliable. I have welcomed the arrival of the new 190 series, especially the carbon fibre 190CXPRO3 as it is lightweight, compact and offers important stability.
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The tripod’s maximum height of 160 cm (135 cm with the centre column down) is more than I will ever need, taking into the account that I am of an average height and that the head plus the camera will add another 20 cm or so to the overall practical working height. At the other end of the scale, the tripod’s minimum height is 9 cm – ideal for the macro work that I do a lot.
The 3 section one is also very quick to set up. The legs can be set at four different angles: 25, 46, 66 and 88 degrees, which give me the required flexibility. The incredibly versatile Q90 degree section allows for the main column to be set in horizontal position. Changing position is very easy; first the column needs to be pulled up; pressing the red column button releases the column so that it can be pulled all the way up for it to be twisted into the horizontal position. The quick power locks on the tripod legs, thanks to their elongated levers and shapely curves operate incredibly smoothly; the tension of the locks is adjusted splendidly, allowing easy locking and unlocking, so precious when working in the cold environment.
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When unlocked, the top section goes down with a pleasant swoosh, but the bottom section needs to be pulled out manually. At first I looked sceptically at the bottom section as the legs looked a bit slim. I shouldn’t have been alarmed though, as they are rock solid, thanks to the process called pull-winding used in production. The rubber feet are fitted as standard, with spiked and suction also available. One of the most important features of this tripod for me is its weight, at 1.6kg it is an ideal companion for my travels and it doesn’t weigh me down on longer walks in difficult terrain. It offers at the same time the most amazing sturdiness allowing me to shoot in the most challenging situations, like exposed cliffs on windy days. Apart from the travel and outdoor photography, I shoot a lot of nature and macro. A very handy Easy Link that can be attached to the tripod is like a third hand for me – it supports various accessories, like reflectors or diffusers, which are vital when photographing flowers. The other clever touch is a bubble level that can be rotated; it is especially useful when setting up the tripod in irregular positions when keeping the straight level is vital.
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As a perfect companion to the tripod I have chosen 391RC2 Photo/Video Pan and Tilt Head. Its safety payload is 5 kg but it weighs only 0.57 kg. The versatile head is essential for me, as it independently controls each of the camera’s two axes of rotation: left/right and up/down. I prefer 3 way heads to ball heads that are often susceptible to slips under heavy weight; they are also ideal for my favourite photographic technique, the Intentional Camera Movement (ICM). This is an amazing way of taking photographs bursting with energy and verging on Impressionism, the technique that takes me on an inspirational journey through all the aspects of colour.
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The combination of the tripod and the 3 way head allows me to achieve the best effects. The smooth head operation means I can employ steady movements in the horizontal or vertical directions using the exposure from 1/20 sec to some 4 seconds and in this way to create, not necessarily fully predictable, but nonetheless interesting interpretive images.
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I have thoroughly enjoyed working with the new 190CXPRO3 and 391RC2 head; not only my landscape and nature photos will benefit from this perfect set but also my impressionistic images too. The tripod operates both reliably and smoothly; the 100% carbon fibre offers great resistance and quickly dampens vibrations. It is compact and lightweight but rigid at the same time. It is also functional, stylish and easy to set up. It is, without doubt, the best tripod for my daily use.
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You can get more information and detailed specification of the tripod and head on Manfrotto site:
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http://www.manfrotto.co.uk/carbon-fibre-tripod-3-section-190
http://www.manfrotto.co.uk/photo-video-pan-and-tilt-head
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© Text and photos by Beata Moore
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I am Reiji Ohe, working as a professional photographer based in Shiogama City, Miyagi Prefecture (Northern part of Japan). I usually work for taking commercial photos, and also, I’ve been taking photos of natural landscapes, the animals living there, etc.
After the earthquake hit here on March 11, 2011, I have been involved in my lifetime project to record and convey the Tohoku landscapes in the original state, the progress of reconstruction of the devastated areas, and so on.
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For my works, I recently use Canon 5D Mark III for the camera body and EF24-105L IS U lens as my main gears. I sometimes use Mamiya 645TL when I take pictures with roll films. I usually use the lenses from wide-angle to standard as well as macro, and I also carry telephoto lenses when working in forests or mountainous areas.
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I really enjoy using backpack-type camera bags as I work more frequently in the field than in a studio. Carrying not so many gears and not traveling so far as usual, I sometimes use a shoulder-type bag which allows me to pick up the camera and lenses more quickly. However, when I need to travel long distances, I prefer to use the backpack-type bag, as I feel uncomfortable with the shoulder bag because the bag cannot keep the good balance for long-hour photo session and that imposes physical strains on me.
This time, Carrying Manfrotto’s Professional BackPack 30, I took pictures of townscapes in the mountainous areas as well as the surrounding natural environment in Miyagi, northern part of Japan. I tried to take photos at many locations there, but as the main location, I chose the ruins of the town’s amusement park, which shut down over a decade ago.
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Camera, lenses, other gears taking with me are as follows:
Along with my photo gears, I usually carry devices such as the microphone for synchronous recording so that I can capture the sounds and atmosphere of the place where I’m taking photos, and later use them as a reference for my exhibitions. I always carry my iPad with me which I can connect to the camera so that the clients for my commercial photos can see the images on the screen. I also create one of my works, “Forest wall” series with iPad by using the app. (Please see 2 works from the series)
Let’s get back to the Manfrotto Backpack.
First of all, I was very surprised with how comfortably the bag fit in my back.
It has good padded back which made the bag close to my back, and it is designed to perfectly fit to the one who carry.
I felt quite comfortable to wear the bag, which, you may know, contained a lot of my gears – usually makes me tired. But this time, I felt as if the bag became the part of my body. It fitted my back so well that it never moved vertically or horizontally while walking.
The bag has lots of pockets on the flap and the outside of the bag, for storing small items. There are also specific spaces for storing a tablet device or laptop, so you can take the IT gadgets with you and use them to upload pictures etc., even if you are out or travelling. Only one thing I’d like to note when you use this bag is that; you need to lay the bag down and open the flap completely to take out camera or some gears from the bottom of the bag. So, you need to think how to store gears to pull out conveniently, like putting the item you don’t frequently use in the bottom area of the bag.
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Generally, I (and everyone) always have the issue on how to bring a tripod when using a backpack. A tripod is essential to focus properly under the circumstances like cloudy weather, or golden hour. However, there are few bags to which a large tripod can be securely attached. Even if some bags have function like holding a tripod, it will swing and move while traveling, which makes me uneasy. That’s why I always carry my tripod separately, in a dedicated bag on the shoulder. As for Manfrotto Pro Backpack, I didn’t experience any uncomfortable feelings like swinging tripod on the backpack. This is thanks to the design of the bottom of the bag.
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The bag can hold a tripod with the holder on the rear side, and with the pocket hidden in the bottom. This pocket appears when you pull the red tripod mark, which is on the bottom of the rear of the bag. If you store the ends of the tripod legs to this pocket and tighten the holder, the tripod will not move even with some movement. So, you can carry the tripod comfortably with this bag. When you need to carry a tripod for a long time, this is especially useful as you don’t have to carry a tripod bag separately.
The bag has tripod marks, showing where the tripod can be held. The bag has the two marks, one on the bottom as I described, and the other is on the side pocket. This side pocket is perfect for a small tripod. A large tripod, like mine, is suitable for holding on the rear side of the bag.
I kept carrying the bag on my back about for three hours, most of the time while photographing, and I think this bag is the best one for both its functionality and design reasons among the backpacks I’ve used so far.
As you see, the best camera bag is the one which doesn’t make you tired during the shooting, and that, I’m sure, will contribute to the best images you’ll create.
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© Text by Reiji Ohe
One of the things that I have most eagerly awaited this year is the release by Manfrotto of the new 055 tripod line, together with the new three-way head. When I saw an email from Manfrotto telling me my shipment had left the warehouse… I was as happy as a kid in a sweetshop.
I must say that both products are immensely beautiful. The unpacking of them was like discovering a pearl in an oyster, really!
I don’t want to be too enthusiastic, but really the design, that I’d had the chance and good fortune to see some time ago, had a wonderful impact when first seeing the product.
 Easy grip and opening of the flip locks. |
 Leg Detail |
Manfrotto has always succeeded in providing their clients, (professionals or simply passionate hobbyists), the best tools to develop their creativity and do their job in the best possible way. As soon as I had my hands on these jewels, I felt this was again a success.
I had always needed a strong three way head. Up until now, my options were they were very light, but too weak for my camera, 804 head, and the 808, a nice three way head, but quite heavy to travel with (1,39 Kg). For my daily use I do a lot of interior, landscape and night photography, so I desperately need a support system which can combine practicality and lightness..
Head handles and friction control
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Because I travel a lot, and walk a lot, the option for me has always been carbon fibre legs and a very light head with great performance, (so I can use my 5D MKIII with 70-200 2.8 with confidence). My head of choice then had been the 468MAGRC2 hydrostatic head, very light and strong. However, I don’t really like ball-heads. They are never as precise and handy like a good three way head.
You can understand how happy I was when I saw the specs of the new MHXPRO-3W; 8 kg payload, for just 1 kg of weight!!!
 Shooting a piece of art @ Caffè Florian in Venice |
 Tripod and head rocking during an assignment. |
But let’s be a bit more specific:
The new MHXPRO-3W is a very compact three way head. This makes it a winner already. One of the problems I have always had with this type of heads is their size. The design is great, and the friction system combined with the retracting handles works great when you are looking for precision of composition.
The new MT055CXPRO4 is slightly smaller than the previous version, yet keeping all his versatility; 1,70 m maximum height, and 9 cm minimum height.
I love this, because in my landscape and night photography I love low angles. The new locking system is great, strong and handy. It’s a great improvement, shorter set up time and better grip. The new 90 degrees system for the central column is stronger than the previous Q90, therefore it’s more stable.
 Unlocking the central column |
 Extending the central column |
 The unlocking button at the bottom of the central column |
 90° Central column |
Happy me! This is because my very very low angle and macro shots have noticeably improved.
A minor issue that I have noticed, is that if you aren’t very careful in handling the closed tripod, the handles can fold and entangle with the items it’s stored with. This is only a minor hassle anyway.
HDR of the Paradu Resort Pool and Pool bar (Tuscany)
One really nice thing to have is the little Easy-Link feature, which allows to fix a light support to the tripod. It can be handy for macros. I haven’t used it so far, and for the type of photography I do, I’m not sure it’s a feature I will use, but I must say it’s a nice addition and one that will benefit some but not all.
Interior photography – Spa Area @ Bad Watersdorf (Austria) Falkensteiner Hotel
As a previous user of the old 055CXPRO4 + 468MAGRC2 System, I must say that I like this one much better, I have a more stable and precise system, which results in sharper and better images.
Thanks again Manfrotto for this amazing product.
Yorick’s gear
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© Text and photos by Yorick Photography
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Here more about the new Manfrotto 055
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Lucky enough I got the bag one day before I was heading to Frankfurt to start a 10 days Europe tour with the balkan band „Shantel“. The band played 10 gigs in a row including clubs in London, Paris, Antwerp, Germany and Austria. Therefore it was a good opportunity to test the new Manfrotto Advanced Gear backpack in a music photographers life.
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| For me as concert photographer it´s important to have a compact backpack with me that fits all my gear. Furthermore the bag should not attract too much attention and scream „Take me, I have photogear worth thousands of Euros sitting inside“, because often you have to leave your bag in the photopit or backstage area. As I first saw the backpack I was astonished how small this bag actually is. Compared to other professional camera backpacks the Manfrotto Advanced Gear Backpack (even the large one) looks more like a school bag then a kick-ass concert photography tool. However when I examined the backpack more closely I recognized that this bag provides everything I need. When opening the back lid with the zipper there is space for all my concert-photography equipment: Nikon D800 camera body with attached Nikon 85mm f1.4G, the 24-70mm f2,8, the 80-200 f2.8 and the Samyang 14mm 2.8. Inside the front lid is enough space for an ipad, memory cards, earprotection, wallet, iphone, pens and cables. An additional pocket provides space for your businesscards. The backpack is ergonomically designed and only the Manfrotto logo button gives a hint of a professional camera tool. |
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When I was traveling with the band the Manfrotto Advanced Gear Backpack was always with me. Either the bag was staying in the nightliner bus, backstage or onstage it was always easy to access my gear and switch lenses on the fly.
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Plus: fits a lot of professional gear for it´s compact size, ergonomically designed, don´t attract much attention
Minus: if you need a to carry a second camera body it might be too small
Conclusion:
I totally fell in love with the Manfrotto Advanced Gear Backpack and it will be my go-to concert photography camera bag in the future. If you are in need of a small and clever bag don´t look any further.
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Product link: http://www.manfrotto.com/product/0/MB%2BMA-BP-GPL/_/Advanced_Gear_Backpack_Large
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I’ve used LED lights consistently since 2010, and not necessarily for the same things many other photographers use LED lights.
This type of light source became popular for use with videographers, and photographers soon discovered that one or more of these small lights on the hot shoe of a DSLR or on a lighting stand could be their best friend to work in places where natural light was scarce or non-existent.
So, video is the reason many customers first buy a LED light.
I do not shoot much video, I am more of a photographer, but I use LED lights more and more, as my continuous light source, both in the studio and in the field.
I recently spent some days photographing a museum exhibit and I used these lights instead of flash or any other source.
But my use of LED lights extends to different types of photography, and I use them for anything from portraits to photographing flowers to Roman artefacts.
Knowing my interest in the use of LED lights, Manfrotto sent me a couple of their recently launched Spectra LED lights to test. That’s the experience I want to share with you in this article.
But first let’s look at what Manfrotto offers to meet the needs of demanding professionals and advanced amateurs.
The 500F and 900F used to photograph a tripod head, another example of the versatility of these LED lights
A Reliable Portable Sun
The product family of Spectra LED lights is composed of five models, covering most of the needs for different types of photographers/videographers wanting portable systems to take anywhere. The Spectra LED lights pretend to stand out from the crowd of standard LED panels and set a new benchmark for light quality and performance. On first contact they surely do, with a nice design that separates them from the box-shaped LED lights I’ve used previously. But you really need to use them to understand the potential hidden inside these little portable suns.
Would Edward Weston photograph his peppers with LED lights? I did, and I used a Smartphone
The five on-camera models available offer increasing light output and two different beam angles (narrow beam and wide beam). Manfrotto Spectra series uses only the highest quality LEDs made specifically for them to their own specification to guarantee the same level of performance on each and every device.
Thanks to the excellent colour rendition (CRI>90), Spectra LED fixtures give great colour reproduction and the skin tone rendition of subjects is natural.
The light output is typically centered at 5600°K and one model, the 900FT, is provided with the possibility to change colour temperature from tungsten (3200°K) to daylight (5600°K). Light intensity can be regulated with a dial, without a colour shift. Spectra LED lights are carefully designed to be flicker-free at all shutter angles.
Powering the Spectra
The lights can be powered by four or six (depending on model) AA alkaline, AA rechargeable, (NiCad and NiMh) and some models will take Lithium batteries.
An optional AC adaptor is available for all models for long or continuous use.
Average battery life is dependent on batteries used. From 1,5hrs to 6 hours life in normal conditions of usage at the highest output, depending on model and battery. type.
With lithium cells it is important to remember they might get overly warm up and some Spectra models have built in thermal protection to counter this.
Light intensity can be precisely regulated through a dimmer, while avoiding colour shifting, so often found on other models and the circuitry is designed to avoid flickering at all shutter angles when shooting video..
A ball-head with hot-shoe attachment for orientation of the light is included in the packaging. Filters are provided in ¼ CTO warming, Full CTO warming and Opal diffusion. These filters may be used in combination with each other.
The lights can be used either on-camera, via ball head, or in combination with Manfrotto’s numerous accessories (stands, booms, clamps, arms..), using the ¼” threading on the bottom of the device.
The Spectra Family
Let me present you the essential information about each model:
Manfrotto Spectra LED 500S
This is an ultra compact, lightweight and portable LED light with 48 LEDs. Light is emitted with narrow beam angle (30°) and it has a constant colour temperature of 5600°K (daylight), with a luminance of more than 300 LUX at a distance of 1m. The device can be powered by four AA alkaline, AA rechargeable or AA lithium batteries. Average lifetime is up to 6 hours hrs in normal conditions of usage.
Manfrotto Spectra LED 500F
Despite being very compact (fits nicely in my hand), this model offers outstanding performance and is very robust. Thanks to its slim and elegant design, Spectra 500F stands out from the crowd of existing standard LED panels. Light is emitted with wide beam angle (60°) LEDs which are surface mounted and differ from the 5mm pin through LEDs seen on all the other models. It has a constant colour temperature of 5000°K (daylight), with a luminance of more than 550 LUX at a distance of 1m. The device uses six AA alkaline, AA rechargeable or AA lithium batteries. Average lifetime is 1,5hrs in normal conditions of usage, at the highest output.
Manfrotto Spectra LED 900F
This model is also very compact and yet robust device, offering outstanding performance. Light is emitted with wide beam angle (50°) and it has a constant colour temperature of 5600°K (daylight), with a luminance of more than 900 LUX at a distance of 1m. The device uses six AA batteries. Average lifetime is 1.5 hr in normal conditions of usage. The LED light can also be operated by mains, through an optional AC adaptor and is provided with D-Tap input, which allows the use of various power sources utilizing D-Tap plugs (D-Tap Adapter Cable is not included).
Manfrotto Spectra LED 900FT
The 900FT is similar to the 900F but offers a variable colour temperature (through an extra dimmer on the body), from 3200°K (tungsten) to 5600°K (daylight), with a luminance of more than 540 LUX at a distance of 1m. The device uses six AA batteries which give an average life of 1.5hr. The LED light can also be operated by mains, through an optional AC adaptor and is provided with D-Tap input, which allows the use of various power sources utilizing D-Tap plugs (D-Tap Adapter Cable is not included).
Manfrotto Spectra LED 900S
Finally, the Spectra 900S offers a slim and elegant design. Light is emitted with narrow beam angle (30°) and it has a constant colour temperature of 5600°K (daylight), with a luminance of 900 LUX at a distance of 1m. The lumière takes six AA batteries with average lifetime of 5 hours.
Testing the 500F and the 900F
Now that I’ve presented the whole family let me look in detail at the two Spectra LED lights I received for testing: the Manfrotto Spectra LED 500F and the Manfrotto Spectra LED 900F.
Those always going for power will look with awe at the 900F, bigger (not much, but enough to make a difference) and more powerful. Yes, it is, but in use I found I was more times picking the 500F.
Why? There are some good reasons why I prefer the 500F. It is smaller, and in fact something you can easily carry with you in a medium pocket on a photographer’s vest.
It has a battery gauge which is green when the battery level is high, amber when they’re below 10% and red when the batteries are close to failure. These are important warnings when you’re working and need to decide if you keep on shooting or it is about time to start thinking about changing batteries. In use the 900F failed me more than the 500F, simply because with the smaller unit, the glowing light served as a guide.
There is a second good reason why I like the 500F: it has a “boost” button that gives you some 60% extra light when needed. This means the 500F can pack power similar to the 900F. The “boost” button, on the back, has its own warning light, glowing green if boost is available (you’ll immediately notice the intensity of light, anyway) and red if your AA batteries cannot deliver enough power.
If using the AC Adaptor, the “boost” is always available and will work continuously, unless the thermal protection triggers.
Furthermore, there is another reason why I loved the 500F… and wish Manfrotto would follow that design for the other lights in the family: the 500F has a dimmer to control the light intensity, and has an on/off button that should be present in the 900F as well (it isn’t). Having the means to switch the unit on and off without changing the light intensity is great. I mention this from experience: while photographing at the museum I wanted to keep the light constant at a certain level, but could not do it with the 900F, as the dimmer is also the on/off button. On the 500F, once I had defined the light intensity, I could simply use the on/off button when I needed to shut down the unit to fit spare batteries while doing something else, and return to the exact same light level – and exposure – when I activated the 500F again.
LED lights can also be used to “paint” subjects. This is a 15 second exposure of an orchid, with the 500F used to “paint” the whole scene
Can we Have Radio Control, Please?
So, I much preferred the Spectra LED 500F, for those practical reasons. If I was asked how to improve these lights I would recommend the use of some kind of markings on the dimmers, so photographers know exactly how much power they’re dialing in. This could probably help with the models that do not have an on/off switch, but even on those which have it could be helpful.
There is also something I would like to see in future LED lights: the option to control them via radio. I know this may sound as a strange request for some people, but these days, when flash can be controlled by radio, I see no reason why other light sources can not be controlled the same way. Having ways to control LED lights from the camera may not be something most people, working at close distances, deem interesting, but if, like me, you use lights positioned some meters away from you, being able to control everything from the camera is a desirable feature. I do know this can increase the price of products, but it surely can be an interesting feature. Especially with light systems that although using LEDS can eat batteries on a long session, if you leave them on for long periods.
Flash and LEDS are Good Friends!
I do not think LED lights will take the place of flash for a lot of things, but they can work alongside and give you some unexpected results and extensive control. I love to use flash for its high-speed synch capabilities and the way it lets me control the ratio between natural and artificial light, and that’s something LED lights are not changing. But LED lights can be considered modern day sources of continuous light, without the problems of the size of those lights, and the heat caused.
A couple of LED lights can be carried in a photographer’s vest or bag (remember to pack extra batteries or a means to connect to the mains) and will do wonders for your photography.
A single Spectra LED 500F was used to place a spot of light on the Roman funeral stone exhibited in a museum, while maintaining the general ambient light.
The images published with this article are all taken with the Spectra LED lights Manfrotto sent me for testing. They are the best example of the variety of situations and the kind of results you can achieve in photography. For example, I’ve discovered that a light like the 500F may be the best friend a Smartphone photographer can have. Smartphone cameras do not deal very well with low levels of light, and the on-board flash is usually best forgotten. Having a 500F will open new horizons for any Smartphone user that wants to give some “oomph” to his/her pictures.
The photo with the three peppers is a tribute to Edward Weston Pepper No. 30, and is a sign of the potential for some creative work done with the Nokia Lumia 620. It is a studio shot, with the background provided by the black side of a big sized round reflector/diffuser, and the light source is a Manfrotto Spectra LED Light 500F. Small portable LED lights like this are very interesting to use with small subjects and are a great helper for pictures taken with Smartphones. In fact, I’ve found myself using more and more LED lights for some projects, because I like the way they mimic “old” continuous light systems without the problems of heat.
Besides using the Spectra LED lights as common light sources, you can also use them to “paint” subjects during long exposures, something I use widely for my flower photography. The photograph of an orchid, a classic flower in my collection, was photographed with a 15 second exposure, painting the flower with the Manfrotto Spectra LED Light 500F, a technique I’ve used and illustrated previously here at Manfrotto School of Xcellence.
An example of the use of LED lights to photograph Roman artefacts displayed in a cabinet…
For more common uses, the lights can be used in product photography, as the shot with the two Spectra LED lights mounted on tripods suggest. They were used when shooting a tripod head for another article. In fact the lights can be used to almost anything. I used them intensively to shoot an exhibit about rituals of death in the Roman Age. The images published here illustrate how the work was done and the results obtainable. If you want to see the whole series of images made with these two Spectra LED lights, please check the slideshow published at my YouTube page, under the title DIIS MANIBUS – Rituals of Death During the Roman Age.
… and the resulting image, completely different from what the regular visitor sees
All the photographs – except those with the room lights on – were created with only the light from the 900F and, in most cases, the 500F. The experience of photographing archaeological artefacts in cabinet displays using only these lights was so interesting that I will, during 2014, offer some workshops on this specific technique, for small groups (maximum 4 persons) at the Archaeological Museum of São Miguel de Odrinhas, near Sintra, in Portugal. Besides learning the technique in a practical hands-on context, participants will have a chance to try these fantastic and portable light sources!
Discover the Spectra LED Lights on Manfrotto site.
© Text and Photos by Jose Antunes
Its main target audience is travel photographers, enthusiasts, professionals and amateurs. The Xpro head weighs in at 1.6lbs (0.76kg) and comes equipped with both pan and tilt locks, leveler and handle bar.
First Impressions
As a motion time-lapse photographer I’m use to using heavy duty Manfrotto tripods that are made from aluminum and can hold upwards of 20-30 pounds of gear (mainly large tracks/rails and motorized components). Because of this my first reaction to the BeFree Carbon Fiber tripod left me in amazement and in a bit of disbelief. I thought there had been a mistake in shipping because what I first saw was a tiny (and I mean tiny) carbon fiber tripod that I thought in no way was going to be able to support the types of systems and cameras I use. I would soon find out however, that I was wrong. After unfolding the tripod from its resting state I snapped the legs into place and positioned a Canon 5DMK3 with14mm Canon Cinema lens (around 7lbs total) on the ball head. I thought for sure that this tiny little tripod wouldn’t be able to hold the camera and that it would inevitability topple over. It didn’t though and I breathed a sigh of relief. The head was holding and holding well. It was time to start our time-lapse adventure!
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The Design – BeFree Carbon Fiber Tripod
The BeFree carbon fiber tripod looks sleek, modern and ready to work. The red and white splash graphics make this tripod feel like and look like the Corvette of light-weight tripods. One of the main design elements that sticks out to me is the leg adjustment system. You can easily change the position of the legs with just a single touch of your finger. This can be an a particularly valuable feature when you’re out in the field and need to increase the width/angle of the legs to maintain stability. The first click allows you to fold the legs up, making it the tripod more compact for travel. The second click allows you to open up the legs to around 45 degrees (a standard tripod angle) and the third allows you to freely open and close the legs to fit the needs of your situation. The tripod uses a standard Manfrotto quick-release tripod plate that is made out of plastic (still sturdy) and has a center post that allows you to raise the tripod to a maximum height of 4.6ft. The legs are a bit wobbly without weight on them but once you situate your camera on them they becomes incredibly solid for their size.
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The Design – XPro Fluid Head
This head is a videographer’s dream. It combines the best of both worlds for photography and video by (finally) utilizing the Manfrotto photo quick-release plate in a fluid head setting. This feature alone will make back-pack journalists wet their lips in delight as it can be placed on a multitude of other Manfrotto products such as the 682B Pro Self Standing mono pod, BeFree Carbon Fiber Series, or even something more sturdy like the 055XProB tripod. The head is silky-smooth and can realistically handle any standard DSLR or traditional video camera package as long as it doesn’t exceed 8.8lbs (4kg). I pushed the head to around 12lbs of weight and it still performed excellently. It did become a bit more difficult to pan/tilt but it still generated a very smooth shot. The head is incredibly easy to set up, lock down, and break apart for travel.
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In the Field
I wanted test these tripods and heads out in a real world situation so I picked up my Manfrotto Professional 50 bag filled with my favorite gear and headed out west to the Eastern Sierra’s in California. I landed after 18 hours of flying and layovers and was pleasantly surprised to find that the weather was perfect for capturing the Milky-way and silhouetted mountain sunset shots. These types of shooting situations would require a great deal of stabilization since I would be shooting longer exposures (5”-20” seconds) which would really push the tripod to the extremes for stability. On top of just shooting stationary time-lapses I wanted to try a few 2-axis shots that would require more weight than the tripod is rated to handle.
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I ended up at Convict Lake the first night where I captured the Milky-way using a stationary 14mm Cinema lens and a 24mm cinema lens on a 2-axis motion time-lapse controller, both supported by the BeFree Carbon tripod. The motion controlled timelapse frightened me the most, as I placed the tripod in the water with more than 14lb’s on the head of the tripod. Needless to say I was on pins and needles the entire night. Thankfully nothing slipped or fell over during the 4 hours of runtime and I breathed a sigh of relief. I was so surprised, happy, and stoked to see the BeFree Carbon Fiber tripod holding more weight then it’s rated for and not toppling over.
After the lake I met up with a few folks and we headed up to Yosemite to capture the mountains, valleys, and lakes as the fall weather moved in. We were met with blue skies, warm breezes, and sunshine… for the first hour. Then it quickly changed into hail, snow, and fog and continued in the fashion for 5 more hours. The BeFree Carbon Fiber tripod handled the weather like a champ though! I ended up capturing multiple timelapse sequences and a plethora of standalone images.
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It didn’t matter what I threw at this tripod. Bad weather, heavy loads, it handled them all. That’s why traveling with this tripod is a dream. Seriously. It’s ridiculously sturdy for its size and really helps minimize the total weight. I usually carry around 60+ pounds of gear when I go into the field so to be able to shed 5-10 pounds (depending on how many tripods I need) is fantastic. The height adjustment on the tripod allowed me to get super low to add foreground objects or relativity high to obtain those impressive reflections from lakes.
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When shooting with an ultra-wide angle lens like the 14mm Cinema Prime or a 70-200mm the BeFree Carbon Fiber tripod handled the job with ease. After 5 days of filming the tripod remained sturdy and never flinched (even with mild wind). Quite impressive for something so small.
The Pro’s
The size and form factor of this tripod make it one of the best travel tripods I’ve used. You can take it anywhere, maintain a decent weight limit and still retain a great deal of stability. At one point during my trip I maxed out the ball head with around 14lbs, 6 more pounds then it’s rated for. The tripod held up like a champ and I was able to capture an incredible pan/tilt astro time-lapse. Quite impressive.
Versatile. This tripod can be used for both still photography and also video. Coupled with the Manfrotto XPro fluid video head this tripod can be used for anything that your mind comes up with. Build quality. The BeFree Carbon Fiber tripod feels like a well built, high-quality piece of camera gear. Nothing on this tripod feels cheap or out of place. It all has a purpose and performs the function it’s meant to.
Combining both the BeFree Carbon Fiber tripod and XPro Fluid head will leave you with a deadly-awesome set-up. Your friends will be envious. It allows you to have a fluid motion head while only weighing around 3.5 pounds total and retaining 100% of the quality of motion. If you’re in the field shooting video this pairing will surely save you time, money and head-aches from having to lug heavier and more bulky systems around.
The Cons
There aren’t many cons to this tripod or head other than you’ll want more than just one! We did have a few issues with the quick-release plate but I believe it was due to the weight/load conditions.
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Overview
If you’re a travel photographer or videographer (or even just an enthusiast) this tripod and head is for you. They are both sturdy, durable, light-weight and incredibly versatile with their setups. This is my first time using a carbon fiber tripod (of this size) coupled with a fluid motion head and I was completely blown away by their performance. The next time I go on assignment you better believe I’ll be using these tripods and heads!
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TimeLapse video sample
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© Text and Photos by Andrew Geraci
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I’ve forever been loyal to the Manfrotto Carbon Fiber Tripod 190CXPRO3, this product gets it done absolutely everywhere in every season, it has never failed me in the coldest of climates to the hottest, most humid summer days. I actually own seven of these tripods because of my extensive flash work and multiple camera usage on any given photo shoot. You could say I have high standards for camera tripods after Manfrotto has the set the bar for the industry to try and follow!
Upon receiving the product, I opened the box and was pleasantly surprised to see the tripod encased in a padded bag (with shoulder strap). This saved me a step in locating a bag, as I prefer to keep my tripods in a case while traveling by airplane, an already positive experience and I hadn’t even seen the actual tripod yet!
Once I pulled the product out my initial reaction was one of joy because Manfrotto had designed the legs to fold up and over the ball head, reaching a folded length of just 15.7 inches (40 cm), talk about compact! After you get the tripod in your hands you immediately notice the lack of weight, it’s light (2.4 lbs / 1.1 kg)!However, with a tripod in this weight range, you have to ask yourself if it will do the job once connected to a modern DSLR camera, so it was off to the Vermont mountains for a few days of camping, photo shooting and testing the BeFree.
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Seeing how I was still in the research phase of finding a smaller DSLR (Nikon D810 vs. Canon 5D Mark III), I decided to roll with my Nikon D4 workhorse and put the BeFreeball head to the test with a big camera body.
The Nikon D4 (and Canon 1Dx) DSLRs are physically some of the biggest digital cameras on the market, so the aluminumball head with large ergonomic locking handle and quick release mechanism (with dual locks so you don’t accidentally release the camera) would be holding a fair bit weight for this initial test. The quick release platehas been minimized to save weight and cater to the compactness of the tripod, with no loss in function, while attaching and detaching the camera to the quick release plate is a breeze, you could perform this move with your eyes closed (or in the dark night if you’ve forgot your headlamp!). The ball head passed with flying colors with the camera mounted horizontally, while the real test would be if it could hold the 41.6 oz. (1180 g) body and 9.9 oz. (280g) 50mm lens while positioned vertically. As you can see in the image below, it was no problem, the ball head easily kept the D4 in place, ready to shoot at a moments notice
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Next was seeing how the tripod legs would perform, as I’d become accustomed to the functionality and efficiency of the 190CXPRO3 model. The ‘leg selectors’ of the BeFree allow you to quickly select between two different ‘leg inclinations,’ depending on where you set them with the quick flick of the thumb.The legs will hit a stopping point at two different angles, allowing more functionality that a one-inclination leg designallows. However, you can leave the leg selectors all the way to the left and the legs will ‘float’ without a stopping point. I utilized the varied leg inclinations throughout my testing and found these additional stopping points to benefit your camera composition depending on slope angle, lower angled camera positioning and subject matter.
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Secondly, the D-shaped legs of the BeFree are fast to extend and adjust with Flip Lock levers that block and unblock each leg section quickly.The rigid construction keeps your camera steady, making for an overall topnotchperformance that exceeded my expectations.Not to be forgotten, the telescoping center column performed like a charm with its smooth floating action and easy to grip column tensioner.
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After the camping mission in the mountains, I headed to the eastern seaboard and picked a particularly windy evening to run some long exposures at a lighthouse setting. At this point I was in the middle of testing a Canon 5D Mark III and Nikon D810, seeing if the BeFree’s lightweight design and ball head would hold a modern DSLRsteady during windy conditions. After checking my photographs that were shot with varied exposure timesof two, three and four minutes, the tripod performed as billed and I was extremely pleased with the lighthouse images, including this one your see below
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I must mention that the BeFree overall extended height is six inches shorter than that of the 190CXPRO3 model, but don’t let that deter you from giving it a chance. I found no issues with the shorter overall height when sizing up any of thephotocompositions within this review
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Also, the 1.2 lb weight saving you get with the BeFree is huge, especially if you’re traveling a lot or hiking into remote locations. Appearance wise this is a beautifully crafted product that is sleek and elegant, good to the touch,while commandingquite a few comments from passersby.
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Manfrotto has done it once again by producing an industry-leading product aimed at the lightweight travel tripod sector, I couldn’t be happier with my purchase, as I’m sure you will be as well.
BeFree Max Height 56.7″ (144 cm) Weight: 2.4 lb (1.1 kg)
190CXPRO3 Max Height 63″ (160 cm) Weight: 3.6 lb (1.6 kg)
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© Text and Photos by Dean Blotto Gray
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My name is Reiji Oe , an advertising photographer based in Shiogama City in Miyagi prefecture. I take photos of nature and cityscapes and their peaceful dwellers. A lot of my work also involves recording the scenery in the Tohoku area as well as the recovery progress after the 3.11 earthquake. Photography is my life work.
The equipment I am now mainly using is a Canon 5D Mark III, EF24-1051. For filming, I use a Mamiya 645TL. I usually use wide angle～standard and macro lenses. However, when I shoot in mountainous areas, I take along a telescopic lens.
When doing photography trailing through the mountains or when on photography trips, I try my best to reduce my belongings, including my lenses and camera equipment. Tripods are by far the bulkiest and heaviest items, but when you want to take photos with a lot of depth, when you have firmly decided on the composition or when you want to take clear beautiful shots in the forest, this is an indispensable tool, so however heavy they are, they are a must-take item.
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I took the Gitzo Traveler tripod to Zao Moutain range in Yamagata prefecture to shoot frost-covered trees, which can only be seen from December to March This phenomenon only occurs in a part of north-east Hokkaido. It is well know abroad and goes by names such as the “ICE MONSTER,” etc., since the snow-covered trees really do look like monsters sculpted by nature.
When taking ice-covered trees, if the weather on that particular part of the mountain is not cooperating, you can’t take good shots. I feel like I had good luck for this project – but that is also maybe because I went to Zao three times to do it.
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On the mountain peak, it is very cold, reaching as low as -20℃. Also, weather conditions on the mountain are very volatile. You think it’s getting a little misty, but 30 minutes later it’s so foggy that the view in front of you completely whites out, and it gets dangerous. In this kind of severe environment, speed is of the essence.
The Gitzo Traveler tripod series features high load capacity and portability that only tripods made with light and strong carbon fiber can have. Weighing in at 1.4 kg, it’s lighter than a two-liter pet bottle.
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As a result, holding it with one hand is not a burden at all, and it’s a cinch to fold up and stow away. This portability helps you reduce the amount of time getting to the location of your shoot as well.
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With a load capacity of 5.5 kg, there is no need to fret about the instability you usually get with a portable tripod. It is steady as a rock with a 35mm single reflex lens mounted. Even in typically unstable snowy conditions, there is no problem taking photos. You’ll find yourself saying: “the next thing I gotta try with this is long exposure shots at night!”
The free platform of the overhauled kit allows even speedier tripod attachment and set-up, and the ball portion operates smoothly even in low temperatures. Even when the camera is in horizontal position with a 200mm telescopic lens mounted, the head does not sway, though when the telescopic lens is used with the camera in vertical position, it’s a littler less stable.
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“I wasn’t planning on doing photography that requires a tripod here, and I didn’t feel like bringing it along because it’s too heavy to use in this place.” Many places I have traveled to evoke these thoughts; however, there were also places for which I ended up regretting not taking along a tripod.
Even on the present winter scenery shoot, when I got to the point where I really wanted to put down my things, I was able to affix the camera to the tripod stably and so there was nothing to worry about.
Knowing that a tripod that is as light and easy to use as this one exists, the potential number of places I want to try photo shoots has multiplied in my mind.
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© Text and photos by Reiji Oe
I recently had the opportunity to try out the Manfrotto 190 tripod with XPRO Ball Head. The 190 comes in a few different versions, as an aluminum three section or four section tripod, as a four section aluminum with twist locks on the legs and as a carbon fibre three or four section tripod. It is also available with the XPRO ball head, as legs alone or with a video fluid head or with a three way pan tilt head. The version I used is the three section, aluminum with the ball head and quick power lock legs.
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Manfrotto 190 Tripod and XPRO Ball Head[/caption]
Some of the highlights I noticed right away when I took the tripod out of the box.
It has a very high build quality and is very stable, as all Manfrotto tripods I have used have been.
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Manfrotto 190 Tripod[/caption]
Two of the legs have a rubber cover that makes the tripod easy to carry and hold. This an especially nice feature when shooting in the cold.
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Quick Power Lock[/caption]
The Quick Power Locks on the legs are very easy to loosen and tighten, and can all be released at the same time when the tripod is collapsed to get it extended quickly and easily. With this kind of latch, it is also easy to know if the legs are locked tight or not, no need to worry about whether the legs are tight or not.
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Easy Link attachment[/caption]
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New Leg Angle Selector[/caption]
The tripod has an Easy Link socket, to allow for easy attachment of accessories to the tripod.
The legs have a release, allowing for three different angles, making it very easy to place the tripod legs where I need them to be for maximum stability.
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90° column system[/caption]
The center column can be raised and placed horizontally to get the camera directly over a subject or past an obstacle.
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Leveling bubble[/caption]
It has a small, rotating, bubble level to easily make sure the tripod is level and steady.
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XPRO Ball Head ideal for fast action and quick framing[/caption]
The MHXPRO-BHQ2 ball head has a tension control dial that can be adjusted based on the weight of the camera.
The ball head has a rotating lock, so panning is easy when needed.
The ball head itself is strong and easy to use, and being made of magnesium it is also very light. Additionally the head itself has two bubble levels so it can be corrected and leveled separately from the tripod itself. The ball head is also very smooth, easy to adjust when loose, while still easily locking down tight when tightened.
With all this, I was of course very excited to actually get outside and use it!
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Shooting with the horizontal arm extended[/caption]
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Shot with a Sonyalpha a6300 with Sony/Zeiss 16-35/4, 20sec, f/22, ISO 100[/caption]
One of the first things I did was to take the camera out at dusk along the Hudson River here in New York City. For this shot I wanted to be past the railing so I could see the water more clearly. With the center column going horizontal, it was very easy to boom the camera out over the railing to better capture both the river and the walking path. Even with the camera at the end of the horizontal arm, the tripod was still very steady and I was able to take a twenty second exposure even with a bit of wind. A shot like this would be extremely difficult without the horizontal column.
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With one tripod leg spread for stability and height[/caption]
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Shot with a Sonyalpha a7RII with Sony 24-70/2.8 G Master lens, 6 sec, f/22, ISO 50 with a .9 ND filter[/caption]
For my second day testing I headed up to Central Park to photograph the hidden waterfalls. For this shot I wanted to get the tripod low to keep the log in the foreground and still see the waterfall. I also wanted a long exposure to blur the water. Because the legs can be positioned at different angles I was able to put two legs in the water and the third on a rock all at different heights to keep the camera steady for a six second exposure.
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Two tripod legs spread for stability on the rocks[/caption]
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Shot with a Sonyalpha a7RII with Sony 24-70/2.8 G Master lens, 10 sec, f/22, ISO 50 with a .9 ND filter, cropped to vertical[/caption]
Next I headed upstream to another waterfall. This one has a large pool in front which can be very nice as a foreground element. I placed two legs on rocks, with the third in the water and again I was very impressed with the stability of the tripod. Even with a ten second exposure it was completely steady against the current.
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Shot with a Sonyalpha a7RII with Sony 24-70/2.8 G Master lens, 13 sec, f/16, ISO 50 with a .9 ND filter[/caption]
Another shot with the tripod center column placed in horizontal position, pointing straight down at the rushing water.
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Using the horizontal center column and Easy Link socket[/caption]
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Shot with a Sonyalpha a7RII with Sony 90/2.8 G Macro lens, 1/160sec, f/8, ISO 100[/caption]
I really wanted to test all the features of the 190 tripod, so I setup a small close up set. I put a Gitzo Monitor and Laptop Platform on a Gitzo traveler tripod to control the height of my shot. I connected a Manfrotto Flexible Arm to the Easy Link socket with Flash Shoe attachment to mount a second speedlite in addition to the flash on camera. The lighting was setup to get the texture and of the coins and to avoid a heavy reflection from the light on the camera. This setup is a very easy way to do close up photos.
After trying out the 190 tripod with the XPRO ball head I am very impressed. It is a stable and strong tripod, which is the first thing any good tripod should be. The 190 also has some fantastic features beyond just being stable, the horizontal center column is a terrific feature and with the Easy Link connecter and multi position legs, this is a great all around tripod. I am very happy to have it as part of my equipment arsenal and look forward to using it for many years to come.
The post Manfrotto 190 With XPRO Ball Head Review appeared first on Manfrotto School Of Xcellence.
My name is Bruno D'Amicis and I am a professional nature photographer from Italy. I love to photograph in remote areas, often looking for my subjects in mountainous, humid or desertic environments. In such places I can enjoy the thrill of solitude and adventure, but also the privileged encounters with beautiful animals and the advantage of great light conditions. My wildlife subjects are usually rare and elusive species which requires a lot of time and patience to be found, but which seldom allow the photographer for more than a few instants to be photographed. On the other hand, the fleeting mountain light and ever-changing weather conditions make landscape photography in the mountains also a very dynamic activity.
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©BRUNO D’AMICIS - WWW.BRUNODAMICIS.COM[/caption]
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©BRUNO D’AMICIS - WWW.BRUNODAMICIS.COM[/caption]
Therefore, in order to achieve my photographic goals and do not miss unique opportunities, I want to rely on sturdy and trustworthy equipment, which is also lightweight to carry on long walks yet instantly ready for action. This is why I've been a happy user of Gitzo Systematic tripods for most of my photographic career. I have purchased my first Gitzo almost ten years ago and never regretted my choice. These tripods are thoroughly designed and perfect tools for the hard work. Although rather expensive, they can really represent an investment for a lifetime. So, if it wouldn't have been for the kind support of Gitzo, which from time to time has provided me with newer models, I guess I would still be using the very first Gitzo tripod I bought!
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©BRUNO D’AMICIS - WWW.BRUNODAMICIS.COM[/caption]
Very often I reach my photo locations on foot and thus I carry all my equipment by myself, in a large, heavy backpack. Sometimes I want to photograph skittish wildife on a mountain top and thus I need to bring my 500 millimeters telelens along; other times I am up the whole night taking long exposures of snowy peaks under the stars with a fast wideangle. Therefore, depending on the length of the trips or the photographic goals, the weight of my pack might vary between 10 and 30 kg. Besides the photo equipment I also need to carry a lot of other things, such as clothes, food, water, safety items: every additional gram counts and, no matter what the subject will be, having a lightweight yet very reliable tripod with me is obviously a great bonus.
I am not a tech guy nor a great equipment geek; I like to keep things simple and do not want to be bothered by the equipment while I am in the field, preferring instead to concentrate on the experience itself and the photography. This is also why I love using ballheads to mount my cameras and lenses, rather than more complex gymbal or fluid heads. In the last decades ballhead models have made huge progress and although they might be less precise than other head types, I find they provide me with the reliability and ease to use I always look for in my photography. I like the simplicity of ballheads: I just need to slide in the camera/lens with its mounted plate on the quick-release, thighten it, control the head knob and I am ready to shoot!
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©BRUNO D’AMICIS - WWW.BRUNODAMICIS.COM[/caption]
As much as I am a really happy user of Gitzo tripods, so far I've never found myself completely comfortable nor 100% satisfied with their heads. Beyond their obvious quality and design, I've found them always too complicated or heavy for my taste. They also did not accomodate “Arca Swiss style” plates but Gitzo's very own. And because of all this until now I always had to compromise and use other brands of ballheads, which I've felt were closer to my needs.
Therefore, it has been a great surprise a few months ago when I've received the news from my friends at Gitzo that a brand-new line of three center ballheads would come out in 2015. They had promised me these would be very carefully designed heads, lightweight yet with good payloads and extremely resistant. And they were confident that I would have loved them, abandoning the other brands. “Let's see”, I thought, a bit skeptical...
Obviously with great expectation, months later I've opened the box of the larger model, the GH3382QD which Gitzo has kindly sent to me in order to review it in the field. My first impression was of a high-quality, sleek, and (apparently) very ergonomic product. Altough the aesthetics of equipment are surely never the most important aspect to look at while choosing an item, I must say that at a first glance this head really looked like a perfect match for my beloved tripod and it felt very good in the hands. My only concern was that the head looked a bit too small to hold my equipment (pro DSLRs and lenses from 15mm to 500mm), but people at Gitzo promised me it would work and so I really wanted to go out in the field and test it.
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©BRUNO D’AMICIS - WWW.BRUNODAMICIS.COM[/caption]
I was planning a trip to the island of Sardinia, both to photograph wildlife and landscapes, so I thought this time could be the perfect occasion to test this ballhead in very diverse and demanding conditions and see if it would eventually become my workhorse.
The first thing I wanted to do was to go beyond the surface and look at the head specifications in detail. As said, this head has a rather uncospicuous size and an acceptable weight of 0.77 kg, yet with a interesting (official) payload of 18 kg. The designers have opted for resistance and smooth movements, rather than light weight, thus the head has more steel and aluminium than magnesium or plastic. The ball and the column are quite large and this should help reducing vibrations. These are both featuring the “WS2 Coating”, a brand-new coating which should help preventing the irritating ‘stick-slip’ effect many ballheads show and thus allow a very smooth movement. Beside this, I am very happy that Gitzo has finally designed a quick release which accomodates “Arca Swiss style” plates that me and most of my colleagues nowadays use. Gitzo now makes excellent plates which are very easy to screw/unscrew. Together with the head, in fact, I've also received the long plate GS5370LD to try it with my longest lens and it seems very solid and well-built as well. You can also use the 3rd party plates, but then you might just need to remove the safety pin from the head to avoid interference (there is a key that comes with the head). The same quick-release features also a bubble-level which is designed to face the photographer and comes handy when aligning the horizon. You can close the release by screwing its knob, and once tightened it is very firm and solid.
After mounting the head on the Systematic legs I own, it took me just a couple of minutes to understand its functioning. What has drawn my attention is the large main control knob with the friction control mounted in it which is relatively big and easy to regulate thanks to its ergonomics. Once completely free, the head movement is very very smooth. On the other hand, when fully tightened, the head locks well and even with my 500 mm mounted via the Gitzo plate GS5370LD there is no visible play nor “drifting”. Between these two extremes, one of course can set the desired friction control and simply tighten or untighten the main knob with a short stroke to have the head free to move as desired. But what is really unique about the GH3382QD is that is the friction which has the control of the movement. So, once you've found the desired resistance for the equipment you're using and set the friction accordingly, in some situations you won't need to lock completely the head: this will simply “stop” in the desired position and once you push the camera, this will start moving, a bit like a gimbal head. This is very cool and I've found out that it works with most lenses (up to my 100-400 mm zoom) and with a heavier telelens it will also work but as long as you keep the camera-lens setup parallel to the ground. It is obvious that this feature comes very handy when one is waiting for the subject to appear or needs to follow randomly moving subjects (like birds or elusive animals as in my case) and be always ready for action.
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©BRUNO D’AMICIS - WWW.BRUNODAMICIS.COM[/caption]
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©BRUNO D’AMICIS - WWW.BRUNODAMICIS.COM[/caption]
Also the pan knob is easy to screw/unscrew, even with gloves, and the panoramic movement is smooth, although I don't like the fact tat this knob can be completely unscrewed (albeit after a couple of dozen rounds) from its lodging: if one, like me, often forgets it untightened and walks long distances with the tripod across the shoulder, the knob could theorically come off because of the vibrations and get lost. I am sure the engineers at Gitzo can take care of this and find a solution.
After two weeks photographing birds and landscapes in Sardinia, either in swamps, mountains or hilly landscapes I came to really like this small, big ball head. Considering the amazing performances, I like its size and acceptable weight. I've used it a lot with my all my lenses and by holding my lens/camera under its foot/battery grip and wrapping my left hand around the head, I feel can control everything with the fingers while keeping my right hand on the shutter, ready to shoot. By setting the right friction resistance in advance, I've been able to move my camera and reframe without locking the head completely. This has been possible also with my 500 mm but I wouldn't trust it completely. In this way I feel I can forget about the head, while concentrating on the image. While hiking to one location, I've accidentally dropped my tripod (on rocks) and for my relief I saw that the head materials are so hard it barely got scratched. As already said, I don't like the fact that the pan knob would come out if completely unscrewed and one must be aware of this and check it often. But apart from this minor nit, I really think the folks at Gitzo have really nailed a great ball head this time and the perfect match for their unsurpassed tripods.
The post Gitzo Center Ball Head GH3382QD appeared first on Manfrotto School Of Xcellence.
The Manfrotto 055 tripod range is made for professional photographers who want a reliable tripod you can always depend on regardless of the conditions.
I bought this tripod specifically as a road trip companion, as a landscape photographer I travel a lot and need a light weight tripod, sturdy enough to handle any combination of DSLR, slider and/or telescopic lenses.
I needed a tripod that would allow me to be creative and not restrict the angles from which I could get the shot. The Manfrotto 055 range is exactly what I was looking for an extreme photography condition and easily met all my requirements, they are incredibly versatile and strong, while still remaining light enough to comfortably travel with.
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Manfrotto 055 Tripod[/caption]
My favourite feature of the 055 tripod range is its ability to hold the camera at a 90 degree angle which allows you to put your camera in virtually any position, including above your subject pointing down, this also means your tripod legs can be opened flat and the camera can be positioned a few inches above the ground.
I shoot a lot of long exposure and I love to try as many angles as possible, so I got a Manfrotto XPRO ball head to go with my tripod because it is quick and easy to position.
You have a choice between carbon fiber and aluminum legs, aluminum is heavier therefore more sturdy in windy conditions but carbon fiber is lighter, easier to travel with and absorbs vibrations better. The legs use flip locks which is by far the easiest to work with, especially when you need to work quickly to get as many different angles as possible during golden hour.
The Manfrotto 055 tripod range is definitely the best DSLR tripod I have used and meets all my requirements! The ability to also choose your own configurations in terms of leg height and type means there is something for everyone.
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Manfrotto 055 Tripod[/caption]
The post Manfrotto 055 Tripod appeared first on Manfrotto School Of Xcellence.
Landscape photography has been the focus of my professional work for more than 4 decades. As fine art, it is more about interpreting the scene in front of the camera than documenting a moment in time. Each of us may read the gesture and "personality" of the scene differently, but filtered through the mind and eye of the photographer, an emotional tone can be established and the landscape photograph can tell its own story.
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Michael Zide[/caption]
When I began photographing professionally,I was inspired by the creative works of photographic greats like Minor White, Frederick Sommer and others. Their photography introduced me to a more exciting genre of landscape imagery, one capable of transforming the “fact” of what the camera lens saw into metaphor and suggestion, adding an additional layer of interest to the viewer's experience. Their work illuminated the mysterious in the familiar, helping to shape a way of seeing the world that I try to incorporate in my own photographic approach.
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Michael Zide[/caption]
Landscape photography connects me with my childhood love of nature and the excitement of discovery. With my head bent towards the ground, my eyes were often scanning this way and that for lizards, toads and all manner of creatures to be found in the ponds or dry brush of my childhood haunts in the Southern California chaparral. I continue looking for the unexpected. Lately the unexpected came to me with a springtime visit from a hungry moose, grazing on the tender shoots in our front yard orchard. Opportunities like this are rare. You have to be quick which means knowing your equipment and choosing a camera head that will get you into position quickly.
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Michael Zide[/caption]
Last week it had been raining, giving the ground a thorough and much needed soaking. Clear weather was predicted for the next morning. I thought that there would be a good chance of finding the valleys and depressions filled with fog if I got outdoors early enough. I depend on weather. It’s one of the most essential elements for establishing mood and emotional tone in landscape photography. In hopeful anticipation of what the sunrise would bring, I got my equipment in order. Each piece of gear is chosen to cover a range of possibilities. Set up needs to be quick and the tripod and head need to provide absolute stability, regardless of camera position. I choose the Manfrotto XPRO geared head because of its ease and speed of use. The micrometric positioning is also a wonderful tool for micro-composing.
[caption id="attachment_62707" align="alignnone" width="1000"]
Michael Zide[/caption]
I got lucky. The next morning, humidity and temperature were just right and fog hugged the ground. There is an impression that landscape photography is a relaxing activity, like a casual round of golf. That holds true 90% of the time. However, that last 10% can be a race against the changing light, wind, and weather, balancing your rising excitement with the fear and anxiety of possibly missing the moment. This particular morning, that 10% was a sprint to the finish. A soft wind was beginning to dissipate the fog. My photograph was disappearing in front of me. Quickly extending the legs of my Gitzo tripod, I attached a Nikon onto my Manfrotto XPRO Geared Head. The 3-way pan/tilt action is designed for speed and accuracy of adjustment. I needed to rely on both in a hurry. Using its levers to quickly move in all three axes, I got the camera positioned. The micrometric knobs fine-tuned the composition. The photograph caught an ethereal projection of vapor just before the mist disappeared.
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Michael Zide[/caption]
I am delighted with how well this geared head performs. It’s user-friendly design, light weight and sturdy construction were part of my morning’s success. The Manfrotto XPRO geared head is a piece of expert equipment that professionals and amateurs can depend on with confidence.
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Michael Zide[/caption]
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Michael Zide[/caption]
The post XPRO Geared Head review appeared first on Manfrotto School Of Xcellence.
Manfrotto’s Magic Arm has long been a crucial tool in my kit, going beyond a complimentary camera or flash holding unit to a critical piece of equipment that gets the job done where a tripod isn’t optimal, or when a pod isn’t available.
For the times I’m traveling with a small kit, a set up that involves a camera or two and possibly a remote flash, I’ll pack a Magic Arm 143 and an MT190cxPro03 Carbon Fiber Tripod, a kit assuring me coverage in all situations. During photo shoots involving multiple cameras, assorted flashes and strobes, the kit will grow out to as many Manfrotto accessories needed to get the job done. This is why I rely on Manfrotto products exclusively, they produce stands and accessories that meet the demand of professional photo shoots as well as casual picture taking opportunities, covering all levels of expertise and experience.
Every photo situation is unique in need, composition and lighting, having the components to hold these items in place is as important as pressing the trigger. The Magic Arm fills in the stationary need to stabilize and secure a camera or flash, taking up less space than a tripod on many occasions. For example, my primary camera sits on a tripod while the Magic Arm holds a remote flash, a second camera unit or in many cases my smart phone to rap off a video clip or time lapse while I’m capturing stills.
As you can see in the photos, I found multiple uses for the Magic Arm over the course of a week, varying from securing an off-camera flash to holding a smart phone for a time lapse to a remote camera capturing secondary snowboarding action.
The Fixing Bracket (or Camera Mount) offers up a ¼”attachment screw, which is the common thread size for most photography products, namely that little thread on the bottom side of your DSLR camera. The thread pin and locking wheel are super easy to use, making for quick attachment and release of equipment at any point during your photo mission.
Another amazing aspect of the Magic Arm is it’s based around the Manfrotto Super Clamp, possibly the ultimate accessory of all time in the photo world! The Super Clamp has been in my camera bags since the beginning of time as they can grab ahold of anything in any situation, they will save you a hundred times over.
With the Magic Arm utilizing the Super Clamp at the base of the unit, I didn’t need to spend any time worrying about the attachment point during the making of these images, I simply located the spot, placed the Super Clamp in position, locked it down, then adjusted the Magic Arm and turned the Locking Lever to keep it all in place. Simple.
Other options worth mentioning is the Fixing Bracket (or Camera Mount) also comes equipped with a spot for an umbrella, which can be locked into place with the threaded lock knob. This unit can also be removed to provide space for a light fixture weighting up to 6.6 lbs that has a baby 5/8” receptor. Included in the Magic Arm 143 kit is a Backlight Stand Base as well, providing even more options in this clever little kit.
In short, the Magic Arm 143 is a must have tool in the kit, providing secure placement when you need it, and it just might produce a few more images for you because it opens the door to flash, strobe, camera or smart phone placement on just about anything imaginable. Enjoy. Dean Blotto Gray.
The post Manfrotto Magic Arm 143 appeared first on Manfrotto School Of Xcellence.
