Using filters brings increased creativity and drama to photography across many different genres whether shooting architecture, landscapes, portraiture and many more.

This photo of Lake Mono, California was taken with a Manfrotto Circular Polarizing Filter to enhance the colours of the spectacular sunset.

However, conventional filter systems can be fiddly, frustrating and time consuming to use. In fact, many photographers and videographers find the process of changing filters tricky especially when out in the field. Often, when using filters we can be surrounded by some form of inclement conditions for example dust, high winds and water – all elements that can potentially damage glass on lenses and filters or cause problems within the final image. This means the quicker a filter can be applied the better.

It is also hugely advantageous to speed up applying filters to a lens for another reason; taking time screwing on a filter can mean missing the crucial shot. This could be the passing of golden light, being too late to capture a stunning sunset or having a friend, model or pet become inpatient whilst you struggle to change from one filter to another; it’s often not possible to go back and photograph that moment again.

However, The Manfrotto XUME system means we no longer have to screw around wasting time and risk missing that perfect shot. This frees you up to concentrate on capturing the moment before it disappears. But how does it work?

It’s incredibly simple yet remarkably innovative. Manfrotto’s Xume works with magnets to allow filters to attach on and off the front of the lens. The system consists of three elements; a lens adaptor, a filter holder and the filter itself.

Firstly, you apply the lens adaptor to any of your lenses and then attach a filter holder to each one of your filters.

Once you’ve done this, they simply snap together allowing filters of any type or size to quickly snap on or off any lens. This sturdy and strong magnetic system ensures the filters won’t fall off but still maintain a sleek profile on your lens. This helps ensure no damage is done to your equipment.

The Manfrotto XUME system is compatible with filters of any type whether Circular Polarizers (CP), Neutral Densitys (ND) or UVs allowing you to quickly change the type of photograph you want to take without wasting any time. Further, there is no need to worry about any additional moving parts. The adapters are available in eight standard sizes from 49mm to 82mm.

This means that the system completely covers your shooting needs whichever brand you shoot with. I would also recommend buying adapters and holders for all of your lenses and filters so you have a fully integrated system to help speed up your workflow. Indeed, this quick and innovative way to attach filters to lenses is going to save you so much time and subsequently lead to the creation of better imagery.

[youtube width="625" height="544"]https://www.youtube.com/watch?v=TdmmFJhCZqk[/youtube]

As filters allow for extra creativity, the Manfrotto filter suite and Xume System mean I can quickly change the effect I want to create on photograph whilst on location. For example, In this instance, I had a UV filter applied to protect my lens was in the presence of a waterfall that I wanted to make look beautifully soft, silky and smooth using a long exposure. I needed to change filter to an ND to achieve this but, was concerned about water splashing near my lens and subsequently leaving water droplets all over my final image.

However Manfrotto’s quick, innovative Xume system meant I can very quickly snap the UV off and an ND on to get the desired effect whilst avoiding getting water drops getting onto my glass and seeing them in the final frame.

In this photograph, where the Manfrotto ND64 Neutral Density filter was used, I minimized the amount of water drops present in the final frame due to how quickly I could apply the filter despite being very close to the waterfall.

The advantage to be able to quickly change from one filter type to the other cannot be understated. Whether you are on location in a freezing cold climate where hands are cold and gear is difficult to handle or a dusty desert where damage can be done to equipment, being able to snap a filter on quickly and easily rather than have to screw each one on individually in a fiddly way is incomparable. For example, here I swiftly switched from a neutral density filter to a circular polarizer with a quick magnetic snap to provide my final image with increased saturation, enhanced colour and a deeper contrast. CP’s can also eliminate unwanted reflections from non-metallic surfaces and help reduce glare and haziness.

In this image, looking through a Manfrotto CP filter at Half Dome in Yosemite National Park, (the mountain on which the North Face logo is based) you can clearly see how the Circular Polarizer brings out the blue in the sky more vividly, allowing the whites in the clouds to be more bold whilst also reducing haziness to bring greater clarity to the rock face.

Here is another view of Half Dome taken about 10 minutes later through the same Manfrotto CP filter. The maximum level of polarization means colour and saturation are boosted and contrast enhanced.

The use of filters is not limited to colour imagery. Here, a Manfrotto ND500 neutral density filter meant I could make the fast moving waves of the Pacific Ocean appear more calm, still and serene. The filter allowed me to cut the light by approximately 9f stops that allowed me to use a long exposure to give the water a mystical fog-like appearance. This artistic effect is accentuated in black and white.

Moreover, the system also allows you to snap your lens cap onto your lens. However, this is currently only available in the 77mm size. Nevertheless, this is incredibly useful as we all know how annoying a lost lens cap and how frequently it occurs.

Manfrotto’s Xume system allows you to easily snap your lens cap on when teamed with an adaptor or their own dedicated lens cap with ease and no hassle.

Therefore, I believe Manfrotto’s revolutionary Xume magnetic solution for filters is a groundbreaking product – it’s fast, easy to use, securely locks my filters in place and works with all of my lenses and filter types leaving me more time to concentrate on making pictures rather than just taking them.

The post The advantage of the Xume System appeared first on Manfrotto School Of Xcellence.

I’m a committed still photographer, and that will always be my job description, but it doesn’t prevent me from spreading out into other creative areas. The obvious one is writing, and about half of that is inspired by my photography. It fits nicely into my schedule; when I’m not shooting I’m writing. Video more recently is fitting into the same pattern, and while it’s partly because I’ve always been interested in film and am making an effort to set aside some time for it, the main facilitator is, as you’d expect, that I can switch to it quickly (in principle) with the same equipment. I use a Nikon D4S and D4, with a range of lenses that goes from 14mm to 600mm, and as my outlet is the web, that’s enough quality for my needs, using an Atomos recorder for an uncompressed output via HDMI. Nothing complicated, but sufficient.

How many other photographers are in my position? Stills always first, but high-quality video with the least amount of equipment. Over the last year, my personal interests and those of a client have happily coincided, so I’ve been allocating some more time to shooting video, mainly in China. The client is LUX* Resorts and Hotels, a Mauritius-based company expanding its operation into Yunnan, a part of China that I’ve been closely involved with ever since principal shooting began on my book Tea Horse Road. That indeed is the client’s concept — a chain of luxury boutique hotels stretched out along the old Tea Horse Road, which ran from the tea mountains close to the Burmese border in the far southwest, all the way to Lhasa. The success of this book, now in its second edition, generated other projects and commissions, and is why LUX* approached me to develop the narrative that this chain of properties relies on to generate bookings.

This may be an over-long preamble, but it’s to explain why, on the ground, the 60cm Camera Slider with Fluid Head is the most important additional equipment that I need for video. Weight and bulk is one critical issue when travelling, and I need to keep it down. Even Business Class allows only two pieces of checked baggage, with weight limits, so each equipment has to be chosen carefully.

The second issue is the added complication of operating more items of equipment, which slows down shooting, and especially the time it takes to react to a situation and set up for it. A slider offers the best creative value-to-weight ratio I know, because quite simply it allows you to move the camera smoothly, and that raises video one major level. You need a tripod anyway, as handheld now looks even less professional than it ever did, as it’s the hallmark of smartphone shooting, and while a locked-off camera at least looks professional and considered, a sequence of static shots soon conveys a static feeling to the audience. Panning with a fluid head is only an occasional solution, because it shifts the audience’s view rather than lets the viewers stay focused on one part of the scene where the action is.

A slider makes a major visual difference, and more than that, is an effect that audiences are subliminally conditioned to expect. Watch any good video or movie production, and see how many of the shots have camera movement, even if only slight. A moving camera puts the audience more strongly in that viewpoint than a static shot, and so gets it more involved. Simply put, I want smooth movement with the least weight and complication. A number of years ago I worked with the director Ron Fricke at Angkor when they were filming Baraka, and had the interesting experience of having a Hollywood crew turn a few of the images from my book Angkor: The Hidden Glories into film. This shot was one of the more prominent ones, a slow dolly and crane shot. It was impressive on 70mm film, but it took all six of us, me included, to make it happen. By contrast, I want to be able to operate the camera alone.

[caption id="attachment_142813" align="alignnone" width="1000"] This landing stage, graced with lions and serpents, looks out over Srah Srang, an artificial lake that was built in the 10th century in the temple complex of Angkor in Cambodia. The name means 'royal bath', and the stone steps and statues were added in the late 12th or early 13th century. One of the most tranquil views on the planet — paradoxically, as at the time of this shot there was an artillery barrage going on a few miles away, during the civil war.[/caption]

Choosing a slider is involves compromises, and they fall into four areas: length, transportability, durability and smooth operation. The longer the slider, the longer the shot and the more interesting parts of a scene that it can move through. But longer means heavier and bulkier, which impacts on transporting it, especially when flights are involved, as they almost always are for me, while on the ground, someone has to carry it unless you restrict all shooting to using a vehicle. It also needs to be sufficiently well engineered, from the right materials, to be able to stand some knocks and rough treatment. The world is not a studio. Finally the most complex part of the compromise is smooth operation. There are several different ways of having a carriage move smoothly with little friction, and the Manfrotto design, with precision ballbearings and special polymer wheels, fulfils the need.

In terms of value for weight, I need a slider that is in a single machined piece for stability, rigidity and immediate use, yet it has to fit into a standard checked piece of baggage. And as I really need only some movement rather than a long tracking shot that goes from one specific point to another, 60cm is sufficient. Put another way, I’m more concerned with being able to have movement of some kind in a shot when I need it than with having a particular movement. Manfrotto make a 100cm slider, but that would need its own carrying bag and would be less stable at the ends if I’m using a relatively light tripod.

pic: MF2016-04_04edit_setup_21017_0813

Ultimately, though, it’s smooth operation with the fewest moving parts that’s the key, and this is where the Manfrotto slider really scores. All parts are machined, and the carriage has 8 high precision steel ballbearings and four wheels made of PSU, a high-performance polymer. In addition to the carriage locking knob, there is also a knob to adjust the friction drag. This accommodates for the different styles of operation that people have. Some prefer super-soft so that the camera glides effortlessly at the touch of a finger, others would rather have firmer control that comes from rather more resistance, so it’s quite a personal thing. Very little friction allows a single point of contact, say at the end of the fluid head pan bar, while some controlled drag with the adjustment knob tightened a little is more suitable for two-point contact, such as one hand on the camera or carriage and the other holding the pan bar firmly. Three-point contact is even firmer, such as one hand on the camera, the other on the carriage and the fluid head pan bar pressing into the shoulder. For me at least, the critical part of any move is the end, either slowing down at a controlled pace with the idea of cutting the shot later towards the end of the slide, or even more demanding, slowing down to an imperceptible standstill while filming continues. Ramping UP from a standstill at the start is less of a problem than slowing down, as the final clip is easy to cut once the camera has started moving. All of this needs personal experiment. Overall, I prefer a slightly firmer setting, so that I can move my body into the slide, with gives me at least more control than having all the impetus coming from my arms and hands.

[caption id="attachment_142822" align="alignnone" width="1000"] two-point contact[/caption]

I mentioned a lighter tripod. That’s the other major practice issue. I have several, and there’s no doubt that a large and heavy tripod, plus the assistant necessary to have it in position whenever you want, is ideal. But once again, travelling influences the choice. If it didn’t, I’d use my 057 Carbon Fiber Tripod 4 Sections, with a safe payload weight of 18kg, which I consider perfect for supporting slider, head and camera, and if I were shooting an assignment that were entirely vehicle-based, that’s what I would take, as I did for a recent still shoot of interiors in colonial Singapore houses. The extra weight and bulk there had no effect on shooting, as we were always moving by car or taxi. More recently, I had a shoot in Yunnan in which video had minor rôle for just a few planned shots, and I decided to experiment and see if I could still use the slider with its fluid head (see below) on what’s essentially an inappropriate support — my Gitzo Series 1 Traveler Tripod (code GT1555T). This tripod, separately reviewed by me here is quite simply the best lightweight traveling tripod available, superior for its design, engineering and compactness, and I always travel with it. Could it possibly be made to work with a slider?

The final answer was, just about, with quite a lot of compromise. The problem was inherent in the tripod’s lightness rather than its ability to support — distribution of weight. With the camera at either end of the slider, it would overbalance. My solution was to support one end from one leg, as below, cannibalising some parts from other equipment. The other part of the trick was to align the slider with the leg carrying the support. This worked, as in the shots below, but I felt (meaning could feel during the slide) that it was at the limits of stability, and with the camera at the opposite end was close to overbalancing. It saved me from bringing a second, larger tripod, but the next time, this Spring, I’ll add that other tripod — the 190 XPRO Aluminium 3-Section Tripod with Horizontal Column.

An almost obligatory accessory to a slider is a fluid head, so that I can easily execute a track and pan or a track and tilt, each of which adds even more audience involvement. The Lightweight Fluid Tripod Video head with Flat Base (code MVH500AH) that I use is impressively light (900gm) and compact for the smooth motion it gives me, and with a safe payload weight of 5kg is well able to support a D4 even with a 70-200mm lens and Atomos recorder slotted into the camera’s hot shoe mount. Quite simply, I don’t need a larger head; this does the job with no handling penalty, and is also surprisingly inexpensive. I pack the head’s pan bar separately, which is only a minor inconvenience, and re-positioning it — rotating it upward, for example, if I’m making a pan while sliding that might put it in the way of the slider — takes just a few seconds.

Everything is motivated by my search for the most effect in a limited amount of video work, as the still shooting overall takes priority on a travelling assignment. Put another way, I’m looking for added creative value for the least weight and set-up time. As a result, I’ve developed some preferences in the way I use the slider-and-head combination, as follows:-

1. Exactly levelled

There’s no doubt that an inclined slider that allows the shot to rise as it tracks is dynamic, but it takes a lot more trouble and skill to move the sliding head plus camera smoothly by hand. That translates into perhaps several takes to be sure, and even then some uncertainty about the smoothness of the shot, particularly at the start and finish. Once again, as I’m shooting video as only a part of an assignment and not full-time, I reluctantly avoid this. By the same token, I can save a lot on bad shots by making sure that the slider is absolutely level. Even a slight angle impacts on the smoothness of the shot, because it means extra attention to either pushing or holding back on the movement. Much more secure is a level slide, which I can then execute with a light touch.

2. Wide-angle lens

You get the biggest effect for your bucks with a shorter focal length, because the apparent travel is greater.

3. Close foreground

Something that can be combined with the extra apparent motion for a wide-angle lens is making sure that there is something in the close foreground as you track, because it makes the strongest use of parallax to add movement.

4. Diagonal track-in

My default angle to the subject is diagonally, again for the reasons of getting a stronger sense of movement — partly inward and partly across.

[caption id="attachment_142741" align="alignnone" width="1000"] diagonal track[/caption]

5. Sideways track

More straightforward than the diagonal track is positioning the slider side-on to the subject so that the camera is aimed perpendicular to the slider and simply moves from left to right or right to left.

[caption id="attachment_142795" align="alignnone" width="1000"] sideways track[/caption]

6. Track and pan

More effort to get right, but more dynamic in the result, is to loosen the fluid head’s base and pan at the same time as sliding. There’s more risk of failing to get it smooth, which is why I do this after shooting a simple track, and therefore on shots where there’s a little more time and less pressure to move on.

7. Forward track-in

Actually my least favourite movement to execute, because it limits the focal length I can use to one that doesn’t show the front end of the slider at the start, so the apparent motion is quite small, unless the camera is tilted upward slightly. Nevertheless, it’s a standard and useful move.

tracking forward

The post The Best Creative Value for Video — Slider and Fluid Head Combo appeared first on Manfrotto School Of Xcellence.

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.

[gallery columns="2" ids="40394,40395"]

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..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.

[caption id="attachment_28621" align="aligncenter" width="1020"] Head handles and friction control[/caption]

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!!!

[gallery columns="2" ids="40396,40397"]

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.But let’s be a bit more specific:

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.

[gallery columns="2" ids="40398,40399"]

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. Happy me! This is because my very very low angle and macro shots have noticeably improved.

[caption id="attachment_28672" align="aligncenter" width="1024"] HDR of the Paradu Resort Pool and Pool bar (Tuscany)[/caption]

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.

[caption id="attachment_28686" align="aligncenter" width="1020"] Interior photography - Spa Area @ Bad Watersdorf (Austria) Falkensteiner Hotel[/caption]

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.

[caption id="attachment_28679" align="aligncenter" width="1020"] Yorick's gear[/caption]

Here more about the new Manfrotto 055

http://youtu.be/4J4fvzlGdEQ

The post MT055CXPRO4 + MHXPRO-3W Product Review appeared first on Manfrotto School Of Xcellence.

Photographers will also love the Manfrotto Spectra family of LED lights once they discover their power and portability.

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.

[caption id="attachment_31151" align="aligncenter" width="1020"] The 500F and 900F used to photograph a tripod head, another example of the versatility of these LED lights[/caption]

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.

[caption id="attachment_31166" align="aligncenter" width="1024"] Would Edward Weston photograph his peppers with LED lights? I did, and I used a Smartphone[/caption]

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.

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.

[caption id="attachment_31196" align="aligncenter" width="1020"] 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.[/caption]

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.

[caption id="attachment_31136" align="aligncenter" width="1019"] An example of the use of LED lights to photograph Roman artefacts displayed in a cabinet...[/caption]

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.

[caption id="attachment_31143" align="aligncenter" width="1019"] ... and the resulting image, completely different from what the regular visitor sees[/caption]

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.

The post Spectra LED Lights: your portable sun everywhere appeared first on Manfrotto School Of Xcellence.

When they asked me to go to Norway and shoot a video there for an important clothing brand, I immediately thought about what could be the best shooting equipment to take with me.

I had to minimize the gear kit for the travel, besides me there were two more photographers and many suitcases with outfits to be worn and moreover I knew the shooting time was very tight.

We would have moved to different locations in a few days and I could not afford the advantage of having all the equipment I normally use on set.

Knowing the new XPRO monopod, I realized that this was the ideal support for the camera, allowing me to have stability and fluid movements in a lightweight and compact accessory. Many are the improvements comparing with the previous model, which I had already used in other works:

• Section Blocking System has more extensive dimensions and it is easy to lock and unlock even by wearing gloves (and according with frigid temperatures of Norway this has been an important advantage!)

• The fluid head can withstand higher weights and the aside locking system (non-sliding) allows you to hook up a camera with rails and accessories as follow focus or mattebox without having to disassemble anything.

• It has an efficient and quick release system, and the new lower locking system locks the monopod in the upright position, allowing a more fluid and accurate panorama shooting.

I had the opportunity to test the product on hard conditions, snow and heavy rainfall without ever having any problems.
I used it on sloping, uneven and slippery surfaces, in the high snow (with snow at my knees I also used it as a support to get out!), in the middle of the rocks and ice.
I cannot say I treated it so well but the performance has been always perfect.

I moved quickly among locations, I got in and off the car, descending "on the fly" for a quick filming. With a tripod, however lightweight, this would not have been possible.

On the XPRO I set up my camera (a Canon C100 with lens and viewfinder) and this solution has been the right compromise for this type of work: shooting was much more stable than the one I would get with the free-hands use of the camera, also because I could freely move while quickly adjusting shooting height.

I cannot say that a monopod can completely replace a good tripod, but in many cases where practicality and speed are essential, a valid and well-designed support as the Manfrotto XPRO can definitely make the difference!

The post Manfrotto XPRO, the perfect monopod appeared first on Manfrotto School Of Xcellence.

As a landscape photographer, my bag is an essential piece of equipment and having one that can hold all of my gear is very important. I've had the chance to test and review the new Manfrotto ProLight Bumblebee 230-PL backpack, so I decided to go on a woodland hike to put it through it's paces.

Brantingham Dale in East Yorkshire was my chosen location as it has some great woodland and hilly terrain, so would make for a great place to test this bag and in particular, the load lifters that help take some of the weight off your back.

The day before, I cleaned all of my gear and sorted it into the Bumblebee backpack. I was extremely happy with the amount of space available as it allows me to have my DSLR with four lenses, filters and accessories, plus it can also carry my 35mm film camera with three lenses. The laptop section is useful for when I’m away for more than a couple of days and I need to process images on the go and it means that I don’t have to take another bag with me as the power adapter and external hard drive will also fit in the bag.

I arrived at my location around 5am and set off as soon as I got there. The first part of my hike was an uphill walk for about 30 minutes followed by walking back down the same hill. This was purely to get the blood pumping and to see just how well the weight of the bag was distributed between the shoulder straps, the waist strap and the load lifters and I can safely say that it was really comfortable. Once you get the straps tight and the bag pulled close to your back, it becomes very easy to carry this rather large bag and its contents.

I picked up a section of the Wold Way, an 80 mile walking route through the Yorkshire Dales and headed towards the village of Welton through an area of woodland and stopped along the way to capture some images. The light wasn’t very pleasing and I struggled to find any interesting compositions, so I took some shots of the bag and managed to capture a couple of images in the woods.

One of the things that impressed me about this bag, is that it stands upright very well. The bottom of the bag is flat and rigid, so it will sit very well on flat ground. My other bag (Manfrotto 3N1-36L) struggles to stand upright fully loaded. The Bumblebee even managed to stand on a tree stump and stay there while I shot some images of it.

The Tuck-away tripod connection allows you to quickly and easily attach a tripod to the side of the bag. The lower pocket opens up and the legs go in and a strap at the bottom plus a strap that comes out of the top pocket hold the tripod securely to the bag. While this is a perfectly good system for carrying a tripod, I personally prefer not to have my tripod on the bag and usually carry it in my hand wherever I go, so I was very happy to find a handy little strap on the waist belt that allows the tripod to hang securely and allows me quicker access to it.

On the other side of the waist belt is another feature that will come in very handy. A lens pouch has been added for those times when you don’t want to be taking the bag off your back to change lenses. I will usually switch between my wind angle and standard zoom lenses while out shooting landscape scenes and having a lens by my waist side, it will be much easier.

One thing that I didn’t get to test was the water repellency of the material, but if it’s as good as or better than my other Manfrotto bag, I’m sure it will be more than acceptable, plus it comes with rain and UV protection covers that fold up small enough to throw in the bag.

As with all Manfrotto bags, the Camera Protection System and the interchangeable dividers make the bag very versatile and allow the user the customize it to their requirements and I also like the removable pouch that hold a few lenses. This can be taken out to make room for other items or put into a smaller bag should you have the requirement to do so. The specification suggests that this bag meets the standard for cabin luggage, but always check with your airline if you are planning on travelling. I’m heading out to Iceland in September and the dimension are almost exactly what my airline allow.

Coming back towards the area where I started I stepped off the track and back into the woods to shoot a brick built feature that I believe was a freshwater spring and then made my way back to the car.

My hike finished on about 12 km of up and down hill and I can honestly say that it didn't feel like I was carrying the weight that I was and the suspended mesh panel on the back helps avoid that inevitable sweat patch that come with most bags on long walks.

The new Bumblebee 230-PL is comfortable, lightweight, versatile and it protects my gear extremely well and will now be my main bag for all of my photography adventures.

The post A Woodland Hike with the Bumblebee 230-PL appeared first on Manfrotto School Of Xcellence.

If you think ND filters are ONLY for landscape photography, think again. Let me guide you through some other exciting ways to play with neutral density filters and the whole Manfrotto ND series.

If you “google” after ND filters, you’ll probably be misguided about their use. Most articles will suggest ND filters are used to allow long exposures, and used at day’s end, for those silky ocean photos everybody and their aunt create now. ND filters, in fact, can be used for much more, all throughout the day, to achieve different results. That’s what we’re going to explore in this article.

If you bought one or multiple ND filters after reading how important they are for landscape photography, and have put them aside after becoming tired of shooting silky ocean photos or silky cloudy skies, then this article may help you to revive your ND filter(s) from early retirement, reintroducing them in your photography for a whole series of other experiences that may well widen your views about their use… and about photography in general.

Before we continue, though, let’s look at ND or Neutral Density filters. As the name implies, they are neutral in colour, and come in different densities, allowing users to control the amount of light that reaches the sensor. NDs are available in two flavours: the integral ND, where each filter has the same density all over its surface, and Graduated Neutral Density which offers a darker area fading to the opposite side.

Both types of filters are common in landscape photography, although since the introduction of digital cameras and sophisticated editing software, the graduated neutral density filter – along with the non- neutral graduated, as it can come in different colours – has been left aside in many situations, as it is possible to reproduce some of its effects using software. There is no absolute consensus on this, with some authors swearing by the use in the field as the unique way to work, while others have completely stopped using GND or GD filters.

One common use for graduated filters is to darken the sky when there is a strong difference between it and a foreground area. It’s a viable solution, but it only works well when the area separating the two different exposures is a perfect line. Otherwise, you are faced with problems that many times ask for intensive post-production. It’s much easier, I believe, to take two images and work with layers to achieve a final result.

My position regarding the subject is simple: I’ve stopped using GNDs or graduated neutral density filters altogether a long time ago, although I believe they may still useful for some types of shoots. But as I do not need them for the photography I create, I prefer to either capture two photos or explore, if possible, the RAW file when editing images. This said, I keep using NDs because there is no other way to achieve the results they offer you. Or, some times, no other easy way.

I will still use NDs for long end of the day exposures as everybody else does, although my interest on that is minimal these days: I think the world already has enough photos of silky oceans taken at sunset. In fact, I rather go out in the middle of the day and keep those strong colours of noon, while introducing some movement in my image, simply because I can take my shutter speed to as much as nine stops down, if using a ND filter like the Manfrotto ND500, which reduces the light hitting the camera sensor by 9 stops. This means that at high-noon, for example, you can take your shutter-speed from 1/500 to a whole second. That’s the kind of “magic” that changes what happens within the frame in multiple ways.

It is usually this that catches people’s attention: the speed and how they can control it. It’s an interesting discovery, and one that people will gladly apply to landscape photography, as a means to introduce movement, which can be adapted to each author’s preferences. But adjusting the speed also means that another element of the exposure can be adjusted: the aperture. That’s something that should be taken into account if you like to control your Depth of Field.

Using ND filters to control DOF

Yes, often forgotten, a ND filter allows you to control Depth Of Field (or DOF), because with it you can solve one problem photographers have, many times, during the hours the sun is high in the sky: little control over the depth of field. In fact, as an example, if your starting exposure is something like 1/125 and f/16 at 100 ISO, you need to go all the way up to 1/8000 to open the lens at f/1.8. If you also want to use a slower shutter speed, for creative reasons, you’ve no way to achieve your results.

The image published above shows what can be achieved, although in a very different situation. This archaeological artifact was photographed inside a display cabinet, and to keep everything behind it out of focus, while playing with a long exposure – 30 seconds - for light-painting (something we will look at in a future article), a ND filter was used to create the conditions needed.

Video cameras already come with integrated ND filters, with values up to 6 stops of variation, exactly because video is usually shot at low shutter speed values, and there is not other way for cinematographers to get that “cinematic look” we love so much, with a main subject perfectly detailed and a diffused background. So, there you’ve it, ND filters are an essential tool for videography.

If you’re also interested in capturing video with your camera, a set of ND filters is an essential tool in your bag, so why not also use them for photography, opening new realms of experimentation? The application of ND filters in photography to control DOF follows the same principle as in video, with the difference that you have more flexibility in terms of shutter speeds used. In fact, with them you’ve absolute control over not only shutter speed, even in the middle of the day, but also when it comes to what is in focus and out of focus in your still images.

Using ND filters in flash photography

One good example of the unique use of ND filters comes with flash photography, and this has to do, to some extent, with the control over depth of field, although another reason also justifies the use of NDs: power.

In fact, when shooting outdoors with flash, photographers have, many times, to contend with the problems of flash sync. If you need to separate your main subject from the background, you’ll find it is hard to do so when your speed is limited to 1/250 or whatever your flash sync speed is (usually a number around 1/250, 1/200). The alternative is to use High Speed Sync, which allows the flash to work up to the highest shutter speed the camera offers. Being able to go up to 1/8000 to control DOF and your exposure is great… but means that your flash will probably not be able to offer the quantity of light needed then.

You see, the way a flash is able to work above its normal sync speed is by pulsing light continuously even before the shutter opens. While it works, the power of the unit is greatly reduced, meaning you’ll probably need more flashes to properly illuminate your subject. Besides, as the flash needs to use more energy, the charging time is longer, meaning you’ve to wait between flashes if you are using High Speed Sync, and your batteries will drain very quickly.

It’s here that the ND enters to create some magic. By using it, you can control your exposure completely: use the normal flash sync (1/250 or whatever your camera gives you), where you get the most power from your flash, and control depth of field through the neutral density of the filter used. Depending on the light, you may need a different density. I’ve found that the Manfrotto ND8, which reduces light by 3 stops, may become a star and a much needed element to have in your photo bag. The Manfrotto ND64, which takes 6 stops from the light going through it, is also to consider. In fact, the two references may well be the most useful for general photography, so I advise you to buy both, if total control over your exposure is something you have as a goal. Or go a little further and buy the third filter, ND500, if you want to be ready for all situations.

Using ND filters for solar eclipses

While there is some controversy about the use of ND filters for solar eclipses, as generally NDs do not filter the radiation from the Sun, the truth is that many photographers will use NDs, especially because they don’t shoot eclipses on a regular basis. If the subject interests you, “google” after it and you’ll find a lot of information available online, including references to the special solar filters available. This said, in a pinch ND filters will allow you to photograph a solar eclipse, as I had the opportunity to test during the recent total eclipse in the United States, which I photographed as a partial in Europe.

The eclipse allowed me to test the Manfrotto ND filters. Before you get excited, please take note of some important things to always keep in mind: you need at least two filters, ND500 and ND64, giving you a total of 15 stops, mounted on the front of your lens before you even think of pointing your camera at the Sun. Using the ND8 too, which will give you 18 stops of light reduction is not a bad idea, and I tried that while testing the filters. Another important thing to remember: never look directly at the Sun through the viewfinder, because it will damage your eyes. Don’t take risks!

With the two or three filters in place (and only then), use LiveView to control exposure and the framing. LiveView means you will not look directly at the Sun, but at the LCD, so you’re safe. But with LiveView the Sun is going directly into your camera, so only use it for brief moments, to compose and expose each shot. Better be safe than sorry. Either deactivate LiveView or simply place the lens cap or some other protection over the front element of the lens, between shots.

Because I photographed the partial eclipse from Europe, at the end of the day, I only used the ND500 and ND64 for my photos, after trying the three filters together. That was enough for my exposures – which, still, were around 1/500 f/8 at 100 ISO – something which tells you about the power of the light from the Sun. So, whatever you do, be aware that while it can be done, you always have to make sure you’re not creating a situation that will damage your eyes and/or camera.

Using ND filters to make things disappear

Neutral Density filters are great to make one magic trick, as they allow you to make things disappear from your photos. When photographing a monument, for example, and wanting to remove people or vehicles, a ND filter - or more - may be the solution, as it allows you to create one single image where the monument stands out.

While on a day shoot to photograph and old Roman bridge recently rebuilt, I applied the technique just to show you an example of what is possible to achieve. The two images published here are similar in terms of lighting, the difference being that the first one was made with a 5 second exposure and the second with a 30 second exposure. I moved along the framed area at about the same pace for both photos, and while on the first the camera registered me looking at the sign, on the second I am no longer visible. To keep the lighting similar between shots I added ND filters as needed, and that’s another good reason to not buy just one filter, but the whole collection.

The logic behind the process is simple: if everything that is not static keeps moving during exposure, your final image will not show the moving element. While there are techniques to do this with multiple images, in the computer, taken so the software can compute all moving elements out of the image, the ND long exposure is a viable solution, sometimes. And it works both during the day – well, depending on how much light there is – and at night.

An article  published here at Manfrotto School of Xcellence previously, Ghosts from Last Summer – Exploring Light at High-Noon, explores the technique to create a body of work that can give readers ideas for other projects in the same vein, and that will keep your ND filters as something you always carry in your photo bag. I keep exploring the potential uses of ND filters, and have plans to share some ideas with participants in the next Scott Kelby’s Worldwide Photowalk I will lead, this October, and also integrate some of the techniques in my workshops and photo tours.

Adding filters for even longer exposures

I’ve used different brands of filters before, and I’ve had to live with the usual problems of filters that should be neutral but usually have a colour cast of some sort, from magenta to green or bluish. If a single filter shows a cast, then expect things to get worse when you start to mount filters together. While some of it may be adjusted in post, the truth is that I rather not have to, because it means I am not able to see, while in the field, the exact results I am after.

When I received Manfrotto’s filters for testing, I felt the urge to try them to see if there were colour casts. I found none deserving mention. Moreover, I found that I can mount the Manfrotto ND 64 and ND8 to achieve a total of 9 stops of exposure variation, and still there is no deviation from the no-filter exposure in terms of colour. While this means that light reaching the sensor travels through four surfaces instead of two – and the more glass you use, the less perfect the final image will be – I can report that I will not need to do any special post-processing to get rid of colour casts.

I later received the ND500 for testing,  which offers 9 stops in one single filter, and that’s what I will use when I need to use high filtration values, but as I had three filters to experiment with, I went as far as using all of them to create some images. The 18 stops variation means that in most cases you’ll not even be able to use LiveView to get an indication of exposure, but then it is time to resort to old methods: using Bulb and some math to get an idea of the ideal combination of aperture and shutter speed. As some modern cameras also offer you a Bulb mode with included timer, it is much easier than I remember from film days.

The results I got with three filters stacked confirm that the Manfrotto NDs will not introduce any colour cast that destroys your image, and while I expect some vignetting and detail loss – after all light goes through six filter surfaces plus all the lens elements – the control over time that this series gives me is breathtaking. Yes, 18 stops maximum. That’s the reason why I suggest that if you want to play with NDs, you should invest in the whole collection. There is a lot of fun to be had with this type of accessories.

The post Manfrotto NDs: more adventures with filters appeared first on Manfrotto School Of Xcellence.

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.

[caption id="attachment_58750" align="aligncenter" width="1440"] 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.

[caption id="attachment_58758" align="aligncenter" width="1440"] 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.

[caption id="attachment_58766" align="aligncenter" width="1440"] 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.

[caption id="attachment_58774" align="aligncenter" width="1440"] Easy Link attachment[/caption]

[caption id="attachment_58782" align="aligncenter" width="1440"] 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.

[caption id="attachment_58790" align="aligncenter" width="1440"] 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.

[caption id="attachment_58798" align="aligncenter" width="1440"] Leveling bubble[/caption]

It has a small, rotating, bubble level to easily make sure the tripod is level and steady.

[caption id="attachment_58806" align="aligncenter" width="1349"] 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!

[caption id="attachment_58847" align="aligncenter" width="1350"] Shooting with the horizontal arm extended[/caption]

[caption id="attachment_58855" align="aligncenter" width="1350"] 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.

[caption id="attachment_58871" align="aligncenter" width="1350"] With one tripod leg spread for stability and height[/caption]

[caption id="attachment_58863" align="aligncenter" width="1349"] 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.

[caption id="attachment_58879" align="aligncenter" width="1350"] Two tripod legs spread for stability on the rocks[/caption]

[caption id="attachment_58887" align="aligncenter" width="601"] 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.

[caption id="attachment_58895" align="aligncenter" width="1440"] 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.

[caption id="attachment_58903" align="aligncenter" width="1260"] Using the horizontal center column and Easy Link socket[/caption]

[caption id="attachment_58944" align="aligncenter" width="1349"] 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.

[caption id="attachment_60768" align="alignnone" width="1000"] ©BRUNO D’AMICIS - WWW.BRUNODAMICIS.COM[/caption]

[caption id="attachment_60808" align="alignnone" width="1000"] ©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!

[caption id="attachment_60800" align="alignnone" width="1000"] ©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!

[caption id="attachment_60816" align="alignnone" width="1000"] ©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.

[caption id="attachment_60776" align="alignnone" width="1000"] ©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.

[caption id="attachment_60784" align="alignnone" width="1000"] ©BRUNO D’AMICIS - WWW.BRUNODAMICIS.COM[/caption]

[caption id="attachment_60792" align="alignnone" width="1000"] ©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.

[caption id="attachment_61445" align="aligncenter" width="750"] 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.

[caption id="attachment_61454" align="aligncenter" width="750"] 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.

[caption id="attachment_62680" align="aligncenter" width="1000"] 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.

[caption id="attachment_62689" align="alignnone" width="1000"] 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.

[caption id="attachment_62698" align="alignnone" width="1000"] 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.

[caption id="attachment_62725" align="alignnone" width="1000"] 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.

[caption id="attachment_62734" align="alignnone" width="1000"] Michael Zide[/caption]

[caption id="attachment_62716" align="alignnone" width="1000"] 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.

Using filters brings increased creativity and drama to photography across many different genres whether shooting architecture, landscapes, portraiture and many more.

This photo of Lake Mono, California was taken with a Manfrotto Circular Polarizing Filter to enhance the colours of the spectacular sunset.

However, conventional filter systems can be fiddly, frustrating and time consuming to use. In fact, many photographers and videographers find the process of changing filters tricky especially when out in the field. Often, when using filters we can be surrounded by some form of inclement conditions for example dust, high winds and water – all elements that can potentially damage glass on lenses and filters or cause problems within the final image. This means the quicker a filter can be applied the better.

It is also hugely advantageous to speed up applying filters to a lens for another reason; taking time screwing on a filter can mean missing the crucial shot. This could be the passing of golden light, being too late to capture a stunning sunset or having a friend, model or pet become inpatient whilst you struggle to change from one filter to another; it’s often not possible to go back and photograph that moment again.

However, The Manfrotto XUME system means we no longer have to screw around wasting time and risk missing that perfect shot. This frees you up to concentrate on capturing the moment before it disappears. But how does it work?

It’s incredibly simple yet remarkably innovative. Manfrotto’s Xume works with magnets to allow filters to attach on and off the front of the lens. The system consists of three elements; a lens adaptor, a filter holder and the filter itself.

Firstly, you apply the lens adaptor to any of your lenses and then attach a filter holder to each one of your filters.

Once you’ve done this, they simply snap together allowing filters of any type or size to quickly snap on or off any lens. This sturdy and strong magnetic system ensures the filters won’t fall off but still maintain a sleek profile on your lens. This helps ensure no damage is done to your equipment.

The Manfrotto XUME system is compatible with filters of any type whether Circular Polarizers (CP), Neutral Densitys (ND) or UVs allowing you to quickly change the type of photograph you want to take without wasting any time. Further, there is no need to worry about any additional moving parts. The adapters are available in eight standard sizes from 49mm to 82mm.

This means that the system completely covers your shooting needs whichever brand you shoot with. I would also recommend buying adapters and holders for all of your lenses and filters so you have a fully integrated system to help speed up your workflow. Indeed, this quick and innovative way to attach filters to lenses is going to save you so much time and subsequently lead to the creation of better imagery.

[youtube width="625" height="544"]https://www.youtube.com/watch?v=TdmmFJhCZqk[/youtube]

As filters allow for extra creativity, the Manfrotto filter suite and Xume System mean I can quickly change the effect I want to create on photograph whilst on location. For example, In this instance, I had a UV filter applied to protect my lens was in the presence of a waterfall that I wanted to make look beautifully soft, silky and smooth using a long exposure. I needed to change filter to an ND to achieve this but, was concerned about water splashing near my lens and subsequently leaving water droplets all over my final image.

However Manfrotto’s quick, innovative Xume system meant I can very quickly snap the UV off and an ND on to get the desired effect whilst avoiding getting water drops getting onto my glass and seeing them in the final frame.

In this photograph, where the Manfrotto ND64 Neutral Density filter was used, I minimized the amount of water drops present in the final frame due to how quickly I could apply the filter despite being very close to the waterfall.

The advantage to be able to quickly change from one filter type to the other cannot be understated. Whether you are on location in a freezing cold climate where hands are cold and gear is difficult to handle or a dusty desert where damage can be done to equipment, being able to snap a filter on quickly and easily rather than have to screw each one on individually in a fiddly way is incomparable. For example, here I swiftly switched from a neutral density filter to a circular polarizer with a quick magnetic snap to provide my final image with increased saturation, enhanced colour and a deeper contrast. CP’s can also eliminate unwanted reflections from non-metallic surfaces and help reduce glare and haziness.

In this image, looking through a Manfrotto CP filter at Half Dome in Yosemite National Park, (the mountain on which the North Face logo is based) you can clearly see how the Circular Polarizer brings out the blue in the sky more vividly, allowing the whites in the clouds to be more bold whilst also reducing haziness to bring greater clarity to the rock face.

Here is another view of Half Dome taken about 10 minutes later through the same Manfrotto CP filter. The maximum level of polarization means colour and saturation are boosted and contrast enhanced.

The use of filters is not limited to colour imagery. Here, a Manfrotto ND500 neutral density filter meant I could make the fast moving waves of the Pacific Ocean appear more calm, still and serene. The filter allowed me to cut the light by approximately 9f stops that allowed me to use a long exposure to give the water a mystical fog-like appearance. This artistic effect is accentuated in black and white.

Moreover, the system also allows you to snap your lens cap onto your lens. However, this is currently only available in the 77mm size. Nevertheless, this is incredibly useful as we all know how annoying a lost lens cap and how frequently it occurs.

Manfrotto’s Xume system allows you to easily snap your lens cap on when teamed with an adaptor or their own dedicated lens cap with ease and no hassle.

Therefore, I believe Manfrotto’s revolutionary Xume magnetic solution for filters is a groundbreaking product – it’s fast, easy to use, securely locks my filters in place and works with all of my lenses and filter types leaving me more time to concentrate on making pictures rather than just taking them.

The post The advantage of the Xume System appeared first on Manfrotto School Of Xcellence.

I’m a committed still photographer, and that will always be my job description, but it doesn’t prevent me from spreading out into other creative areas. The obvious one is writing, and about half of that is inspired by my photography. It fits nicely into my schedule; when I’m not shooting I’m writing. Video more recently is fitting into the same pattern, and while it’s partly because I’ve always been interested in film and am making an effort to set aside some time for it, the main facilitator is, as you’d expect, that I can switch to it quickly (in principle) with the same equipment. I use a Nikon D4S and D4, with a range of lenses that goes from 14mm to 600mm, and as my outlet is the web, that’s enough quality for my needs, using an Atomos recorder for an uncompressed output via HDMI. Nothing complicated, but sufficient.

How many other photographers are in my position? Stills always first, but high-quality video with the least amount of equipment. Over the last year, my personal interests and those of a client have happily coincided, so I’ve been allocating some more time to shooting video, mainly in China. The client is LUX* Resorts and Hotels, a Mauritius-based company expanding its operation into Yunnan, a part of China that I’ve been closely involved with ever since principal shooting began on my book Tea Horse Road. That indeed is the client’s concept — a chain of luxury boutique hotels stretched out along the old Tea Horse Road, which ran from the tea mountains close to the Burmese border in the far southwest, all the way to Lhasa. The success of this book, now in its second edition, generated other projects and commissions, and is why LUX* approached me to develop the narrative that this chain of properties relies on to generate bookings.

This may be an over-long preamble, but it’s to explain why, on the ground, the 60cm Camera Slider with Fluid Head is the most important additional equipment that I need for video. Weight and bulk is one critical issue when travelling, and I need to keep it down. Even Business Class allows only two pieces of checked baggage, with weight limits, so each equipment has to be chosen carefully.

The second issue is the added complication of operating more items of equipment, which slows down shooting, and especially the time it takes to react to a situation and set up for it. A slider offers the best creative value-to-weight ratio I know, because quite simply it allows you to move the camera smoothly, and that raises video one major level. You need a tripod anyway, as handheld now looks even less professional than it ever did, as it’s the hallmark of smartphone shooting, and while a locked-off camera at least looks professional and considered, a sequence of static shots soon conveys a static feeling to the audience. Panning with a fluid head is only an occasional solution, because it shifts the audience’s view rather than lets the viewers stay focused on one part of the scene where the action is.

A slider makes a major visual difference, and more than that, is an effect that audiences are subliminally conditioned to expect. Watch any good video or movie production, and see how many of the shots have camera movement, even if only slight. A moving camera puts the audience more strongly in that viewpoint than a static shot, and so gets it more involved. Simply put, I want smooth movement with the least weight and complication. A number of years ago I worked with the director Ron Fricke at Angkor when they were filming Baraka, and had the interesting experience of having a Hollywood crew turn a few of the images from my book Angkor: The Hidden Glories into film. This shot was one of the more prominent ones, a slow dolly and crane shot. It was impressive on 70mm film, but it took all six of us, me included, to make it happen. By contrast, I want to be able to operate the camera alone.

[caption id="attachment_142813" align="alignnone" width="1000"] This landing stage, graced with lions and serpents, looks out over Srah Srang, an artificial lake that was built in the 10th century in the temple complex of Angkor in Cambodia. The name means 'royal bath', and the stone steps and statues were added in the late 12th or early 13th century. One of the most tranquil views on the planet — paradoxically, as at the time of this shot there was an artillery barrage going on a few miles away, during the civil war.[/caption]

Choosing a slider is involves compromises, and they fall into four areas: length, transportability, durability and smooth operation. The longer the slider, the longer the shot and the more interesting parts of a scene that it can move through. But longer means heavier and bulkier, which impacts on transporting it, especially when flights are involved, as they almost always are for me, while on the ground, someone has to carry it unless you restrict all shooting to using a vehicle. It also needs to be sufficiently well engineered, from the right materials, to be able to stand some knocks and rough treatment. The world is not a studio. Finally the most complex part of the compromise is smooth operation. There are several different ways of having a carriage move smoothly with little friction, and the Manfrotto design, with precision ballbearings and special polymer wheels, fulfils the need.

In terms of value for weight, I need a slider that is in a single machined piece for stability, rigidity and immediate use, yet it has to fit into a standard checked piece of baggage. And as I really need only some movement rather than a long tracking shot that goes from one specific point to another, 60cm is sufficient. Put another way, I’m more concerned with being able to have movement of some kind in a shot when I need it than with having a particular movement. Manfrotto make a 100cm slider, but that would need its own carrying bag and would be less stable at the ends if I’m using a relatively light tripod.

pic: MF2016-04_04edit_setup_21017_0813

Ultimately, though, it’s smooth operation with the fewest moving parts that’s the key, and this is where the Manfrotto slider really scores. All parts are machined, and the carriage has 8 high precision steel ballbearings and four wheels made of PSU, a high-performance polymer. In addition to the carriage locking knob, there is also a knob to adjust the friction drag. This accommodates for the different styles of operation that people have. Some prefer super-soft so that the camera glides effortlessly at the touch of a finger, others would rather have firmer control that comes from rather more resistance, so it’s quite a personal thing. Very little friction allows a single point of contact, say at the end of the fluid head pan bar, while some controlled drag with the adjustment knob tightened a little is more suitable for two-point contact, such as one hand on the camera or carriage and the other holding the pan bar firmly. Three-point contact is even firmer, such as one hand on the camera, the other on the carriage and the fluid head pan bar pressing into the shoulder. For me at least, the critical part of any move is the end, either slowing down at a controlled pace with the idea of cutting the shot later towards the end of the slide, or even more demanding, slowing down to an imperceptible standstill while filming continues. Ramping UP from a standstill at the start is less of a problem than slowing down, as the final clip is easy to cut once the camera has started moving. All of this needs personal experiment. Overall, I prefer a slightly firmer setting, so that I can move my body into the slide, with gives me at least more control than having all the impetus coming from my arms and hands.

[caption id="attachment_142822" align="alignnone" width="1000"] two-point contact[/caption]

I mentioned a lighter tripod. That’s the other major practice issue. I have several, and there’s no doubt that a large and heavy tripod, plus the assistant necessary to have it in position whenever you want, is ideal. But once again, travelling influences the choice. If it didn’t, I’d use my 057 Carbon Fiber Tripod 4 Sections, with a safe payload weight of 18kg, which I consider perfect for supporting slider, head and camera, and if I were shooting an assignment that were entirely vehicle-based, that’s what I would take, as I did for a recent still shoot of interiors in colonial Singapore houses. The extra weight and bulk there had no effect on shooting, as we were always moving by car or taxi. More recently, I had a shoot in Yunnan in which video had minor rôle for just a few planned shots, and I decided to experiment and see if I could still use the slider with its fluid head (see below) on what’s essentially an inappropriate support — my Gitzo Series 1 Traveler Tripod (code GT1555T). This tripod, separately reviewed by me here is quite simply the best lightweight traveling tripod available, superior for its design, engineering and compactness, and I always travel with it. Could it possibly be made to work with a slider?

The final answer was, just about, with quite a lot of compromise. The problem was inherent in the tripod’s lightness rather than its ability to support — distribution of weight. With the camera at either end of the slider, it would overbalance. My solution was to support one end from one leg, as below, cannibalising some parts from other equipment. The other part of the trick was to align the slider with the leg carrying the support. This worked, as in the shots below, but I felt (meaning could feel during the slide) that it was at the limits of stability, and with the camera at the opposite end was close to overbalancing. It saved me from bringing a second, larger tripod, but the next time, this Spring, I’ll add that other tripod — the 190 XPRO Aluminium 3-Section Tripod with Horizontal Column.

An almost obligatory accessory to a slider is a fluid head, so that I can easily execute a track and pan or a track and tilt, each of which adds even more audience involvement. The Lightweight Fluid Tripod Video head with Flat Base (code MVH500AH) that I use is impressively light (900gm) and compact for the smooth motion it gives me, and with a safe payload weight of 5kg is well able to support a D4 even with a 70-200mm lens and Atomos recorder slotted into the camera’s hot shoe mount. Quite simply, I don’t need a larger head; this does the job with no handling penalty, and is also surprisingly inexpensive. I pack the head’s pan bar separately, which is only a minor inconvenience, and re-positioning it — rotating it upward, for example, if I’m making a pan while sliding that might put it in the way of the slider — takes just a few seconds.

Everything is motivated by my search for the most effect in a limited amount of video work, as the still shooting overall takes priority on a travelling assignment. Put another way, I’m looking for added creative value for the least weight and set-up time. As a result, I’ve developed some preferences in the way I use the slider-and-head combination, as follows:-

1. Exactly levelled

There’s no doubt that an inclined slider that allows the shot to rise as it tracks is dynamic, but it takes a lot more trouble and skill to move the sliding head plus camera smoothly by hand. That translates into perhaps several takes to be sure, and even then some uncertainty about the smoothness of the shot, particularly at the start and finish. Once again, as I’m shooting video as only a part of an assignment and not full-time, I reluctantly avoid this. By the same token, I can save a lot on bad shots by making sure that the slider is absolutely level. Even a slight angle impacts on the smoothness of the shot, because it means extra attention to either pushing or holding back on the movement. Much more secure is a level slide, which I can then execute with a light touch.

2. Wide-angle lens

You get the biggest effect for your bucks with a shorter focal length, because the apparent travel is greater.

3. Close foreground

Something that can be combined with the extra apparent motion for a wide-angle lens is making sure that there is something in the close foreground as you track, because it makes the strongest use of parallax to add movement.

4. Diagonal track-in

My default angle to the subject is diagonally, again for the reasons of getting a stronger sense of movement — partly inward and partly across.

[caption id="attachment_142741" align="alignnone" width="1000"] diagonal track[/caption]

5. Sideways track

More straightforward than the diagonal track is positioning the slider side-on to the subject so that the camera is aimed perpendicular to the slider and simply moves from left to right or right to left.

[caption id="attachment_142795" align="alignnone" width="1000"] sideways track[/caption]

6. Track and pan

More effort to get right, but more dynamic in the result, is to loosen the fluid head’s base and pan at the same time as sliding. There’s more risk of failing to get it smooth, which is why I do this after shooting a simple track, and therefore on shots where there’s a little more time and less pressure to move on.

7. Forward track-in

Actually my least favourite movement to execute, because it limits the focal length I can use to one that doesn’t show the front end of the slider at the start, so the apparent motion is quite small, unless the camera is tilted upward slightly. Nevertheless, it’s a standard and useful move.

tracking forward

The post The Best Creative Value for Video — Slider and Fluid Head Combo appeared first on Manfrotto School Of Xcellence.

When they asked me to go to Norway and shoot a video there for an important clothing brand, I immediately thought about what could be the best shooting equipment to take with me.

I had to minimize the gear kit for the travel, besides me there were two more photographers and many suitcases with outfits to be worn and moreover I knew the shooting time was very tight.

We would have moved to different locations in a few days and I could not afford the advantage of having all the equipment I normally use on set.

Knowing the new XPRO monopod, I realized that this was the ideal support for the camera, allowing me to have stability and fluid movements in a lightweight and compact accessory. Many are the improvements comparing with the previous model, which I had already used in other works:

• Section Blocking System has more extensive dimensions and it is easy to lock and unlock even by wearing gloves (and according with frigid temperatures of Norway this has been an important advantage!)

• The fluid head can withstand higher weights and the aside locking system (non-sliding) allows you to hook up a camera with rails and accessories as follow focus or mattebox without having to disassemble anything.

• It has an efficient and quick release system, and the new lower locking system locks the monopod in the upright position, allowing a more fluid and accurate panorama shooting.

I had the opportunity to test the product on hard conditions, snow and heavy rainfall without ever having any problems.
I used it on sloping, uneven and slippery surfaces, in the high snow (with snow at my knees I also used it as a support to get out!), in the middle of the rocks and ice.
I cannot say I treated it so well but the performance has been always perfect.

I moved quickly among locations, I got in and off the car, descending "on the fly" for a quick filming. With a tripod, however lightweight, this would not have been possible.

On the XPRO I set up my camera (a Canon C100 with lens and viewfinder) and this solution has been the right compromise for this type of work: shooting was much more stable than the one I would get with the free-hands use of the camera, also because I could freely move while quickly adjusting shooting height.

I cannot say that a monopod can completely replace a good tripod, but in many cases where practicality and speed are essential, a valid and well-designed support as the Manfrotto XPRO can definitely make the difference!

The post Manfrotto XPRO, the perfect monopod appeared first on Manfrotto School Of Xcellence.

As a landscape photographer, my bag is an essential piece of equipment and having one that can hold all of my gear is very important. I've had the chance to test and review the new Manfrotto ProLight Bumblebee 230-PL backpack, so I decided to go on a woodland hike to put it through it's paces.

Brantingham Dale in East Yorkshire was my chosen location as it has some great woodland and hilly terrain, so would make for a great place to test this bag and in particular, the load lifters that help take some of the weight off your back.

The day before, I cleaned all of my gear and sorted it into the Bumblebee backpack. I was extremely happy with the amount of space available as it allows me to have my DSLR with four lenses, filters and accessories, plus it can also carry my 35mm film camera with three lenses. The laptop section is useful for when I’m away for more than a couple of days and I need to process images on the go and it means that I don’t have to take another bag with me as the power adapter and external hard drive will also fit in the bag.

I arrived at my location around 5am and set off as soon as I got there. The first part of my hike was an uphill walk for about 30 minutes followed by walking back down the same hill. This was purely to get the blood pumping and to see just how well the weight of the bag was distributed between the shoulder straps, the waist strap and the load lifters and I can safely say that it was really comfortable. Once you get the straps tight and the bag pulled close to your back, it becomes very easy to carry this rather large bag and its contents.

I picked up a section of the Wold Way, an 80 mile walking route through the Yorkshire Dales and headed towards the village of Welton through an area of woodland and stopped along the way to capture some images. The light wasn’t very pleasing and I struggled to find any interesting compositions, so I took some shots of the bag and managed to capture a couple of images in the woods.

One of the things that impressed me about this bag, is that it stands upright very well. The bottom of the bag is flat and rigid, so it will sit very well on flat ground. My other bag (Manfrotto 3N1-36L) struggles to stand upright fully loaded. The Bumblebee even managed to stand on a tree stump and stay there while I shot some images of it.

The Tuck-away tripod connection allows you to quickly and easily attach a tripod to the side of the bag. The lower pocket opens up and the legs go in and a strap at the bottom plus a strap that comes out of the top pocket hold the tripod securely to the bag. While this is a perfectly good system for carrying a tripod, I personally prefer not to have my tripod on the bag and usually carry it in my hand wherever I go, so I was very happy to find a handy little strap on the waist belt that allows the tripod to hang securely and allows me quicker access to it.

On the other side of the waist belt is another feature that will come in very handy. A lens pouch has been added for those times when you don’t want to be taking the bag off your back to change lenses. I will usually switch between my wind angle and standard zoom lenses while out shooting landscape scenes and having a lens by my waist side, it will be much easier.

One thing that I didn’t get to test was the water repellency of the material, but if it’s as good as or better than my other Manfrotto bag, I’m sure it will be more than acceptable, plus it comes with rain and UV protection covers that fold up small enough to throw in the bag.

As with all Manfrotto bags, the Camera Protection System and the interchangeable dividers make the bag very versatile and allow the user the customize it to their requirements and I also like the removable pouch that hold a few lenses. This can be taken out to make room for other items or put into a smaller bag should you have the requirement to do so. The specification suggests that this bag meets the standard for cabin luggage, but always check with your airline if you are planning on travelling. I’m heading out to Iceland in September and the dimension are almost exactly what my airline allow.

Coming back towards the area where I started I stepped off the track and back into the woods to shoot a brick built feature that I believe was a freshwater spring and then made my way back to the car.

My hike finished on about 12 km of up and down hill and I can honestly say that it didn't feel like I was carrying the weight that I was and the suspended mesh panel on the back helps avoid that inevitable sweat patch that come with most bags on long walks.

The new Bumblebee 230-PL is comfortable, lightweight, versatile and it protects my gear extremely well and will now be my main bag for all of my photography adventures.

The post A Woodland Hike with the Bumblebee 230-PL appeared first on Manfrotto School Of Xcellence.

If you think ND filters are ONLY for landscape photography, think again. Let me guide you through some other exciting ways to play with neutral density filters and the whole Manfrotto ND series.

If you “google” after ND filters, you’ll probably be misguided about their use. Most articles will suggest ND filters are used to allow long exposures, and used at day’s end, for those silky ocean photos everybody and their aunt create now. ND filters, in fact, can be used for much more, all throughout the day, to achieve different results. That’s what we’re going to explore in this article.

If you bought one or multiple ND filters after reading how important they are for landscape photography, and have put them aside after becoming tired of shooting silky ocean photos or silky cloudy skies, then this article may help you to revive your ND filter(s) from early retirement, reintroducing them in your photography for a whole series of other experiences that may well widen your views about their use… and about photography in general.

Before we continue, though, let’s look at ND or Neutral Density filters. As the name implies, they are neutral in colour, and come in different densities, allowing users to control the amount of light that reaches the sensor. NDs are available in two flavours: the integral ND, where each filter has the same density all over its surface, and Graduated Neutral Density which offers a darker area fading to the opposite side.

Both types of filters are common in landscape photography, although since the introduction of digital cameras and sophisticated editing software, the graduated neutral density filter – along with the non- neutral graduated, as it can come in different colours – has been left aside in many situations, as it is possible to reproduce some of its effects using software. There is no absolute consensus on this, with some authors swearing by the use in the field as the unique way to work, while others have completely stopped using GND or GD filters.

One common use for graduated filters is to darken the sky when there is a strong difference between it and a foreground area. It’s a viable solution, but it only works well when the area separating the two different exposures is a perfect line. Otherwise, you are faced with problems that many times ask for intensive post-production. It’s much easier, I believe, to take two images and work with layers to achieve a final result.

My position regarding the subject is simple: I’ve stopped using GNDs or graduated neutral density filters altogether a long time ago, although I believe they may still useful for some types of shoots. But as I do not need them for the photography I create, I prefer to either capture two photos or explore, if possible, the RAW file when editing images. This said, I keep using NDs because there is no other way to achieve the results they offer you. Or, some times, no other easy way.

I will still use NDs for long end of the day exposures as everybody else does, although my interest on that is minimal these days: I think the world already has enough photos of silky oceans taken at sunset. In fact, I rather go out in the middle of the day and keep those strong colours of noon, while introducing some movement in my image, simply because I can take my shutter speed to as much as nine stops down, if using a ND filter like the Manfrotto ND500, which reduces the light hitting the camera sensor by 9 stops. This means that at high-noon, for example, you can take your shutter-speed from 1/500 to a whole second. That’s the kind of “magic” that changes what happens within the frame in multiple ways.

It is usually this that catches people’s attention: the speed and how they can control it. It’s an interesting discovery, and one that people will gladly apply to landscape photography, as a means to introduce movement, which can be adapted to each author’s preferences. But adjusting the speed also means that another element of the exposure can be adjusted: the aperture. That’s something that should be taken into account if you like to control your Depth of Field.

Using ND filters to control DOF

Yes, often forgotten, a ND filter allows you to control Depth Of Field (or DOF), because with it you can solve one problem photographers have, many times, during the hours the sun is high in the sky: little control over the depth of field. In fact, as an example, if your starting exposure is something like 1/125 and f/16 at 100 ISO, you need to go all the way up to 1/8000 to open the lens at f/1.8. If you also want to use a slower shutter speed, for creative reasons, you’ve no way to achieve your results.

The image published above shows what can be achieved, although in a very different situation. This archaeological artifact was photographed inside a display cabinet, and to keep everything behind it out of focus, while playing with a long exposure – 30 seconds - for light-painting (something we will look at in a future article), a ND filter was used to create the conditions needed.

Video cameras already come with integrated ND filters, with values up to 6 stops of variation, exactly because video is usually shot at low shutter speed values, and there is not other way for cinematographers to get that “cinematic look” we love so much, with a main subject perfectly detailed and a diffused background. So, there you’ve it, ND filters are an essential tool for videography.

If you’re also interested in capturing video with your camera, a set of ND filters is an essential tool in your bag, so why not also use them for photography, opening new realms of experimentation? The application of ND filters in photography to control DOF follows the same principle as in video, with the difference that you have more flexibility in terms of shutter speeds used. In fact, with them you’ve absolute control over not only shutter speed, even in the middle of the day, but also when it comes to what is in focus and out of focus in your still images.

Using ND filters in flash photography

One good example of the unique use of ND filters comes with flash photography, and this has to do, to some extent, with the control over depth of field, although another reason also justifies the use of NDs: power.

In fact, when shooting outdoors with flash, photographers have, many times, to contend with the problems of flash sync. If you need to separate your main subject from the background, you’ll find it is hard to do so when your speed is limited to 1/250 or whatever your flash sync speed is (usually a number around 1/250, 1/200). The alternative is to use High Speed Sync, which allows the flash to work up to the highest shutter speed the camera offers. Being able to go up to 1/8000 to control DOF and your exposure is great… but means that your flash will probably not be able to offer the quantity of light needed then.

You see, the way a flash is able to work above its normal sync speed is by pulsing light continuously even before the shutter opens. While it works, the power of the unit is greatly reduced, meaning you’ll probably need more flashes to properly illuminate your subject. Besides, as the flash needs to use more energy, the charging time is longer, meaning you’ve to wait between flashes if you are using High Speed Sync, and your batteries will drain very quickly.

It’s here that the ND enters to create some magic. By using it, you can control your exposure completely: use the normal flash sync (1/250 or whatever your camera gives you), where you get the most power from your flash, and control depth of field through the neutral density of the filter used. Depending on the light, you may need a different density. I’ve found that the Manfrotto ND8, which reduces light by 3 stops, may become a star and a much needed element to have in your photo bag. The Manfrotto ND64, which takes 6 stops from the light going through it, is also to consider. In fact, the two references may well be the most useful for general photography, so I advise you to buy both, if total control over your exposure is something you have as a goal. Or go a little further and buy the third filter, ND500, if you want to be ready for all situations.

Using ND filters for solar eclipses

While there is some controversy about the use of ND filters for solar eclipses, as generally NDs do not filter the radiation from the Sun, the truth is that many photographers will use NDs, especially because they don’t shoot eclipses on a regular basis. If the subject interests you, “google” after it and you’ll find a lot of information available online, including references to the special solar filters available. This said, in a pinch ND filters will allow you to photograph a solar eclipse, as I had the opportunity to test during the recent total eclipse in the United States, which I photographed as a partial in Europe.

The eclipse allowed me to test the Manfrotto ND filters. Before you get excited, please take note of some important things to always keep in mind: you need at least two filters, ND500 and ND64, giving you a total of 15 stops, mounted on the front of your lens before you even think of pointing your camera at the Sun. Using the ND8 too, which will give you 18 stops of light reduction is not a bad idea, and I tried that while testing the filters. Another important thing to remember: never look directly at the Sun through the viewfinder, because it will damage your eyes. Don’t take risks!

With the two or three filters in place (and only then), use LiveView to control exposure and the framing. LiveView means you will not look directly at the Sun, but at the LCD, so you’re safe. But with LiveView the Sun is going directly into your camera, so only use it for brief moments, to compose and expose each shot. Better be safe than sorry. Either deactivate LiveView or simply place the lens cap or some other protection over the front element of the lens, between shots.

Because I photographed the partial eclipse from Europe, at the end of the day, I only used the ND500 and ND64 for my photos, after trying the three filters together. That was enough for my exposures – which, still, were around 1/500 f/8 at 100 ISO – something which tells you about the power of the light from the Sun. So, whatever you do, be aware that while it can be done, you always have to make sure you’re not creating a situation that will damage your eyes and/or camera.

Using ND filters to make things disappear

Neutral Density filters are great to make one magic trick, as they allow you to make things disappear from your photos. When photographing a monument, for example, and wanting to remove people or vehicles, a ND filter - or more - may be the solution, as it allows you to create one single image where the monument stands out.

While on a day shoot to photograph and old Roman bridge recently rebuilt, I applied the technique just to show you an example of what is possible to achieve. The two images published here are similar in terms of lighting, the difference being that the first one was made with a 5 second exposure and the second with a 30 second exposure. I moved along the framed area at about the same pace for both photos, and while on the first the camera registered me looking at the sign, on the second I am no longer visible. To keep the lighting similar between shots I added ND filters as needed, and that’s another good reason to not buy just one filter, but the whole collection.

The logic behind the process is simple: if everything that is not static keeps moving during exposure, your final image will not show the moving element. While there are techniques to do this with multiple images, in the computer, taken so the software can compute all moving elements out of the image, the ND long exposure is a viable solution, sometimes. And it works both during the day – well, depending on how much light there is – and at night.

An article  published here at Manfrotto School of Xcellence previously, Ghosts from Last Summer – Exploring Light at High-Noon, explores the technique to create a body of work that can give readers ideas for other projects in the same vein, and that will keep your ND filters as something you always carry in your photo bag. I keep exploring the potential uses of ND filters, and have plans to share some ideas with participants in the next Scott Kelby’s Worldwide Photowalk I will lead, this October, and also integrate some of the techniques in my workshops and photo tours.

Adding filters for even longer exposures

I’ve used different brands of filters before, and I’ve had to live with the usual problems of filters that should be neutral but usually have a colour cast of some sort, from magenta to green or bluish. If a single filter shows a cast, then expect things to get worse when you start to mount filters together. While some of it may be adjusted in post, the truth is that I rather not have to, because it means I am not able to see, while in the field, the exact results I am after.

When I received Manfrotto’s filters for testing, I felt the urge to try them to see if there were colour casts. I found none deserving mention. Moreover, I found that I can mount the Manfrotto ND 64 and ND8 to achieve a total of 9 stops of exposure variation, and still there is no deviation from the no-filter exposure in terms of colour. While this means that light reaching the sensor travels through four surfaces instead of two – and the more glass you use, the less perfect the final image will be – I can report that I will not need to do any special post-processing to get rid of colour casts.

I later received the ND500 for testing,  which offers 9 stops in one single filter, and that’s what I will use when I need to use high filtration values, but as I had three filters to experiment with, I went as far as using all of them to create some images. The 18 stops variation means that in most cases you’ll not even be able to use LiveView to get an indication of exposure, but then it is time to resort to old methods: using Bulb and some math to get an idea of the ideal combination of aperture and shutter speed. As some modern cameras also offer you a Bulb mode with included timer, it is much easier than I remember from film days.

The results I got with three filters stacked confirm that the Manfrotto NDs will not introduce any colour cast that destroys your image, and while I expect some vignetting and detail loss – after all light goes through six filter surfaces plus all the lens elements – the control over time that this series gives me is breathtaking. Yes, 18 stops maximum. That’s the reason why I suggest that if you want to play with NDs, you should invest in the whole collection. There is a lot of fun to be had with this type of accessories.

The post Manfrotto NDs: more adventures with filters appeared first on Manfrotto School Of Xcellence.

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.

[caption id="attachment_58750" align="aligncenter" width="1440"] 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.

[caption id="attachment_58758" align="aligncenter" width="1440"] 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.

[caption id="attachment_58766" align="aligncenter" width="1440"] 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.

[caption id="attachment_58774" align="aligncenter" width="1440"] Easy Link attachment[/caption]

[caption id="attachment_58782" align="aligncenter" width="1440"] 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.

[caption id="attachment_58790" align="aligncenter" width="1440"] 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.

[caption id="attachment_58798" align="aligncenter" width="1440"] Leveling bubble[/caption]

It has a small, rotating, bubble level to easily make sure the tripod is level and steady.

[caption id="attachment_58806" align="aligncenter" width="1349"] 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!

[caption id="attachment_58847" align="aligncenter" width="1350"] Shooting with the horizontal arm extended[/caption]

[caption id="attachment_58855" align="aligncenter" width="1350"] 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.

[caption id="attachment_58871" align="aligncenter" width="1350"] With one tripod leg spread for stability and height[/caption]

[caption id="attachment_58863" align="aligncenter" width="1349"] 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.

[caption id="attachment_58879" align="aligncenter" width="1350"] Two tripod legs spread for stability on the rocks[/caption]

[caption id="attachment_58887" align="aligncenter" width="601"] 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.

[caption id="attachment_58895" align="aligncenter" width="1440"] 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.

[caption id="attachment_58903" align="aligncenter" width="1260"] Using the horizontal center column and Easy Link socket[/caption]

[caption id="attachment_58944" align="aligncenter" width="1349"] 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.

[caption id="attachment_60768" align="alignnone" width="1000"] ©BRUNO D’AMICIS - WWW.BRUNODAMICIS.COM[/caption]

[caption id="attachment_60808" align="alignnone" width="1000"] ©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!

[caption id="attachment_60800" align="alignnone" width="1000"] ©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!

[caption id="attachment_60816" align="alignnone" width="1000"] ©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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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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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.

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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.

[caption id="attachment_61445" align="aligncenter" width="750"] 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.

[caption id="attachment_61454" align="aligncenter" width="750"] Manfrotto 055 Tripod[/caption]

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