EQUIPMENT
Equipment I Use
Canon EOS 80D
The Canon EOS 80D is an enthusiast-level DSLR, and the successor to the 70D. It sports a new 24MP APS-C CMOS sensor which, like the 70D, offers Canon's Dual Pixel on-sensor phase-detection autofocus system. The 80D also gains a new 45-point hybrid AF system with all of the points being cross-type. This is a step up from the 19-point AF system in the 70D, though not quite at the same level as the 65-point coverage offered by the more professionally-oriented 7D Mark II.
Featuring a body sealed against dust and moisture, the 80D has a polycarbonate exterior and magnesium alloy chassis. It is nearly identical in design to its predecessor, with the majority of controls accessible via the articulating rear touchscreen, as well as via physical control points. Video is a major part of the 80D's total package. While it cannot shoot 4K, it does offer 1080/60p capture and continuous autofocus during video. A headphone socket has been added to compliment its microphone port.
Canon EOS 80D key features:Other improvements come in the form of a new mirror vibration control system (similar to the 5DS and 7D Mark II), which should help reduce the blur-inducing effects of shutter shock. The 80D also gains the same 7560 pixel RGB+IR metering sensor found in the Rebel T6s and T6i, a serious improvement over the 63-zone dual layer sensor found in the 70D. This new sensor gives the camera some degree of human subject awareness for subject tracking through the viewfinder. However, unlike the 7D Mark II, the 80D does not have Canon's 'Intelligent Tracking and Recognition' (iTR) system, which uses the metering sensor along with distance info to subject track.
The new sensorIt's no secret that some Canon shooters have been frustrated as of late, as Sony's sensor technology marches ahead in terms of dynamic range. Fortunately, the 80D marks a significant step forward in Canon's sensor development, offering much better DR than the 70D or 7D Mark II. But the new sensor isn't interesting just because of the pictures it can capture. Dual Pixel AF not only allows for continuous focus during video capture, but during still capture (in live view mode) as well. We first saw this feature in the Rebel T6s and it is exciting to see it now making its way up Canon's food chain to enthusiast-level cameras.
Aside from the 70D, the closest sibling to the 80D is the more professionally-oriented Canon EOS 7D Mark II. It uses a slightly lower resolution chip and offers less dynamic range than the 80D. While the two share the same basic video specs, the 7D Mark II is better equipped for fast action, thanks to greater AF point coverage, a dedicated AF joystick and the inclusion of Canon iTR, as well as a faster shooting rate. On the other hand, the 80D's touch focus capabilities make it a more appealing choice for video.
Of course the full frame Canon 6D now falls into a similar price class to the both the 80D and 7D Mark II, making it worthy of consideration. Although it's far from new the 6D remains a solid and popular camera despite its comparatively simplistic AF system.
Featuring a body sealed against dust and moisture, the 80D has a polycarbonate exterior and magnesium alloy chassis. It is nearly identical in design to its predecessor, with the majority of controls accessible via the articulating rear touchscreen, as well as via physical control points. Video is a major part of the 80D's total package. While it cannot shoot 4K, it does offer 1080/60p capture and continuous autofocus during video. A headphone socket has been added to compliment its microphone port.
Canon EOS 80D key features:Other improvements come in the form of a new mirror vibration control system (similar to the 5DS and 7D Mark II), which should help reduce the blur-inducing effects of shutter shock. The 80D also gains the same 7560 pixel RGB+IR metering sensor found in the Rebel T6s and T6i, a serious improvement over the 63-zone dual layer sensor found in the 70D. This new sensor gives the camera some degree of human subject awareness for subject tracking through the viewfinder. However, unlike the 7D Mark II, the 80D does not have Canon's 'Intelligent Tracking and Recognition' (iTR) system, which uses the metering sensor along with distance info to subject track.
The new sensorIt's no secret that some Canon shooters have been frustrated as of late, as Sony's sensor technology marches ahead in terms of dynamic range. Fortunately, the 80D marks a significant step forward in Canon's sensor development, offering much better DR than the 70D or 7D Mark II. But the new sensor isn't interesting just because of the pictures it can capture. Dual Pixel AF not only allows for continuous focus during video capture, but during still capture (in live view mode) as well. We first saw this feature in the Rebel T6s and it is exciting to see it now making its way up Canon's food chain to enthusiast-level cameras.
Aside from the 70D, the closest sibling to the 80D is the more professionally-oriented Canon EOS 7D Mark II. It uses a slightly lower resolution chip and offers less dynamic range than the 80D. While the two share the same basic video specs, the 7D Mark II is better equipped for fast action, thanks to greater AF point coverage, a dedicated AF joystick and the inclusion of Canon iTR, as well as a faster shooting rate. On the other hand, the 80D's touch focus capabilities make it a more appealing choice for video.
Of course the full frame Canon 6D now falls into a similar price class to the both the 80D and 7D Mark II, making it worthy of consideration. Although it's far from new the 6D remains a solid and popular camera despite its comparatively simplistic AF system.
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Launched back in spring 2007 the EF 16-35mm f/2.8 USM L II is the latest ultra-wide zoom lens made by Canon. Regarding its rather steep pricing of around $1600.00 NEW, it's primarily targeting the professional market segment. Compared to its predecessor Canon claims to have "improved the peripheral image quality at the wide-angle end". Certainly an interesting aspect regarding the rather mediocre full format performance of its little cousin (EF 17-40mm f/4L).
The build quality of this lens is basically identical to the EF 17-40mm f/4L - it's exceptionally high just as you would expect it from a Canon L lens. No wobbling whatsoever and smooth controls - almost perfect. The lens is also designed to survive in harsh conditions with a sealing against dust and moisture. The outer length of the lens remains constant although the inner lens tube moves a little according to the zoom setting. Needless to say - the front element does not rotate during focusing or zooming operations.
The lens has a ring-type USM drive based on a front-focusing system resulting in an extremely fast AF speed. AF accuracy was also not an issue during the field tests. Typical for ring-type USM lenses full-time manual focusing is always possible in one-shot AF mode.
Verdict
The Canon EF 16-35mm f/2.8 USM L II may not be the greatest lens around in absolute terms but it delivers regarding its primary purpose - a very good performance at its ultra-wide to wide settings (16-26mm) from about f/4 onwards. This isn't all that simple as we've seen during the test of the EF 17-40mm f/4 USM L. On the downside the lens is rather mediocre at 35mm although still perfectly fine at medium apertures. A major weakness is the amount of vignetting at f/2.8 especially at 16mm but to be fair this is a general problem in this lens class when using a full format DSLR. The Canon lens suffers also from a typical degree of barrel distortions at 16mm whereas it's only a minor problem from 20-35mm. Lateral CAs are very well controlled throughout the range. The bokeh (the quality of the out-of-focus blur) could be better but, again, few ultra-wides are really good here anyway. Flare wasn't a big issue during our field tests. The build quality of the lens is exceptional and the AF speed and accuracy is on a very high level. All-in-all a good offer although it will not knock your socks off.
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The build quality of this lens is exceptional thanks to a tightly assembled combination of metal and high quality plastic parts. The lens is also designed to survive in harsh conditions due to sealings against dust and moisture. Regarding its weight of 950g and a size of 83x123mm it's quite a brick but actually comparable to similar lenses made by other genuine brand manufacturers.
The lens has a reverse zooming mechanism so it extends towards the wide end of the range so the shortest physical length reached at the 70mm setting. While this may seem odd at first the system makes sense when attaching the deep flower-shaped hood which remains highly effective at all focal lengths. So with attached hood the size of the package remains constant. The front element does not rotate of course.
The lens has a ring-type USM drive based on a front-focusing system resulting in an extremely fast AF speed. Typical for modern ring-type USM lenses full-time manual focusing remains possible in one-shot AF mode. The AF speed decreases significantly in Live-View mode but it's still faster than e.g. the Sigma AF 24-70mm f/2.8 EX HSM DG here.
Verdict
The Canon EF 24-70mm f/2.8 USM L is an impressive zoom lens upon first contact but it stayed somewhat short of the high expectations with respect to its optical characteristics. It can certainly produce sharp images if you know how to handle it but the pronounced field curvature at the wide end is a faux-pas which can often spoil the game. The vignetting and distortion characteristic is above average for a lens in this class. Lateral CAs are surprisingly well controlled and not field relevant. The quality of the bokeh is usually decent but not without flaws in certain situations.
A shining aspect is the mechanical quality of the lens but you expect no less from such a professional grade lens (optical sample variations seem to be an issue though). The AF is also highly impressive in terms of speed and also accuracy.
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The Canon EF 24-105mm f/4 USM L IS is a 4.4x standard zoom lens for Canon full format (and APS-C) DSLRs. It's often sold as part of a "kit" with the EOS 5D (II) although you shouldn't mistake this lens with the average el-cheapo kit lenses which are common in the APS-C DSLR world. Compared to its big brother, the EF 24-70mm f/2.8 USM L, it is relatively compact, moderately light-weight and it features an image stabilizer. Some may not like the rather modest max. aperture but there's always a trade-off somewhere.
The build quality of this lens is excellent thanks to quality materials and tight tolerances. There's no significant wobbling of the inner lens tube and both the zoom and focus control rings operate very smooth. The lens has been designed to survive in harsh conditions due to sealings against dust and moisture. The conventional zoom mechanism extends towards the long end of the range. The front element does not rotate during focusing so there're no issues when using a polarizer - without hood at least.
A ring-type USM AF drive based on a front-focusing system is responsible for an extremely fast AF speed and low AF noise. The AF accuracy of the tested sample was exceptionally high. Full-time manual focusing (FTM) is always possible in one-shot AF mode.
The image stabilizer provides an equivalent effect of a 3 f-stops gain in shutter speed for hand-held photography (at cost of slower shutter speeds if exploited to the max). The IS works for static scenes only so there's no 2nd mode for "panning". Regarding the nature of the lens this isn't a big drawback because action photography is normally not a primary application.
Verdict
The Canon EF 24-105mm f/4 USM L IS is surely one of the better standard zoom lenses for full format EOS DSLRs but it's not perfect within this scope nonetheless. The resolution figures are generally very decent except for a pronounced border softness at 70mm @ f/4. Neither distortions nor vignetting are something to rave about at 24mm although these are no real issue at other focal lengths. Lateral CAs can be visible at times but the problem is generally well controlled (relative to other lenses in its class). The quality of the bokeh (@ 105mm) is very usable - within the limits of a lens with a moderate max. aperture. As to be expected from a modern Canon L lens the construction quality is up to pro standards. The AF is exceptionally fast, accurate and near silent. The image stabilizer works well within its specifications although some may miss a panning mode which is implemented in Canon's IS L tele lenses.
The Sigma AF 10-20mm f/4-5.6 EX DC HSM is one of the several new players in the ultra-wide zoom market. According to Sigma's naming conventions the lens is a designated DC (Digital Camera) lens so it can only be used on reduced image circle (APS-C) DSLRs. On 35mm format cameras there'll be unrecoverable edge shading through most of its zoom range so it's a no-no here. It's quite interesting to note that Sigma has now 3 ultra-wide zoom lenses (from an APS-C perspective) in their line-up. Besides the 10-20mm DC there's the 12-24mm f/4.5-5.6 EX as well as the 15-30mm f/3.5-4.5 EX - both full-frame lenses but naturally perfectly usable on APS-C DSLRs as well. As of today the lens is available for Sigma, Nikon and Canon. The field-of-view of the AF 10-20mm DC is equivalent to 16-32mm on a full frame camera.
The lens construction is made of 14 elements in 10 groups including 3 Special Low Dispersion (SLD) elements and 3 aspherical elements (1 molded, 2 hybrid-type) - quite a bit of efforts here. Its aperture mechanism features 6 aperture blades. The lens is fairly compact with a size of 83x81mm and comparatively heavy regarding its rather slow aperture range at 470g. Unlike its two ultra-wide sister lenses the lens does not have a protruding front element - there's a standard (non-rotating) filter thread (77mm) so using a polarizer is not a problem. A petal-type hood as well as a soft bag are part of the package.
The lens has a very fast and near-silent HSM (hypersonic motor) AF drive which provides full-time manual focusing in one-shot AF mode. The minimal focus distance is 0.24m resulting in a max. magnification of 1:6.7 at 20mm.
The build quality of the lens is very impressive - it feels like a solid block. The typical EX finish (smooth crinkle style) feels very pleasant and the zoom and focus control rings are very smooth and well damped. The lens does extend a little towards the long end.
Verdict
The Sigma AF 10-20mm f/4-5.6 EX DC HSM is a worthy alternative in the ultra-wide arena for APS-C DSLRs. At 10mm it showed some of the highest resolution figures that we've seen so far here whereas at 14mm and 20mm the results are slightly worse than the rest of the gang but still pretty good.
On the down-side the lens shows fairly heavy vignetting at large aperture settings. At 10mm there're some quite pronounced barrel distortions at the extreme corners (far less in the inner image field) whereas at 14mm pincushion distortions can be quite obvious.
It's a joy to use this lens with its excellent build quality, smooth controls and fast AF on top. The Sigma AF 10-20mm f/4-5.6 EX DC HSM is surely worth a deeper look here.
The EF 70-200mm F2.8 L IS USM was introduced way back in August 2001, supplementing (but not replacing) the non-stabilized 70-200mm F2.8 L USM in Canon's highly regarded telephoto lineup. This is a lens which can truly be described as a professional workhorse, with robust build (including dust and moisture resistance), wide F2.8 maximum aperture, fast and silent ultrasonic autofocus motor, and optical image stabilization for hand-holding at slow shutter speeds. The optical design is somewhere on the far side of complex; it features 23 elements in 18 groups, with 4 UD elements to provide compensation for chromatic aberration. According to Canon, this gives a 'high-resolution, high-contrast optical capability', as demanded from a lens which needs to perform all day, every day in the hands of professional photographers across a wide range of subjects and conditions.
The 70-200mm is an EF lens, and has presumably been designed from the outset for optimum performance on Canon's professional 1-series DSLRs, with their full-frame 35mm and 1.3x crop (APS-H) formats (indeed the original EOS-1D was announced just a month after this lens, with the full-frame EOS-1Ds following a year later). However it's also fully at home on all of Canon's APS-C DSLRS, here providing a 112-320mm equivalent angle of view.
Of course Canon's use of multiple sensor formats across their DSLR range has until recently been unique, and raises some interesting questions with regard to lens design, given the different demands of each format (35mm full frame requires consistent sharpness across a 43mm diameter image circle, but APS-C demands higher spatial resolution within its 28mm image circle). Canon have also, with successive generations of the EOS-1Ds series, pushed the megapixel race ever-further into territory once the sole preserve of medium-format digital backs, and with the 21Mp Mark III have maintained their position as the undisputed champions of absolute image quality in the 35mm DSLR format (at least until Sony's 24Mp sensor makes its way into a production camera). However there's arguably little point in ever-inflating pixel counts unless the lenses can deliver the resolution to match, and the 70-200mm F2.8 L IS USM is likely to be a key weapon in the armoury of many a full-frame shooter; so can it deliver the image quality required.
The Canon EF 100mm f/2.8 USM L IS macro is the 6th macro lens in the Canon EF lens lineup. The lens does not replace the highly popular EF 100mm f/2.8 USM macro but is meant as a higher quality option featuring Canon's proven lens-based IS (Image Stabilizer). Just like most IS lenses the design complexity increased quite a bit from only 12 elements in 8 groups in the "conventional" macro lens to 15 elements in 12 group. In theory this does allow a higher degree of corrections but you also risk more flare in contra light situation.
The build quality is excellent but then we've expected no less from a professional grade "L class" lens. The lens body is made of very high quality plastics and a metal mount. The broad rubberized focus ring works very smooth. Similar to the non-L macro lens it features a "true" inner focusing system so the lens does not extend when focusing towards closer focus distances. The Canon EF extension tubes are supported whereas the EF tele converters cannot be used.
Canon's EF-S 35mm f/2.8 Macro IS STM lens is small and light enough to justify a spot in an enthusiast's camera bag and its price/performance ratio should make it a good choice for photographers with APS-C Canon DSLRs who want to shoot close-ups. Because it offers true macro 1:1 reproduction with a decent working distance at an affordable price, it will appeal to anyone who enjoys shooting flowers, insects and other small creatures as well as being useful for documenting jewellery and other small valuables for insurance purposes. The Macro Lites can be useful when both are switched on because they will illuminate the subject whatever orientation you use for shooting.
The Canon 420EX is fully E-TTL compatible, and reverts to standard TTL operation when used on older EOS bodies or the T90. The fully swiveling bounce head zooms automatically over a range of 24mm-105mm. Most impressively, its Wireless E-TTL compatibility permits it to function as a "slave" unit, triggered by a 550EX; ST-E2, or MR-14EX.
Strengths: High output compared to built-in flashes.
Better control of flash strength and direction.
Helps most of the recent Canon SLR bodies auto-focus, even complete darkness.
Doesn't look/feel bulky.
Weaknesses: Powered only by 4x AA batteries - no option for external power or high-capacity battery packs.
Battery door looks and feels flimsy.
Bottom Line:
Who should get one of these? Anyone with a recent Canon SLR body (digital or film) and needs just a bit more control or power than the built-in flash can provide. To be fair, the 430EX has replaced the 420EX, and bargains can be had on the older 550EX (with many more features). But there is no better bang-for-buck if you can find a 420EX. Therefore, it makes an excellent "starter" flash for those aspiring SLR shooters.
I've typically avoided flash photography and have preferred natural-light shots whenever possible. However, it's impossible to avoid using a flash sometimes, and the 420EX is a great way to get light onto a subject with more control than any built-in flash.
The Canon Speedlite 550EX is the main component of a flash system designed together with the EOS-3 SLR camera. It provides full compatibility with the new area AF technology employed by the EOS-3 and refined E-TTL autoflash for improved performance. Other main features include a maximum Guide Number of 180 (ISO 100, ft.), an AF-assist beam which links to the EOS-3's 45-point area AF, FP Flash (high speed sync), FE lock (a flash version of AE lock), and FEB (Flash Exposure Bracketing). The Speedlite 550EX also incorporates a built-in wireless transmitter, which can control other Speedlite 550EX or 420EX units set up as slave units.
Strengths: Great control and power! Reasonably price now!
Weaknesses: Large & Heavy.
Bottom Line:
Bought Canon 550EX Speedlite flash and read instruction book thoroughly. Wow has this helped my photography. But you must read the instructions. I recommend this flash to anyone with my skills or lesser. It is a little large and heavy but is more than powerful enough. Great manual control. Can be purchased quite reasonably now.
There are advantages to using the Canon Speedlite Transmitter ST-E2. The first is the size and weight. The Canon Speedlite Transmitter ST-E2 weighs only 3.5 oz without the non-included-in-the-box 2CR5 6v battery. The ST-E2 is very small compared to master flashes and mounts on an EOS body's hot shoe, it is really nice to have significantly less weight in your hand for a long shoot. The Canon Speedlite Transmitter ST-E2's flash master effective range is 39-49' indoors and 26-32' outdoors. Used indoors, direct line of sight is often not required as the light bounces from walls and other objects to reach the flash units.
The Macro Ring Lite MR-14EX II is ideal for EOS quality close-up photography when used in conjunction with one of Canon’s EF Macro lenses. Redesigned as a perfect complement to contemporary digital SLR setups, it is the most advanced macro flash Canon has ever produced. It has a maximum Guide No. of 34.4 ft./10.5m at ISO 100 and a twin-tube design where both flash tubes can be directed to fire independently or together. Sophisticated white LED focusing lamps and two forms of modeling lights make for easy and accurate previewing of lighting effects. Infinitely adjustable in any lighting condition with its illuminated dot-matrix LCD, the Macro Ring Lite MR-14EX II has 12 custom functions and supports E-TTL wireless autoflash when linked with one or more Speedlite 600EX-RT flashes. All this in a refined, compact design with shorter recycling times than its predecessor makes the Macro Ring Lite MR-14EX II a reliable, customizable choice.
In some ways, the 470EX-AI is a truly innovative flashgun that's particularly useful for beginners. That said, it costs more than Canon’s range-topping, pro-grade 600EX-II RT and beginners who are tempted by its AI bounce facility might feel a bit odd spending considerably more on a flashgun than they did on their entry-level Canon DSLR and kit lens combination.
ForAgainstIt doesn’t take long to realise that bouncing the output of a flashgun off a ceiling or wall can effectively increase the size of the light source, therefore creating a softer, more natural looking lighting technique. However, beginners in particular might find it hard to play the angles, and to judge the best degree of bounce to give the optimum effect. Canon’s revolutionary new Speedlite boasts artificial intelligence, which it harnesses to control a motorized tilt and swivel head, thereby delivering an automatic bounce facility.
FeaturesLike most other mid-range flashguns, the Canon Speedlite 470EX-AI has a motorized zoom head that automatically tracks the focal length of the lens being used. As with most recent Canon flashguns, it can also automatically detect whether the camera you’re using is a full-frame or APS-C format model, taking this into account when automatically adjusting the zoom setting. But its main claim to fame is that it also has a motorized tilt and swivel function, so the head physically moves around automatically under its own power. It can tilt upwards beyond the vertical, through a 120-degree arc, and swivel a full 180 degrees to both the left and the right.
There are fully automatic and semi-automatic bounce modes on offer, via a small switch on the rear of the flashgun. In full auto AI Bounce mode, the Speedlite fires a pre-flash pulse at the subject, then tilts vertically upwards and fires a second pre-flash pulse at the ceiling. It then calculates the optimum bounce angle, based on the distance to the subject and the distance to the ceiling. If you swap between portrait and landscape orientation, you can reposition the flash head by applying a double light-press to the camera’s shutter button. This relies on orientation sensors built into the flashgun rather than the camera, so everything works properly even if you’re using the flashgun off-camera.
But what if you’d rather bounce the flash off a white wall instead? This can be particularly useful if the ceiling is very high or has, for example, a natural wood rather than painted white finish. You might even prefer to fire your flash at a large reflector panel that you can position independently. This is where the semi-automatic AI Bounce mode comes into play. It enables you to manually point the flash head in your desired direction and then press the ‘Angle Set’ button on the side of the head. This locks the position into the flashguns memory. Again, you can switch between portrait and landscape orientation and apply a double tap of the shutter button to maintain the same bounce angle, the head tilting and swivelling as necessary. As well as fully automatic and semi-automatic modes, the selection switch has a zero-degrees option for direct flash with no bounce or swivel.
While the AI bounce facility is innovative, the 470EX-AI is quite conventional in other ways. It has a traditional control panel based on buttons, a rotary dial and mono LCD display. The look and feel is quite dated, compared with some recent Metz flashguns that have touchscreens. The zoom function of the head is relatively limited compared with similarly priced flashguns, rated at 24-105mm in full-frame terms, rather than the now more usual 24-200mm. There’s also no pull-out reflector card in the head, which is usually featured on mid-range flashguns. Most similarly priced flashguns have a programmable stroboscopic flash mode, which again is absent.
More surprisingly, the 470EX-AI lacks the RF (Radio Frequency) communication of Canon’s 430EX III-RT and 600EX-RT (both the original and Mark II editions). For wireless off-camera flash, it can therefore only operate via an optical link, and only as a slave, not a master. You therefore can’t slot the flashgun into your camera’s hotshoe and use it to wirelessly control another flashgun in slave mode. It also lacks the weather-seals of Canon’s considerably more powerful, top-flight professional 600EX-RT II flashgun.
On the plus side, the 470EX-AI has a fairly generous maximum power rating of Gn 47 (Guide number at ISO 100/metres). Supplied accessories include a diffusion dome, stand and padded soft case, all of which are of good quality.
As its Gn rating would imply, maximum output is a little more powerful than from the 430EX III-RT, but weaker than from the 600EX II-RT. TTL (Through The Lens) flash metering is usually accurate and consistent, both for direct flash and when using the flashgun in bounce mode.
Recycling after a flash is silent and pretty swift. In fact, recycling is virtually instantaneous at power settings of between 1/128 and 1/4. At half-power and full-power settings, recycling times are 1.1 and 2.3 seconds with NiMH batteries, or 1.3 and 4.2 with alkaline batteries. Battery life is about two-thirds that of the 430EX II-RT, ranging from around 115 to 800 shots on a set of four alkaline cells, depending on output power and how much you use the motorized bounce/swivel and zoom functions. Canon claims that, in practice, battery life is about equal when using both flashguns in bounce mode, as the 470EX-AI reduces the amount of trial and error.
In some ways, the 470EX-AI is a truly innovative flashgun. It’s particularly useful for beginners who are nervous about how to set the angle of the head manually for effective bounce flash. However, pointing the flash at a wall or ceiling isn’t exactly a difficult thing to do, and you don’t generally need to set the angle very precisely. It can actually be quicker to set the bounce angle manually, considering that the flashgun needs to fire a pre-flash pulse at the subject, then swivel towards the ceiling and fire a second pre-flash pulse, and then work out its bounce angle, every time you adopt a new shooting position.
Another sticking point is the price, especially in regions where the 470EX-AI costs more than Canon’s range-topping, pro-grade 600EX-II RT. The latter is much more powerful and sophisticated, includes full RF wireless communication and has better build quality along with weather-seals.
Ultimately, as clever as the 470EX-AI is, beginners who are tempted by its AI bounce facility might feel a bit odd spending considerably more on a flashgun than they did on their entry-level Canon DSLR and kit lens combination.
Offering two sizes for the new backpacks, the PROTACTIC BP450 AW II is the larger of the two that can fit 15-inch laptops, whereas the slightly smaller BP350 AW II will fit up to a 13-inch laptop. Camera gear wise, the main difference is that the 350 II holds a pro camera with 24-70mm attached and the 450 II can do a pro camera with 70-200mm attached. Both will host eight additional lenses or flashes and an extra pro body. If that's not enough space, the ProTactic series has a range of SlipLock modular accessories to a attach to the outside of the backpack.
As an all-weather "AW" backpack, a built-in rain cover comes standard. There are four access points in the new version; the top, sides, and rear. People have specific preferences for these things and I think this adaptive design will cater to all of them. The top access is good for people who primarily use one camera and lens, the side access is for people who can't set down the bag to be grabbing gear, and the rear access is for people who like to see all their gear to decide how to approach their shooting environment.
The compact Micro Trekker 200 backpack below (no longer sold) has a large front organizer pocket, customizable interior, weather flap, laminated mesh pockets, a removable waistbelt and SlipLock™ attachment loops to expand your carrying capacity.
SPECIFICATIONS:
Capacity:SLR with attached 70–200 mm f/2.8 lens (most makes) plus 3 more lenses or an additional body or a flash
(Interior):10.4 x 4.9 x 12.6 in./26.5 x 12.5 x 32 cm (width x depth x height)
(Exterior):11 x 8.5 x 14 in./28 x 21.5 x 35.5 cm (width x depth x height)
Outer fabric:water-resistant 600D TXP™ and 600D TXP™ ripstopWeight:2.31 lbs / 1.05 kg
The Lowepro Fastpack series pictured below has been trusted to travel for years. The next-generation pack design includes enhanced protection with a built-in All Weather AW Cover™ and CradleFit™ device compartment, plus three, primary storage zones to help keep you organized and ready for the fast pace of modern travel.
Lowepro DryZone 200 below, is the world’s first totally waterproof, soft-sided camera backpack. Even fully loaded, it floats, so your gear is always protected. The inner drypod with patented, waterproof TIZIP™ zipper provides 100% watertight protection.
The Lowepro Nova Sport 35L AW pictured below is versatile, well organized and weather-protective, the Nova Sport 35L AW is the ideal photo enthusiast’s adventure bag that features a removable camera insert and space for a 13 inch laptop.
This 1510 Pelican case below with PADDED DIVIDER SET, is the toughest and biggest FAA approved airline-legal carry-on case available. Complete with side handle, front handle and convenient extension handle, it is the perfect rolling travel companion. An added value to this case is the effortless release latch for the extension handle. Also, the padlock protectors provide added strength and extra security against cutting and theft.
Also includes standard Pelican case features like the water and dustproof neoprene o-ring seal, Automatic Purge Valve with Gore-Tex membrane, and easy open Double Throw latches. Lifetime Guaranteed. “You break it, we replace it…forever”.
This case comes with transport wheels.
This is the largest airline approved carry-on case we offer.
FAA maximum carry-on size, extended handle.
Color: Black
The Oben AT-3565 is a slightly heavy duty tripod system, it is because it can support a much higher load. The tripod itself weighs just 3.75 lbs. which is good enough to be carried attached to a backpack for an extended period of time.
The legs of the Oben AT-3565 extends in 5 sections. When the central column is fully extended the working height of the tripod is 61.7″. When the central column is not extended, the maximum height of the tripod is 53.6″. Minimum height when the tripod is folded up is only 9.7″ just perfect for the purpose of carrying in your camera bag.
The tripod comes with the Oben BC-217T ball head. This ball head has an arca-type quick release plate feature. The camera is mounted on a ¼” – 20 thread design. There is a bubble level indicator on the head. That comes in handy when shooting over uneven terrain.
Speaking of uneven terrain, another feature of the Oben AT-3565 is its independent leg spread. The system has 3 leg positions and that is what gives you the ability to shoot on almost every type of surfaces. Take advantage of a wall to secure extra support. The legs lock into positon using a twist motion and therefore it is easy to set up.
The feet are retractable and spiked. Which means you have the option to set up your tripod legs even on the most slippery of surfaces as well on muddy ground without issues.
The TT-15 Mark 2 Mini from Feisol is a lightweight and compact tripod capable of supporting up to 17.6 lb at a maximum height of 5.7". Each of the tripod's legs features three preset leg angles of 25, 50, & 75° for adjusting the tripod's height and balance. When each leg is set to the widest angle the tripod is capable of reaching a minimum height of just 2.1", suitable for low angle landscapes and macro photography.
The tripod is constructed from anodized aluminum to help prevent corrosion and carbon fiber legs to reduce overall weight. The aluminum base measures 1.2" in diameter and features a 1/4"-20 & 3/8"-16 mounting thread. When fully collapsed the tripod is just 6.3" in length and weighs just 6.4 oz, making it easy to carry. A carrying case is also included for additional protection during transport.
The BA-117 Single Lever Ball Head from Oben is a simple ball head with one locking knob to control all motion. The knob allows you to unlock the ball so that you can quickly orient your camera properly, retighten the knob, and return to shooting. This enables fast setup changes, and frees you to keep a finger on the trigger while you're making a quick adjustment to the head's orientation. The head has a 90° notch which facilitates shooting in portrait orientation. One bull's eye and three tubular bubble levels ensure your camera is level on both the horizontal and vertical axes.
The included quick-release plate has a retractable video pin, and attaches to your camera via its standard 1/4"-20 screw. With your camera attached to the quick-release plate, it easily snaps and locks into place on the ball head, and a safety lock on the release lever prevents it from being accidentally released.
Oben's BC-Series triple-action ball head is great for extra control and added security for your camera, a tension control thumbscrew is integrated into the main locking knob and allows you to adjust the amount of friction on the ball. This ball head also features a dual-lock design that provides independent adjustment of the ball and 360° panoramic base. The integrated bubble levels ensure accurate camera alignment with the horizon and an Arca-type quick release plate allows for mounting and dismounting the camera quickly and effortlessly.
The Canon EF 24-105mm f/4 USM L IS is a 4.4x standard zoom lens for Canon full format (and APS-C) DSLRs. It's often sold as part of a "kit" with the EOS 5D (II) although you shouldn't mistake this lens with the average el-cheapo kit lenses which are common in the APS-C DSLR world. Compared to its big brother, the EF 24-70mm f/2.8 USM L, it is relatively compact, moderately light-weight and it features an image stabilizer. Some may not like the rather modest max. aperture but there's always a trade-off somewhere.
The build quality of this lens is excellent thanks to quality materials and tight tolerances. There's no significant wobbling of the inner lens tube and both the zoom and focus control rings operate very smooth. The lens has been designed to survive in harsh conditions due to sealings against dust and moisture. The conventional zoom mechanism extends towards the long end of the range. The front element does not rotate during focusing so there're no issues when using a polarizer - without hood at least.
A ring-type USM AF drive based on a front-focusing system is responsible for an extremely fast AF speed and low AF noise. The AF accuracy of the tested sample was exceptionally high. Full-time manual focusing (FTM) is always possible in one-shot AF mode.
The image stabilizer provides an equivalent effect of a 3 f-stops gain in shutter speed for hand-held photography (at cost of slower shutter speeds if exploited to the max). The IS works for static scenes only so there's no 2nd mode for "panning". Regarding the nature of the lens this isn't a big drawback because action photography is normally not a primary application.
Verdict
The Canon EF 24-105mm f/4 USM L IS is surely one of the better standard zoom lenses for full format EOS DSLRs but it's not perfect within this scope nonetheless. The resolution figures are generally very decent except for a pronounced border softness at 70mm @ f/4. Neither distortions nor vignetting are something to rave about at 24mm although these are no real issue at other focal lengths. Lateral CAs can be visible at times but the problem is generally well controlled (relative to other lenses in its class). The quality of the bokeh (@ 105mm) is very usable - within the limits of a lens with a moderate max. aperture. As to be expected from a modern Canon L lens the construction quality is up to pro standards. The AF is exceptionally fast, accurate and near silent. The image stabilizer works well within its specifications although some may miss a panning mode which is implemented in Canon's IS L tele lenses.
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The lens construction is made of 14 elements in 10 groups including 3 Special Low Dispersion (SLD) elements and 3 aspherical elements (1 molded, 2 hybrid-type) - quite a bit of efforts here. Its aperture mechanism features 6 aperture blades. The lens is fairly compact with a size of 83x81mm and comparatively heavy regarding its rather slow aperture range at 470g. Unlike its two ultra-wide sister lenses the lens does not have a protruding front element - there's a standard (non-rotating) filter thread (77mm) so using a polarizer is not a problem. A petal-type hood as well as a soft bag are part of the package.
The lens has a very fast and near-silent HSM (hypersonic motor) AF drive which provides full-time manual focusing in one-shot AF mode. The minimal focus distance is 0.24m resulting in a max. magnification of 1:6.7 at 20mm.
The build quality of the lens is very impressive - it feels like a solid block. The typical EX finish (smooth crinkle style) feels very pleasant and the zoom and focus control rings are very smooth and well damped. The lens does extend a little towards the long end.
Verdict
The Sigma AF 10-20mm f/4-5.6 EX DC HSM is a worthy alternative in the ultra-wide arena for APS-C DSLRs. At 10mm it showed some of the highest resolution figures that we've seen so far here whereas at 14mm and 20mm the results are slightly worse than the rest of the gang but still pretty good.
On the down-side the lens shows fairly heavy vignetting at large aperture settings. At 10mm there're some quite pronounced barrel distortions at the extreme corners (far less in the inner image field) whereas at 14mm pincushion distortions can be quite obvious.
It's a joy to use this lens with its excellent build quality, smooth controls and fast AF on top. The Sigma AF 10-20mm f/4-5.6 EX DC HSM is surely worth a deeper look here.
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The EF 50mm F1.4 USM is Canon's mid-level offering in a range stuffed full of 50mm primes, covering all budgets from the ultra-cheap 50mm F1.8 mkII through to the stratospherically-priced 50mm F1.2 L USM. Although it was introduced in June 1993, fully seven years after the birth of the EOS system, it can actually trace its roots back much earlier, being based on the classic manual focus FD 50mm F1.4 design of 1971. As such, it's designed as a 'standard' lens for the 35mm full-frame format, with an angle of view offering none of the 'perspective distortion' associated with wideangle or telephoto lenses. More recently, with the popularization of APS-C as the dominant DSLR sensor size, it's taken on a new role, and behaves like a short 'portrait' telephoto on this format.
The lens uses a conventional optical design for its class, with 7 elements in 6 groups, two of which are made from high-refraction glass. Focusing is achieved by an ultrasonic motor system, with full-time manual override; however unlike Canon's other mid-range primes, this is of the micro-USM (as opposed to ring) type. Canon claims the lens produces a 'beautiful, natural blur of the background', an important attribute for a fast lens capable of a high degree of subject isolation. The company is also keen to point out that the lens's colour balance is virtually identical to the ISO recommended reference values.
The Canon EF 50mm F1.4 USM has always occupied a slightly precarious position in the Canon line-up, with the F1.8 lens offering remarkable value for money below it in the range. It now faces fresh pressure from Sigma's 50mm F1.4 EX DG HSM with its brand-new, bang up-to-date optical design (albeit currently at a far higher price). So is this lens an obsolete throwback to the silver halide era, or worthy of serious consideration in the high resolution digital age.
The EF 50mm F1.4 USM is Canon's mid-level offering in a range stuffed full of 50mm primes, covering all budgets from the ultra-cheap 50mm F1.8 mkII through to the stratospherically-priced 50mm F1.2 L USM. Although it was introduced in June 1993, fully seven years after the birth of the EOS system, it can actually trace its roots back much earlier, being based on the classic manual focus FD 50mm F1.4 design of 1971. As such, it's designed as a 'standard' lens for the 35mm full-frame format, with an angle of view offering none of the 'perspective distortion' associated with wideangle or telephoto lenses. More recently, with the popularization of APS-C as the dominant DSLR sensor size, it's taken on a new role, and behaves like a short 'portrait' telephoto on this format.
The lens uses a conventional optical design for its class, with 7 elements in 6 groups, two of which are made from high-refraction glass. Focusing is achieved by an ultrasonic motor system, with full-time manual override; however unlike Canon's other mid-range primes, this is of the micro-USM (as opposed to ring) type. Canon claims the lens produces a 'beautiful, natural blur of the background', an important attribute for a fast lens capable of a high degree of subject isolation. The company is also keen to point out that the lens's colour balance is virtually identical to the ISO recommended reference values.
The Canon EF 50mm F1.4 USM has always occupied a slightly precarious position in the Canon line-up, with the F1.8 lens offering remarkable value for money below it in the range. It now faces fresh pressure from Sigma's 50mm F1.4 EX DG HSM with its brand-new, bang up-to-date optical design (albeit currently at a far higher price). So is this lens an obsolete throwback to the silver halide era, or worthy of serious consideration in the high resolution digital age.
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The 70-200mm is an EF lens, and has presumably been designed from the outset for optimum performance on Canon's professional 1-series DSLRs, with their full-frame 35mm and 1.3x crop (APS-H) formats (indeed the original EOS-1D was announced just a month after this lens, with the full-frame EOS-1Ds following a year later). However it's also fully at home on all of Canon's APS-C DSLRS, here providing a 112-320mm equivalent angle of view.
Of course Canon's use of multiple sensor formats across their DSLR range has until recently been unique, and raises some interesting questions with regard to lens design, given the different demands of each format (35mm full frame requires consistent sharpness across a 43mm diameter image circle, but APS-C demands higher spatial resolution within its 28mm image circle). Canon have also, with successive generations of the EOS-1Ds series, pushed the megapixel race ever-further into territory once the sole preserve of medium-format digital backs, and with the 21Mp Mark III have maintained their position as the undisputed champions of absolute image quality in the 35mm DSLR format (at least until Sony's 24Mp sensor makes its way into a production camera). However there's arguably little point in ever-inflating pixel counts unless the lenses can deliver the resolution to match, and the 70-200mm F2.8 L IS USM is likely to be a key weapon in the armoury of many a full-frame shooter; so can it deliver the image quality required.
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The build quality is excellent but then we've expected no less from a professional grade "L class" lens. The lens body is made of very high quality plastics and a metal mount. The broad rubberized focus ring works very smooth. Similar to the non-L macro lens it features a "true" inner focusing system so the lens does not extend when focusing towards closer focus distances. The Canon EF extension tubes are supported whereas the EF tele converters cannot be used.
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Canon's EF-S 35mm f/2.8 Macro IS STM lens is small and light enough to justify a spot in an enthusiast's camera bag and its price/performance ratio should make it a good choice for photographers with APS-C Canon DSLRs who want to shoot close-ups. Because it offers true macro 1:1 reproduction with a decent working distance at an affordable price, it will appeal to anyone who enjoys shooting flowers, insects and other small creatures as well as being useful for documenting jewellery and other small valuables for insurance purposes. The Macro Lites can be useful when both are switched on because they will illuminate the subject whatever orientation you use for shooting.
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The Tiffen Variable ND filter is a unique, versatile and flexible tool, affording you the convenience of using several Neutral Density filters all in one. Primarily used as a photographic tool for controlling depth of field and exposure, the Variable ND is being sought in the video market as well because it is fast, easy to use, small, lightweight, and does not require additional accessories such as a matte box.
The Tiffen Variable ND filter operates on the same principle as a Circular Polarizer – rotate until you reach your desired effect and shoot. It allows you to have continuous control over the amount of light coming through your lens in an approximate range of 2 (ND 0.6) to 8 (ND 2.4) stops – while maintaining the integrity of your image. Note: The evenly spaced indexing marks between MIN and MAX do not represent calibrated stops. They are for reference only, to be used as a density bench-mark to return to a previous setting.
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The Canon 420EX is fully E-TTL compatible, and reverts to standard TTL operation when used on older EOS bodies or the T90. The fully swiveling bounce head zooms automatically over a range of 24mm-105mm. Most impressively, its Wireless E-TTL compatibility permits it to function as a "slave" unit, triggered by a 550EX; ST-E2, or MR-14EX.
Strengths: High output compared to built-in flashes.
Better control of flash strength and direction.
Helps most of the recent Canon SLR bodies auto-focus, even complete darkness.
Doesn't look/feel bulky.
Weaknesses: Powered only by 4x AA batteries - no option for external power or high-capacity battery packs.
Battery door looks and feels flimsy.
Bottom Line:
Who should get one of these? Anyone with a recent Canon SLR body (digital or film) and needs just a bit more control or power than the built-in flash can provide. To be fair, the 430EX has replaced the 420EX, and bargains can be had on the older 550EX (with many more features). But there is no better bang-for-buck if you can find a 420EX. Therefore, it makes an excellent "starter" flash for those aspiring SLR shooters.
I've typically avoided flash photography and have preferred natural-light shots whenever possible. However, it's impossible to avoid using a flash sometimes, and the 420EX is a great way to get light onto a subject with more control than any built-in flash.
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The Canon Speedlite 550EX is the main component of a flash system designed together with the EOS-3 SLR camera. It provides full compatibility with the new area AF technology employed by the EOS-3 and refined E-TTL autoflash for improved performance. Other main features include a maximum Guide Number of 180 (ISO 100, ft.), an AF-assist beam which links to the EOS-3's 45-point area AF, FP Flash (high speed sync), FE lock (a flash version of AE lock), and FEB (Flash Exposure Bracketing). The Speedlite 550EX also incorporates a built-in wireless transmitter, which can control other Speedlite 550EX or 420EX units set up as slave units.
Strengths: Great control and power! Reasonably price now!
Weaknesses: Large & Heavy.
Bottom Line:
Bought Canon 550EX Speedlite flash and read instruction book thoroughly. Wow has this helped my photography. But you must read the instructions. I recommend this flash to anyone with my skills or lesser. It is a little large and heavy but is more than powerful enough. Great manual control. Can be purchased quite reasonably now.
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There are advantages to using the Canon Speedlite Transmitter ST-E2. The first is the size and weight. The Canon Speedlite Transmitter ST-E2 weighs only 3.5 oz without the non-included-in-the-box 2CR5 6v battery. The ST-E2 is very small compared to master flashes and mounts on an EOS body's hot shoe, it is really nice to have significantly less weight in your hand for a long shoot. The Canon Speedlite Transmitter ST-E2's flash master effective range is 39-49' indoors and 26-32' outdoors. Used indoors, direct line of sight is often not required as the light bounces from walls and other objects to reach the flash units.
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The Macro Ring Lite MR-14EX II is ideal for EOS quality close-up photography when used in conjunction with one of Canon’s EF Macro lenses. Redesigned as a perfect complement to contemporary digital SLR setups, it is the most advanced macro flash Canon has ever produced. It has a maximum Guide No. of 34.4 ft./10.5m at ISO 100 and a twin-tube design where both flash tubes can be directed to fire independently or together. Sophisticated white LED focusing lamps and two forms of modeling lights make for easy and accurate previewing of lighting effects. Infinitely adjustable in any lighting condition with its illuminated dot-matrix LCD, the Macro Ring Lite MR-14EX II has 12 custom functions and supports E-TTL wireless autoflash when linked with one or more Speedlite 600EX-RT flashes. All this in a refined, compact design with shorter recycling times than its predecessor makes the Macro Ring Lite MR-14EX II a reliable, customizable choice.
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In some ways, the 470EX-AI is a truly innovative flashgun that's particularly useful for beginners. That said, it costs more than Canon’s range-topping, pro-grade 600EX-II RT and beginners who are tempted by its AI bounce facility might feel a bit odd spending considerably more on a flashgun than they did on their entry-level Canon DSLR and kit lens combination.
ForAgainstIt doesn’t take long to realise that bouncing the output of a flashgun off a ceiling or wall can effectively increase the size of the light source, therefore creating a softer, more natural looking lighting technique. However, beginners in particular might find it hard to play the angles, and to judge the best degree of bounce to give the optimum effect. Canon’s revolutionary new Speedlite boasts artificial intelligence, which it harnesses to control a motorized tilt and swivel head, thereby delivering an automatic bounce facility.
FeaturesLike most other mid-range flashguns, the Canon Speedlite 470EX-AI has a motorized zoom head that automatically tracks the focal length of the lens being used. As with most recent Canon flashguns, it can also automatically detect whether the camera you’re using is a full-frame or APS-C format model, taking this into account when automatically adjusting the zoom setting. But its main claim to fame is that it also has a motorized tilt and swivel function, so the head physically moves around automatically under its own power. It can tilt upwards beyond the vertical, through a 120-degree arc, and swivel a full 180 degrees to both the left and the right.
There are fully automatic and semi-automatic bounce modes on offer, via a small switch on the rear of the flashgun. In full auto AI Bounce mode, the Speedlite fires a pre-flash pulse at the subject, then tilts vertically upwards and fires a second pre-flash pulse at the ceiling. It then calculates the optimum bounce angle, based on the distance to the subject and the distance to the ceiling. If you swap between portrait and landscape orientation, you can reposition the flash head by applying a double light-press to the camera’s shutter button. This relies on orientation sensors built into the flashgun rather than the camera, so everything works properly even if you’re using the flashgun off-camera.
But what if you’d rather bounce the flash off a white wall instead? This can be particularly useful if the ceiling is very high or has, for example, a natural wood rather than painted white finish. You might even prefer to fire your flash at a large reflector panel that you can position independently. This is where the semi-automatic AI Bounce mode comes into play. It enables you to manually point the flash head in your desired direction and then press the ‘Angle Set’ button on the side of the head. This locks the position into the flashguns memory. Again, you can switch between portrait and landscape orientation and apply a double tap of the shutter button to maintain the same bounce angle, the head tilting and swivelling as necessary. As well as fully automatic and semi-automatic modes, the selection switch has a zero-degrees option for direct flash with no bounce or swivel.
While the AI bounce facility is innovative, the 470EX-AI is quite conventional in other ways. It has a traditional control panel based on buttons, a rotary dial and mono LCD display. The look and feel is quite dated, compared with some recent Metz flashguns that have touchscreens. The zoom function of the head is relatively limited compared with similarly priced flashguns, rated at 24-105mm in full-frame terms, rather than the now more usual 24-200mm. There’s also no pull-out reflector card in the head, which is usually featured on mid-range flashguns. Most similarly priced flashguns have a programmable stroboscopic flash mode, which again is absent.
More surprisingly, the 470EX-AI lacks the RF (Radio Frequency) communication of Canon’s 430EX III-RT and 600EX-RT (both the original and Mark II editions). For wireless off-camera flash, it can therefore only operate via an optical link, and only as a slave, not a master. You therefore can’t slot the flashgun into your camera’s hotshoe and use it to wirelessly control another flashgun in slave mode. It also lacks the weather-seals of Canon’s considerably more powerful, top-flight professional 600EX-RT II flashgun.
On the plus side, the 470EX-AI has a fairly generous maximum power rating of Gn 47 (Guide number at ISO 100/metres). Supplied accessories include a diffusion dome, stand and padded soft case, all of which are of good quality.
As its Gn rating would imply, maximum output is a little more powerful than from the 430EX III-RT, but weaker than from the 600EX II-RT. TTL (Through The Lens) flash metering is usually accurate and consistent, both for direct flash and when using the flashgun in bounce mode.
Recycling after a flash is silent and pretty swift. In fact, recycling is virtually instantaneous at power settings of between 1/128 and 1/4. At half-power and full-power settings, recycling times are 1.1 and 2.3 seconds with NiMH batteries, or 1.3 and 4.2 with alkaline batteries. Battery life is about two-thirds that of the 430EX II-RT, ranging from around 115 to 800 shots on a set of four alkaline cells, depending on output power and how much you use the motorized bounce/swivel and zoom functions. Canon claims that, in practice, battery life is about equal when using both flashguns in bounce mode, as the 470EX-AI reduces the amount of trial and error.
In some ways, the 470EX-AI is a truly innovative flashgun. It’s particularly useful for beginners who are nervous about how to set the angle of the head manually for effective bounce flash. However, pointing the flash at a wall or ceiling isn’t exactly a difficult thing to do, and you don’t generally need to set the angle very precisely. It can actually be quicker to set the bounce angle manually, considering that the flashgun needs to fire a pre-flash pulse at the subject, then swivel towards the ceiling and fire a second pre-flash pulse, and then work out its bounce angle, every time you adopt a new shooting position.
Another sticking point is the price, especially in regions where the 470EX-AI costs more than Canon’s range-topping, pro-grade 600EX-II RT. The latter is much more powerful and sophisticated, includes full RF wireless communication and has better build quality along with weather-seals.
Ultimately, as clever as the 470EX-AI is, beginners who are tempted by its AI bounce facility might feel a bit odd spending considerably more on a flashgun than they did on their entry-level Canon DSLR and kit lens combination.
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Offering two sizes for the new backpacks, the PROTACTIC BP450 AW II is the larger of the two that can fit 15-inch laptops, whereas the slightly smaller BP350 AW II will fit up to a 13-inch laptop. Camera gear wise, the main difference is that the 350 II holds a pro camera with 24-70mm attached and the 450 II can do a pro camera with 70-200mm attached. Both will host eight additional lenses or flashes and an extra pro body. If that's not enough space, the ProTactic series has a range of SlipLock modular accessories to a attach to the outside of the backpack.
As an all-weather "AW" backpack, a built-in rain cover comes standard. There are four access points in the new version; the top, sides, and rear. People have specific preferences for these things and I think this adaptive design will cater to all of them. The top access is good for people who primarily use one camera and lens, the side access is for people who can't set down the bag to be grabbing gear, and the rear access is for people who like to see all their gear to decide how to approach their shooting environment.
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The Lowepro S&F Lens Exchange Case 100 and 200 AW
This Lowepro breakthrough design shown below lets you change out a lens with one hand. This case temporarily holds and separates two lenses as you detach the working lens and grab the second.
Technical Specifications:
Internal Dimensions: 11 x 11 x 17 cm (4.33 x 4.33 x 6.69 in)
External Dimensions: 14 x 14 x 19.5 cm (5.51 x 5.51 x 7.68 in)
Weight: 0.4 kg (0.88 lbs)
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Pictured below, built for speed, agility and flexibility, the Lowepro Toploader Pro 55, 70 and 75 AW II delivers a compact and fast-access solution to pros that work in the moment and want to wear their gear multiple ways.
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The compact Micro Trekker 200 backpack below (no longer sold) has a large front organizer pocket, customizable interior, weather flap, laminated mesh pockets, a removable waistbelt and SlipLock™ attachment loops to expand your carrying capacity.
SPECIFICATIONS:
Capacity:SLR with attached 70–200 mm f/2.8 lens (most makes) plus 3 more lenses or an additional body or a flash
(Interior):10.4 x 4.9 x 12.6 in./26.5 x 12.5 x 32 cm (width x depth x height)
(Exterior):11 x 8.5 x 14 in./28 x 21.5 x 35.5 cm (width x depth x height)
Outer fabric:water-resistant 600D TXP™ and 600D TXP™ ripstopWeight:2.31 lbs / 1.05 kg
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The Lowepro Fastpack series pictured below has been trusted to travel for years. The next-generation pack design includes enhanced protection with a built-in All Weather AW Cover™ and CradleFit™ device compartment, plus three, primary storage zones to help keep you organized and ready for the fast pace of modern travel.
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Lowepro DryZone 200 below, is the world’s first totally waterproof, soft-sided camera backpack. Even fully loaded, it floats, so your gear is always protected. The inner drypod with patented, waterproof TIZIP™ zipper provides 100% watertight protection.
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The Lowepro Nova Sport 35L AW pictured below is versatile, well organized and weather-protective, the Nova Sport 35L AW is the ideal photo enthusiast’s adventure bag that features a removable camera insert and space for a 13 inch laptop.
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This 1510 Pelican case below with PADDED DIVIDER SET, is the toughest and biggest FAA approved airline-legal carry-on case available. Complete with side handle, front handle and convenient extension handle, it is the perfect rolling travel companion. An added value to this case is the effortless release latch for the extension handle. Also, the padlock protectors provide added strength and extra security against cutting and theft.
Also includes standard Pelican case features like the water and dustproof neoprene o-ring seal, Automatic Purge Valve with Gore-Tex membrane, and easy open Double Throw latches. Lifetime Guaranteed. “You break it, we replace it…forever”.
This case comes with transport wheels.
This is the largest airline approved carry-on case we offer.
FAA maximum carry-on size, extended handle.
Color: Black
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The Oben AT-3565 is a slightly heavy duty tripod system, it is because it can support a much higher load. The tripod itself weighs just 3.75 lbs. which is good enough to be carried attached to a backpack for an extended period of time.
The legs of the Oben AT-3565 extends in 5 sections. When the central column is fully extended the working height of the tripod is 61.7″. When the central column is not extended, the maximum height of the tripod is 53.6″. Minimum height when the tripod is folded up is only 9.7″ just perfect for the purpose of carrying in your camera bag.
The tripod comes with the Oben BC-217T ball head. This ball head has an arca-type quick release plate feature. The camera is mounted on a ¼” – 20 thread design. There is a bubble level indicator on the head. That comes in handy when shooting over uneven terrain.
Speaking of uneven terrain, another feature of the Oben AT-3565 is its independent leg spread. The system has 3 leg positions and that is what gives you the ability to shoot on almost every type of surfaces. Take advantage of a wall to secure extra support. The legs lock into positon using a twist motion and therefore it is easy to set up.
The feet are retractable and spiked. Which means you have the option to set up your tripod legs even on the most slippery of surfaces as well on muddy ground without issues.
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The TT-15 Mark 2 Mini from Feisol is a lightweight and compact tripod capable of supporting up to 17.6 lb at a maximum height of 5.7". Each of the tripod's legs features three preset leg angles of 25, 50, & 75° for adjusting the tripod's height and balance. When each leg is set to the widest angle the tripod is capable of reaching a minimum height of just 2.1", suitable for low angle landscapes and macro photography.
The tripod is constructed from anodized aluminum to help prevent corrosion and carbon fiber legs to reduce overall weight. The aluminum base measures 1.2" in diameter and features a 1/4"-20 & 3/8"-16 mounting thread. When fully collapsed the tripod is just 6.3" in length and weighs just 6.4 oz, making it easy to carry. A carrying case is also included for additional protection during transport.
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The included quick-release plate has a retractable video pin, and attaches to your camera via its standard 1/4"-20 screw. With your camera attached to the quick-release plate, it easily snaps and locks into place on the ball head, and a safety lock on the release lever prevents it from being accidentally released.
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