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New Build it as you need it DSLR Slider System

2012-01-17T05:57:00.000-08:00

Z Slider - Bolt on camera slider drive kit

***Z Slider Kickstarter Launched! 6 Feb 2012 at http://www.kickstarter.com/projects/anthonyzeh/z-slider-system

** Update 3 Feb 2012 - Check out the Kickstarter page more to come for Monday's Launch! http://www.kickstarter.com/projects/anthonyzeh/z-slider-system

**UPDATE 31 Jan 2012 - Update images below with new Logo and black risers - Finishing video to get on Kickstarter this weekend!
*UPDATE 26 Jan 2012 - Kickstarter launch maybe pushed back a couple of days from the 1 Feb 2012 launch date. Final Version being completed with black risers, silver gears, and ZSS (Z Slider System)Logo. (Prototype version shown in video above.)

Kickstarter intro Video:

Z Slider - Bolt on camera slider drive kit from Z Photo Systems on Vimeo.

Z Slider is a new bolt on slide system for DSLR cameras. It’sin the final stages of development. How is this system different from others? It allows you to build a quality slider system at your own pace, at a price thatdoesn’t wipe out your wallet. You can start by purchasing an Igus w1080 slider systemwhich starts at $131 at Amazon for an almost 40” rail. If you order from Igus directlyyou can get up to a 70” rail (the longest they can ship via UPS). This gets youon the ground floor of having a slider system. The least expensive system onB&H for just a track of this length will run you about $400. (They plan on designing systems that connect to other Igus track configurations in the future.)

Z Slider System - Customizable, bolt on system to give Dynamic Motion to video.

When you are ready to upgrade to a drive system to have morecontrol over your camera motion, the Z Slider system will allow you to bolt on ahand crank system to your Igus rail. The goal of the system is to allow anupgrade for about $300-$350. This would put your slider system in at $430-480for a belt drive slider for your filming needs. The bolt on kit will include,the end blocks with hand crank and gears, legs for your slider, a new mountingplate for your camera head, pre-drilled with a 3/8” mounting screw for yourcamera head and the belt. They also will offer belts for different length tracks, but the 40”rail belt is standard. The bearingblocks and legs are all machined 6061 aluminum, fabricated in the US.

Hand Crank belt driven system with riser legs

Next when you are ready to upgrade again for about $50 youwill get a machined Aluminum motor mount with mounting hardware for a motor. ZSlider will not be supplying the motors, but they will point you to the motorstyle you will need for their mounting plate. The geared, high torque motorscost anywhere from $10 -$25. These motors are available in speed from .5 rpms on up, but no more than a 10 rpm motor would be needed. Then you will need to find a motor controller. Amotor controllers can cost anywhere from $30 to $250, depending on your needsfor either Film or Time lapse. On the low end, that’s a system for $550 for amotorized slider. (They may offer these items in the future, but they allow you to shop around for the best price.)

Shown with optional Motor mount

That is one of the least expensive systems, for acustomizable system, which you can afford to build one step at a time to yourneeds. Not a system that you have to but all at once. Not a system that limitsyou to only the company's own equipment, and it offers you flexibility. With this railsystem, you just bolt on to the pre-drilled Igus rail. Replace the slider platewith the new Z Slider plate with risers, and attach the belt and tighten thebelt tension unit and crank away.

On the inside track,Z Slider still working out the final phases of production. The plan is to make it available on Kickstarter to help in raising production cost, to make it available to the public. The Kickstarter campaign is set to start around the 15th of Feb. If you are interested in this system, help get it funded. You will be able to help by making contribution, for about $10, for which you will get a Z Slider lens cloth. For a bit more you will get a standard system. And you will be able to get an upgrade system with a motor mount, which will also be available. If this is not in your budget at the moment, but you would want this system down the road, think about the $10 donation to help them get into production.

Z Slider Lens cloth with every order.

Check back here for the KickStarter page, future updates, and any other information we can throw your way.

Book recommendations for the aspiring DSLR filmmaker

2011-12-06T15:51:00.000-08:00

Books to self educated about film, cinematography and DSLR's.

5 Books to check out if you are looking to learn cinematography techniques to build your creative eye or want to learn how to maximize you DSLR and the equipment you need to create great digital films.

I have been on a fast track trying to learn and grow my digital film abilities. I don't even want to say video, as this is looking forward to a cinematic look in what I want to create. A video is a straight shot with no adjustment to create a feel. These books can help that feel by showing how to work through the process and how to use your equipment to get what you want.

Filmmakers Eye: learning (and breaking) the rules of cinematic composition / Gustavo Mercado

This book details composition used in cinema based on shots from close up, medium, long, to canted emblematic, and abstract to name only a few. They then cover how to break the rules of all those shots. It also covers when to use things such as a steady cam, dolly, or crane to emphasis a scene.

Cinematography : theory and practice : image making for cinematographers and directors / Blain Brown

This book covers what you need to know as a cinematographer. Things like what lenses to use, exposure composition, lighting, color, to the elements of story structure. A great book to learn about visual language and visual storytelling. This book also covers many technical aspects of the camera and lighting.

DSLR Cinema : Crafting the Film Look with Video / Kurt Lancaster

This is a great book for the person just beginning to dive into Video/Film with a DSLR. This book was my starting point. It drops you into the pool covering composition, lighting, picture styles, audio, and even building you gear based on a budget. This book covers a lot of gear, but on the downside, in a year or so, with all that is changing, this could be outdated as it can be gear specific down to brands.

The Digital Filmmaking Handbook / Sonja Schenk and Ben Long

This book cover everything from writing and scheduling to planning a shoot, to editing gear and software into editing sound, creating titles and effects. This book is not software specific in regards to editing, but rather about techniques you can use to achieve a great look in your filmmaking. This book is also not camera driven in regards to just a DSLR. It covers a variety of video camera solutions.

From Still to Motion: A photographer's guide to creating video with your DLSR / James Ball

This book is great for those moving from a Photographer to a video roll. It is geared toward the photographer and the DSLR. The book is simple broken up into 5 parts: A new way to tell a story, Cinematic lighting, gearing up for motion and sound, post production, and creative explorations. The book seeks to show you how you to look differently at the situation from photography to achieve the goal of film. Since you are not lighting for a single moment in time, but rather a extended amount of time while things in your composition change.

I recommend checking these books out at your local library or bookstore to see what will fill your needs for moving to a better understanding of digital film. If you have other books you would recommend for film, video and cinematography, for those striving to expand their scope, please leave them on our comments.

DSLR Shoulder rig in action and Friction Follow Focus build

2011-12-06T14:25:00.000-08:00

Build a Friction Follow Focus

Had some request to see my rig in action, and what it looks like up on a shoulder. I have since added a follow focus and have a couple of additions coming up. I just ordered some carbon fiber rods to replace the fiberglass for a stiffer feel. Also adding a couple more sickspeed clamps to strengthen the connection from the camera mount to the shoulder mount. It holds up fine but I want to make it a bit more rigid.

DIY Shoulder Rig

Rig components include Canon 7D, Matte Box, LED light, Tascam DR-40, and Lilliput 668GL monitor. Shoulder rig build videos.

The build for the Friction follow focus was designed around the IKAN friction follow focus which runs about $199. Mine was about $50 at most.

Friction Follow Focus Build Video

Materials for the build:

4.5" piece of 1"x1/8" alum.

2" piece of 1" x1" alum bar.

(2) 1 7/8" banebot wheels

(2) 4mm banebot hubs

Hugo L 1:1 gearbox

(1) 1/4 - 20 thumb screw
SickSpeed Clamp (or some 15mm clamp if you have a real DSLR Rig)

Tools needed -

Drill and bits

small hacksaw

1/4 - 20 Thread Tap

Please leave comments or questions below. If you build your own rig, please share your link here! Thanks!

Tascam DR-40 a Zoom H4N alternative for less

2011-12-04T07:03:00.000-08:00

Tascam DR-40 Linear PCM Recorder

I am always looking for more affordable alternatives, if they can be found. I found one to the Zoom H4N, that suits me fine. The Tascam DR-40 is a great little Linear PCM recorder. Like the H4N the DR-40 has 24 bit quantization and 96kHz sampling frequency.

Tascam DR-40 Linear PCM Recorder

The DR-40 can be recorder to better than CD quality with WAV files down to MP3 file for longer recording times. Also like the H4N you can upgrade your card to 32GB for extended recording time. The DR-40 has a Lowcut filter to reduce any background noise from 80-120Hz.

Inputs for 1/4"phone and XLR cables

With inputs like the H4N you can plug in standard 1/4" phone connectors or XLR cables. I like this feature for weddings as I can just ask the DJ to plug into his mixing board to record anything happening from music to the speeches given by the best man. The DR-40 also offers phantom power if you need a little power running to an external mic you might plug in. I also like the X-Y and A-B stereo condenser mics which are similar to the H4N. They allow for recording of a single subject to a stereo sound.

Also like the H4N the Tascam has an auto record feature to allow you to record when signals are above a set levels, with auto pause feature and time marks.

I also like that you can record at two different levels at the same time to reduce for sound peaks. You can record a second channel at up to -12 db in Dual channel mode. If you are a musician and you have a choice between the H4N and the Tascam, I would say there are some more features for the Musician with the H4N. However I have found that using the recorder for Video and film work this unit fills all my needs in a digital linear PCM recorder. I am very happy with the quality of sound and the price tag of about $199 compared to that of the Zoom H4N at $299.

DIY DSLR Cage Rig

2011-10-14T10:50:00.000-07:00

My DIY DSLR Cage

I am building up my Video set up for filming and wanted to build a quality cage unit to hold my accessories like an LED light, Monitor, and mic with a matte box. I came across a build by Jarrod at Just Basl Productions. Originally I found it at CheesyCam.

I liked the design, so I decided to set out to build my own. I decided to go with an all-aluminum rig. It's a beefy unit that is very stable. I have it set to hold all my accessories, and my 7D. The unit is just a 1/4 lb heavier than Jarrod's redesign to lighten from his original unit. So the weight is about 6lbs. I could have shed some weight in my design, but I like the really solid feel.

I can go from a top hand hold position, to a side grip, to clicking it onto a tripod with no effort. The rig allows me to do low shots and see what I am filming with the monitor, and I can easily get to the chest level shot. In many cases, I will just pop it onto a tripod and film from there, but it offers easy switches of mobility. The unit was just under $90 with a $45 monfrotto slide plate. Without the monfrotto slide, the rig was only a $45 build.

I also can slide my camera from this rig to my DIY Shoulder Rig by releasing my monfrotto slide and sliding onto the one on my shoulder rig.

Monfrotto 357 slide release

Ebay Matte Box

If anyone wants the parts list, drop me a comment on my blog, and I will post it here. The build is pretty much like Jarrod's with modified parts. So you can check out his video at Vimeo for the how to build it section. I want to give credit where it is due. Thanks Jarrod for the great ideas.

I did add mini rails to his design so I could slide on a matte box. I don't currently have a high end matte box, but this works to cut the glare when working in sunny conditions like we have in Arizona.

Next DIY builds

- A Jib Crane
- Friction Follow Focus

$2 fix to secure your Wireless receivers to your monolights.

2011-10-09T22:27:00.000-07:00

Securing your Wireless receivers to your Monolights. I found this a quick easy fix for keeping dangling wireless units around my Monolights. I picked up several feet of ¼ / 20 all thread at home depot for $2. I cut the all thread to 6” pieces and threaded onto my wireless receivers. I have images which show them attached to a Pocket wizard and also a Cactus 5 transceiver. I then slid the all thread with the receivers attached into the umbrella holder on my Alien Bee units. This keeps them up, secure and clean looking. This won’t work if you are using umbrellas, but in most cases I am running softboxes or beauty dishes. So for my needs it’s a great and easy fix.

Pocket wizard with 6" 20 / 1/4" all thread

Pocket Wizard with all thread secured in umbrella holder

Cactus V5 Receiver with 6" 20 / 1/4" all thread

Cactus V5 Receiver with all thread secured in umbrella holder

Lilliput 668GL-70NP/H/Y 7" monitor review

2011-10-09T22:13:00.000-07:00

Not bad price for an HDMI monitor. I purchased this unit to go on my DIY DSLR video rig. I am finding also great for Still photography when I am composing through live view. I have good eye sight, but this makes it easy for highly accurate focusing and viewing everything in your scene. It also makes it much easier to see problems in your composition.

This unit came with the 7” monitor with HDMI input and composite inputs. It included a Li-ion battery, stand, hotshoe ball mount, remote, sun shade, and power cord. They also sent along an HDMI to HDMI mini to connect to my Canon 7D. This was not in the box, so I don’t know if you will get this from every company you order from. I ordered mine online from Amazon for $199 with free shipping and I got it in 3 days. I was pretty happy with the fast turn around.

Video

When I connect the unit to my tripod, I use a super clamp I have with an umbrella holder and the included ball joint. These are things I have, so I don’t have to spend $50+ on an Articulating Arm. This set up works fine for my needs.

DIY DSLR Shoulder Rig

2011-09-30T14:50:00.000-07:00

Fun DIY DSLR Shoulder Rig

*Build videos now available at Vimeo and YouTube (see end of article)
** Counter balance plate available for $15 + S&H
*** DIY Follow Focus now added see video here! Includes Follow Focus Build Video.

I came across a DIY rig, named the Johan plug wire clamp rig. This was a setup I liked because it gave a feel of a true system at a cost effective price. You do compromise the standard 60mm clamps systems with 15mm carbon fiber, but you do get a usable rig for a fraction of the cost. I used red billet Wire clamps from E-bay made by SickSpeed. It required 8 sets and was probably the most expensive part of the build with an exception of the Monfrotto release plate. I also upgraded the system with a variable counterweight system, an added focusing clamp, and inexpensive matte box (doesn't except filters) more for cutting glare. the 9.5mm rods are fiberglass tent poles which I bought two sets. I am thinking of upgrading to solid aluminum, or carbon fiber which I found wasn't all that expensive. Another rigs at the Cheesy Cam blog.

Video with equipment explaination

This was a fun little project, and suits my needs, until I am making the big bucks with video. But since I am not doing much video, at the moment, it does well. I have since added a 160 LED light to the rig and a Lilliput 7" monitor which you can see in the video, as well as a second focusing clamp to the zoom control on the lens.

Rig with Monfrott release plate, clamp on focus ring, matte box, and Hoodman loupe.

The focusing ring clamp is available in two sizes from ZehBounce.com upon request. A good and inexpensive alternative to a follow focus system. Email them and they will send you a link to their Clamp. Comment if you have questions about the build or parts.

Parts:
2 (12 piece sets) SickSpeed clamps - $60 Ebay
2 sets 9.5 tent poles - $18 dept store or sporting goods store
357 Monfrotto release $45 b&h
Misc. hardware $8 home depot (2 - 5m/40mm screws and 2 - 5m/25mm screws + 6 - 5m locking nuts)
Matte Box $35 Ebay - **this only fit about a 72mm lens
Weights $6 (custom welded holder) sporting goods store
Focusing ring $10 Zehbouce,com (special request)
padded shoulder support $3 (Custom fabricated)

(Lilliput 7" monitor $199, 160 LED dimmable light $50)

total about $185

$2,231 with 7d, rode mic, hoodman loupe, and a 16gb Cf card. Roughly the price of just a pro rig, but with this one you get the camera!

Build videos available at Vimeo and YouTube. 4 videos for the entire build.

Build Video #1

Build Video #2

Build Video #3

Build Video #4

(New Updated Shoulder Rest)

Counter weight system is available for this rig for those who do not have access to a welder. Each unit is hand built. and comes with a securing clamp for the weights. Weights are not included. Price $15 + S&H - USA only. Click the Buy Now button to purchase!

Note: This is for a DIY rig with 9.5mm rails. will not fit 15mm rails.

Vagabond Mini Lithium - A great little power pack.

2011-08-06T08:51:00.000-07:00

Vagabond Mini with Alien Bee 1600 Recycle Test

Ever think about taking your studio strobes on the go? The Vagabond Mini Lithium power pack by Paul C Buff is a great way to go. This unit packs a punch of power at only about 3lbs. I received this unit before I got my Alien Bee 1600 strobes, so my first test was with a couple of Adorama 620 Flashpoint II units. The unit responded well. When I got my Alien Bee 1600 I did a more controlled test. (see video for A/C vs. Vagabond Mini Power Supply.)

The average recycle time is about double that of direct AC power, but for a 3lb portable power supply, I think it’s a great choice. The old standard Vagabond was about 18 Lbs. That is a 15 lbs weight saving. And though it only has two outlets, you can power up to three units with a power strip. I saw were on was testing with four units, but I think 3 would be the max I would push on this unit.

What you see on the front of the unit is a Power switch flanked by two 120 V Outlets. There is a battery indicator with three lights indicating ¼, ½ and ¾ + power. The unit also has a 5v USB power supply for cell phones and such, but will not charge an iPad. The unit has a 30A flat fuse which replacements could be picked up at your local auto parts store.

It also has a clamp on the bottom of the unit to attach it to a light stand. The clamp will not hold the unit where ever you clamp it. It will slide down to the next stop on your light stand. I usually attach my unit to the lowest section and allow it to rest where the three legs come together on the light stand.

These units are well-built and made in the USA. The Batteries come from China and are exchangeable for extended use. The Vagabond Mini Unit runs about $240, Extra Battery is
about $ 90, and a carrying case is about $15.

Video of Vagabond Mini Power pack in Buff Bag with spare battery.

Video of recycle comparison of Vagabond Mini Lithium power pack vs. A/C power. Great little unit for portability.

DIY Adapter for Adorama Flashpoint II light Modifiers to Alien Bees

2011-08-06T08:22:00.000-07:00

OK, this is a simple modification to attach Flashpoint II light modifiers to a Alien Bee. You may ask why? Well my first studio strobes were Flash point 620 units, as I hadn't discovered Alien bees. The flashpoint did me well, but I had one unit burn out. They are a little bulky which I did a lot of location shoots an they were kind of a pain to lug around. So I decided to upgrade to Alien Bee 1600, which are 1/2 the size and twice as powerful. Though I can get speed rings to use my softboxes, I still had a beauty dish and snoot which I couldn't use. So I thought I would go and seek out a DIY solution to connect the two. I was lucky to find just the right fix. See the Video to view the Adapter.

What was needed.
1 NDS 4" adapter (Found in the irrigation isle at Home Depot) $2.50
1/4" hard board or MDF $2.50

Tools
Utility Knife
5" Hole Saw
3 1/2" Hole Saw
Glue to connect wood ring to 4" adapter

Cheap Nodal Rail Alternative for Panoramic Photography

2011-08-03T21:04:00.000-07:00

Fotomate - Pro panoramic images on the Cheap for beginners.

As one who teaches workshops on Panoramic photography, I am always looking for alternatives for people who can't afford a $350 Panoramic system like a Nodal Ninja. I have been looking at Nodal Rails by a couple of companies as alternatives to a complete system and have found two; however, both are still out of the affordable range. The Kirk is running at about $110 and the Acratect for $199. Then I came across a Macro rail for focusing in Macro Photography. And it hit me this was an inexpensive solution for Landscape Panoramic images. I knew it would be limited; although it would work for people beginning to explore Panoramic photography.

**If you are unfamiliar with no Parallax point or what many call the nodal point see the video below. The reason to set your camera up for this is to help the Panoramic software, stitch your images seamlessly. If you don't, often you can get errors, especially in large complex images. This setup will help in getting that seamless 360 degree (horizontal) image. For 360 degree (spherical type) Panoramic images you will need a system similar to a Nodal Ninja.

The Fotomate Macro Rail works well to adjust for your No Parallax point, also know by many as the Nodal point, though that terminology is being pushed away by Pros as they are not the same thing. By mounting your camera to the macro rail you can easily adjust for the No Parallax point with a turn of an adjustment screw. This $20 unit is actually easier to dial in than my Nodal Ninja system, which was about $350. Granted I have a great deal of flexibility with my more expensive system, however there are many times I shoot in landscape and can easily get away with the easier set up of the rail system. The video below shows how to set up the rail for the No parallax point. It should work fine with most wide angle to short telephoto lenses. I recommend shooting Panoramic images with either a ultra wide angle or preferred normal lens, like a 50mm on a full frame camera or about a 35mm on a cropped sensor. Above the rail is shown with my 10-22mm on a 40D. Works great with my 7D as well.

The Fotomate Macro Rail can be found on e-bay. I got my for under $20 with shipping included. This unit is really well made. All metal, with metal thumb screws. Solid and no plastic parts. The side facing away in the above shot has two thumb screws, one for adjusting, and another to lock the cameras position. The side of the rail shown above, has measured increments which you could use to easily reset you camera, the next time you are out shooting. Just make sure you find the No parallax point for each lens you use and if you use a different camera body check those too. Also always level you camera before shooting Panoramic images as you will end up cropping out a great deal if your camera shoots on a downward or upward angle.

Yongnuo YN560 (a speedlight worth a look)

2011-07-08T07:36:00.000-07:00

Yongnuo YN560

With waiting on the release of YN565, I needed to get my hands on a couple speedlights. So I purchased the Yongnuo YN560. This is not an ETTL-flash, and if you don’t mind some manual adjustment, these are nice flashes. When I received them, I was rather impressed by the quality. Solid unit, heavy feel, and doesn’t look cheap. I found mine online for about $63. Now I would have loved to get a few 580ex II, but that was out of my range. I also picked up external battery packs for $20, to allow for extended use. Now the Canon setup which I have 1, costs about $650 with Flash and battery pack. The Yonhnuo set up cost me $103 with 2700mAh NiMH rechargeable batteries.

Now that I have used them a bit, I like how they work. I plug them into pocket wizards I already own and have no problem shooting at different angles from the flash. They optical trigger works just fine, but for me, I like to know I don’t have to deal with any line of sight issues. So if you don’t have a wireless trigger system, you just need to make sure you have some line of sight to the sensors.

I do like the manual system. It really puts the ball completely in your game. You have to be aware of everything. With the ETTL system, you get the balance light, and though you can make adjustments, I think getting the full understanding of your equipment, only makes you a better photographer. If you end up in a situation where you get stuck on a manual system, you will have little adjusting to it.

Now the main question I had is, how does it compare to a 580ex? Well, sadly it doesn’t quite have the punch of the 580, but it still is a powerful flash, definitely more power than the 430ex. The YN560 will mount accessories designed for the 580ex like an omni-bounce The. power packs are interchangeable, and it has a pc port for trigger. The recycle time on the YN560 flash is actually a hair faster than my 580ex. I was quite impressed with the recycle time and pushing the flash a bit to see how it could handle it.

I have used the flashes both on camera and off. I would recommend the YN560 for those on a budget. I am guessing the New YN565, when released, will be a close comparison to the 580EX II with digital display, and trigger with camera’s like the 7D building trigger function. However, I am sure the price tag on the new YN565 will run a bit higher. I have seen a price range of $150-$250 for the upcoming YN565. So if you are in the market for an inexpensive, but dependable flash look at the YN560.

Hugin Panoramic Software (Freeware Review)

2011-07-07T09:59:00.000-07:00

Hugin Panoramic Software

I have been doing panoramic images for sometime mainly in HDR. The two softwares I have had access to have been AutoPano and PTGui. Both have their advantages. However, this is not so much about those softwares for creating panoramic images. As someone who teaches a variety of workshops, including that for panoramic photography, I thought I should sample software which students could get for free, as with the current economic conditions don’t allow for many to purchase a lot of software. So in my search I came across Hugin Panoramic software.

If you are familiar with PTGui, Hugin is not a long stretch to learn. The interface looks very similar. It’s as simple as selecting your images, entering the focal length, and the crop factor of your camera. Click align, then create panoramic. Granted, this is if your images have the detail to create control points, which will easily connect the images. If not you will have to go through and add control points. This was, in my opinion, easier than the PTGui interface, and quite straight forward. After you have them aligned you can go to the output to let Hugin know what you are looking for, like a Tiff or Jpg or HDR (which needs work).

Most of my Panoramic images are in HDR. I did have a host of issues, which have never really been a problem with PTGui. I just found I had to process them differently. In PTGui, I stitch together all my HDR images then I tonemap the entire Panoramic. I found the software just kept giving me errors and with no result. So I decided to tonemap the individual images with the same settings then went to PTGui to stitch the Tonemapped Tiff together. Finally, after several hours of not getting anywhere stitching HDR images, this method worked, despite what the software was said to be capable of. It did a fairly good job, just on area in my Panoramic was a little ghosting. I figure with a little more time in making adjustments to the area with the ghosting to check the control points, I might have been able to fix it.

For free software, Hugin works fairly well and is very close in style to PTGui. If you started out with Hugin, and you found that you wanted to upgrade to a $220 software because you become a panoramic photographer, the learning curve is small. If you were to switch to something like AutoPano, the software is a bit different in the interface. I did use the 64 bit version of Hugin, as the 32 bit crashed pretty quickly. However, I was pushing it with large HDR images, which didn’t have the best contrast. After the images were tonemapped for HDR the software has an easy time finding control points.

You have to play with the software to get a feel for it, but I would definitely recommend it for those who want to save on Panoramic software. I will be making sure all my workshop students use it if they don’t have access to PTGui or AutoPano. I will be reviewing some Free HDR software soon for other workshops I create. As I know software accessibility for some is very limited. I have been finding open source software, which I have been very impressed by. If you have recommendations for any open source software, please leave a comment.

Furthermore, I would like to let people know who teach workshops, that there is a brand-new website for posting creative workshops. They are giving away free posting to the first 50 people that contact them directly then they offer a trial of $10 for 6 months which then goes to $15 per month to continue to post. They are looking to build their workshop listing as it is a brand-new site. I paid the $10 for six months to help pay for the work for them to post. I believe in Donating to a good thing, including Open source software. It can take up to 48 hours to post your workshop, but the great thing is, they don’t take a cut of what you charge for a workshop. I have done tutoring, where the tutoring company takes 40%, ouch! Check them out at ArtsAZ.com. If your cities is not listed, they will add it.

Yongnuo Flashes and the New YN565EX TTL

2011-05-13T10:46:00.000-07:00

If you are unfamiliar with Yongnuo Flashes and Photographic equipment, they are a manufacturer of less expensive alternatives to some of your higher name brands like Nikon and Canon. I sometimes look for alternative when I don’t have the funds to purchase the top end equipment, which is often. I was turned on to Yongnuo when doing an interview with David McCourt, photographer and the creator of Slow Photography. He always looks for less expensive alternatives to create his photographic work. Though on a budget, David always seems to photograph beautiful work. So, sometimes you can get the results you want on the cheap. It’s just a matter of knowing your equipment and how to get the most out of it.

Most of the reviews I have read about Yongnuo, have been relatively positive. Except for a couple of people who have had a problem with some equipment they received, it seems most that had the faulty piece of equipment had it replaced with satisfaction. Many say that the build quality is not quite that of say name brand Canon or Nikon, but still worth the cost. Mainly, because the savings are so great. If you are looking to build a strobe setup, you can do it relatively cheap getting two strobes with wireless transmitters for the cost of one Canon 580ex II.

They will be releasing a new flash, according to the people at Yong Nuo Photographic, sometime in July 2011. (***FINALLY RELEASED - SEE LINK AT BOTTOM) Most reports I have seen have been May, but in a recent correspondence with the company in China, they said around July. The YN565EX TTL flash is probably the closest thing to a Canon 580EX II. It has a plug in for external power and a pc cord and an LED display similar to the 580EX. It is also supposed to work with the 7D’s built in flash control. I think this will be the first brand outside of Canon to do this. I hear the build quality is decent, but I don’t think it will still be to the level of the Canon’s. However, the cost for what is speculating will be somewhere between $150-$250. I know that is quite the range but compared to the 580ex’s price tag of $460, it’s a bargain. You can find many of their products on amazon by doing a search for Yongnuo. Even so, go to the Yongnuo website to see all their products, and if you see something you like you can search the net for a seller.

If you have any experience with the Yongnuo product line, please leave a comment on your experience. I may be getting one of their flashes to see for myself how these stack up. So you may see an extended or separate blog on this.

**Update: Added a post about the Yongnuo YN560 (a speedlight worth a look) for a decent flash on a budget (about $65).

***UPDATE: 13 Aug 2011 - Yongnuo YN565EX Available for 179.95 at Ebay - Link

Zeh Bounce hits the UK in the April Edition of Digital Photo Magazine

2011-05-10T08:19:00.000-07:00

April 2011

With Digital Photo Magazine's (UK) recent article on How to use your Flash, I am happy to see the popularity of the Zeh Bounce grow. They cover some different techniques, and they feature the Zeh Bounce in their section about using a bounce for lighting. It has also had a surge in places like Europe, especially Norway, which I guess does well due to many people living in smaller spaces. I am guessing more what in America would be considered apartment or condo style living accommodations. In smaller spaces such as an apartment or a house, this can be an ideal piece of lighting equipment.

"How to use Flash" article with Zeh Bounce. (Click image to read.)

Why to use something like a Zeh Flash Bounce? Some of the best lighting I can get is with the camera's pop up flash. Not to say this is any sort of replacement for a studio strobe kit and gobos and such. However, where this comes into a great situation is in smaller environments. The Zeh Bounce is well geared to being used for things like family shots at family gatherings, or hanging out with friends on the weekend. This is where I found the bounce was great to have.

Click to see larger image

When hanging with friends I like to bring my camera, but I am not always wanting to carry a ton of gear. I usually grab one lens, my camera body and that's it. I will grab and slip the bounce into my back pocket, and I am off. When I get to a friend's house, I can easily shoot really nice lit images. I was at a small party with some friends down from Seattle, that had brought their daughter with them. She is so adorable I had to get shots of her. And as children do, she was running around and wondering the house, and I would occasionally grab a shot of her. These shots in the hallway were completely lit with my pop-up flash and a Zeh bounce. The hallway was dark with all the lights off, but my flash filled the area. The flash lighting cast all around her, giving a nice even lighting. Now if I shot her with direct flash she would have been blown out. The great thing is these images are as they were shot, no post production work, such a exposure adjustments or color enhancing. They are as they came out of the camera.

all images©A. Zeh 2011

I also find I like the image quality much better when the subject is surrounded by the light rather than direct lighting due to the more natural feel. There is always a place for directly lighting your subject when you want to shape your subject or add a special drama, but sometimes you want a nice even lighting, and the bounce can achieve this. As with everything though, your environment will dictate what you need to light your subject matter with. However, if I know I am headed to someone's house to hang, I know in most indoor conditions, I can use my bounce to get a great shot. Unless they live in a mansion with 20 ft ceilings (but then I will try bouncing the light off a wall rather than a ceiling).

Now if you are in a pinch you don't have a Zeh Bounce, you can grab a paper plate or a piece of paper to achieve the same effect. However, the reason to have the bounce was to have both hands free to control the camera quickly. Rather than holding a piece of paper in front of the flash, hoping I am directing the light ok while still adjusting the camera for the final shot. When you see a shot and only have a moment take it, the attached bounce makes for a quick photo. You have much less time involved in composing those candid shots.

Digital Photo Article (Click image to read)

So for a quick and inexpensive lighting solution, which allows you to forgo the extra pound of external flash, or if you just don't have $200-$500 to drop on an external flash, this might be a nice solution. The Zeh Bounce, for $10 is a cheap solution. I have also tried translucent diffusers for the pop-up flash, but the seem to still let too much light through and give a bit of harsh light, which doesn't have a natural feel. They definitely have a place but bounce light has some of the most natural feel. So if you are shooting indoors in an environment like a home, think about bouncing your light. The Zeh Bounce available for Canon, Nikon and Sony. Also if you have never checked out the UK's Digital Photo Magazine, it's on of my favorite Photo magazines with great How to's for photography and Photoshop, and gear reviews. You can often find it a Barnes and Noble or save $3 and find it at your local Costco.

Should you convert your Camera to Infrared?

2011-05-08T12:24:00.000-07:00

Infrared images are stunning but is it worth the cost?

Should you convert your Camera to Infrared? Are you willing to give up a camera only to shoot infrared with? This is the question I asked myself. For me the answer came a little easier than most who ask this question. I have in the past purchased novelty lenses and other things that I thought were cool and fun. Now I have a shelf of these things collecting dust because that novelty wore off. Unfortunately, it wore off fast and the money spent, feels rather wasted. I now (try to) take a long look at the purchases I make, which could be considered a novelty item. I am a person who really doesn’t like to half ass things. So if I have an idea, I try to follow through not cheating it, for the authenticity sake. Like you can make infrared looking images in Photoshop; however, for me that’s not good enough. Not to say it isn’t for someone else. I just want to go the distance when I create an image I am looking for. This may be the process oriented sculpture back ground I come from. However, as a person who does HDR photography, I like the process. However, now they make it so easy, and you can get that HDR look with a simple filter. I don’t think they look as good as an image with 7, 5 or just 3 exposures, but for many it works.

Anyway what are the advantages to converting to infrared? Basically, I liked the idea I could shoot at 1/200 of a second, rather than a long exposure if I wanted to shoot infrared at a wedding. I will say having people to hold still for a long time sucks. However, I don’t do wedding photography. So I guess that really doesn’t apply. I do like however, to take photos without a tripod. I do like to see what I am shooting through the viewfinder and these are things you can’t do easily if you are shooting with an infrared filter on your camera’s lens. However, to convert a $1000 camera and spend another $350 to convert that camera to only infrared, is a tall order. Like I said for me the answer was a bit easier. I would have liked to convert my 20D rather than my 40D (which I wanted to use as a backup), but somehow, I got a little speck of dust under my UV Filter on my sensor. How this happened, I have no idea. Nevertheless, after a cleaning from Canon, which I really didn’t need, as I knew where the dust speck was. They finally gave me a quote of $650 to fix the dust problem. So I called around getting quotes to fix, and I found if I converted the camera to infrared, they would clean it out anyway. Like I said, it was easier for me.

How often do I shoot infrared though? Well, most of my professional work never would use infrared. Even so, I like to be in the outdoors. So when I go camping or hiking, I always try to take this camera with me. I generally carry two bodies. The down side is that I live in Arizona. The best images I get are on cloud covered days with lots of green like trees, not something very abundant in Arizona. In Arizona, we have sunny cloudless skies and very little to reflect the infrared like large green trees. It’s a giant dust bowl and what green there is, would be in the way of a vast golf course, which don’t’ interest me. Or, cacti which after 18 years of cactus, I personally am sick of them. So where you are located, infrared may be ideal and maybe not. This is something to take note of. Also if you have too much cloud cover, you will lose the quality of your infrared, which means your intensity will be lost. You need the perfect clouds. There are places that this would be perfect, but you have to have the right combination. All things to consider before that purchase of a conversion. You have to ask, will this be a common style for you or a fad?

Where to get your conversion? Well, after you finally decide if it’s worth the cost, then you need to shop. Well, I know most people go to Life Pixel, and I haven’t really heard anything bad about them. I chose LeZot Camera repair out of Vermont. I love the Maple syrup from Vermont. Ok that wasn’t why I chose them. It was how helpful they were when I was talking to them. They weren’t even trying to sell me the conversion. I was actually seeing if they could do the original repair, which would have only cost $250. That was much better than the $650 at Canon. I had been thinking about doing a conversion for some time and since it was necessary to fix my 40D, I figured it was better to just spend $100 more and get the conversion. The best part for me is, I really enjoy doing the infrared. I have always liked black and white photography, and it brings me very close to that with an extra kick I like. So for me, I am finding it not so much a novelty. (Review of LeZot)

Be prepared, you will have to learn how to convert your images as they don’t come out of the camera, like you see them pictured. The images come out usually red, and you have to spend time processing them. You could shoot in black and white mode, but then you lose some of the great quality of an infrared. So if you don’t like all the Photoshop work, you may be better off with that quick Photoshop filter, like doing the “HDR” look. This technique is for process oriented photographers. I guess that’s why I like infrared. It’s not for everyone. Unless you have patience, it might not be for you.

Food Photography with Penny De Los Santo - Another Free Webinar

2011-05-06T08:34:00.000-07:00

Ok, I always seem to get this out as it happens. I thought this week I would post it early, so people who would like to see a free weekend Seminar on food photography can catch it. I am a big fan of Photographer Chase Jarvis and his brain child CreativeLIVE. They have Free weekend webinars, where you can learn so much from industry pros. I have learned so much on different topics which I have had an interest in and have never explored. Furthermore, as a self taught photographer you can miss effects along the way, and these Webinars have filled in the gaps for me. All of these webinars are free. You can purchase the weekend webinar which allows you to download the full three days so you can review it repeatedly. I have purchased two myself as I wanted to get the full three days, but couldn't sit through them as I had prior obligations. However, I can pull them up anytime I want. If you do end up purchasing a webinar, do it before the actual one end if you can as it will save you $50.

May 13 begins the latest one Food Photography with Penny De Los Santo s. Another Webinar I think would be fascinating. I personally have wanted to do food photography as I and most people have a complete love for food. These webinars, go through the how to, tip and tricks, and what to know when you are doing the photography of food. If you already do some food photography, this may give you other great ideas and perspectives you haven't thought of.

If anything, I think Photographers should make contact with the CreativeLIVE site, so that they can get free educational courses, on things that may interest them. They always have something new and interesting coming up, and if you are like me, a person who loves to learn. This may just be for you.

Click here for the CreativeLIVE Calendar for future free Webinars.

Shooting that 8x10 format on your 7D

2011-04-30T13:30:00.000-07:00

Ever thought how much easier it would be if you could just have a sensor shaped like a 8x10 or similar format? Well not really, but if you are shooting images which you plan to crop for a 8x10 print, take the time to use the provided grid in your 7D's viewfinder. It will help get your images, so you won't lose information on the cropping end. If you are using Lightroom, and you want to crop a bunch of images to 8x10, and you use this grid to line up you composed shot, then you can synchronize the Crop throughout your images.

In the image shown, we have Charlie centered just in between the top Black line and bottom black line of the grid you would see in your viewfinder. If you can keep your composition within those lines you will have a little extra for the top and bottom for crop adjustment. This would hold true to be left and right in a landscape shot. The red lines represent the 8x10 format. This set up will also help you get formats such as 4x5, and 16x20. If you are like me and like to frame with Mats on the cheap, you need to crop your images to standard sizes. You can have your mat cut to any shape you want. However, to save yourself time and money, just take advantage of the grid in the 7D. Before, I really thought about how the grid in my viewfinder related to an 8x10 shot, I ended up cropping out stuff I wanted, or had to remove things I didn't want in post production. Keep life simple. Get it right in the shot the first time.

Any other Cameras with the Grid? My 40D which was the camera I had before my current Canon 7D does not have the grid. Not sure which other Canons have this feature, and not sure about other Brands that do. If people have a Nikon, Sony or whatever with this feature, how does your grid relate to an 8x10 image? We would love you to post, if your camera has this feature and how it works for you.

Foundations of a Working Photographer with Zack Arias - Another great CreativeLive Webinar.

2011-04-29T16:39:00.000-07:00

I have now watched most of the first of three days of this great webinar. I have been shooting for 10 years and never really had any Photo classes. Yes, self taught. However, as a self taught, we get selective on what we read and sometimes miss those important technical aspects that they may cover in a College Photography class, but really don't know if they do. Zack brings all your fuzziness around most aspects of Photography into a focused view. Day one is knowing your Camera, your Lens and Subject. I have clarified things I was a bit unsure of, but you don't think about until you are in the moment.

If you have a chance catch the next two days. If you miss the free webinar, they offer a download after it's complete for $149.00. However, if you wanted to know all the important aspects of Photography, and you didn't want to sit through a whole semester of classes, then this is for you. And it would be cheaper than that class at the local university. Check it out and if not check out the next Free CreativeLive Webinar!

He really doesn't come across like he does in this Video Trailer. Actually very down to Earth.

Zack's Blog: http://www.zarias.com/

Zack's Website: http://zackarias.com/

Zack's Workshops: http://zackarias.com/workshop/

CreativeLIVE Webinar (FREE): tomorrow 10-5 (Saturday April 30 & Sunday May 1 )

Professional Portrait Retouching Techniques for Photographers using Photoshop

2011-04-28T17:43:00.000-07:00

Scott Kelby has come out with another book for Photoshop - yet this is probably his best for Portrait Photographers and Retouching. This book covers everything you need to make your images stellar. If you are looking to do any one thing in retouching your portraits, this book is laid out to find a solution and to do it quickly. If you want to brighten the eyes, see Chapter 1 pg 24. Each chapter is a portion of your portraits: Chapter 1 -Eyes, Chapter 2- skin, chapter 3 Face (sculpting) Chapter 4 - Hair, Chapter 5 Lips, Chapter 6 Body shaping. You can find it all quickly. And the final Chapter is how to set up 5, 15, and 30 minutes retouch sessions to move through many images quickly, depending on what you need to get done.

Being a NAPP member (National Association of Photoshop Professionals) I got to catch the hour webinar on the book and some of the techniques in the book. This clued me into some things to go further with my images without spending the time. The book retails for 49.99, but as a NAPP member it was only $28. I have seen it online for 30 something. I say this is the best book I have purchased in my library of Photoshop books. If you are not Photographing people, then don't get this book, but if you are and want people to look their best, do!

Though not required, they recommend using a tablet. I have had a tablet for years, and use it on and off. I have been recently been doing a lot of corporate photo sessions and find myself using most of the time., as you have so much more control. They recommend a Wacom Intuos 4 Medium for photographers. This is a great unit with quick buttons to get through tools you use a lot.

Another great thing is they give some great tips in this book that are so true. Like just the fact that we often tend to tune things out when we photograph, but they all pop out when we look at the images back on our computer. Makes me take a little more time to set up shots. And also tell how you never show people their before picture, after you retouch their image and why. (I have experienced this first hand)

So I recommend checking out the book. If you are not a NAPP member, I recommend becoming one, as it's a wealth of information. As a member you get a subscription to Photoshop User, and I believe they are giving this book to people joining NAPP for free, for the time being. Use promo code RETOUCHBK online or by phone. Click on the NAPP link on the right to get your subscription.

The Photographer - A Snap Shot of David McCourt

2011-04-28T07:24:00.000-07:00

I came across David McCourt's work while reading about his Slow Photography Camera on another website. After doing a little research, I found David's photo work and liked his style. I thought people should get to know a little more about the man behind the Slow Photography Camera, which he is starting to make a name for himself. So I decided to contact David to let him know I was posting another blog on his Slow Photography Camera, but to also point out his photography work. He had a number of images that drew me in with his ominous style. After chatting back and forth with this Scotland based photographer, he was happy to give me a little more insight into his work, back ground and the equipment he uses. I see a lot of talent out there, but most you just see the end product. I like to get into the person behind the camera.

TZ: David I know you are making a name of yourself through your Slow Photography Camera, but you are a talented photographer too. Did you go to school for design or photography, and where did you go?

DM: I have studied product design for the past 5 years, first of all at The Glasgow Metropolitan College for 2 years and then at Duncan of Jordanston College of Art and Design, University of Dundee. I never picked up a 'real' camera until about 2 years ago, but it just seems like photography and product design go hand in hand with one another, so I bought my first camera and taught myself everything I know.

TZ: What influenced moved you into your career field?:

DM: I've always been a total gadget geek, with a tip of the cap to art and design. Studying product design, first at school and then higher education felt like the right move. As for that first influential 'spark', I can honestly say I've no idea where it came from. I just had a knack for concept development. If anything, I've been more influenced to STAY in the field as the years of education have gone by. I always work closely with other great designers in my class, bouncing ideas off of one another. I've had several brilliant lecturers and some esteemed mentors to boot. Dr. Jon Rogers, head of Product Design and Pete Thomas my year head at Dundee are possibly the smartest men I've ever met.

TZ: In your photography, what excites you or what do you gravitate in photographing?

DM: I get a lot of influence from books that I've read or movies that I have seen. I done a whole photography project based on 'American Psycho' by Brett Easton Ellis. I love picking movies or photo-set ups apart and figuring out just how they done it.
You might notice that the majority of my work is quite dark, and if not dark, very moody and ominous. I'm a bit of a horror fanboy, so keep your eyes peeled for even more dark shoots!

TZ: Is there a type of photography you wouldn’t do and why?

DM: One of my best friends is a very talented lifestyle photographer who visits families and takes lovely family photos; candid shots of parent's children etc. I just don't see myself in his shoes, but I appreciate the fact that he has the patience to do those kind of shots. Maybe he's just more friendly than I am.

TZ: How would you describe your own style?

DM: I've been asked this a lot lately... it's hard not to sound like a pretentious moron when answering, but I don't think that is avoidable. I like to think I incite a lot of drama and ominous overtones in my photography: I'm an ominous photographer. Don't mess with me, I have a big heavy Manfrotto!

TZ: How does your design influence your Photography and vice versa?

DM: Having trained as a Product Designer, I think I take in to consideration all the little details more than your average photographer would. I was a designer before I was a photographer, and taught myself how to use Photoshop (my earliest package was Photoshop 6, those were the days!). This aids both my design and my photography obviously. As for photography influencing my design work, it's quite apparent: I love photography, therefore I design for the art. It gives me the most pleasure being able to use my design outcomes in something that I am very passionate about.

TZ: What type of Camera(s) do use, what are your favorite lenses to use, What do you use for lighting when you do a shoot?

DM: I do things on the cheap. I have a second hand Canon 30D which has served me very well. I use Canon's 50mm f/1.8 MKII for the majority of things along with Sigma's 10-20 f/4-5.6. The Sigma is my newest lens and I can't wait to use it more often. It's a monster of a thing and sharp as a pin (something that the 30D can sometimes struggle with).
As for lighting, like I said, I do things on the cheap. I have two Yongnuo YN640 Speedlites which I trigger with YN CTR-301Ps. I know guys who own Canon 430/580 Speedlites and have no idea how to use them correctly. The good thing about the Yongnuo brand is that they are pretty much fully manual. You need to teach yourself metering and all the little nuances that come with portable lighting.
When lighting a shoot on location, I'll use beauty dishes, shoot through/bounce umbrellas and softboxes, all of which have been modded to fit my speedlites.

TZ: Since you are a Designer are you a DIY’er with some of your photo equipment and what have you built for yourself.

DM: This is possibly my favourite part of lighting set up; making your own kit. It's very easy to buy all the equipment you need off of eBay, but from my experience, it doesn't bloody fit!
I've made two beauty dishes that work great even at nighttime. On top of that, as I mentioned I've modded pretty much all of my lighting kit to my own specification. I've even created new kit for certain shoots because I knew that I would have had to. Lighting is so important when shooting bands or artists, and no two band shoot will be the same or even similar. That's why customisation is important. You wouldn't keep your camera setting the same for every photoshoot you do, so why keep your lighting rig the same?

TZ: How did the Slow Photography project come about and what are your intentions for it?

DM: I was exploring the relationship between analogue and digital photography in our modern digital climate. At first, I thought that analogue was a dying art that only the purists payed heed to. But after extensive research, talking to photographers from all corners of the world and immersing myself in darkroom photography, I soon found out how much joy analogue photography has to offer.
With this in mind, I took in to consideration the processes and methods that analogue photography birthed, that digital photography has adopted. Composition, framing, the film output, aligning shots in TLR camera format, gauging light... all of these things could be applied to digital photography. All of these methods can be applied to digital photography on your mobile phone. Why not?

People, especially young people, are being exposed to the world of photography via the camera built in to their mobile phone. While this is not a bad thing (the iPhone has become the second most used camera in the community of Flickr), the traditional processes and practice are being forgotten in lieu of applications such as 'Hipstamatic' doing them all for you.
The point I raise with my Slow Photography camera is that there is a definite mid-point between taking photographs on your iPhone or mobile phone (and calling yourself a photographer) and using a professional grade DSLR. The Slow Photography camera fits that mid-point to let people experience the processes and choices they will have to make once they buy their first DSLR.

I think David's work is something to keep an eye on, whether it's his photography or Design. More can be found at his website www.dmccourt.com.The images in this article are the property of David McCourt and were used only with his expressed permission.

We are always looking for new and upcoming photographers to write a feature story on. Please send us a link to your website, a friend, or someone whose work you admire. If they are selected, they must be willing to allow us to post their images on our site with credit to them and agree to a short interview. Please email to tony@photzeh.com.

Slow Photography Camera

2011-04-22T20:01:00.000-07:00

Slow Photography - David McCourt - www.dmccourt.com.

Another great concept for Photography Junkies. I was surfing forums and Blogs and came across this cool design by David McCourt for a Mobile camera Mod. I collect old cameras, but have a passion for new technology. This grabbed my eye. You just drop in your mobile phone and give it that medium format camera feel. Not sure if this is something that would hit the market, but if it does, I would be so tempted on snatching one of these just for fun. I would take it out, walking around taking pictures on an art walk or some other event. This is the type of thing that would actually draw subjects in, due to pure curiosity. Check out more at David's Website at: www.dmccourt.com

Beyond David's design for a cool camera box, he is a talented photographer with some nice edgy images. David is a UK based photographer in Scotland. I really dig his Portraits and band photos with their rather dark ominous feel. So if you are looking for a portrait photographer or a Wedding Photographer in the UK, check him out. Don't worry his dark ominous feel doesn't cross over to his wedding images. Also check out this video by David of one of his earlier designs.

So cool. Reminds me of my art school days. See more of David's behind the scenes videos Here.

Photographers Outing gear for a three day trip

2011-03-24T11:36:00.000-07:00

What do you bring on an outdoor photo expedition?

My pack weight: about 45lbs / 20.5kg with 2 liters of water.

(about 15lbs / 6.8kg for all photo gear) 30lb / 13.6kg pack without photography gear

Curious what to pack for your 3-4 camping trip on the trail? Here is my camping/backpack gear along

with my photo equipment set up. Attached is a list of gear I keep when backpacking the great outdoors.

Aarn Backpack: Peak Aspiration white Photo Balance Pockets

Tarptent Double Rainbow

Sleeping bag: Kelty 20 deg

Thermarest Pad

Thermarest Pillow case

Silk sleeping bag liner

Gerber knife

GSI Dualist cookset, Spoon and Measure cup

MSR PocketRocket stove

Toiletries pack (TP, soap, asprin, toothbrush, toothpaste, etc..)

Emergency Pack (blanket, first aid kit/bandages, matches, bug repellant, sun block, etc..)
Hand warmers

Hikers wool

50 ft of line, stuff sack, OPSak Odor-Proof Barrier Bags, bear bell

Filter system with Platypus bags, Sawyer filter and DIY carbon filter, Hydration bag

Extra clothes (underwear, socks, pants, gloves, hat)

Food 3-4 days (Dehydrated pasta with meat, Indian food w/rice, soup, chili, apple pie, oatmeal, power bars, hot chocolate, tea) Salt and pepper.

Camera Gear:

Canon 7D

Canon 40D IR

Canon 35mm f2

Canon 10-22mm f3.5

Canon 24-70mm f2

Tonika 100mm macro 1.8

Neutral Density filters

Cleaning kit

Benro Tripod and ball head with Zeh Pod-Sling

Extra Batteries

Plenty of CF cards

Tarptent Double Rainbow, Ultralight tent with room to breath

2011-03-23T16:11:00.000-07:00

Ultralight tent for the Photographer on the go

I just recently purchased a Tarptent Double Rainbow tent from http://www.tarptent.com. I really like this tent. It weights in under 3 lbs for a two person tent, has two an entry on both sides with vestibule. I was thinking about a one man tent, but many people who would want to join me on a trip don't have their own tent. Furthermore, with the larger size, I can comfortable get my photography gear in the tent with me, which is important, so I can grab my camera quick to catch a photo of that bear that might attack my tent. Alternatively, to keep my gear out of the rain. Setup is rather fast, and as I have done it a couple of times, it's getting faster, just a couple of minutes. This tent can be free standing with trekking poles or be pinned down with the provided tent stakes. I actually upgraded my stakes to MSR's because they seem a bit more sturdy.

This tent is also available with a liner which adds warmth in cooler weather and helps shed away condensation under certain conditions. It was worth the $30 upgrade. I also picked up the $12 Tyvek ground cover to protect my investment. (wash it in cold water to soften up (do not place in the dryer)) the liner, stakes, ground cover, tent and tent pole all fit into the provided stuff sack. This set up is not for those looking for a cheap tent. It is for the Photographer/backpacker who wants to lighten their load because they are carrying 15 lbs photo gear plus what they need to live on for 3 or 4 days in the wilderness. Price total $302.00. This slips nicely into my AARN Rucksack with Photo Balance pockets.

The only part I didn't like doing to prep this tent for rain, was you have to seam seal these tents for rain. Which if you have not done it like me, you should test your work in the yard under a sprinkler rather than on the trail. Seam sealing for those of you who do not know what this is, is sealing the tent seams with a silicon slurry. Many brands actually have you do it because it can be a little messy. I had to do it four times. I kept finding areas I missed. The thing I missed the most is you really need to get under where fabrics overlap and there is a little area water can get under. You need to seal the fabric together. After my 3rd seam seal, we actually got some rain, and I got a little water that dripped in overnight through the bug screen, I really recommend seam sealing both the outside and inside. There are a variety of videos and instructions on the Tarptent website. I recommend using a mix of GE silicone II with mineral spirits (paint thinner) to make your seam seal and not too much thinner so that it is runny. Don't use acetone. To make sure you got it all, run the tent under a sprinkler for 30 minutes. Other than the seam seal this tent is WORTH the investment.

Here is a video of me setting up the Tarptent Double Rainbow for the first time.

Canon 35mm F/2 on the Trail

2011-03-12T17:52:00.000-08:00

Panoramic, ISO 160, f2.8(mistake) 1/1600 (Pay attention to your settings)

Ok, after finally taking this lens out for a test run, I was happy with the results. I like the feel of a "normal" lens. I have a 50mm, which a lot of photographers have. Mine is a f1.4. However, I run a ASP-C sensor, so what is normal on say a 5D or a 35mm is not on the cropped sensor. And like many who shoot with an ASP-C you might think it looks pretty normal to you. As a 7D owner, and previous owner of a 40D, 20D, and a Rebel 300D, you get use to the focal length of your lenses and until you switch to a full frame, you are always at a loss, without really knowing it. So I decide after an article I read about shooting panoramic images with a normal lens, to find a truer normal for my ASP-C camera. (For about the search and options for a normal lens: http://zehphotoblog.blogspot.com/2011/03/going-normal-with-35mm-lens-on-7d-for.html)

ISO 160, f2.8(mistake) 1/800

So I took this out on the trail into the Superstition mountains, in Arizona. I took a variety of landscape images, including a panoramic. Now I did have to hand hold the panoramic so the results are not that great, mainly because I usually shoot a panoramic on a tripod, with a Nodal Ninja. On this day I didn't bring my extra equipment. I was hiking with some new people, and I didn't want them to have to stop for me, or for me to lose my group as it was my first experience on this trail (Hieroglyphics Trail.) Next time, I will go out on my own, since I know the hike, but temps are already getting ready to hit the mid 90's two weeks into March. This hike starts in the desert, so the heat factor with added equipment rather sucks. Lucky that day was only in the low 70's but the next day was already jumping into the 80's. (Spring in Arizona, is actually springing from the 70's to the 100's in like 2 to 3 weeks) Anyway, I digress. So I did take a number of photos, mainly with my newly converted 40D IR. The shots were stunning (ok that's my opinion, but many others thought they were great too.) I shot a couple of compositions I really liked, but I was rushing and not paying attention to my f/stop which I had at 2.8. Duh! Not good when you want a large depth of field in a landscape shot. Nevertheless, if it wasn't for my screw up this was a champ for a lens.

ISO 160, f8(much better) 1/250

The lens makes a little noise, but overall not enough to scare anything off. It focuses quick and accurately. And if you are looking for a decent, fast, and Normal lens for an ASP-C sensor-ed camera, I would definitely recommend this one. If you can afford the high end version which is the 35mm f/1.4 for $1400, go for it, but if you want something in at about $310, I would jump on this one.

ISO 160, f/8, 1/200

I often will shoot at 160 instead of 100, due to Canon's slightly off ISO's seem to be there prime ISO's which get a little better quality from what I have read.

Going normal with a 35mm lens on a 7D for Panoramic images.

2011-03-03T18:40:00.000-08:00

Searching for the perfect "Normal" Lens for a ASP-C camera under $400.

Salt River Area outside of Phoenix, Arizona.

I just got my new Canon 35mm f/2 lens from Canoga Camera. First let me say, if you are anywhere west of the Mississippi, I would recommend them over B&H or Adorama (unless you are in California, and you are trying to avoid Taxes). They are in California and you will usually receive it in half the time, and their pricing is competitive. They will charge for shipping, but I have asked them for free shipping, and they obliged.

Now I am an avid panoramic photographer, who does both IR and HDR panoramic images. And as many people who love to learn, I research everywhere I can. I explore everywhere, whether on the net or reading magazines. While reading Outdoor Photographer in the new March issue, I came across an article about Brandon Riza's panoramic photography and his techniques. I usually shoot many of my panoramic images with a 10-22mm canon EF-S Lens, and still will when I am doing spherical Panos. Riza makes the case for using a normal lens for panoramic images, to get more of the viewer sight of the subject. He is running a 50mm on a 5DmkII. The wide angle far away aspect, so I decided for a landscape panoramic I would go as normal as possible. I started by looking as lenses that would be most "normal" for a 1.6 APS-C sensor. I came across three options that were in my budget under $400.

I first started with a Sigma 30mm f1.4, which is closest to Normal (50mm) which comes in at about 48mm. This lens is designed specifically for APS-C cameras and does not fit full frame cameras. I found it at Adorama for around $440. I like how fast this lens is. However, after reading up, as much as I could, it seems for many (not all) that this lens has some focus issues. After I had seen this was somewhat a common issue I decided to pass, though I liked it came with a hood. I also read it's a great lens if you use Manual focus, where then it is sharp. The Auto focus on this lens is said to be quiet.

My second choice was a move to the Canon 28mm f/2.8, a bit slower lens than the Sigma 30mm. This image is about 45mm with the ASP-C sensor. This lens would allow me to use it on a full frame if I ever upgraded my camera. The build quality on this lens feels less than that of the Sigma, but at a price tag of only $259.00. Many positive reviews of this lens, but something that popped up in many reviews, was that there was sharpness loss toward the edges of the image. I wanted to find something that could have as much sharpness as possible, since I do stitching of images. So I decided to search some more.

Finally, I checked out the Canon 35mm f/2. This lens's drawback is that the lens doesn't have a USM motor, so it's not quiet when in auto focus. If you are in a room with noise, it is not a problem. However, if you are in a room that is silent, this noise will stick out. But for my needs, that is not an issue. This lens runs at 56mm on the ASP-C sensor. So out of the three lenses, it's the least normal, but within the range, so I could handle the small difference. The best thing I read in most reviews, is that this lens is sharp across the entire image. This lens is also faster than the 28mm f/2.8. Furthermore, I read the color from this lens is in addition, better than the canon 28mm. At $305 from Canoga Camera, I thought this is the lens for me. Being in Arizona, it got here in two days. Better than the week or more it takes from B&H or Adorama. I do like both those store, but sometime I just can't wait to play.

The people at Canoga Camera were helpful and gave me free shipping when I asked, because I told them I would prefer to shop with them. Mainly, because the wait for being located on the west side of the US becomes too long, when everything seems to come out of NY. I will write a review of the 35mm f/2 once I take it out for a good test run. So check back in later if this lens interests you for Panoramic or general photography. If you are interested in knowing some specifics on this lens, drop a question or interest in the comments, and I will do what I can to answer your question.

PART: 2 Canon 35mm on the Trail

Speeding up your Lightroom 3 production with Paddy and a BFC2000 controller

2011-03-03T09:11:00.000-08:00

The fast way to do Lightroom 3 controls

If you are a full-time photographer and don't have a software such as Lightroom 3, this is the ideal way to manage and adjust photos quickly for basic adjustments. This should be a standard for all Pro photographers with Photoshop to do highly detailed work. And with the Paddy software and BCF controller you can greatly speed up your production time on adjusting large numbers of photos.

Black BCF2000 Controller from Behringer

About a year ago I came across an article for Patty, a software to allow you to use a midi controller, to control the difference sliders in Lightroom. So in researching and reading up at the Paddy for Lightroom site, I found they geared it to a specific midi controller. Using a BCF2000 controller with the Paddy software it will allow you to control the sliders in Lightroom. The software can be used for other external keyboard controllers, but from my experience the BCF2000 is an ideal choice. After having used this set up it has greatly increased my speed in making adjustments as you just slide the bars up or down to adjust your main adjustments, such as: exposure, recovery, fill light, blacks, brightness, contrast, clarity, vibrance, and saturation. Actually, any of the settings that you use regularly can be programmed the sliders. You can also have different levels so that the sliders will do different tasks, depending on what program level you're on. You also have a number of buttons and dials on the BCF2000 controller which allow you to add controls to those items. On the knobs at the top of the controller I have various things set such as noise reduction controls, and sharpening controls. And if you don't like the results you can press on the knob and reset to the original setting. I have set the buttons above my sliders to be a reset button to reset the slider back to its original setting. This way if I make a mistake, and I don't like the results, with a quick press the button I can go back to where it was if I made a mistake. When I first started Paddy the software was a challenge to figure out, but they were making daily updates, so now setting up the software is relatively easy. The benefit is you can program each slider knob and every button to your desired needs to work in Lightroom 3. This is not designed for Photoshop as the software designer uses Lightroom. It would be rather cool if it could be used for the camera raw settings in Photoshop, but he has not moved in that realm.

White BCF2000 Controller from Behringer

This set up really speeds up production as I don't have to go on each slider in Lightroom with my mouse and individually slide the virtual digital slider. You can always keep your hands on your midi controller, and once you get used to where all your sliders and knobs are you can do most of your commands without even looking at your controller. So when you need to increase your exposure or maybe adjust tint all you have to do is grab that slider or knob and adjust it quickly. The cool thing is with the BCF 2000 controller is now if you were to slide something in the virtual controller in Lightroom, the sliders on the controller are motorized and moved to replicate your adjustments on-screen. This is a powerful program and tool if you're doing a great deal of images within Lightroom, where you're working on the images individually. It has greatly sped up my photography production time. I can easily slide my way into the adjustments I need. I highly recommend this set up to anyone who does a lot of image adjustments within the Lightroom software. The BCF 2000 controller can be found online at places like B&H photo video for about $179.00. Not very expensive considering how much time you could save.

Free Video Stream with Vincent Laforet on Chase Jarvis: Live

2011-03-02T19:24:00.000-08:00

Vincent Laforet on Chase Jarvis: Live

Chase Jarvis: live, takes an inside look when talking to Vincent Laforet. They sit and discuss the in's and out's of film and video production. Vincent talks about his move from photography to video direction. He talks about his technical background moving into the creative side and letting go of the technical to get the best out of his creative. He and Chase discuss using the correct camera for the job, in other words, a red is not always the best camera sometimes it might be a 5D or something else. The lesson here is there is no one size that fits all, and knowing your equipment is important to get the best out of what you have. They both talk about how learning goes on, and how they develop and evolve into new forms and areas within their expanding fields. Part of really growing and learning is to be comfortable not knowing and let the ego go. This will allow you to ask questions and gather information to develop new areas of interest in the field of photography and video. They also talked about the need to et past the stigma, that we have to know how to do everything. We don't have it all, but we can surround ourselves with the people who do and the understanding of techniques can help you but not knowing will not prevent you. They also discuss the need to hustle to get the job, but that it's not a bad thing. You just have to be driven. There's so much competition if you want it, you have to go get it. The only down fall I saw (or heard) was that they were having some audio difficulties with crackling that was rather annoying. They seem to fix it for a while but then it came back and went. Once you get past that it was well worth watching.

This was a very interesting live stream that I would have recommended to anyone who has an interest in photography or video to catch. Vincent will be doing a three day FREE Workshop: HDDSLR - Moving From Still to Video with Vincent Laforet. The workshop starts Friday, March 4 and goes through March 6. You can register online or pre-purchase the course online for $99. The creativeLIVE workshops are free and give great information, or if it's a interview a can be very inspirational as it makes you want to grab your gear and try something new. If you're not a member of creativeLIVE I strongly urge you to join for their free workshops. Chase Jarvis is a wealth of information, and he brings others which have a great amount of information to aspiring photographers and videographers.

Build your Own Continuous Fluorescent Lighting (Softbox)

2011-03-01T20:22:00.000-08:00

DIY Continuous fluorescent lighting

A little time ago I went to a Clay Blackmore workshop on portrait lighting with continuous lights. He had a really nice lighting set up which consisted of a couple of softboxes that were made up of Westcott spiderlites. Having come from a background of using strobes this was new to me, but I like the options and the ability to move my lighting around and see exactly what my final effect would be without having even take a shot. So I set out to create my own spiderlite kit. So I pulled together a couple of softboxes I already had and made a modification to allow a new spiderlite fluorescent set up.

(full instructions at Flickr)

First, I started with my speed ring and traced out a circle on a piece of aluminum. I cut out the aluminum with some tin snips and then sanded the edges. After fitting the aluminum to the speed ring, I found the center of my circle and drilled a 2 1/4" hole in the center. This was to allow my four-way connector for my fluorescents to connect to the plate. From Westcott I used their 1 to 4 light adapter from photobasics.net. Dropping the light adapter into the hole, I then screwed the adapter into the backing plate to secure it. Once it was all fitted, I placed the aluminum ring back into the speed ring and attached the screws which are part of the speed ring. Then I screwed on a light adapter to the back of the unit which has a switch. Then I added my softbox.

The conversion for my softbox was only about $45. Ideal lighting for this is using 27W (100W equivalent) daylight fluorescents (2 for about $4 at Home Depot). Having used these for several months I am happy with the outcome and they work great. It's a simple solution if you already own softboxes and want to convert them, yet be able to still convert back to strobes. For small portrait settings, this setup works great. And if I'm in need of a great amount of power I just convert back to my strobes by just popping out the adapter plate from the speed ring and replacing the strobe adapter. I have an inexpensive set of softboxes, which are flashpoint II units from Adorama. If you built the entire thing from scratch you would probably save about $200 this would include the stand, softbox, and parts to make the continuous lighting head.

Le Zot IR Camera Conversion

2011-03-01T16:29:00.000-08:00

I was having one of those days, and on this day I found a speck of dust on my sensor. I broke out my Delkin sensor cleaning kit to clean off the sensor. With the lighted scope, I found the piece of dust and move forward to remove it with the dust swab. Unfortunately, to my dismay, the dust wouldn't move. Damn, somehow a small particle of dust that look like a giant hair in a photograph got under the sensor filter. So now I had to send it off to Canon for deep cleaning. To my dismay even though I told them where the dust was they just did a regular cleaning which was done by me, and charged me 50 bucks. Then they told me it had to go in for repair to get the particle of dust out from underneath the sensor filter. This was going to cost about $650, and they told me for just a bit more I could get a refurbished 40D, which is what I had sent them. I wasn't ready to slam down $650 on basically a backup camera, since I own a 7D. However, I thought I would search around for someone who might be able to repair it.

Just a quick test photo in front of the house.

In my search, I came across a small repair company in Burlington, Vermont. The company's name was Le Zot. So I e-mailed them asking them what the cost of the repair would be to remove the filter, clean it, reinstall it and sent me back my camera. Peter at Le Zot promptly replied to me $250. I thought that was a much better deal. Then I noticed they also did IR conversions, which I had thought about doing for some time. I e-mailed Peter back later asking the cost for an IR conversion, plus taking the dust out. And I found out it would only cost hundred dollars more and that was with an internal R72 infrared filter. So I figured what the hell, I will go all the way with the IR conversion. As it was sent ground to them, and it took about a week and a half to do the conversion, and then ground coming back, it took about three and half weeks. Even so, this is not my only camera, so the time it took was not critical, though I was excited to get my camera back, to try out the new system. When I finally received my camera with the IR conversion, I pulled out my 50mm lens and gave a test run. I was happy with the results, as they made the necessary white balance adjustments and set the color profile to what they thought was optimal. And I was elated with the first images I took. They did change the image settings from RAW to JPEG, so I decide to switch back o RAW. In RAW the images come out as you would expect from a infrared image, with a red hue which would need to be converted in Photoshop. So with some experimenting and reading up on the best way to convert, I could convert my images to what a typical IR would look like. The nice thing about when it's set to JPEG the images come out automatically to what I'm looking for, but under RAW, a conversion needs to be done. So with that, I will have to set up some actions or presets in order to get a baseline for my IR images.

Peter at Le Zot was very helpful, entered all my questions promptly. They did great work and I would highly recommend. Turnaround time can be a little faster if I had upgraded my shipping but for the work that was done, it was well worth the wait.

Outdoor Photographer Magazine, Digital In, Paper Out

2011-03-01T12:49:00.000-08:00

Outdoor photographer magazine, why it's better to get a digital version rather than a newsstand paper version.

I recently started focusing on my landscape photography, and I decided to get a subscription to Outdoor Photographer for news and reviews of equipment I may like to research for purchase at some point. I also like the idea of getting information of great locations to photograph and places to go. I went to the local Barnes & Noble to check out Outdoor Photographer magazine, which I've had a subscription a number years ago. In picking up the magazine I was very disappointed to see that the magazine had started changing the paper that they print on and decided to go with a quality which had drastically dropped. When looking at these stunning images by other photographers, the image quality was lost on poor paper and printing that Outdoor Photographer magazine now uses. I understand higher quality printing and paper costs more money but this degrades the images in their magazine.

Zinio app

Owning an iPad, I decided through the Zinio App, I would download the Outdoor Photographer magazine. Knowing that the images on my iPad always look great I was hoping the quality of the magazine would show through, and it does. The images look stellar and you're not left with lousy printing on lousy paper. It's unfortunate Outdoor Photographer would print on anything less than what would make their images look good. Maybe they've decided to move to a format which would do the photo's justice. However, in doing so, I think they are leaving many out who cannot afford digital equipment to read a magazine. Maybe one day everybody can afford an iPad, but in this day and age I don't think that is yet possible. So those who cannot afford to have a portable digital format are left with a meager magazine when it comes to image quality. I think they're doing a disservice to their readership, and it's unfortunate to see. On top of it, a subscription to Outdoor Photographer's paper version is more expensive than the better looking digital version. Granted you don't have that paper version which they have to print. However, the quality print is not worth the paper it's on. I like Outdoor Photographer magazine. It just saddens me that they would reduce her quality to such a low for the stunning photographs that they print on their pages.

I highly recommend if you own an iPad definitely spend less money and get the digital version of this magazine, as it's the only way you can see a quality image, in high-resolution. If you don't have iPad am sorry to say you're losing out on the beautiful images by quality experienced photographers. I would recommend writing to Outdoor Photographer and asking why they would sacrifice the quality in a photography magazine whose livelihood is based upon the images they show. As I like flipping through a magazine digital versions are not my first choice. However, I have a feeling that in the future this will be the way most publishers will go. It means less overhead and more profit. Though many may not see it this may be the beginning of the death of print in a paper version. Even so, the one constant is that change is inevitable.

Aarn Bodypack review with Photo Balance Pockets

2011-02-27T11:11:00.000-08:00

I was searching for a backpack that I could carry my photo gear in, on a three-day excursion. In researching many backpacks, I wanted to find a pack which allowed me to carry the camping gear I needed, the camera gear I needed, and allowed for easy access to my camera gear. No packs that I had found seem to fit my needs until I found the Aarn bodypack (http://www.aarnusa.com.) This pack, out of New Zealand was the first pack I found, which suited all my needs. The backpack itself, the Peak Aspiration, is a 45L pack which can hold my ultralight gear for camping including sleeping bag, Thermorest pad, tent, cook gear, other basics and food for three days. Along with it, I purchased their photo balance pockets, which does two things, first it keeps all your photography gear up front with you so that it's easily accessible. Second, by adding the weight to the front it disperses the weight from the backpack to give you a balanced bodypack.

Aarn refers to their packs as bodypacks rather than backpacks because it disperses the weight front and back. This takes the weight off your back and disperses evenly so that stresses are not placed on your back but rather due to its design carries much of the weight on your hips. The design allows you full mobility and movement as well as balance. With a great selection of balance pockets which are the front packs that allow for distributed weight, you can find different ones to meet your needs. My experience is with the photo balance pockets. (video review/demo at: http://www.youtube.com/watch?v=K0pgp1hTNrU)

The photo balance pockets are great way to access your photo equipment with easy mobility while on a long-distance hike. It will allow you to carry a DSLR camera with lens, +4 additional lenses for which they include dry bags to protect her lenses from any water damage. Pockets are easily accessible both on top and on the sides. With added little netted pockets for additional accessories such as batteries and memory cards. The photo balance pockets can also be removed from the main pack, and connected together with included straps to form a day pack separate from your main pack.

The Peak Aspiration backpack, like the photo balance pockets is made of quality construction and durable pack with variety of pockets and a dry sack to keep your gear free of water. The pack offers tie downs to clamp down equipment, and with added accessories it allows for carrying things like skis, trekking poles, and other gear on the outside of your pack. The pack design allows for compression of the pack after it is closed to reduce the size. The pack's weight is just under 3 1/2 pounds, and as I loaded my pack down with camera gear and camping gear the whole weight of the pack was about 35 pounds. Considering the amount of camera gear I placed in the photo balance pockets, I was really happy with the feel of this pack. Though I wouldn't carry all this equipment, just as a test, I loaded it with my heaviest gear. I included a 7D camera, 24-70mm lens, 70-200mm lens 10-22mm, lens, and a 100mm micro lens. Furthermore, extra batteries, memory cards, a nodal ninja for Panoramic's were added. On the back of the sack included a tripod with ballhead, which was attached with a Zeh Pod Sling Kit (www.zehpodsling.com.)

Almost all the gear I could grab without any difficulty except for my tripod, which is attached to the backpack just out of reach. If I was doing a full set up for a panoramic, I would take the pack off anyway. I carry a trekking pole with a camera mount so that if I need some sort of support I can easily grab my camera out of the photo balance pocket, put on what lens I want, mounted to my trek pole and get off some shots.

The most difficult thing on this pack is the initial set up. Because I had no help, it took me about an hour and a half, but it was worth it. The backpack forms to the shape of your back with an adjustable aluminum frame that runs down the center of the pack. After bending the frame which took a little time as I had no help, I could contour the shape of my back, so that the backpack fit snugly with the curves of my back. This makes for a very comfortable pack. Then you have to get the waist belt adjusted both in angle, and length to fit your body shape. Once this is done a majority of the weight sits on your waist. This alleviates stress on your back and allows for balanced movement with the pack located on your back. The balance packs also conform to your body with their own built in frames. However, after all the adjustments this is by far the most comfortable pack, I have ever worn, especially fully loaded. Aarn has videos on the website on how to do all the custom fitting and custom measurements, to make sure the pack fits you the best possible.

This as both a backpacker and a photographer, Aarn brings together the best of both worlds. I highly recommend this pack to those who plan on backpacking with photography gear, or even without, as balance pockets can be purchased for equipment other than photography. The people at Aarn USA were very helpful as I asked many questions. They even advised me of a shipping sale which was coming, so I could save more money on a pack that was already on sale. They're very helpful and friendly and eager to answer all your questions. Beyond this being a phenomenal pack the customer service at Aarn has been some of the best service I have received from an online service.

Video of Photo Balance pockets:

Video reviews by others who helped me decide to buy a Aarn bodypack:

Aarn Natural Balance Review by Trail Testers

AARN USA Bodypacks marthon magic 22 Field

Turning your Aarn body pockets into a day pack

(video with Dana who answered all my Aarn questions at Aarn USA)

How to Custom Fit an Aarn Featherlite Freedom Backpack