Photography

Eye-Fi Pro X2, Not speedy but reliable...

I actually purchased the Eye-Fi two weeks ago but did not get to use it until recently. My original intention was to find something not as a replacement of my conventional CF card storage but an additional transfer to my macbook air during event photography as a safety.

First Impression

Comes with this weird looking SD card reader. Apparently, this reader is a must and that Eye-Fi does not recommend using another reader for this card, so don't lose it. The package is plain and simple just card, card reader, and instructions.

Installation

I am not sure how the installation process is for PCs, but for a mac it was very simple. It took around 10-15 minutes, and I had no problem getting the software into my mac and functioning.

Setting Up the Eye-Fi

It's quite straight forward. You will need to go on their site to get the proper setup for the setup that suits you most. Even with that said it basically only took 15 minutes in total for me to get the wifi transfer setup, and Ad Hoc Transfer setup.

Transfer Speed

I am used to shooting Large Raw, but I do not recommend using large raw for the Eye-Fi. The transfer speed is about 1 minute and 15 seconds for LRAW on a Canon 5D Mark III (22MB). For Event Photography I would recommend SRAW of MJPEG at the most. Because of this limitation, it may not be ideal for studio fashion photographers that like to snap away continuously. Mind you however, if you don't mind the wait, the Eye-Fi doesn't seem to have a problem with overshooting and when I tried continuous burst, although it took quite a while to transfer the files over to my MAC wirelessly, it got every single one of them.

PROS

Easy Installation & Setup

Straight Forward and user friendly application

smart phone compatible (direct mode, camera shoots directly to device)

My favorite of all is the Ad Hoc mode. Very useful when you are out on location.

Endless Memory mode is very useful. Allows user to set when the card delete photos by itself after it has transferred photo to your computer.

CONS

drains camera battery

very slow transfer (it takes about 15 secs for one SJPEG, but it may have been an issue with my slow wifi at home as well).

Only the pro version handles RAW and video files and also AD HOC mode, so make sure you buy the Pro version or else it's useless.

Card only has a capacity of 8GB, Eye-Fi should consider their Pro version to have targeted professionals that may require a larger capacity SD card.

WOULD I RECOMMEND THIS TO A FRIEND?

yes, but only if they have the extra cash to burn. Not cheap. $1000HKD for 8GB.

Sigma 50-500mm APO OS DG FOR CANON EF MOUNT REVIEW

It's been a while since my last blog. I hope you all are still reading. Today I chose to write because I think if I left this out of my blog that I would be leaving out something great to all my readers. Yup, I am about to recommend the Sigma 50-500mm APO DG SO lens for Canon EF Mount.

It all started when one of my clients requested that I shot a watersport activity on a speedboat. Thinking that my 70-200mm L 2.8 IS II or 70-300mm L 4-5.6 USM may be enough (I had brought an extra 1.6 crop DSLR along for the extra reach), but boy was I wrong. With the 70-300 I was still quite able to get a decent picture or a close up after I had zoomed in quite a bit digitally in post. That is an option but for most photographer's I think they'd like to leave that as an option rather then the only choice. Not to mention, when you zoom in digitally, you are limiting the size of your photo, or should I say reducing the size of your photo.

I was able to provide what my client needed (close ups/medium shots) which was of their clients kayaking in a race, but being a professional photographer, I could not risk the chance of doing another similar photoshoot knowing that their may be a chance the lenses I had on had was not long enough for such reach. So I decided to go out and buy a long zoom lens that was capable of such reach but still had good quality without burning a whole in my wallet.

I came across a few lenses. First of course, being a Canon fan, I would definitely give the 100-400mm L a try, but after finding out that this lens is around 14 years old, I decided no matter how fine the glass could be, in reality it would be not much better than using a Contax Zeiss Tele Zoom (since the AI/Tech was so old).

Then I came across the Sigma AF 80-400 4.5-5.6 EX APO OS. I found this lens to be of good value (6800HKD), but I found the AF to be slow and noisy.

Then I came across the Sigma 50-500 APO DG OS. Zoom range was great, but usually lenses with such a long zoom range usually performed horribly. So how did this perform?

Now like my other reviews, i leave the tech jargons and terminology to all those fancy lens review websites. I am here to tell you more about my experience using the lens from a professional basis (not that I am better than any amateur but meaning that the lens will be used in most likely several situations and take a beating. Mind you not physically, I take care of my equipment, but by beating I mean really be used and not just by taking a few test snaps.

I was significantly impressed with the image quality. Shooting at the end of my lens I found very little distortion and the lens was very very sharp. It felt like the Canon 70-300 L USM but only it was 50-500mm. I found the lens barely usable in an indoor conference like environment (low lighting) even with the new 5D Mark III/1Dx chips, so it is most likely to say not usable on Digic 4 DSLRs without any ambient lighting boost.

Out on a sunny day, you would not be complaining with this lens. The AF I found very fast and accurate while, the only downside was really at wide open the lens only opened up to 4.5 and only up to 200mm and after that it's 6.3 all the way.

Built quality it is not as strong as the Canon L series telezooms but I felt it was sturdy enough and it did not give me a sense that it felt cheap or lacked more material. In fact, because of this "flaw" the lens is lighter and for such a zoom range, it was quite a mobile lens.

Accessories wise, you'd all be impressed. One carrying case, tripod ring, two hoods (FF/APS-C), 95-86 stepdown ring.

The only thing I was quite disappointed was the 95mm ring thread. You know it cost me 880HKD for the UV filter. I spent much less on my filter for my 70-200 L USM II which is almost twice as much in price.

OVERALL RATING **** (OUT OF 5*)

I would buy this lens over the Canon 100-400mm L due to to the fact that the Canon tele zoom is old and out dated and not to mention much heavier. Also the black exterior is much better for event photographers.

The Art of Lighting

One of the biggest challenges or obstacles when photographers move on to strobe or multiple strobe lighting situations is that often they complicate the matter. Often when people look at my group portraitures they think it must have been lit with a number of lights in a very complex way. The truth of the matter is that, it wasn't.

Lighting should not be viewed in a complex way. To me there are only three stages of setting up lighting for portraits; Background, subject, and hair/rim lighting and in that order. No matter what people say, you ALWAYS light the background of any portrait first. This is a general rule. Reason being the background is one of the key elements that allows you to shoot your preferred lighting ratio and preferred aperture. In some scenarios, the background doesn't need to be lit (ex. backlighting by a strong sun). If this is the case we first meter the background and then adjust the subject lighting/camera setting according to that measurement.

Most of the time when people light and they find the results not to their expectations, they start to add lights and gels and reflectors,etc... The problem is, I would say 90% of the time the problem is that they do not have the right lighting ratio and they are setting up their light by reference to technical data rather than using what is most reliable, their eyes.

When it comes to using a trusty viewfinder, or playback monitor, I can tell you that nothing is more reliable than your own eyes. The equipment only assists but your eyes should be the deciding factor. I think the problem with a lot of photographers today is that they seem to rely on equipment more than their own judgment. Lighting, like photography has not changed one bit since the beginning of photography. All the advance equipment we have today has only made it slightly easier but the science or theory behind making a good portrait has not changed one bit.

I have seen photographers that have simply placed a light because their experience or what they have learned in school told them to do so. The thing is each photograph is unique and carries it's own characteristics. Meaning that the lighting setup will be different from one photo to another, and just because in the last portrait photography session the 3 point lighting setup worked out doesn't mean it will in another.

I have seen so many people making the same mistake of metering the subject and lighting for the subject before lighting for the background. It might work for some people, but for me, I don't really get how can one light for a subject when not knowing the light measurement you are getting in your surrounding environment within your framing?

At the end if you still find lighting to be complicating and frustrating. Just take more photographs on location or in studio. Don't wait for a client to hire you, call out some friends and ask if they would like to have their portraits taken. The good thing about taking portraits for friends for free is that because they are not paying for your services, they won't mind if you experiment a little, make a few mistakes or take a long time getting your correct exposure (you don't want to do that in front of a client). Practise is the answer to great lighting in photography. To add on to what I have just mentioned about simplifying your lighting setup, I have drafted the following guidelines when planning your lighting for a portraiture.

1) Meter Ambient Lighting

Meter for the background and meter for the subject. Sometimes (outdoors), you may not even need to light the subject. Find out which direction your ambient lighting is coming from. Re-position if necessary

2) Light your background

3) Meter for Subject

When metering for subject most likely your light will not be dead center flat. Meaning that you should always meter left and right side of a subject.

4) Determine whether a rim light/hair light is necessary

5) If taking a wide group shot you may want to meter for hands, feets and dresses, just to make sure nothing is too underexposed (this is very important if you are using a very soft light with a strong falloff, the exposure can be drastic with very minimal distance).

At the end I will stress on knowing your lighting ratios. Knowing your cameras is not enough, because without lighting your 4k or 36MP stills or video camera is not different from any low end consumer end camera.

Relaunching Our Page

It's been a while since my last post but I have not forgotten. With recent projects and planning, time has been very tight in the last few weeks. Anyhow, I have managed to relaunch our Standard Photography KGY facebook page. In this page we have posted some of our recent and not so recent work for you all. Please pay a visit if you can and if you like click on the "like" to show your appreciation. In the second of half of the year, Standard Photography KGY has a lot of new projects coming up and hopefully we will have a chance to post our work in our page for your appreciation. Thanks for supporting this blog and our facebook page.

Check it out! http://www.facebook.com/SPKGY

Gossip Gals....

Just this Saturday I had the opportunity to take out my Photek Softlighters for another photo shoot. The results did not disappoint at all. The quality of light was simply stunning. Mind you all studio photographers that with the use of the softlighters I highly recommend a high power strobe, something like a 400W strobe I would say is the minimum.

The famous Photek Softlighter is used by acclaimed celebrity photography Annie Leibovitz very often and is one of the most effective light shaping tools I have ever used (including Profoto light shaping tools).

The bride and groom was generous enough to allow me to post a pic from the shoot. This pic has not yet been fully edited and simply just been played around with in Capture One Pro.

Rather than bringing complex light shaping tools that are a pain in the ass to setup. I now carry 5 Photek Softlighters on the set or location and that pretty much does it. I love how the Softlighter has such shallow light falloff which allows me to create these wonderful low key high contrast protraits which brings so much "liveliness" into the portrait. Not to mention, assistants love it too because no longer do they need to setup complicated lighting equipment that takes so much time to assemble. The versatility of this tool makes it a definite "must own" for a pro.

Shooting Ironman with 5D Mark II

Canon EOS 5D Mark II and EOS 7D Digital SLR Cameras of Choice for Stunts and Action Work on Set of "Marvel's The Avengers"

1920 x 1080 HD Recording And 24p Frame Rate Enable Gripping Point-Of-View Shots for Theatrical Filmmaking

LAKE SUCCESS, N.Y., May 9, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce that its EOS 5D Mark II and 7D Digital SLR cameras have been used on the set of Marvel's latest movie, "Marvel's The Avengers," to capture thrilling point-of-view (POV) action shots that can be seamlessly intercut with footage from the film's principal 35mm and digital cinematography cameras to heighten the film's visual impact. "Marvel's The Avengers" shows an epic confrontation between nightmarish super villains attacking the Earth and the super-heroic team of Iron Man, Captain America, The Incredible Hulk, Thor, Hawkeye, and Black Widow. Directed by Joss Whedon, the film is the latest and most extraordinary Marvel Studios Super Hero movie to date.

With intense action and visual effects captured by the Canon cameras, "Marvel's The Avengers" required close-quarter action work with unrepeatable stunts. "The 5D Mark II and the 7D digital SLR cameras produce excellent, cinema-worthy images. They are great for shooting additional angles that give film editors more options for creating powerfully immersive and kaleidoscopic views of action scenes," explained the film's cinematographer, Seamus McGarvey.

On the set of "Marvel's The Avengers," McGarvey and his crew used five Canon 5D Mark II cameras and two 7D models. Using multiple cameras limited the need to re-shoot complex action scenes, and the affordability and compact size of the cameras enabled the crew to obtain ample coverage by strategically angling them from various vantage points throughout the set. "The cameras' small size was a major advantage to us. We were able to place them in tight locations that were really close to the big stunts, which would be too risky to do with bigger cameras that would require an operator and two assistants," McGarvey said. He was able to slide one of the Canon cameras into a sewer grating, while placing another under a pile of debris for a key shot of a car hurtling toward the lens, flipping through the air on fire.

"We are thrilled that the EOS 5D Mark II and 7D Digital SLR cameras were called to action on the set of 'Marvel's The Avengers.' We designed these cameras with versatility and flexibility in mind, and their ability to record beautiful 1920 x 1080 HD video, coupled with their compact size, make them an ideal fit for filmmakers looking to capture tight action shots," stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A.

Compact, lightweight, and compatible with Canon's wide selection of EF Series lenses, the Canon 5D Mark II and EOS 7D digital SLR cameras are equipped with large Canon CMOS sensors and Canon DIGIC 4 image processors that enable them to record exceptional full 1920 x 1080 HD video at the user-selectable frame rate of 24p (23.976 fps), which is the standard for today's high-end filmmaking. Additionally, the cameras' low-light capabilities were of major importance on the set of "Marvel's the Avengers," as many of the film's scenes were shot at night.

About Canon U.S.A., Inc.

Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With approximately $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2012. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

About the Movie

Marvel Studios presents "Marvel's The Avengers"-the Super Hero team up of a lifetime, featuring iconic Marvel Super Heroes Iron Man, The Incredible Hulk, Thor, Captain America, Hawkeye and Black Widow. When an unexpected enemy emerges that threatens global safety and security, Nick Fury, Director of the international peacekeeping agency known as S.H.I.E.L.D., finds himself in need of a team to pull the world back from the brink of disaster. Spanning the globe, a daring recruitment effort begins.

Starring Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner and Tom Hiddleston, with Stellan Skarsg†rd and Samuel L. Jackson as Nick Fury, directed by Joss Whedon, from a story by Zak Penn and Joss Whedon with screenplay by Joss Whedon, "Marvel's The Avengers" is based on the ever-popular Marvel comic book series "The Avengers," first published in 1963 and a comics institution ever since. Prepare yourself for an exciting event movie, packed with action and spectacular special effects, when "Marvel's The Avengers" assemble in summer 2012.

"Marvel's The Avengers" is presented by Marvel Studios in association with Paramount Pictures. The film is being produced by Marvel Studios' President Kevin Feige and executive produced by Alan Fine, Jon Favreau, Stan Lee, Louis D'Esposito, Patricia Whitcher, Victoria Alonso and Jeremy Latcham. The film releases May 4, 2012, and is distributed by Walt Disney Studios Motion Pictures.

THE REAL McCOY... 老外都有翻版的。

It has come to my attention that recently a new brand (3 Legged Thing) is all the craze about tripods and how they have changed the perception of using one. I decided to have a look at their website (http://www.3leggedthing.com) and judge for myself. Afterall I would easily consider buying one if a brand lives up to their marketing.

First impression, fancy design, colorful, and looks light weight. But as I took a closer look, I could not believe how close it resembled my Fotopro tripod (http://www.fotopro.sg/c5-series-2in1.html). In fact, I would say it's practically identical.

1. Fotopro C-5

2. 3 Legged Thing 3LT

3. 3 Legged Thing 3LT with various user settings and ballhead.

I don't know what you guys think, but I would say they are almost exactly the same. Representatives from 3 Legged Thing claims that their design is original and that it looks nothing like the Fotopro. In fact I have posted this question regarding the two products' similarity in their Facebook Wall and someone replied that "You must be looking at someone else's products, because our tripods don't look anything like these..."

To be fair, I do find two different characteristics from the 3 Legged Thing tripod. the middle shaft connected to the ballhead does allow you to extend further than and thus have a longer reach than the fotopro. However, once I read the specs (listed below), I found both brands had their strengths and weakness making them pretty much equal when you look at their specs in general. While the Fotopro had a slightly longer minimum operating height (17cm vs. 13.5cm), it was also shorter in Max Extended Length buy about 5cm (156cm vs 20cm). The Fotopro however, was shorter in Folded Length (43cm vs. 50cm), which makes it easier to store or transport. Weight wise, both brands were equal at 1.5kg. Another difference, is the price. The Fotopro cost me about $860HKD, while the 3 Legged Thing is about $278USD (which works about $2140HKD). That is quite a big difference in price. If buy the top of the end tripod from both brands the Fotopro will cost you $1300HKD, where the 3 Legged Thing will cost approximately $4300HKD.

I don't speak for everyone but as a professional/consumer, I don't really care who copied who (and in this case its not really clear). All I know is that the Fotopro is doesn't look a bit dodgier than the 3 Legged Thing. Price wise it is a "no-brainer," and quality well the Fotopro brand offers 6 years of warranty, where the 3 Legged Thing comes with 5.

Here's an in depth look at each brand specs (I have chosen the two tripods that looks most similar to make this comparison)

FOTOPRO C5

*Model No : C5c series (Carbon Tubes)
- Extended Max Height: 156cm.
- Min Operating Height: 17cm.
- Folded Length: 43cm.
- Maximum Load: 8kgs
- Net Weight: 1.5kg
- Max Tube Diameter: 25mm

*Model No : C5i (Aluminum-Magnesium Tube)
- Extended Max Height: 156 cm.
- Min Operating Height: 17cm.
- Folded Length: 43cm.
- Maximum Load: 8kgs
- Net Weight: 1.7kgs
- Max Tube Diameter: 25mm

3 Legged Thing

Tripod Specifications:

Kit Weight (including head)	1910g
Tripod Weight	1510g
Monopod Weight	320g
Monopod min Height	360mm
Monopod max Height	1440mm
Tripod Min Height	135mm
Tripod Max Height with column removed	1430mm
Tripod Max Height with column extended	2060mm
Folded Height	500mm
Load Capacity	8kg
Maximum Leg Tubing Diameter	26mm
Leg Sections	4 (26, 23, 20 & 17mm)
Leg Angles	23°, 55° & 80°
Column Sections	2 - (26 & 23mm)
Leg Locking Mechanism	Friction Dial

AirHed 1 Ballhead Specifications:

Ballhead Control	Pan, Lock & Clutch
Ballhead Height	100mm
Base Width	55mm
Ball Diameter	36.5mm
Ballhead Weight	400g
Load Capacity	8kg
Plate Size	52mm x 50mm

CONCLUSION

Looking at both brands, I don't really see why I would go for one and not for the other in terms of quality and practicality. However, in terms of price, I would definitely go with the Fotopro. With most models, I could buy two Fotopros for the price of one 3 Legged thing. I'd say the same when comparing Gitzo tripods and Manfrottos, but then again I feel the quality difference with Gitzos.

What really bothers me, is how the people at 3 Legged Thing cannot see how similar their tripods look alike. Companies should really do some research before they market their products. From my understanding both Tripods came out about the same time. My theory is that there's a factory in China somewhere that does mass manufacturing of these products and different companies purchase them and add their brand label to them. I would not be surprise to see another company with similar design. I would be more than happy to apologize if the 3 Legged Company can show proof that their product was not manufactured in the China.

So as you can, not only are Chinese brands and manufacturers taking advantage of cheap chinese labours and copyright infringement in China, but same does overseas western companies. The question is whether you are willing to pay a hefty premium with a "Gweilo" logo, or pay for what it is worth. Don't get me wrong both Tripods should be really good and of great quality. Buying the 3 Legged Thing would be like buying a iPhone and paying a premium due to its brand recognition over other smartphones, but just that 3 Legged Thing is not an Apple or that most people have even heard of them. To charge such a price for Chinese manufacturing (correct me if I am wrong, but perhaps I should say "similar to chinese manufacturing") would be a very dumb move in terms of marketing because nowadays your average tech consumers are very smart and do incredible amounts of research before making a purchase, and if you think I am the only one that may have compared the 3 Legged Thing to a Fotopro, then you should think again.

FOTOPRO C5

Pros

Light weight

Afforadable

Strong and Sturdy

Can also transform into a monopod

Cons

None for the money

3 Legged Thing 3LT

Pros

Light Weight

Strong and Sturdy

Can transform into a monopod

Cons

Pricey

Would I recommend this product to a friend?

FOTOPRO

Definitely, have recommended it to a few already

3 Legged Thing 3LT

Definitely, but I don't have such friends with money to waste.

Gitzo 3360 Hands-On Review

SPECS

(Courtesy of B&H)

The Gitzo GB3360 Series 3 Aluminum Boompole features 6 sections, is lightweight and handles a load capacity of up to 4.40lb (2kg); making it well suited for mounting microphones and shock-mounts in the field or indoors. The GB3360's G-Lock system provides fast and reliable locking on all 6 sections. The 1.2mm thick aluminum material is lightweight and features a brushed finish.

6 locking sections

Gitzo G-Lock locking mechanism

Lightweight brushed aluminum finish

Maximum load capacity of 4.40lb (2kg)

So what are boom poles doing in stills photography? Well as you can see in the images provided. It is often used by celebrity portrait photographer, Annie Leibovitz. Is it essential? No... but if you in intend to use the Softlighter II often like Leibovitz and myself you will probably find the Softlighter useless without it.

You see the Softlighter II is a great lightshaper. It fits all categories of my "Must Have" list. Great quality of light, easy to to setup, and unlike great lightshaping tools from Profoto, the Softlighter is greatly affordable (I now own five of them).

You see the softlighter is based on the theory that the closer the source of the light, the softer the light will become upon hitting hte subject. The only thing that is different is, due to the construction of the Softlighter, as you pull out from the subject, the light falloff is very dramatic. In Photography, this may be a great thing. Often, photographers spend a lot of time controlling light, and with the Softlighter, it gives you just that. But back to the Gitzo Gb3360, well this is where the GB3360 finds its place. Because of the fact that you are always using the softlighter up close to the subject. A light stand may not do the trick in many occasions. This is where a boom may be handy. A boom would also allow you to reposition the Softlighter at a quick and efficient pace.

Often booms are something Photographers don't want to spend too much money on. Afterall, it has no resell value, and it doesn't have any great significant impact on your lighting, that is until now with the Softlighter. I must admit, I first bought a Cheapo boom, and I can tell you that not only was it a waste of money and time, but I have no use for it do to the quality and weakness in strength of these inexpensive boom poles. I have now put the boom pole aways in hopes that someday I will find it useful for a shoot which only allows me to work with strobes.

The thing with the GB3360 is that it is quite strong and durable. I am attaching a EX600 Godox head onto the boom (which weighs around 3 lbs) and a 36" Softlighter Umbrella (I am sure although the 60" Softlighter may make things for your assistant more uncomfortable but the GB3360 will still be able to sustain), and yet I do not feel that it is giving any pressure to the boom pole. It's not the lightest boom pole I must say, but it's definitely not heavy.

OVERALL

I would definitely recommend this product to anyone that is considering to use the Softlighter as a Key source in their photography. In fact, I think you cannot do without a boom or an arm extension of some sort if you use the Softlighter. Price wise this is not cheap, but for its quality I find it reasonable. I purchased the product at Zhao Xiang Guan (HK, TST) for $1700.

PROS

Strong Durable

6 Sections Allow greater sturdiness, and also a stronger boom

Very far reach (12 Feet/366cm)

CONS

Not the lightest boom pole (especially if you have tried carbon fibre)

If you are using heavier equipment like (2X" Beauty Dishes) you may need something even stronger

Pricey

ORBIS RINGFLASH HANDS ON REVIEW

Today I took the Orbis Ringflash (USD $199 available at B&H or http://www.orbisflash.com/) for another spin. I had purchased the ringflash for a while now and have played with it on Commercial Fashion shoots and even just messed around with it in different occasions.

Firstly, there are quite a number of Ringflashes available in the market. The O-Flash, The Godox, Alienbees, Elinchrome, Profoto, just to name a few. The reason why I decided to purchase the Orbis Ringflash was based on a few things. Portability, Price, and Quality.

While some flashes were of great value in price they had inconsistent results and often had uneven light falloff or that the loss of light was a bit too much for my satisfaction.

While the expensive ones (Profoto, Elinchrom, and Alienbees) were just a bit too pricy for a lightshaper(or light) that I consider as nice accessory but not necessarily a necessity for my light kit. Also the expensive ringflash kits often required a battery pack which made it clumbsy and difficult to carry for location shoots.

Alienbee ABR800

Profoto ProRing

Elinchrome Quadra Eco Ringflash Kit

The orbis was one of few that really excelled in all areas. One thing to be aware of is that although the ringflash itself is quite light but once you have a speedlight attached, the weight gain is very significant. I was first very reluctant to purchase the Orbis Arm (A flash bracket that cost an extra $60USD)

but after using the Orbis on a fashion shoot for about 100 photos, I found it quite tiring to keep the Orbis in place. I decided to get the Orbis Arm hoping that it would be much more pleasant to hold the ringflash during a shoot. Unfortunately, it did not fully meet my expectations. The Orbis Arm does help a lot but where it did not help was holding the ringflash and the speedlite together in place. I still had to make sure I had a firm hold on the Orbis Arm and one must be careful while leaning forward, for the Orbis Ringflash could easily slip out and drop on the floor. This is one good thing about the Orbis and that for something made of plastic, it is quite durable, and I believe it may survive a fall or two (but maybe not three).

Although the loss of light (caused by the spread of light in the inner tube and the diffusing panel) is a lot better than most inexpensive ringflashes, you still lose about 2-4 stops. This is alright if you are using a professional flash such as the Canon 580 EX II or the Nikon SB900, but an inexpensive prosumer speedlite may not be sufficient to get the best out of the Orbis.

Here are a few photos I took today at the office. Have a look yourself!

Conclusion, overall I think the Orbis is pretty much a good buy and it's of great value for those that own speedlites. For those that don't own a speedlite, make sure you put the cost of purchasing one into account before deciding on to buy the Orbis (ex. a decent speedlite like the Canon 580 EX II will cost about $3400HKD @ zhaoxiangguan, and the Orbis costs about another $1700HKD = $5100), the cost of the kit with the speedlite is almost the same price of the Alienbee ABR 800 which does not rely on a speedlite and has greater power. So please keep this into consideration when you plan to buy.

PROS

1) Great value for those that own speedlites

2) Light and durable

3) The quality of light is consistent and evenly distributed.

CONS

1) Cost of the kit can add up if you don't have speedlites and the cost of the Orbis arm is quite expensive.

2) Light Falloff is very short, making the reach not too distant. With the Orbis you are quite restrained to shoot quite close. This may not be of preference to studio fashion photographers that may need to use black cards or fill.

3) Due to the power constraint and short light falloff, using the Orbis for long Macro shots may not be too suitable. A 50mm Macro lens is probably the way to go.

4) Photographers need to be careful while using the Orbis Ringflash. While it is sturdy in some sense, the attachment for the speedlite is not really strong in terms of it's hold. If careless, the Orbis can fall off from the speedlite very easily.

I would definitely recommend this product to anyone. I believe most DSLR users do have speedlites and in this case spending an extra $1700HKD for a Ringflash is quite a deal. The quality of light is more than acceptable (while it would be nice to be able to shoot more distant objects without losing it's light quality, but I am sure the people at Orbis would blame that on the speedlite rather than their design).

Yongnuo 565EX

Yes, everyone. I finally decided to give one of those chinese copies a try. So how did it feel. Well to be honest I only had a short trial with these lights. So far, I think it has lived up to it reputation. What does that mean. I have summed up a few points to help you decide whether the Yongnuo 565EX is worth your money.

Pros

Built quality is pretty good. It's not as solid as the 580EX, but then then you are paying only 1/4 of the 580s price.

Guide - I have not metered it with a sekonic meter yet, but I do think it does live up to a guide number of 58. Pretty strong flash if you ask me. Zoom range is equal to that of the 580EX II (24-105).

User Interface, it's pretty nice comparing to it's other chinese competitors. The only one that I think will look similar are flashes from Oolong (SB690), and not sure but maybe the Meike.

Support ETTL, but I do think the ETTL works much better with the 580EX II, in terms of accuracy. This may have something to do with a weaker metering system built in the lens.

Refresh rate is just as good as the 580EX II

Cons

Horseshoe Mount is not a sturdy as the 580EX.

Looses the scrolling dial (as you can see in the picture).

It happened to me twice where the speedlite automatically switches to M from ETTL as I moved the light head around. This may not be a random thing (still testing it), but rather the manufacturing may have designed it so that everytime you move the head to a certain position it resets the mode to M (not really a good thing though, especially if you are shooting events).

My General Comment,

If you are planning to use this for personal use, definitely save the cash and get the Yongnuo, I believe the Canon are too pricey for personal recreation. Even, for professional use, if you plan to move on to monolights in the near future (once you have a greater grasp of using strobes), these may be the lights to get. Let's face it, with the new 600 EX RT selling itself like a Louis Vuitton bag, you may as well save the money from the transitional phase of using a speedlite for a nice monolight head like a Elinchrome or a Profoto D500. I would not rely on these lights for event photography (especially if you are getting paid for the job). They may make a good spare speedlite for background or rim light if you already have reliable speedlites on hand. The price is definitely reasonable. Yongnuo has gone a long way and seems like their product although still lacking behind from the Canon's reliability, is catching up real fast.

Will you insist buying a 600EX RT after trying out the MG8000 from Nissin???? I don't think so...

Nissin MG8000 Extreme

Zoltan Arva-Toth | Accessories | March 8, 2012 | 0 Comments

Kenro has announced the UK launch of the Nissin MG8000 Extreme flash. Nissin has developed a new ceramic insulation for the inside of the gun as well as a unique quartz-based flash tube which ensures the unit remains cool, even in extreme use conditions. When tested, the Nissin MG8000 can produce over 1000 full flashes without any fear of overheating, the company claims. The Nissin MG8000 Extreme boasts a recycle time of just 3 seconds for the first 200 shots, and then 5 to 7 seconds for subsequent frames, maintaining its guide number throughout the burst. Other highlights include an included external diffuser, tilt-swivel head, guide number of 60 (in metres at ISO 100/21° with the head zoomed to the 105mm position), full support for Canon’s and Nikon’s wireless TTL flash control systems, high-speed synchronisation and a stroboscopic flash mode. Weighing in at 400g, the Nissin MG800 is compatible with the E-TTL, E-TTL II (Canon) and i-TTL (Nikon), and features a USB connector enabling the flash to receive firmware updates.

Kenro Press Release

Kenro announces the Nissin MG8000 Extreme Flash Gun

Kenro has announced the launch of the Nissin MG8000 Extreme, the manufacturer’s latest flash gun, featuring the world’s fastest “Machine Gun” strobe.

Nissin has developed a new ceramic insulation for the inside of the gun as well as a unique quartz-based flash tube which ensures the unit remains cool, even in extreme use conditions. When tested, the Nissin MG8000 can produce over 1000 full flashes without any fear of overheating; that’s three times more than a general flash.

As the MG 8000 keeps its cool under pressure it can maintain its guide number meaning no more underexposed images caused by over-heating.

The new unit boasts an impressive recycle time of just three seconds for the first 200 shots, and then five to seven seconds for subsequent frames.

Other features of the Nissin MG8000 Extreme:
Optional external diffuser included
Guide number: 60 (ISO100/105mm)
Colour LCD screen
A variety of modes - TTL, Manual / Av, Multi flash (strobe)
Full support for wireless TTL mode (Master / Remote), support systems, digital and analog flares.
Additional front flare
Supports high-speed synchronization and modification routines flash via USB port
Metal shoe
Recycles in 3 seconds for the first 200 shots, and then takes 5-7 seconds to recycle after that.

Weighing in at 400g, the Nissin MG800 is compatible with the E-TTL, E-TTL II (Canon) and i-TTL (Nikon) and features flash capabilities, but can also be connected to the PS-300 battery pack to hasten the call-back speed.

The MG8000, on show at the recent CP+ trade show, outperforms Nikon’s new SB-910 and Canon’s Speedlite 580EX II, claims Nissin.

Kenro managing director Paul Kench commented: “The MG8000 is Nissin’s response to photographers’ demands for flash units that can keep up with ontinuous shooting. Many photographers comment that their work can be underexposed when shooting rapidly with a flash; the MG8000 means this will no longer happen because it maintains its full guide and a consistent output. Another great benefit is that the quartz tube has a longer operating life than traditional units.”

Can you keep your hands off of the new toys???

Well with the recent release of new photographic equipment from various manufacturers, Spring 2012 seems to be the most exciting season for Photographers. With the new Canon 1Dx on its way, as well as the 5D Mark III and the D800 and Nikon D4 released in March, photography enthusiasts looking for a trade in or a new camera body will have a lot to look forward to.

Along with the new line of camera bodies, their are also a few accessories that have been released that many people will be very excited to get their hands on like the new Pocket Wizard Plus III, and the Canon 600EX RT speedlite.

Now like a lot of my reviews, its never about how good these improvements are but whether I believe the switch is worth the money. So here's my analysis on the following new items...

Canon 600 EX RT Speedlite

Pocket Wizard Plus III

Canon 24-70mm L F2.8 USM II

Canon 600EX RT

*Left 600EX RT/Right 580EX II

*Size wise, the new 600EX RT is slightly longer by about an inch.

*LCD screen is significantly larger with a more easier to read green background.

Menus

The menu system has been fully re-worked. It is easier to read and understand (especially the more complex wireless menus). There is no more remembering or looking up the magic numbers of the Custom Functions. Granted, with the latter cameras, it was possible to change custom functions using in-camera menus, but trying to do it on the 580EX II flash itself was a real mind game. Both Speedlite 600EX and 600EX-RT are more intuitive to operate.

*Buttons are translucent providing easier access in low lighting conditions.

Buttons

One of the minor issues we always had with the 580EX II flash is the fact that the controls are not backlit. Even after using the flash for years, we still find it uncomfortable not being able to see the buttons under very dim lighting conditions. Well, with the new Speedlite 600EX, it is not a problem anymore. All buttons are backlit, except for the select button on the dial, which we believe is perfectly fine.*The 600EX RT comes with a filter adapter

*The 600EX RT now has a built in radio transmitter

Zoom Range and Power

The 580EX II flash head is capable of zooming from 24mm to 105mm. The new head design extends the range of Speedlite 600EX on both ends: 20mm to 200mm. (With the built-in wide angle panel, both flashes cover 14mm angle.)

Canon specifies Guide Numbers for their flashes at the maximum flash zoom setting. Therefore, 600EX is listed with the Guide Number of 60, whereas 580EX II is at 58. This may lead users to believe that the new flash is more powerful. In reality, if you compare the Guide Numbers at identical zoom positions, the power output of both flashes is very similar, if not identical. So, there is no extra kick to be expected from the new Speedlite 600EX or 600EX-RT.

My Conclusion

Buy it if this is your first speedlite purchase. If you own a 580 EX II, then maybe this is a pass. The improvements although nice, but not enough for me to fork out $5100HKD (approximate retail price). I myself is a monolight guy and I really don't see myself using all the new fancy functions. I had two 580 EX IIs and I really never experienced issues with them (nothing that other speedlights didn't have as well, like slow refresh, limited lightshaping options, etc...). In terms of the new built in radio transmitters, are they compatible with Pocket Wizards??? No? then it's garbage. Long have I left the 3 Canon Speedlite lighting setup (due to many different problematic issues), so if the wireless transmitter only works between speedlite to speedlite then I don't see how that is a big bonus for photographers. Let's face it, if you can afford 3 600 EX RTs, I think you may own Pocket Wizards as well. So my conclusion is, well if you have the kind of money to splash, go for it. I don't see how this purchase will improve your photography significantly. Event Photographers may benefit more from these improvements, but even with that said I would still think twice before trading in the 580s for the new 600EX RTs.

Pocket Wizard Plus III

Although, there isn't a great significant of change ot the PWIIIs, I definitely think it's now a much better buy than the PWIIs. Firstly, the reduced price. YES!!! REDUCED PRICE. You can now get one here in Hong Kong for roughly 1000HKD, compared to 1400HKD. This is a significant price drop and I can assure you that has plently to do with the recent lawsuit Pocket Wizard has filed against Phottix for copyright infringement.

In terms of channels, the PWIIIs is now an improved 32 channel wireless transmitter, compare that to the 4 Channel PWIIs, need I say more?

I haven't held the actual product on hand, but I can tell the built quality looks a lot more improved and the LCD screen makes the interface a lot cleaner and also user friendly in low light conditions. I would recommend this purchase for new user and existing PW Plus II users (since it is PW Plus II compatible).

Canon 24-70L 2.8 USM II

According to Canon, the updated lens will feature a new combination of lens elements and coatings which supposedly will result in improved color reproduction while avoiding ghosting and image distortion. It also sports a zoom-lock switch and has seen its aperture’s old 8-blade mechanism replaced with a 9-blade mechanism which Canon claims will deliver “incredible bokeh”. It is expected to see a launch in April for $2,299USD.

Conclusion, to be honest if these improvements were made to another lens, I would not give this review a "BUY", but it is the 24-70mm L, my favorite lens and also favorite to many fashion photographers. What I didn't like about the present 24-70 is the probably the slow speed of the lens itself (in AF mode), and it could be sharper. I am hoping the new lens will be as sharp as the 70-300L, if so I would definitely trade it in even with the significant price difference.