All About the Gear

Blackmagic Design is known for creating high-end, robust cameras for content creators of all skill and experience levels. In this interview I sit down with Bob Caniglia from Blackmagic Design to discuss their latest cameral release — the Pocket Cinema 4K. We discuss who the camera is for, why they built it and some of the stand-out features they built into it that set it apart from other cameras in its class.

http://www.blackmagicdesign.com

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Bob Caniglia Bio

Bob Caniglia began working in the film and television industry in 1985 as a part-time cameraman and editor on industrial videos. Bob finished school at night while working full time as a commercial producer/director at a local CBS affiliate.

Eventually, Bob found himself in L.A. as an editor for The Disney Channel and 525 Post Production, later working on music videos for Prince, Madonna and Michael Jackson. Bob also helped Gore Verbinski with his director demo reel, telling him that he would be a feature film director someday.

Leveraging his real-world industry experience, Bob made the transition to working with a variety of production and post-production manufacturers, including Panasonic, Quantel, Snell, DaVinci Systems and Blackmagic Design, where he currently holds the position of Director of Sales Operations. Ever the creative type, Bob is a professional comedian performing around the world under the stage name Bobby Zee. He also has a love for karaoke that just won't quit.

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Panasonic and Leica have been hitting out of the park lately with some stunning lenses for the micro four-thirds platform. The latest being the Leica 200mm f2.8 lens.

The first thing I noticed was the small size and relative heft of the lens. The first impression it leaves you with is that it is solid, well-made and built for serious photography work.

One of the cool things I immediately noticed about the lens was the inclusion of a memory button. You can preset a focus distance, then immediately recall it at the touch of a button. I can see how this feature would be invaluable for situations when you’re relatively immobile, waiting for action to happen in a particular spot.

Stabilization

The fact that Panasonic seems to be making image stabilization standard on all of their cameras is fantastic. But never is it more important than on longer focal length lenses like the 200mm. And the fact that Panasonic has included IS in the lens means you can activate DUAL image stabilization for up to 5 stops of added stability.

The autofocus speed was extremely fast… with and without the teleconverter. Which I can see as a must for far away fast-moving subjects like cars or birds.

Accessories

Accessories that come with the lens include a 1.4x teleconverter that increases the effective range to 280mm at f4.0 - that would be 560mm on full-frame cameras. There’s also an optional 2.0x teleconverter that will increase the range to 400mm or 800mm on full-frame cameras.

A well-made plastic lens hood with a set screw. And an optional tripod mounting foot. Plus you get soft cases for the lens and the teleconverter.

Image Quality

The image quality coming out of this lens is just stunning. And unexpected for such a long focal length lens at f2.8 the image quality was very good. And at at f4.0 it was EXTREMELY good! I can see why this lens is so expensive. Plus the beautiful bokeh that you get at such long focal lengths makes almost every background into beautiful mush!

Like I said in the intro, this lens represents an important addition to the micro four-thirds lens line-up. The lens is built like a tank, but at the same time it’s much smaller than the full-frame equivalents.

However, this is NOT a cheap lens, at the time of this recording it’s priced at about $2,500 - that includes the 1.4x teleconverter.

If your genre of photography calls for long, fast glass — and you can afford it, this lens is a must-have for your collection. And even if you can’t afford it, you might consider renting one for those missions that call for this kind of reach.

Check out the Panasonic Lumix 200mm f2.8 on Amazon

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The Lumix G9 is one of the latest camera releases from Panasonic. It’s significant in many ways, one of the main reasons being that it’s squarely targeted at “stills” photographers (versus video shooters). Panasonic asked questions, listened, then implemented the suggestions for professional landscape, nature, sports shooters and others.

The result is a triumph in engineering. And I’d even go so far as to say the Lumix G9 is probably the best camera I’ve ever owned.

The Specifications:

So, let’s get some homework out of the way first. Some photographers (including myself) will say the specifications for this camera are impressive. Others will say it’s hamstrung by the small micro four-thirds sensor.

My response for the “small sensor” gripe is that what works for you and your genre/style of photography may not work for others. This camera works for me… and many thousands of others.

* 20.3 Megapixel Micro 4/3rds sensor with no anti-aliasing filter (same as GH5)

* 20 FPS burst w/continuous AF frame rate using the e-shutter (for ~50 frames)

* 9 FPS burst w/continuous AF using mechanical shutter (for 600+ frames)

* ISO 100-25,600

* Dust-resistant, freezeproof, splashproof - Magnesium body

* 5-axis in-body image stabilization with Dual I.S. version 2.0 (6.5 stops)

* Uses same batteries as GH3, GH4, GH5 and GH5S

* Wi-Fi + Bluetooth

* 1.04M-dot 3" articulating touchscreen display

* Dual UHS-II card slots supporting new high-speed 'V'-rated cards

* Assortment of 4K and 6K Photo modes and in-camera focus stacking

What's Different?

So, that’s enough about the specs… what makes this camera different from other Lumix cameras? Even from it’s siblings, the GH5 and GH5s?

* 80MP Raw and/or JPEG files using High-Resolution mode

* Top Plate LCD

* Nikon Style On/off backlight

* Buttons positioned perfectly

* Deep hand grip

* Well thought-out buttons and dials

* Good-enough Audio/video - 4K/60p UHD video capture

* Night mode

* Front custom switch

* HUGE 60FPS EVF, 3.68M-dot electronic viewfinder w/ up to 0.83x equivalent magnification

* USB charge and power capability

The Bad Stuff:

As we all know, there are no perfect cameras. And I’d be remiss if I didn’t mention a few quibbles that keep the G9 from being flawless.

* Sensitive shutter button

* Top LCD backlight turns off too quickly (not configurable?) On some Fuji’s the display stays activated constantly (not backlit) even when the camera is off.

* Low light performance (damn physics)

* Weight

Conclusion:

In short, the G9 is a triumph, especially at this price point. As I record this, you can snag a G9 (body only) for around $1,600US).

It’s the obvious result of Panasonic engineering listening to its base, watching trends, and aiming squarely at producing a camera that is created unapologetically for still photographers — while still maintaining video capabilities that make similar cameras in its class jealous.

I own a few Lumix cameras, and this is the first one that gives me that little electric feeling in the pit of my stomach!

In the upcoming videos in this series,

In this show @Frederick Van Johnson @Steve Brazill and @PhotoJoseph briefly discuss TWiP’s hiatus, then tear into GoPro and the failure of their Karma Drone. Then we’ll discuss low-light photography tips and finally we’ll round things out with a panel discussion around their favorite cameras.

1. NEWS: GOPRO QUITS THE DRONE BUSINESS & CES PICKS

GoPro fires hundreds of employees and says the Karma drone will be the last drone it ever makes.

2. GEAR: PANASONIC GH5S, SONY, CANON & NIKON(?)

What camera gear are you shooting with, and why? We’ll discuss our current gear choices as well as the latest offerings from Panasonic Lumix, Sony, Canon and Nikon(?).

3. TECHNIQUE: CONQUERING LOW-LIGHT SITUATIONS

One of the biggest challenges facing any photographer is the problem of making images in challenging lighting situations. And one of the most challenging situations is low-light. In this segment we will discuss some techniques for taming the shadow beast, no matter what gear you have.

http://www.stevebrazill.com

http://www.photojoseph.com

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About TWiP:

Hosted by Frederick Van Johnson, This Week in Photo (TWiP) is your weekly helping of candid and adult dialog around the important issues and changes facing todays modern photographer. The show covers topics such as gear, technique, news and more.

Going strapless is all the rage these days and that’s what today’s gear is all about. Spider holster is a small company you may or may not have heard about here in upstate NY. They have been around the photography scene making cool camera accessories since 2009.

They are probably most well known for their SpiderPro Camera holster. A unique product that offers a comfortable and secure way to carry your camera without having to deal with a strap.  Other companies like Peak Designs make similar products, but personally, I have not found one as easy to use as the Spider.

Their setups range from the basic holster and plate like the one I am reviewing today to a full featured custom belts with twin holsters complete with accessory and lens cases. I first discovered them on youtube back in 2010 with this crazy video showing a photographer jumping up and down with two dslrs attached at his hip.  It was effective marketing for sure as I ordered my kit the next day.  I used one of these systems for 5 years shooting abandoned locations and weddings. It was great having everything on my hip and ready to go. Two bodies, flashes, batteries, and a spare lens. It was a great time saver not having to drop a backpack and root around for something or having to run and grab something I needed, always at the decisive moment of course. I ended up selling the system to a friend when I moved to the mirrorless format in 2013.

Up until now, Spider Holster’s focus has been on the DSLR market. I’m not to keen on other designs out there and the regular Spider plates were way too bulky for the smaller mirrorless designs.  Moving to mirrorless and giving up my Spider Holster setup left me out in the cold. But now they have introduced a brand new line geared toward the mirrorless and lightweight pro camera crowd. The SpiderLite Camera holster. The company says the SpiderLight Holster & Plate is designed specifically for Mirrorless cameras and small DSLR and that it is lightweight, durable and extremely versatile. The perfect companion for anyone that wants an easy draw-from-the-hip, no strap solution to take their camera everywhere.

Fitment of the plate to the camera is straight forward. It attaches to the bottom of the camera with a simple #20 thumbscrew.  One of which I wish was a bit larger. It can be painful to tighten if you have large hands.  The plate features and integrated Arca swiss cold shoe. You are all set if your tripod supports it. I have a manfrotto that uses the special manfrotto design.  The manfrotto plate easily attaches to the bottom of the spider plate and only adds minor bulk to the size.  Once fitted, the plate is comfortable and does not get in the way of your hand on the camera.  The holster is a simple belt clip design with a few extra tricks up its sleeve.  Under normal use a special internal clip keeps the holster frombeing easily removed.  To remove the clip a simple pull out and up does the trick.  It is a simple yet effective mechanism.

The belt clip itself features two modes. A quick draw mode, where the lock is disengaged. You draw your camera out with just one hand. Great for controlled shooting environments. Mode two is the Secure Position where the lock engages every time your camera is put in the holster. To pull the camera out, you just flick the lock up while drawing out the camera to release it. This mode is specifically for active environments.

When you first get a Spiderholster, you are going to be extremely careful with it. I found after about a month of using it continually I became more and more comfortable with my cameras just hanging out there.

When the company sent me this for review I got just the bare essentials in the clip and the plate. They make a host of accessories so you can customize your setup to your liking.

One of the options I particularly like and will be getting is the backpack adapter.

Drobo has established itself as the “understandable” RAID solution for people who need to store A LOT of data, and need to store it safely. With its “Beyond Raid” technology, the company addresses several concerns plaguing photographers. First, we are always creating MORE data! Giant raw files, 4K video, or just Photoshop documents with a bazillion layers. Over time, it adds up. And losing any of this data is non-negotiable. Secondly, photographers need storage that we can expand without copying all of our files to a bigger drive every year. And lastly (but not least) we need speed.

Drobo solves these problems with their drive enclosures, and they’ve just released an entry level unit called the Drobo 5C. It doesn’t have the Thunderbolt ports found on the more expensive models, instead it has a USB-C port. So, it's great for backup.

Like all Drobo's, the 5C protects your data from single, or dual hard drive failures. Drobo immediately starts rebuilding data on the failed drive to protect your data using available space. In the back ground Drobo does “data scrubbing” which means it reads your data looking for inconsistencies or corruption and does repairs.

The Drobo 5C also has a battery that protects all data in memory or cache. So, if power suddenly goes away, Drobo moves any in-transit data to onboard flash in your Drobo so it will be protected. The protected data will be moved to your disk drives once power is restored. This ensures your important information is safe and sound. The battery recharges itself and is designed to last for the life of you Drobo.

Drobo 5C will support up to 64TB drive sizes. But you can start with much less. Start with the capacity you need today, then when more storage space is needed, throw in another drive, or replace a smaller capacity drive with a larger one. You can just buy the best drive at the best price when you need more space.

Hard drives slide into their drive bays with no metal carriers or assembly required. The face-plate is easy to remove because it’s held in place with magnets.

Lights on the front tell you what’s happening – if you can read a traffic light, you’re already a Drobo expert. Each blue LED along the bottom represents 10% utilization letting you know exactly how much capacity is consumed. Green, yellow or red LEDs keep you informed of each drives status at all times. Unsure of what the lights mean? All the information is right there on the back of the magnetic cover.

Essentially the 5C is really a rebranding of the original Drobo. Since its birth Drobo has gone on to expand their product line, but it all started with this little puppy. And it’s still kicking after all these years.

If you’re looking for an easy to use, inexpensive back-up RAID solution. You should definitely give the Drobo line, and particularly the 5C a look.

* Drobo 5C at Datarobotics

* Drobo 5C on Amazon

* Drobo 5C at B&H

Hello fans of All About the Gear! It’s been some time since the guys have posted anything for this show and for that I personally apologize.

However, All About the Gear is not dead! We’re just switching formats. Instead of focusing exclusively on cameras and lenses, the show will now cover *all* gear thats related to photography and photographers.

This is a huge evolution of this show. And season TWO of All About the Gear will commence shortly, with a brand new host — A.D. Wheeler of Exploratographer fame. A.D. is already busy at work digging into hot new gear to share with you.

But to whet your appetite for the upcoming flood of new episodes, shortly I’ll be releasing a quick review I recorded for you.

Thanks for your loyalty to TWiP and to All About the Gear, and I can’t tell you how excited I am for this next evolution of the show. Check out A.D. Wheeler's stuff over at TheExplorographer.com.

I'd also like to welcome our sponsor for season 2 of All About the Gear, Zenfolio!

 

 

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The Canon Powershot G7X II is the latest in a somewhat confusing line of compact cameras, most of which are based on the same 1" sensor. Compared to the low-end G9X, the G7X II adds a touch & tilt rear LCD, but doesn't include the electronic viewfinder found on the G5X. The upgrades from the original G7X, released 1.5 years earlier, include a better grip and a control ring around the lens.

In the battle for the best pocketable compact camera, Gordon compares this latest-version Canon G7X to the older Sony RX100 III (includes a pop-up EVF and slightly more expensive) and to the more-recent Sony RX100 IV (with 4k video but substantially more expensive).

Read Gordon's complete written review of the Canon G7X II on CameraLabs.com.

Buy the Canon G7X II from:

* Amazon.com

* Amazon UK

* Adorama

* B&H

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The Ricoh GR II is a street-photographers' favorite that is rarely reviewed or even mentioned. After hearing raves about the GR and new GR II from fellow street photographers, Doug decided it was time to check it out for himself. In this episode, we turn the tables and Gordon interviews Doug about his experience.

The GR II is in a unique class of cameras: those with APS-C (fairly large) sensors with non-interchangeable 28mm (full-frame equivalent) lenses in a pocketable form factor. In fact, only the Fujifilm X70 (recently reviewed on All About the Gear) comes close.

Doug specifically compares the GR II to the X70, the smaller-sensor Sony RX100 IV, and the ubiquitous smartphone.

The good: a superbly sharp lens, good high-ISO performance, highly configurable controls, good autofocus and pocketable. But then there's the lack of an EVF, touch or tiltable LCD and awkward manual focus. Still, it's good enough that Doug decided to buy one and now uses the Ricoh GR II as a second camera alongside his Leica Q.

[Note: The online price of the Ricoh GR II was US$619.95 at the time this episode was recorded but has since increased.]

To support All About the Gear, buy the Ricoh GR II at

* Amazon.com

* B&H

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The Canon EOS 80D comes three years after the popular 70D, one of the company's most popular APS-C mid-range cameras. Among a crowded market of 24MP APS-C bodies, the 80D stands out for its video and Live View capabilities. Positioned between three-digit Rebel line and the semi-pro 7D II, the 80D features Canon's Dual-Pixel 45-point autofocus technology, 1080p/60 video, 7fps, a fully articulating touch-sensitive LCD screen and headphone and external mic inputs. Accompanying the camera at launch is a new, quieter EF-S 18-135mm f/3.5-5.6 IS USM lens, an upgrade from the STM version.

In addition to reviewing the Canon 80D, Gordon and Doug cover the new PZ-E1 power-zoom adaptor, get into a deeper discussion of Live View versus mirrorless cameras and consider the 80D in the context of its competitors, particularly the 7D II and Nikon's D7200.

Watch Gordon's Live View astrophotography video.

Read Gordon's detailed review of the EOS 80D.

Buy the Canon EOS 80D at:

* Amazon.com

* Adorama

* B&H

* Amazon UK

Errata: Canon says the EOS 80D is indeed "Water/Dust Resistant".