I don’t usually post news, but this is big. If this is for real, then many of us can easily use up that stash of Ilford we have squirreled away behind our frozen fish sticks.

On September 18th, Grubba Software released TrueGrain, a stand-alone software product that reproduces the look and feel of several different B&W film stocks. Beyond using the sampled grain patterns, it also adjusts tonal response to match that of the selected film. I downloaded the demo and plan on playing with it over the next week to see how this really holds up in real-world use. Conveniently, I am shooting a wedding this weekend, so I’ll have a fresh sample to play with. In the meantime, I encourage you to download the demo and give it a spin.

The software’s adjustable settings are:

Spectral Response
Grain Scaling & Intensity
Dynamic Range

I can’t wait to get my hands all over this.

TrueGrain requires OS X 10.4.9 or higher and costs $300.

UPDATE:

Spent some time with TrueGrain on the plane to and from Ireland.

First, it works pretty much as advertised. The grain is simply impossible to duplicate using any other means, which likely explains the developers choosing to go with scanned images over any algorithmic implementations. The spectral and dynamic range adjustments are replicable using other means, but devising the right combination to match a particular film stock is outside the realm of feasibility in most situations. In the end, this is the ultimate way to recreate the film look without having to deal with the real thing.

Some tips:

Well-exposed, low-ISO images seem to work best. High-ISO images tend to have excessive noise in some channels (mainly blue). This noise is amplified during the spectral response adjustment and the poor quality of some channels can really hurt the image. Detail is lost and noise becomes very objectionable.

Properly exposed images respond best to the dynamic range adjustment. Underexposed images need tweaking to make the contrast appear as expected. I don’t have much experience with overexposed images in this program, so I can’t comment on that.

Now some images.

Want to buy a Kodak EasyShare Z885?
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Kodak EasyShare Z885 Studio Test Images
	ISO 80 Sample >> ISO 100 Sample >> ISO 200 Sample >> ISO 400 Sample >> ISO 800 Sample >> ISO 1600 Sample >> ISO 3200 Sample >>

Pros Good value Compact body 5x optical zoom lens Full manual exposure operation Uses easy-to-find AA batteries Good color rendition Good build and control options	Cons Histogram is useless in manual mode Grainy LCD Difficult to read text in manual display Requires restart after card change No playback review mode ISO 8000 not very useful

Introduction

I was eager to review the Kodak EasyShare Z885. I had some bad experiences with Kodak digital cameras years ago and hoped the EasyShare Z885 would provide me with a fresh perspective on the current state of their cameras. This was probably wishful thinking, since there is only so much one can expect from a $200 digital camera - especially one that touts features such as digital image stabilization and ISO 8000 sensitivity. I carried the Z885 around in my laptop bag for a couple weeks and used it to take pictures of a picnic, a graduation party, and as a general “grab shot” camera. Most of the time I used it in full auto mode, thinking that’s how most Z885 owners will use it.

Features

The number of features packed into the Z885 surprised me - especially considering that it sells for less than $200. In addition to the 2.5-inch LCD there are 20 scene modes, in-camera panorama stitching, ISO 8000 sensitivity, a 5x optical zoom lens, digital image stabilization, video recording with zoom, and a full manual exposure mode.

With top of the line digital SLRs maxing out at ISO 6400, you have to wonder how a $199 camera can manage such high sensitivity. And more importantly - is it actually useable? The way Kodak pulls it off is pretty clever. It appears they’re grouping together multiple pixels to increase sensitivity because you can’t select ISO 6400 or 8000 until you dial the resolution down to 2.2 megapixels. But I can’t confirm that since Kodak hasn’t released any technical data about their methods.

Image stabilization is one of the top “must have” digital camera features right now. Kodak’s EasyShare Z885 uses digital image stabilization. Instead of shifting the lens elements or moving the sensor to compensate for shake, the Z885 tries to make up for it by boosting the sensitivity to ISO 3200. Of the three image stabilization methods, (optical, digital and sensor-shifting) this is the least desirable because it compromises image quality. Though it is usually preferable to blurry photos. It also helps freeze moving subjects, which the other image stabilization methods can’t do. Mechanical image stabilization (optical or sensor shifting) compensates for camera shake without degrading image quality. No doubt, mechanical image stabilization systems are more expensive and maybe too much to ask of a camera that costs less than $200. That said, the EasyShare Z885’s electronic image stabilization isn’t half bad. There is some artifacting but it’s not very objectionable as long as ISOs over 400 are avoided. In the end, I would use it if the need arose. The only other drawback is that it’s only available in a single, dedicated mode. But you can always turn up the ISO yourself and get the same results.

There are six shooting modes on the EasyShare Z885: Smart Scene, P/M, High ISO, Digital Image Stabilization, Scene, and Video. Most people will probably leave the Z885 on auto. But the other modes are useful and I was pleased that Kodak included the Program/Manual (P/M) exposure mode. The Scene modes consist of portrait, sports, landscape, close up, night portrait, night landscape, snow, beach, text/document, fireworks, flower, manner/museum, self portrait, children, backlight, panning, candle light, sunset and panorama stitch.

The Program/Manual mode was a pleasant surprise. I am used to Program and Manual being separate modes so combining the two confused me at first. However, after using it for some time, I found I like the implementation. It means the Z885 offers room for photographers to learn and grow as well as offering more control to those who might not be able or willing to afford a more expensive camera.

The camera records Quicktime MPEG 4 at 640×480 or 320×240 at 30fps. Recording time is capped at 80 minutes unless you run out of space first. In-camera video editing consists of being able to take freeze frames of the video and trimming it.

Camera Menus

Kodak EasyShare Z885 - Main Menu		Kodak EasyShare Z885 - Scene selection in the Scene mode
Kodak EasyShare Z885 - Grid and histogram overlay in Manual mode		Kodak EasyShare Z885 - Image Review
Kodak EasyShare Z885 - Share menu

Design

The build and finish of the camera is nice. It has no creaks or flexible panels. The battery and SD card doors are solid and close and open with a nice, decisive spring-loaded feel. I did, however, take issue with the buttons. Small and almost flush with the camera surface, the buttons can be difficult to use. They lack a tactile feel and I often had to depend on system sounds to confirm button presses because I could never be sure. I only found the buttons to be annoying, while my girlfriend had a hard time turning the camera on due to the same complaints. Ironically the drive/flash buttons on top of the camera felt the best, and these are likely the least used.

Camera Experience

Overall, I felt that the Kodak EasyShare Z885 is a bit inconsistent. In good conditions (i.e. good light and simple subjects) the camera focuses quickly and accurately and renders properly exposed images with great color. But other times, even in seemingly similar conditions, it severely overexposes, underexposes or gets the white balance wrong. On the other hand, daylight images exposed well and had consistently good white balance. I did have some problems with the camera failing to lock focus on backlit subjects.

I did like the implementation of the Manual/Program modes. With a simple change of an on-screen menu item you can go from full manual control to Program, which shifts ISO settings and exposure compensation and lets the camera fill in the blanks. This is a great example of creative and sensible camera design. The two are so close that giving the user the ability to go from one to the other easily just makes sense, and is similar in use to having an actual mode dial on higher-end cameras.

I found the camera to be sluggish and a bit counter-intuitive. The program/manual mode’s menu system is pretty straightforward – you use the directional pad to select a function and then press it up or down to change it. But even though white balance is displayed, you can’t scroll over to change it. The menu icons aren’t very self-explanatory and lack text descriptions. I understood the camera icon with the wrench — that clearly indicates a tools or setup menu . But what exactly does the camera icon mean? And what about the camera icon with a plus sign? The icons and text are huge, which they have to be considering the size of the screen and its relative low resolution. Small icons would be difficult to read. And that brings me to my next point.

A large LCD helps you see and evaluate your photos better and also makes it easier to share them with other people. But the EasyShare Z885’s screen is very grainy, making the images look much worse than they really are. I would take a smaller screen with better image quality over this one any day. And Kodak’s LCD typeface choice doesn’t help. The letters, “ISO,” look like the number 180 and when the camera is set for ISO 80 it is tough to tell the letters and numbers apart. When you switch over to manual mode the exposure indicator is dark grey, making it unreadable in bright light unless the scene being photographed is completely white (see images of the LCD display, below).

Kodak EasyShare Z885 - Hard to read type

An additional frustration was having to restart the camera every time I changed memory cards. Why not just have a sensor that shuts the camera down when the card is removed? Other digital cameras I’ve used automatically turn off when the memory card door is opened and turn back on when it’s closed. The Kodak EasyShare Z885 just displays a screen telling you to turn it off and back on. Obviously a card change was detected, how much harder would it be to implement an automatic restart?

Kodak EasyShare Z885 - Prompt to restart the camera

I was excited when I found that by cycling through the different LCD display modes in the P/M mode I could get a live histogram. A live histogram is a killer feature on digital P&S cameras, and I was stoked to find it on this level of camera. Unfortunately, even though the histogram appears to be live, it doesn’t update when exposure settings are changed in the manual mode. Only in the program mode does it function as expected. In my opinion, this makes the histogram utterly useless. There’s still a playback histogram you can use to judge exposure. But the lack of it in manual mode is very disappointing.

Kodak EasyShare Z885 - Histogram worthless in Manual mode. Notice the EV indicator read an underexposure of -12.3 while the histogram indicates a bias to overexposure

The video quality on Kodak EasyShare Z885 is decent. It also allows you to zoom while recording, which not all digicams do. Unfortunately, the sound of the zoom mechanism is easily picked up by the mic. Playing back videos is a little confusing. Since it has no dedicated review mode, the camera has to be fully on, with lens extended, in order to scroll through videos (or still images). There is an exception to that. If you mark videos as “favorites” and switch the camera to the “favorites” mode you can view them without the camera on and lens out. Adding images and videos to the Z885’s Favorites folder is a pain because you have to copy them to “favorites memory,” a separate mode you can switch into. This is a slow process which also uses up the camera’s 32MB of built-in memory.

Image Quality

The Kodak EasyShare Z885 has decent image quality for an 8.1-megapixel camera. And it’s far better than digital cameras that cost much more just a few years ago. Noise reduction is apparent even at ISO 80 in the form of detail-less splotches, though it’s not objectionable. There is some loss of finer detail and a slight painterly look. The default in-camera sharpening is a bit harsh resulting in strong halos, but it can be decreased in the menu. The daylight color rendition is excellent. There is some purple fringing in high contrast areas, although it’s not terrible.

Exposure metering seems inconsistent. The Z885 overexposes scenes with lots of bright white in them, but expose properly when the scene has a large proportion of darks. And even that doesn’t always happen. The camera also struggles in backlit situations, trying to preserve detail in the bright light sources way more than I’d like it to, even if the area was a relatively small portion of the frame. I often found myself using exposure compensation to override the automatic exposure. The 5x zoom lens is not the sharpest, and it’s noticeably sharper at the wide end than at the telephoto end of the zoom. There is also some obvious distortion at the wide end, but surprisingly little at the telephoto end. It does do pretty well with flare, though. Colors were saturated and I didn’t really have a problem with sun spots.

Kodak EasyShare Z885 - Wide angle distortion

Kodak EasyShare Z885 - Telephoto distortion

Who Should Buy It

After spending a fair amount of time with the Kodak Z885, I just can’t bring myself to recommend it. I think people that are looking for a $200 digital camera should look at a different camera or consider spending more. There is too much that’s likely to disappoint with the Z885. However, if you are already invested in the Kodak dock system and are looking for something with a lens that has a little more reach and is still pretty pocketable, then the Z885 is worth looking at. It can be found for well under the MSRP of $199. If you are aware of and can live with its shortcomings it’s a pretty decent value. Just don’t expect any of its highly touted features to really live up to their promise and you won’t be disappointed. It’s a camera that does OK across the board, but doesn’t excel in any particular area.

Click on thumbnails to view sample photos.

- end -

Contents of the Kodak EasyShare Z885 Box
• Kodak EasyShare Z885 Zoom Digital Camera
• Kodak Oxy-Alkaline Digital Camera Batteries AA
• USB cable
• Neck strap
• Getting Started Guide with Kodak EasyShare Software
• Custom camera insert for optional Kodak EasyShare Camera and Printer Docks

Other Resources:
Shop For Kodak EasyShare Z885 >>
Kodak EasyShare Z885 User Reviews >>
Write an Kodak EasyShare Z885 Review >>
Kodak EasyShare Z885 Camera Specs >>
Kodak EasyShare Z885 Sample Gallery >>
Kodak Web site >>
Kodak EasyShare Z885 Camera Manual >>
All Digital Camera Pro Reviews >>
Digital Camera Buyer’s Guide >>
All Digital Camera Studio Sample Photos >>
Sebastian Profile >>

Let’s face it, getting images to the web is a time-consuming multi-step process. Open the file in an editor, tweak it, resize it, sharpen it, export it, FTP it, test the URL, copy it and finally enter it into the code. Sometimes you just want to get a file up to a location, without waiting for the feature-rich editor to start up and without having to jump through all these hoops. This is where Imagewell comes in.

Like with most Mac programs, it all starts with a drag.

Almost instantly, Imagewell springs open and loads the selected file. Once it does, you are presented with the following screen. Right from here you can:

• Resize
• Compress
• Rename
• Convert to a different format (tiff, jpg, png)
• Send (term for upload/copy)
• Generate a random filename

By accessing the “Watermark” and “More” screens you can:

• Watermark (text or image)
• Automatically copy the URL in several different code syntaxes
• Copy to and paste from the clipboard
• Rotate
• Screengrab (whole or selection)

The way the workflow is set up, “saving” or “exporting” of the file are not necessary, hence no obvious way to perform those functions. Instead, Imagewell uses the metaphor of “sending” a file. You set the options to reflect your desired end product, select a destination for the final file and hit “send.” Valid destinations include volumes, folders as well as several different types of web servers. Your original file is never modified using this method and the acts of sending and editing are combined into one efficient function.

The sending portion relies on “locations” which are defined by the user ahead of time. The Locations dialog is where often-accessed folders or servers are defined to become selectable locations. Once these are setup, they show up in the drop-down next to the Send button on the main interface.

Beyond these core functions Imagewell also supports some simple editing and annotation.

The user can:
• Crop
• Rotate
• Easily add arrows, speech bubbles, frames and boxes

The editing interface is accessed by hitting “Edit” on the main screen, at which point the screen expands. This is a pretty non-standard interface, but works well for the intended purpose once it’s understood.

Imagewell’s interface is not the most intuitive thing at first, but its nonstandard approach really works well for the intended task. After a few rounds with it the workflow becomes natural. Besides the need to learn a new interface, most might be put off by some of its shortcomings. For as many things as it does well, it is missing some key features. The biggest being sharpening. This alone makes it hard to use for uploading photos, as they all need a bit of sharpening before uploading. In addition there is the lack of a target file size dialog, which allows you to enter a target file size for the compressed output and makes the program find the optimal compression settings to reach that size. There are also quality concerns. Imagewell uses OS X’s Quartz engine for image rendering, making the final output lower quality than what other tools are capable of. To their credit, the developers have said that the next version of the program will include its own rendering engine as well as a way to sharpen the images.

Imagewell does an admirable job at streamlining the workflow of those wishing to get images converted and transferred. It comes in two versions, a free and an “Xtra” version costing $15. The Xtra version offers the ability to set often-used settings as presets, batch processing, an expanded shape library, multiple images on the canvas and the ability to resize the canvas. At this point in time, my recommendation is to download the free version and see if it fits your workflow rather than spending money on the Xtra. Right now even the paid version is missing some critical functionality for photographers that might be added in the future version. Personally, I’m taking the wait and see approach before I pay.

Imagewell is made by Xtralean Software and is free for the standard version or $14.95USD for the “Xtra” version. The software download weighs in under 1MB.

Sony finally announced their long-awaited follow-up to their first digital SLR, the Alpha DSLR-A100. It appears to be a solid mid-level camera, with a significant redesign and some valuable feature improvements. At the PMA (Photo Marketing Association) tradeshow, in February, Sony announced they had three new digital SLRs in development: a new entry-level camera, a mid-level body, and a professional digital SLR. Based on the specs and price ($1400 US), the Alpha DSLR-A700 is the mid-level camera.  

Image Quality

The most obvious change between the A700 and the A100 is 20% more pixels with the new 12.24-megapixel Exmor CMOS sensor. Twenty percent isn’t a huge resolution increase. But it’s enough to compensate for some cropping and it also puts Sony ahead of Nikon and Canon in the mid-level, consumer digital SLR camera space. Currently, Nikon and Canon’s mid-level cameras, the EOS D40 and Nikon’s D80, each use 10-megapixel sensors. The new sensor should mean better image quality, too. Besides offering more detail and cropping room, increased resolution can effectively minimize noise simply because it reduces the size of the pixels in an image. Sony’s new Exmor sensor also has on-board noise reduction to decrease noise before the data is even sent to the camera’s processor. We’ll have to wait to see the actual, real-world image quality. Better image quality would be good. Because even though the DSLR-A100 had good image quality, it wasn’t as good as comparable cameras from Nikon or Canon. And if Sony wants to take a bigger bite out of the DSLR market, they need to compete with pure image quality. That’s still the main competitive arena  - especially on the Internet where people love to compare cameras at a pixel-to-pixel level.  

More important than the number of pixels is the increased sensitivity of the new camera. The A700 has a maximum (expanded) sensitivity of ISO 6400, compared to the A100’s ISO 1600. Again – we will have to wait and see what the A700’s ISO 6400 images look like. It’s possible they’ll look like Lego block art. But the fact that the A700 goes to ISO 3200 (standard maximum sensitivity) and ISO 6400 in the expanded mode indicates that Sony has some confidence in the image quality and noise levels of the new camera. The higher sensitivity settings also compare favorably to cameras in the same class. The Nikon D80 has a maximum sensitivity of ISO 1600 and Nikon’s recently announced D300, which is a step above from the A700, has a maximum sensitivity of ISO 3200 and expands to 6400. And Canon’s new EOS 40D has a standard maximum sensitivity of ISO 1600, with expanded to ISO 3200. It will be interesting to see how the Nikon D300, Canon’s EOS 40D, and the Sony DSLR-A700 compare at their maximum ISO settings. In the end, it’s only usable image quality that counts. If the images are too chunky at ISO 6400, then that setting doesn’t mean a thing. 

It doesn’t look like Sony has made any changes to their Super SteadyShot in-camera image stabilization. But then again, they didn’t really need to. It already worked great. And I can’t emphasize enough what a huge benefit image stabilization is for photographers of all types. Not only does it do the obvious – help people take sharper pictures in low light and with telephoto lenses. It also means better overall image quality because it allows you to shoot at lower ISO settings because you can use slower shutter speeds and still get sharp photos. Lower ISO means richer, more detailed, noise-free photos. So even though the new DSLR-A700 appears to use the same Super SteadyShot system as the A100, it’s important to mention the benefits again.   

Performance

Indicating it was designed for more difficult subjects and sophisticated photographers; the new DSLR-A700 is capable of capturing 5 frames-per-second. It also has a new auto focus system with 11 sensors, as opposed to the A100’s 9-point AF system. The new AF system has a cross-type sensor in the center for the most accurate auto focus performance. This type of sensor has been standard on cameras that professional sports photographers use for a long, long time. Five FPS and improved AF don’t make the A700 a pro body. But it’s a sign that Sony is serious about competing with traditional camera makers in the high-performance digital SLR space. As with the image quality, we’ll have to wait to evaluate real, in the field performance. But in my opinion, Sony is paying attention to the right stuff. Speed and focus accuracy are a couple of things that really bother photographers when they don’t work right. The technology to make cameras faster and more accurate is available and if Sony wants people to shoot action with their Alpha cameras, they need to provide the features and performance that action photographers want and need. Combine better auto focus, a competitive continuous frame rate, improved high ISO performance, and the proven benefits of Sony’s Super Steady Shot anti-shake system and you’ve got a very compelling camera.  

Photo Viewing and Sharing

One of the most visibly obvious changes to the new camera is the 3-inch LCD display. The A100 has a 2.5-inch LCD that looked big when the A100 was introduced. But not anymore. The DSLR-A700’s 3-inch LCD isn’t just bigger – the number of display pixels has also been increased by about 25%. So the LCD image quality should be noticeably better. I have also noticed that the product shots of the camera show the LCD display with a row of smaller thumbnails above the main image. I haven’t seen that before on a digital camera and I like the idea of being able to see and navigate through previously shot images without having to change modes. This is a nice, user-friendly touch and shows Sony’s attention to detail. 

“High-Def” and “HD” are hot marketing terms right now and camera companies have been quick to apply it to still digital cameras – especially companies like Sony and Panasonic who also happen to make HD TV sets. Sony started selling “HD” cameras early in 2007. What that means is, they offer widescreen format aspect ratio modes, and high-definition television connectivity in their digital cameras. RCA video-out connectors have been available on digital cameras for a long time. But the new DSLR-A700 has an HD-direct, HDMI connector built right into the camera. As far as I know - and I poked around a bit to check - the A700 is the only digital SLR that offers a direct high definition television connection. How important this is to digital SLR buyers remains to be seen. But Sony has the benefit of a lot of dedicated buyers who tend to buy whatever they’re selling. Offering Sony high-def TV owners the option of plugging their digital SLR right into their TV to share photos will likely to clinch the deal for some camera shoppers. 

The one hot feature Sony didn’t include on the A700 is a live view mode. Live view allows the photographer to compose with the LCD instead of the optical viewfinder. It’s currently available now on selected Olympus E-System and Canon digital SLRs, allows a photographer to use the LCD for viewing and composing, as most people do with compact digital cameras. Since SLRs have a mirror blocking the sensor to allow for through the lens viewing, Live View is something of a complicated feature. It’s either a bridge feature to encourage point-and-shoot camera users used to using an LCD to make the move to a digital SLR, or it’s a high-end feature for studio and outdoor photographers working on a tripod who find it difficult to use the optical viewfinder. I’ve had two cameras with Live View for testing and I haven’t been inclined to use it with either one. I tested it to check it out. But personally, I don’t find it a very compelling feature. So I think it’s fine that Sony didn’t give the A700 a live view mode. 

Camera Build and Controls

The Sony A100 was decent as far as build, feel, and ergonomics go. But it had a definitely bulky, boxy, and flexy feel to my hands. I didn’t have any actual problems with the build or ergonomics. But it just didn’t feel as good as other digital SLRs I’ve used. The A700 has a new magnesium chassis along with weather and dust sealing, so it will be more secure in the rough environments where outdoor and action photographers spend a lot of their time.  

In comparing photos of the A100 and the new A700, I also noted that the new body has a dedicated thumb dial exposure control. The A100 had a standard entry-level button control to toggle between the shutter and aperture controls. Adding a second, dedicated exposure control definitely makes the camera a more serious photographic tool. That’s not the only control layout change I noticed. The A100 has two big dials on top of the camera – one for selecting the exposure mode, and the other one for accessing regularly used controls like ISO, white balance, and auto focus. The DSLR-A700 has gone to a single command dial and now has dedicated ISO, white balance, and drive buttons on top right hand camera panel. I actually like the second dial on the A100, so I’m not sure if I like that change or not. On the other hand, it does simplify and clean up the look of the new camera body.

Compare

Sony Alpha DSLR-A100 Photos

Sony Alpha DSLR-A700 Photos:

Conclusion

The Sony DSLR-A100 was and is a fine camera as well as a great first step into the digital SLR market. They were wise to invest in the Konica Minolta lens mount and other Konica Minolta camera technology. It gave them a great platform to build on and as long as they built a good camera, they were guaranteed a built-in market with Konica Minolta SLR owners. The DSLR-A700 proves that Sony has paid close attention to what people think of the A100. A better body, new sensor, better image quality, and improved auto focus make the new DSLR-A700 a solid upgrade for A100 owners and a great buy for Konica Minolta 35mm SLR and DSLR owners. We’ll have to wait and see if it lives up to the promise of the new specs and features. But it sure looks like Sony has done a good job and I’m excited to get one in my hands to see what it can do.

Related Content:
Sony Alpha DSLR-A700 Press Release >>
Sony Alpha DSLR-A700 Specs >>
Sony Digital Cameras Forum >>
Digital SLRs Forum >>
Sony Digital Camera Resource Page >>
Sony Alpha DSLR-A100 Pro Review >>
All Sony Digital Camera Reviews >>
Official Sony Alpha DSLR-A700 Web Page >>
Sony Web Site >>

This final installment of my tripod series examines Gitzo’s tripod design for photographers who value the ability to easily fine-tune their camera positioning for new perspectives. As with the other Manfrotto tripods reviewed earlier, the Gitzo Explorer GT2530EX redefines how one considers tripod functionality. Gitzo and Manfrotto’s engineers may work in the same building, but they take different approaches to tripod design that benefit all types of photographers.

Gitzo Explorer GT2530EX Carbon Fiber Tripod, $600 list price.
Gitzo G1276M Universal Off-Center Ball Head, $250 list price.

The three section Gitzo Explorer GT2530EX tripod legs are constructed of six layers of carbon fiber which weigh in at 4.1 lbs. (Note that this model is not the same as the Gitzo Mountaineer GT2530 which weighs almost a full pound less.) The G1276M off-center ball head with quick release tips the scales at 1.4 lbs making the two together a 5.5 lbs. proposition. If you primarily shoot digital SLR gear and don’t use big glass much, you could save a pound by using a compact ball head instead.

This combination seems to be the ultimate in versatility and is almost as fast to use as the Manfrotto 458B. If you thought a horizontal center column was cool, then the GT2530EX tripod takes you to the next level. Rather than using a traditional center column running in between the legs, the GT2530EX offsets the column and mounts it in a pivoting clamp at the top of the legs. This allows the column to be quickly set at any angle including straight down. I wish I had had this tripod during my last food photography assignment. The ability to quickly adjust your camera position without having to move the whole tripod or adjust the leg heights is of tremendous benefit to anyone doing careful compositions. I’m told Gitzo’s customers in Asia are big fans of this capability.

Gitzo uses the same clamp concept for the legs too. Did you ever wish that you could lock the angle of a tripod leg in between the detents? The Gitzo GT2530EX enables you to do just that with flip lock clamps instead of the usual ratchet mechanism (take care when opening or closing these levers as it’s easy to pinch yourself). Because there are no detents for the leg angle, I found that it was easiest for me to set the legs where I wanted them before locking the leg angle clamps down. By working this way, you can easily set the legs up straight and level or at an angle. This feature is extremely useful when working outdoors on uneven terrain or in tight spaces. Indoors, imagine what you can do over and around tables or other objects!

For the leg sections, Gitzo’s twist G-Locks are designed with a very short throw so that tightening or loosening is only about a quarter turn. There is also a slight detent on the releasing turn so you know you’ve released the leg. Being a fan of flip-locks on tripod legs, I did not think I’d find the twist-style locks to my liking, but Gitzo’s design works very well and has turned me into a believer.

Gitzo’s G1276M off-center ball head design is a hybrid between the movements of a pan/tilt head and a regular ball head. The ball head itself is offset from the center of the head and is mounted sideways 90 degrees to vertical. The body of the entire head rotates 360 degrees and locks independently from the ball head. Functionally, this provides a little more flexibility in camera positioning when using the head with the GT2530EX tripod in an unusual configuration. Again, with food photography or any macro work, this head can help make quick refinements without the need to reposition the whole tripod. The G1276M ball head is constructed of magnesium and comes with its own quick release plate. It may look bulky, but it’s relatively light weight and compact with the top plate stored down. Then again, it is not as light as some regular ball heads built for backpacking. My other concern with this head is that the smoothness of the ball head motion is a bit sticky when compared to regular ball heads; this may or may not be an issue for you however.

The Gitzo Explorer GT2530EX carbon fiber tripod and the G1276M head are a compelling combination if the price is not an object. Gitzo promotes the tripod as the perfect tool for “exploring new perspectives” and I have to agree that the total flexibility of positioning makes the combination extremely attractive for those shooters needing such versatility.

In conclusion, I hope this series has been useful for helping you set your own priorities around tripods and tripod features. There certainly are plenty of traditional tripod designs to choose from, but if you’re in the market for a new model, be sure to give these new features a look. You may find using a tripod easier and more fun than you expect!

By Laurence Chen | BuyTheBestCamera.com

Readers may recall from Tripodding 101 that I mentioned a couple unique tripods from Manfrotto and Gitzo that are worth considering if you’re in the market for a new tripod, or just want to upgrade to something more useful. These Manfrotto/Gitzo tripods are designed around how the photographer intends to use the support, while also including the flexible features that are found in some of their newer models. Perhaps the most unique concept is the Neotec 458B tripod.

The Manfrotto Neotec 458B’s most compelling feature is its unique design that is built for speed. Instead of the usual knob or flip-lock mechanisms found on most tripod legs, Manfrotto engineers designed a simple, easy-to-use push button release for the automatically locking tripod legs. The unique coupling mechanism transfers the weight of the camera down into the clamp holding the leg sections together. In this way, more weight equals more leg strength and stability. The internal mechanism uses the weight to push itself outwards against the tubing, holding it securely in place.

Quite simply, the Neotec 458B is the fastest tripod I’ve ever used. No need to individually lock/unlock at least six clamps. To set up, just push the legs down; they lock automatically wherever you leave them. To retract, just hold down the grey button and push the legs back in. The fastest way to collapse all three legs is to bring the legs together and hold the lock buttons in while pushing the whole tripod down. Each leg can be set to any one of four angle positions, including flat down (90 degrees). It’s so fast, it takes a little getting used to the simplicity of it all.

Additionally, the Neotec 458B’s two section center column can be shortened for use low to the ground, and the column can be used horizontally like the Manfrotto 190XPROB I reviewed earlier. The Neotec 458B’s horizontal arm feature requires unscrewing the base cap at the end of the column and reassembling it in the horizontal clamp (which incidentally has a bubble level built in). One advantage to this design is that the extra center column length can thus be detached when shooting with the legs flat down or very close to the ground. Despite requiring a little more effort than the 190XPROB, it’s still a quick operation.

Another unique feature of the Neotec 458B is in how the large diameter tubes are at the bottom (extended sections) of the legs. This “upside-down” construction helps to minimize dirt and debris from gumming up the legs if, for example, the tripod leg is extended into dirty water or something similar.

The potential drawbacks to the Neotec 458B are its weight and surprisingly, it’s construction. The 458B is the heaviest tripod I’ve been testing at 5.3 lbs., and in my mind this makes it more suitable for studio use or outdoor use where you won’t be carrying the tripod for long distances. The construction is top-notch but I would watch out for a couple things related to the legs. First, every aluminum light stand or tripod I’ve owned has over time been bumped and bent slightly out of perfect alignment so that the leg(s) don’t slide smoothly–the leg(s) get hung up a little at the bent spot. This did not occur with my test unit and I’m not saying it will definitely happen, but it’s something I’d want to be aware of in the field. Second, the leg sections clearly seem to require much closer tolerances than light stands, therefore it’s a good idea to keep them especially free from dust and dirt (another thing to be aware of is the oil on the leg sections when extended).

Overall the Manfrotto Neotec 458B wins your heart by virtue of its speed. Because it is so fast to setup and use, I enjoyed having it around or in my car for those times when I might not otherwise bother with a tripod. Along with the tripod, Manfrotto thoughtfully includes a sturdy carrying strap. For more information, see <http://www.manfrotto.com/neotec>.

By Laurence Chen | www.buythebestcamera.com

Intro

There is no arguing that a tripod is the ultimate camera support. But sometimes you may want to carry something lighter, more compact and in some ways more capable than a traditional tripod. In those instances the Joby Gorillapod might fit the bill.
The Gorillapod comes in three models:

• “Original” - holds up to 9.7 ounces, has quick release
• “SLR” - holds up to 1.75 pounds, has quick release
• “SLR-Zoom” - holds up to 6.6 pounds, no quick release

My experience is with the Original and the SLR-Zoom. The SLR version wouldn’t work well with my cameras, so I passed on buying it.

Original

I remember seeing the Gorillapod online when it was first released. I didn’t really think much of it, since it seemed a bit gimmicky. The whole premise behind it was the ability to wrap its legs around something stable to create unique mounting opportunities. I had little faith in its performance, even though I had never had a chance to use it. However, it seemed to really catch on as time went on. Its reviews were favorable and its popularity spawned its two bigger siblings.

(Image provided by Joby)

A little over a month ago I was at a local electronics store shopping for a case for my Canon TX1. Right above the cases hung the original Gorillapod and the SLR version of it. Never having the chance to use one, I was curious enough to take a closer look at it. The case is a blister pack, but it’s not sealed, making it very easy to open and examine. What I found was a compact, light set of legs that wrapped around its display “branch” very snugly. On a whim, I decided to give it a try.

(Image provided by Joby)

Once I got it home I started putting it through its paces. Right from the start I was impressed by how sturdy the little legs were. With the TX1 mounted on it, a considerable amount of force was needed to get the legs to collapse. The joints held strong enough to make it a viable micro-tripod alternative. But, like any chain, the elements are only as strong as their weakest link. Some of the joints hold much better than others, and I noticed that in some positions the stress of even a moderately heavy camera would collapse the weakest joint on a leg, making the whole thing collapse. It’s not difficult to work around this with different leg positions and bends, but something to be aware of. With most small cameras this won’t be an issue, but it can become a problem with heavier setups.

Though surprisingly strong, the plastic construction sacrifices a lot of rigidity. With the TX1 I need to use the self-timer to allow enough time for the shaking to subside. Any sort of touch makes the camera tremble, making long-exposure shots difficult without a timer or remote. This can also make precise framing difficult. You just never know if the image is framed the same way after the shaking subsides.

SLR-Zoom

Even with its shortcomings, the Gorillapod impressed me enough to make me curious about the largest of the three versions. About two weeks after getting the original, the SLR-Zoom was at my doorstep.

Though it exhibits less of the shaking that plagues the little version, it still suffers from the weak link syndrome. But I found this more difficult to work around with the SLR-Zoom because of the extra weight it is meant to support. I am unable to use the legs splayed out like a tripod because there are several joints near the mounting plate that are weaker than the rest. This causes the legs to buckle unless they are shaped just right, reducing the unit’s usefulness as a small tripod replacement. The legs still hold tight when twisted around oddly shaped things, but when fully loaded I have a hard time trusting it. Granted, fully loaded to me means having a ballhead on along with my 20D with grip and 70-200 IS. Though I have not weighed it, I’m confident that I’m pushing the bounds of its weight specification. So if you intend to use it with a similar setup I suggest you test it thoroughly to see if it works for you. Once the ballhead is removed and a more reasonable lens is attached (17-40L) the setup becomes much more stable. Even wrapping it around the oddly shaped armrest of an office chair results in a reasonably stable platform.

Bottom Line

What it comes down to is that the Gorillapod, in its many incarnations, achieves some of its goals most of the time, and others in certain specific situations. It is useful as a tripod replacement as long as you stay under its rated weight. It shines when you are able to utilize its unique design to wrap around things or fit into odd spaces. But even then, you have to remember that the legs don’t exert any force on the object they’re grasping, relying instead on friction and gravity. Friction is hard to come by on account of dirt and lack of clamping force, but if you can utilize gravity and use the Gorillapod to act as a hook then it can pull off feats that no other tripod can. The only thing that compares is a magic arm/superclamp setup, but that is a much more costly set of gadgets that limits you to a certain usable thickness of clamping surfaces. Like with everything else, it’s a tradeoff. If you have a stable tripod but want something light and compact to have as an alternative with a light to medium-weight camera setup, then definitely give the Gorillapod a look try. But if you are looking for a steady and reliable camera support for most situations, you might want to stay clear.

Overall I like both the Gorillapod and the SLR-Zoom. In those instances where they are useful I am really glad to have them. These are tools that shine in a narrow realm of uses, for all the good and bad that comes with that distinction. My recommendation is to buy with caution.