Don’t miss a single moment of excitement with the SJCAM C300 Action Camera.

The demand for captivating visuals has never been higher for content creators. Whether it’s vlogging, filming extreme sports, or capturing breathtaking landscapes, content creators are constantly on the lookout for innovative tools to enhance their storytelling abilities. This is where action cameras come into play.

With their compact size, durable build, and unparalleled versatility, these little powerhouses have revolutionized the way we capture life’s most thrilling moments. From documenting heart-pounding adventures to creating immersive experiences for viewers worldwide, action cameras offer an unmatched level of creativity and freedom that traditional cameras simply cannot match.

The C300 Action Cameras from SJCAM is a unique device that helps users to capture action moments with ease.

About SJCAM C300 Action Camera

SJCAM is a global, high-tech producer of sports cameras. It has pioneered the high-end sports camera alternative market with an affordable price and excellent performance. The C300 is a handheld action camera that provides 4K video resolution along with a 20MP still images. The camera is equipped with dual battery packs and it’s wearable as well as handheld. The C300 has a built-in 6-axis Gyro stabilizer that helps to smooth out video and a waterproof housing that can withstand the pressure of 30 meters of water. The camera lens has an extra-large aperture to accommodate low-light shooting and it has a 154º wide angle lens.

Main Features

• 4K / 30FPS
• 6-axis gyroscope stabilization
• 30 meters waterproof with case
• Handheld shooting
• 60 seconds pre-record
• 1.33″ Double Touch Screen
• 2.4G/5G dual Wi-Fi
• Remote control
• Digital microphone
• Long range
• Divide appearance design
• Super night vision
• Car mode
• Multiple shooting mode
• Webcam

Specs

Pricing & Availability

The C300 4K Action Camera has a list price of $159 on shop.sjcam.com. It is also available on Amazon.

User Experience

My experience with the C300 was good overall. I found it to be easy to use and because it comes with lots of different attachments, it’s very versatile. I decided to take the camera on a short bike ride to test out its ‘action’ capabilities. The features I was most interested in were the image stabilization and night vision.

Overall, my experience with the C300 camera was fantastic. Not only was it incredibly user-friendly, but its versatility truly impressed me. Thanks to its wide range of attachments, I found that it could easily adapt to various shooting situations.

To put its action capabilities to the test, I decided to take the camera on a short bike ride. I strapped the camera to my handlebar and ventured into my neighborhood. Even though the streets are paved, there are many bumps and breaks along my standard path. Since I was trying to test out how the stabilizer worked, I intentionally targeted several of those areas. Even though the anti-shake features minimized shakiness, it didn’t completely cover bigger disturbances I encountered.

As it happens, I decided to take my ride at night. This allowed me to test out the night vision feature as well. I was curious how the C300 would process the lighting changes I would come across during my ride. While the skies were dark, there were house lights and street lamps that shed light across my path. The camera did a good job processing images going from light to dark. I detected only minimal issues with grainy video and even in the darkest of circumstances I could still make out elements in a scene.

I also appreciated how easy it was to switch between different shooting modes on the camera settings menu and thought the battery life was exceptional. The camera body seems to be durable and I love the design of it because it makes it easy to shoot video handheld as well as mounted to an object. The only design feature I didn’t like was the MicroSD card slot. You have to insert it into a cage-like holder inside the camera. I had an issue with getting the ‘cage’ locked into place. The camera accessed and recorded to the card just fine, but when I opened the camera to remove it, the card flew out and landed on the floor across the room. I would much rather see a card slot on the outside of the camera.

Pros

1. Has lots of compatible accessories.
2. Easy to get started.
3. Good picture quality – even in dark situations.

Cons

1. Stabilization isn’t great for large bumps.
2. MicroSD card doesn’t snap into place securely.

Conclusion

The SJCAM C300 Action Camera is a versatile and reliable choice for capturing your adventures. With its waterproof and durable construction, it can withstand even the most extreme conditions. The high-quality image and video resolution ensure that you capture every detail in stunning clarity.

The user-friendly interface and wide range of features make it easy to navigate and customize your shooting experience. Whether you are an adrenaline junkie or simply want to document your everyday activities, the SJCAM C300 Action Camera is a valuable companion.

For more information, visit sjcam.com, Facebook, and Twitter.

In a world where technology continues to push the boundaries of innovation, the concept of an infrared thermometer camera may seem like something out of a sci-fi movie. However, this cutting-edge device has become an indispensable tool in various industries, offering a multitude of benefits that were once unimaginable. From detecting hidden electrical faults to identifying thermal leaks in buildings, an infrared thermometer camera provides a unique and invaluable perspective by capturing images based on temperature variations rather than visible light.

Today, infrared thermometer cameras come in a variety of shapes and sizes. My favorites are the ones that connect directly to my phone and work in tandem with an app. I recently had the option to test out the P2 Pro Xinfrared Thermal Camera for Smartphones by InfiRay. It’s small and exceptionally accurate with temperature readings.

About P2 Pro Xinfrared Thermal Camera for Smartphones

InfiRay, a leader of infrared thermal imaging, created the P2 Pro as the world’s smallest thermal camera. The camera only weighs in at 9g and is 9mm in size. The camera offers a high-performance resolution of 256 x 192 and a 25Hz motion capture camera. The P2 Pro comes with a magnetic Macro Lens and features InfiRay’s AI Temp technology, which ensures accurate temperature measurements. The camera has an all-metal body and measures temperatures between -20~550º Celcius.

Main Features

• Resolution: 256 x 192
• Pixel Pitch: 12um
• NETD: ≤50mK @25°C,F#1.0
• Operating Band: 8~14um

Performance

• Frame Rate: 25Hz
• Operating Temperature: -10°C~+55°C
• Storage Temperature: -40°C~+85°C
• Power Consumption: 350 mW
• Processor: Self-developed ASIC chip

Lens

• Focal Length: 3.2mm
• Aperture: F1.1
• FOV: 56.0°×42.2°
• Focusing Mode: Athermalized prime lens

Temperature Measurement

• Measurement Range: 20°C~+550°C
• Measurement Accuracy: ‡2°C (‡2% of reading, the greater shall prevail)
• Temperature Correction: Emissivity, distance, environmental temperature

Shell

• Size: 27×18×9.8 (mm)
• Color: Silver
• Weight: 9g
• Interface: USB type C or Lightning

App Function

• Palette: White/black-hot + 6 pseudo colors
• Measurement Method: Point/line/area temperature measurement
• Information Sharing: Instant picture sharing
• Data Analysis: Secondary temperature analysis and processing of images
• Imaging Tool: Android 6.0 and above
• App Update: Online update

Pricing & Availability

The P2 Pro is currently available through Alibaba.com for a price of $299.00 (if buying 1-2 units).

User Experience

The box for the P2 Pro camera is nearly all black with “InfiRay P2 Pro” printed in gold on the front. The phrase “touch the temperature of the world” is printed in English and Chinese on two sides of the box and basic product information (name, model, etc.) is included on the back. It’s a very plain box with only the essential information included.

I was surprised to find very little when I opened the box. There is a small folder with some print materials included and beneath that is the camera and the Macro lens adapter. The majority of the box was filled with foam inserts that had cutouts for the camera. I feel that the company could probably shrink the size of the box and still have plenty of room for all the materials included.

Getting started with the P2 Pro camera is very, very simple. First you download the app for your device. The user manual instructs you to search for “P2 Pro” in your app store, but that did not return the correct apps for me. I did a second search for “InfiRay” and the correct app “Thermal P2” was one of the options. That is the correct app to use.

After the app is downloaded, you simply plug the camera into the Lightning port an wait for it to initialize. Something to note here – all the pictures in the instruction manual show the camera facing the same direction as the screen of your phone. That doesn’t really make sense because you wouldn’t be able to monitor what you were doing while using the camera.

When it does initialize, the thermal image will be returned on the screen of your phone. this is the basic mode that most people would want to use. There is a “Professional Thermometry” option that provides users with the chance to do things like look at a range of temperature between two points or select an area within the camera view and have a range of temperatures returned. This is a pretty nice feature if you need to have more advanced data like that.

By default, the temperature unit is set to ‘Celcius’ but you can change this within the Settings menu > Measurement Setting. Users also have the ability to view the thermal image in a variety of color palettes.

When it came to testing, I decided to take some images of my dog while he was asleep in his favorite chair. The location of the chair happens to be next to an air vent and our air conditioner was currently running. So, I knew I would get an interesting range of temperatures. Using the basic mode, I snapped a few shots making sure to keep the dog and the vent in the frame. Then I used a separate digital infrared thermometer to see how accurate the temperatures were. The dog’s temperature was about 1-degree difference between the two thermometers while the air vent was exactly the same.

Images are saved to the app and not the phone’s photo library. This was something I wasn’t a big fan of because I find it easier to locate images if they are all stored in the same place. It would be great if a software update to the app could offer this as an option within settings for users who want to have the flexibility of where to store their captured images and video.

Pros

1. Very easy to use – essentially plug ‘n’ play.
2. Readings seem to be accurate.
3. It does not have to be charged.

Cons

1. The packaging seems like too much for such a small product.
2. The instructions direct users to the wrong app. “Thermal P2” is the correct one for iOS users.
3. The carrying pouch was a little too small to store the camera in safely.
4. Thermal images are saved within the app – not to the Photos app.

Conclusion

The P2 Pro Xinfrared Thermal Camera for smartphones is an innovative and practical tool that brings thermal imaging technology to the palm of your hand. With its compact size and easy integration with smartphones, this camera opens up a world of possibilities for both personal and professional use. Whether you need to detect heat signatures for home maintenance, wildlife observation, or even medical applications, the P2 Pro Xinfrared Thermal Camera has you covered. Its high-resolution images and real-time video capabilities provide accurate and detailed thermal information that can greatly enhance your understanding of the world around you.

For more information, visit infiray.com, Facebook, or Twitter. Website

Having a tripod for your iPhone can be incredibly useful. Whether you are taking pictures, recording videos, or doing live streaming, having a tripod to hold your phone in place can make all the difference. It allows you to capture better photos and videos with clearer focus and steadier shots. With the right tripod, anyone can become a professional iPhone photographer or videographer.

I’ve used several different standard-sized tripods with phone mounts for content creation and while that works, it’s not the most convenient option. Sandmarc, a company that specializes in creating premium accessories for cameras and mobile devices, has a great new Carbon Edition Tripod for iPhone users. It’s been a wonderful add-on to my creative equipment.

About Tripod – Carbon Edition for iPhone

The Sandmarc Tripod – Carbon Edition is a premium quality, lightweight and sturdy tripod designed specifically for iPhone users who are looking to take their mobile photography and videography to the next level. This tripod is made from high-quality carbon fiber material, which makes it extremely durable and resistant to wear and tear. It also features adjustable legs with non-slip rubber feet and a 360-degree rotating ball head, allowing you to capture stunning shots from any angle.

The Sandmarc Carbon Edition Tripod is compatible with all iPhone models and can be used for a variety of purposes, including capturing still photos, creating time-lapse videos, and shooting stable footage. Whether you’re a professional photographer or a hobbyist, this tripod is an excellent investment for anyone looking to elevate their iPhone photography and videography skills.

Main Features

• Made with lightweight, durable carbon fiber material
• Fully-equipped with ball head, allowing for versatile portrait and landscape photography
• Panoramic 360° rotation
• Compact and travel friendly
• Rustproof and waterproof
• iPhone Mount Included
• Compatible with other SANDMARC Gear
• Maximum Height: 63.4 inches (161.1 cm)
• Minimum Height: 15.35 inches (39 cm)
• Leg Sections: 4 Sections
• Weight Capacity: 13.23 lbs (6 kg)
• Weight: 2.28 lbs (1.03 kg)

COMPATIBLE WITH

• Most iPhone models → version 4 through 14
• Most DSLR / Mirrorless Cameras

WHAT’S IN THE BOX

• Tripod
• Ballhead (attached)
• Arca-Swiss Plate (attached)
• iPhone Mount (stored in interior pouch)

Pricing & Availability

The Tripod – Carbon Edition for iPhone has a list price of $299.99 from sandmarc.com. There are two other versions of the tripod — Pro-Edition ($199.99) and Compact-Edition ($99.99).

User Experience

The Sandmarc Tripod – Carbon Edition comes in a retail-style box that is easy to recognize on a shelf. It’s well-marked and the name of the product as well as images are on the outside of the box. When you open the box, you’ll find the tripod in a travel bag. The travel bag is small enough to fit inside a larger backpack but is robust enough to carry on its own.

You will unzip the bag and find the tripod wrapped in plastic for shipping purposes. The legs are folded up around the center column of the tripod to keep it as small as possible. The tripod has a standard mount plate on the ball head. A standard 1/4”-20 screw is included on the mounting plate, which can be used for most modern camera systems.

Since this tripod was designed with the iPhoneographer in mind, an iPhone mount is included with the tripod. There is a zippered pouch inside the travel bag that houses that iPhone mount. I almost missed it. It’s a very simple plate that extends to accommodate larger phones. It attaches to the tripod with the mounting screw.

I don’t want to turn this review into a comparison piece, but one of the other tripods I’ve used with my iPhone that is comparable to the Sandmarc equipment is the Manfrotto Element MII Bluetooth Carbon Tripod. Both pieces of equipment are designed to be used for mobile content creation, but the Sandmarc tripod is lighter than the Manfrotto option by more than 11 ounces. That’s quite a bit when you are trying to travel light.

One of the coolest features of the Sandmarc tripod is its twist-lock legs. They are designed to be deployed and put away quickly and easily. With a single twist, you can unlock all the sections of a leg and then lock them into place so that you are ready to shoot in a few seconds. The feet of the tripod are covered with a rubber cap. If there happened to be an option for a spike for uneven outdoor terrain, that would be great, but the non-slip feet cover most surfaces.

Because the tripod is so lightweight, it’s easy to switch locations. You can fold the legs into the body and pick up the tripod with one hand if needed. The iPhone mount is easy to use without the complication of snapping grips for the phone. It’s a single slide that secures the phone into place.

The weight capacity of the tripod is a little more than 13 pounds, which is suitable for smaller, mirrorless cameras but not quite enough to accommodate larger DSLRs with heavy lenses. Personally, I would recommend using this tripod for iPhone (or smartphone) content only. That way you have a dedicated, lightweight tripod for that purpose.

Conclusion

The Tripod – Carbon Edition for iPhone is a professional-grade piece of equipment designed with the mobile phone content creator in mind. While it’s lightweight and compact, it’s still a full-sized tripod with a long extension height built for serious content creators in need of a heavy-duty tripod. Sandmarc has made an A+ quality tripod and I would recommend it to any iPhoneographer.

For more information, visit sandmarc.com, Facebook, or Twitter.

One of the trickiest lighting effects to capture as a photographer is the eye light. Because it can be so difficult to photograph naturally, many photographers will add the lighting effect when they edit the photos as a glint or a spark. The lighting technique helps to draw attention to a subject’s eyes, which can sometimes be lost in a scene.

Even though visual effects can be utilized quite easily, I do prefer to utilize a catchlight reflector when possible. One of my favorites has been the Angler CatchLight Reflector, but it is quite large and a little tedious to set-up. Thankfully, Angler also created a smaller version of the reflector — the Angler Mini CatchLight Reflector.

About Angler Mini CatchLight Reflector

The Angler Mini CatchLight Reflector V2 is a versatile solution to lighting problems, providing a consistent effect with a 37″ wide arc-shaped modifier that removes shadows without adding another source. It features a tightly-stretched reflective silver material, an included bracket to fit standard light stands, and a carrying case for storage and transport. The reflector creates natural-looking reflections in the subject’s eyes and can be used with any light source.

The Angler Mini CatchLight Reflector is a smaller version of Angler’s full-sized CatchLight Reflector, perfect for location work, small studios, and on-the-go photography. It minimizes or eliminates harsh shadows for a stunning, radiant effect, and delivers a clamshell lighting effect that accentuates beautiful skin tones and textures. An optional reversible white/soft gold fabric is available separately.

Main Features

• The 37″ width of the silver reflector has a concave curve that follows the contour of the eye and creates an attractive, uninterrupted, arc-like reflection
• The CatchLight V2’s Swivel/Tilt Bracket can be angled to achieve the required degree of fill light
• Fits standard 5/8″ light stands
• Captivating, Seamless Catchlights
• Ideal for fashion, beauty, and portrait shooters, the CatchLight V2 fills in the harsh shadows created by lights angled down toward the subject from overhead, slightly flattening the light quality, yet maintaining a striking three-dimensional quality
• The CatchLight V2 can be used with any light source, be it continuous tungsten, LED light, flash, or even outdoors with ambient sunlight
• Fills in Harsh Overhead Shadows
• Reflective Silver Fabric
• White/Gold Fabric Available Separately
• The silver fabric reflector features zippered closures that add tension to created a wrinkle-free reflective surface
• Attach More Fabrics with Touch Fasteners
• The CatchLight V2 sets up in minutes and breaks down just as quickly for storage and transport in its included bag
• Vertical rods stretch the fabric to achieve optimal performance and consistency

Pricing & Availability

The Angler Mini CatchLight Reflector has a list price of $169.99, but is being offered for $84.99 (at the time of publishing) from B&H Photo.

User Experience

My user experience with the Angler Mini CatchLight was very similar to its larger counterpart, but it was much easier. Just like the full size CatchLight, the Mini comes in its own travel bag. But, unlike the large CatchLight, the Mini only has two vertical rods and two main tubes. This makes assembly much easier and less time consuming. With the large CatchLight, I had some issues fumbling with it but the Mini was set up with no issues quickly and easily.

I had the opportunity to photograph two teenagers (children of a friend of mine) in a unique fall setting. The idea was to capture some nice senior-style pictures of the kids as a gift to their parents. So, I took some interesting shots on-location in this wooded area and used the Mini CatchLight for some close-up portraits of them.

Given our location — wooded clearing on an overcast day — I sort of had my work cut out for me when it came to the reflector. I was able to catch some natural light through the trees and I supplemented with the Godox AD400 Pro with a soft box modifier attached. This helped me achieve the lighting effect I was going for with the CatchLight and made for some nice photos of the kids.

In my review of the original CatchLight, I mention how when the reflector is set up it is nearly 6 feet in length and that using it for on-location productions is quite cumbersome. Well, the design of the Mini CatchLight takes care of this issue as it is only 37 inches in length — or a little over 3 feet long. That makes it much more efficient for location shoots.

I will say that if you are looking for a fuller lighting effect, the larger CatchLight will achieve that look for you. The large reflector is not only able to provide the eye light, but it is also able to fill in shadows under the subject’s neck and around the face. The Mini CatchLight can do that to a certain extent, but it’s not quite as full. It does do a great job of providing extra fill light from beneath and providing the eye light for one or two subjects at a time. The large CatchLight could work for more that just two subjects due to its size.

Why is it Unique?

It’s the size that sets the Angler Mini CatchLight Reflector apart from its competitors. There are several different brands of curved reflectors but they are all large and designed to be used more in a studio than on-location. The Mini CatchLight has the unique feature of being smaller and easier to transport from place to place.

Conclusion

Angler’s Mini CatchLight Reflector is a must-have tool for any photographer, but especially those who shoot on location. It’s the perfect addition to any photographer’s kit, as it provides light control, reduces reflections, and adds a professional touch to any photograph. The Mini CatchLight Reflector is lightweight and easy to transport, making it ideal for photographers who are constantly on the move. Its versatility allows it to be used in a variety of ways, such as for fill light, to create a soft focus effect, or to warm up subjects. The Mini CatchLight Reflector is an essential piece of equipment that allows photographers to capture stunning images and create beautiful photographs.

For more details, visit ANGLER.

It is hard to believe that we are only a few weeks away from Christmas.  From Thanksgiving to Black Friday, Small Business Saturday, through Cyber Monday/Week, it seems that Christmas insidiously sneaks up on us each year.  This year, when I asked my 13-year-old son what he might like for Christmas, he joked about money but then mentioned accessories for his iPhone 11.  When I asked for more specifics, he discussed that he would like something to help record/make videos while playing games. 

As a trend amongst many of his friends/peers, he envisions a possible future hobby outlet through YouTube.  Over the past few years, we have made and uploaded a few unboxing Christmas videos and scavenger hunt videos.  We liked the content/themes but disliked the shaky handheld video and poorly lighted amateur production. He wanted something with a bit more light and a tripod/base setup to record.  The ShiftCam SnapGrip Creator Kit could not have been a more perfect option for him.    

Packaging/Unboxing:

The ShiftCam Snapgrip Creator Kit arrived in a clean 6 inches wide by 8 1/8 inches tall by 2 3/8 inches thick hanging-style retail package.  You will find the SHIFTCAM name, “Empowering Mobile Creativity” jingle, and the product name at the top of the pristine white cover panel.  I liked the splash of red color within the title “Designed for Mobile” and felt it added a nice break from the black-on-white color scheme.  The lower left quadrant showcased two images of a phone plus mobile kit. 

The top image showed a camera plus light in landscape mode, while the lower image showed a vertical phone/tripod and mount setup.  The lower right corner provided icons depicting the MagSafe compatibility and the universal function of the kit (works with all phones).  The main cover focal point was the large central image of the monopod/light connector and phone.  

I liked the layout and design of the outer packaging and felt the artistic vibe.  The blue-colored spine provided the SHIFTCAM name, while the white-colored opposing side panel listed the package contents, Magnetic Sticker, www.SHIFTCAM.com address, social media icons, and #PoweringCreativity hashtag. The blue-colored top panel provided a black hanging tab, while the lower panel listed copyright information, product manufacturing labels, and an SKU barcode. 

Lastly, the rear panel successfully utilized vibrant and colorful imagery to portray its product’s message.  I loved the camera focal point, the blurred distant images, and their use of storied collage.  The six-image setup showcased a blue monopod in various stages of use, the SnapGrip, SnapPod tripod base, SnapLight photo ring light accessory, and a pink version of the product.  The professional photo-quality imagery added to the overall allure of the kit.

When I opened the magnetic inner flap, I was impressed with the attention to description and detail.  The flap and inner surface contained a very large white background that was broken into four segments.  The top left image showcased an oblique iPhone with an attached SnapLight ring (Adjustable brightness, Flippable Light ring, Mirror function).  The ring capitalized on the MagSafe feature and stuck directly to the surface of the case-less phone. 

The lower left image displayed the Snap-on SnapPod handle and tripod (Magnetic Quick Release, Tiltable Pod Inclinable, Quick Switch).  The image showed the ability to bend the pod for increased viewing/camera angles, and the ability to rotate the magnetic attachment point to further optimize the phone angle.  The top right image displayed the ergonomic grip base “Compact Yet Powerful” feature (Magnetic Quick Release, Ergonomic Grip, Wireless Shutter, Wireless charging and Built-in Battery).  Lastly, the lower image demonstrated the ability to combine the segments into a single functional tool/experience.

I slid the internal plastic tray from the packaging and reviewed the included SHIFTCAM informational cards.  The top cardboard pane showed the SHIFTCAM name, the #ShiftCamSnapGrip hashtag, and provided a crisp, colorful, photo-quality image of the SHIFTCAM light, magnetic grip, and handle. The tan-colored blurred background paired nicely with the blue-colored device and alluded to the idea that the consumer could generate similar levels of photographs.  If you flip the card over, you will find a QR link to register the device.

The second panel, the Quick Start Guide, listed the MagSafe compatible phones (iPhone 12/Mini/Pro/Pro Max, iPhone 13/Pro/Pro Max) and showed how to use the included magnetic 3M sticker.  Interestingly, there was no mention of the iPhone 14 series within the manual despite the presence of MagSafe technology.  Beneath the compatibility segment, you will find instructions for the SnapGrip, the on/off button for wireless charging, and the method to reset the connection (included pin). 

The rear surface demonstrated the installation/use mechanics for the SnapPod, as well as instructions for the SnapLight.  A single press will activate the light in low mode.  Subsequent presses of the button will increase the intensity and then cycle through the stages.  You can long press the button to turn off the light and then fold it back into the closed state for portability/storage. 

Installation/Utility:

Even though the packaging demonstrated the various features of this kit, I was surprised by the number of items included.  The internal tray was divided into three segments.  The top panel contained a 16 1/2 inches long USB-A to USB-C cable and a 1 5/8 inches long by 5/8 inches thick metallic reset key.  The right chamber contained the 2.7-ounce, 6 1/2 inches tall by 1 1/4 inches diameter tripod with standard 1/4-U20 screw attachment. When closed, each of the textured plastic legs combined into a comfortable monopod-style grip.  I loved the grippy surface and the texture of the handle. 

When needed, you can grip and open each leg to the maximal position.  The device height will drop from 6 1/2 inches tall to 5 3/4 inches tall, while adopting a more robust 5 1/4 inches equilateral triangular base.  I liked that they chose to hollow out the inner surfaces of the legs, while still supporting/reinforcing the structure with plastic girders.  This helped to reduce the weight without sacrificing safety/support.  Additionally, the lighter weight will likely reduce grip/arm fatigue if holding the camera/mount for longer shots.

The final cutout housed the main features of the kit.  I removed the 8.6-ounce, 5 1/8 inches long by 4 inches wide by 1 1/2 inches thick navy blue nylon bag from the chamber and was impressed with the construction/design of the camera-style carry bag.  In fact, it reminded me of cases that are typically sold with many point-and-click and DSLR cameras.  The ribbed outer nylon paired nicely with the hard clamshell design and provided a protective yet attractive case. 

I liked the 1 1/2 inches long by 3/8 inches-wide rubberized zipper pull, the black nylon zipper rope, and that one could clip the cord to a carabiner if desired.  However, I would have loved a ring loop or metallic attachment point on the spine of the clamshell case for added convenience.  To open the form-fitting clamshell-style case, I gripped the rubberized zipper pull and unzipped the ~13 1/2 inches long water-resistant zipper.  I was impressed with the black-felt lined inner surface and the attention to detail.  

Before disposing of the packaging, make sure to remove the 2 1/4 inches diameter magnetic 3M sticker and the 1.9-ounce upper segment of the SnapPod that were hiding behind the SnapGrip/SnapLight case.  The SnapPod measured 2 5/16 inches diameter by 7/16 inches thick and connected to the tripod base via a 2 3/4 inches long by 1/2 inches wide by 1/8 inches thick connector arm.

To attach the top segment to the bottom segment, align the screw segment with the screw and turn the top segment clockwise.  You will notice that the screw segment attached to the SnapPod via a ball/socket joint. This accessory feature will allow for improved positioning to hopefully help obtain “that right shot angle.” My only criticism was that there was no included case for the SnapPod accessory.  

The 4.9-ounce SnapGrip and 1.6-ounce SnapLight were shipped/packaged together (6.4-ounce) within the carry case.  I removed the light from the grip and evaluated the features of the SnapGrip. The main body of the Snap Grip measured 3 3/16 inches tall by 1 1/4 inches wide by 1 1/4 inches thick and had the same grippy surface as the tripod legs/handle.  I found that I could easily wrap my middle/ring/pinky finger around the grip and maintained access to the wireless shutter feature with my index finger. 

Like the grip/guard on a knife, the SnapGrip had a slightly raised finger positioning ridge just beneath the button segment.  I found the device incredibly comfortable and easy to grip.  The ribbed surface added a much-needed increase in surface area and appeared to drastically reduce the chances of a dropped phone.  The grip was attached to a 3 14 inches long by 2 3/8 inches tall by 1/4 inches thick backing plate, which ended in a 2 5/16 inches diameter metallic ring attachment point. 

The ring was slightly raised from the surface of the SnapGrip and easily accommodated the SnapLight device.  The rear surface of the grip provided a 3 3/16 inches diameter MagSafe ring (3/16 inches wide) and a 2 1/4 inches long by 7/16 inches wide raised foot pad.  Additionally, you will find information regarding the 3.7V/3200mAh/11.84Wh 5W Wireless charging 5V/1A/5W Qi compatible, USB-C input DC 5V/2A/10W battery.  The design should protect the back of your iPhone while ensuring a secure MagSafe grip.  

The ShiftLight device may have been my favorite feature of the kit.  I loved that you could use the device with the SnapGrip, SnapPod, or in combination with the SnapGrip and SnapPod.  The 2 1/4 inch diameter by 1/2 inches thick clamshell light had a 3/4 inches wide hinge segment and allowed the light to rotate up to 270 degrees.  The light section was divided into a 3/8 inches diameter white diffuser and a centrally located 1 3/8 inches diameter reflective mirror. 

The rear surface of the light tapered into a 1 5/8 inches segment that allowed it to retract into the 5/16 inches thick metallic ring base (3/16 inches wide).  To activate the light long-press the small blue button atop the light.  Single press the light to cycle through the four intensity modes.  When finished long press the button again to turn off the light.  Attach the light directly to the phone to brighten your movie/FaceTime, or attach the light to the SnapPod for a nice source of ambient lightning.  Lastly, combine the SnapGrip, the Snap Pod, and then the SnapLight for a full Voltron Force experience.  

The SnapGrip device affixed securely to the back of my wife’s iPhone 12 and once activated, served as a source of extra power.  You can rotate the grip into vertical and landscape modes and enjoy the camera grip/shutter action.  We loved how securely the magnet attached to her naked iPhone but noted the setup did not work as well through a bumper case. 

When we affixed the metallic ring to the back of my son’s bumper-style case, we lost the ability to wirelessly charge the phone but still maintained the option to enjoy the grip/wireless shutter.  Thus, even though the setup worked markedly better with a naked MagSafe compatible iPhone, you can still utilize much of the potential of the kit through the included magnetic ring. 

To test the power output, I activated the wireless charging button and placed it onto her phone.  Starting at 10:25 PM at 46% power, her iPhone 12 increased to 47% by 1030, 48% by 1033, 51% by 10:41, and continued to increase by approximately 1% every 2.5-3 minutes while not in use.  While in use, we found that the wireless charge essentially held her power at the current status and added to the battery time. 

Assuming ~80% efficiency, you can expect ~2560 mAh from the 3200 mAh battery. You can gain nearly a full charge on the 2815 mAh iPhone 12 or approximately half of the 4323 mAh iPhone 14 Pro Max battery. When you press the small power button, the bank of six LED will illuminate on the back of the grip.  I charged the device with the included USB-A to USB-C cable and found it was fully charged in about seventy minutes.

I navigated to Settings, To Bluetooth, pressed the 1/2 inches diameter shutter button, and selected SHIFTCAM SnapGrip from the Bluetooth list.  I liked the placement of the shutter button and the reactivity of the setup.  I liked the plastic grip of the SnapGrip but would have loved a more rubberized feel.  The secure magnet will hold strongly against a naked phone and against the magnetic ring when attached.  If using a MagSafe case or Magnetic baseplate, you will notice the strength of the attachment between the phone/grips.  Honestly, the only downside to the MagSafe features presented when utilizing a case.  

My iPhone 14 Pro Max and my wife’s iPhone 12 typically reside within thin bumper-style cases.  Although the cases do not limit the ability to wirelessly charge on our nightstands, they do limit the magnetic strength of attachments.  Thus, I would not rely upon the case/attachment without the included 3M ring.  I have previously used several magnetic plates to expand magnetic attachments/accessories. I loved that the company included the disc with this setup and would have loved for a few more. 

You can attach the plate to any non-MagSafe phone or attach the plate to the back of a non-MagSafe case and experience the features without the fear of a naked phone. As noted above, you may lose the ability to wirelessly charge, but you will enhance the magnetic grip and safety of the kit.  When finished, attach the SnapLight to SnapGrip, replace the duo within the carry case, zip the bag closed, fold up the tripod, unscrew the top segment and then store for later use.  As noted above, I wish that the case had a slide-in pouch for the charging cable and SnapPod.

Summary: 

The SHIFTCAM SnapGrip Creator Kit provided a significant upgrade to basic phone videography and photography.  The SnapGrip added an ergonomic grip, an easy-to-access wireless shutter, a slightly harder-to-reach on/off wireless charging button, and wireless Qi charging via a 3200 mAh battery.  You can enjoy a firm magnetic attachment to MagSafe-compatible phones or place a 3M ring onto any case or phone to gain many of the SnapGrip features. 

The SnapLight can attach directly to the MagSafe phone surface/case or magnetic ring. Fold open the light, activate the four brightness features, and enhance the color/depth and quality of video (only white light).  If desired, you can add the SnapPod for secure/stable monopod videos/pictures or attach the SnapPod, expand the base and use the SnapGrip Bluetooth Shutter feature from a distance.  Pair the SnapLight/SnapPod or combine all three into a useful mobile studio.  Lastly, you can rotate the SnapGrip into an accessory phone base/stand.

My son loved this gift and was very pleased with the lighting and tripod features.  He loved the grip, the wireless shutter, and the ability to pair the setup with his slightly antiquated iPhone 11.  He was a bit bummed that his iPhone was not MagSafe compatible, but felt the added features far outweighed the limitation.  He gave the product a 10/10 and started video calls with friends, recorded a few Terraria commentary videos, and even took a few pictures for Christmas cards.  

For more information, visit shiftcam.com, Facebook, Twitter, or Instagram.

SnapGrip Kit is a compact, yet powerful accessory that makes your iPhone feel more like a DSLR.

I’ve been shooting videos and photos from my iPhone for many years and while I feel that I do a pretty decent job, I appreciate the different accessories that have been created to help iPhoneographers get the job done. After all, it can be hard to take great video with your iPhone if you don’t have the right tools.

ShiftCam, a company dedicated to creating a seamless transition between the smartphone and the professional camera system, has created the world’s first mobile gear that ‘snaps.’ The SnapGrip, SnapLight, and SnapPod accessories are currently available through a Kickstarter campaign (through July 30, 2022) and all three items are designed to work together as MagSafe-compatible products.

The kit is available in several colors – Midnight, Abyss Blue, Blue Jay, Chalk Pink, and Pink Pomelo.

SnapGrip

The SnapGrip is a magnetic snap-on camera grip and battery. It’s designed to work with all phones (except flip phones) through MagSafe connectors or a Universal Magnetic Adapter. It features a wireless shutter, ergonomic grip, and wireless charging. The SnapGrip comes with a USB-C to USB-A cable for charging, a reset pin, and a magnetic sticker. Out of the box, the battery does have some charge to it. It’s a Qi Wireless charger that is MagSafe compatible.

SnapLight

The SnapLight is a small LED light ring that magnetically attaches to your phone and/or the SnapGrip system. The light has four brightness levels that a user can access by pressing the power button. It is shipped with a magnetic sticker and USB-C to USB-C charging cable. There is a small mirror in the center of the light that can help when you are using a phone as your primary camera. The SnapLight is ‘flippable’ so you can use it with different angles. It does provide continuous light so it’s good for video as well as still photos.

SnapPod

The SnapPod is a magnetic tripod for the SnapGrip system. It can work with the phone on its own or with the SnapGrip and SnapLight. It’s considered a quick-release handle and tripod. You can switch back and forth between tripod mode and grip mode simply by closing the legs on the tripod. You can also tilt the camera easily by rotating it on the magnetic grip. A magnetic sticker is also included with the SnapPod, too.

User Experience

Because the SnapGrip Kit is currently being funded through Kickstarted, we were provided pre-production releases of the products. So some of the experiences we had may not affect the final product.

Getting started with the SnapGrip Kit is pretty easy. It’s sort of as easy as snapping all the pieces together in a stack and then just using your phone’s camera as usual. I started with the SnapGrip and then added the SnapLight. The SnapGrip is fantastic. It really does add the weight and feel of a DSLR. The shutter is in the perfect spot and it’s super easy to pair to your phone. It was much easier to take photos with my iPhone with the SnapGrip attached.

The light provides some nice fill light. It’s not powerful enough to light up an entire room, but if you are taking photos of a product on a tabletop or maybe a single human subject. I tried to use it to light up the entire space of my desk and it didn’t have enough power to overtake the available lights on my desk.

The third piece of the kit — the SnapPod — was the last part I added to the assembly. I found it actually works best if you attach the SnapPod to the SnapGrip and then the SnapLight as the cherry on top. The SnapPod’s base is a standard miniature tripod. The SnapPod attachment screws onto the tripod base.

It’s a standard 1/4-20 screw mount so you could technically use the SnapPod attachment with any tripod that has that mount size. I would have liked to see this attachment be able to fold over father than it does. For example, if it could fold over close to 90 degrees, then you could use this as a tabletop over-the-head camera.

I did run into a problem with the ring on the SnapGrip that attaches to the SnapPod or SnapLight. The magnetic connection between the two devices was so strong that when I pulled them apart from each other, the ring pulled away from the SnapGrip. There was enough adhesive to stick it back on the SnapGrip, but it did fall off again — a couple of times.

If this is a design flaw, then it would be good to include a second ring with the SnapGrip (if possible) on the chance this happens again. I can see the adhesive slowly deteriorating over time if it keeps coming off the body of the SnapGrip. Since I was testing preproduction units, this could have been fixed with the production models.

Final Thoughts

Since I take photos with my iPhone daily and the camera systems keep getting better and better with the iPhone releases, I am really excited about the SnapGrip kit. Aside from that one issue, I was actually very impressed with the products and their functions. The SnapGrip is probably the device I will use the most. It makes it really easy to handle the iPhone while using it as a camera.

For more information, visit shiftcam.com, Facebook, Twitter, or Instagram.

Powerful Godox studio flash that can bring the sun to you

Working with different types of photography lighting can get confusing at times because the same types of lights are called different names. For example, Speedlights, monolights, and strobes are all types of camera flashes. Flashes are different than continuous lighting, which is more commonly used for video rather than still photography. Flashes, or strobes, produce a quick burst of light to light up a scene.

I have used many different variations of flashes in my photography. Most of the time, I rely on my Speedlight (battery-powered flash that attaches to my camera) or my monolights (battery-powered, self-contained flashes that are more powerful than a standard Speedlight), but in some cases, I will turn to a Studio Flash, which is a mains-powered pack-and-head system.

These lights have incredibly fast recycle speeds, short flash durations, and color consistency. The pack-and-head studio flash is reliable and many photographers that invested in them are still using 20-year-old units with no problems. I have a couple of smaller studio flashes in my arsenal (400W & 600W), but when Godox announced the launch of the QT III series studio flashes, I couldn’t resist getting my hands on the 1200W version.

DETAILS

The Godox QT1200III is the next generation of the Quicker series lights. It has a better performing modeling light and HSS as well as a super-fast recycling time that gives photographers more efficiency with fast-paced productions. The QT III series lights have the ability to capture fast-moving subjects with full details and sharpness. This includes water splashing, powder floating, and more.

Another featured action of this light is its recycling time. The QT III series lights can fire 20 images per second with a recycle time of 0.01-0.9s. The QT III flashes have stable color temperature mode to protect your color accuracy and save time during post-production. The HSS mode allows the user to synchronize with shutter speeds up to 1/8000s.

The modeling light is powerful and environment-friendly. It embraces an energy-saving 40W LED that is adjustable between 0-100%. Because of this, it has a longer lifespan and it helps users preview how light and shadow will fall on a subject. The QT III flashes have on-board controls that provide users with the option to manually dial in their settings.

The lights are also compatible with the X-series triggers with their built-in 2.4G wireless system. Users can maintain full control over the light with the X1, X2, or XPRO trigger. The QT III series flashes are all compatible with Bowens-mount modifiers as well as Godox’s complete light shaper system.

Tech Specs

• 2.4G Wireless Control
• Stable Color Temperature Mode
• High-speed sync 1/8000s
• Modeling Light: 40W
• Recycling Time: 0.01-0.9s
• Flash Duration (t0.1): 1/29600s
• Model: QT12001lIM
• Flash Mode M/Multi/Hss (high-speed sync)
• Guide Number in 1/1 full power: 105 (m ISO 100 using highlight or standard reflector)

Flash Duration (to.1)

• High-Speed Flash (speed) Mode: 1/300s – 1/23400s
• Stable Color Temperature Mode: 1/300s – 1/6090s

Color Temperature

• Stable Color Temperature Mode: 5600‡200K
• High-Speed Flash (speed) Mode: 5400K~9500K
• High-Speed Sync Flash (speed) Mode: 4600K~5000K

Output Level

• M: 1/1~1256
• HSS: 1/1~1/32
• Multi: 1/4~1/256
• Multi Flash Yes (max. flash time:99; max. flash frequency: 30)
• Sync Mode High-speed sync (up to 1/8000s) first curtain sync second curtain sync
• Delay Flash 0.01~30s
• MASK Function
• Fan
• Beeper
• LED Modeling Lamp: 40w
• Brightness Adjustment Range of Modeling Lamp 1%~100%
• Receiver Model: sl/s2
• Display Flash Duration
• Display: High qualified LCD panel

Radio (2.4G) Transmission (× system)

• Wireless Function: Receiver unit, ON/OFF
• Controllable Receiver units: 16 groups: 0~9 ,A,B,C,D,E, F
• Transmission Range (approx.): 50m
• Channel: 32:1~32
• ID: 01-99
• Sync Triggering Mode: Built-in 2.4G wireless transmission
• Working Environment Temperature: -10°C~50°C
• Dimension: 550 x 176 x 143 mm
• Net Weight: 4.26kg

What’s in the Box

• Light Body
• Lamp Tube
• Glass Protection Cover
• Power Cord
• Light Cover

USER EXPERIENCE

Many of my clients request outdoor shoots this time of year and that usually means we have good natural light until late into the evening. With that in mind, I can usually get by using my Speedlight and maybe one of my moonlight flashes to control the lighting for outdoor photo sessions. That said, unique circumstances call for unique equipment to get the job done.

Recently, one of my close friends, Jake, called me to ask for some help with headshots. He needed them taken so that he could submit an audition package for The TV SHOW THE Voice. Unfortunately, he has a really tight schedule. He works long hours and has a family to care for so the only time we could work on a photo shoot was after dark.

For this shoot, I knew that I would need to use something more powerful than my Speedlight or even my 400W moonlight (the Godox AD400 Pro). Since I had been using it for various jobs for a while, I knew the QT1200IIIM would get the job done.

Even though the QT III series lights are studio strobes and need to be connected to AC power to operate, I ended up taking the light on-location to our local downtown area. I don’t have a battery-powered 1200W flash so I thought the QT1200IIIM was the best plan. I have a portable generator that is powerful enough to power the QT1200IIIM so I packed it along with my camera gear and a couple of modifiers for this shoot.

Like all Godox products, the QT1200IIIM is built very well so I felt comfortable taking it on location. We ended up shooting in three different locations in our downtown area. I knew that after dark these areas might be partially lit with street lights or other structure-based lighting, but that the fill light would need to be fulfilled by the QT III.

The first location we went to was a historic auditorium. The structure was built in 1916 and it features stone, marble, and wood on its exterior. I had Jake sit on the steps at the front of the building and set up the QT1200IIIM on a light stand. The modifier I used was the 34-inch Glow EZ Lock Collapsible Silver Beauty Dish.

I had a larger one with me but ended up only using the 34-inch option. I also ended up using the RGB Tube Light TL120 from Godox to add a little colored light to the shots. I asked Jake to sit down and play on his guitar and I just shot while he was playing. I did ask him to pose a couple of times, but most of the shots were taken while he was playing.

The coliseum had some built-in recessed lighting above the front steps, but there was no lighting in the street that provided fill light. The QT1200IIIM did a great job of providing the main light source I needed to overcome the night’s darkness and to fill Jake’s face with sun-like lighting. Once I got everything set, we stayed in that location for about 15 minutes while I shot and he played.

There were a few times when I fired off several shots in a row and the flash recycled so fast that it seemed instantaneous. The results were dramatic. Jake’s face has a nice glow on it and the background falls off because of the surrounding darkness. Jake was overjoyed with the shots I showed him in-camera.

The next location we moved to was an ivy-covered wall near a financial institution’s headquarters. I wanted to use this spot because I liked the texture the leaves provided and I thought the green would be a good contrast as a background. I was more focused on capturing the classic ‘headshot’ (cropped from his chest to the top of his head) in this spot rather than action with his camera.

In this location, we had streetlights to compete with as well as passing cars because we were on a busy street. Again, the QT1200IIIM proved its mettle. I raised the light up quite a bit higher than when we were at the coliseum to make sure that the top of Jake’s head was lit as well as his face. The flash did a great job. Since it is so strong, it was able to overpower the existing lighting in the area so that I could control the outcome of the photo better.

The last location we visited was outside a retail storefront on our Main Street walkway. This part of town is also quite old and the building we visited was originally built in 1932. It has had different tenants over the years and the most recent one actually added a really cool wooden wall to its front patio area. The ceiling area also features wooden paneling so the natural tone of the area is a little darker. There are metal tables and chairs there for people to gather. So, we used that space as another spot for Jake to sit and play his guitar.

This location has some dull recessed lighting and some street lights that spilled into the patio. The QT1200IIIM created a warm, relaxing tone for this shot. While we were in this set-up, I did some more quick shots and again, was very impressed with how quickly the flash recycled. One thing I did notice is that the QT1200III is quite loud. Well, it’s louder than the monolights I’m used to taking with me on location shoots. It’s not distracting, but you can definitely tell when the flash pops.

As we were loading the car, I looked down the street and decided to do one more shot with the QT1200IIIM. I had Jake stand in the road and stretch the light very high up in the air so that it could light up the entire street area. This had to be done very quickly because it was an active street. Fortunately, because it was late into the evening, there wasn’t as much traffic as there would have been earlier in the day.

There was some existing light with this street shot, but my goal was to have the environmental lights blur out into the background. It ended up working really well and I got a really nice bokeh effect with the lights in the background and Jake’s face and guitar was well-lit, but it still looked like nighttime.

None of these set-ups would have been possible with a less powerful light. And, since Godox makes all their lights compatible with their wireless trigger ecosystem (X-Series), getting the light set up and ready to shoot took less than five minutes. Honestly, it probably took longer to get the light on the stand with the modifier attached than it did to have the flash ready to shoot.

Once the stand was up and light mounted, I was able to position Jake at each location and snap away. We were done in a rather short amount of time (I think we were done in less than 90 minutes and that included travel time) and it was all because of how easy the QT1200IIIM is to set up and how powerful it is. I only needed to bring one light with me on this shoot and thankfully I picked the right one to bring.

CONCLUSION

All in all, you can’t go wrong with the Godox QT1200IIIM Studio Flash. Even though it’s designed to be used in a studio setting, it’s built well enough that I can feel comfortable taking it on-location. The light is powerful enough to be the only one you need – even in a nighttime shoot.

For more details, visit Godox, Facebook, and Twitter.

Wireless microphone kit creates flawless sound for content creators.

Wireless microphones have become increasingly popular in recent years for content creators. This is because they offer a number of benefits that make them useful for a wide range of purposes. For example, wireless microphones are convenient because they don’t require any cords or cables to be attached to them. This means that they can be used anywhere there is an available outlet. Additionally, wireless microphones are portable, which makes them ideal for use on location.

I’ve been fortunate enough to try many different types of wireless systems and have found that some of the more modern ones are much more versatile than they used to be. I love miniature packs that are super easy to clip onto subjects and was thrilled when I found out that Godox, one of my favorite camera accessory companies offered a wireless microphone system as a kit.

DETAIL

The Godox MoveLink M2 Wireless Microphone system is a compact, easy-to-use wireless microphone system that is perfect for recording short and long-range audio. The system uses the globally recognized 2.4GHz frequency band and features a range up to 50 meters. The built-in microphone is omnidirectional and the included lav mics provide a more directional recording option.

The system has a fast setup process and a built-in clip that is compatible with hot shoe on-camera mounts. Users can switch between stereo and mono modes and the carrying case for the transmitters and receiver recharges the devices as well as provides a secure storage option for them.

SPECS

• Receiver Simulated Output: 3.5mmTRS
• Transmitter Sensitivity: -32dB+/-2dB
• Transmitter Max. SPL: 120DB
• Transmitter Simulated Input: 3.5mmTRS Lavalier microphone input
• Equivalent Input Noise Level: 21.8dB(A weighting)
• Frequency Range: 50Hz-20KHz
• Max. Output Electrical Level: +3dBu
• Single to Noise Ratio: 70dB or higher
• Fixing Method: Back clip (installed onto camera’s hot shoe )
• Display: TFT Display
• Dynamic Range: 100dBA (microphone preamplifier)
• Working Range: 50m (in no shelter situation)
• Power Supply: Built-in lithium battery
• Working Time: Approx. 6H
• Battery Capacity: 300mAh
• Transmission Type: 2.4GHz Frequency hopping system
• Sound Pick-up Mode: Omnidirectional
• Working Environment Temperature: -10~50℃
• Dimension: Length 50mm × width 40mm × thickness14mm
• Weight: 27g
• Material: ABS Material
• Suitable Models: MoveLink TX, MoveLink RX
• Charging Input: USB Type-C
• Dimension: Length 163 × Width 66 × Thickness 28
• Weight: 129g

WHAT’S IN THE BOX

• MoveLink TX(Transmitter) X 2
• MoveLink RX(Receiver) x 1
• Wind Cap x 2
• 1.2m Omnidirectional Lavalier Microphone x 2
• 3.5mm TRS-TRS Audio X 1
• Connect Cable (for camera) 3.5mm TRS-TRRS Audio x 1
• Connect Cable (for phone) USB Type-C Cable X 3
• MoveLink Charging Case X 1
• Wrist Strap × 1
• Iron Sheet X 3

USER EXPERIENCE

The MoveLink Kit came in a blank white box. When you open the cover, you find the instruction manual, the MoveLink charging case with the transmitters and receiver enclosed, a small black box with all the accessories and cables included, and a pair of windsock adapters. In addition to the standard MoveLink kit, I also had access to the MoveLink UC Rx and the MoveLink LT Rx so that I could use the system with my iPhone and iPad (or other smartphones with USB-C connectors).

One of the first things I did was take stock of all the pieces and parts to ensure that everything that was supposed to be included was included. Fortunately, I had everything I should. One of my favorite features of this kit is the charging case for the Transmitters and Receiver. This is a brilliant add-on for a wireless microphone system as it helps the user make sure their devices are always charged.

The case has a magnetic closure and magnets hold the transmitters and receiver security in the case. I’ve used wireless systems like this before and I was shocked at how small the transmitters and receivers are. You can conceivably fit them in the palm of your hand. The microphone on the transmitters is located on the top of the device alongside a microphone jack. On one side of the transmitter is the power button and a mute button and on the other side is the pairing button and the USB-C charging port.

The receiver has a similar layout except that it has a volume up/down buttons where the mute button is on the transmitters and instead of a microphone on the top, there are two 3.5mm jacks – one for headphones and one for microphone output to a camera.

When you want to record directly to your iPhone or iPad, you will use one of the other receivers – the LT Rx or the UC Rx – instead of the clip-on receiver. The pairing/connection process between the transmitters and receiver is super simple. Out of the box, the MoveLink devices are paired together. When I powered them on, they automatically recognized each other.

With the LT Rx or the UC Rx, you have to set the device into pairing mode and then connect the transmitter to it. On the side of the LT or UC receivers, there is a small pinhole that acts as the pairing key. A pin is included with those receivers to make pairing an easy step. After I set the receiver into pairing mode, I pressed and held the pairing button on one of the transmitters until its LED was blinking. Within a few seconds, the LT Rx recognized the unit and connected to it. The next time I wanted to connect the transmitter to the standard receiver, I had to go through the pairing process again, but it was easy and only took a few seconds.

This system is designed to work with smartphones and cameras. It is meant to be versatile for content creators to use however they need to. With that in mind, I decided to test this system out a couple of different ways – recording to my iPhone 12 Pro and recording to my MacBook Air.

Each time I recorded a test, I used VoiceMemos to capture the media. I used a passage from the screenplay of Erin Brockovich as my reading material. Then I used the LT Rx to connect the microphone system to the iPhone. My environment was not 100% silent when I was recording. This was actually done on purpose because I wanted to know how much background noise the microphone would pick up.

Our air conditioner was running while I was recording and my fiancé was playing a video game one room away from me. I did close the door to the room I was recording in but that didn’t eliminate all the surrounding noise in our house.

The first test I completed was using the lav mic. I had the lav mic clipped to the collar of my shirt as I read through the script. When I listened to the recording, I could hear the very gentle hum of our A/C unit and small noises in the room such as my hand tapping the desk, but I could not hear anything outside the room. My voice came through loud and clear. Sounds were well-defined and there weren’t any issues with hard noises like ‘p’ sounds.

Next, I recorded the script using just the built-in microphone on the transmitter pack. This was a naked microphone. It did not have any protection on it so I expected noises to be much harsher using only this unit. I could hear the air handling a lot more than I could with the lav mic and I could hear sounds outside the room (background noises). Despite the ambient noises that were captured, the sound quality of my voice was quite clear. I had the device clipped to the collar of my shirt and that position did a good job of reducing harsh ‘p’ and ‘s’ sounds.

Finally, I placed the windsock on the transmitter pack and recorded it one more time. This time, I held the microphone out in front of me. The windsock seemed to filter out a lot of subtle sounds, but I could still hear the air handling of the A/C that was running. I could not hear any background noises outside the room – unless there was a pause in my reading.

There was one time when I took a breath and at that moment, I could hear my fiancé exclaim something about his gaming session in the other room. Even though I was using the windsock, some ‘p’ sounds were a lot harsher than they were when I recorded the other two tests.

After I completed my tests with the iPhone, I decided to see if I could connect the system to my MacBook Air. I was able to accomplish this with the help of a Kanex connector (Kanex DuraBraid™ USB-C to 3.5mm Audio Cable). This allowed me to use the Connect Cable designed to work with smartphones to connect the Receiver pack to the docking station. I used Screenflow to record several narration tracks. It worked really well and I love the fact that I could potentially have a wireless microphone system (other than my AirPods) available to record audio directly into my computer.

In Conclusion

The MoveLink M2 Wireless Microphone System is a great investment. The complete kit retails for $200 at the time of publishing this article and each of the additional specialty receivers is sold separately. The system is easy to work with and I’ve not experienced any technical difficulties with the system yet.

There were a couple of areas for improvement that I found while testing this system out.

• I have to remove my phone from its case in order to use the Lightning Receiver. This is a fairly minor criticism, but I do wish that I didn’t have to risk my phone’s safety in order to use the system completely.
• So far, I’ve had to repair the transmitter to the receivers when I use the Tx with different Rxs. The pairing process is quick and it runs really smoothly, but I wish you didn’t have to go through the pairing process.
• On the LT Rx and UC Rx, you have to use a pin to activate the pairing process. I would have preferred a tactile button instead.

This is a great audio system and one that will likely be used for a long time to come.

For more information, visit Godox.com, Facebook, and Twitter.

LED Monolight great for product videos or single-person interviews.

Aside from your camera, lighting is the most important element to consider when you are planning a photography or video shoot. There are many types of lighting and many lighting products on the market so how do you know which one is going to give you the best results? The Genaray Accushine LED Monolight is a great option – especially if you have a tight budget.

DETAILS

The Genaray Accushine 60W Daylight LED Monolight is designed to provide balanced light that blends seamlessly with other lighting setups. The compact light is great for smaller video set-ups or for accentuating backgrounds. It’s dimmable (10-100%) in 1% increments. Adjustments can be made on the light itself or by using the remove (optional, not included). Some of the main features include:

Daylight Balance: LED Monolight has a color temperature of 5600K

COB LED Array: Chip-on-Board (COB) technology allows the Accushine to output 12,900 Lux from a small LED array

Color Accuracy: High CRI and TLCI ratings help the Accushine deliver extremely accurate color rendering

Remote Operation: An optional 99 channel remote (Genaray MB-WRT) allows the user to control the light wirelessly from distances up to 98.4-feet away

Stays Cool: LED Monolight features fan cooling and integrated heat sinks

Bowens S-Mount: Use the light with any shaper or modifier that utilizes the popular Bowens S-mount

Multi-Voltage: Runs on North American and international voltages. All you need is an inexpensive plug adapter

Specs

In the Box

• 7 in. reflector
• Power cord
• Protective cover
• 2 x Fuse
• User manual
• Limited one year warranty

USER EXPERIENCE

The Accushine LED Monolight comes in a nondescript cardboard box with a sticker on the front that shows the light, a short description of its features, and a list of the contents. The cardboard box is sturdy enough to keep as a case for the light if needed. when you open the box, you will find the light enclosed with some styrofoam. The light and its reflector are covered with plastic while the power cord is wrapped with a twist-tie and just laid on top of the light.

The LED light array is covered by a hard plastic lid that locks into place on the modifier mount. There is a switch that must be pulled back to release the lock for the mount. I like this feature because it means that the modifier or the cover for the lamp can’t be removed easily without the user knowing about it. The reflector snaps into place easily. You just slide it into the mount and turn it clockwise until you hear/feel the lock engage.

The operation of the light is very simple, which is something I appreciate. You simply plug the power cord into the side and then flip the power switch to the ‘on’ position. I noticed that it took just a moment (less than 5 seconds) for the LED monolight to kick on. Once it did, I was able to turn the dial to change the power intensity by turning the dial. The dial is also a button that you press to switch between the light intensity setting and the channel selector for the remote.

The Accushine produces a very nice daylight tone on anything you shine it on. I was very impressed with how bright it got. One thing I found a little odd was that the dial rotates 360 degrees instead of stopping around the 270-degree mark. I find it easier to dial in a certain intensity by feel if I know where a stopping point is rather than having the dial spin in full rotations.

The light did a great job of lighting up products as I took some photos. The first photo is taken with the available light in my office and the second is taken with the Accushine LED Monolight at 100%. I used my iPhone 12 Pro and edited the photo in Lightroom. I did not make any color corrections or lighting edits to the images. I only cropped and straightened them. I feel like this shows a big difference between warm available light and bright white light from the daylight tones of the LED monolight.

CONCLUSION

The Accushine LED Monolight is a very nice budget-friendly daylight lighting option. I do wish that it came packaged with the remote that it is compatible with and that the dial had stops on it rather than a full range of motion, but the quality of the lighting that is produced is very good. The monolight is lightweight and easy to cart around, but it would be nice if a carrying case was included with it – just to keep its parts together.

For more information, visit genaray.com, Facebook, and Twitter.

Measure Ambient light with this light meter.

Over the past several years, I have grown more involved in Cub Scout and BSA activities. I have expanded my lighting needs by adding pocket lights, headlamps, lanterns, spotlights, floodlights, and a variety of other types of lights. As my collection grew, I became interested in comparing the beam intensities and looked for a digital light meter. Luckily, you can find just about anything on Amazon.

The MT-912 Light Meter arrived in a 3 3/8 inches wide by 7 1/8 inches tall by 1 3/4 inches thick yellow/black retail package.  The upper 1 1/2 inches tall yellow segment wrapped around to the side, back, and top panels, while the lower black segments filled out the remainder of the package.  The cover panel displayed an attractive yellow ink outline of the MT-912 device.  The image showed the light ring, LCD screen, plus the power button, hold button, MIN/MAX button, and FC/LUX button.  The right side panel listed five product-defining icons: 1. Measuring Range 0-200,000 Lux/0 Fc-20,000 FC. 2. Temperature Range -20C-70C/-4F-158F, 2 time/second sampling rate, 3 x 1.5V AAA batteries, and a 60H battery life.  The posterior panel provided a hexalingual table (English, German, French, Italian, Spanish, and Japanese) of the manufacturer’s name/address and manufacturing labels.  Even though I loved the yellow-on-black color scheme, I felt that the outer packing lacked a unique name; If I had a single constructive piece of advice, it would be to name the device something catchy like the MT-912 “Lampas.” 

I lifted the lid of the box and removed the internal contents: 1. #3 RO3P AAA UM-4 1.5V Tcbest Super Heavy Duty batteries, a  3 1/8 inches wide by 4 1/16 inches tall 35 panel user manual, and a bubble-wrapped light meter.  I removed the 3.2 ounce light meter from the bubble wrap and evaluated the device.  The main body measured 2 1/4 inches wide by 4 3/4 inches tall by 1 1/8 inches thick and resembled a walkie talkie.  You will find an 11/16 inches tall by 5/8 inches wide neck segment and a 1 5/8 inches diameter light sensor.  The sensor had a 1 1/2 inches diameter rubberized plug with a thin attached nylon string and metallic loop.  The front yellow panel contrasted beautifully against the black surrounding plastic shell, internal buttons and LCD screen.  Similar to a walkie talkie or Nokia phone, the device had a refreshing nostalgic feel.  I slid the thin black battery cap away from the shell and inserted the three AAA batteries according to the proper orientation.  The back panel had a small plate with information about 3x 1.5V AAA batteries and product manufacturer labels.  Once the batteries were installed, the device powered on and the LCD screen illuminated.  I pressed the power button, turned off the machine, and turned to the instruction manual.  

The multi-lingual user manual provided information in English (pages 1-6), German (pages 7-12), French (pages 13-18), Italian (pages 19-24), Spanish (pages 25-30), and Japanese (pages 31-35).  The first panel provided a safety warning table, which reviewed the operating conditions ( temp -20C-60C/-4F to 140F humidity 10-90%), storage conditions (temp -20c to 60C/-4F to 140F humidity 10-75%), and max altitude (up to 2000 meter).  Beneath the warning panel, you will find a labeled ink outline drawing of the MT-912 device: Photo detector, LCD display, hold button, power button, Max/Min button, FC/Lux Button, battery cover, and name plate.  The second panel provided an ink outline drawing of the LCD screen: Hold Icon, auto power-off icon, temperature readings, light readings, units of illuminance, units of temperature, low battery indicator, Max/Min Icon).  I loved that the company started with the product overview and the detailed drawings.  I find that this simplifies ones understanding of the device utility.

The next segment of the user manual detailed the product operations.  To power on/off the device, install the batteries, remove the cover from the photo detector, and press the power button.  You can press the power off button to turn off the device or you can wait 15 minutes for the auto-off feature to turn of the device.  With the device off, the manual detailed the mechanism to turn off the auto-off feature.  To do this, press and hold the FX/LUX button and then press the power on button. When in measuring mode, you can press the “HOLD” button to freeze the display and again to unfreeze the display.  You can press the Max/Min button to display maximum or minimum respectively.  You can change the units from the British FC foot-candle (1 lumen per square foot) or to lumens (a square meter or lux).  To convert between the two measurements, a foot-candle is roughly equivalent to 10.76 lux. The last sections of the instruction manual reviewed caution/maintenance, the product specifications, listed the 12 month warranty information, and to contact the company for any inquiries.  Lastly, if desired, you can change the unit of temperature from the default Celsius to Fahrenheit, when the device is turned off.  Press and hold the HOLD button and then press the Power button to power on the device in Fahrenheit mode. 

I loved that I was able to interchange between the modes and that you could use the Light meter in measurement real time mode, minimum mode, or maximum mode.  I found that the min/max modes were the most useful, as the value did not change/fluctuate.  I enjoyed the shape, the color, and the overall design of the Light meter, and truly appreciated the Nokia Nostalgia.  The rubberized light cover did a great job at protecting the sensor;  the string/ring attachment ensured that you did not lose the cap.  Even though this type of device is not as useful for LED bulbs (more blue wave length), I liked that I could compare different flashlights to evaluate the strength of the beams.  My only criticism was that there was not an included carry bag for the device.

I recently reviewed an i3E EOS OLIGHT keychain flashlight that promised 90 Lumens of light and a 44meter beam.  I tested the light at 2 feet, 10 feet, 20 feet, 50 feet, and 100 feet.  I was unable to determine where the 90 Lumen metric was measured after reading the packaging, instruction manual, and website.   When shined directly onto the meter, the reading showed 132 KLux. At about a foot, the meter registered 6255 Lux and at around 25 feet the meter registered 14 Lux. When I compared this to my Warrior X Pro at the same 25-foot distance, the Lux meter registered 3120 Lux. Even though I did not need the meter to know that the Warrior X Pro was significantly stronger than the i3E EOS Olight, I did not realize that it was that much brighter. With beams measuring into the hundreds of feet of throw, some of the testing parameters become difficult to control. With so many variables, with ambient lighting, with scattering, etc., It is no wonder that companies have specialty setups for their lights.

It is important to note that this device is not a photography calculator, nor is it a flash meter. After reading several critical reviews, the name suggests the function of the device as a basic light meter. I purchased two different LED bulb styles for my living room and found one had more intensity than the other. I did notice that the LCD screen had a bit too much of a mirror finish and did have some irritating reflection if the light hit it perpendicularly. In addition to the needed carrying case mentioned above, a detachable sensor would provide a significant enhancement. The MT-912 device successfully measured light from a variety of sources and allowed me to compare the beam intensities of my flashlights.

Find URCERI on Facebook.

One of my favorite camera gear designers, Joby, just recently released a product lineup of microphone systems and they are really cool. I was able to get my hands on the Wavo AIR Wireless Microphone system and it’s been a great experience. They are easy to set up and produce great, high-quality audio.

DETAILS

The Wavo AIR is designed to be the most complete and flexible wireless microphone kit available. It features high-quality, secure 2.4Ghz wireless audio transmission with a unique, modular mounting system that adapts to your creativity. The system boasts an impressive 6-hour battery life and a fast, immediate pairing process. The microphone system works with any smartphone or camera directly out of the box. The microphones are omnidirectional and made out of polycarbonate PC and ABS plastic.

SPECS

• Weight: 0.033 kg
• Frequency Response: 50Hz — 18Khz
• Maximum SPL: Built in mic: 120dB, Included lavalier: 110dB
• Power Source: Lithium Batteries
• Capsule Type: Condenser electret
• Sensitivity: Built-in Microphone: -42dB, Lavalier microphone: -30dB
• Signal to Noise Ratio: > 78dB
• Indicators: power, pairing, and gain LED

IN THE BOX

• 2x Transmitter
• 1x Receiver
• 2x Windjammer
• 2x Lavalier microphones with foam windshield and clip
• 2x Belt Clip support
• 1x GorillaPod Leg Clip
• 1x Necklace with magnetic support
• 1x Cold-Shoe support
• 1x Pairing pin
• 3x USB Type-C to Type-A cables
• 1x 3.5mm TRS to TRS cable
• 1x 3.5mm TRS to TRRS cable

USER EXPERIENCE

The Wavo Air kit comes in a retail-style package with the name of the product “Wavo AIR” printed across the top. The product line “Joby Wavo” is also printed on the front of the box. There is a large image of the transmitter pack on the front of the box with many of the features outlined on the back. There is also a very nice list of all the items that can be found in the box.

Opening the box involves removing the outer sleeve and then opening the inner box’s magnetic flap. There is a thin piece of foam covering the pieces of the kit for protection. The first parts of the kit you see are the transmitters, receiver, and a couple of different attachment modifiers.

Once you remove those parts and lift up the inner carton, you will find the remainder of the kit which includes two Windshields for the TXs and all the cables. I immediately found the design of the Windshields innovative since they just pop onto the end of the transmitters. I’ve used wireless microphone systems like this before and they never had an option for a windshield filter.

The equipment feels solid. The outer shell of the receiver and transmitter are hard plastic and they feel as though they are made to be rugged. I really love the mounting accessories and how they connect to the transmitters and receiver. It’s unique and the mechanism is actually very strong. I don’t have any concern that the mount will come loose while using the microphones.

As far as the sound quality goes, I was very impressed. One of the tests I did was to use my iPhone 12 Pro as the recording device. We do this sometimes on production as a backup for audio. This also brings me to the one complaint I have with the Wavo AIR microphones — there is no Lightning cable included with the kit. Since Joby is aiming this kit (and the others in the product line) at content creators, I think that it would make sense to include a Lightning/audio cable in the kit.

That said, I happened to have one available and I connected it to the iPhone and the receiver. Then, I recorded some audio to the VoiceOver app on the phone. I was immediately able to see an audio waveform on the screen that matched what I was reading. After I was done recording, I unplugged the Lightning cable and listened to the recording. I was surprised at how clear the audio actually was. I could easily see this used for any number of voiceovers or sound effect recordings. It seems like a very reliable, easy-to-use system.

CONCLUSION

The Joby Wavo AIR Wireless Microphone system is a smart investment if you are a content creator. There are a lot of wireless microphone systems like this, but I’ve not experienced a set like this. It’s lightweight, but rugged; it pairs instantly and has virtually no setup required to use it. The Wavo AIR system is a must-have for any content creator.

For more information, visit joby.com, Facebook, and Twitter.

Powerful, rugged video lighting in the palm of your hand. 

Sometimes when you go to shoot video footage, you need something a little more rugged than the standard light will allow. This is why Litra created the LitraPro – a compact video light built for adventure. The LitraPro provides studio lighting that fits in your pocket. It’s the world’s first full-spectrum bi-color compact video and photo adventure light. It’s built with Bluetooth compatibility and is app compatible. The light has an adjustable color temperature and is fully dimmable. The body is built to be rugged and provide professional lighting at the same time. The LitraPro provides a blended, smooth lux beam with no center hot spot. The battery life is approximately 10 hours on low or 45 minutes on high. The light has intelligent thermal management so that it doesn’t overheat while in use. It can work cordless or with external power. The video light is rugged in design and is waterproof up to 27 meters. The case meets 810G MIL-SPEC for drop protection and is made from aluminum. There are two 1/4 – 20 mounts on the case (bottom and side) and it fits seamlessly on standard cameras and tripods. 

SPECS 

• Weight: 6 oz
• Dimensions: 2.75″ x 2″ x 1.2″
• 1200 lumen output
• 95 CRI
• 70-degree beam angle
• Adjustable color temperature 3000K – 6000K
• 45 minute run time at max output, 10+ hours on low output
• 2 industry standard 1/4 20 mounts
• Waterproof up to 90 feet
• MIL-SPEC 810 tested
• Bluetooth control
• OLED Display
• 0-100% fully dimmable 

USER EXPERIENCE

The LitraPro video light comes in a very distinct package. The box has a glossy black finish with an image of the light on the front. The front cover does lift open to reveal an outline of the product’s details as well as a transparent window that shows off the light itself. The back of the box illustrates the contents of the package (LitraPro, diffuser, DSLR camera mount, carry bag, GoPro camera mount, USB charging cable) as well as lists them out. The side of the box lists out the color spectrum of the light (measured at 3000k). When you open the box, you will find a sleeve with built-in foam to protect the light and the accessories from falls or impact while they are in the box. There is a quick start guide included with the full user manual available for download through Litra’s User Support. 

The first step that is recommended by the quick start guide is to charge the light using the Micro USB cable included. The light does not come with a power adapter and the quick start guide recommends using one with at least 1A 5V for a quicker charge. While the battery is charging, the battery icon on the OLED screen will flash. When it’s completed charging, the flashing will stop. The operation of the light is very simple. There is a power button that will turn it on and off simply by holding it in for 3+ seconds. When it is powering on, the Litra logo will pop up in the OLED display. It will disappear when the video light is completely powered up. At this point, you can change the color temperature and the brightness levels from the controls on the light. The LitraPro is compatible with the Litra app and can be controlled remotely as well as by the controls on the video light. 

I really love the simplicity of this video light. The display shows the brightness percentage, color temperature level, and battery level. The brightness level changes in 5% intervals and the color temperature shifts by 100K each time you slide or increase/decrease it. The display is very easy to read, which is great because it means you don’t have to guess where you are with any of the levels. While the easy on-device controls are a wonderful feature of this light, I think the best feature is the app control. 

After you download the app, you choose the Search for Device option and as long as the LitraPro video light is within range, it will detect it. From the menu on the app, you can see the brightness level, color temperature, and battery level. I think this is great – especially if you have multiple lights connected. When you go into the light’s control functions on the app, you will see the ‘light on’ and ‘black out’ options. I LOVED this control. It means you can quickly shut the light off without turning it completely off. This is a great feature to use while shooting. It’s an instant on/off function. The brightness and color temperature levels are controlled by sliders and there are presets you can select as well. Litra has several CTO options and there is even a Daylight setting. Within the presets, you can also save favorite settings from your current setup. So, say you have lit a scene, but are going to move on to a new scene. You can save the settings of scene 1 under your favorites in case you need to come back to that later. 

CONCLUSION

The LitraPro does a great job of providing a light source. I took a couple of shots of a small pocket knife to demonstrate the different color temperatures and brightness levels. I thought it was quite impressive in its performance. It’s very easy to operate and provides a lot of light from a very small device. The only criticism I would have is the carrying pouch that comes with it. It’s a soft-sided pouch and it doesn’t have much room for anything other than the light. I think a hard case might have been a wiser choice for the light and its accessories. Other than that, I think it’s a great lighting device for any type of setup. 

For more information, visit litra.com, Facebook,  and Twitter.

An efficient, easy-to-use SD memory card with professional-level features.

Just a couple of years ago, my main camera was the Canon 5D Mark IV. The following camera was the Canon EOS R1 and now, I have the Canon EOS R5. As I maneuvered through the different models, I also had to change up the media I was using to capture. As I moved from the R1 to the R5 I had to ensure that the SD Card I chose was going to accommodate RAW files as well as 8K video. Fortunately, PNY has an amazing SD card that is designed to capture burst mode HD photography and 8K Ultra HD videography – the PNY X-Pro 90 Class 10 SD Flash Memory Card.  

DETAILS

The PNY X-Pro 90 memory card is designed specifically to work with 8K (at 7680 x 4320) and 4K video as well as RAW and sequential burst photos. There are three capacities available – 64GB, 128GB, and 256GB – for DSLR, mirrorless, and advanced video camera systems. The card takes advantage of the UHS-II bus to deliver read speeds up to 300 MB/s and write speeds up to 280 MB/s (as long as it’s used in devices that support UHS-II). Because the card has a V90 speed class rating, data transfer speeds are guaranteed not to drop below 90 MB/s. 

According to B&H Photo, the PNY X-Pro 90 is “designed for dramatically accelerated workflows” thanks to its UHS-II functionality. This explanation of the feature set describes how UHS-II can be that much faster and efficient than UHS-I. 

“UHS-II provides bus speeds of up to double those of UHS-I by employing two rows of pins for data transfers. When operating in Half Duplex mode, the UHS-II bus employs both rows to transfer data in the same direction, allowing the card to achieve sequential transfers with read speeds of up to 300 MB/s and write speeds of up to 280 MB/s. This means that the user can shoot video at incredibly fast speeds. Alternatively, the UHS-II bus can also operate in Full Duplex mode (at half the speed of Half Duplex mode) whereby each row transfers data in the opposite direction at the same time, allowing for the movement of content from the host to the card and vice versa, simultaneously. This allows the user to execute two tasks at once, dramatically accelerating the speed at which they can execute post-production editing activities, translating into incredibly efficient workflows.”

The card is backward compatible with UHS-I devices at UHS-I speeds. The card is also very durable – magnet proof, shockproof, temperature proof, and waterproof. As the name would suggest, this particular model of SD card is designed for professional use and is considered top-of-the-line. 

SPECS

USER EXPERIENCE

The PNY X-Pro 90 comes in a standard SD card retail package. Even though it’s pretty minimal, I do wish that SD cards could be packaged some other way. These pneumatic packages are so hard to work with on the fly. That said, the front of the package shows the card off nicely. You can clearly see which capacity the card is as well as all the monikers that describe the features. I like that the main uses of the card are demonstrated by images (8K, camera burst mode, video camera) on the bottom corner of the package. That makes it very easy for a consumer to find the specific card they need based on use. The back of the package has a lot of fine print on it. I believe a lot of it describes the features and specs in a couple of different languages, but because the print is so small, it’s harder to read. One thing I did notice was that Photo Recovery is included with this card. There is a logo on the bottom of the card that indicates this. 

Once you get the card out of the package, it’s pretty much a plug-n-play functionality. You insert it into your camera and start shooting. There is no need for formatting or an extensive setup. I recently used this card when shooting a wedding. While I didn’t have a specific need to shoot video, I was shooting RAW photos in burst mode at times and the card did a great job of keeping up with my performance demands. I never had any card errors or faults while shooting. It seemed to download quickly to my computer when I dumped the photos for editing into Lightroom. Because it’s a standard SD card size, it was able to slide easily into my card case without any issues. In real-world practice, I give the PNY X-Pro 90 an A rating. 

In addition to my real-world testing, I also performed some diagnostic tests for review-sake. When I am reviewing hard drives or cards, I always run them through Blackmagic Disk Speed Test and AJA System Test Lite. The Blackmagic test actually shows how well the media will handle different types of video files and the AJA test allows the user to set certain parameters for the media. I had it set for 4096×3112 4K Full, Test file size: 16GB, Codec: ProRes (HQ).  I’ve found these utilities to be very helpful in assessing how fast a disk or card reads/writes and if it holds up to its published specs. In order to connect the SD card to my computer, I used the SD card reader on my Kensington SD5600T Thunderbolt Dock. The card reader is rated for UHS-II speeds so it should be a fairly fair test of the card’s abilities. One other test I do is a drag/drop speed test. I grab a file or folder that is a substantial size (usually over 1 GB) and I time how long it takes to transfer the files. Then, I calculate what the data transfer rate is. 

For the drag/drop test, I transferred a folder that was 2.83 GB in size from my MacBook Pro to the X-Pro 90. The folder had photo and video files in it (approximately 1877 items). Transferring to the card took approximately 2 minutes and 34 seconds or 154 seconds. This resulted in a data transfer rate of 18.4 seconds. After completing that step of the test, I transferred the same folder back to the laptop and it took approximately 27 seconds to complete its journey. This equaled a transfer rate of 104.8 MB/s. These tests show a slightly lower data transfer speed than is specked out, but it is in line with competitors’ SD cards that have the same pro-level specs. The table below illustrates all the test results.

CONCLUSION

The PNY X-Pro 90 is a great card for professional-level use. It’s easy to work with and seems to be very efficient in real-world uses. Even though the transfer times were slightly lower than expected, there are several factors that could have affected that so I don’t fault the media for that.  I’ve used PNY media in the past and found them to be very reliable. 

For more information, visit pny.com, Facebook, and Twitter.

Great primary on-camera flash – even for tough environments.

A few years ago, I found myself on the precipice of photographing my first wedding. It was a daunting task, but exhilarating at the same time. As I planned how I was going to shoot the event I realized that I was missing a key piece of equipment – a rechargeable on-camera flash. I turned to Godox and added a V1 TTL Li-ion round Head Camera Flash to my kit. It was an amazing investment and it really changed how I was lighting events like weddings. Since that time, I have switched all my lighting gear over to Godox, and earlier this year – just a few months ago, in fact – they released a new version of their V860 on-camera flash. I decided it was time for an upgrade. 

DETAILS

The Godox V860III TTL Li-Ion Flash Kit is designed to take shooting efficiency to ‘the next level’ for photographers. It is the upgraded version of the V860II and comes complete with added functionality. The V860III is available for Canon, Nikon, Sony, Fuji, Olympus, Panasonic, and Pentax cameras. It has several shooting modes including TTL, Manual, and Multiflash, and functions such as HSS (up to 1/8000s), FEC, FEB, and rear curtain sync built into the flash system. The flash head is zoomable (20mm to 200mm) automatically or manually for convenient adjustment of the light range. The flash is designed to help photographers light a scene naturally whether it’s in a broad or focused space. The head of the flash swivels between 0º and 330º horizontally and from -7º to 120º vertically. This provides shooters options for direct or bounce flashes. Just like other Godox light systems, the V860III is compatible with the Godox 2.4Ghz Wireless X System. It can be used alongside Godox triggers such as the X1 or X2 seamlessly. The V860III does actually act as a transmitter and receiver – together. This makes it very easy to work with other Godox lights in any capacity. 

NEW FEATURES

• Modeling Light for Pre-visualization: The modeling light was added to help photographers preview a lighting effect. This helps to ensure that when the flash fires it has a perfect result. The modeling light has a 10-level dimmable brightness. 
• Quick Switch for Smooth Control: The quick switch was added to provide a switch between manual and TTL modes without having to sift through digital menus while you are shooting. 
• Optimal Battery Performance: The V860III has an upgraded Li-ion battery with a large capacity. It provides a 1.5s recycling time and 480 full-power flashes. This battery is interchangeable with the V1. 
• Quick Release Lock: The quick-release lock has also been updated to include a quick lever. This ensures that the speedlight is locked safe in place while on the camera. When it’s off-camera, this design helps photographers unlock it easily and quickly. 

USER EXPERIENCE

The Godox V860III TTL Li-Ion Flash Kit comes in a Godox-branded box. The brand and name of the product are clearly marked on the front of the box and a nice product image of the flash is also included. I appreciate this type of packaging because it makes it easy to identify if consumers are searching for it on a retail shelf. The box is heavy cardboard and there is a plastic insert in the box to keep all the parts of the kit safe and secure. This is a complete kit that makes it possible to use the flash right away. The first thing I do after making sure all the pieces and parts are in the box is to charge the battery. As mentioned above, the battery used in the V860 III is the same battery that is used in the V1 flash. This is very convenient in my opinion because you automatically have a backup battery if you are only using one of the flashes at a time. The battery did have some charge out of the box, but I prefer to start with a battery 100% full. 

I am working with a Canon EOS R5 as my main camera. I acquired it earlier this year and love how well it works with my other Godox equipment. I was ecstatic to discover that the V860III connected and worked with my camera seamlessly. For this shoot, I had the V860III as my on-camera flash, but also had the Godox AD300 Pro, AD400 Pro, and AD100 Pro has standby off-camera flash support. Godox does an amazing job of ensuring that all their lighting gear works well together. This is one of the main reasons I switched over to using Godox exclusively. I set up the V860III with the main settings I wanted to work with and then made the other lights match it. 

In the chapel area, I primarily used the V860III but ended up using the AD400 Pro at the end of the ceremony. The room was poorly lit and the natural environment outdoors was cloudy/overcast so there was no natural light spilling into the room. Because the room had very little ambient light, I was concerned about only using the on-camera flash during the ceremony. Fortunately, The V860III was powerful enough to capture the event. It basically saved the day. I was moving around a lot during the ceremony so that I could get photos of all the important moments. The flash’s ability to swivel horizontally and shift angles vertically made it possible for me to be able to shoot the wedding the way I wanted to without extra lighting. The chapel had a lot of odd angles in its structure and I knew that might be difficult for bouncing the flash off walls, but fortunately, the flash’s physical flexibility helped to work around that issue. 

I shot portraits of the couple outdoors and then shot their reception in a separate building. Both of these environments proved difficult as well. As I mentioned, the outdoor environment was cloudy and then the reception area had heavy fluorescent lights. The V860III held its own quite well in both environments and I was able to capture some really nice images of the couple, their guests, and the reception table settings. The picture below is an example of one of the shots I captured during the ceremony.

Because my main on-camera flash was the V1 before the V860III, I found myself making some direct comparisons between the two. They have the same recorded recycle time although, in practical application, I felt that the V860III seemed faster. Both flashes have the same approximate power shot count for their respective batteries. The head adjustment angles – horizontal and vertical – are also the same. After reviewing the specs for both flashes, they even have the same weights and very similar size (dimension-wise). The biggest differences between the two include – round versus rectangular head and flash coverage area (V860III has the larger of the two). If you are trying to determine which of those on-camera flashes would suit your needs, you should focus on those two areas because both flashes have a very similar physical design and function set. 

CONCLUSION

The V860III is a wonderful addition to my Godox lighting ecosystem. It is easy to work with and provides a powerful lighting option – even in tough environments. I would recommend it as a primary on-camera flash option and could see it doing a great job as a secondary flash as well. It’s a great investment for any photographer. 

For more information, visit Godox.com, Facebook, and Twitter.

Not your average drawing tablet.

Drawing tablets are a great accessory for creative professionals. Until recently, there have been only a few options (brand-wise) as add-on accessories for workstations. Thankfully, Xencelabs entered the market (run by a group of former Wacom employees) and has designed some miraculous, innovative creative tablets for professionals to work with. One product is the Pen Tablet Small that I was lucky enough to be able to review.

DETAILS

The Pen Tablet Small is designed to deliver a minimalist design that prioritizes workflow, comfort, and intuitive use in a compact size. The tablet has additional accessories and tools that come in the package making it cost-effective and a natural drawing experience for professionals. The tablet measures 6.93 x 3.89 inches in size and includes adjustable LED lights to define the drawing area. There are two different sized pens included – the 3-button pen and the Thin Pen. Both are completely customizable using the Xencelabs Settings Application. The tablet features a seamless, curved palm rest to maximize comfort as well as adjustable LED lights. The tablet has a 16:9 native drawing area. 

SPECS

• Model Number: BPH0812W-A (Xencelabs Pen Tablet Small)
• Color: Carbon Black
• Product Dimensions (W x H x D): 9.21 x 7.27 x 0.3 in / 234.18 x 184.66 x 8 mm
• Active Area Size: 6.93 x 3.89 in / 176.10 x 99.05 mm
• Active area aspect ratio: 16:9
• Product Weight: 398g
• Hours Per Charge: 16 hours (2.5 hours charging time)
• Cable included: USB type C to USB type A (Adapter provided)
• Kensington Security Slot
• Connectivity: Wireless or USB
• Technology: Battery Free EMR (Electro-Magnetic Resonance)
• System requirements: Windows®7 or later, Mac OS X 10.12 or later, Linux , wireless or cable connection requires USB Type-A port (includes Type-C adapter), internet access to download driver.
• Pen models: PH5-A (3 Button Pen) and PH6-A (Thin Pen)
• Pen side switches / Eraser buttons: 3 Button Pen: 3 buttons + eraser; Thin Pen: 2 buttons + eraser
• Pressure levels: 8192 levels
• Pen tilt range: ± 60 degree (both pens)
• Pen grip material: Soft Touch Rubber
• Pen size: 6.20 inches / 157.56 mm (3 Button Pen); 6.20 inches / 157.54 mm (Thin Pen)
• Pen weight: 3 Button Pen: 17 g / Thin Pen: 12 g (approx)
• Limited warranty: 2 years

WHAT’S IN THE BOX

• Xencelabs Pen Tablet Small (BPH0812W-A)
• 3 Button Pen (PH5-A)
• Thin Pen (PH6-A)
• Pen Case (H05-A)
• Dongle (ACD12-A)
• USB Cable (ACWTU06-201A)
• Nibs (6 Standard) (ACTPH6A-A)
• Nibs (4 Felt) (ACTPH6A-B)
• Glove Medium (ACG-12M)
• Adapter – USB-A to USB-C
• Carrying Case
• Nib Extracting Ring
• Quick Start Guide / Thank You Card
• Warranty Booklet

USER EXPERIENCE

The Pen Tablet Small comes in a Xencelabs-branded box and a nice image of the product is featured on the front. The back of the box lists the main features of the Pen Tablet in English, French, and Spanish. There is also a diagram of the elements included in the box. The outer part of the box is a sleeve covering that lifts off the inner black box. When you open the lid of the inner box you will find a cardboard printout that says “Thank You” in many different languages. There is a note along with it that is from Xencelabs that explains some of the reasons that the tablet is designed the way it is. The back of the card is a quick start guide that directs you to scan a QR code, connect the tablet to the computer using Bluetooth or USB, Download the Driver from the Xencelabs website, and finally, register the device. 

After you pull the quick start card out, you will see the tablet wrapped in plastic and a small black box. The black box contains a Xencelabs sticker and warranty policy. If you ask me, that could have been included in a different location rather than taking up an entire box for those two small items. When you lift the tablet out of the box, you will find a case also wrapped in plastic (this houses the pens and their accessories) and a second black box. This black box holds the USB-C charging cable and drawing glove. Finally, the entire tray lifts out and to reveal the travel case for the tablet, which is large enough to store the tablet and all its accessories when not in use. I really love this soft-sided case because it makes it easy for travel and just simple storage. 

As far as setup goes, the process only took a few minutes. I am using a MacBook Pro as my main computer. So, I downloaded the driver software package for macOS. The download took about 3-5 minutes and then the installation took another 2-3 minutes. It’s a standard installation process with a lot of permission granting. The Xencelabs tablet wants to have permission to use screen recording as well as accessibility permissions. You will have to grant both of these in System Preferences and then you can use the tablet normally. 

The Xencelabs application is very helpful. It’s more than a standard utility app. You have the option of customizing the tablet’s corner colors and what the control buttons do. Out of the box, they will Launch Settings, Adjust Pressure for the pens, and Switch Displays. You can also choose options like Keystroke, Modifier, Tablet, Navigation, Application, Mouse Clicks, Eraser, or disable the button altogether. The app also lets you customize the pens with similar options. You can select what the top and bottom buttons do as well as the eraser. I feel as though these customization options are really what sets the Xencelabs Pen Tablet Small apart from other stylus tablets. In addition to setting up the default options for the tablet and pens, you can also customize specific application profiles. 

As far as function goes, the tablet is very easy to use. I love the smooth texture of the tablet’s surface. I preferred to use the Thin Pen because it reminded me more of a traditional writing utensil. I used it primarily with Lightroom to do photo touchups. In the photo, I painted out some flaws on the walls as well as the power cable that hangs down the wall. I also took out the cutouts on the lighting fixture digitally. The pen made these precise touch-ups much easier than if I had just used my standard wireless mouse. I love the feel of the pen and how easy it is to use on the tablet. All the hardware feels solid and not fragile at all. The performance of the Xencelabs Pen Tablet Small has been incredible and I don’t have any complaints at all. 

CONCLUSION

The Xencelabs Pen Tablet Small is ideal for smaller workspaces. It performs as well as its larger counterparts but in a much more compact package. This would be great for working remotely, too. In my opinion, it is the best smaller-sized pen tablet on the market. Nick the other co-founder of MacSources has been using Xencelabs for a long time now and says “The style of the smaller tablet is a wonderful option for anyone on the go or desk bound.” We love the Xencelabs products and can’t wait to see what they come up with next.

For more details, visit Xencelabs, Facebook, and Twitter.

_{We are an Amazon Associate and may earn a commission from items purchased via our links. #CommissionsEarned}

Maximize your creative potential with the Loupedeck CT. 

As a creative professional, I am always on the lookout for different tools that can help streamline my editing tasks. There are plenty of software options out there, but not too many professional-level hardware accessories. There is one that I like – the Loupedeck CT. It’s a customizable editing console that works natively with most editing apps such as Lightroom Classic, Photoshop, Premiere Pro, After Effects, and Final Cut Pro. It’s designed specifically for creative professionals and it’s made from premium materials that allow users to experience exceptional accuracy while editing. One of the best advantages of using the Loupedeck CT is that you are free to focus on your work instead of concentrating on what keys control what function on your keyboard. The Loupedeck CT helps to create a functional workflow using minimal equipment. 

KEY FEATURES

• Workspaces: Group tools and functions into workspaces to keep yourself organized. 
• Integrations: Loupedeck CT has a wide variety of native integrations with editing software including Lightroom Classic, Photoshop, Premiere Pro, After Effects, Final Cut Pro, and Ableton Live. 
• Tactile Controls: The control panel makes it possible for you to use one hand to make adjustments. 
• Powerful Interface: Loupedeck CT features dynamic, seamless control and you can switch between software, tools, and functions without any delay. 
• Custom Profiles: Create custom-made profiles to work with any software or application. 
• Touch Buttons: Users have instant control with a tap of haptic, touch button, and swipe screen. 
• Premium Build: Built with a high-quality aluminum cover and dials, touchscreens, and LED backlighting. 

USER EXPERIENCE

The Loupedeck CT comes in a black box with the word “Loupedeck” embossed on the front. When you open it up, you find the control panel, a USB-C cable, and a quick start guide. I was very impressed with the build of the unit and how easy it is to get started with it. The unit has 6 dials, 8 round buttons, 12 square buttons, and a large, center control wheel. Out of the box, the Loupedeck CT is set to work with several major applications, but users can still set up their own profiles. The control panel gets its power from the USB-C connection to your computer. You don’t have to worry about it sliding around too much because it has small rubberized feet. 

The Loupedeck CT console could be considered ’portable’ in that it isn’t too large to carry along in a laptop bag, but it’s not really 100% suited for remote editing since it’s a wired connection. The console really does work best on a desktop and not in a lap. The Loupedeck CT is slightly larger than the Apple Magic Trackpad so it doesn’t have a large desk footprint. If you plan on carrying it around with you, I do recommend getting the travel case for it so that the knobs and buttons aren’t damaged. 

As a photographer, Lightroom is the main application I use the Loupedeck with. Fortunately for me, that is one of the native profiles that is preloaded into the Loupedeck system. Users do have the option to create custom profiles, but the process can take quite a bit of time to map out the buttons and knobs. Taking the time to program the console is worth it though. I was able to map presets to certain buttons, which made it possible to switch back and forth between looks a lot easier. I also set the dial functions to color and lighting settings so that I could easily adjust exposure, saturation, vibrance, and clarity. 

One of the things I like the most about using the Loupedeck CT is the physical feel of editing. My fiance used to be a video editor and she said that she used to have a large control panel that had a jog wheel, advance/reverse buttons, play/pause buttons, and other controls. It made video editing much easier than just using a keyboard and shortcut keys. It was a much more tactile way to work through the process. When she saw the Loupedeck CT, she said it felt very similar to her video editing control console. That’s why I like it, too. It just makes photo editing so much more interactive and fluid as a workflow. 

CONCLUSION

The Loupedeck CT is a solid piece of hardware that gives the user a lot of options for creative piece editing. At $549 (USD), it is an expensive piece of hardware. I think that it’s worth the investment, but definitely, something that should be taken into consideration. The Loupedeck support software is very functional, but there is a learning curve that comes along with it. 

For more information, visit loupedeck.com, Facebook, or Twitter.

Sometimes you don’t need to carry a full-size backpack when you go out to take photos. In fact, a full-size backpack can end up slowing or weighing you down. Traveling light can be the name of the game when you are trying to keep up with quick jobs. With that in mind, sometimes all you need is an accessory pouch like the Field Pouch V2 by Peak Design. Not only does it work as a great stand-alone accessory kit, but it also works as a bag inside of a bag for smaller items.

DETAILS

The Field Pouch V2 is an organizer that is technically two bags in one. It’s a “minimalist carry-all sling bag and a compressible in-bag organizer” – according to peakdesign.com. The bag comes in three different color options – black, charcoal, and midnight (blue tone). It has an MSRP of $44.95 and there are options to purchase it pre-owned from Peak Design’s website (at the time of publishing this article). 

Peak Design dubs this pouch “the ultimate wing bag” – meaning that it can be tucked away or replacing your bag depending on your needs. The pouch can expand from 1.5L up to 3L to have a truly impressive capacity. It has a rollmop hook-and-loop closure and an adjustable Cord Hook strap for shoulder or sling style carrying. The strap can also be stowed away. The bag has integrated belt loops for waist carry options and works with standard and photo belts. There is an internal zip pocket and 8 internal stretch pockets of varying sizes. 

The internal felt liner protects contents from bumps and scratches and the entire bag are protected by a weatherproof 400D double poly-coated nylon canvas shell. There are leather touchpoints (gold rating from LWG) on the midnight and charcoal pouches and Hypalon touchpoints on the black pouch (vegan). There is also an option for camera carrying on the outside of the pouch using the Capture Clip (not included). 

KEY FEATURES

• Capacity: 3L max, 1.5L min
• Size (empty): 9.4 in (24 cm) x 7.5 in (19 cm) x 0.4 in (1 cm)
• Size (full): 10.6 in (27 cm) x 9.8 in (25 cm) x 4.3 in (10.92 cm)
• Weight (empty): 6 oz (170g)
• Warranty: Lifetime

UNBOXING – USER EXPERIENCE

My unboxing was very minimal since my Field Pouch arrived in a small box with nothing but the pouch inside it. It did have Peak Design cardboard stapled to the bag with a few photos and basic information on it. There is a retail hanger loop on it so I would assume this cardboard is the basic retail packaging of the pouch. 

I have the charcoal version of the pouch and it’s a very classy-looking product. The Field Pouch has a velcro front flap that keeps the bag shut when carrying it and the leather accents really make a statement style-wise.  Its classic style allows for me to wear it without looking out of place during well-dressed events. 

I like to use the Field Pouch to keep my must-have items on me so I can set my camera bag down and not be bothered by the extra weight during a job. The last wedding I shot, I kept the Field Pouch on me like a sling and I used it to house my batteries, air blowers, lens wipes, and a few extra items for my Canon R5. It was a great option for that job. The velcro on the bag is strong enough but also it does not make that gross screeching sound that most velcro makes when you open it. 

There was plenty of room in the pouch for what I packed into it. Inside there are three slots that I used for my batteries and across from that is a nice stretchy zippered area that can hold a wide variety of items. Between the two storage areas is the main pouch area that is actually big enough to store a lens in (24-70mm). I used that area a few times to hold my lens as I switched lenses. It was much better than setting my lens down on the floor.  

If I have one complaint about the Field Pouch it would be the strap. It wasn’t particularly comfortable on my shoulder and I think they could have come up with something better especially since they make such awesome straps for cameras. All in all, this is a very well thought out clean design that I can recommend to any photographer looking for a small bag to carry random gear. 

CONCLUSION

Being able to use this as a catch-all bag for my main items when I shoot weddings has been a lifesaver. I have little items like a prism, fairy lights, gels, and so on that fit into this bag wonderfully. When it comes to products made by Peak Design I know one thing for sure – the quality is always going to be top-notch. It took me a bit of time before I started to use this bag because I had a routine I was in. I had to break myself of the “keep my heavy backpack a few feet from me the whole event” habit and change to keep the field pouch on me. Once I did, I can’t believe that I went so long without this option. 

For more details, visit Peak Design, Facebook, and Twitter.

A powerful, compact video light that’s great for smaller-scale productions.

In the past year and a half, video has become a way of life for most people. It’s how we communicate with the outside world, do business, and for some, it’s how they support their families. And, anyone that has sat in front of a bright window during a video conference with no direct lighting on their face will tell you, good lighting is essential for a successful video. There are many different types of lights in the market though and even more lighting manufacturers. I’ve dabbled with different brands, but exclusively use Godox products now. One of their newest products is the SL100Bi Video Light. It’s a 100W bi-color LED light that is optimized specifically for use with video. It’s a hearty light that is extremely portable. I’ve been fortunate to be able to use this light on a few jobs and have loved how it has worked. This review will detail the specs on the light as well as my thoughts on its performance. 

DETAILS

The SL100Bi (bi-color) was designed alongside the SL100D (daylight) and Godox lovingly refers to them as the “SL100 twins.” The SL100Bi is a compact unit with high brightness. It’s ideal for smaller-scale productions and because it offers Bi-color, the user can add more creativity into their setup. The light features a built-in umbrella mount and Bowens mount, which makes it easier to choose accessories for it. It produces 32100 lux at 1 meter (with the included reflector) and can easily be used as a key light for YouTube videos or any other web-style video. When paired with the SL100D, the SL100 twins can make a quick-rig setup that is budget-friendly. 

The SL100Bi adjusts gently between color temperatures. It has a range between 2800K and 6500K and it reproduces accurate colors for a natural-looking scene. The SL100Bi scores over 96 on CRI and 97 on TLCI. The light is compact and lightweight (weighing only 3.5lbs). It has a handle built-in, but it does have to be tethered to a power cable. The controls consist of four buttons, two dials, a power switch, and an easy-to-read display. This light does feature a wireless connection to the Godox Light App, which allows the light to be remotely controlled from a smartphone. The light can also be controlled by a remote (RC-A6), which is not included and is completely optional. Both the SL100 lights have lighting effects built-in, the SL100Bi, however, has three additional lighting effects. 

LIGHTING EFFECTS

• FX1-Lightning 1
• FX1-Lightning 2
• FX1-Lightning 3
• FX4-Flash
• FX5-Conference
• FX6-Paparazzi
• FX7-Television
• FX8-Broken Bulb
• FX9-Candle
• FX10-Fire
• FX11-Firework

The lighting package for the SL100Bi includes the light body, reflector, protection cover, and power cord. 

TECH SPECS

USER EXPERIENCE

The SL100Bi arrived in a simple brown cardboard box with a Godox product label stuck to the front. I like this form of packaging because it properly protects the product inside, identifies it clearly from the outside, and doesn’t seem to be overly excessive. On the inside, the light is carefully housed between two sections of styrofoam with the instruction manual sitting on top and the power cord nestled below the light. The protective cover is locked into place around the LED bulb by a manual switch that must be disengaged in order to release the cover. This cover fits neatly into the Bowens mount and so the lock also prevents any accessory from falling off the light. 

The light body is built really well. I love that Godox includes the handle on the back since it makes it so much easier to transport that way. Also, with it being so lightweight, it could potentially be handheld for a quick video shoot if needed. The one thing I wasn’t really thrilled about was that the SL100Bi can only be powered by a wall outlet. I do have portable battery packs with AC outlets, but I would have loved to have the option to slap a battery pack on the back of the light for additional portability. The knobs are easy to turn and the buttons are very tactile with a solid ‘bump’ when you press them. That was a plus to me because I’ve seen a lot of control panels that have touch-sensitive or non-bump buttons and you aren’t 100% sure if your command is being accepted with those. The buttons on the SL100Bi are solid, but easy to press and you definitely know when you have made contact with it.

One of the features that make this light perfect for video work is the noise it produces – or lack thereof. It is nearly 100% silent. I was shocked at how quiet it was when I turned it on. Usually, there is a whirring or humming and there was nothing when I turned the SL100Bi on.  In fact, I didn’t hear anything until the light was in standby mode for a little while. The sound is so minimal that I doubt any microphone would pick it up. Another feature that really makes this a winner to me is the app control. When you get a light up on a stand and in the right position, the last thing you want to do is have to pull the light down just to change a color setting. The app makes it possible to adjust the light’s brightness and color temperature without having to physically get to the controls on the light’s body. In my tests, the light connected immediately to the app and any commands I input into the app were immediately accepted by the light. 

The app functions just fine, but there are some things that I hope they update. For example, when you go to add a new device to your list, the option at the bottom of the page to confirm the selection is spelled ‘comfirm’. Also, the SL100Bi has a color temperature range of 2800K-6500K. The control in the app goes all the way up to 8500k even though the light’s color temp actually stops at 6500K. There are just some small tweaks that could be made to the Godox Light App that would make it better.

The SL100Bi is very color-accurate and bright. It’s easily adjustable and just as powerful as other, more expensive lights in its class.   This light is ideal for indoor shoots as a key light. As an example, I’ve included a couple of still shots showing what a particular area looks like with and without the light on. It’s a pretty dramatic difference and the ability to shift the color temp as needed to change the mood makes this light all the more worth it. 

CONCLUSION

Lighting can dramatically affect the outcome of your video shoot. If you don’t have the proper light to get the job done, your video will not look at good as it could. The Godox SL100Bi is a great light for most smaller-scale video productions. I would recommend it on the basis that it’s easy to use, produces powerful, high-quality lighting, and it is budget-friendly. 

For more information, visit Godox.com, Facebook, and Twitter.

A must-have for mobile photography.

They say that the best camera is the one you have with you. Well, in my case, that would be my iPhone 12 Pro. While I love the feel of a DSLR, my iPhone is constantly by my side, and therefore, it ends up capturing 99% of the photos I take these days. Even though the iPhone 12 Pro’s camera adjusts beautifully for low-light situations, it still takes better photos when there is proper lighting available. Most people wouldn’t think about carrying around light with their iPhone on the off case that you might need extra lighting for photos. But, iPhoneographers would think about that and that’s what the LumeCube Panel Mini is designed for. 

DETAILS

The Panel Mini by LumeCube is a small bi-color LED panel light. It’s about the size of a credit card and it has an easy-to-use display screen. The light comes with a frosted lens for built-in diffusion (additional softening diffuser included) and simple controls. The light can be adjusted between 1% and 100% brightness and it has a color temperature range between 3200k-5600k. There are two 1/4” 20 tripod mounts built-in and the light has a CRI > 96. The battery runtime is up to 14 hours at 1% (1.2 hours at 100%). 

What’s in the Box

• One (1) LED Light Panel
• One (1) USB-C Charging Cable
• One (1) DSLR Mini Shoe Mount
• One (1) Silicon White Softening Diffuser

USER EXPERIENCE

The Panel Mini comes in a simple well-branded box. It’s made from some sort of reinforced/wrapped cardboard. The package is very strong and will keep the light secure when it’s in transit. The light has a few accessories that are shipped with, but it is pretty self-contained in its case. One of the things I really like about this light is its super simple controls. There is a power button that also functions as the ‘mode’ button. Once the light is turned on by a long, 3-second press, you can press the mode button to cycle between brightness and color temperature. Then you can adjust either of those settings by toggling the dial beneath the power/mode button. The light recharges using USB-C (cable included). This was refreshing to me because I’ve seen a lot of smaller accessories like this that still recharge using Micro USB, which I feel is outdated technology. I’m also just really glad to see that it’s rechargeable in general because some smaller lights like this do run off of batteries, too. 

I’ve grown accustomed to using the LumeCube Air for most of my mobile photography, but I have found that I actually like the Panel Mini better. It is much more portable and easier to carry around with an iPhone than the LumeCube Air. It’s also easier to handle. Because it’s a flat rectangle, it’s easy to hold in the palm of your hand and position while you take a photo with your iPhone in the other hand. I also like that it can stand up on its own on a flat surface. The light provides a maximum of 550 lux of brightness at a half-meter distance, which is perfect for smaller tabletop photography sessions. I think the silicone diffuser that is included really helps soften the light when you use it close-up and it makes it easy to use. 

To show what a difference the Panel Mini can make in a photo, I’ve taken a photo of my keyboard and shown it without any supplemental lighting, then with the Panel Mini at full power on 3200K (warm) and 5600K (cool). I used my iPhone 12 Pro to take the photo and it did a little bit of automatic lighting adjustment, but you can still see the difference between the available light set-up and the photos taken using the Panel Mini. 

CONCLUSION

This tiny light is perfect for supplemental lighting. I love that it’s so portable and easy to just drop into a pocket or camera bag – even smaller ones. Even though it only provides white light, the variety of color temperature and brightness intensity really comes in handy. I think the Panel Mini really is a must-have for any photographer. 

For more information, visit lumecube.com, Facebook, and Twitter.

Easy to use and light to carry makes for a permanent accessory in my camera bag

When you think of gear you use daily the first thing you think about is cameras and lenses. One piece of gear I keep in my camera bag is the KUVRD lens hood. It’s a foldable rubber lens hood that can fit on different size lenses and allows you to have a very adjustable hood when needed. I find it best for putting it up against glass to reduce reflection and glare so I can get crisp photos through glass day or night.

DETAILS

The Universal Lens Hood is available in two sizes – S54 and M72. The concept behind these lens hoods is to provide photo enhancement and lens protection at the same time. By providing two sizes, the hoods are the world’s first-ever all-fitting, multi-functional lens hood. They will work with nearly any size lens with any focal length. The Universal Lens Hood will also work with any size circular filter, too. With one hand, users can collapse the lens hood for storing virtually anywhere. Even while it’s attached to the lens, the lens hood can be folded down in order to prevent vignetting or dark spots from appearing in the corners of your frame. The lens hood is made from rubber or silicone (the website is non-specific about the materials used to make the hood) and so it is pliable. Once the hood is on the lens, it will not fall off. The hood is protected by KUVRD’s Lint Resistant Coating and insured with their Lifetime Replacement Warranty. The lens hood makes it possible to remove any glare or reflection from any shot. The Small version of the lens hood is designed to fit smaller camera lenses (54mm-76mm) while the Medium size is designed for larger lenses (72mm-122mm) that are typically used with DSLRs. 

FEATURES

• Fits 99% of Lenses (Universal).
• Foldable and stows anywhere (Packable).
• Faster and easier to put on than normal lens hoods (Efficient).
• Never falls off = Never lose it (Secure).
• Works with & holds any circular filter (Multi-Functional).
• No Dark Spots / Vignetting in corners of the frame. (Time Saver).*
• Removes glare & reflections when shooting through glass (Enhancer).
• 24/7/365 Access to adjustment dials and switches on your lens, no matter how you install it (Complete Control).
• Protects against the elements (Added Defense).

UNBOXING – USER EXPERIENCE

The Universal Lens Hood comes in a simple plastic bag with the appropriate label on it. I had the opportunity to try both sizes out but actually had more use from the larger version. The lens hood is very flexible and easy to stow away in a camera bag. I typically carry it with me no matter what simply because I never know what I might encounter when I’m out and about. And, since the lens hood is so lightweight and compact, it’s not a hassle to pack around. 

To use the hood, you slip it over your lens. While that seems simple enough, the lens hood creates a tight seal around the lens and so you have to stretch it quite a bit to get it around your lens. I wouldn’t say it was ‘hard,’ but it can be a little frustrating when your fingers get snapped between the hood and the lens. 

The main reason I wanted to add the lens hood to my kit was so that I could take glare-free photos through glass. I did have a couple of different opportunities to test out the lens hood in this manner. The first was at a nature preserve. There is an observation room where guests can sit and watch the various local wildlife pass through the area. For the most part, it ends up being birds, but I was lucky enough to capture a couple of squirrels, too. The lens hood did its job and I was able to get photos through the glass. The only issue I really had was that the dirt and scratches on the glass prevented me from getting a truly spectacular shot. On another occasion, I was visiting our local zoo and got a close-up shot of a green tree snake. This was a different experience than the nature preserve because the glass was in much better shape and thanks to the lens hood, I didn’t have any glare to worry about. The snake was a good photo subject and I ended up with a great photo from that outing. 

CONCLUSION

The Universal Lens Hood is a great add-on to any camera bag or kit. It’s affordable and because it’s so flexible, it can fit nearly anywhere. I would recommend this to any photographer because it’s a good enhancement tool.  

For more details, visit kuvrdcamera.com, Facebook, and Twitter.