The brand new, hand built Vector straps are now available via the TRP Camera Straps Page HERE for $27 delivered ($33 outside of the US). They’re light weight, low profile and comfortable wrist straps for any camera. Utilizing very high end materials, I’ve chosen to build these with both comfort and function in mind. They’re great when wanting to keep weight and bulk down, comfort up all while maintaining a casual, modern look.
The Vector Straps are now available along with the Garda and Cascade Straps. Come on in to see who won free straps from our social media giveaway…
The new TRP Vector straps are low profile, lightweight wrist straps made from blended, 24 plait braided line utilizing high end materials like Vectran, Cordura and high tenacity Polyester. Strength, style, fashion and function. Used in high performance, professional sailing, this rope is built to last. I personally, hand build each and every strap, and I’ve been testing these for the last 6 months. They’re dialed. The brand new, Vector straps will be released next week, and for a chance to win one, shipping included, I’m going to try something newish (for me and the blog anyway).
We’ve done a giveaway with each of the other straps, and this time, I wanted to also start up bit of a reward for helping me get the word out, guerrilla marketing style. Being that I hand build each and every strap myself, I want to do my best to keep costs as low as I can to both make enough money for this whole venture to make sense, but to keep the delivered price as low as possible to make sense for you as well. The more I can sell, the more I can invest, etc, etc. Kind of my own kickstarter so to speak, except you don’t have to put money in to get this going, I’ve already done that.
The idea here is getting the word out, and figuring out a way to reward those who help me do that. Here’s what I’m thinking…
The Kipon EF Lens to Micro 4/3 mount smart adapter is a fairly big deal. Not just because it enables aperture adjustment for the electronically controlled EF line of lenses when adapted to a micro 4/3 camera body, but it has also bridged the proprietary technology to gain the use of full auto focus and lens based image stabilization capabilities. Having followed a fairly similar path into the micro 4/3 world as I would imagine many others, I came from a long standing investment in the Canon system. I still shoot my Canon full framers, and have compiled some very nice glass over the years that tends to sit on the shelf more often now that I shoot the micro 4/3 system. I’ve been waiting for a solution to merge my two beloved systems, and Kipon has produced it.
Enter the new, Kipon EF>m4/3 Smart Adapter. Come on in for some insight and my experience over the last month…
What a weekend. Sore arms and shoulders and my eyes are still recovering from the sun glare off the water, this weekend found a large, North American regatta fall into our backyard. As a sponsor of the regatta (representing two sponsoring companies) I was able to talk my way onto a customer and friend’s chase boat. Of course, it provided me an opportunity to rent one of Canon’s super tele monster lenses, so that’s what I did.
C’mon in to see some shots and read my thoughts on the EF 200-400mm f/4 L IS USM lens…
Stabilization. A term that, before a handful of years ago meant “tripod,” or physical bracing technique, has grown to provide various hardware solutions within our camera system of choice. We as consumers have been lucky to have stabilization options within most all digital camera systems, and while image stabilization isn’t going to remedy all problems, it is certainly a nice feature to have.
I’m awaiting a new Panasonic GX8 to arrive within the next couple weeks which will boast a new, dual IS system incorporating both an on sensor IS and lens based IS solution, but before that time, I wanted to really see how the first full frame, 5 axis on sensor/in body image stabilization (IBIS) system from Sony compares to a very good lens based image stabilization (IS) system in the Canon EF lenses, and a better than often credited 2 axis IBIS system from Panasonic’s first foray into on sensor stabilization, in the GX7.
Come on in to see my three different comparisons between these three different offerings, and see if there is a clear winner.
Few systems can boast multiple, high quality portrait prime lenses. Here I’m looking at three, very good lenses all in their own, respective rights. Each, have their upside and for a given shooter, a very justifiable argument in favor of, over the others.
While there are two more proprietary portrait prime, focal length lenses with a micro 4/3 badge printed on them (the Leica 45mm f/2.8 macro and the new Lumix 42.5mm f/1.7) I have been able to justify buying all three of these for one reason or another over the last few years. I must cull my quiver to make room (and provide budget) for new, fun things to review, so I need to decide which I’m going to hold onto.
C’mon in for some shots, and my thoughts…
There has been a lot of buzz surrounding the newest lens in the Lensbaby family. The Velvet 56 offers a bit of a departure from what Lensbaby has been known by in that it has forgone the ability to selectively manipulate the plane of focus into a point or tangential plane, with most lenses offering the ability to be swapped into or out of one of their lens housing bodies like the Composer Pro, or Scout.
The new Velvet 56 is a solidly built, fixed focal length 56mm f/1.6 prime lens that has a different trick up its sleeve. In days of yore, many portrait photographers used lenses that would intentionally soften contrast and the overall image, aptly called “soft focus” lenses.
Enter the Velvet 56, and as its name suggests, it is as smooth as Barry White by candlelight. C’mon in for some sample shots and my thoughts…