Archive for the General Category

The SMDV BRiHT 360 Portable Lighting System

Posted in General, Portraiture, Weddings and Bridal with tags , , , , , , on June 4, 2017 by kendoophotography
Ivy Jane

Ivey. ©2017 Ken Doo Photography.  SMDV BRiHT 360 with SMDV Speedbox 85, Phase One XF, Phase One IQ3 100, Schneider 150mm LS

Photographing portraits on location or working at a wedding with a tight schedule poses special challenges for photographers. Working in a controlled studio environment can be relatively easy whereas working on location often means working with a degree of uncertainty, which may include an abrasive wedding coordinator, dimly lit venues, and rapidly changing weather conditions.  Natural light is very limiting and using studio lighting on location is often necessary to produce dramatic lighting, overpower the sun, or simply to get the shot inside a dark reception hall. Mastering studio strobes on location often differentiates novices from more established professionals.  For the busy on-location or wedding photographer, a good, reliable lighting system is indispensable. Portability and ease of use are arguably the most important features for an on-location lighting system, and in this regard, the SMDV BRiHT 360 strobe excels.

IMG_0222 Ken bts in studio BRiHT 360 and Speedbox 85

Behind the scenes. Testing in studio with the SMDV BRiHT 360 and SMDV Speedbox 85.

I recently had the opportunity to test the newly released SMDV BRiHT 360 strobe. I am familiar with SMDV since I had reviewed their excellent SMDV Alpha Speedbox over a year ago, and use it with my Profoto studio lighting system.  The BRiHT 360 enters the highly competitive lower priced lighting market—at least lower in price compared to offerings from Profoto, Broncolor, and other well-established photographic lighting companies. This new competitive arena is crowded with relatively new brands such as the popular Godox, Flashpoint, Paul Buff Alien Bees and Einsteins, Jinbei, and seemingly dozens of other newly hatched companies eager to join the fray. The challenge should not be to find a portable studio strobe at the lowest price point. The goal is to select a flash unit that offers quality, reliability, portability and ease of use at a moderate price point.

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Small, portable, complete lighting kit in a small carry case.

The SMDV BRiHT 360 comes packaged in a nice zippered case with padded dividers, not much bigger than an insulated lunch bag. Inside is ample room in the case for the strobe, handle, two batteries, 5-inch reflector, and Flashwave5 2.4 Ghz transmitter (Canon or Nikon). The lid has additional pockets for extra transmitter batteries (AAA), the manual and 5-inch reflector grid, gels, and diffusion sock. In the case image above you can see an Arca Swiss compatible quick release attached to the handle. An Arca Swiss compatible plate is affixed to the bottom of the BRiHT 360. This allows for extremely fast set-up and break down of the lighting system. Additionally, it also enables the BRiHT 360 to be mounted alternatively onto a tripod with an AS quick release clamp. Pretty nifty. An umbrella holder is built into the light handle.

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The SMDV BRiHT 360 is quite small compared to the larger and heavier 500ws Profoto B1 and 250ws Profoto B2.

This light is on the small side and with its attached handle and battery, weighs only about 3 pounds. Despite its small size the SMDV BRiHT provides 360 watt seconds of lighting power, less than the Profoto B1’s 500 ws, but more than the Profoto B2’s 250 ws.  The SMDV BRiHT 360 is situated between B2 and B1 in output, but its form factor is closer to the B1 with its attached lithium battery and cordless operation—but at half the weight!  Build quality is excellent particularly at its price point of approximately $700 for a complete kit (strobe, battery, charger, 5-inch reflector, and Flashwave5 transmitter), which is about 1/3 the price for the Profoto B1 or Profoto B2.  The bare bulb flash tube is user replaceable.

I enjoy working with my Profoto lights, and am fully invested in Profoto and have no intention of changing my lighting systems. I am also fully aware of weaknesses in the Profoto B1/B1x, which is primarily its weight, tipping the scales at just over six pounds. The B1 is cordless and easy to use, but when placed on a light stand with a modifier, it can be easily blown over in the wind. Heavy light stands and sand bags are the norm when using the B1, which in turn takes away from its touted portability.

The SMDV BRiHT 360 weighs less than the Profoto B2 pack and head, yet retains the ease of cordless operation similar to the Profoto B1. Its small form factor and light weight means the BRiHT 360 can more easily be used with smaller (lighter) light stands and be easily weighted down if necessary by a photographer’s backpack and a bungee cord. I found the SMDV BRiHT 360 to be fast and easy to use. It is small enough to be easily portable, yet with enough power for individual and group wedding portraits. I could easily set up one or two of the BRiHT 360 strobes on light stands to remotely light a wedding reception dance floor, using my Canon speedlite for fill, and without worrying about the lights crashing down on the party. If I were still shooting weddings, I would seriously consider the SMDV BRiHT 360. Its small size, light weight, and balance of power make it ideal for weddings. Its smaller cordless form factor makes it a better choice when mounted high up on a light stand over a reception dance floor than other larger, heavier studio monolights such as the Profoto B1 or Godox AD600.

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SMDV Flashwave 5 transmitter.

I was particularly impressed by the SMDV Flashwave5 transmitter.  The SMDV BRiHT 360 offers easy wireless control through the Flashwave5 transmitter. Power output is easily adjusted in manual mode by pressing the minus (-) or the plus (+) buttons. High speed sync (HSS) is available as well as shooting with through the lens metering or TTL. I found that the implementation of TTL by SMDV to be exceptionally easy and actually better than the Profoto Air TTL. TTL adjustments on the SMDV BRiHT is made by pressing the (+) or (-) buttons, which adjusts exposure compensation. This is more intuitive than adjusting exposure compensation on the camera body itself.  Channels and groups are easy to adjust on the SMDV Flashwave5. The transmitter is triggered by the camera hot shoe. It uses standard AAA batteries.

SMDV TeleReflector

SMDV 7-inch tele-reflector next to the Profoto Zoom II and the Profoto Magnum reflectors.

The SMDV BRiHT 360 has its own proprietary mount, similar to Bowens-style mount, but in miniature.  The included 5-inch metal reflector is similar to that used on the Quantum Q-flash. Aftermarket grids and gels are available for the 5-inch reflector. I found the optional tele-reflector to be much more useful as a modifier, particularly when used with 7” grids or a diffusion sock.  I was surprised to find that the quality of the SMDV metal reflectors was on par with my Profoto metal reflectors, using a similar gauge of metal.  The reflectors are not thin and cheap like the standard Alien Bee/Einstein reflectors. I especially liked working with the SMDV Speedbox 85 with the BRiHT 360.  The SMDV proprietary mount on the Speedbox 85 is much lighter than the SMDV Alpha Speedbox used with my Profoto lighting. The SMDV BRiHT 360’s lightweight and small form factor make it particularly effective when working on location and I foresee a formidable lighting tool for wedding photographers. An optional SMDV mount adapter allows the BRiHT 360 to use any Bowens mount modifier.

The SMDV BRiHT 360 strobe is a high-quality lighting option considering its price point.  However, I also know that the market is replete with many different lighting options at this level, and I admittedly am not familiar with Godox/Flashpoint and the many others. Consequently, I thought it would be interesting to invite other photographers with different lighting experience levels to give their impressions of the SMDV BRiHT 360.  No compensation was provided by SMDV.  I didn’t even ask SMDV for their permission to invite other photographers to participate. I just thought it would be interesting to see if other photographers found the SMDV BRiHT 360 easy to use or not.  I invited Monterey photographer Lucas Huey and Carmel photographer Brandalyn Rexeen to try the SMDV BRiHT 360. We shared use of the SMDV BRiHT 360 lights and Flashwave5 transmitter extensively over approximately four months. I hope that the experiences of other photographers with different approaches is a valuable collective review and users report useful to other photographers interested in a portable lighting solution. Their reviews follow.

I have been a full-time professional photographer for over seventeen years. I consider myself “semi-retired” concentrating mostly on portrait work and fine art printing for other photographers and artists. My conclusion in a nutshell is that the SMDV BRiHT 360 is an excellent studio lighting option for on location work. It is small, portable and easy to use. Its size and light weight make it a particularly good choice for wedding photographers.  The SMDV BRiHT 360 is distributed in the U.S. by www.legiophoto.com

Ken Doo

www.kendoophotography.com

www.carmelfineartprinting.com

 

User’s Report:  The SMDV BRiHT 360 Strobe

By Lucas Huey

Growing up I spent a lot of time at my Grandparent’s house.  My father was a farmer, and during the various picking seasons, my mother, brother, and I would go visit relatives in San Diego. My Grandfather loved photography and maintained a working darkroom along with a plethora of 35mm to 4×5 view cameras. As I spent more time with my grandfather, my interest in photography grew.  I learned how to develop and print in the darkroom and use various formats of cameras. My interest in photography continued through my youth and I continued my photographic training with courses in college. I graduated with a BFA in Graphic Design with a minor in photography.

I moved to the central coast of California in 2005.  I am a portrait, wedding, automotive, and landscape photographer located in Monterey, California.  I use studio strobes for most of my work. Currently, I use the Paul Buff Einstein with Cyber Commander transmitter and the Flashpoint Xplor 600 (Godox AD600) with R2 4 zone TTL transmitter. Recently, another local photographer, Ken Doo, asked if I would like to try the new SMDV BriHT 360 strobes.

Senior Portrait

Senior Portrait. SMDV BRiHT 360, Canon 5D III. ©2017 Lucas Huey Photography

While testing these lights I used them in a variety of situations including senior portraits, commercial, and an engagement session. My initial impressions of the BRiHT 360 were placed in the backdrop of my own studio lights, though both systems are more powerful than the 360ws of the BRiHT 360. Both the BRiHT 360 and Xplor 600 offer HSS and TTL, whereas the 640ws Einstein is limited to 1/200th flash sync on my Canon DSLR.

The SMDV BRiHT 360 is light, even with the battery attached. It is more portable than the Xplor or the Einstein. The BRiHT 360 balanced really well with the battery sitting on top of the strobe as opposed to the side or with a cord attached. The included case is nice and small and easily slips into a photo backpack with a camera body and 2 lenses. This strobe is also light enough that I was able to use a small, lightweight Cheetah light stand. The Cheetah light stand legs automatically fold up when the stand is lifted, making it exceptionally fast and easy to move and walk to the next location with your client.  See, http://www.cheetahstand.com/product-p/c10.htm  I felt comfortable that the strobe would not fall over.

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Behind the scenes on a windy day, I chose to use the SMDV BRiHT 360 with an Arca Swiss quick release on a tripod instead of using a light stand.

The Flashwave 5 remote trigger is really easy to use. It is pretty intuitive.  Adjusting zones was simple and easy to understand. The Flashwave5 are perfect to control lighting on a dance floor during a wedding reception because of the ability to have the different zones fire at different settings. Using Manual mode was also easy.  The Flashwave 5 transmitter is far superior to the R2 trigger of the Xplor 600. The Flashwave 5 allows the BRiHT the ability to adjust by 1/10 of a stop as opposed to the 1/3 stop steps of the R2 and Xplor 600.  This capability made it easier to dial in the correct exposure in manual mode on the BRiHT 360.

The SMDV BRiHT 360 allows HSS up to 1/8000th.  This a nice option to have and I found that 1/1600 seemed to provide the best lighting for my personal tastes. When shooting on location, using HSS with the BRiHT 360 allowed me to better control the sun while preserving important details in the portrait.

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Engagement session. SMDV BRiHT 360, Canon 5D III. ©2017 Lucas Huey Photography.

The mini-Bowens mount on the BRiHT 360 is small to aid portability, but it also limits readily available modifiers from other manufacturers. An adapter must be used in order to mount standard Bowens modifiers.  Over the period of four months, I used the SMDV BRiHT 360 on a variety of jobs and used the standard 5-inch reflector, the SMDV 12-inch beauty dish, the 7-inch tele-reflector, and the SMDV Speedbox 85 with the BRiHT 360.

I was impressed by the ability of the SMDV BRiHT 360 in helping me to achieve a nice blurred background or “bokeh” during a senior portrait session. I was able to shoot at f/2 at 1/1600, ISO 500. Using HSS made it easy to freeze waves crashing in the background without motion blur. I tried shooting at 1/8000, but found that often 1/1600 was the best shutter speed for my sessions.  An Arca Swiss compatible plate was attached to the bottom of the strobes and allowed me to attach the BRiHT 360 to my tripod as opposed to a light stand. This is an easy worthwhile modification to make on the SMDV BRiHT 360.

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SMDV BRiHT 360, Canon 5D III. ©2017 Lucas Huey Photography.

I used the BRiHT 360 on an engagement session in the mountains, a beautiful scenic setting that was special to my clients. The BRiHT 360 is so small and portable, it was easy for my assistant to hold the strobe and direct the light quickly when directed.  When portability and weight is a factor, the SMDV BRiHT is the perfect lighting kit.  TTL and HSS on the BRiHT 360 is easy to use and allows me to direct my attention to creating images with my clients rather than fussing with the lights or remote.  The strobe is not the most powerful option, but offers a better balance for portability in a lightweight, easy to use lighting kit. It is ideal for working on location and provides enough power for most situations.

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SMDV BRiHT 360, Canon 5D III. ©2017 Lucas Huey Photography.

The small footprint of the BRiHT 360 worked well in a commercial setting. It was nice not having to worry about cords all over the location, which also had pedestrian traffic in the area.  I used a 40 degree grid on the 7-inch tele-reflector, and along with HSS and TTL, my subject popped out nicely despite the busy background.

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SMDV BRiHT 360, Canon 5D III. ©2017 Lucas Huey Photography.

During an editorial shoot featuring a car and owner, I decided to use the SMDV BRiHT 360. It was easy to use the strobes in manual mode to underexpose the clouds and background while boosting the light at 1/10th of a stop to create highlights that would show off the curves of the car. The Flashwave5 transmitter made it very easy to control the lighting. The controls on the transmitter are nicely laid out and it is very intuitive.

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Editorial shoot. SMDV BRiHT 360, Canon 5D III. ©2017 Lucas Huey Photography.

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Porsche Carrera RS. SMDV BRiHT 360, Canon 5D III. ©2017 Lucas Huey Photography.

The ease of the SMDV BRiHT 360 makes it an ideal “first” lighting kit for a “natural light” photographer as well as a perfect portable lighting kit for a portrait or wedding photographer.

Lucas Huey

Monterey, CA May 2017

www.lucashueyphotography.com

www.montereyphotographer.com

 

 

The SMDV BRiHT 360: An Easy Introduction to Off-Camera Lighting

By Brandalyn Rexeen, Photographer, Red Light Girls

Seven years ago, I started the Red Light Girls as a social network for women striving to release their many egos/facades through modeling and sisterhood, and shedding the stigma of social media’s “ideal” model’s body. I have photographed women in all stages of cancer, paralysis, multiple sclerosis, stretch marks, scars, cellulite, varicose veins, all body types and ages—striving to reveal the beauty within every woman. Until recently, I had been photographing my clients only in natural light.  I knew that the next step for me as a photographer was to begin utilizing off camera lighting in my portrait sessions in order to offer my clients better image quality.

IMG_0184 Brandy BTS with the SMDV BRiHT 360

Behind the scenes with the SMDV BRiHT 360 with 7-inch tele-reflector and 30 degree grid.

The vast majority of my photography is outdoors and on location. I am also new to using off camera flash. Consequently, both portability and ease of use are very important to me. When Ken Doo asked me to try the newly released SMDV BRiHT 360 for him, I was cautiously optimistic.

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RLG. ©2017 Brandalyn Rexeen. SMDV BRiHT 360, Canon 5D IV, 85mm f/1.2 L.

I am relatively new to studio lighting and assumed that setting up lights would be both tedious and difficult. I was surprised how quick and easy it was to set up the SMDV BRiHT 360 with my Canon 5D Mark IV. The Flashwave5 wireless transmitter works seamlessly with the BRiHT 360. I found the controls extremely easy to use.  TTL and HSS functions worked flawlessly to balance with natural light even in harsh mid-day sunlight.  I was surprised how easy this lighting system is to use.

IMG_0213 Brandy BTS BRiHT 360

Behind the scenes with the SMDV BRiHT 360 and SMDV Speedbox 85.

I initially sought an off-camera flash solution to simply add some fill onto my model’s faces. Once I used the SMDV BRiHT 360, I realized the capability of this portable system to not only fill in shadows but also to easily add dramatic lighting in any setting.

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RLG. ©2017 Brandalyn Rexeen. SMDV BRiHT 360, SMDV Speedbox 85, Canon 5D IV, 85mm f/1.2 L.

The locations that I like to use often require travel and can be somewhat remote. The BRiHT 360 is extremely compact and lightweight, making it easy to slip in a photo backpack with my other gear. I initially used the SMDV 7” tele-reflector with a 30 degree grid and also the SMDV Speedbox 85. Both have helped to unleash newfound creativity and enthusiasm.  The SMDV BRiHT 360 is now a valuable part of my photography kit and I look forward to using it to empower and reveal the natural beauty of the everyday woman.

You can see some of my earlier work at www.redlightshoppe.com.

Brandalyn Rexeen

April 2017

The SMDV BRiHT 360 Portable strobe and Flashwave 5 transmitter is distributed in the U.S. by www.legiophoto.com

 

Super Wide: Cambo’s WRE-CA Adapter for Canon Lenses

Posted in General, Landscapes, Nature & Wildlife with tags , , , , , , , , on March 17, 2017 by kendoophotography
1 Queens Bath

Queen’s Bath, Kauai, Hawaii. Cambo WRS 1600, Phase IQ3 100, Cambo WRE-CA, Canon 17mm TS-E

The Phase One XF mated to the IQ3 100MP digital back is an incredible camera system. But when traveling or photographing landscapes, I much prefer using a technical camera. The Cambo WRS 1600 simply provides me with more photographic enjoyment and satisfaction. The Cambo allows full movements with tilt, swing, shift, rise and fall. The new WRS 1600 allows the user to select landscape or portrait orientation without removing the digital back.  It is also lighter and smaller than a Phase XF, which makes using a technical camera much easier for traveling and hiking.

A week before traveling to Hawaii to meet up with Don Libby of Iron Creek Photography, Cambo asked me if I would be interested in trying the then soon to be released Cambo WRE-CA lens adapter with a Canon 17mm TS-E on my Cambo WRS 1600 and Phase One IQ3 100 medium format digital back.  Absolutely, I replied!

2 Cambo 1600 with WRE-CA

Cambo WRS 1600 fitted with WRE-CA lens adapter with Canon 17mm TS-E

Cambo’s new WRE-CA adapter allows the Cambo technical cameras to use Canon EF lenses, and of particular note, the Canon 17mm TS-E. The “W” in the Cambo WRS series stands for “wide.” But when using the WRE-CA adapter with Canon’s 17mm TS-E, wide now becomes “super wide.” And I emphasize super wide. The Canon 17mm TS-E has a 62mm image circle, which just covers the large, full-frame medium format sensor of the Phase One IQ3 100. Available movements are minimal, but with a field of view this wide, there is usually plenty of room for cropping any vignetting resulting from using slight movements. Did I mention super wide angle?

2A WRE-CA composite

Cambo WRE-CA. A small lithium battery power bank with micro-USB cord is used to recharge the battery inside of the adapter. I added a Canon body cap to protect the electronic contacts on the adapter during travel.

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Top view of the WRE-CA adapter.

The Cambo WRE-CA attaches to the Cambo technical camera, allowing Canon EF mount lenses to be used. The real limitation is the image circle of the lens used, and of interest, is using lenses that provide a unique perspective. The Canon 17mm TS-E shines in this regard.  The adapter is easy to use as can be expected. Once turned on, adjusting the dial on the right side sets the desired aperture on the lens, which is displayed on a small screen. If the screen were to provide any functions beyond displaying the aperture and focal length of the lens, I would want a bigger and/or brighter screen. Of minor note, I would also prefer if the adapter when turned on would default to the last f/stop setting used.

The Cambo WRE-CA was designed specifically to be used with the electronic shutter available only at this time on the Phase One IQ3 series 100 megapixel digital back.  I do hope that Phase One sees fit to extend the electronic shutter feature set by firmware update to its IQ1 series 100 megapixel digital backs as well.  The electronic shutter avoids vibrations but does require familiarization, particularly with regard to moving objects in the scene. Moving water does not seem to be an issue, but other moving objects, depending on their prominence in the scene, can become skewed by the electronic shutter. Setting a faster shutter speed can help, but sometimes not as much as is expected.

4 setting up bts

Setting up the Cambo WRS 1500, WRE-CA, and Canon 17mm TSE

5 Albizia Tree crop

Albizia Invasion. Kauai, HI. A “crop” of the Albizia tree to make it a little more prominent in the frame.

There is nothing quite like the angle of view provided by the Canon 17mm TS-E on a full frame medium format digital sensor. It is incredibly wide.  Any issues that I had in Hawaii with this ultra-wide system were relatively minor and can be simply attributed to user-error and familiarizing myself with the Canon 17mm TS-E.  It may have been this particular lens that I was using but the infinity marker on the lens barrel was definitely “inaccurate” and not to be trusted. Fortunately, live view on the Phase One IQ3 100 made it extremely easy to manually focus. Lens flare can be an issue and is something to be aware of when photographing landscapes. Simply replacing the lens cap made taking a dark frame relatively easy, except when using filters.

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WonderPana filter system on the Canon 17mm TS-E. 2-stop graduated filter.

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Waimea Canyon, Kauai, Hawaii.  Cambo WRS 1600, WRE-CA adapter, Canon 17mm TS-E, WonderPana filter system with two-stop filter.

7A Cambo with WonderPana Filters

Behind the Scenes with the Cambo WRS 1600, WRE-CA Adapter, Canon 17mm TS-E with WonderPana filter system

8 WonderPana

Fotodiox WonderPana 66 FreeArc filter system for the Canon 17mm TS-E.

I chose to use the WonderPana 66 FreeArc filter system for the Canon 17mm TS-E. The filter system uses 145mm screw-in neutral density filters and 6.6” x 8.5” graduated filters. These filters are big. For Hawaii, my kit included a 4-stop and 10 stop ND filter and a 2-stop soft grad. My back pack was full of filters as I also carried along the new Wine Country Camera filter system for my Rodenstock HR40 and HR70 lenses.  To take a dark frame when using filters on the Canon 17mm TS-E, I found it easiest to simply remove the entire WonderPana filter assembly and attach the Canon lens cap.

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Turtle Bay Edamame. Focus on the Canon 17mm TS-E was set about one-foot away from the Edamame.

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The field of view on the Canon 17mm TSE on the Cambo and IQ3 100 is incredibly wide.  I took several images with the Cambo WRS 1600 in the same locked position, changing only between the Canon 17mm TSE and the Rodenstock HR40mm.

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Turtle Bay. Original capture. Cambo WRS 1600 WRE-CA and Canon 17mm TS-E

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Turtle Bay. B&W crop. Cambo WRS 1600, Cambo WRE-CA and Canon 17mm TS-E

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Old Episcopal Church, Oahu, Hawaii. Cambo WRS 1600, Cambo WRE-CA and Canon 17mm TS-E

13A Behind the Scenes

Behind the Scenes

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Japanese Temple. Oahu, Hawaii. Cambo WRS 1600, Cambo WRE-CA, Canon 17mm TS-E, Phase One IQ3 100

The cost of the Cambo WRE-CA lens adapter is approximately $1449 and can be purchased from Capture Integration in Atlanta, GA.  A Canon 17mm TS-E is approximately $2,150. This super wide-angle option is about $6,000 less than a Rodenstock HR32 with center filter, which is a much larger and fragile lens.

15 Carmel Mission bts

Behind the scenes at the Carmel Mission Basilica

16 Carmel Mission Basilica Field of View

Comparing the field of view with the Canon 17mm TS-E and the Rodenstock HR40mm.

18 Carmel Mission Kitchen bts

Behind the scenes. The Carmel Mission kitchen illustrates a really tight image space.

17 Carmel Mission kitchen

Cambo WRS 1600, Cambo WRE-CA, Canon 17mm TS-E, Phase One IQ3 100

The advantage of using the Cambo WRE-CA is that it allows the use of Canon EF mount lenses, bringing distinct views or unusual qualities to the Cambo line of technical cameras.  Photographer and www.GetDPI.com family member, Jawad Malik (see, www.untroubledland.com), has already adapted a Leica R 180mm f/2.8 APO lens to Canon EF mount for use with the Cambo WRE-CA. Jawad reports that the performance of the Leica R 180mm f/2.8 APO is excellent.  Jawad also tried the Leica 280mm f/4 on the Cambo with the Cambo WRE-CA, but the image circle of the lens is slightly too small to cover a full frame medium format sensor, but would probably be excellent on smaller medium format sensor cameras using Cambo’s other lens adapters.  Again, the image circle of the chosen lens is the limitation.  The Canon 17mm TS-E provides a very distinct wide angle of view. Objectionable distortion appears to be easily addressed by programs such as IMADIO fisheye lens plug-in for Photoshop.  Adding the Canon 17mm TS-E to the lens profiles in Capture One Pro 10 would also be a welcome addition.

Kudos to Cambo for their ingenuity and craftsmanship in adding both flexibility and features to their technical cameras. Fit and finish of the adapter is excellent. The technology of the WRE-CA has been extended to other camera systems such as the Cambo Actus and even the newly released medium format Fuji GFX camera. The Cambo WRE-CA lens adapter is on my shopping list. I am told that we should have the Cambo WRE-CA at the Capture Integration (Pigs) workshop (aka Don & Ken’s Anti-Workshop) in Bluff, Utah this April 2017.  See you there!

Ken Doo, March 2017

You can see some of my landscape photography at www.houseoflandscapes.com

My fine art printing website is www.carmelfineartprinting.com

Specializing in Wall Portraiture at www.kendoophotography.com

 

ADDENDUM:  April 2017 marked our 8th CI/Pigs medium format digital workshop—which was held in Bluff, Utah. The Cambo WRE-CA lens adapter was there, including its cousin for the Cambo Actus DB and the version for the newly released Fuji GFX camera. The angle of view provided by the Cambo WRE-CA with the Canon TS-E is incredible. I am amazed every time I use it!CF002439

House on Fire, outside Blanding, Utah. Phase One IQ3 100, Cambo WRS 1600, Cambo WRE-CA with Canon 17mm TS-E. About 5mm fall and cropped in.  The Cambo WRE-CA lens adapters (and other Cambo adapters) can be purchased from www.captureintegration.com

Ken Doo

May 2017

The SMDV Alpha Speedbox: Lighting on the Go

Posted in General with tags , , , , , , , , , , on January 24, 2016 by kendoophotography
SMDV Alpha Speedbox with adapters for Profoto, Bowens, Elinchrom, and Balcar.

SMDV Alpha Speedbox with speedring adapters for Profoto, Bowens, Elinchrom, and Balcar.

Introduction

Technology and development is fast paced in the world of digital photography. Every year (or every other year) manufacturers introduce dozens of new innovative tools and equipment at large photography shows such as Photokina in Germany or Photoplus in New York. Innovation may be large or small, but if a new product can actually make my job as a professional photographer easier, that is what makes it a worthwhile investment to me.  The SMDV Alpha Speedbox is one of those innovative worthwhile investments that has found a place in my studio, and especially when working on location.  When surrounded by announcements of the latest fast lenses and 100 megapixel medium format digital backs, it may be difficult to get excited about a studio lighting modifier. But I think the SMDV Alpha Speedbox does a pretty good job here. SMDV was established by JS Kim in 2003 and is a relatively small company headquartered in Busan, South Korea. The SMDV Alpha Speedbox is not an inexpensive lighting modifier and should not be confused with cheap photography products cranked out by some Asian companies. On the contrary, the quality of materials used here is top-notch. Pricing starts at about $300 depending on mount selected and the size of the modifier. Warranty service and support is provided by SMDV USA. The US Distributor is www.legioaerium.com

36" Alpha Speedbox and 44" Alpha Speedbox shown with optional grid for more light control

36″ Alpha Speedbox and 44″ Alpha Speedbox shown with optional grid for more light control

Background

The SMDV Alpha Speedbox is a parabolic softbox designed for studio lights. It is available in 32”, 36”, 40″, and 44” sizes. In a sea of “parabolic” lighting modifiers, what makes the SMDV Alpha Speedbox standout is the quality of its feature-set in a packable lighting kit for working on location. Oh, yes—and it’s easy to use and speedy to set-up, hence its namesake.

Following my review of the KPS T5 geared ballhead, the US Distributor for the SMDV Alpha Speedbox asked if I would be interested in trying their relatively new softbox. Eh, not really I replied, but then again I had just acquired a Profoto B2 on location lighting kit from Capture Integration in Atlanta, along with a Profoto B1 and Profoto Acute2 B600 pack also for working on location. I was not impressed with Profoto’s diminutive 2’ OCF Octobox, so maybe trying some new on location lighting modifiers wasn’t such a bad idea after all. And SMDV had just added a Profoto speedring adapter for the Alpha Speedbox. Speedring adapters are also available for Bowens, Elinchrom, Broncolor, Hensel, and Balcar.

At the end of September 2015, I received two Alpha Speedboxes, Profoto speedring adapters, and accessories. No compensation was received from SMDV. I was asked to simply use the Speedboxes and provide input and a review. Unlike many reviews where a product is “used” for a scant few hours, I used the 36” and 44” Alpha Speedboxes extensively over a period of three months in a variety of situations both in studio and on location, primarily in portraiture as well as at two destination weddings.

SMDV Alpha Speedbox softcase shown inside my hardcase, along with lightstand and Profoto umbrella---ready to go.

SMDV Alpha Speedbox soft case (similar to a tripod soft case) shown inside my hard case, along with light stand and Profoto umbrella—ready to go.

Optional grid comes in its own soft case.

Optional grid comes in its own soft case.

SMDV Grid in case WEB

The Meat and Potatoes

The Alpha Speedbox is a parabolic softbox with an internal baffle and a removable outer diffuser. Once set-up, both the internal baffle and outer diffuser may be left attached to the Speedbox. Using the Profoto adapter ring adds several inches to the length of the modifier when folded.  The 36″ Speedbox (with Profoto adapter) is about 28-inches in length when folded; the 44″ speedbox slightly longer of course. The diameter of the Alpha Speedbox when folded is just under 8-inches. The entire kit is easily packed into its included “to-go” zippered soft case, which is similar to a tripod case with handles and shoulder strap. The grid comes with its own protective soft case. An available cloth honeycomb grid is easily attached for further light control. I was very surprised when I first handled the grid. It is a slightly heavier material and its quality is surprisingly better than grids I have seen from Profoto. The grid attaches easily to the outside of the Alpha Speedbox with velcro tabs.  The optional grid is expensive, starting at approximately $150-$190, but the quality is also apparent. The grid is a special order item that is hand-made in Korea. I am told that an optional deflector plate will also soon be available providing lighting similar to a beauty dish.

The Alpha Speedbox, “Alpha” referring to its aluminum construction and metal speedring, is a twelve-sided dodecagon shaped softbox, as opposed to a more popular six or eight-sided octobox. The dodecagon shape is more circular and lends itself to better catch-lights. The ribs are metal and workmanship and quality of materials is excellent. The reflective material is held taut by the unique engineering of the modifier. The modifier is quickly deployed in about thirty seconds—not minutes—simply by pulling each steel rib upwards until it clicks into place. I have found that by skipping every other one and then rotating the modifier until each rib is locked into place is the fastest method to deploy this modifier. There is no fumbling with color-coded ribs into speed ring slots or struggling to set-up a large softbox. Ease and speed of set-up is particularly important for photographers who often work alone or without the luxury of assistants. Few other lighting modifiers offer both the speed and ease of set-up as the SMDV Alpha Speedbox, and certainly not with the same level of light control and available accessories.  All this—in an easy to pack along, lighting kit.  Putting the modifier away is even faster: simply squeeze the six tab locks together and the modifier instantly collapses down ready to put into its case.

SMDV Alpha Speedbox with Profoto Speedring Adapter

SMDV Alpha Speedbox with Profoto Speedring Adapter. The band attachments are now even stronger with a new reinforced rubber.

So, how is the SMDV Alpha Speedbox as a portrait lighting modifier on location?  Put it this way, if given the choice, the SMDV Alpha Speedbox 90 (36″) is my first choice. I had a hard time deciding whether to purchase the SMDV Alpha 36″ or 44″ Speedbox or both. In the end I opted for the SMDV Alpha Speedbox 90 (36″). It is a nice size yet still easily maneuverable on location.  For a destination wedding in Sedona, Arizona, I chose to use the SMDV Alpha Speedbox 90 (36″) paired with Profoto’s more portable B2 lighting kit.  Special thanks to Don Libby of IronCreekPhotography in Tucson, AZ for providing the short video clip.

https://youtu.be/V5eqIuWHgp0

Engagement Session in Sedona, AZ. Phase XF with IQ180, Phase SK 75-150mm LS; SMDV Alpha Speedbox with Profoto B2

Engagement Session in Sedona, AZ. Phase XF with IQ180, Phase SK 75-150mm LS; SMDV Alpha Speedbox with Profoto B2

SMDV Alpha Speedbox with grid, Profoto B2

Profoto B2 and SMDV Alpha Speedbox with optional grid.

As a portrait photographer, I often work alone. Being able to set up quickly is a value that I place a great premium. For individuals, couples, or even small groupings, the SMDV Alpha Speedboxes are an excellent choice. I like the flexibility that the Alpha Speedboxes offer with removable diffusion panels, grids, and soon a deflector plate. Its parabolic shape makes it easy to feather the light when needed, and its flexible design makes it easy to change the quality of light from a diffused source to a more distinct light.

SMDV Alpha Speedbox with grid

SMDV Alpha Speedbox with grid

Packing “light and tight” is a necessity to fly across the country for a destination wedding. Setting up quickly for portraits after the wedding ceremony and racing the setting sun can be a challenge.  The SMDV Alpha Speedbox with Profoto B2 lights excels easily at both. The design of the Alpha Speedbox and its flexibility as a modifier make it an easy choice to take on location.

Parents Portrait with the SMDV Alpha Speedbox 90 (36") at a destination wedding. Canon 5Ds and Profoto B2

Parents Portrait with the SMDV Alpha Speedbox 90 (36″) at a destination wedding. Canon 5Ds and Profoto B2

What It’s Not

The SMDV Alpha Speedbox is not a knock-off. The SMDV Alpha Speedbox is not cheaply made.  And the SMDV Alpha Speedbox is not at all like Adorama’s Glow Parapop modifier. During the course of my review, another photographer pointed out to me the Adorama Glow Parapop as having similar features. I was intrigued, so I bought Adorama’s Glow Parapop 38-inch modifier, a bundled Glow Parapop kit with a Balcar mount for Paul Buff’s Alien Bees or Einstein monolights, to compare.  Apparently some parts were licensed by SMDV to Rimelite who in turn sold them to Adorama for their Glow series. The Adorama marketing description made the two modifiers seem strikingly very similar. But once in hand, it is abundantly clear that there is no comparison. It is not even close.  The reflective materials and the diffusion panel materials are markedly different. The quality of materials and design of the SMDV Alpha Speedbox are clearly superior.

Not comparable in shape, quality of materials, or light output.

Not comparable in shape, quality of materials, or light output.

The SMDV Alpha Speedbox was designed with studio lights in mind. The speedring and adapters are made of aluminum to handle heat generated by modeling lamps. The ribs on the SMDV Alpha Speedbox are made of steel. The ribs on the Parapop are fiberglass. The Parapop is advertised by Adorama and recommended by them for use with studio lights, but to do so I think is irresponsible. The provided Balcar adapter is held in place by some really tiny screws, into the plastic Parapop base.  Really tiny screws. Plastic base. Really inappropriate. It is a disaster waiting to happen—and it did.

Tiny screws shown with the Balcar adapter. Trouble waiting to happen...

Tiny screws shown with the Balcar adapter. Trouble waiting to happen…

Within minutes of attaching the Glow Parapop to the Einstein monolight, the Parapop came crashing down on the studio floor. The heat from the Einstein modeling lamp had expanded the plastic screw mounts, and the tiny screws holding the Balcar mount adapter in place slipped out! Both the plastic mount and Balcar adapter remained very hot for quite some time.  Luckily no damage was caused to the Einstein monolight tube.  The Glow Parapop is not designed for studio light use (as was marketed). Obviously I was not able to do further studio testing of the Parapop. But frankly, in light of the glaring differences in materials used, there is no legitimate comparison to the SMDV Alpha Speedboxes to begin with. I found the two release tabs on the Parapop plastic base were very difficult to squeeze and close the fiberglass tines on the modifier.  In contrast, the SMDV Alpha Speedbox uses metal rods which easily collapse down when released. The six pairs of tab locks on the Alpha Speedbox provide added strength and tautness to the modifier. Oh, and by the way, the Glow Parapop “38-inch modifier” is not 38-inches—it really is only 36-inches.  SMDV does make a different line of modifiers for speedlite use, but even those are made with steel ribs and the same high quality diffusion material that is used on the Alpha Speedboxes. Note the differences in diffusion panels and light quality in the image shown above between the SMDV Alpha Speedbox and the Parapop.

Inner baffle differences in both size and quality of materials used. The SMDV diffusion panel is markedly better.

Inner baffle differences in both size and quality of materials used. The SMDV diffusion panel is markedly better.

Note the differences in reflective materials and tautness of the modifier

Note the differences in reflective materials and tautness of the modifier

Conclusion

The SMDV Alpha Speedbox is an excellent lighting modifier. It is easy to use, truly quick to set up, and fast to break down. SMDV has put together a nice on location lighting kit in a single bag.  I am able to pack the SMDV Alpha Speedbox in its softcase, SMDV grid, a light stand, and a Profoto shallow medium umbrella (for those bigger group portraits) in my own hard case for additional protection when traveling. The hard case that I use is a US Art Supply 10-inch drafting tube that telescopes from 36 to 59-inches.  One of the things that I like about small companies like SMDV is that they are responsive and focused on providing high quality photographic gear for professionals.  The owner of SMDV, JS Kim, was also a professional photographer and seems to have a good understanding of photographer’s concerns.  The quality of materials and workmanship on the SMDV Alpha Speedbox is excellent and makes the investment in this lighting modifier worthwhile. I look forward to trying the optional deflector plate that will be available shortly.  I am also told that SMDV is working on Alpha Speedbox Stripboxes too.

SMDV Alpha Speedbox

SMDV Alpha Speedbox: Professional lighting modifier to go

After using the SMDV Alpha Speedbox on dozens of individual portraits, engagement sessions, and travelling with it for two destination weddings, I’m glad to have the SMDV Alpha Speedbox as part of my lighting arsenal.  For professional photographers that work frequently on location, the SMDV Alpha Speedbox is a great lighting modifier to-go kit.  You can obtain more information or order the SMDV Alpha Speedbox online from the US distributor of SMDV products,  www.legioaerium.com

Ken Doo, www.kendoophotography.com

Ken Doo has been a professional portrait photographer for fifteen years, with a boutique studio in Carmel, California. He and co-conspirator Don Libby lead the Capture Integration in Carmel medium format digital “not a workshop-workshop” sometimes affectionately referred to simply as, “Pigs.”  Ken is also a fine art printer for artists and photographers, and recently launched his fine art printing website, www.carmelfineartprinting.com  He enjoys long walks along the beach, holding hands, meaningful conversation, and sarcastic humor.

 

New Year New Approaches

Posted in Events, General, Landscapes, Nature & Wildlife, Portraiture, Weddings and Bridal with tags , , , , , , , , , on January 1, 2016 by kendoophotography
Me and my boys with  Grandma in studio.

Me and my boys with Grandma in studio. Phase XF, IQ180, Schneider 40-80mm LS.

The New Year holiday is often a time of introspection and promises of resolutions for the near future. When in reality it is something that everyone should be doing throughout the year. I am constantly gauging for myself what works and what may be improved. 2015 was a very busy and good year, but also one filled with the stresses of how to handle and protect a loved one afflicted with dementia. It hasn’t been easy. But we’ve also been very fortunate to have the resources and discipline to do what is both best and necessary. We have moved my mom from the Bay area to Monterey, making it much easier to spend time with her. It was definitely the right decision and just in time for the new year. There won’t be broken commitments to the latest fad diet or unused gym memberships–that’s never been a problem for our family! 2016 will be a reaffirmation of family and the things that are important to me in life. Professionally, I have decided to remain focused on fine portraiture, commercial photography, and fine art printing for artists and photographers. I will no longer do corporate event work. I will limit the studio to one wedding per year (yup, only one).  And yes, that means taking more time to travel for landscape photography.  2016 is going to be a great year.  kmd.

Light Ignition Provides Alternative Profoto Reflectors

Posted in General with tags , , , on October 29, 2015 by kendoophotography
Light Ignition Magnum clone and the original Profoto Magnum Reflector

Light Ignition Magnum clone and the original Profoto Magnum Reflector

Profoto lighting equipment has always garnered the respect of professional photographers worldwide for the quality of their studio lighting equipment and their modifiers. That high respect also commands high prices for their equipment. The Profoto Magnum Reflector retails at B&H Photo for $327. The Magnum reflector is actually known to increase light output by approximately one full f/stop. When using comparatively lower powered, albeit lighter and more portable, lights such as the new Profoto B2, the use of the Magnum Reflector is a great accessory making it easier to overpower the sun. The extra stop of power means the diminutive B2 becomes equal in output to its bigger, heavier, and more powerful brother, the B1.  Of course, the Magnum Reflector is a perfect complement to the B1 as well!  Light Ignition, distributed through Ebay by a Chinese company, sells a reflector for Profoto studio lights that by no mistake is a clone of the venerable original Profoto Magnum, yet at a much lower cost of approximately $215 shipped.  I had to try it myself.  As you can see in the above photo, the modifiers are nearly identical. Fit and finish is very similar, with the edge being given to Profoto. The original Magnum feels just a tad heavier, though both seem to be well made from metal. The original Magnum has a better lip as can be seen in the photo.

Inside view of both reflectors.

Inside view of both reflectors.

Reflector mount view

Reflector mount view

The rubber mount of the Profoto Magnum is softer and more pliable. The Light Ignition rubber is noticeably firmer though it may soften with use. As you can see in the photo, the Light Ignition mount is not as concentric as the Profoto Magnum. The stiffness of the Light Ignition mount made it slightly more difficult to install on my Profoto B1 light.  The insides of the reflectors are nearly identical.  I tested each reflector using a Profoto B1 with the frosted glass dome and with the standard flat frosted glass plate. Although designed to be used with the optional glass dome, an increase in power by approximately a full stop was still noted with the standard frosted plate glass cover over the B1 tube.  Quality of light may be better with the optional glass dome in place. Unfortunately the glass dome is available only for the B1 and not the B2. Regardless, I have noted an increase in output of one full stop using the Magnum reflector with the Profoto B2. In this comparison, each reflector was set at approximately position 6 on the B1. From a distance of approximately twelve feet, I measured f/22 at 1/125th, ISO100. The Profoto Magnum measured about 1/10 of a stop higher output than the Light Ignition reflector, and certainly well within the margin of error of this informal test to be a wash. Both reflectors also work well with Honeygrids. The Light Ignition Magnum clone Profoto rubber mount is probably its only shortcoming, though that may get better with use. I find that the Light Ignition reflector does what it is supposed to and provides a suitable alternative to its more expensive brother.  www.kendoophotography.com

As also stated elsewhere in this blog, no compensation has been received by distributors/manufacturers of equipment that I may review. Sometimes I like it, buy it, and share my experiences with fellow professional photographers.  ken

 

Three Studio Artist Tour Hosted by Emy Ledbetter, Sandy Robinson, and Arlene Stigum

Posted in Events, General with tags , , , , , , on September 23, 2015 by kendoophotography

Studio Tour 2015

 

Don’t miss this three artist studio tour being held this weekend in Carmel, by Artists Emy Ledbetter, Sandy Robinson, and Arlene Stigum.  Studios open September 26 + 27, 2015 from 12 Noon to 5 PM.  Details on the flyer!  Both Sandy and Emy also have featured artists galleries at www.carmelfineartprinting.com ken  For more information on fine art printing on archival OBA free canvas and fine art papers, contact the studio or Carmel Fine Art Printing & Reproduction, the area’s premier fine art printer.  From Vision to Print!  Easy online ordering of your photos on canvas or fine art papers.

Studio Tour 2015, Better-1

Tethering with the Surface Pro: An Evolution of Clamping Choices!

Posted in General, Landscapes, Nature & Wildlife with tags , , , , , , , , on May 29, 2015 by kendoophotography
Some of the clamping options used while tethering with the Surface Pro through the generations.

Some of the clamping options used while tethering with the Surface Pro through the generations. ©2015 Ken Doo Photography

Over a year I ago, I first wrote a blog article concluding that the Microsoft’s Surface Pro with touch screen interface and USB3 capability was a game changer for those tethering with Phase One IQ series and Leaf Credo medium format digital backs. Now with the Surface Pro 3 and soon to be released Surface Pro 4, that still remains true today. The power of a laptop in a tablet form, the Surface Pro using a full version of Phase One’s Capture One Pro to view full resolution RAW files far surpasses anything offered by viewing via WiFi or puny JPEG files. Even for DSLRs, tethering with a Surface Pro offers great tethering functionality for those who seek a portable tethering option.  Originally I used and recommended the Arkon Clamp to hold the SP2, which can be seen at the rear of the above photo. Since that time, the search for the perfect clamp has ensued, all offering improvements over the first generation Arkon Clamp, but also with known limitations or compromises. The Wolf Clamp (pictured in the above photo on the left) added a pano rail with end clamp and RRS FAS clamp to hold the tripod head and camera. While the Wolf Clamp added increased capability, it is also very stout and bulky making it extremely difficult to pack into a camera bag. It is not inexpensive either. The Pig Clamp (pictured above, right) with its flat stature is perfect for hiking, but its light weight also meant not being as stout as the others. The Pig Clamp also uses the same pano rail and FAS clamp as the Wolf Clamp. The Pig Clamp is inexpensive, and I still have a few available on the shelf.  While some choose simply to handhold the Surface Pro, others have opted for a tripod stone bag, such as Vanguard’s tripod stone bag.  But I wanted something better.  So my search continued, resulting in what I feel is the best possible clamping solution(s) for tethering with the Surface Pro on location.  Don Libby of Iron Creek Photography and I call this the Capture Location Integrated Tethering System. There are actually three versions, but as you will see below, I greatly favor one over the others.

Capture Location Integrated Tethering Systems for the Surface Pro.

Capture Location Integrated Tethering Systems for the Surface Pro. Version 1 on the left; Version 2 on the right. Not shown here is Version 3—see below.

There are three variations of this latest generation clamping system, with two using the same RRS MPR-CL II pano rail (or similar), RRS FAS clamp, an Arca Swiss compatible plate, and all using a Giottos Professional Mini-Ball head, as pictured above. Using the RRS Duo Package rail may give slightly more vertical adjustment.  Stay tuned here to the blog as I may be updating the shopping list to include other recommended rails that may give slightly more vertical adjustment, attaching the ballhead directly to a 200mm multi-purpose rail as opposed to used a permanent quick release attachment point.  My preferred system is the magnetic CLIT Clamp on the shown above on the left, but quickly I am liking the last magnetic CLIT Clamp tripod variation best. It also uses a small metal cheeseplate, metal mounting plates, rare earth magnets, and a Urban Armor Gear (UAG) protective case for the Surface Pro.  Don’t worry—a shopping list of all the necessary items is at the bottom of this blog article.  The CLIT Clamp version 1, as illustrated above, thin metal mounting plates (with 3M self adhesive) are adhered to the metal cheeseplate. The metal plates give more surface area for the adhesive to grab onto.  You will need to cut a metal plate into two pieces using metal sheers or heavy duty scissors. Use a hammer to gently tap the cut edges flat and smooth before using the self-adhesive to apply the plates to the cheeseplate.  Two Nite Ize rare earth magnets are then glued onto the cheeseplate using the included 3M VHB tape. (note: don’t skimp on the magnets—get the ones from Nite Ize). A thin metal mounting plate is then fastened with the adhesive onto the back of the UAG case, at the top of the leg, making sure to leave just enough space so that the leg can fully extend without obstruction. There will be a slight overhang by the metal plate on the leg, but it will not interfere with use of the leg of closing the leg into the UAG case.  Make sure to use rubbing alcohol or lens wipes to clean all surfaces before applying adhesives.  You must use the UAG case. I tried to use the Surface Pro with the metal plates directly on the back of the Surface Pro with only limited success. The strength of the magnets will interfere with some functions of C1Pro (such as the loupe) on parts of the touch screen directly opposite the magnets. For those wishing additional magnetic shielding, a thin piece of MuMetal or any sheet will further increase magnetic shielding permeation and saturation levels. In my testing, the UAG case is more than sufficient and works beautifully.

 

UAG case with thin metal plate attached to the leg. The leg remains full functional and the metal plate is barely noticeable.

UAG case with thin metal plate attached to the leg. The leg remains fully functional and the metal plate is barely noticeable. Can be used on all CLITS Clamp versions, but is required on versions 1 and 3.

Magnetic Capture Location Integrated Tethering System shown alone and with Surface Pro attached.

Magnetic Capture Location Integrated Tethering System (Ver 1) shown alone and with Surface Pro attached. Cambo technical camera on Arca Swiss Cube, attached to RRS FAS clamp and MPR CLII rail. Giottos mini ballhead is attached with a AS quick release plate.

The rare earth magnet CLITS Clamp is stable and easy to use. It is fast and easily adjustable. And it packs well. I believe that this latest Surface Pro clamping system, versions 1, 2, and 3, offers the best in both capability, ease of use, and portability.  As you can see in the video below, the use of the rare earth magnets makes attaching the Surface Pro an easy and fast proposition.  

For those not wishing to use a UAG case, the CLITS Clamp version 2 can be adapted using the same pano rail, FAS clamp, and Giottos Professional Mini-ballhead with Desmond top clamp with lever quick release.  Using 3M VHB tape, a quick release plate is attached to the back of the Surface Pro, taking care not to obstruct use of the leg hinge.  Alternatively, a quick release plate could also be attached to the UAG case using 3M VHB tape.  Apply rubbing alcohol or a lens wipe to clean the area prior to applying the adhesive tape and quick release plate to the Surface Pro. A small Desmond lever quick release is then attached to the Giottos Professional Mini-ballhead.  The Desmond top clamp comes with a 3/8″ bushing reducer, which you should apply blue loctite before installing. The 3M VHB tape adhesive is very strong. If you need to remove the adhesive, apply rubbing alcohol with a cotton swab to loosen the bond and use either fishing line or dental floss to cut through the adhesive. Apply more rubbing alcohol to rub off the remaining adhesive.

Generic AS Compatible plate on the back of a Surface Pro for illustration.

Generic AS Compatible plate on the back of a Surface Pro for illustration of the CLITS Clamp version 2. Using a KPS Slim Plate provides a much lower profile. Attachment of a quick release plate on the UAG case is a preferred option too.

Using the KPS Slim Plate (SU7) would provide a much lower profile than a AS compatible plate

Using the KPS Slim Plate (SU7) would provide about a 50% lower profile than a AS compatible plate

For those who wish to have the absolute best, lowest profile solution for this version 2 of the CLITS Clamp, I highly recommend instead using the KPS Slim Plate system (SU7) and a either a compatible KPS top clamp on the Giottos Professional Mini-ballhead or a KPS mini ballhead. This is a more expensive quick release plate solution, but it is also has a much lower profile. The KPS Slim Plate is approximately 50% thinner than a standard AS plate.  See, www.legioaerium.com  The KPS ballhead also has a much higher rated capacity. KPS has agreed to send me their mini-ballhead to compare. For those seeking to use KPS Slim Plate compatible components, I advise contacting the US KPS distributor directly for best pricing and to order the correct parts.

CLITS Clamp version 3 features magnetic mounting but on the tripod leg

CLITS Clamp Version 3 features magnetic mounting but on the tripod leg. This version does not use the RRS FAS clamp or pano rail, yet still has good adjustment capabilities using the Giottos mini ball head. The compact CLITS Clamp Version 3 is my preferred clamp version.

The last version, the CLITS Clamp version 3, was put together after brainstorming with fellow professional photographer Paul Caldwell. This last clamp version is quickly becoming my favorite. This final version uses a Manfrotto Nano clamp. This small clamp has both 1/4″ and 3/8″ receiving screw holes. A one-inch headless 1/4″ bolt is screwed into the Nano clamp. The Giottos mini ballhead is then attached to the bolt. For a more capable mini ballhead, opt for the RRS BH-25PF instead. I actually recommend this RRS BH-25PF ballhead option instead. The same cheeseplate with the magnets in Version 1 is then attached to the ballhead.  This version allows attachment directly onto the tripod leg. In the photo above, the Nano clamp is able to attach to a RRS TVC 3 series tripod leg. Be careful not to over tighten and damage the tripod leg. A small strip of gaffers tape can be used if desired to protect the tripod leg.

Small, light, fast and easy to use. This version of the CLITS Clamp attaches to the tripod leg and is easily packed for on location tethering with the Surface Pro.

Small, light, fast and easy to use. This version of the CLITS Clamp attaches to the tripod leg and is easily packed for on location tethering with the Surface Pro.

This version of the CLITS Clamp is small, yet allows abundant movement of the Surface Pro tablet. The Surface Pro can be easily held or placed onto the clamp. Version 3 of the clamp is barely five inches in length and well under a pound in weight, making it easy to take along in a backpack pocket. I recommend storing the magnetic surface of the clamp away from the Surface Pro or other sensitive electronics.  What is great about the CLITS Clamp system is that it is modular and integrated, using many of the same parts, allowing users to easily modify the clamp from one version to the other.  Version 3 is my preferred tethering clamp and I will probably upgrade my Giottos ballhead with the RRS BH-25PF ballhead in the near future.

For further tips on tethering with the Surface Pro, there are a couple of threads on the forums at www.GetDPI.com and www.Luminous-Landscape.com. Or, feel free to drop me a note at my boutique portrait studio in Carmel or visit my fine art printing site, Carmel Fine Art Printing & Reproduction.  You can see my landscape work at www.houseoflandscapes.com  Ken Doo

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Capture Landscape Integrated Tethering System (magnetic clamp)

  1. RRS MPR-CL II (or similar), RRS Duo Package or Sunwayfoto pano rail; or Neewer 200mm multipurpose rail –the last option still requires a RRS FAS clamp or similar and the Giottos ball head attaches directly to the bar without quick release; no end clamp knob means more vertical adjustment for folks like Graham Welland who demand it.
  2. RRS FAS clamp
  3. Generic AS compatible quick release
  4. Giottos Professional Mini-ballhead
  5. Smallrig cheeseplate
  6. (2) Nite Ize rare earth magnets (for tablets)
  7. (2-4) Metal plates
  8. UAG case for Surface Pro 2 or Surface Pro 3

Capture Landscape Integrated Tethering System (QR plate)

Same RRS (or similar) pano rail components noted above and:

  1. Giottos Professional Mini-ballhead
  2. (2) generic quick release plate
  3. Desmond lever release top clamp
  4. 3M VHB tape

KPS Slim Plate low profile system:

  1. KPS SU7 slim plate
  2. 3M VHB tape
  3. KPS lever release top clamp
  4. KPS mini/compact ballhead with slim plate lever release
  5. generic AS release plate (for bottom of KPS ballhead)

Capture Landscape Integrated Tethering System (Tripod)

  1. Giottos Professional Mini Ball head
  2. Smallrig cheeseplate
  3. one inch long headless 1/4″ threaded bolt
  4. (2) Nite Ize rare earth magnets (for tablets)
  5. (2-4) metal plates
  6. Manfrotto Nano Clamp

For those wishing to use a higher capacity mini-ballhead, I suggest the RRS BH-25PF ballhead.   ken