Andrew Hancock isn’t the type of photographer that has a lot of downtime from shooting. As one sports season wraps up, he’s already looking ahead to what’s coming up. And when Hancock is covering a sporting event, he’s typically overseeing the remote cameras aimed at the athletes—he estimates for a basketball or baseball game he’s managing anywhere between six to 12 cameras at a time. For horse racing, it can be as many as 20 cameras.

It’s a massive amount of data that needs to be managed after the fact. Hancock trusts the SanDisk® Professional G-DRIVE® PROJECT desktop solution which has a built-in PRO-BLADE™ SSD Mag slot, and SanDisk® PRO-CINEMA CFexpress™ Type B cards to stand up the challenge when he is out in the field.

“I’m only as fast as my slowest point and speed is everything, especially when you’re doing work for the teams,” Hancock says. “Cards can be the Achilles heel for sports photographers—we’re using high speed frame rates, and trying to get as much of the action as we possibly can. SanDisk PRO-CINEMA CFexpress Type B cards help let me push my camera to its limits.”

The SanDisk PRO-CINEMA CFexpress Type B card is a key part of Hancock’s workflow. The card is designed for professional photographers and videographers who need a high-performance, reliable storage solution. The card is compatible with a wide range of cameras, and it offers read speeds of up to 1700MB/s¹ and burst write speeds of up to 1500MB/s¹. This means that Hancock can capture high-resolution photos and videos without having to worry about his cards slowing him down.

Hancock says that SanDisk’s line of professional products has allowed him to create a daisy-chained ecosystem that works well together. The reliable, fast PRO-CINEMA CFexpress cards are loaded into the cameras, media on the cards is offloaded using the SanDisk Professional PRO-DOCK 4 or PRO-BLADE SSD Mag slots, eventually getting archived on a G-RAID® MIRROR.

“The ability to be able to pump this data as fast as it can go and wherever it can go, means I’m not having to worry about overheating issues or filling the buffer,” Hancock says. “In a clenching situation, where I want to get as much as I possibly can, these cards allow me to actually focus on capturing the moment, without worrying about missing frames.”

For Hancock, having these fast, top of the line cards and drives is as essential as his cameras and lenses when he’s on a job.

“I know I’m not going to be covering a massive event and then something’s going to fail or underperform. At the end of the day that comes back on me,” he says. “It’s like being the quarterback of the team. It doesn’t matter if the receiver dropped the ball, everything comes back to your shoulders. It’s on you. As a photographer you’ve got to make those decisions. And it’s a business decision, quite frankly.”

Professional sports photographers typically spend a good deal of time on the road—Hancock mentions that some years he has up to 200 travel days a year. Having a storage solution that’s been easy to pack up and set up on location has also been a huge part of the appeal for him. Beyond its compact size, the SanDisk PRO-CINEMA CFexpress Type B card also comes with a durable enclosure, withstanding up to 1-meter drops and the pressure of up to 50 newtons², so Hancock can be confident his data will be safe on the go.

“I’m like water, I want the path of least resistance. Having a streamlined workflow takes all the stress out of the situation for me,” he says.

For Hancock having such a streamlined workflow with storing and archiving, enables him to perform at a higher level and be more creative when he’s working. But it’s also helped him get valuable back time. “It’s made my job easier and more efficient, which ultimately means more time with my kids whenever I’m home,” he says. “I love what I do, but any second that I can get back, I want it.”

¹Up to 1700MB/s read speed; up to 1500MB/s write speed. 1400MB/s minimum sustained write speed. Based on internal testing; performance may be lower depending upon host device, usage conditions, and other factors. 1MB=1,000,000 bytes.

²Based on internal testing.

The post Best Media Storage Solutions for Pro Photographers appeared first on Popular Photography.

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Early Black Friday deals are really ramping up, even though it’s the beginning of November. Walmart launched its deals today, most of which are only available online. The selection of cameras is small, but there are a few gems, including $635 off the Sony a7 III, which is the steepest discount we’ve seen on that camera. You can also save on a handful of DJI drone combinations and the beginner-friendly Canon R50. We have noticed some deals are selling out, so you may want to jump on these if you are considering picking something up.

Sony a7 III full-frame mirrorless camera $1,364.99 (was $1,999.99)

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The Sony a7 III has been my workhorse of a camera for the past few years. The 24.2-megapixel sensor produces plenty of detail with superb dynamic range. Sony’s autofocus system is incredibly responsive and accurate, making it easier to get sharp photos even when working with moving subjects. The camera is excellent for video applications as well, capable of up to 4K 30p video with HLG and S-Log3 Gammas. It’s a well-rounded tool for those who do a bit of everything.

Walmart early Black Friday camera and drone deals

• Canon EOS R50 Mirrorless Camera with RF-S 18-45mm f/4.5-6.3 IS STM Lens $619.99 (was $714,95)
• DJI Avata Explorer Combo with Goggles Integra and Motion Controller 2 $1,019.00 (was $1,278.00)
• DJI Avata Drone Quadcopter Pro-View Combo with RC Motion 2 and Goggles 2 $1,129.00 (was $1,428.00)
• DJI FPV Combo $899.00 (was $999.00)

The post Save up to $635 on cameras and drones with Walmart’s early Black Friday deals appeared first on Popular Photography.

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We thought the Sony a1 was an impressive camera, but the image-making company has just topped it with its latest release. The main highlight of the newly released a9 III is its global shutter, the world’s first for a full-frame mirrorless camera. The unique shutter design, along with a powerful Bionz XR processor, allows for a host of impressive specs, including 120 fps, 1/80,000 max shutter speed, and flash sync at any shutter speed. Additionally, the company also announced the FE 300mm F2.8 G Master OSS lens, which offers superb reach and performance in a relatively compact body.

Sony a9 III camera at a glance

• 24.6-megapixel sensor with Bionz XR processor
• Global sensor exposes and reads every pixel at the same time
• 120 fps blackout-free burst shooting
• Improved ergonomics
• 1/80,000 maximum shutter speed
• Flash sync at any shutter speed
• 759 AF points with more sizes of focus area spots
• 8-stops of optical in-body image stabilization
• 6K oversampling for 4K 60p movies
• 4K 120p video without cropping
• Weighs 1.4 pounds
• Available in spring 2024 for $5,999

What is a global shutter?

The star of the show for the a9 III is, by far, its global shutter. Global shutter technology isn’t new, with a handful of cinema cameras utilizing it over the past few years. But the Sony a9 III is the first full-frame mirrorless camera to jump on board. So, why does that even matter? What is a global shutter?

Currently, most cameras rely on a rolling shutter. With the rolling shutter design, the camera’s sensor receives and reads information line by line from top to bottom. This means that there is a delay between the first line of data and the last. That delay can cause problems when capturing fast-moving subjects in photos or videos, resulting in warping and distortion. You likely have seen this in helicopter rotor blades. In photos, those blades can appear curved or bent when in reality, they are straight.

The global shutter design solves this problem by exposing and reading every single pixel on the sensor at the exact same time. That means that the Sony a9 III will benefit from zero distortion in stills and video, which is a significant advantage for those shooting action. It also allows for a range of other benefits, including the ability to work with flash at any shutter speed, including the camera’s max shutter speed of 1/80,000 (no, that’s not an extra zero). This unlimited flash sync even works with third-party flashes. Additionally, there will be no banding from artificial lights or displays. To aid in this, Sony has also employed an Anti-Flicker mode that automatically syncs the shutter with the brightest point in the light’s cycle to keep the exposure consistent in photos and videos.

Sony a9 III details

There are plenty of other things to swoon about in the a9 III beyond the global shutter, though many are dependent on that feature. Sony built the new camera around a 24.6-megapixel full-frame stacked CMOS sensor and Bionz XR processor, which results in eight times the processing power as the a9 II. the five-axis optical in-body image stabilization system allows for eight stops of compensation with the camera alone. You’ll get even more stabilization if using a stabilized lens as well.

On top of fancy guts, the a9 III features a redesigned body with better ergonomics. Sony says the grip is improved to make the camera easier to hold in the palm of the hand, even when using a telephoto lens. It says that it also moved the shutter button up slightly to be in a more natural, comfortable position. It features a four-axis multi-angle LCD touchscreen (the same as the a7R V) and 9.44 million-dot Quad XGA OLED electronic viewfinder. And as we’d expect from a pro-level Sony camera, it is dust and moisture-resistant.

To pair with the pro-level features of the a9 III, Sony is also releasing a new vertical grip—the VG-C5— that offers the same ergonomic design as the new camera. That includes the same shutter button placement and a new custom button (C5) in the same position so that it feels the exact same when switching between horizontal and vertical shooting. The new battery also pulls parallel power instead of drawing from one source and then switching to the other. Sony says that this allows for 15 percent more battery life.

Burst shooting

One of the main selling points of the a9 III is its absurd burst shooting capabilities. This alone will earn it a top spot as one of the best Sony cameras. It is able to shoot 120 fps blackout-free with real-time recognition AF and auto exposure. The fast burst shooting even works with 14-bit raw. Shooting fast bursts is only one piece of the puzzle when documenting action, though. You also have to get the timing right in the first place. To help ensure you get the shot, Sony has added a Pre-Capture function. This new setting allows the camera to continuously record (also up to 120 fps) for up to one second before the shutter is released.

Even when shooting action, you don’t always want your fastest fps setting. Sony has found a clever way to get around that with the Speed Boost function and a newly added a new custom button (C5) on the front of the camera. The new button allows you to instantly switch to a faster, preset speed at any time and then go back to a more reasonable fps just as quickly.

Image selection of 120 fps with Pre-Capture can be massively overwhelming. Sony even considered this when developing the a9 III. It has added a new playback image filter that allows you to select a large number of images at once, along with a function menu that can be used during image playback. The camera also plays back bursts as a video, so you can mark the shots you want without individually pressing through images.

Autofocus

As with other recent Sony releases, the a9 III features a dedicated AI processing unit to support its advanced phase detection autofocus system. It offers Real-time Recognition AF and Real-time Tracking and can detect a wide range of subjects, including humans, cats, dogs, planes, and more. The system can even detect an eye even when the subject is wearing goggles or helmets, is small in the frame, or moving fast. Sony also expanded the sizes of its focus areas to include XS and XL for more control over your focus points.

Sony a9 III video specs & features

Sony emphasized still photography during its announcement with a tagline of “the power of one frame.” But the company certainly didn’t leave video out of the mix in its new camera. The global shutter definitely benefits video shooters since rolling shutter has been a pain point. The a9 III is capable of 4K 60p video oversampled from 6K. It can also shoot 4K 120p without cropping, which is a first for an Alpha series camera. It offers the S-Cinetone profile, S-Log3, 10-bit 4:2:2 capture, and 16-bit raw video over HDMI.

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Sony a9 III pricing & availability

Of course, with such an advanced, pro-level camera, we should expect a pro-level price. And indeed, the Sony a9 III is priced at $5,999. It is available for pre-order now and will begin shipping in the spring of 2024.

FE 300mm F2.8 G Master OSS lens details

In case the groundbreaking camera wasn’t enough, Sony has also announced a new lens. Like the camera, the FE 300mm F2.8 G Master OSS lens is also a pro-level piece of equipment geared towards serious sports and wildlife photographers, as is evident in its matching $5,999 price.

As a G Master lens, the new 300mm offering will provide superb resolution and edge-to-edge sharpness. The optical design includes three Super ED (Extra-low Dispersion) glass elements and one ED glass element to reduce chromatic aberration and improve contrast across the frame. The 11-blade circular aperture results in beautiful smooth bokeh. And two XD linear motors drive focus that is fast, precise, and silent. It’s also able to keep up with the fast burst shooting of the a9 III.

Beyond image quality, the best feature of the 300mm f/2.8 GM is its size. The lens weighs just 3.2 pounds, which makes it the lightest lens of its class. For context, it is 40 percent lighter than the 400mm f/2.8 GM and roughly the same weight as the original 70-200mm GM. Sony was also very intentional about how the lens balances, designing it with optimum balance for smooth panning and easier handheld shooting.

The new 300mm telephoto prime lens is compatible with Sony’s 1.4x and 2.0x teleconverters. It offers a function ring to instantly engage the APS-C crop, providing a 420mm view. It is dust and moisture-resistant with magnesium alloy inside and out for a durable, rugged build.

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Sony FE 300mm F2.8 G Master OSS pricing & availability

Like the new camera, the FE 300mm F2.8 G Master OSS lens is available for pre-order now for $5,999. It will begin shipping in the spring of 2024.

The post New gear: The Sony a9 III is the first full-frame camera with a global shutter appeared first on Popular Photography.

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Sony makes some of the best camera gear around right now, with cameras and lenses suitable for high-level pros and complete beginners. Right now, you can take advantage of these Sony early Black Friday deals on a selection of equipment covering that spectrum. Whether you are picking up something for yourself or shopping for a generous gift for someone you know, these deals will give you up to $200 in savings.

Sony 24-70mm f/4 Vario-Tessar T FE OSS Full-Frame Lens $698.00 (was $899.99)

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A 24-70mm is a must-have tool for just about every photographer. This standard zoom offers a bit of every focal length in one, meaning you don’t have to swap lenses as often. The Sony 24-70mm f/4 Vario-Tessar is a budget-friendly 24-70mm that still offers plenty of quality. It’s also very compact and lightweight, making it easier to travel with and hold during long shoots. This lens is a great beginner lens, so if you are shopping for a newer photographer, it would be a great bet.

More Sony early Black Friday deals

Deals on Sony cameras

• Sony a7 IV with 28-70mm lens $2,498.00 (was $2,699.99)
• Sony a7R III Mirrorless Camera Body $1,998.00 (was $2,198.00)
• Sony Alpha A6600 Mirrorless Camera with 18-135mm Zoom Lens $1,398.00 (was $1,599.99)
• Sony ZV-1 Digital Camera for Content Creators $648.00 (was $749.99)

Deals on Sony zoom lenses

• Sony FE 16-35mm F2.8 GM Wide-Angle Zoom Lens $1,898.00 (was $2,199.99)
• Sony FE 24-70 mm F2.8 G Master Full-Frame Lens $1,598.00 (was $1,699.99)
• Sony FE 24-105mm F4 G OSS Standard Zoom Lens $1,198.00 (was $1,299.99)
• Sony FE 70-300mm F4.5-5.6 G OSS Lens $1,173.00 (was $1,243.41)
• Sony 70-350mm F4.5-6.3 G OSS Super-Telephoto APS-C Lens $898.00 (was $999.99)
• Sony FE 200-600mm F5.6-6.3 G OSS Super Telephoto Zoom Lens $1,898.00 (was $1,999.99)

Deals on Sony prime lenses

• Sony FE 20mm F1.8 G Full-Frame G Lens $798.00 (was $899.99)
• Sony FE 24mm F1.4 GM Full Frame Wide-angle Prime Lens $1,298.00 (was $1,399.99)
• Sony – FE 50mm F1.8 Standard Lens $198.00 (was $249.99)
• Sony FE 85mm f/1.4 GM Lens $1,698.00 (was $1,798.00)
• Sony FE 85mm F/1.8 $548.00 (was $599.99)
• Sony FE 90mm f/2.8-22 Macro G OSS Standard-Prime Lens $998.00 (was $1,099.99)

The post Save on Sony gear with these early Black Friday deals appeared first on Popular Photography.

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Canon is offering up some holiday treats as we head into winter. The company has announced two new full-frame RF lenses, one APS-C RF lens, a Power Zoom Adapter, and firmware updates for the EOS C70 and EOS R5 C cameras. The three new lenses cover everything from wide-angle to ultra-telephoto, offering a bit of something for everyone. They include the RF-S10-18mm F4.5-6.3 IS STM, the RF24-105mm F2.8 L IS USM Z, and the RF200-800mm F6.3-9 IS USM. There’s lots to unpack here, so let’s get into it.

Canon RF24-105mm F2.8 L IS USM Z

We are especially excited to see the RF24-105mm F2.8 L IS USM Z. This lens is the world’s first 24-105mm focal length lens with a consistent f/2.8 maximum aperture. Canon designed the RF24-105mm as a hybrid lens, tailoring it to high-level video content creators and video production individuals or firms. It did specify that this is not a cinema lens but does approach that category with new features.

Though it offers many video-centric features, it should also be a superb still photography lens. The 24-70mm has long been the workhorse lens for many photographers, but we could see this extended range becoming the new go-to for many. The fast and constant f/2.8 aperture will offer excellent low-light performance, adding to its versatility. It will be ideal for a vast number of applications, including portraits, weddings and events, fashion, photojournalism, sports, wildlife, and more.

RF24-105mm F2.8 L IS USM Z build & design features

Canon’s RF24-105mm offers a constant overall length when zooming and focusing, which is a big advantage for videographers. It also offers a stepless manual aperture ring for video use. Canon optimized the optical design for high-end video, with excellent focus breathing performance and superb image quality. The image stabilization results in 5.5 stops of optical IS or eight stops of coordinated IS.

The lens can focus as close as 1.5 feet at all focal lengths and offers a maximum magnification of 0.29x at 105mm. Two Nano USM focus motors drive the autofocus system, resulting in fast and accurate focusing abilities. Its 11 aperture blades provide beautifully smooth bokeh.

The RF24-105mm weighs 2.9 pounds and is 7.8 inches long. It offers an 82mm filter thread.

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Power Zoom Adapters

For videographers, one of the most exciting aspects of this new lens is the option to use a newly developed Power Zoom Adapter. This new optional accessory will connect to the side of the RF24-105mm without any tools required. It enables super-smooth zoom control when recording video. Zooming will look more natural, and it will make control easier for solo creators.

Canon is making two different versions of the Power Zoom Adapter. You can opt for a standard version (PZ-E2) with only a USB port or a 20-pin port version (PZ-E2B) to support zoom and focus demands. It’s important to note that, as of now, the Power Zoom Adapter is only compatible with the RF24-105mm.

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Pricing & availability

The Canon RF24-105mm F2.8 L IS USM Z will be available in December, though is available for pre-order now for $2,999.00.

Both versions of the Power Zoom Adapter won’t be available until the spring of 2024, but you can already pre-order both. The standard version (PZ-E2) is priced at $999.00, while the 20-pin port version (PZ-E2B) is $1,299.00.

Canon RF200-800mm F6.3-9 IS USM

For those who need ultimate telephoto reach, the RF200-800 F6.3-9 IS USM should fit the bill. This lens is impressive for many reasons, most notably the range it offers. There are not many zoom lenses that offer a maximum focal length of 800mm, with most topping out at 600mm. And at $1,899, it’s very reasonably priced for what it provides. For context, Nikon’s new NIKKOR Z 180-600mm f/5.6-6.3 VR lens is $1,696.95, so you’ll get 200mm more reach for roughly $200 more.

Its long reach makes it perfect for photojournalism, wildlife, outdoor sports, and dramatic landscapes. Should you need even more zoom power, it’s compatible with the Canon RF 1.4x and 2x tele extenders, which will get you up to a whopping 1600mm.

The maximum aperture varies from f/6.3 at the wide end to f/9 when zoomed in, so its low-light capabilities are slightly limited. But as we would expect on such a lens, it offers image stabilization to assist with obtaining sharp images even when handholding the lens. You’ll get 5.5 stops of correction at 800mm, and 7.5 stops at 200mm. It also offers automatic panning detection.

RF200-800mm F6.3-9 IS USM design & features

The RF200-800mm uses an extending lens design, meaning it gets longer when you zoom in. Even though this lens isn’t in Canon’s pro-level L-series, it did apply weather sealing, meaning it is still durable and protected against the elements despite the extending design. The lens is surprisingly lightweight for what it is, weighing just 4.5 pounds. It should be feasible to shoot handheld for at least short durations. A rotating tripod mount on the lens makes it easy to attach to a tripod as well.

Canon pointed out that even though the lens RF200-800m is white, it is not the IR reflective surface found on the latest L-series lenses. A single, compact Nano USM motor drives the autofocus system, which is fast and quiet. It is a varifocal lens, meaning it won’t stay in focus as you zoom in. But Canon promised superb image quality thanks to an optimized optical design.

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Pricing & availability

The Canon RF200-800mm F6.3-9 IS USM will be available in December, but you can pre-order it now for $1,899.00.

Canon RF-S10-18mm F4.5-6.3 IS STM

The third lens of the new trio is a beginner-friendly APS-C lens. And at just $329, it is extremely budget-friendly as well. The RF-S10-18mm F4.5-6.3 IS STM lens offers a full-frame equivalent view of 16-29mm. Canon designed this lens for video and vlog creators as well as amateur photographers. The wide-angle perspective is ideal for selfie videos, travel videos, and landscape, travel, or architectural photography. For many, this could be the only lens they use on their camera because of its versatility and size. It would pair well with cameras like the R100, R50, or R7.

RF-S10-18mm F4.5-6.3 IS STM design & features

Canon created an entirely new optical design lens for the RF-S10-18mm, one that isn’t based on any current Canon lenses. It is absolutely tiny, weighing only 5.3 ounces. It utilizes a collapsible design to maximize its compact size for travel, meaning you’ll need to extend it out in order to start shooting. But when collapsed down, it is a measly 1.8 inches.

Surprisingly, Canon included image stabilization on the RF-S10-18mm. You’ll get four stops of optical IS and six stops of coordinated IS with your camera’s in-body image stabilization. For video users, this can also be combined with Movie Digital IS for added stability, but that will result in a crop. Canon also mentioned that the focus breathing is very well handled with this lens. There is some present, but it is minimal, and some cameras offer focus breathing correction in-camera to improve it even more.

A stepping motor drives the autofocus, and it offers close focusing abilities of 5.5 inches with autofocus at all focal lengths or 3.4 inches at 10mm with manual focus. Unsurprisingly for such a compact, budget-friendly lens, there is no focus switch on the lens, so you’ll need to change between manual focus and autofocus in your camera’s menus.

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Pricing & availability

As with the other two lenses, the Canon RF-S10-18mm F4.5-6.3 IS STM lens will be available in December (just in time for you to pick it up as a Christmas gift for a photographer in your life) and is available for pre-order now for $329.00.

The post Canon adds three new lenses and a Power Zoom accessory to its RF lineup appeared first on Popular Photography.

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Camera cleaning tools may not be very glamorous, but they are necessary. Keeping your equipment clean not only prevents you from having to spend time editing out water spots or smudges that were on your lens, but it can also keep your camera and lenses working better for longer. The LensPen is one of the most versatile and popular lens-cleaning tools around. And while it isn’t expensive when full-priced, it is currently 50 percent off, which is its lowest price ever on Amazon. It’s a great time to pick one (or some) up for yourself, or maybe as stocking stuffers for photographers you know.

LensPen NLP-1 $6.50 (was $12.95)

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The LensPen is a very simple tool that could really come in handy on or even in-between shoots. It utilizes a patented carbon cleaning compound on one end, which cleans your lens without any fluids required. The other end features a soft, retractable brush for when you just have some dust that needs to be swept away. It lasts a long time, but at this price, it wouldn’t hurt to pick up a few to keep in different camera bags so that you are never without.

More early Black Friday deals on cleaning tools

• MagicFiber Microfiber Cleaning Cloth, 6 Pack $9.45 (was $11.99)
• Altura Photo Professional Cleaning Kit $14.99 (was $19.99)
• Altura Photo Professional Full Frame Sensor Cleaning Kit $34.99 (was $39.99)
• Nikon 7072 Lens Pen Cleaning System $8.95 (was $11.95)
• Koala Lens Cleaning Cloth | Japanese Microfiber $9.99 (was $11.99)
• ZEISS Pre-Moistened Lens Cleaning Wipes $4.62 (was $9.99)
• 500 Pieces Lens Cleaning Paper Tissue and 2 Double Sided Cleaning Cloth-Lens $7.99 (was $8.99)

Early Black Friday deals on organization & storage solutions

For most of us (including myself), more than just our camera gear needs to be cleaned. Here are some deals to help you out if cleaning up and organizing your office or equipment storage area is on your list this fall and winter.

Storage bins

• Rubbermaid Cleverstore Clear Plastic Storage Bins with Lid, 95 Qt-4 Pack $101.06 (was $124.00)
• Fab totes Storage Bins [3-Pack], Foldable Storage Baskets $16.99 (was $32.99)
• Household Essentials Foldable Fabric Storage Bins | Set of 6 $18.28 (was $38.00)
• Sywhitta 3-Tier Plastic Rolling Utility Cart with Handle $19.97 (was $35.99)
• Closet Organizers and Storage – Trunk Car Organizer with Lids and Doors $109.99 (was $129.99)

Shelving systems

• Bezuny Garage Shelving,78″ $103.49 ($149.99)
• SORCEDAS Shelf 5 Wier Metal Storage Rack $30.99 (was $32.99)
• Honey-Can-Do, 5-Tier Chrome Heavy-Duty Adjustable Shelving Unit $56.99 (was $84.99)
• Atlantic Elite Media Storage Cabinet $101.14 (was $149.99)
• FURINNO JAYA Simply Home 5-Shelf Bookcase $54.33 (was $99.99)
• Rolanstar Bookshelf 5-Tier, 71.8’’H Industrial Book Shelf $149.99 (was $179.99)
• NUMENN 5 Tier Bookshelf $71.99 (was $119.99)

Desk organization

• Supeasy 5 Tier Desk Organizer with Handle $14.99 (was $29.99)
• Cable Management Cable Clips $8.99 (was $11.99)
• Meekakee Desk Organizer for Laptop $24.00 (was $48.00)
• WOWBOX 25 PCS Clear Plastic Drawer Organizer Set $12.79 (was $35.99)
• Under Desk Power Strip, Adhesive Wall Mount with USB $21.67 (was $29.99)
• Anker Outlet Extender and USB Wall Charger, 6 Outlets and 2 USB Ports $15.99 (was $24.99)
• Phomemo D30 Label Maker Machine with Tape $23.99 (was $52.99)

The post Save 50 percent on the LensPen with this early Black Friday deal appeared first on Popular Photography.

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Best overall		Peak Design Travel Tripod		SEE IT	The Peak Design tripod folds down incredibly small to save you space when traveling.
Best for hiking		Manfrotto Befree Advanced		SEE IT	This lightweight tripod fits well in the side pocket of backpacks to easily bring on your hikes.
Best rugged		3Pod Everest T3		SEE IT	The 3Pod Everest T3 offers grips on the legs and comes with spike feet for traction on different surfaces.

Carbon fiber tripods offer several very tangible advantages over their metal counterparts. They are stiffer, stronger, and more durable than aluminum. Despite those things, they also weigh significantly less than aluminum, making them a popular choice for travel and landscape photography. Of course, they also will cost you more than an aluminum tripod, but for many, it is worth it. The best carbon fiber tripods will help you get stable shots while making it easier to bring a tripod along.

• Best overall: Peak Design Travel Tripod
• Best for hiking: Manfrotto Befree Advanced
• Best rugged: 3Pod Everest T3
• Best for versatility: Manfrotto MT055CXPRO4
• Best for landscape photography: 3 Legged Thing Leo 2.0
• Best heavy-duty: Gitzo GT5533S Systematic Series 5
• Best budget: Neewer Carbon Fiber

How we chose the best carbon fiber tripods

The writers and editors at Pop Photo have decades of photography experience across the full spectrum of photographic genres and equipment. We’ve used our fair share of tripods in a wide variety of situations, from cheap plastic and heavy aluminum to more advanced carbon fiber models.

When selecting the carbon fiber tripods on this list, we aimed to choose options suitable for different pursuits, from travel to studio work. And while carbon fiber tripods are pricier than aluminum, we looked for products at various price points to suit different budgets. In addition, durability, sturdiness, and ease of use were all part of our decision-making process. Lastly, though tripods aren’t exactly feature-rich, we looked for options with enough features to make them versatile and usable in different–even challenging–situations.

The best carbon fiber tripods: Reviews & Recommendations

There is certainly no shortage of carbon fiber tripods available. Below you’ll find our favorite options for a variety of situations and use cases, so you’re sure to find one that fits your needs.

Best overall: Peak Design Travel Tripod

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Why it made the cut: Peak Design’s Travel Tripod weighs only 2.8 pounds and folds down to the width of a water bottle while still being able to support up to 20 pounds.

Specs

• Maximum height: 60 inches
• Minimum height: 5.5 inches
• Weight: 2.8 pounds
• Weight capacity: 20 pounds
• Folded length: 15.5 inches

Pros

• Includes a ball head
• Compact and lightweight
• Good height range
• Excellent strength-to-weight ratio

Cons

• Expensive
• Only two leg angles

Originally released through a Kickstarter campaign in 2019, the Peak Design Travel Tripod made waves thanks to the unique leg design. When folded down, it is just 15.5 inches tall and about the diameter of a water bottle. That makes it very easy to throw in a backpack‘s side pocket instead of fumbling with attachment points and straps.

The five-section legs can all be deployed at once with the aluminum lever locks to save time–and to look really dramatic. It can support up to 20 pounds and is very sturdy, considering its small size. The included ball head is minimal and aids in the tripod’s compact design. Instead of levers and knobs like normal tripod heads, there are simple locking and adjustment rings.

The Peak Design carbon fiber tripod can extend to 60 inches with the center column or 51.25 inches without that extended. For low angles, the center column reverses and hangs underneath the legs. There is also a removable hook on the center column, so you can easily hang weight to add stability. And this tripod comes with a slick travel bag, mobile mount, and hex wrenches. The mobile mount is a nice touch and makes this tripod excellent for all sorts of creators.

Best for hiking: Manfrotto Befree Advanced

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Why it made the cut: Its lightweight form factor but very adjustable height and 20-pound weight capacity make this a great option to take backpacking. 

Specs

• Maximum height: 59.1 inches
• Minimum height: 16 inches
• Weight: 2.8 pounds
• Weight capacity: 19.8 pounds
• Folded length: 16.1 inches

Pros

• Includes a ball head
• Lightweight and compact
• Three leg positions
• Well-designed twist lock legs

Cons

• Center column doesn’t move as smooth as the legs

Manfrotto’s Befree line has been a popular choice for travel and adventure photographers for years. The Advanced version brings a higher weight capacity to the line, able to support nearly 20 pounds. It weighs the same amount as the Peak Design tripod mentioned above, though it is slightly larger when folded down. However, it still fits nicely into a side water bottle pocket on a hiking backpack. And the extra space between the legs makes it easier to secure with a strap for peace of mind while hiking.

The Befree Advanced tripod comes with a ball head, or you can also get it with a fluid head if you need smoother movements for shooting video. The ball head offers 360 degrees of swivel and can tilt 90 degrees for portrait orientation as well. It’s easily controlled via the large knob, even if you have gloves on. The center dial in the control knob allows you to adjust the tension and get more precise positioning. 

The legs are made up of four sections and are locked into place using twist locks. Unlike other tripods I’ve used, the leg sections don’t automatically extend when untwisting the locks, which is good and bad. It takes a little more time to set up but is less of a pain when putting the tripod away or if you forget to lock one down all the way. The legs lock at three different angles, giving you lots of flexibility. 

Best rugged: 3Pod Everest T3

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Why it made the cut: As the name suggests, the Everest T3 is built for harsh conditions. It is cold weather resistant, features CNC machined dust-proof construction, offers anti-corrosion faces, and comes with spiked feet for better traction.

Specs

• Maximum working height: 64.17 inches
• Minimum working height: 13.4 inches
• Weight: 3.2 pounds (without ball head)
• Weight capacity: 33 pounds
• Folded length: 19.7 inches

Pros

• Sturdy, heavy-duty build
• Built for harsh environments
• Comes with spiked feet for added grip
• Available with or without a ball head

Cons

• A bit bulky

Photography can take us to some wild, rugged places. The 3Pod Everest T3 is up for the challenge, thanks to a seriously rugged build. 3Pod made this tripod with CNC precision for a dust-proof design. It’s also cold weather resistant, meaning the joints will keep moving even in extreme cold. The grippy material on two of the legs makes it easier and more comfortable to hold in the cold, even if you have gloves on.

The legs of the Everest use a twist lock design for quick assembly and breakdown. It comes with 3Pod’s H4 ball head (or you can opt for a version without a head) and Arca-Type quick-release plate. The ball rotates very smoothly with just enough resistance. Two bubble levels help you ensure your shots are level in-camera. This carbon fiber tripod can extend to 5.3 feet with the center column extended or 4.4 feet without the extra extension when you need extra sturdiness. Should you need a low-angle shot, you can remove the center column to get shots as low as 13.4 inches. You can invert the center column for creative angles as well.

The main downside to the Everest T3 is that it’s a fairly bulky tripod. It weighs 3.2 pounds and is pretty long, even when folded down. But, the heavy-duty design results in a 33-pound weight capacity. Should you want something more robust, 3Pod also makes a larger version—the Everest T5—which offers a 55-pound load capacity and 6.6-foot maximum height.

Even more carbon fiber tripods to consider

If one of the three above doesn’t tick all the boxes for you, check out these additional options.

Best for versatility: Manfrotto MT055CXPRO4

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Why it made the cut: This versatile Manfrotto tripod can go from 3.5 inches to 66.9 inches, thanks to the angle selectors on the legs and sturdy center column. Plus, it has a convenient attachment point for arms to hold accessories like reflectors.

Specs

• Maximum height: 66.9 inches
• Minimum height: 3.5 inches
• Weight: 4.6 pounds
• Weight capacity: 19.8 pounds
• Folded length: 21.3 inches

Pros

• Ample height range
• Sturdy and durable
• Center column bends 90 degrees
• Includes attachment point for accessories

Cons

• Tripod head must be purchased separately

Manfrotto has long been one of the top tripod producers. Its MT055CXPRO4 is an extremely popular tripod, and for good reason. At  4.6 pounds, it weighs a bit more than some of the other models on this list. But it is very sturdy and supports nearly 20 pounds, which is more than enough for a full-frame camera and hefty telephoto.

Each leg features Manfrotto’s Quick Power Locks (a type of lever lock), which are easy to use but extremely sturdy. The legs can be set to multiple angles, allowing you to set the tripod as low as 3.5 inches. You’ll be able to get some really dramatic and unique angles for landscapes while still getting stability from a tripod.

With the center column extended, you’ll get 66.9 inches of height. Manfrotto redesigned the center column on this carbon fiber tripod to enable one-finger operation, so you’ll be able to raise it with much less fuss. And the center column can bend 90 degrees for better versatility or more unique angles. There is an Easy Link attachment point for adding accessories like a LED light or reflector with a compatible arm.

At the top of the tripod is a bubble level that swivels 360 degrees so you can see it no matter how you have your tripod set up. But, you will need to purchase a head for this tripod separately. For most people, we’d suggest Manfrotto’s XPRO Ball Head.

Best for landscape photography: 3 Legged Thing Leo 2.0

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Why it made the cut: It can hold up to 66 pounds, so even if you use a large camera and bulky lens, you won’t have to worry about stability. And yet, the tripod only weighs 4.8 pounds, so it will still be feasible to pack on a trip.

Specs

• Maximum height: 54.3 inches
• Minimum height: 4.9 inches
• Weight: 4.8 pounds
• Weight capacity: 66 pounds
• Folded length: 14.7 inches

Pros

• Heavy weight capacity
• Good height range
• Lightweight and compact
• Highly modifiable

Cons

• Not as tall as other options

3 Legged Thing is a small British company that was launched in 2010. The Leo 2.0 has a surprising weight capacity, supporting up to 66 pounds. So even if you use a large DSLR or medium format camera with a heavy lens, this tripod will be able to handle it. And yet, the tripod only weighs 4.8 pounds with the head attached, which is only slightly heavier than the Manfrotto 055. 

One of the best things about the Leo carbon fiber tripod is that it is very modifiable. Each leg can be removed and acts as a monopod. The center column can either be removed entirely or inverted to get lower to the ground. And you can purchase tripod feet for better stability on different types of surfaces.

This tripod comes with a carrying case and also the 3 Legged Thing Toolz multi-tool for adjusting various parts of the tripod. It can’t extend quite as high as other options, but the ability to modify it so much and the large weight capacity are huge benefits. 

Best heavy-duty: Gitzo GT5533S Systematic Series 5

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Why it made the cut: The Gitzo Systematic Series 5 holds a whopping 88 pounds, making it the ideal choice for those shooting with large cameras and lenses.

Specs

• Maximum working height: 52.8 inches
• Minimum working height: 3.9 inches
• Weight: 6.2 pounds 
• Weight capacity: 88 pounds
• Folded length: 24.4 inches

Pros

• Very heavy duty
• Available in different heights and configurations
• Exceptionally sturdy
• Feet are articulating for better stability

Cons

• Center column or head must be purchased separately

If the 3 Legged Thing doesn’t provide enough stability for you, the Gitzo Systematic Series 5 will. It supports up to 88 pounds, which is ideal for those using large lenses or cameras. Even if you use a large format camera, you’ll get enough support from this carbon fiber tripod. Even when the legs’ three sections are extended, the tripod is extremely sturdy with limited flex.

The Systematic Series is unique in that they do not include center columns, unlike other tripods. Center columns are not very sturdy when extended, so it makes sense to leave that out if you want the most stability. It does, of course, limit the height you can get from the tripod, but luckily Gitzo makes different heights in this line. 

Like the 3 Legged Thing, Gitzo sells lots of accessories compatible with this tripod line. For example, should you want a center column, you can add a compatible one, as found on Gitzo’s website. You’ll also need to purchase a tripod head if you want more than the flat top plate. And there are also alternative types of feet available for better stability on different surfaces. 

Best budget: Neewer 66 Inch Carbon Fiber Tripod

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Why it made the cut: At a much more affordable price, this budget carbon fiber tripod still offers support for up to 26.5 pounds and can convert into a monopod.

Specs

• Maximum height: 66 inches
• Minimum height: 23.2 inches
• Weight: 3.40 pounds
• Weight capacity: 26.5 pounds
• Folded length: 19.3 inches

Pros

• Can be broken down into a monopod
• Affordable
• Comes with a ball head
• Center column can be inverted

Cons

• Does not go very low
• Not as durable as other options

Neewar is fairly well known for its affordable lighting and accessories. Like its other gear, its carbon fiber tripod is much more affordable than other brands but still offers a good amount of quality and features. Unlike more expensive options, it comes with a ball head, so you don’t need to purchase it separately. 

It supports up to 26.5 pounds, so even somewhat heavy cameras and lenses will work. And it only weighs 3.4 pounds, so it won’t be too much trouble to pack with you on trips. You can break it down into a monopod, so it is multifunctional. And the center column can be inverted if you want low to the ground shots. The legs have three sections and are controlled via twist locks.

Of course, with the budget price comes some downsides, though they are luckily minor. The included ball head isn’t all that stable, so you may want to invest in a better tripod head if you will be pushing the weight limit of this tripod. And some have had issues with pieces breaking after not all that much use. It may not last as long as more expensive options, but if you want to get started with a tripod without breaking the bank, this still is a great option.

Things to consider before buying the best carbon fiber tripods

Tripods, in general, aren’t exactly feature-packed, as they are pretty basic, straightforward pieces of equipment. But, that said, there are still some vital things to pay attention to before purchasing to ensure that it will fit your needs and work with your camera setup. 

Weight

Though carbon fiber tripods weigh less than their aluminum counterparts, their weight still varies across different brands and models. And while you may assume you need to find the lightest option, that won’t always be the best. Lightweight tripods lose stability unless you add weight to them. That could be via sandbags or a backpack hung from the center column. Without added weight, the tripod may be prone to getting blown over by strong winds or tipped over if bumped. So, if you are looking for a sturdy option and don’t want to fuss with adding weight, go with a heavier tripod.

On the flip side, if you travel or like to have a tripod while hiking, be sure to go with a lightweight option. Tripods are never all that convenient to carry along, but if it weighs a lot, you definitely won’t want to bring it along. 

Capacity

Beyond the weight of the tripod itself, tripods will be able to support different sizes of cameras and lenses. For example, some tripods are only suitable for lightweight mirrorless setups with small lenses, whereas others can hold heavy medium-format cameras. 

Before purchasing a tripod, be sure to do a rough calculation of what your heaviest setup will be. Look up the weight of your camera and largest lens to ensure that the tripod and tripod head you are considering is able to support that much weight.

Maximum and minimum height

All tripods will be able to extend only so far. Some will be able to go quite high with the help of a center column, while others won’t go beyond eye level, if that. If you like to get serious height with your tripod for unique perspectives, be sure to look for a tripod with a tall maximum height. 

On the other side, some tripods can’t go lower than the closed length of the tripod. Some, however, allow you to bend the legs out, resulting in the camera sitting very low, sometimes just inches off the ground. This ability is ideal for landscape photographers who want dramatic angles or like to focus on things in the foreground. If you want more flexibility with angles, be sure to look for a tripod that can get low as well as high.

FAQs

Final thoughts on the best carbon fiber tripods

• Best overall: Manfrotto MT055CXPRO4
• Best for travel: Peak Design Travel Tripod
• Best for hiking: Manfrotto Befree Advanced
• Best for landscape photography: 3 Legged Thing Leo 2.0
• Best heavy-duty: Gitzo GT5533S Systematic Series 5
• Best for height: 3Pod Everest T3
• Best budget: Neewer Carbon Fiber

Carbon fiber tripods are not cheap pieces of gear, especially good ones. They are an investment, to be sure. But for a bit of equipment that can keep your camera safe and potentially improve your images, it is worth spending a bit more to ensure you have a reliable tripod that will last for years.

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best carbon fiber tripods for 2023, tested and reviewed appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Best overall		Datacolor Spyder X2 Ultra		SEE IT	The Spyder X2 Ultra can calibrate your display in under two minutes and works with high-brightness and HDR monitors.
Best budget		Calibrite ColorChecker Display		SEE IT	This budget calibration tool will help you get accurate colors for less.
Best kit		Datacolor SpyderX Capture Pro Kit		SEE IT	This toolkit will help you get accurate colors at every step of the creative process.

Monitor calibration tools are essential for anyone looking for precision and consistency in their photography, videography, or design work. All monitors will produce slightly—or sometimes drastically—different colors, contrast levels, and degrees of brightness. Left unchecked, that variation can impact the final look of your work. Monitor calibrators are devices that sit on your monitor and measure the colors and brightness of the display. Some will also read ambient light to suggest how bright your monitor needs to be to see accurately in that environment. The best monitor calibration tools will help you get better and more consistent results in your photo editing, video editing, and printed work.

• Best overall: Datacolor Spyder X2 Ultra
• Best budget: Calibrite ColorChecker Display
• Best kit: Datacolor SpyderX Capture Pro Kit
• Best for pros: X-Rite i1Basic Pro 3 Plus
• Best for Wacom displays: Wacom Color Manager

How we chose the best monitor calibration tools

The writers and editors here at Pop Photo have decades of experience in photography and have worked with most major equipment manufacturers, including monitor calibration tools. I have spent the past 10 years or so either working to oversee consistency across a group of editors or printing my own photographs, which has provided me with experience calibrating screens. 

When selecting the best monitor calibration tools, we looked at important features such as ambient light sensors and the ability to match multiple monitors. Ease of use was also critical, as calibrating your screen shouldn’t be overly challenging. Lastly, we aimed to provide products at different price points and experience levels to suit different users. 

The best monitor calibration tools: Reviews & recommendations

If left uncalibrated, your monitor’s off colors could negatively impact your edits and prints. For example, if you are editing on an extremely warm monitor, you may overcorrect and end up with overly cool images, only noticeable when viewing on your phone or other displays. Or, you could go to make prints for a client and end up with dramatically different colors and contrast from what you saw on your screen, which is never what you want a client to experience. These monitor calibration tools will help your work look consistent with accurate colors no matter what the final viewing method will be.

Best overall: Datacolor Spyder X2 Ultra

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Why it made the cut: Datacolor’s latest calibration tool is the new standard for photographers and videographers. It provides highly accurate results and allows you to calibrate multiple monitors. 

Specs

• Compatible devices: Laptops, desktop monitors, and front projectors
• Connector type: USB-C
• Ambient light sensor: Yes

Pros

• Easy to use
• Extremely fast
• Built-in ambient light sensor
• Works well with bright monitors

Cons

• Not officially compatible with OLED displays

Datacolor is one of the most well-known calibration companies. The company’s most recent release—the Spyder X2 Ultra—improves on previous versions for an even better calibration experience. One of the most notable improvements is how fast the calibration process is. Without brightness adjustments, I was able to complete calibration in just shy of a minute and a half. That’s absurdly fast for a product like this. It comes in very handy when I want to get a calibration done before printing images and don’t want to sit around waiting.

Beyond speed, the Datacolor software is incredibly easy to use, even if you’ve never calibrated a monitor before. It walks you through each step with easy-to-follow instructions. If you print your work or share it digitally, the Soft Proofing tool allows you to simulate other displays, devices, printers, ink, and more. It’s not just a tool for photographers, either. The X2 Ultra includes video calibration targets Rec. 709 and Rec. 2020.

Like previous versions, this tool has an ambient light sensor that can monitor the room you’re working in throughout the day and suggest appropriate brightness and contrast. The software can warn you to calibrate or automatically adjust brightness and contrast based on custom profiles that you’ve set up for different light levels. It supports multiple monitors and unlimited profiles, so if you have dual monitors and your laptop screen, you can ensure all three are correct. You’ll also have access to Datacolor’s Studio Match, which helps you match all of your displays so that colors, contrast, and brightness are consistent across all of them. 

The Spyder X2 is available with two different software versions. The one we have linked here—the Ultra—can calibrate monitors up to 2000 nits. It is the ideal choice for those with high-brightness and HDR monitors, such as photographers shooting tethered on outdoor shoots. If you don’t use such displays, the Elite version will save you about $30. The hardware is the same between the two, so you can always upgrade your software down the road if you opt for the Elite but decide you need high-brightness support.

Best budget: Calibrite ColorChecker Display

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Why it made the cut: Though more affordable than other options, the ColorChecker Display provides highly accurate calibration and works with laptops, desktops, and projectors.

Specs

• Compatible devices: Laptop, desktop monitors, projectors
• Connector type: USB-A
• Ambient light sensor: Yes 

Pros

• Easy to use
• Affordable
• Color matches up to four displays

Cons

• Doesn’t monitor ambient light
• Slower results

Formerly the X-Rite i1Display, this entry-level monitor calibrator offers a lot of value. It comes at a lower price than alternative options, though it still has plenty of features and is very accurate. It works with laptops, desktops, and even projectors and can color-match up to four displays. So whether you have multiple displays at your desk or your bounce between locations, it will allow you to ensure your entire setup is accurate.

The ColorChecker Display has an ambient light sensor to determine the best brightness level for comparing prints to your display. But, it does not constantly monitor ambient light like the SpyderX Pro, so you will need to do that manually if you work in a room where the light shifts significantly throughout the day. But it will remind you on a regular schedule to re-calibrate, which helps keep your display accurate over time.

Best kit: Datacolor SpyderX Capture Pro Kit

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Why it made the cut: This kit includes all you need to calibrate your entire process, from shooting to post-processing.

Specs

• Compatible devices: Monitors and projectors
• Connector type: USB 1.1, USB 2.X, USB 3.X, and USB Type-A
• Ambient light sensor: Yes

Pros

• Includes tools for calibrating camera settings
• Easy to use
• Highly accurate
• Monitors ambient light

Cons

• Not all users will need all tools

For serious photographers who want to fine-tune every aspect of their photography, this kit from Datacolor provides all the tools you need. It includes a Spyder LensCal, which allows you to precisely measure and adjust your DSLR and lens autofocusing. It helps ensure that you miss focus less and that the camera and lens focus exactly where you want them to. Because mirrorless cameras use the main camera sensor to focus, they don’t require calibration. But, it can tell you if your lens isn’t focusing properly.

The kit also comes with the SpyderCUBE for getting accurate exposure and white balance settings by providing white and black values. And the Spyder Checkr helps achieve consistently accurate colors across different shots, days, and even cameras. As a result, your raw files will be in a much better place before you even start editing, cutting down on the time you need to sit in front of your computer.

Finally, the kit comes with Datacolor’s impressive lens-based colorimeter, the device that calibrates monitors. It works with multiple monitors and provides access to SpyderX Elite for unlimited calibration controls. The software is easy to use, guiding you through the calibration process. You can also use Datacolor’s Softproof to preview how a photo will look as a print or on different devices like tablets. You’ll be able to ensure things are accurate before you hit print or walk away from your edits.  

Best for pros: X-Rite i1Basic Pro 3 Plus

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Why it made the cut: It offers excellent precision, video support, and the ability to calibrate unlimited monitors.

Specs

• Compatible devices: Monitors, projectors, scanners, printers, cameras
• Connector type: USB
• Ambient light sensor: Yes

Pros

• Calibrates and matches colors on different displays
• Supports high brightness levels
• Ideal for video work as well
• Can also calibrate printers and cameras

Cons

• Very expensive

Serious professionals need to ensure their entire kit is calibrated for utmost accuracy and consistency. This calibration kit from X-Rite offers an impressive set of features and accessories to meet those requirements. The software allows you to calibrate every step of the process, from your camera to the printer. It has presets specifically for video production, making this ideal if you do a lot of color grading on your monitor. And the included XL ruler enables you to color calibrate even large format printers. 

The included polarization filter helps cut down hot spots from reflective surfaces, resulting in better blacks and richer colors. It’s ideal for scanners, allowing you to reproduce artwork at a higher quality. Plus, the spectrophotometer has an 8mm aperture, allowing it to provide accurate results on a wide range of surfaces.

The i1Basic Pro 3 Plus allows you to create profiles for up to four displays that are connected to a single computer. And if you work in a lab setting, you can calibrate unlimited monitors that are connected to different computers. It also has a Kensington Lock port to keep it safe in public or communal settings.

Best for Wacom displays: Wacom Color Manager

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Why it made the cut: Since it’s specifically designed for Wacom devices, you’ll be able to get much more accurate results on your Cintiq screen.

Specs

• Compatible devices: Wacom products, monitors, mobile devices
• Connector type: Not provided
• Ambient light sensor: None

Pros

• Designed by X-Rite for Wacom products for better results
• Can also calibrate mobile devices
• Works with multiple monitors

Cons

• Can be more complicated to use than other devices

Though other calibrators will work on Wacom devices, Wacom collaborated with X-Rite to design this to work specifically with its products, such as the Cintiq 27QHD Creative Pen Display. It will provide results tailored explicitly to your tablet as a result. You can also use it to calibrate other monitors and displays and even use it on mobile devices.

It allows you to save profiles for your different displays, and you can create custom colors to suit your needs. Everything is very customizable, so while you can adjust based on its recommendations, you can also fine-tune settings as you see fit.

Wacom’s monitor calibration tool allows you to check the quality of your display and monitor its health over time. That way, you can know if it might be failing before things get too bad. It also provides profile reminders to keep your display accurate. 

Things to consider before buying monitor calibration tools

Screen type

Displays use different types of technology to project an image, from backlight LED to LCD or various types of technology in projectors. While most of the monitor calibration tools we’ve listed here are compatible with a wide array of displays, double-check that whichever instrument you are considering will work with your particular display.  

Ambient light sensor

The amount and type of light in the space that you have your monitor will have a significant impact on how you view your screen. For example, if you are in a room with lots of natural light, you will need different settings than if you work in a room with minimal windows. Likewise, if the artificial light in your space is very warm or cool, it will change your perception of the colors on the screen.

An ambient light sensor reads all that data and factors it into your screen calibration. Some calibration tools will not have these, however. So, if you want the utmost accuracy, be sure to look for one with an ambient light sensor. 

And if light shifts throughout the day in your workspace–which it likely does–you may want to invest in a calibrator that is able to monitor ambient light and suggest settings throughout the day. Otherwise, you can manually take readings at different times of the day and create profiles based on that, but it will take more time.  

Speed

How fast a calibration tool can provide results may not matter to some, but it will be essential for others. It may be especially important if you are calibrating multiple displays on a regular basis. Unfortunately, many manufacturers will not provide speed data in the product specs, but some will. If speed is important, be sure to look closely for that information.

Customizability

Some entry-level systems will only allow you to make automatic adjustments without much insight into the process. That’s fine for the average person who is just looking to improve their monitor’s out-of-the-box experience but falls short in high-end professional settings. That’s especially true if you’re doing custom printing work or doing work in less-than-optimal conditions.

FAQs

Final thoughts on monitor calibration tools

• Best overall: Datacolor Spyder X2 Ultra
• Best budget: Calibrite ColorChecker Display
• Best kit: Datacolor SpyderX Capture Pro Kit
• Best for pros: X-Rite i1Basic Pro 3 Plus
• Best for Wacom displays: Wacom Color Manager

Despite being rather technical pieces of equipment, the best calibration tools are easy to use and provide accurate results. For those serious about their photography or video, it is an essential tool that will make a difference. You’ll get better photos, videos, and prints with less work and will have more consistent results over time. 

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best monitor calibration tools of 2023 appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Peak Design’s Camera Cubes, launched in 2017, have been incredibly popular products for photographers looking for module protection for their gear. They provide protection for your equipment in any bag, not just dedicated camera bags, making it easier to bring your gear anywhere. And now, the camera equipment company has announced an updated version of these protective bags with many important upgrades. That includes better weatherproofing, better dividers, and more handles. Also, two new sizes—X-Small and Smedium (that’s not a typo)—join the original Small, Medium, and Large options.

Peak Design was kind enough to send me two sizes (X-small and Large) of the new bags to test out ahead of the launch, so I was able to get some hands-on experience to share. Here’s what’s new about the Camera Cubes V2 and what you can expect from the bags.

What are the Peak Design Camera Cubes?

Peak Design manufactured the Camera Cubes to nest perfectly in its Travel and Outdoor bags, but you can toss them in just about anything since they offer padding on all sides. When you are using the Peak Design Camera Cubes with Peak Design bags, the included C-Clips allow you to securely attach the Camera Cube so that it doesn’t slide around.

Using camera cubes also allows your camera backpack to do double duty when you don’t need camera gear, meaning you don’t need to buy as many packs. You could even get away with not buying a photo-focused bag at all, which would save you lots of money. And Peak Design’s Camera Cube can even be used as stand-alone bags (especially the X-Small). They feature cord hook connection points, so you can toss on a camera strap to carry the bag.

Finally, these Peak Design bags are 100 percent carbon neutral and are the only camera cubes on the market that are Fair Trade Certified, just like all of Peak Design’s bags.

What’s new in the Peak Design Camera Cube V2?

Peak Design is always very thoughtful with how it designs its products, and that is very evident in the changes it made to the already excellent Camera Cubes.

New sizes

First, the two new sizes join the lineup of Small, Medium, and Large. The X-Small exterior measures 9 x 4.7 x 5.9 inches and offers an internal volume of 3.5 liters. It comes with two extra small dividers. This size is ideal for small and minimal mirrorless setups or would also work well for a drone or drone accessories. I was able to fit my Sony a7 III with the Sony 24-70mm f/4 attached, along with the small Kodak H35 film camera. It was snug around my mirrorless camera but did fit.

The Smedium (no, that’s not a typo; it is really named Smedium) Camera Cube V2, as you might guess, sits between the Small and Medium. Its exterior measures 12.2 x 9.25 x 5.9 inches, and the internal volume is 10 liters. The Smedium comes with two medium dividers, one small shelf divider, one small divider, two extra small dividers, and one detachable pocket.

The existing three sizes maintain the same sizes as the original versions but get all of the same upgrades.

Build quality upgrades

Peak Design kept the weatherproof 160D 100% recycled nylon canvas shell of the first version of the Camera Cubes. But, in order to make them even more weatherproof, they switched to new zippers called Ultra Zips. There is also weatherproof taping on all external seams to keep all water out. The exterior also gets even more grab handles—one on each side—making them easier to carry and grab out of your bag when necessary.

In the Camera Cubes V2, Peak Design expanded the main opening to provide better access to gear, including items on the sides and in the corners. The top flap folds entirely out of the way, so you won’t have to fumble with holding it open while trying to get something out. One really smart feature is the removable padding in the lid. If you use a Peak Design bag with padding on all sides (such as the Travel Backpack) and want one-zip access to your gear, you can take out that padding and tuck the top panel away for quicker, easier access. The Medium and Large sizes also feature a zippered opening on two sides, which enables quick entry when using bags with side openings.

The flexible dividers also get an upgrade in the V2 version. They offer a cleaner aesthetic and come in even more sizes so that you can fully customize your setup. The entire interior is also softer in the V2 bags.

Finally, the bags are all about 10 to 15 percent lighter than their predecessors. That’s not a ton, but when you’re lugging around a camera backpack when hiking or traveling, every bit of weight matters.

Peak Design Camera Cube V2 in use

Admittedly, I was not a Camera Cube person originally. I’ve always stuck to dedicated camera bags with built-in protection. But that has been extremely limiting in certain situations, meaning I either don’t bring my camera somewhere or deal with a bag that’s less than ideal for a given situation. The Camera Cubes V2 have changed my ways.

I recently went out for a brief SUP adventure and wanted to have my camera on hand, but don’t have a camera bag that I would trust if it happened to fall overboard for some reason. I have an EXPED waterproof bag, which is not a dedicated camera bag. But, with the X-Small Camera Cube, I was able to safely bring my camera along by tossing it in the waterproof bag. Likewise, for bigger trips, I could easily through the Large in a bigger duffel to take my entire kit but still keep a relatively small camera backpack on me with select pieces of gear as needed.

As with all other Peak Design gear I’ve used, the Camera Cubes V2 are made of extremely quality and durable materials. I haven’t been using them for terribly long, but they feel like they will last forever. The water that got on the bag when I was SUPing beaded up and slid away, with no water soaking into the material at all. The interior is nice and soft. The flexible dividers are just sturdy enough and feature strong velcro to keep them in place even with lots of movement. And the wide opening is awesome to have. It makes it easier to pack in my gear and allows me to easily see what I have when I’m looking for something.

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Pricing & availability

All sizes of the Peak Design Camera Cube V2 are available for purchase now. The X-Small is $49.95, Small is $59.95, Smedium is $69.95, Medium is $89.95, and Large is $109.95.

If you don’t mind missing out on the upgrades, Peak Design is selling the V1 versions for 20 percent off as long as supplies last.

The post The Peak Design Camera Cubes V2 offer versatile gear protection appeared first on Popular Photography.

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Best matte		Canson Infinity Rag Photographique Matte		SEE IT	This Canson Infinity paper is nice and thick and provides a matte finish with excellent colors
Best for framing		Epson Ultra Premium Luster		SEE IT	The luster finish provides a subtle gloss to reduce glare and reflections.
Best glossy		Canon Photo Paper Pro Platinum		SEE IT	The Pro Platinum paper provides high gloss to make colors shine.

When it comes to printing photographs, photo paper tends to take a back seat to printers. While a quality printer is absolutely essential, the photo paper you choose will have a profound impact on how the final image looks in your hands or on the wall. With a wide range of paper types, you can drastically alter your images just with paper selection alone. The best photo paper will give you quality colors and exceptional detail, making your prints sure to impress.

• Best matte: Canson Infinity Rag Photographique Matte
• Best for framing: Epson Ultra Premium Luster
• Best glossy: Canon Photo Paper Pro Platinum
• Best for art prints: Hahnemühle Photo Rag 308 gsm
• Best for black and white: Canson Infinity Platine Fibre Rag 310gsm

How we picked the best photo paper

The writers and editors have decades of experience in nearly every genre and area of photography. I have been printing my own photographs or dealing with commercial printers for around ten years. I have tested many different paper options and printer-specific results during that time. When selecting the papers for this list, I relied on that hands-on experience, as well as the experience of photographers I know. Every photographer and subject matter has different needs and tastes, so I focused on a range of styles and finishes to fit. I looked at weight, thickness, brightness, OBAs, and the range of size options for all papers. Finally, I also chose options from different brands to cover a broader spectrum of papers.

The best photo paper: Reviews & recommendations

Whether you are an artist printing photos for galleries or a portrait photographer selling prints to clients, the right photo paper can make all the difference. The options below are ideal for a range of photographers and types of photographs, so you’re sure to find something that works for you.

Best matte: Canson Infinity Rag Photographique Matte 310 gsm

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Specs

• Sheet size options: 8.5 x 11 inches, 11 x 17 inches, 13 x 19 inches, 17 x 22 inches
• Roll size options: 17” x 50’, 24” x 50’, 36” x 50’, 44” x 50’, 60” x 50’
• Base material: 100% Cotton rag
• Whiteness: 89.8%
• Weight: 310 gsm
• Thickness: 18.3 mil

Pros

• Available in 210 or 310 gsm
• Available as one or two-sided
• Wide selection of sizes in sheets or rolls
• Archival quality

Cons

• Pricey for everyday users
• Must search at specialty stores for most sizes

Canson is one of the higher-end paper producers and has been making quality photo paper for a long time. Many photographers prefer the look and feel of matte paper, and the Infinity Rag Photographique Matte is one of the best. It comes in 210 and 310 gsm and has an extensive range of sizes, both in sheet and roll form. With their largest roll, you can print up to 60 inches on the short side, which is massive.

Both weight options have a nice heft, making them sturdy enough to stand up to some large print sizes (still with delicate handling, of course). It produces some rich blacks and highly accurate colors, as long as you are using quality inks and a color-calibrated monitor, that is. It has excellent whiteness without any OBAs, meaning it is fully archival and museum-quality. When handled well, your prints will last for a very long time.

Best for framing: Epson Ultra Premium Luster

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Specs

• Size options: 8.5 x 11”, 13 x 19”, 11.7 x 16.5” (A3)
• Base material: Alpha cellulose
• Brightness: 97%
• Weight: 240 gsm
• Thickness: 10 mil 

Pros

• Vivid, accurate color
• Dries instantly
• Ideal finish for framing
• Available in packs with up to 250 sheets

Cons

• Not a huge selection of sizes
• Not available in rolls

The Epson Ultra Premium Luster paper has been my go-to paper choice for years, especially when I know I will be framing a print behind glass. The luster finish has some gloss, 16 percent at 60° to be precise, to produce rich colors and contrast, but it is subtle enough that you don’t have to contend with much glare. That opens up the possibilities of where you can hang the print as well.

Unfortunately, this paper only comes in four size options. It is also not available in rolls, so you will need to keep reloading your paper feeder if you print a lot. But the Ultra Premium Luster paper has 97 percent opacity, meaning some light will shine through the paper, giving nice depth if hung without mounting of any sort. It also dries instantly after printing, so you don’t have to worry about accidentally touching the print when taking it away from the printer (just watch for fingerprints).

Best glossy: Canon Photo Paper Pro Platinum

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Specs

• Sheet size options: 4×6″, 8.5×11″, 11×17″, 13×19″, 17×22″, 
• Roll size options: 17” x 100’, 23” x 100’, 36” x 100’, 42” x 100’
• Base material: Not provided
• Brightness: 98%
• Weight: 218 gsm
• Thickness: 11.8 mil

Pros

• Ultra-glossy for gloss lovers
• Available in sheets and rolls
• Lots of size options, including small sizes
• Vivid colors

Cons

• Roll options not widely available
• Color profiles can be finicky if not using Canon printers

The Canon Photo Paper Pro Platinum is part of Canon’s high-end line, though the price doesn’t reflect that. It is an affordable paper, especially given the quality. The Platinum paper is an ultra-high gloss offering with a gloss level of 35 percent at 60 degrees. The high level of shine and 98 percent brightness will help produce incredibly rich color and deep contrast, making it ideal for images that you want to have some extra pop when printed.

The Platinum paper comes in a good range of sizes in sheets and quite a few roll options for when you want to print really large. The rolls are only available on specialty photography websites, however, such as Adorama. 

Canon has specifically designed this to be used with its printers, in this case, the PIXMA line. When used with the ChromaLife100+ inks, Canon says prints will have a life of over 200 years. That doesn’t mean that you can’t use it with other printers, but you won’t have a pre-loaded ICC profile (a specific guide for a printer that accounts for the printer, ink, and paper combination for accurate color). You will have to download a profile from Canon’s website and install it or do some testing to find the best built-in option.

Best for art prints: Hahnemühle Photo Rag 308 gsm

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Specs

• Sheet size options: 8.5 x 11”, 11 x 17″, 13 x 19”, 17 x 22”, 24 x 30″ 24 x 36″, 35 x 46.75″
• Roll size options: 17” x 39’, 24” x 39’, 36” x 39’, 44” x 39’, 44″ x 65′
• Base material: Cotton rag
• Brightness: 90%
• Weight: 308  gsm
• Thickness: 18.8 mil

Pros

• Available in 188, 308, or 500 gsm 
• Roll and sheet options
• Single and double-sided options
• Acid- and lignin-free for excellent age resistance
• Beautiful texture

Cons

• Expensive for the everyday user

For photographers producing high-end fine art prints, Hahnemühle papers are some of the absolute best options available. The Photo Rag Matte option has excellent weight and thickness, resulting in sturdy paper with a beautiful texture. It produces rich blacks and excellent, accurate colors. And it has no additional optical brighteners and is acid and lignin-free, making it archival and museum-quality. Your prints on this paper will last for a very long time.

While many photographers prefer a matte finish for fine art prints, the Photo Rag does come in everything from satin and pearl to glossy and even metallic. It also comes in three different weights, depending on the finish and size you are looking for. Should you want to print large, rolls are also available, though you will need to look at specialty photography stores.

Best for black and white: Canson Infinity Platine Fibre Rag 310gsm

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Specs

• Sheet size options: 5 x 7”, 8.5 x 11”, 11 x 17”, 13 x 19”, 17 x 22”
• Roll size options: 17” x 50’, 24” x 50’, 36” x 50’, 44” x 50’, 60” x 50’
• Base material: Cotton rag
• Whiteness: 89%
• Weight: 310 gsm
• Thickness: 15.6 mil

Pros

• Wide variety of sizes, including extra large
• Roll and sheet options
• Smooth, velvet-like finish
• Exceptional quality

Cons

• Expensive for the everyday user

Canson designed its Infinity Platine Fibre Rag to take the familiar fiber-based papers of the darkroom into the digital age. Black and white photographers, especially those who have spent time in a darkroom, will love the classic look and feel. It has a smooth, satin finish that provides a touch of gloss for richer blacks but not so much that it becomes reflective. 

The paper is acid-free, making it archival and long-lasting. It dries instantly and has high water resistance, so you can stress less about your print getting damaged. The 310 weight gives it a nice heft. You can find this paper in an extensive range of sizes, from small five by 7-inch sheets all the way up to a 44-inch roll or even 60-inch wide roll at some sites.

Things to consider when buying the best photo paper

On the surface, choosing a paper seems like a pretty straightforward task. But once you start looking into things, you will notice how many nuanced differences there are, which can get quite overwhelming. However, some factors are more important than others, so read on to learn about the main features to consider.

Printer type

Before narrowing in on a photo paper for your needs, you first need to establish the type of printer you will be using, either inkjet or laser. Photo papers are designed explicitly for one or the other based on how they transfer ink or toner. Using the wrong type of paper can damage your printer or at least result in a low-quality print. 

Inkjet printers are the preferred choice for photo printing needs because of their color accuracy and higher resolution. For the best results, you’ll want a photo-specific printer. While there are a few photo papers for laser printers, the majority you see will be for inkjets. Therefore, all of the papers in this roundup are intended for inkjet printers.

Finish

The finish of a paper refers to the surface texture and reflectivity. A paper’s texture and gloss level can make a significant difference in how your images appear when printed. It also impacts the longevity of a print, how it will hide imperfections, and the ideal display method. While there are some niche options, there are three primary choices for paper finish: Glossy, luster, and matte.

• Glossy: As the name implies, glossy papers have a high gloss finish and reflect a lot of light. Glossy papers are the most widely used for photographs because they provide rich, vibrant color and deep contrast. The downside is that they very easily show fingerprints, creases, and other blemishes. They can also have glare issues due to how reflective the surface is.
• Luster: Luster papers–sometimes called pearl, semi-gloss, or satin–still have some shine but are less reflective than glossy. The lower level of reflectivity makes them a popular choice among photographers as glare isn’t as much of an issue when framed and displayed. They have an excellent color and contrast range and tend to have a slight texture on the paper, nicely accentuating image content.
• Matte: Matte papers are the opposite of glossy. These resemble art papers, such as watercolor paper, with their fully non-reflective surface. Because of this, they more easily hide blemishes, which is ideal in certain circumstances. You can find matte papers in a range of texture amounts, from smooth to heavily textured, and different thicknesses as well. Matte papers are popular for fine art prints.

Weight and thickness

Weight and thickness are closely intertwined in their impact but refer to different things, so you will frequently see both items mentioned in product descriptions. The weight refers to the heft of a paper and is measured in grams per square meter (gsm) or pounds. For context, basic copy paper is usually 20 lbs, and standard photo paper is around 60 lbs.

Thickness is simply the thickness of a sheet of paper and is expressed in mils (or thousandths of an inch). As you might assume, thicker papers are more rigid, which can be helpful, especially when printing large, as you don’t need to be quite so cautious about bends and creases. 

A common misconception is that a heavier weight will equal a thicker paper, but this is not always the case. Weight essentially reflects the amount of pulp pressed into a square meter, and you can have heavy-weight papers that are still thin, such as RC papers. A heavy-weight paper does not necessarily correlate with a thicker paper but does result in a stiffer piece.

Brightness

Brightness, whiteness, and shade are three different factors that all impact how bright a paper–and, therefore, your printed image–appears. It’s important to note that brightness often gets confused with whiteness, though they refer to two different things.

Brightness is the measurement of how much blue light gets reflected off a paper on a 1-100 scale, with the higher number being a brighter paper. The paper’s brightness will impact how bright the brightest part of your image can be and, as a result, the dynamic range as a whole. So if you want a vivid, high-contrast print, a high brightness level will be better.

Whiteness measures the reflection of all wavelengths of light, not just blue light. Because of this, it is much more perceptible to our eyes, and it will be easier to see a difference in whiteness levels than brightness. It is also measured on a 1-100 scale, with higher numbers appearing brighter. However, higher numbers can also have a blueish or cooler tint to them, which will impact the look of your print.

Shade doesn’t take into consideration reflected light at all and instead refers to the actual color of the paper. There are three main options for shade: True white, Blue white, and Cream white. Of course, the lighting conditions you are viewing a paper will also impact the shade. Still, under the same light, true white will look balanced and truly white, while blue-white will have a blue tint, and cream white will have a warm tone.

So, how does all this affect your print? A bright, white paper will give you a higher dynamic range with rich whites and blacks and more vivid color. In contrast, a paper with lower brightness, whiteness, and a cream shade will be duller. There is imagery that calls for warmer, duller papers, but you will want to choose what makes sense for you.

OBAs

Tied in with brightness and whiteness, but worth paying attention to, in particular, is the use of optical brightness agents (OBAs). OBAs make papers artificially brighter, resulting in numbers beyond the 100-point scale. While this does make the paper brighter, OBAs are known to fade over time and aren’t as archival or long-lasting as papers without OBAs. So, if you are printing museum-quality prints, you should avoid OBAs. 

Q: Is it worth printing your own photos?

FAQs

Final thoughts on the best photo paper

• Best matte: Canson Infinity Rag Photographique Matte
• Best for framing: Epson Ultra Premium Luster
• Best glossy: Canon Photo Paper Pro Platinum
• Best for art prints: Hahnemühle Photo Rag 308 gsm
• Best for black and white: Canson Infinity Platine Fibre Rag 310gsm

While you can get a good idea of a paper from looking at the specs, nothing beats holding it in your hand and seeing your print on it. If you are torn between finishes or types, you can usually find sample packs available from companies to test the options before investing in a whole pack or roll. Printing photos takes a lot of trial and error, so be prepared to go through some different paper types and printer settings before finding the sweet spot for your work.

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

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