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Thursday, November 8, 2012

Sigma Corporation of America’s 35mm F1.4 DG HSM now available

Sigma Corporation of America’s 35mm F1.4 DG HSM now available

First Global Vision lens arrives in U.S. for $899
Ronkonkoma, NY, November 7, 2012Sigma Corporation of America, a leading researcher, developer, manufacturer and service provider of some of the world's most impressive lines of lenses, cameras and flashes, is pleased to announce that the first lens of its new Global Vision lineup, the 35mm F1.4 DG HSM, is now available for the street price of $899.
The 35mm F1.4 DG HSM, is designed for photographers who want to achieve creative, dramatic effects in their photographs. As the first lens released under Sigma’s new Art line, it will feature a new matte finish and overall new design concept, which includes a clearly defined category label on every new lens. This 35mm wide-angle lens with a maximum aperture of 1.4 ensures outstanding performance in low light, and a stunning bokeh background effect to emphasize the subject.
“We’re thrilled to break into this category of lenses with a product from our new Global Vision,” said Mark Amir-Hamzeh, president of Sigma Corporation of America. “We’re confident that our A1 quality control system, coupled with the industry’s first USB dock, will differentiate our lens in the category. Since it’s so versatile – ideal for scenes including landscapes, portraits, close-ups and studio photography – we think that it will be a hit.”
Other features of the new 35mm F1.4 DG HSM include:
  • One “F” Low Dispersion (FLD) glass lens and four Special Low Dispersion (SLD) glass lenses to ensure exceptional correction of lateral and axial chromatic aberration, the latter of which cannot be corrected in post production
  • A floating inner focus system to provide extremely high optical performance for close-up photos
  • Super Multi-Layer Coating to reduce flare and ghosting and provide sharp and high contrast images even in backlit conditions
  • A HSM (Hyper Sonic Motor) that ensures high speed, accurate and quiet AF
  • Rubber incorporated into the attachment part of the lens hood, and an improved redesign of the lens cap and AF / MF changeover switch have been improved
  • Thermally Stable Composite (TSC), which has high affinity to metal parts, that are housed internally, increases overall functionality, lifespan, and quality of the lens
  • A rounded 9 blade diaphragm creates an attractive blur to the out-of-focus areas of the image
  • A newly developed USB dock, which will be sold separately and exclusively for new product lines, can be paired with new Sigma Optimization Pro software to update the lens firmware and adjust parameters, such as micro focus adjustment 
All of Sigma's manufacturing – right down to molds and parts – is carried out under an integrated production system, based entirely in Japan. Sigma is now one of the very few manufacturers whose products are solely made in Japan. Every 35mm F1.4 DG HSM will be checked using Sigma’s own MTF measuring system, “A1,” as will all new lenses under the Global vision categories. This system uses 46-megapixel Foveon direct image sensors to pick up previously undetectable high-frequency details for quality control inspections.
The Sigma 35mm F1.4 DG HSM will be available in Sigma, Sony (D), Nikon (D), Pentax and Canon mounts.

Sunday, October 14, 2012

DxO Optics Pro 7.5.5

DxO Optics Pro 7.5.5 Elite adds Canon EOS-1D X and Nikon D600

DxO Labs has announced Optics Pro v7.5.5, with support for the Canon EOS-1D X and the Nikon D600. The latest version of the company's raw processing and optical correction software also adds support for the Panasonic Lumix DMC-G5 and DMC-LX7. Support for the two full-frame DSLRs comes only in the 'Elite' edition of the software, while the Panasonic support is also included in the standard edition, that costs around half as much. As usual, the upgrade is free to existing Optics Pro 7 users and recent purchasers of Pro 6.

Press Release:

DxO Optics Pro v7.5.5 now supports the Canon EOS-1D X and the Nikon D600

400 new DxO Optics Modules available
October 10, 2012 - DxO Labs announces the immediate availability of DxO Optics Pro v7.5.5 for Mac and Windows, its image processing software of reference for all serious photographers. This update means that DxO Optics Pro 7 now provides supports for the Canon EOS-1D X and the Nikon D600 (Elite edition only), as well as for the Panasonic Lumix DMC-G5 and DMC-LX7.

DxO Optics Pro v7.5.5 also benefits from the continuous development of DxO Optics Modules. Nearly 400 camera/lens combinations have been added to the library, thereby providing support for additional Canon, Nikon, Olympus, Panasonic, Sigma, Tamron, Tokina, and Zeiss lenses for Canon, Nikon, Olympus, Panasonic, Pentax, and Sony cameras.

Developed in the laboratory and following a scientific calibration process for all combinations of cameras and lenses, DxO Optics Modules contain tens of thousands of data points about the intrinsic limitations of each piece of equipment. This unique database means that DxO Optics Pro automatically corrects all lens optical defects - distortion, vignetting, chromatic aberrations, and lens softness - with an incomparable level of quality. Watch the video.

Availability and prices

The Standard and Elite editions of DxO Optics Pro 7 for Mac and Windows are available for purchase in DxO Labs’ online store (shop.dxo.com) and at photo resellers, at the following prices:

USD:
  • DxO Optics Pro 7 Standard Edition: $ 169
  • DxO Optics Pro 7 Elite Edition: $ 299
EUR:
  • DxO Optics Pro 7 Standard Edition: 149 €
  • DxO Optics Pro 7 Elite Edition: 299 €
    (Suggested retail prices, including VAT)
BGP:
  • DxO Optics Pro 7 Standard Edition: £ 135
  • DxO Optics Pro 7 Elite Edition: £ 269
    (Suggested retail prices, including VAT)
This update is free of charge for all owners of DxO Optics Pro 7, as well as for photographers who purchased a license for DxO Optics Pro 6 after September 1, 2011.

A fully-functional trial version of DxO Optics Pro v7, good for one month, is available on the DxO Labs website (http://www.dxo.com/intl/photo/free_trial_version).

 

Cameras get smart to survive

Connect: Cameras get smart to survive - a look at camera Wi-Fi options

 

The rising popularity of smartphones has come at the expense of conventional compact digital cameras. The always-with-you convenience, along with the ability to process images immediately on the device, to modify it with software updates and additional third-party apps and to upload to the web from almost anywhere is a combination that's very hard for digicams to compete with. Simply offering slightly better image quality and the flexibility of zoom lenses isn't enough to overcome this convenience and connectivity.
However, camera makers have started to respond to this pressure by offering cameras that offer greater levels of connectivity, to try to wrestle back some of the convenience of a smartphone, while retaining their own inherent advantages. The latest appraoch, being embraced by most of the big camera makers, is to build cameras that co-operate with smartphones, rather than trying to compete with them. As a result, there's been a flood of cameras that will connect by Wi-Fi to smartphones, in order to piggy-back their inherent connectivity advantages. And this isn't just being seen in compact cameras - several of the latest mirrorless interchangeable lens cameras, which offer the large-sensor image quality of DSLRs, now come with Wi-Fi capability.
So, if you want better image quality with smartphone flexibility, what are your options, what do they offer and how easy are they to use?




Most Wi-Fi cameras make image transfer an option from the playback menu. The differences between them usually come down to how simple it is to get the devices to communicate. Fujifilm's F800 EXR was the easiest we tried.
Most of the models on the market are conventional compact cameras with some attempt made to add Wi-Fi capability to them. Beyond this, Samsung, keen to capitalize on its mobile phone and networking technologies, has included Wi-Fi in a wide range of its cameras, including all three current models in its NX line of interchangeable lens cameras, which it is branding as 'Smart Cameras.'
And the continued spread of Wi-Fi capability is no better exemplified than its appearance in Canon's EOS 6D. This $2,100 photography-enthusiast-targetted full frame DSLR couldn't be further from the tokenistic, middle-of-the-road compacts with Wi-Fi network connectivity that have lingered on the peripheries of the big electronic maker's camera lineups for many years.
The big change is the move to the use of smartphones as connection points (which are then designed to deal with the downstream details such as how to connect to the Internet), rather than trying to add the complexity of establishing Internet connectivity into a camera interface. And what's enabled this is not just the smartphones themselves but their app-based expandability. This allows the cameras to connect to a broad range of existing phones without the camera maker having to agree compatibility with phone makers, who are usually working to very different product schedules. All of the devices we've seen launched in the past year are compatible with Android and iOS, either from launch or shortly afterwards. Venture beyond these operating systems and support becomes essentially non-existent, so when we discuss smartphones, we're talking about phones based on these two platforms.
In each case the basic idea is fairly straightforward - the first time you try to connect your camera to your smartphone, you'll have to go through some sort of 'pairing' process, to give the devices permission to communicate with one another. To a large degree, the difference in how simple this process is depends on how well designed the app is. At its most basic, this involves engaging the Wi-Fi mode on the camera, pointing the phone to connect to the camera's Wi-Fi, loading the appropriate app and then confirming the connection on the camera. Canon's CW app makes the process a fraction slower by demanding you copy a five-digit network password from the camera's screen when you make the Wi-Fi connection.

What are they like to use?

The real differences come when you go to connect your camera for the second time. The best example of how this process should work is the Fujifilm Camera App. Set the camera to Wi-Fi mode and then start the app on your phone and it'll offer you a 'Connect' button. The camera will try to reconnect to the last device you uploaded to — if it finds it, press 'OK' to confirm the connection. Alternatively, if you're trying to connect with a different phone, press 'OK' and the camera will ask you to confirm the connection to the new device. It's extremely simple. And, if your phone is connected to a different Wi-Fi network (if you're at home or at a coffee shop where your phone has automatically reconnected to a known Wi-Fi connection), the app will open up your phone's Wi-Fi settings page, to make it easy to connect back to the camera.
 All the apps integrated well with the phones in terms of making the images easily available to other apps or for uploading to social network sites, but few made it particularly simple to re-connect to the camera.
The Samsung system also does this well (on Android at least), bypassing the step of needing to switch Wi-Fi connections entirely. It's less slick on iOS though — the Samsung apps will not load until you've gone off and manually re-connected the phone's Wi-Fi to the camera, instead giving a lengthy instruction to do so.
Despite the camera always using the same network name, we couldn't get an iOS device to automatically reconnect to the camera, so whatever you're doing, your first step always has to be to go into your phone's Wi-Fi settings. The Samsung makes the process more efficient by automatically trusting the last phone you sent images to - you only have to confirm the connection if you're trying to send to a different device to the one you usually use.
Canon's CW (Camera Window) app is the most laborious. Unlike the Samsung iOS app, it will load if you haven't connected to the camera, but gives you no route through to your phone's Wi-Fi settings. Worse still the network connections it makes with iOS phones are not set to automatically connect (you have to think to go in tell the phone to auto-connect). Otherwise you always have to manually re-connect the Wi-Fi on the phone. Furthermore, there's an extra step on the camera - every time you want to make a connection, you have to choose from a list of devices that you want to connect to, rather than the Fujifilm's much more laize fair approach. At present it's not possible to create an ad-hoc connection directly between an Android phone and the Canon cameras, so you can only connect if you have a Wi-Fi network to attach to. Some Android phones can themselves act as Wi-Fi hotspots, allowing a connection to the camera when you don't have any other Wi-Fi access, but many networks charge heavily for the use of this feature, so it's far from ideal. We hope Canon has worked these issues out for its more recent cameras, as this was the least satisfying of the cameras to use.
The push-on Wi-Fi units for the D3200 and D600 DSLRs offer a similar set of capabilities to the Samsungs, offering a live preview from the camera and the option to fire the shutter remotely. Unlike the Samsungs, all these features are offered from a single app. Sadly there's no control over any of the exposure settings - something promised on the forthcoming Canon EOS 6D. Worse still, on both Android and iOS the camera regularly dropped the connection to the phone (we weren't ever able to download a file taken using the remote view on the iOS app), and the only download options are for the full file or the 640x480 JPEG preview (Android version only).
Table of transfer options
 Fujifilm F880  Samsung EXF2  Canon IXUS 510 HSNikon D3200 
Peer-to-peer connection? Yes Yes Yes Yes
Connect to Wi-Fi network? No Yes Yes No
Android / iOS Yes / Yes Yes / Yes Yes / Yes Yes / Yes
Upload rescaled image? Full or 2048px Full only Full, 1600px or 640px Full or 640px
Upload to social networks? From app Direct upload across Wi-Fi From app (with resize option) From Android app
Pull Geo-tag info from smartphone? Yes No No No
Live preview? No Yes (separate app) No Yes
Exposure control No No No No

Memory card Wi-Fi

  • Eye-Fi Pro X2 8GB
  • Toshiba FlashAir 8GB
The alternative to buying a dedicated Wi-Fi camera is to fit a Wi-Fi-capable SD card to your existing camera. There are two main options - the originator, EyE-Fi, which offers a range of cards with different speeds, capabilities and capacities, or Toshiba's Flash Air card, which is becoming increasingly widely available (but hasn't reached North America at the time of writing). The two cards have rather different approaches, so which you prefer is likely to come down to what you're looking to achieve.
 An Eye-Fi card provides an option for providing Wi-Fi connectivity with your existing camera.
The Eye-Fi card can be used in a number of ways, including automatically downloading all its contents to your home computer or up to Eye-Fi's cloud storage service. There are also options to share uploaded images with several popular social networks including Facebook, Twitter and Flickr. The function we're most interested in, though, is the ability to share images directly to an iOS or Android device. The process is fairly straightforward (though involves a small amount of card configuration on your home computer at the beginning). Once the card has been set to 'Direct' mode, it will broadcast a Wi-Fi identity, which you can then connect to, using an iOS or Android app. Once you've connected, you have three choices: upload all images to the phone, upload all to the phone and send selected images on to a social networking site or only upload selected images.
Using a clever hack, the card recognizes images that are marked as 'protected' within the camera as being selected — meaning you don't need a camera with any understanding of Eye-Fi for it to work. Once uploaded to the phone, the Eye-Fi software remembers having uploaded each file, so you can't easily get it to upload a second time. The other thing worth being aware of is that the card will only enter direct mode and communicate with a camera if you're away from any Wi-Fi networks that it's familiar with, but it doesn't do a great job of warning you this is why it's suddenly stopped working. Generally, though, the process is pretty slick - with the Android app you don't even need to redirect the phone to the Eye-Fi's Wi-Fi signal - it will make the connection, upload and disconnect without any further intervention. The iOS app isn't quite so clever and still requires you to manually select the card's Wi-Fi if you're connected to something else, but it's still one of the smoothest connection implementations we've seen.
There's no option to downsize the images before upload but you can specify different actions for JPEG, Raw and movie files. This means photographers happy working with their Raw files can set their camera to produce a small JPEG for transfer, then keep the full Raw file on the card until they get home, with the option to make it download to your home computer when you're back within range of your own Wi-Fi network.
Toshiba's FlashAir SD card offers a very different approach to the existing Eye-Fi system
The alternative option is the more recent FlashAir technology, developed by Toshiba. These cards broadcast a Wi-Fi signal and have an HTML server that you can connect a phone to, and then access the card's contents via a web page on the phone's browser. There's also an Android app (not yet available for U.S. customers) that also makes it easy to browse and download images and subsequently push the image up to the site or app of your choice. An iOS app is in development. The device seems to be clever enough to let you browse the card's contents using small preview images, so you don't have to wait for the full size image to download to your phone before being able to view it. However, unlike the dedicated Wi-Fi cameras, there's no way of downloading anything but the full-sized image across to the phone.

Android cameras

The recent Photokina trade show saw the launch of two cameras based around the Android operating system. The first, Nikon's Coolpix S800c, is a smartphone-like device that connects to its own dedicated app. This app isn't yet available but we're hoping that the camera's connectivity-minded operating system and its touchscreen interface make it easier to connect than the other cameras we've seen.
The Samsung Galaxy Camera has its own cellular data connection as well as Wi-Fi. Its more sophisticated camera allows more photographic control than a smartphone.
The real breakthrough device, though, is one that has not only its own Wi-Fi connection but also its own cellular data link, making it possible to do-away with the smartphone altogether (and blurring the line between cameras and cameraphones to the point that it's nearly imperceptible). Such devices are too new to have a well-accepted category name but 'smartcamera' seems the most likely to take off. Ironically, given it is calling all its Wi-Fi cameras 'Smart Cameras,' the first true smartcamera comes from Samsung. The Samsung Galaxy Camera is essentially one of the company's superzoom compact cameras melded with one of its smartphones. This means it offers a slightly larger sensor than most smartphones but, more importantly, it has a 21x optical zoom - helping mark it out as a more serious camera than you'd usually expect from a smartphone.
Unlike every other option mentioned in this article, there's no need to download apps or negotiate a connection to another device. Uploading images is as simple as doing so from your smartphone because, calling capability aside, the Galaxy Camera is a Samsung Galaxy S III: its latest Android-powered smartphone. And, while the Samsung WB850 on which the camera is based wasn't a stand-out camera in its own right, it should comfortably outclass most phone cameras and, in terms of simplicity, outpace conventional connected cameras. And that means there's a lot of catching-up for the rest of the industry to do.


Wednesday, October 3, 2012

ACCESSORY NEWS

Benro adds colorful, convertible travel tripod/monopod to MeFOTO range

 

Benro® Introduces New MeFOTO™ Transfunctional Travel Tripod Kit

Available in a choice of modern metallic colors, the stylish new MeFOTO Travel Tripod Kit quickly and easily converts to a monopod
North White Plains, NY – October 1, 2012Benro, manufacturer of tripods, monopods and heads designed for today’s demanding professional photographers and filmmakers, announces today the eye-catching and very versatile new MeFOTO Transfunctional Travel Tripod Kits. This new tripod provides photographers with a reliable camera support for sharp photos and videos while allowing them to express their individual style when choosing from a selection of brilliant Red, Green, Blue, Gold and Titanium Metallic colors.
Offering even greater versatility, the new MeFOTO Transfunctional Travel Tripod provides all the same great features of the Compact MeFOTO Travel Tripod kit, plus the ability to convert from a full size tripod into a 64” monopod quickly and easily – without tools.
“These colorful, well-built and modern new Transfunctional Travel Tripods are the perfect addition to the MeFOTO product line,” said Jan Lederman, President of MAC Group. “While the Compact MeFOTO Travel Tripods are ideal for any general picture-takers using lightweight point-and-shoot digital cameras and compact interchangeable lens digital camera systems, this new Transfunctional model provides photographers with dependable support for larger camera bodies and lenses.”
Utilizing a Reverse Folding Leg system based on the popular Benro Travel Angel kits, the new MeFOTO Transfunctional Tripods, available in one size with a choice of five colors, are only 15.4" when folded yet 61.6" extended. The MeFOTO Transfunctional Travel Tripod weighs 3.6 lbs. and can securely support up to 17.6 lbs.
Aluminum alloy material is utilized extensively in the construction of these tripods to take advantage of cast, forged and CNC machining techniques, all accentuated by an elegant series of robust surface treatments accented with color.
Features include:
  • Travel Compact – Reverse Folding Leg system
  • Quick Twist Rubber Lock Grips with Anti-Rotating Legs
  • Two Position Leg Angles
  • Tool free conversion from Tripod to Monopod
  • Recessed Center-Column Hook
  • Precision Matched Dual Action Q-Series Ballhead with Arca-Swiss Style QR Mount and QR Plate
  • Separate Head and Pan Lock
  • 360-degree Pan Index
  • Integral Bubble Level
  • Compact Carry Case with Shoulder Strap

Sunday, September 30, 2012

Epson creates Ultimicron electronic

Epson creates Ultimicron electronic viewfinder with 2.4m dot XGA resolution

Epson has developed a higher resolution, XGA version of its LCD panel used for electronic viewfinders. The latest version of the company's Ultimicron technology offers the same 2.4m dot resolution (1024 x 768 x 3) as the Sony OLED viewfinders used in recent Sony and Fujifilm cameras. SVGA (800 x 600 x 3) versions of Epson's technology are already used in the Olympus OM-D E-M5, along with add-on finders for Olympus, Ricoh and Leica cameras. This additional option for a high-resolution finder can only be positive for the next generation of mirrorless cameras.



Epson Develops New Ultimicron Panel for Electronic Viewfinders

- TOKYO, Japan, September 18, 2012 -
Seiko Epson Corporation ("Epson," TSE:6724), has developed a new high-temperature polysilicon (HTPS) TFT color panel for electronic viewfinders used in mid- to high-end digital interchangeable lens system cameras. The new panel will be revealed for the first time at Epson's booth (Hall 2.2, booth B13) at Photokina 2012 in Cologne, Germany, from September 18 to 23.
Epson's latest Ultimicron panel offers the resolution and fidelity needed to focus the image while providing the ability to recreate smooth gradations and a natural softness. In addition, the use of a color filter prevents the color break-up that tends to occur with other color systems when shooting fast-moving subjects and while panning.
Measuring just 0.48 of an inch diagonally, the new panel offers XGA (1024 x 768) resolution in red, green and blue for a total of 2.36 megapixels. It is the latest addition to Epson's renowned ULTIMICRON series, which already includes a 0.47-inch SVGA panel and a 0.52-inch QHD panel.
"We are delighted to increase our Ultimicron series offering to the market," said Nobuyuki Shimotome deputy chief operating officer of Epson's Visual Products Operations Division. "With superbly sharp images that are faithful to the original, electronic viewfinders have become an important element of light, compact digital single lens reflex cameras. Epson's new panel is ideal for the growing number of customers who are seeking ever higher resolutions and an ever better experience from their cameras."

Electronic viewfinders and Epson's Ultimicron

Electronic viewfinders are employed mainly as the finders - the small windows used to view the subject of a photo - in digital single-lens reflex cameras and camcorders using LCD screens. Epson's Ultimicron electronic viewfinders have the advantages of both high resolution and of being highly compact. This makes it easy for manufacturers to make the camera compact, and for users to focus the camera when taking pictures.

 

Manfrotto Solo VI DSLR Holster Bag

Accessory Review: Manfrotto Solo VI DSLR Holster Bag

The Manfrotto Solo VI DSLR holster bag is a member of the company's Stile collection, a lineup that's composed of fashion-conscious camera totes. Holster bags are ideal for photographers who want to be able to unsheath their cameras quickly, while not sacrificing the added protection of a serious camera bag. The Solo VI represents Manfrotto's premiere holster model, and accommodates a full-frame DSLR (a short-body model like the 5D Mark III, as opposed to a professional model with integrated vertical grip) with a 100-400mm lens attached. More compact models like the Solo IV and Solo II can house DSLRs with 17-55mm and 18-35mm-type lenses, respectively.
The internal compartment of the Manfrotto Solo VI measures in at 16cm (6.3") L x 12cm (4.72") W x 24cm (7") H, which is ample space to fit a 'short body' full-frame camera like my Canon EOS 5D Mark III, with a 24-105mm lens attached. I was able to extend the lens to the full 105mm focal length setting and there was still over an inch of volume left over at the top. However, there are some 400mm lenses that are absolute beasts and I'm not sure the Solo VI would be able to handle them. In that regard, it's best to err on the side of caution and plan on using the Solo VI for more conventional focal lengths (or try before you buy, if you get the opportunity). One thing to note is that unlike some bags, the Solo VI does not have a velcro-based lens strapping, but I found that was not needed since the camera fit snugly in place.
Style remains at the forefront with the Manfrotto Solo VI DSLR holster bag. The Manfrotto Solo VI is designed to accommodate a small-body (5DIII/D800 style) full-frame DSLR with up to a 100-400mm lens attached.
Externally, the Manfrotto Solo VI is a sexy number, flaunting the company's arrow-inspired bag logo via a raised stitching pattern along the main flap of the bag. This flap contains a rugged aluminum buckle that connects to a plastic male fitting at the bag's base. Nuances like a cylindrical rubber Manfrotto logo and embossed Manfrotto tripod logo on the buckle add to the general feel of a stylish, and deliberately styled product. For durability and security, all panels of the Solo VI bag are fortified with stiff foam material, which also adds cushioning to the camera and contents. There's a solid nylon handle at the top of the bag for an alternate carrying option, and the zipper system is top qualiy.
I only have a few gripes with the Solo VI, the first being that I wish Manfrotto had added some sort of padding to the bag's strap, as it tended to dig into my neck. Unfortunately, this can't be remedied by just swapping for another strap because the Solo VI's strap is sewn into the body of the bag. As a result, you'd need to get pretty creative to make this strap comfortable when you're carrying around the weight of a camera and lens. Also, there are no external pockets on the Solo VI; even the flap is devoid of a zip pouch. I think the Solo VI would benefit from at least a pair of mesh zip pouches on either side.
I used the gimmicky 'Pocket' pocket for storing memory cards rather than the company's branded mini tripod. Quick release is the name of the game with the Manfrotto Solo VI holster bag.
Internally, the Solo VI offers a sleeve that can accommodate things like batteries and memory cards, but not much more than that. Manfrotto also stitched a 'Pocket' pocket into the sleeve, designed to hold the company's 'Pocket' branded DSLR tripod. I saw no need for the Pocket... pocket, especially since it's a borderline useless accessory for someone shooting with a large DSLR. I stuffed memory cards in there instead.
I also think Manfrotto missed an opportuinity to increase the internal storage space by neglecting to sew a few sleeves or pockets onto the inside of the main flap. When the flap is raised to unsheath the camera, its underside is the most accessible portion of the bag. Having a few pockets in that location would make the bag more versatile.

Summing Up

The Manfrotto Solo VI holster bag is undeniably swanky and very well made. It can accommodate a short-body full-frame DSLR with a walkaround lens attached (Manfrotto claims up to 400mm) and performs just as advertised, enabling photographers to whip out a Mark III or D800 at the drop of a hat. However, the Manfrotto Solo VI trades style for function in a few key areas, namely the lack of external sleeves/pockets and omission of a neck strap cushion. The latter can be fixed with a little ingenuity, but photographers who are looking for the creme de la creme of storage-happy holster bags might want to look elsewhere.
What we like: Superb build quality, scintillating style, accommodates full frame DSLRs with larger lenses, 5-year warranty after registering online.
What we don't like: Lack of pockets/sleeves, no cushion on strap, 'Pocket' pocket is gimmicky and unnecessary, unless you own a Manfrotto 'Pocket' Tripod. Price is a bit steep, compared to other models with more storage options.

 

Monday, September 17, 2012

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