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  • Time’s Flow, Star trails and Springtime!

    Time’s Flow, Star trails and Springtime!


    Welcome to this week’s Light Stalking community update!

    Last in the essence of movement set, the flow of time! Rooted since the dawn of our kind, something in our nature has steered us into being so intrigued about the stuff we call time. As discussed in the earlier wrap-ups following this set, photography enables us to capture light and time in a single piece of imagery.

    Previously, we talked about light and how to use different settings to model light according to the story to be told. And as you might expect, now’s the turn of time to finally join the chat. For it, Diane suggested thinking in the terms of a single frame time-lapse; e.g. collages, double and long exposures.

    Capturing the flow of time gets tricky fast if one underestimates how shaky things can get when exposing below 1/4s. Always mind using a tripod, monopod or at least one sufficiently stable surface for you to place your camera in. Not to be proud, but I’ve surpassed my stability needs with backpacks, pillows, blankets, towels, tables, chairs, shoes, flip-flops and who knows which other oddities as well.

    Tripod or not, the real trick for capturing time as it flows is to slow things down directly from the lens. For this, ND filters are a must for ensuring organic in-camera expositions. On the side, cable releases are extremely useful for minimising camera vibration; and the finishing touch for those shooting with certain SLR and DSLR cameras, lock your mirrors up!

    Photo of the Week

    Once in a while this is exactly what we all need, a tranquil scene filled with nature’s serenity. Globally speaking, this year has been a wild-ride; so precious slow-paced moments like this are something worth treasuring. Not to mention how the slight use of sub-framing enriches the cosy nature of the scene.

    copyright – Lightandshadow

    Happy Easter folks, and thanks Steve for sharing such a high quality photograph with us!

    Weekly Photography Challenge Digest

    Thanks again to Diane and Dahlia for pushing our creative boundaries one step forward every week!

    copyright – Wendy P
    copyright – Pat Garrett
    copyright – Pat Garrett
    copyright – Wendy P
    copyright – Patrick
    copyright – Patrick

    For contributing, check out the original challenge post!

    A Highlight on the Latest Activity at our Community

    Gues who joined the ranks of us film shooting hipsters‽ That’s right, Rob got this minty looking camera:

    copyright – Rob Wood

    Diane got some fun with her lensbaby double glass optic

    copyright – Tersha

    Patrick shared this stunning portrait; one can feel the hard work for sure…

    copyright – Patrick

    Sticking with the mobile approach, he also shared this good-looking vertical panning:

    copyright – Patrick

    Followed by this bright shot by Pat:

    copyright – Pat Garrett

    Don’t forget to check the photo contest winners for Visual Metaphors; and remember, this month’s photo contest is now open for entries. The theme revolves on “the Essence of Movement“. Submit your photos for a chance to win $250 and please don’t forget voting as well. Last but not least, keep an eye out for the Members Picks — the instructions are pretty straightforward:

    Members reference what you might consider a five star photo. Give a call out to the photographer and share their photo even if it lies in the Shark Tank and feel free to give a Critique on why it trips your Trigger. Be sure to mention the photographer and the Thread you saw it in.

    And if you want to make out the most of your LightStalking user account, make sure to check the latest posts. Also, don’t forget to swim the Mobile Monday Challenge! Last but not least, Check out the current reading throwdown, it has some nice insights and recommendations!

    We’d Love To Hear Your Thoughts

    Our Feedback Forum is a fine place for all those people wanting to grow fast as photographers. Here, you’ll get your work reviewed by well-intended photographers, but you’ll also have the chance of commenting on the work of others. We believe in the power of feedback, and here are the latest shots shared in the pool:

    The Shark Tank is a great place to learn and to discuss, but please read the instructions in order to get a better experience. Share your comments, opinions and doubts on any or all of the images above. We also will be delighted to see some of your own images. Remember all comments are given to the photographs; not the photographers. Also, don’t forget to participate in our upcoming challenge!





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  • ChatGPT’s Image Generator Being Integrated Into a Slew of Creative Apps

    ChatGPT’s Image Generator Being Integrated Into a Slew of Creative Apps


    ChatGPT’s new image-generating tool is causing more than a stir in the artistic and legal communities.

    an abstract image of a sphere with dots and lines
    An abstract image of a sphere with dots and lines in the shape of a brain. Photo by Growtika

    It has also gotten the attention of massive names like Adobe and Figma. In fact, those two platforms, among others, will be integrating this ChatGPT feature into their workflows going forward, giving millions of users access to some of the most powerful image-generation tools out there. 

    If this seems like just the beginning, you’re not the only one. We’re not surprised to see this happen, but we thought that these platforms would probably want to have more control over the service (that is, you know, make their own image-generation tools which they are but I guess when you see the best, you know it). 

    ChatGPT’s blog post about the integration shows off some of the work from the major platforms which include the aforementioned Adobe and Figma as well as Airtable, Gamma, HeyGen, OpusClip, Quora, Wix, Photoroom, and Playground, among others. 

    And the tool will focus on a unique area for each platform. For example, GoDaddy will be taking advantage of the logo-generating abilities of the platform to help its users create easy, editable logos, ChatGPT writes. 

    Interestingly, one use case that is listed is Instacart which, unlike the others, will be used to help generate shopping lists and suggested recipes for customers which gives us all some idea of the depth and breadth of possible uses for ChatGPT’s AI. 

    Naturally, how it got this talent this fast continues to be a source of debate, particularly in Japan if you missed our story from earlier this week. 

    Have you tried out ChatGPT’s image generation tool? Let us know your thoughts on it in the comments. 

    We have some more news for you to read at this link.





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  • Ten alternatives to high-priced film cameras

    Ten alternatives to high-priced film cameras


    We may earn revenue from the products available on this page and participate in affiliate programs. Learn more ›

    Film photography is enjoying a resurgence in popularity, but unfortunately, so are used film camera prices. Granted, analog cameras are still bargains compared to new digital cameras, but some of the best-known models are creeping up in value, and as the film photography community discovers more hidden gems, their prices rise as well.

    But film camera prices aren’t always based on quality or features; more often than not, it’s the fondly-remembered cameras that demand higher prices. Happily, there are plenty of less-popular cameras—often from the same manufacturer!—that can do the job just as well as their better-known brethren. In this article, we’ll talk about 10 well-known and expensive cameras, explain why they demand the prices that they do, and introduce you to reasonably-priced alternatives that do the job just as well—and some for much less money.

    Skip: The Nikon F4 or F5

    The Nikon F4 and F5 were the go-to professional film cameras from the late 1980s until the mid-2000s. Built like tanks, they were—and still are—tools designed to get the shot under any circumstances. Today, the F4 and F5 are highly regarded and highly priced—we’re talking $200 to $350 for a body in usable condition, and double that for a mint rig that hasn’t led the hard life so typical of these workhorses.

    Instead buy: The Nikon N8008/N8008s

    The Nikon F-801s
    The Nikon N8008 was also sold as the Nikon F-801s. George Rex

    Related: The best used camera to buy right now

    Back in the ‘90s, many F4/F5-toting pros kept a Nikon N8008 in their bag as a backup. Introduced concurrently with the F4, the N8008 was Nikons’ top consumer camera, with sophisticated-for-the-time matrix metering and a fast autofocus system. (It was also an incubator for the F5’s DSLR-like interface.) Like its pro-grade brother, the N8008 almost always gets the shot. The N8008 and N8008s (a later model with a spot-metering mode; they’re called F-801/801s outside North America) lives in the shadow of the more-advanced N90, and as a result, it’s largely underappreciated and underpriced: Bodies sell for a mere $20-$50, a ridiculous bargain for such a sophisticated camera.

    Skip: A Hasselblad 500-series Medium Format camera

    Hasselblad is often labeled as the Rolls-Royce of film photography, and the 500-series Medium Format cameras certainly are impressive machines. Not only are they exceptionally well-engineered and well-crafted, but they are also relatively small and light for their film size. But man-oh-man, are they expensive! A complete 500 C/M rig (body, lens, viewfinder and film back) will set you back at least two grand—likely more—and lenses aren’t cheap either.

    Instead buy: A Bronica SQ-series Medium Format camera

    Bronica SQ
    Haribote

    Bronica cameras were often referred to as “Japanese Hasselblads”. Like the ‘Blad, the Bronica SQ is a square-format leaf-shutter SLR that is compact and light. The optics are excellent, the bodies are reliable, and you should be able to assemble a complete system for less than $1000, and closer to $500 if you are willing to patiently watch the auction sites. If you prefer a rectangular 6×4.5cm negative format, the Bronica ETRS and Mamiya 645-series are bargains as well.

    Skip: The Nikon FM2/FM2n

    Nikon’s FM2 is among the most prized of 35mm film SLRs, and with good reason: It’s all-mechanical (which means it can operate without batteries), has a fantastic feature set, and uses Nikon’s outstanding lenses. No surprise, then, that it’s one of the more expensive 35mm SLRs on the used market, with working examples easily fetching between $250 and $500.

    Instead buy: The Nikon FM

    The Nikon FM
    Ronny Olsson

    The irony here is that the FM2’s predecessor, the FM, sells in the $100 to $200 range, sometimes even cheaper. The older FM has a slower top shutter speed (1/1000 sec vs 1/4000 sec) and slower flash sync speed (1/125 sec vs 1/200 sec or 1/250 sec for the 2n), and… that’s about it. Under the skin, the FM has similarly robust all-mechanical construction for which the FM2 is prized, and if you can do without the faster shutter speeds, it’s a great bargain. An even cheaper alternative is the Nikkormat FT2, which is bigger and heavier than the FMs but fully compatible with Nikon’s less-expensive pre-AI lenses.

    Skip: The Canon AE-1 Program

    The AE-1 Program was Canon’s first consumer-grade camera to have a program mode, one that could set both aperture and shutter speed. It was a strong seller in its day and remains popular with those transitioning from digital to film, as it combines that old-school SLR feel with the ease of fully automatic exposure control. No surprise, then, that the AE-1 Program commands high prices—$150 to $300 in good working order.

    Instead buy: The Nikon FG

    Nikon FG
    Aaron Gold

    Introduced in 1982 as a low-cost AE-1 Program competitor, the FG is one of the most controversial Nikon bodies, derided among Nikon purists for its built-to-a-price-point construction. Though it lacks the heft and feel of other Nikons, read online reviews and you’ll see that most modern-day FG owners (your author included) love them. The FG is small and light and provides aperture-priority, shutter-priority, and full-auto program modes with all Nikon AI-S manual focus lenses. Thanks to its poor reputation, it’s easy to snag an FG for $75 or less.

    Skip: A Rollei Rolleiflex TLR

    Mention twin-lens reflex cameras and many film photographers imagine a Rolleiflex. Designed with German precision, Rollei’s Medium Format TLRs are elegant, reliable, and admirably small and light. And in their day they were prized by both casual snapshooters and professional photographers. Their well-earned regard translates to high prices: Depending on the model, Rolleiflex cameras range from $300 to $2,500 or more, and even Rollei’s lower-end Rolleicord cameras go for $200 and up.

    Instead buy: A Yashica TLR

    The Yashica-D TLR
    Dicklyon

    The Japanese-made Yashica twin-lens camera was designed as an affordable alternative to the Rolleiflex. But don’t let its budget status fool you, Yashicas are high-quality cameras. For some reason, though, these fine TLRs continue to lurk in Rollei’s shadow. Happily, this is reflected in their prices: Working Yaschicas sell in the $50 to $300 range. You might also consider the Mamiya C220 and C330, rare among TLRs in that they have interchangeable lenses. They’re larger, heavier, and more expensive than the Yaschicas—figure $250 to $500—but they too are excellent cameras.

    Skip: The Pentax K1000

    The K1000 is one of the best-known 35mm SLRs in the film world, largely because Pentax kept it in production for an epic twenty-one years, from 1976 to 1997. Cheaply priced when new and virtually indestructible, the Pentax K1000 became the go-to student camera for generations of photographers and is fondly remembered today. That nostalgia keeps prices up: Despite a massive supply, working K1000s routinely sell between $120 and $150, which is rather steep considering the K1000’s limited feature set.

    Instead buy: The Pentax KM

    The Pentax KM
    Ermolaev Pavel Nikolaevich

    What many photographers don’t realize is that Pentax derived the K1000 from their KM of 1975-77. The KM is actually a more feature-rich camera; its self-timer and depth-of-field preview were eliminated from the K1000 in order to get the price down. There’s one other big difference between the KM and the K1000: How much they cost today. Despite having more features, the lesser-known KM routinely sells for under $100. If the K1000’s slightly-higher price tag isn’t a budget-buster, though, consider your author’s favorite Pentax, the KX, which uses the same mechanism with a mirror lock-up and a better light meter.

    Skip: A Leica M-series rangefinder

    Are Leica’s legendary 35mm rangefinder cameras worth their sky-high prices? That debate will likely never be settled, but with the price of entry starting around $1,500 for less-desirable models and rising well above $5,000 for a nice M6—and that’s before lenses!—it’s a question for which few of us will have the opportunity to give an informed answer.

    Instead buy: A Voigtländer Bessa R or R-2

    The Bessa R
    Juozas Šalna

    Voigtländer is another German brand, except the Bessa R isn’t exactly German—it’s made by Cosina, a Japanese company that has manufactured cameras and lenses for numerous other well-known brands. Hard-core Leica fans might dismiss the Voigtländer as a plastic knock-off, but those who have used both cameras don’t seem to find the Bessa’s performance lacking. The Bessa R uses the 39mm Leica screw mount while the R2 uses the Leica M-mount. And while the Bessas don’t come cheap—figure $500 to $1,500—they are a great value compared to Leica. (Note that the Bessa T and Bessa L are less expensive, but the T has no viewfinder and the L lacks both viewfinder and rangefinder.)

    Skip: The Nikon FE or FE-2

    The FE-series was Nikon’s state-of-the-art consumer camera throughout most of the 1980s. A stablemate of the mechanical FM, the FE features an electronic shutter with an aperture-priority automatic exposure mode along with full manual control. Though cheaper than the FM-series cameras, the FEs still command healthy prices in the $100-$300 range.

    Instead buy: The Ricoh XR-2 or XR-2s

    The Sears/Ricoh KS Auto
    The Ricoh XR-2 was also sold as the Sears KS Auto. Aaron Gold

    Back in the 1970s and ‘80s, Ricoh was known for making feature-packed cameras at discount prices. The XR-2 and XR-2s (the latter accepts a power winder) have a similar feature set to the FE, including a match-needle meter display, shutter speed range of 1/1000 sec to 4 sec (the FE goes to 8 sec), and aperture readout in the viewfinder. Ricoh XR cameras are compatible with Pentax K-mount lenses, which are cheaper than Nikkor and of comparable optical quality (though Ricoh’s own Rikenon lenses are fine, too). Their plastic bodies feel a bit cheap, but don’t be fooled—Ricoh was an early adopter of durable polycarbonate, two decades before Canon. You’ll find the XR-2 for $50 or less, and the Sears-branded version, the KS Auto, is even cheaper.

    Skip: The Pentax LX

    Back in the 1970s and ‘80s, Pentax primarily pursued the consumer market, and the LX is one of their few pro-level film cameras from that era. An impressive camera, it features a weather-sealed body, interchangeable viewfinders, and an unusual hybrid shutter that is mechanically timed at high speeds (1/75 sec to 1/2000 sec) and electronic at slow speeds (4 sec to 1/60 sec). Among die-hard Pentaxians, the LX is considered the brand’s most desirable 35mm body, and prices are high, typically between $200 and $400.

    Instead buy: The Pentax K2

    The Pentax K2
    Alfred

    A predecessor to the LX, the K2 was actually Pentax’s first (albeit half-hearted) attempt at a “pro” camera, and while it lacks many of the LX’s pro-specific features, it offers similar functionality and uses the same K-series lenses. Its electronically-timed shutter offers speeds of 1/1000 sec down to 8 sec, and it’s the only camera in the K-series to offer an automatic exposure mode. The K2 DMD version was compatible with a motor drive and a data back and tends to sell for a bit more than the regular K2. You’ll find K2s in the $100-to-$150 range, sometimes even cheaper.

    Skip: The Minolta Maxxum 9

    The Minolta Maxxum 9 (known as the Dynax 9 in Europe and the α-9 in Japan) was Minolta’s last professional 35mm body. With weatherproof construction, a highly advanced autofocus system, and a 1/12000 sec top shutter speed, the 9 was a formidable competitor for the Nikon F5. The 9 was ignored for many years, but appreciation for this camera is growing rapidly, as are prices—they’re trading in the $250-plus range and prices are on the rise.

    Instead buy: The Minolta Maxxum 5

    The Minolta Maxxum 5
    Aaron Gold

    If the Maxxum 9 is a sleeper among pro bodies then its mid-level brother is a sleeper among Minolta SLRs. One of Minolta’s last advanced-amateur film bodies, the 5, encompasses many of the features of the Maxxum 7 (which some argue was a more advanced camera than the 9). It’s not weatherproof and its shutter tops out at a mere 1/4000 sec, but it has sophisticated autofocus and autoexposure systems and a plethora of programmable options. Because they appeared towards the end of the film era, many used examples have seen little use. Best yet, the Maxxum 5 is laughably cheap, with plenty on the auction sites for $30 or less. Your author bought his, in like-new condition and with a lens, for a mere $17.





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  • How to fly with film

    How to fly with film


    In this section of our three-part series about traveling with film, we’ll talk about the mode of travel most fraught with peril for film photographers: Flying. Back in the pre-digital days, flying with film was a no-brainer; you could pack your camera gear and buy all the film you needed at your destination (and perhaps get it developed there as well). Today, film is harder to find and airport security is tighter (and potentially more harmful to film), so airborne analog photographers have to do a bit more planning.

    (Note that the information in this article is specific to air travel in the United States. Other countries may—and likely will—have different regulations and procedures.)

    The primary problem facing film fans who fly

    Related: How to travel with film by land and sea

    Here’s the big problem for airborne film photographers: The scanners and X-ray machines used for luggage inspection produce light energy to which film is sensitive. These machines can potentially “fog” your film, causing dark spots or waves on the negatives (or light spots on slides) as if the film had been exposed to light. So the challenge when flying is to minimize or avoid situations that could potentially damage your film.

    Note that only undeveloped film is subject to damage. Developed negatives, slides, and prints are no longer light sensitive and cannot be damaged by airport security equipment. 

    Can you avoid X-rays altogether?

    Depending on your destination, it may be possible to avoid bringing film through the airport altogether. If you’re traveling to a big city, you might be able to buy your film locally. If you’re staying at a high-end hotel with a concierge, they may even be able to buy film for you (but beware of hefty prices and fees). You may also be able to mail-order film and have it sent directly to your lodgings; check with the property first to see if they can receive packages (and bring a couple of rolls in case your shipment is lost or delayed). Likewise, if you use mail-order film processing, consider sending the film off for development from your destination before you leave for home.

    Never put film in a ‘checked’ bag

    Do not put unexposed or undeveloped film in checked baggage, ever. The scanners used for checked baggage are more powerful than those used in carry-on luggage and will very likely fog your film. Film and loaded cameras should always be taken in carry-on luggage.

    A camera, passport and film.
    Always carry your film onboard with you. To avoid a potentially destructive zap from the X-ray or CT scanner, stow (preferably) unopened film in a clear plastic bag and ask for a “hand inspection” at security. Dan Bracaglia

    Related: Going back to film? Here’s what’s changed

    A related side note: When booking your airline tickets, beware of “Basic Economy” tickets, which do not always allow carry-on baggage beyond a small personal item. Buyers of these tickets often board last, when carry-on storage is full, and will sometimes be forced to check their baggage (for a hefty fee), where it could be subject to harmful scanning at stopovers. If you are traveling with film, make sure your air ticket allows you to bring carry-on luggage, and pack your film (and cameras) in a bag small enough to join you in the cabin.

    Film in carry-on baggage: Ask for a ‘hand inspection’

    The Transportation Security Administration (TSA) says that the X-ray machines it uses for carry-on baggage are safe for photographic film up to ISO 800*. We’ve had slower film scanned with no ill effects, but we also understand that the effects are cumulative and that multiple scans may cause fogging. (We asked TSA if we could run some test scans at our local airport; they politely denied our request, citing security concerns.)

    Fortunately, there is one good way to ensure your film will not be damaged: Ask for your film to be “hand inspected,” regardless of its speed.

    *Note that at some airports, TSA is introducing more powerful CT scanners for carry-on luggage, which can damage even slower-speed film.

    The PopPhoto guide to hand inspections

    First: We recommend being patient and polite with TSA agents. Remember that their first responsibility is security, not customer service—and also that they’re subject to a lot of vented frustrations from harried passengers. There’s no need to show fealty; simple politeness and civility will get you a long way.

    Film photography is popular enough that most TSA agents should be familiar with hand-scanning requests, but it does slow their workflow. When traveling with film, we always allow an extra ten to fifteen minutes to get through security (a margin we rarely need).

    We recommend carrying your film in a clear plastic zip-lock-style bag, with which TSA is familiar. Leave your rolls in their plastic canisters and/or sealed packaging whenever possible. We try to keep our cameras unloaded so they can pass through the X-ray machine, but loaded cameras can also be hand-scanned. Anything you’d like hand-inspected should be kept where it’s easily accessible; a backpack is preferable to a suitcase that must be unzipped.

    Before we put our luggage on the belt, we remove our film and loaded cameras, catch the eye of the nearest TSA agent, and say, “I have some film (and cameras) I’d like to have hand-inspected, please.” If asked if the film is under ISO 800 we either say no or (to avoid fibbing) tell them it’s going to be pushed and shot at a higher speed. (They may not know what this means but will generally accept it.) 

    Someone loading a film camera
    It’s best to hold off loading your cameras with film until you’ve reached your destination. Getty Images

    After walking through the scanners we try to stand somewhere conspicuous without blocking the flow of passengers. Film is usually checked by the same agents inspecting bags that have been pulled for secondary inspection, so there may be a wait. The inspection usually consists of swabbing the individual rolls, then putting the swab in a machine that checks for explosive residue. We’ve occasionally had requests to open boxes and always say yes (so long as they don’t pull your film out of the canister or unspool your 120 rolls, it’ll be fine). Once the machine gives the agent the green light, you’ll likely be sent on your way. 

    Going home: Have all film hand inspected

    Once your film has been shot, it’s still sensitive to light and can still be damaged by scanners, so be sure to have all of your film, shot or not, inspected by hand. We must reiterate: Do not put undeveloped film in checked bags. 

    If you’ve had your film developed while on vacation, there’s nothing to worry about—as we mentioned earlier, developed film, negatives, prints and slides are not light-sensitive. You can safely put them through the scanners or in your checked baggage.

    What about lead-lined film bags?

    Several manufacturers offer lead-lined film bags that claim to protect the film from X-rays. (We do not know if these bags protect against CT scanners.) We haven’t tried one in recent years, but if the bags do block X-rays, they will likely show up as a large dark blob on the security scan, which is likely to trigger a secondary inspection. We find it easier to simply request a hand inspection and avoid the inconvenience of having TSA unpack our bags.

    Advice for other countries

    While we’ve never had a request for hand-scanning denied in the US, we have been refused in Europe, and we don’t know if this was down to security procedures or a language barrier. For this reason, if you do travel with analog cameras overseas, consider bringing a slower-speed film, which is most likely to survive scanning with no ill effects. That said, we understand that some European countries are also introducing CT scanners for hand luggage, which is much more likely to fog film. 

    Ultimately, it’s best to check the official website for the security agency of the country to which you are traveling. If they don’t have a clear-cut policy covering film, you might want to consider traveling with a digital camera or making provisions to mail your film home before you leave.





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  • The best carbon fiber tripods for 2023, tested and reviewed

    The best carbon fiber tripods for 2023, tested and reviewed


    We may earn revenue from the products available on this page and participate in affiliate programs. Learn more ›

    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.

    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

    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

    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

    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

    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

    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

    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

    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

    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

    Q: Are carbon fiber tripods worth it?

    Carbon fiber tripods are worth it for some people, but not all. Those who travel or hike a lot will want a compact and lightweight tripod, as heavy or bulky ones will be frustrating to carry around. Carbon fiber tripods are smaller and lighter than aluminum alternatives, and those weight savings can absolutely be worth it. But, if you need a sturdy tripod for a studio or other general-purpose setting, a carbon fiber tripod may not be worth the cost.

    Q: How much do carbon fiber tripods cost?

    Carbon fiber tripods will cost you anywhere from around $150 all the way up to $1,700 or so. Typically, the more expensive the tripod, the sturdier it will be and the more weight it can support. 
    While you may be tempted to go with the cheapest carbon fiber tripod you can find, keep in mind that all carbon fiber is not created equal. A cheap carbon fiber tripod may actually be less durable and sturdy than an aluminum tripod that costs the same amount.  

    Q: Which is better, carbon fiber or aluminum tripod?

    Whether carbon fiber or aluminum tripods are better depends on your needs and preferences. Carbon fiber tripods are stronger, more durable, and lighter, making them the better choice for photographers who travel or use a tripod in harsh conditions. But, they are more expensive, and because they are so lightweight, they may need weight added in order to have enough stability.
    Aluminum tripods are much more affordable than carbon fiber, making them better for beginners. And, for those using big, heavy cameras or needing extra stability without additional weight, aluminum may be the better choice.

    Q: Can you buy refurbished carbon fiber tripods?

    Yes, you can buy refurbished and used carbon fiber tripods. This can be an excellent way to get a quality carbon fiber tripod while saving some money. You’ll find plenty of options on sites like eBay or the B&H used section.

    Final thoughts on the best carbon fiber tripods

    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.





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  • The Star Wars Lightsaber was based on a camera flash handle

    The Star Wars Lightsaber was based on a camera flash handle


    We love when nerdy things collide here at Pop Photo, and that is precisely what happened with the creation of perhaps the most iconic movie prop of all time. As the video below from DigitalRev In-Focus explains, George Lucas wanted the props in the Star Wars films to look used in order to suggest a sense of history. He didn’t want shiny new objects in his films. They also had a very limited budget when filming those initial movies. The low budget required they get scrappy—literally—in how they created props.

    As a result, set decorator Roger Christian would browse antique and junk stores for items to use as props. He was in a tiny camera store in London’s West End and asked if they had anything that he might find interesting. The owner took out a dusty box of antique camera goods, which included a 1940s Graflex camera with a three-cell flash gun. A lightbulb went off for Christian. The flash handle became the base for Luke’s lightsaber.

    It took only a few modifications to create the legendary weapon. The actual “blade” portion of the weapon involved painting a tube with blue projector material and adding a light, which made it glow. Luke’s was one of two lightsabers that Christian designed. The entire thing took only $15 to build, though it sold in 2012 for $250,000. That makes it one of the most expensive movie weapon props ever sold. It even beats out Ghostbusters props. And that number is likely even higher now since it was featured so prominently in Episode 7.

    Lightsaber handle design
    The flash handle from the Graflex camera fit the concept for the lightsaber perfectly. DigitalRev In-Focus

    Of course, there is a downside to cameras becoming pieces of sci-fi legend. Camera collectors have had difficulty getting their hands on Graflex flash handles since so many were bought by Star Wars prop collectors and cut up to become lightsabers. A genuine original Graflex can cost thousands of dollars at this point. And camera collectors say that valuable antiques are getting destroyed in the process. Whether you agree that history is being destroyed or are all about your genuine lightsaber props, we think this clash of photography and pop culture history is a fun one.





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  • This vintage video shows what it was like to be a pro photographer in 1946

    This vintage video shows what it was like to be a pro photographer in 1946


    While we spend most of our time here at PopPhoto nerding out about the latest and greatest photography gear, we’re also suckers for truly old-school photo content. This fascinating video outlines what it was like to be a professional photographer in 1946.

    Obviously, the industry, technology, and, well, pretty much everything has changed quite a bit back then. But some things do sound familiar. For instance, it’s weird to hear that there was an abundance of people in the profession even back then. The tools were obviously much less accessible than they are now, but even back then, people wanted to get in on the pro photography game.

    Videos like this are truly a time capsule, and I have to wonder what it will feel like for people in 2100 to look back on the state of the industry in 2023. Our precious megapixels will likely feel so quaint.





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  • Save 50 percent on the LensPen with this early Black Friday deal

    Save 50 percent on the LensPen with this early Black Friday deal


    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)

    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.

    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

    Shelving systems

    Desk organization





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  • Canon adds three new lenses and a Power Zoom accessory to its RF lineup

    Canon adds three new lenses and a Power Zoom accessory to its RF lineup


    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.

    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.

    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.

    The Canon RF200-800mm telephoto lens is placed against a white background.
    Canon

    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.

    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.

    The Canon RF-S10-18mm lens is placed against a white background.
    Canon

    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.

    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.





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  • Save on Sony gear with these early Black Friday deals

    Save on Sony gear with these early Black Friday deals


    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.

    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

    Deals on Sony zoom lenses

    Deals on Sony prime lenses





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