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  • Leadership Headshots And Environmental Portraits For A Grocery Retailer – A Photo Editor

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    Andrew Souders. Wonderful Machine

    Each month, we explain a recent cost estimate, contract, or purchase order in the form of a Pricing & Negotiating article. By redacting the names of the photographer and the client, we can share useful information that would otherwise be confidential. You can read more about our Building Estimates service on the Consulting Services page of our website.

    Concept: Executive Headshots and Environmental Portraits
    Licensing: Perpetual Publicity and Collateral use of 7 images
    Photographer: Portrait and Lifestyle Specialist
    Client: National Grocery Store Chain

    Summary

    I recently collaborated with a photographer to develop an estimate for a corporate portraiture photoshoot for a US-based grocery retailer. The project’s goal was to capture the authenticity, approachability, and leadership of the company’s Chairman/CEO and President/Vice-CEO.

    We planned for the shoot to take place in a single day at a store location in the Southwestern US. The client would plan to coordinate the schedule to minimize disruption to store operations and, at the same time, allow the photographer to accomplish everything they needed to.

    Deliverables included 4 high-resolution headshots and 3 environmental portraits, all licensed for perpetual publicity and collateral use. They intended for these visuals to enhance the company’s marketing materials, reinforce its brand ethos, and connect with its customer base on a more personal level.

    Fees

    The client’s brief outlined a need for Publicity and Collateral use for the imagery, which informed the pricing structure. We determined that perpetual usage rights were appropriate for this particular project.

    • Perpetual usage relates to the duration the client can use the images. Perpetual usage means the client can use the images indefinitely. But, the usage is still confined to the agreed-upon media (in this case, publicity and collateral).
    • Unlimited usage, on the other hand, implies no restrictions on the type of media placement, often making it broader usage for things like paid advertising.

    Why Perpetual Usage?

    • Leadership portraits don’t stay relevant forever. Executives update their photos every few years, so setting a time limit on usage would likely expire after the images are already outdated.
    • It simplifies things for both the client and the photographer. No need to track expiration dates or negotiate renewals for images that won’t be used long-term anyway.
    • It encourages repeat business. Even with perpetual rights, occasional leadership changes (just in the age and look of the person, or who’s in the actual role itself) mean new photos will be needed. Making the process easy builds goodwill and increases the chance they’ll return to the same photographer.
    • The intended use is long-term but not commercial. Since these images are for PR and internal branding (not paid advertising), perpetual licensing makes sense — it’s a one-time cost for the client, with not much downside for the photographer.

    The creative and licensing fee was set at $3,500, a rate reflecting the project’s somewhat smaller scope balanced with the longevity of the usage rights. We also included a tech/scout day, priced at $500, to allow the photographer to familiarize themselves with the location and refine logistical details.

    Crew

    We included a first assistant at $500/day, with an added 25% payroll fee, bringing the total to $625 for the shoot day. Given the shoot needs, the inclusion of the photographer’s trusted first assistant to handle equipment setup, lighting adjustments, and management of digital workflows was of great importance.

    Styling

    We allocated $875 for a men’s groomer/hair and makeup stylist to be present on shoot day. This role would also include light wardrobe adjustments, providing the professional polish necessary for high-quality headshots and portraits.

    Equipment

    We allocated a conservative budget of $250 to cover any supplemental equipment needs. The photographer owned most of the required equipment, but additional backdrops were necessary to achieve the desired aesthetic for the headshots.

    Misc.

    To cover incidental costs such as meals, parking, and mileage, we included a budget of $200. We noted these expenses were to be billed at cost to provide flexibility while maintaining transparency.

    Post-Production

    We budgeted $300 for the initial edit and client review, hosted on a web gallery. We allocated an additional $700 for retouching seven selected images, priced at $100 per image to include up to one hour of retouching work each. This process ensured each image met the client’s expectations and upheld the brand’s standards.

    Results

    The photographer was awarded the project, and the shoot was scheduled to take place within the following weeks!

    Follow our Consultants @wonderful_at_work.



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  • David Attenborough Turns 99 and He Wants You to Fight for It

    David Attenborough Turns 99 and He Wants You to Fight for It

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    May 8th is David Attenborough’s 99th birthday, and in his new documentary, Ocean, he’s marking the occasion with a veritable call to arms. “If we save the sea, we save our world,” says Sir David.

    Over the last seven decades, the beloved English presenter has made many films focused on our marine world, but this latest one is something different. Of course, there’s awe-inspiring cinematography aplenty, as you’d expect, but this time, the camera shows us the full extent of the tragedy occurring on the high seas today: The colorful reefs teeming with fish abruptly give way to vast deserts of broken, gray, lifeless coral—the aftermath of dragging huge nets along the ocean floor, killing everything in their path.

    “When I first saw the sea as a young boy, it was thought of as a vast wilderness to be tamed and mastered for the benefit of humanity,” says Attenborough in Ocean. “But now, as I approach the end of my life, we know the opposite is true.” Elsewhere, he admits: “After living for nearly 100 years on this planet, I now understand the most important place on Earth is not on land, but at sea.”

     

    https://www.youtube.com/watch?v=v5J7aP2FYH4


    While Sir David may have been criticized in the past for not doing enough to sound the alarm regarding the destruction of the natural world, in this documentary he doesn’t mince his words as he explains all the shocking ways we are harming our seas—with a particular emphasis on the blanket destruction caused by bottom trawling. Not only is he enraged that this practice is legal, but he’s also incensed by the fact that it is actively encouraged by governments through subsidies. “Three billion people rely on our ocean for food,” he points out in Ocean. “But ships sent by a few wealthy nations are starving coastal communities of the food source they have relied on for millennia. This is modern colonialism at sea.”

    Ultimately, though, Sir David is still hopeful. What he calls the “most remarkable discovery of all”—that the ocean can “recover faster than we had ever imagined”—has kept him from despair. He remembers a time, as a young man, when large-scale commercial whaling had all but wiped out our ocean’s largest inhabitants, but how—against all odds—a global powers bowed to public pressure and worked together to save the whales by enacting a moratorium on commercial whaling. In Ocean, he shows us places where conservation measures have been effective and marine life is thriving, and he’s optimistic about the global commitment to protect 30 percent of the world’s ocean by 2030, established at the 2022 UN Ocean Conference.

    At 99, Attenborough’s mellifluous voice is still strong: “It is my great hope that we all come to see the ocean, not as a dark and distant place with little relevance to our lives on land, but as the lifeblood of our home,” he says.

    Ocean is in cinemas from May 8th, and will stream on Disney+ on June 8th—UN World Oceans Day.

     

     



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  • SeaLife Shipping Red, Magenta and Yellow Filters for SportDiver Smartphone Housings

    SeaLife Shipping Red, Magenta and Yellow Filters for SportDiver Smartphone Housings

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    SeaLife Shipping Red, Magenta and Yellow Filters for SportDiver Smartphone Housings

    Alongside the release of the SportDiver S, SeaLife has announced a trio of color filters that can be used with all models of the underwater smartphone housing, including the original model and the “Ultra” model as well as the new “S” model. The original red filter—which ships with the SportDiver Ultra but not with the SportDiver S—is joined by a new magenta color-correcting filter for green water applications and a yellow barrier filter for fluorescence imaging. Each filter comes with a lanyard.

    Priced at $20 each, the red, magenta and yellow are available from Backscatter and other good retailers.

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.


    PRESS RELEASE

    SeaLife Offers Color-Correcting Filters for Popular SportDiver Smartphone Housings

    MOORESTOWN, NJ – SeaLife, the maker of the SportDiver Underwater Smartphone Housings for iPhone and Android smartphones, has added color correcting filters to their accessory assortment including the original Red color filter for most diving applications; a new Magenta color-correcting filter for green water; and a Yellow filter is available for Fluorescence and UV Imaging, and certain blue water applications.

    The filters are designed to restore and correct for color-loss underwater, especially in the red color spectrum. They’re made of an optical acrylic that uses proprietary color pigments. The filters are most effective at depths of 10ft/3m to 60ft/18m and are easily attachable and removeable to the SportDiver optical lens frame while underwater. The filters fit all SeaLife SportDiver models, including the original SportDiver, SportDiver Ultra and the new SportDiver S.

    The color filters may be used with or without external underwater lights, depending on the shooting distance and water conditions. The filter also serves as a protective cover for the SportDiver’s optical glass port.

    A lanyard is included for attaching the filter to the housing to prevent loss.







    Item Description US Retail
    SL40007 SportDiver Red Color Filter – for most Blue water applications $20
    SL40003 SportDiver Magenta Color Filter – for Green water $20
    SL40005 SportDiver Yellow Color Filter – for UV, Fluoro Lights, Blue water $20

    SeaLife SportDiver S with red filter



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  • Low-Light Portrait, Storytelling Frames and Good Vibes!

    Low-Light Portrait, Storytelling Frames and Good Vibes!

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    Welcome to the Light Stalking weekly community wrap-up!

    If you’ve been following these words for the last couple of weeks, you might have noticed the strong duality between light and time when attempting to capture the essence of movement. Curiously enough, the upcoming set, which always matches our current contests, spins around another classic of photographic practice; storytelling in a single frame!

    But what makes such storytelling differ from the regular one? Personally, I see storytelling as the attempt of transmitting a broad story with the aid of visual and written information. However, when thinking about a single frame —capable of telling a story all by itself— things tricky quite fast.

    However, I’ve witnessed a tendency towards thinking that these sorts of images are products of a single serendipitous shot. And to be honest, I blame this a bit on all the hype surrounding the oddly translated title from HCB‘s famous book “The Decisive Moment”. Originally titled in French as Images à la sauvette, which most closely translates to “images on the sly” or “hastily taken images”, this book has sort of aided the false belief that great photographs are those perfectly captured just once on silicon or film.

    This way of thinking builds up the idea that if you don’t capture something perfectly on camera, you are doing it wrong. Or at least I thought of great iconic photographs as that, until I had the life-changing opportunity of coming across contact sheets; that’s when I knew we only get to see the decisive shot from the perspective of the editing board, not the author of the frame.

    For today’s wrap-up, we’ve picked a fine selection of single storytelling frames shared on this week’s challenge. So, without more horsing around, let’s dive into what our talented community shared with us!

    Photo of the Week

    And speaking of sly, if you ever feel the need of illustrating how technology blends with photographic skills to capture sharp images on the run, this one can do a great job! Nocturnal street imagery, is both gorgeous and challenging; and of course, is better enjoyed with fast tools like the ones used on this magnificent — and full manual capture at ISO 1250, 1/400s, ƒ3.5:

    copyright – davidc

    A day in sales!

    Congrats David, the light on this shot is just exquisite and the notorious expression of the subject makes it unique; thanks 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 – Robert Apple
    copyright – Michael
    copyright – Wendy P
    copyright – Pat Garrett
    copyright – Pat Garrett
    copyright – davidc
    copyright – Timothy S. Allen
    copyright – Wendy P
    copyright – Patrick
    copyright – Patrick
    copyright – Patrick
    copyright – Frogdaily
    copyright – Robert Apple
    copyright – Tersha
    copyright – Tersha

    To contribute, check out the original challenge post!

    A Highlight on the Latest Activity at our Community

    Rob shared this fantastic non-ai generated image, ergo a stunning photograph!

    copyright – Rob Eyers

    Patrick shared this simple yet effective example of some basic composition understanding:

    copyright – Patrick

    Diane shared a familiar phenomena to all of us light stalkers:

    copyright – Tersha

    Last but not least, Patrick sends us all some nice good vibes

    copyright – Patrick

    Don’t forget to check the photo contest winners for the Essence of Movement; and remember, this month’s photo contest is now open for entries. The theme revolves on “Storytelling in a Single Frame“. 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 to comment 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 will also 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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  • Sony and Canon Tease Upcoming Camera Announcements

    Sony and Canon Tease Upcoming Camera Announcements

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    Camera conspiracy theorists unite: Both Sony and Canon are teasing camera releases on March 26th with mysterious clues.

    Starting off with Sony, the company released a teaser-trailer-style clip of a veiled new camera model. There’s not much to go on, but eagle-eyed viewers have spied a button labeled “5” as well as a 3.5mm jack.

    Combined with the “Go small, shoot big” catch phrase, speculation centers on the announcement of a new cinema-style camera—something similar to the Sony FX6. Other guesses in the video comment section include a long-awaited update to the Sony a6700.

     


    For its part, Canon is also contributing to the rumor wheel with an Instagram post glimpse at two new camera models. Shrouded in shadow and only labeled with “V,” it seems likely that the cameras will fall into Canon’s new Powershot V1 “vlogging” compact cameras.

    Canon recently debuted the Powershot V1 at the CP+ show in Japan to much buzz. It’s a pivot in the company’s compact lineup with trendy vloggers in mind—featuring a 16–50mm equivalent f/2.8–4.5 lens and 4K/60p shooting mode.

    Set the countdown to March 26th…



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  • Restaurant and Retail Images for a Design Firm – A Photo Editor

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    By Bryan Sheffield, Wonderful Machine

    Each month, we pick one of our recent estimates to write about in a Pricing & Negotiating article. Redacting the names of the photographer and client allows us to share valuable and educational information that would otherwise be confidential.

    Concept: Portfolio content photography of an architecture and interior design firm’s recently completed restaurant & retail spaces within an airport
    Licensing: Collateral and Publicity use of up to 15 images in perpetuity
    Photographer: Architecture & Interiors specialist
    Client: Large retail space architecture and interior design firm

    Summary

    I recently helped one of our NYC photographers build an estimate for a good-sized architecture and interior design firm. The firm requested an estimate for photography to document 4 of their soon-to-be-finished spaces within a NYC area airport terminal. The final use of the photography would primarily be web collateral within the firm’s website, publicity efforts, as well as submissions to a few notable design award competitions. When we first began speaking with the client, they let us know that the completion date was about 3 weeks out. Moreover, they informed us that the photographs needed to be taken at night because the restaurants and shops would be open the following day.

    The client was very specific with their shot list needs. They would, however, rely on the photographer to accomplish this list in an artistic manner. They also let us know that they would need the final images within 2 days of the shoot date in order to meet their award submission dates. The client would arrange all special permissions for the photographer, crew, and equipment access to the spaces due to our need to work after the airport terminal had closed. We also knew that although our client designed these 4 spaces, they would all be owned and operated by other brands. With this in mind, we attempted to upsell and inquired whether the brands or proprietors might be interested in use of the final work. These potential clients, however, were not interested.

    Here is the estimate:

    I added a “Client Provisions” note to describe what the client was to provide. For this project, the client would provide locations, all location access and coordination, all location styling and cleaning, all employee/staff coordination, crew meals and craft services.

    Fees

    I put the Photographer’s fees at $6,500 for the shoot, and licensing of up to 15 images. We understand that the NYC market is very competitive and there are many other photographers in the area that could accomplish this job. The saturated market (unfortunately) put downward pressure on the photographer’s fees. We felt that $6,500 was a fair and competitive fee based on the metropolitan area, client, and the use of up to 15 images. The client offered a budget of “between $10,000-13,000” for the project. Based on the rush retouching fees needed we felt comfortable coming in roughly $1,100 above that.

    Crew

    We added a First Assistant/Digital Tech at $650/day to help with lighting and camera equipment management, and computer/file management while the photographer was shooting. These fees were consistent with the crew rates on the photographer’s past projects of this nature.

    Equipment

    We included $750 for camera, lighting, and grip rentals. The photographer brought their own cameras, lenses, and simple lighting. We added $450 for the digital tech workstation rental laptop, cables, etc.

    Misc.

    We included $240 for insurance coverage. We then added $250 for the anticipated taxis/car services to get to and from the airport, additional meals, and other miscellaneous expenses.

    Post-Production

    We added $500 for the photographer to perform an initial edit of all the content and delivery to the client. We also included rush retouching rates of $225/hr for an estimated 2 hours per image.

    Results

    The photographer was awarded the project and the shoot was a success. During the shoot, there were quite a few issues as several of the locations were not totally finished. In order to accomplish some of the wider images, the photographer needed to have their camera placed in a location not closed to the public. Due to this factor, a good amount of additional retouching was needed on the images, which was approved by the client.

    Follow our Consultants @wonderful_at_work.



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  • Microsoft Publishes Full AI-Generated Ad and No One Noticed

    Microsoft Publishes Full AI-Generated Ad and No One Noticed

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    Well, until they told us that is.

    gray microsoft surface laptop computer on white table
    Gray microsoft surface laptop computer on white table. Photo by Windows

    In a sign of the times, Microsoft published a blog describing the process behind one of their latest ads which relied upon AI-generated imagery and content to work.

    Ostensibly conceived to demonstrate the company’s prowess in AI, the ads show off Microsoft’s latest iteration of the Surface along with what is can do for businesses using CoPilot.

    How did this come to be?

    Hint: If you’ve ever used ChatGPT or anything like it before, then you probably have some idea.

    “We probably went through thousands of different prompts, chiseling away at the output little by little until we got what we wanted. There’s never really a one-and-done prompt,” Creative Director Cisco McCarthy told Microsoft. 

    “Like carving a masterpiece from a block of marble, each prompt was a careful stroke of the sculptor’s tool that gradually revealed the form within. Through relentless experimentation and countless revisions alongside generative AI, the team eventually conjured a library of stunning art for characters and sets, translating their ideas into captivating visualizations for the ad,” the company writes. 

    That’s an interesting way to describe it. The results speak for themselves, naturally, and you can watch them over on YouTube at this link.

    From our perspective, we’re seeing it as yet another sign of the times and as further evidence of one of the biggest trends to shake up our industry since we started writing this news blog. How we got here and where we are going are always interesting to ponder but they might make us miss the fact that the future is very much here and now already. 

    Any thoughts that you might have on AI-generated advertising are welcome in the comments. 

    We have some other news you might like to read at this link.



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  • Time’s Flow, Star trails and Springtime!

    Time’s Flow, Star trails and Springtime!

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    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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  • Backscatter Introduces Excitation Filters for Fluorescence Photography and Video

    Backscatter Introduces Excitation Filters for Fluorescence Photography and Video

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    Backscatter is getting into the fluroresence photography and video game with the latest accessories for its Hybrid Flash and Macro Video 4300—the new Backscatter Hybrid Flash Fluorescence Excitation Filter and Backscatter Video Light Fluorescence Excitation Filter, respectively. The former attaches to the HF-1 using the diffuser bayonet mounting system, while the latter snaps onto the front of the MW-4300 the same way as Backscatter’s color filter holder, and both filters are carefully tuned to excite fluorescence optimally. (The latter is also compatible with the Backscatter Mini Flash, but since fluorescence is a weak effect, Backcatter says you’ll get more vibrant images by making use of the power of the Hybrid Flash instead.)

    The new blue excitation filters for the Hybrid Flash and Macro Video 4300 are used in conjunction with suitable yellow “barrier” filters that attach to ports, lenses, and filter mounting systems. The barrier filter removes the blue light in your image or video, ensuring your camera records only the colorful fluorescence that is left behind. Backscatter offers threaded barrier filters in various sizes (52mm, 55mm, 67mm) as well as a barrier filter for the company’s FLIP filter system for GoPro. Also available is the Backscatter Fluorescence Yellow Barrier Filter Dive Mask, which allows you to find suitably fluorescing subjects.

    To give you a better idea of the amazing results you can achieve with the new excitation filters, Backscatter has prepared a must-read article, “The Backscatter Underwater Fluorescence Strobe & Lighting System,” which tells you more about the fluroresence phenomenon, gives you recommended settings to get the best results, and, of course, offers lots of inspiring fluoro images to get your creative juices flowing. Available now, the Backscatter Hybrid Flash Fluorescence Excitation Filter and Backscatter Video Light Fluorescence Excitation Filter are each priced at $200. The barrier filters cost between $20 and $50.

     

    Left: Backscatter Hybrid Flash with Fluorescence Excitation Filter.

    Right: Backscatter Macro Wide 4300 with Fluorescence Excitation Filter

     

    Left: Fluorescence Excitation Filter for Backscatter Hybrid Flash.

    Right: Fluorescence Excitation Filter for Backscatter Macro Wide 4300

     

    Left: Threaded Fluorescence Barrier Filter (52mm, 55mm, 67mm).

    Right: FLIP Fluorescence Barrier Filter for GoPro

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.



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

    The best carbon fiber tripods for 2023, tested and reviewed

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    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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