Achieving the perfect shot takes more than a good camera.  You’ll not only need an abundance of raw talent, but an apparatus or two to accomplish this.  You could always opt for an expensive tripod or steadicam, but that’ll put you in the hole before you complete and sell your first vignette; they often cost at least a few hundred dollars.

The Cam Caddie Video Stabilizer effectively converts any DLSR into a professional grade camcorder.  It utilizes the weight of the camera to stabilize shots, reducing if not removing shakes and jolts without the usual myriad of counter weights and complicated adjusters.  The curved handled is designed to mimic that of a scropion and leaves enough room (6-inches of space) for even the most obtuses lenses.  And Mounting it is as simple as screwing a standard tripod thumb screw.

Our friends at Photojojo sell it for $39.99.

It’s probably understatement, but the pocket friendly DSLR camera landscape is heating up. Today, Nikon announced the Nikon J1 and V1, an interchangeable lens mount camera that boasts HD video capture and a super fast autofocus system that is currently unparalleled.

First, let’s get the core features out of the way. Behind the lens sits Nikon’s all new EXPEED 3 image processing engine. It can capture full HD video at 30fps or 10.1 megapixel images. For low light situations the J1 and V1 can increase their ISO to 3200, provided of course the built-in pop up flash doesn’t suffice.

So what makes the J1 and V1 unique? Aside from boasting and interchangeable lens system, they can snap up to 60 images a second if the focus is locked. That number drops to 10fps when full adaptive focus is activated, which uses up to 73-points to create a crisp image in not time flat, large in part thanks to the world’s fastest hybrid autofocus system.

There are of course your standard scene modes, and a feature called “Smart One” that snaps up to 5 images and then selects the best one based on exposure, face detection and focus.

By default the Nikon 1 series cameras can record HD movies at 30fps. However, they can also capture full motion video at 400 and 1200fps, though you’ll inevitably sacrifice picture quality.

Both cameras include a resolution 3-inch LCD, while the V1 sports an electronic viewfinder with 1.4 million dot resolution that automatically activates when the camera is raised to your face.

The Nikon J1 will go on sale on October 20th for $649.95 and will include a 10-30mm lens kit. Alternatively, for $899.95 you can pick up the Nikon V1 with a 10-30mm lens kit.

Today, Olympus officially unveiled the Olympus PEN E-PM1 camera.  It’s the smallest and lightest of the PEN cameras, but can still capture HD video and photos, and is compatible with Olympus’ interchangeable lens system.

Behind the lens is a 12.3 megapixel sensor supported by two (dual core) processing engines that is designed to capture photos in low light situations thanks to its 12,800 ISO.  However, it lacks a built-in flash, so you’ll need to purchase that separately if you really want to take night time portrait shots.

This particular model is devoid of a touchscreen, but still boasts a 3-inch 460k dot LCD, which should suffice for most consumers.  And much like the E-PM1′s bigger brothers, it boasts 23-scene select modes (3D mode, Fireworks, Sunset, Children, Macro, Panorama, etc) and an iAuto mode that that automatically identifies the scene at hand and adjusts the settings accordingly.

A dedicated movie button lets you capture full HD movies at  moments notice, while up to 5 photos can be captured per second.   And to add to the impressive list of features, Olympus says that the E-PM1 can not only focus at an incredible speed, but that it can offers 35 separate focus areas enabling it to focus on the smallest of subject throughout the entire frame.

So are there any caveats to this PEN camera?  Just based alone on the press release, there appears to be little to no manual options.  So the E-PM1 is largely targeted at the point and shoot crowd that wants the equivalent optics of a DSLR, but not the hassle of tweaking a variety of settings.

The Olympus E-PM1 will launch this September and retail for $499.99, which includes a MSC M.ZUIKO DIGITAL ED m14-42mm II lens.

Until a few years ago, megapixels, otherwise known as photo resolution, was the name of the game.  But now the market is saturated with an abundance of cheap, high resolution cameras that can not only achieve stunning picture quality, but full HD video that is comparable to some professional cameras of just a few years ago.  But one problem still remains: an affordable dolly system for producing high end cinematography.  That is until now.

Justin Jensen of Austin, TX, while studying as an engineer at the MIT media lab, recognized this problem.  The result? The CineSkates. They’re designed, along with his patent pending Cinetics Connect attachment, to connect a portable tripod to a set of rollerblade like wheels, enabling everyday joes to achieve professional dolly like shots.   Those shots include:

• Arcing shots that rotate around objects
• Sliding shots that push or pull the subject into focus
• Rolling shots that glide over the subject
• Time-lapse shots that move the camera slowly and smoothly
• Panning shots that scan a wide area
• “Worm’s eye view” shots that slide just above the floor

He is quick to point out that his apparatus can be used in a variety of scenarios (detailed further in the video) such as weddings, music videos, real estate ads and even narrative or documentary films.

While it may take sometime to adjust to the CineSkates, it’s probably safe to conclude that the learning curve is pretty minimal.  But in the event you struggle with this new fangled camera toy, Justin is also tossing in a ‘how to’ video.

The CineSkates are made up of 44 different parts, so to call them intricate might be an understatement.   It’s up to you if you want to buy the whole kit, which includes not only the skates, a carrying case and his Cinetics Connects, but one of Joby’s GorillaPod Focus and Ballhead X mounts.

As it happens Cineskates is a Kickstarter project.  They asked for $20,000 in funding and have already achieved their goal.  As a result you’ll have to wait for the Cineskates to enter the retail market, where upon you can purchase your very own for $200, or spend $350 and get the whole package, including Joby’s products.

Sony has been at the camera game for sometime now, but until today none of their compact digital cameras have been as robust and exciting as the just introduced NEX-7.  Yes, it’s comparable in terms of form factor to the NEX-3 and NEX-5, but it extends well beyond their feature set to provide a fully featured, interchangeable lens camera that can capture high res pics and full HD video, all the while weighing just 10.3oz (body only).

Behind the lens is a 24.3 megapixel all new Exmor APS HD CMOS sensor.  Sony says that it’s the highest in its class and we’d have to agree.  As already mentioned the NEX-7 can capture full HD video as well as shoot in low light situations thanks to it’s massive ISO range of 100-16,000.  If for some reason the lighting scenario is of no concern, but speed is, you should take comfort in the fact that its shutter lag has been reduced to a mere 20 milliseconds – the fastest of any interchangeable lens digital camera – and all the while boasting the ability to capture up to 10fps, which is also a world’s first for any mirrorless interchangeable lens camera.

Now when it comes to many of this supposed pocket friendly DSRL, you often lose the manual options that their big brothers sport.  However, Sony says that the NEX-7 has two control dials as well as a control wheel, allowing photogs the ability to manual adjust pics and achieve what the company says are advanced DSRL like pictures.

A first for Sony, and any camera in this class, is a an integrated XGA OLED TruFinder viewfinder.  While its optics have yet to be tested, we can only assume that colors and the overall image are more accurately portrayed than other viewfinders on the market.  It’s also worth noting that this viewfinder provides approximately 100 percent frame coverage and a wide field of view “that rivals pro-grade optical viewfinders.”  Complimenting the viewfinder is a 3-inch Xtra Fine LCD display that can be angled up to 90-degrees up or 45-degrees down for those over the head or under the dress situations.

Much like the NEX-C3, the NEX-7 also includes Sony’s Picture Effects, which includes 11 modes and 15 effects, allowing for “artistic effects” to be achieved without the need for a computer.  These effects include new HDR Painting, Soft Focus, Miniature and Rich-Tone Mono, Soft Skin, Auto HDR, Handheld Twilight and Anti Motion Blur Modes.  And lets not over look their 3D Sweep Panorama mode, which as the name says should provide a 3D image (on a compatible screen) of a panoramic view.

Last, and most certainly necessary to make the NEX-7 a success, is a built-in flash and an Auto-lock Accessory Shoe – latter supports the full range of Alpha flashes and monitors, as well as adaptors to accommodate studio lighting.  The NEX-7 is compatible with both Sony’s line of memory cards as well as SD cards.

The Sony NEX-7 will be available this November in a kit with an exclusive black 18-55mm zoom lens for about $1350, or as a body-only for about $1200.

5 out of 5 stars

Lugging around a giant camera is not exactly how I envisioned becoming a photographer. For the best pictures, you need an SLR, but they’re big, bulky, and a hassle to carry. For the past two years, as I’ve picked up photography as a hobby, that’s the one sticking point, the one reason I’d leave my camera at home instead of carrying it everywhere.

I don’t have to anymore.

The Capture Camera Clip System – CCCS for short – is a buckle with a tripod-like 3/8th” connector that snaps a camera safely and securely to a belt or bag strap so you don’t have to carry it by hand or strap. After using it for a month, it’s changed the way I take pictures.

When I went to Hawaii last year, I rarely used the D7000. Between running through the hotel resort doing various water-based activities and going out on the town, carrying a big camera to capture those favorite moments, frankly, sucked. There are a number of strap-based solutions, vests, and bags that promise to fix that exact problem, but they’re all large or in some way strenuous to the user.

The CCCS does just that, using only two pieces, the buckle and connector. Attaching the buckle to straps or belts is simple and painless, and it can be adjusted to hang on so tightly that it won’t move. A giant red button acts as the camera release, which slides lets users slide the connector out. To put it back in place, just slide the camera in and the red button will click shut. The point is this: when you’re ready, unclip and shoot.

This system works magnificently because of the sturdy and minimalist design. Trusting expensive equipment in something this small was tough. After very strenuous use (I couldn’t ply my D7000 off the mount with all my strength), the CCCS stands up as strong enough to hold a DSLR on a strap without breaking. All that strength comes from that red button, which is tremendous. I haven’t once had difficulty removing or clicking a camera into place.

The CCCS stays hooked to a strap or belt so strongly that it’s practically impossible to remove it by force

The overall design is so well thought out that the bottom of the clip includes a 3/8th” pin so the camera can be connected to a tripod without removing the clip. Two screws tighten and loosen the clip to hold onto belts and straps, and are hand-adjustable. The red button is easy to press and find, and because of the adjustable height of the clip the CCCS will fit on almost any belt or strap.

If you own a DSLR, or even a large point and shoot or small camcorder that you hate carrying by hand or with a bag, the Capture Camera Clip System is the best camera accessory to own. It’s fast, a snap to use, and a photographer’s new best friend. I never leave home without it. There are only two things I would change: the extra locking screw (which only damages the camera attachment), and the name. Capture Camera Clip System is a terrible name, I demand this Kickstarter project find a better one. Try PhoClip.

The Capture Camera Clip System is available for purchase via Kickstarter for various prices.

The iPhone 4′s camera is without a doubt a top notch shooter. However, if you’re a PI, as in private investigator, it’s anything but practical.  That is unless of course you throw down $250 for the iPhone SLR Mount from Photojojo.  OK, so the chances a PI would use their iPhone 4 for snooping is beyond slim, but it does enable you to use your Nikon or Canon lenses with the iPhone’s camera, which means you can achieve that professional look on your smartphone.  The case itself is crafted from aluminum, comes with a special UV filter, and features two loops for attaching a strap and tripod mount.  

There are a few caveats to consider, though.  Keep in mind each brand has its own version.  So if you own Nikon and Canon lenses you’ll need to buy two of these, provided of course you’d like to use both brand of lenses.  The iPhone is mirrorless, so as a result the images will appear upside down, but that isn’t something you can’t fix in post.

Via: Tumblr

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Last week Sony announced a new version of their NEX-3 camera, the NEX-C3.  Cosmetically the camera has remained the same to a large degree, but Sony says that the micro four-thirds shooter boasts a 20% improvement in battery life over the last and an improved UI which will hopefully simplify the utility of the cameras for those that are less than familiar with photographing.  Comparable to the previous iteration this point and shot DSLR has a 16.2 megapixel sensor, a tiltable 3-inch display, the ability to capture 720p video, auto HDR modes, 3D sweep panorama mode and much more packed into an 8oz solid metal top casing.

The NEX-C3 ultra-compact digital camera will be available this August in silver, black and pink with an 18-55mm kit zoom lens for about $650.  It will also be offered in black only with a 16mm lens for roughly $600.

Read

Everyone yearns for professional snapshot, but with a simple point and shoot that might be a problem.  Alternatively, you could opt for a more expensive DSLR setup but given the complexity of those cameras it’s an up hill battle to achieve the shots that you so desire.

Enter the Lumix GF3.  Much like the GF2 it is a micro 4/3rds setup, but in an easier to use setup.  Panasonic has removed the hotshot and the viewfinder and simplified the UI for those less interested in the finer tweaks (or headaches) in photogging.  At the back is a 3-inch touchscreen along with a scroll wheel for pursuing the camera’s menus and a 12.1 megapixel sensor.  ISO ranges from 160-6400 for the most versatile of lighting scenarios and it can capture 1080i video.  Apparently, it’s 15% lighter than the GF2 and 17% smaller.

Panasonic says that the GF3 will be available in late July for $699 and include a 14mm lens.  Come August they’ll roll out a 14-42mm kit that will set you back $599.

Full press release after the ‘leap’

PANASONIC UNVEILS THE LUMIX GF3, THE COMPANY’S SMALLEST AND LIGHTEST DIGITAL INTERCHANGELABLE LENS SYSTEM CAMERA WITH A BUILT-IN FLASH*

The LUMIX GF3 Body Weighs Just 7.83oz and Produces High-Quality Photos, Full-HD Video Recording Capabilities and Smart Touch-Screen Controls
SECAUCUS, NJ (June 13, 2011) – Panasonic today announces its latest compact system camera (CSC), the mirror-free Panasonic LUMIX DMC-GF3 is the company’s smallest and lightest digital interchangeable lens camera with a built-in flash*1, with its body size comparable to that of a smartphone and weighing just 7.83oz (body only), less than a standard 8oz cup of coffee. The Panasonic’s LUMIX GF3 realizes all the features desired from a traditional DSLR interchangeable lens camera, only it accomplishes them in an ultra-compact body that is lightweight and simple to master.

This remarkable reduction in size and weight is thanks to advancements in new mirror-free camera technology, and large DSLR format sensors that are more compatible with a new class of compact Micro Four Thirds (MFT) System lenses. This new class of Compact System Cameras offers a weight and compactness not seen in traditional DSLRs, yielding greater portability and creative control. The DMC-GF3′s image quality comes from a large DSLR-sized 12.1-megapixel sensor and newly advanced image processing technologies.

The LUMIX GF3 digital camera is based on the Micro Four Thirds standard of lenses, which includes Panasonic’s 3D lens, thus the LUMIX GF3 not only provides outstanding still photos, full-High Definition 1080/60i video, but is also capable of shooting 3D still photos.

The Panasonic LUMIX GF3 produces high-quality photos with true-to-life details, thanks to excellent resolution, image rendering and color reproduction; high-grade lens options; and extremely precise Auto Focus (AF). Plus, the LUMIX GF3 creates the right balance between resolution and noise reduction, thus producing life-like images with accurate auto exposure and white balance, creating rich colors. Taking a page from the renowned LUMIX GH2′s image quality, the LUMIX GF3 boasts full sized DSLR like Image quality thanks the same Venus Engine FHD image processor. The Venus Engine FHD image processor makes impressive low noise images from its 12.1-megapixel Live MOS sensor. Notably, images shot in low-lit situations at high ISO sensitivity setting, are stunningly clear with extremely sharp resolution. The image processor also excels in energy consumption by extending the battery life, despite its smaller size.

Thanks to a new mount, the LUMIX GF3 is approximately 16.7% smaller and 16.2% lighter than its predecessor, the LUMIX GF2. Despite its small size and unlike many CSC cameras in this class, the LUMIX GF3 still maintains a built-in flash and features a new pop-up mechanism that helps prevent the vignetting effect due to short distances between the flash unit and the interchangeable lens. With a newly-designed aluminum body that incorporates an ergonomic grip, and a well-designed control dial combined with a 3-inch touch enabled screen, the LUMIX GF3 is extremely intuitive and easy to use.

“The Panasonic GF3 compact system camera is extremely small and its newly-designed rounded body is quite attractive, which we expect to be popular among those users wanting to step-up from a point-and-shoot, yet who view traditional DSLRs as bulky and overly complex,” said Darin Pepple, Senior Product Manager, Imaging, Panasonic Consumer Electronics Company. “While the size and weight of the GF3 has been greatly reduced, Panasonic does not compromise what is at the core of every LUMIX, which is exceptional photo and video quality with an easy-to-use interface.”

All models in Panasonic’s LUMIX G Series of digital cameras feature Contrast AF for their focus system, as opposed to phase-difference AF systems, used in traditional DSLRs, which is susceptible to a mechanical margin of focus errors at wide apertures. With a Contrast AF system, focusing is controlled by the image sensor so that mechanical margin of error is reduced to achieve precise focusing, thus boosting higher number of in focus shots, especially when shooting in low light with wide open lens aperture. As a result, when the LUMIX GF3 is used with Panasonic’s new wide aperture interchangeable lens, the LEICA DG SUMMILUX 25mm / F1.4 ASPH, also announced today, the performance of the Contrast AF system is optimally maximized.

The Panasonic LUMIX GF3 features a high-speed and extremely precise Contrast AF system that locks in approximately 0.18 seconds. Taking further advantage of Contrast AF, the LUMIX GF3 incorporates full-area focusing which makes it possible to set focus on any point in the field- of-view. The LUMIX GF3 also features Light Speed AF, an extremely fast AF which measures at approximately 0.1 seconds*2, which is achieved by reducing the detection time for focusing by doubling the sensors drive speed from 60 fps to 120 fps. With the combination of touch-control shooting, focusing on close up macro or still life objects is evermore quick and accurate thanks to the newly adopted Pinpoint AF that unlike a DSLR, offers near pixel level touch control focusing.

Manual control over focus is available in the DMC-GF3 and now features a quick 4x magnification feature. By simply touching the subject, that subject is then enlarged in a small window, allowing you to keep the rest of the image in view as a framing reference. Beyond 4x, that small window fills the monitor so even more control over focus fine-tuning can be achieved. This handy feature is available from both the MF (Manual Focus) Assist and AF + MF focus modes.

At the heart of the LUMIX GF3′s simplified functionality is a large 3.0-inch touch enabled LCD (460k- dot) that allows for intuitive touch control of menus and most shooting, focusing, playback and effects controls. Menus can be customized using simple drag-and-drop actions similar to those on some touch-enabled smartphones. This allows for a custom user interface, giving Quick Menu access to functions that can be tailored to any user’s expertise level. Users can also release the shutter using the touch-screen. Once locked onto a subject, the LUMIX GF3 tracks the subject with the AF Tracking feature and another touch allows the user to select the size of the AF area. In addition, Pinpoint AF function allows even more precise focus setting by further enlarging the focusing area. With increased customization, users can set the touch shutter and touch AF ON/OFF based on their preference. Touch-control also makes playback of photos and videos easy to flip through like pages in a book.

For those who miss the tactile feel of a traditional DSLR mode dial, the DMC-GF3 offers an innovative mode thumb wheel that quickly cycles though all available modes with visual feedback provided on the large 3” touch-enabled LCD.
The LUMIX GF3 records 1920 x 1080 full-HD video in the AVCHD format, which features almost twice the recording time in HD quality than the conventional Motion JPEG. A dedicated video record button on the top lets users instantly start recording video, without having to hassle with any menu settings. The LUMIX GF3 allows for Touch AF in video recording, enabling professional-like features, such as rack focusing. For instance, by touching the subject on the screen, the focus is shifted to the subject.

Contributing to its ease-of-use, the LUMIX GF3 features Panasonic’s acclaimed iA*3 (Intelligent Auto) mode – and the new advanced iA Plus mode – are automatically engaged once the iA button is pressed, helping to make shooting video and photos with the LUMIX GF3 extremely simple – even to users new to compact system cameras. Panasonic’s iA features include MEGA O.I.S. (included in several lenses), Intelligent ISO Control, and Intelligent Scene Selector, Face Detection, AF Tracking, Intelligent D-range Control and Intelligent Resolution. With the new iA Plus mode, the LUMIX GF3 easily enables commonly desired manual enhancements not available from standard camera auto modes such as peripheral defocusing around faces, exposure compensation, and color balance adjustments which are visually adjusted by moving an on screen slider with the user’s finger or the thumb wheel,.

The LUMIX GF3, like all CSCs in the Panasonic LUMIX G Series, is equipped with a highly-efficient Dust Reduction System. In some system cameras, if dust or other foreign matter gets inside the digital camera while the lenses are being changed, it’s possible that the debris could cling to the image sensor and show up as a spot in your photos. However, the Panasonic Dust Reduction System helps to eliminate this problem by placing a supersonic wave filter in front of the Live MOS sensor that vibrates vertically approximately 50,000 times per second – thus repelling dust and other particles from the LUMIX GF3′s sensor.

Two modes – Photo Style and Creative Control – let users at any skill level get creative with their photos. With Creative Control, the user can choose the most-frequently-used color modes (Expressive, Retro, High Key, Sepia, High Dynamic and newly added Miniature Effect*4 mode) with easy access. In Miniature Effect mode, the peripherals are defocused while saturation and contrast is emphasized so the photos look like a diorama. The Photo Style mode revitalizes the conventional film mode with settings in Standard, Vivid, Natural, Monochrome, Scenery, Portrait presets while enabling finer adjustment of contrast, sharpness, saturation and noise reduction.

The LUMIX GF3, like all the CSC in the LUMIX G Series of digital cameras, is compatible with other Micro Four Thirds lenses and the full sized Four Thirds System standard via an optional mount adaptor. Other accessories available to the LUMIX G Series include external flashes, PL and ND filters, leather cases, straps, and more. The Panasonic LUMIX GF3 will be available in black, white, red and brown bodies for a suggested retail prices of $699.99 with the 14mm lens kit system starting in July 2011, and $599.99 with the 14-42mm lens kit system starting in late August 2011; and. For more information on Panasonic LUMIX G Series compact system cameras, please visit www.panasonic.com/lumix.

Safe to say, Panasonic has out done the competition with the release of the G3 today.  It’s a micro 4/3 interchangeable lens camera, and boasts the title of the world’s smallest and lightest in that category.  But don’t jump to conclusion and think that a ton of features have been sacrificed to achieve this title.  The G3 is a fully featured camera.

Behind the lens is a 16 megapixel sensor that can also capture full HD video.  The viewfinder allows you to take shots in direct sunlight, while the 3-inch touchscreen is fully articulating (rotates 180° to the side and tilts 270° up) letting you to frame and shoot from almost any angle.  Focusing on objects, much like the iPhone, just requires a tap of the screen and the lens will hone in on the subject.  Panasonic says that the G3 is also the fastest pinpoint auto focus camera in its class.  There is of course auto scene mode, a built-in flash, and HDMI and USB 2.0 interfaces.

Compared to the G2, its predecessor, the G3 is 25% smaller and weighs less than 340 grams.

Panasonic is even dishing a 3D compatible lens, though it will cost you.  How much we don’t know.

The aluminum G3 will be available this June in black, red, white or brown with a 14-42mm zoom lens kit for $699.99.

Checkout the product videos below.  The first one runs through the features, while the latter two shows off the G3′s optics.

4.5 out of 5 stars

Pros:

• Excellent build design and fit for any selection of camera equipment
• Protects bag contents magnificently
• Shoulder strap is easily adjustable and can be upgraded with add-ons
• High customization with camera equipment placement

Cons:

• No top strap for easy grabbing one-handed
• Camera bag zipper makes it very difficult to quickly pull out a camera for a shot
• Extra pockets not very roomy

Good camera bags are hard to find, especially if you’re an on-the-go photographer who has plenty of expensive equipment and needs to be able to lug it around efficiently and safely. That means if it can’t be too heavy or too light; it can’t be too big or too small; it has to be just right. And, if you’re a burling photographer who must snap and send photos ASAP, that bag needs space for camera equipment, a laptop, cables, and more.

Thus, the Timbuk2 Snoop Camera Messenger.

Timbuk2 – a company based in San Francisco that specializes in messenger bags for bike riders, style aficionados, and anyone using the latest tech gear – made the Snoop Camera Messenger with a simple goal in mind: give photographers what they need most. That is room for multiple bodies, a handful of lenses, room to secure a laptop, and all in a lightweight case with strong protection.

The Snoop has two ways of closing the front flap, velcro and buckle straps

Let’s start with the camera portion. I tested the medium Snoop, which has enough space for, well, just about any assortment of camera equipment. It can fit two camera bodies with four lenses at once, or one body with a large flash attachment and 4-5 lenses, or one body and six lenses. The Snoop has a bag inside the messenger bag which holds the camera equipment for easy storage (as seen in the picture below) with removable walls to match your assortment of equipment. Or you can remove it entirely and fill the three-gallon space with anything. It worked well for carrying a load of books to the local library.

This second bag fits snug as a bug in the Snoop, but it’s not easy to put in or take out. That’s because it’s nearly 1:1 with the larger bag so there is minimal space between the two, which helps protect expensive equipment within. Less room to move around, less shake. Remember, the Snoop has to work for bike riders, so every bit is designed with hard movements in mind. I’ve found the bag-in-a-bag design brilliant in all but one regard: the zipper system is not suited for speed. With a camera fully secured and zipped up, it’s next to impossible to rip out any camera before missing a shot, mostly because the zippers are so loose and hard to open quickly.

Even without a camera in the bag, there is still plenty of unused space to fill

However, when considering protection or versatility with thousands of dollars in question (and possibly livelihoods), protection supersedes everything. There are effectively three layers of protection that the Snoop offers: a weather-proof outer layer, the zippered middle layer, and tightly cushioned inner layer. After three weeks of heavy walking, occasional biking, some bag throwing and plenty of car riding, I’m completely satisfied with the level of protection by the Snoop. None of my equipment – camera or otherwise – has been harmed in my testing. And when I say throwing, I mean literally.

What’s equally important to protection is comfort. Once again, the Snoop is made for bikers, so it has to remain comfortable in the worst conditions. While I’m not a biker, I did ride around briefly to try it out for myself as well as walked all around Santa Monica, Downtown LA and other areas. Comfort really is the most important thing when you’re carrying anywhere from 15-25 pounds of equipment. I stuffed my test Snoop with my Nikon D7000, two zoom lenses (18-105mm, 55-200mm), two primes (50mm 1.8, 30mm 1.4), an extension tube, a 3lb laptop, 3-ring binder, some pens and cables, and at least one variable item. Sometimes I carried my iPad along as well with the SD-Card adapter, or the Samsung Galaxy Tablet, or even the Nikon P100 as a pseudo second body. With all that equipment, I could walk for a mile and not have any aches. I did switch sides because one shoulder got tired, but that’s all.

The front “Napoleon” style pockets are too thin…good for cellphones and credit cards, but little else

This is accomplished through a simple strap system that makes it easy for wearers to literally snap on and off. The Snoop’s strap is made to fit perfectly, and doesn’t require users to always find that sweet spot. As someone who’s walked around a few expos and shows, hitting milestones in dozens of miles daily, all while taking the bag on and off for meetings or switching shoulders, finding the best position to wear the bag consistently is not impossible. It is, however, insane. Timbuk2’s solution is ingenious: keep the sweet spot with a lock mechanism that snaps open whenever you want. One simple buckle solves everything.

Let’s get back to stuffing the bag. It’s almost like a Thanksgiving turkey…there’s really no end to what you can fit in it. I put all my camera equipment, laptop, paperwork and folders, two tablets, a second camera, and still I had space. But more importantly, I felt comfortable that my dearest and most precious cargo was secure. I’ve spent years trying to find something this good.

It’s not all rainbows and unicorns though. As an LA resident, my life and work often revolves around my car, so I don’t sling a bag across my shoulder as much as I throw it into my trunk or passenger seat. Doing so is surprisingly difficult, especially if you pack heavy. Because there’s no top strap on the Snoop, there’s no easy way to hold onto the bag except when wearing it. The camera bag-in-a-bag has a strap, why doesn’t the entire Snoop? One lousy strap could make a world of difference.

The Snoop Camera Messenger can be a very fat bag when packed fully. The gold add-on is the Beer Candy bottle opener that was given to press at CES earlier this year. More strap accessories are available directly from Timbuk2

The “Napoleon” style pockets are also convenient, but too flat. If packing plenty of equipment like me, those front pockets will be crushed so much that only the thinnest objects will fit without causing a ruckus. I hefted the Snoop around with the Smartfish Whirl Mini in that front pocket, and it stuck out more than Waldo in the arctic tundra.  These are clearly intended to hold wallets, phones, perhaps small cameras and other thin things, but no larger pockets are available on the bag.

When discussing camera bags, the one we need is reliable as Lassie. The Snoop Camera Messenger is tough as nails and provides excellent security for all of your equipment. It’s customizable, giving users options like how to seal the bag (Velcro straps or buckles) to storing camera equipment or something else entirely. The Snoop isn’t quick for pictures, nor is it easy to handle when not strapped to your back. However, there is no bag that offers the security, reliability and peace-of-mind like the Snoop Camera Messenger, while also looking so damn good.

The Timbuk2 Snoop Camera Messenger is available for purchase from Amazon for $108-140.

5 out of 5 stars

Joby’s Gorillamobile is a great device. But I don’t usually shoot at weird angles with a point-and-shoot. I reserve my best and most unique shots for my DSLR, and the Gorillamobile is too small for that. So Joby – the ball-hinge tripod and accessories company – built the Gorillapod SLR-Zoom, made specifically for larger DSLRs with heavier bodies and larger lenses.

And it does a pretty good job of holding up my Nikon D7000. By that, I mean my baby hasn’t been dropped once, and went through all my testing unscathed.

Testing the SLR-Zoom was a heart-wrenching experience. Like when putting a TV on a wall mount for the first time with everything hooked up, eventually you have to let go and hope it holds strong. That one moment of anxiety, where your heart stands in a lurch, was commonplace. My D7000 was strapped to the tripod upside down, hanging from tree branches, and in other hazardous positions far above both soft and hard ground. With relief, I can state that the SLR-Zoom never once gave way. The last thing I wanted to see was over a thousand dollars of equipment succumbing to gravity and heinous normal forces.

The Gorillapod SLR-Zoom can be bent in so many shapes…it could be a stop-animation character

Besides the size and weight capacity, there isn’t much different between the SLR-Zoom and Gorillamobile tested earlier this week. Both use identical – albeit differently sized – ball hinges as tripod legs, which are excellent for standing up straight as well as strapping onto various surfaces. The SLR-Zoom also has a screw-on ballhead connector, which has the actual screw for the camera (which includes a built-in level) and allows for an even wider range of motion for the camera itself. It can sit at a full 90° angle using a small slit in the ballhead. Otherwise, the two products are nearly identical.

However, anyone interested in a Joby tripod should know what sort of weights they deal with before buying. Using one of my larger lenses, a Sigma 30mm 1.4 (short but heavy) the SLR-Zoom would bend under the weight when held at an angle. The SLR model supports up to 800 grams, the SLR-Zoom 3Kg, and the Focus (for professional grade cameras and camcorders), 5Kg. Most DSLRs will work fine with the SLR-Zoom, but if you plan on using larger lenses, it would be safer to get the Focus, even for double the price of the Zoom. Using my D7000 with no attachments except for various lenses (prime and zoom lenses, but no long-distance primes), the SLR-Zoom could hold my equipment in the field without concern. Had I tacked on a battery pack, larger lens and a flash apparatus, that may not hold true, but it’s important to check the weight and compare it to what the tripod can handle.

The Gorillapod SLR-Zoom proved to be exceptionally useful, even without holding a camera

Writing this review, my D7000 is dangling from a bookshelf facing certain doom, but has held in place so far. I have no doubt it will continue to, because it’s sat there for an entire day without moving. Those rubber-coated ball hinges have excellent grip…I can’t say without a doubt I’m not apprehensive, even after over 24 hours of hanging there, but the stress has faded significantly.

My confidence in Joby’s Gorillapod SLR-Zoom is set in stone. It hasn’t dropped my camera or felled any equipment since the day I began testing. It’s stable as can be, durably built, well designed, and a great compliment to any photographer’s arsenal. It really is a working-man’s tripod; you’ll never know when you need it, and I’ve always missed it when I didn’t bring it along. With the SLR-Zoom, I have started to think about how I can take certain shots considering camera placement at odd angles, and not just in my hands.

Rebel yell, because Canon just trotted out two new Canon Rebel DSLR cameras, the T3 and T3i.

The T3 (1100D) is the lesser of the two and sports a 12.2 megapixel sensor, 100-6400 ISO, DIGIC 4 image processor, nine point auto focus system and the ability to capture 1280×720 video.   There is of course the quintessential popup flash and it ships with a 18-55mm lens for $599.99.  Not bad, but it’s no flagship model.

The T3i, otherwise known as the 600D, includes all the aforementioned features and capture 18 megapixel shot, full HD video and includes a 3-inch tilt/swivel LCD screen.  The ISO range remains the same as its little brother, but this one ships for $200 more ($799.99) and doesn’t include a lens in the deal.  Alternatively, you can drop another $100 and get the 18-55mm lens or just go all bananas with your cash and pick up Canon’s two new telephoto lenses, which from what we can tell start at $9,499.

Canon also rolled out two need Speedlite flashses.  They’re both a lightweight external flash option that can be activated wirelessly using select Canon cameras.  The 320EX eclipses the cheaper 270EX II by providing a a built-in LED continuous light option that is capable of providing full-time illumination for short distances when shooting video on a DSLR or PowerShot digital camera.

Both cameras will be available this March.

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Samsung’s a big name when it comes to point-and-shoot cameras, but these days consumer-grade DSLRs come from either Nikon or Canon. Sure, other companies have their own offerings, but the best stuff for a reasonable price comes from these two. Normally, that would make a new camera from another company not so exciting, especially because lenses are so critical for DSLRs, but Samsung decided to spice it up a bit with their new NX11.

The NX11 is a mirrorless camera, which means it can be smaller and plug a lot more into that extra space, though you lose an actual viewfinder (the viewfinder displays a digital image). But what’s interesting is that it is just like the NX100 (the 3/4ths DSLR), the lenses – which work with both the NX11, NX10 and NX100 – also support Samsung’s i-Function, which allows changes to shutter speed, aperture, ISO, white balance and EV straight on the lens with your left hand, instead of looking away from the viewfinder to find the settings you’re looking for. The tech isn’t new, but the camera is a full-fledged DSLR, so shutterbugs who need the larger size and higher-quality imagery than the NX100 can switch over without losing their lenses.

The NX11 has a 14.6MP sensor and supports the NX mount for lenses, and will have a 3″ AMOLED display, and HD video recording up to 30fps,. It’s unclear if that means 720p or 1080p, though considering the $649 bundle price (with the 18-55mm lens), I’d guess it goes up to 720p. A new 20mm lens will also be available, though sadly it’s only F2.8. This should be fine for most users, though having used an F1.4, there really is no comparison.

The company has also announced the WB700, an 18x superzoom that is only 2.2 centimeters thick, which is frankly bonkers. Beyond the ridiculous zoom is a 16MP sensor that supports RAW photography, full manual support, HDMI-out and HD-video recording. Assuming you have a steady hand or enjoy using a tripod, this bad boy could be great, especially when compared to today’s giant superzooms, which are basically low-quality DSLRs without interchangeable lenses.

Don’t forget the $100 coupon at checkout: 7FU7NKSI (expires: 1/8/2011)

They’ve got it for $649.99 – $70 coupon (QJJ14800) + $7.70 S&H = $587.68!

Don’t forget the coupon: QJJ14800 (expires: soon)

Differential thrust from eight main horizontal rotor blades allows the Draganflyer X8 UAV helicopter to both hover and change directions easily. The X8 also has eight brushless electric motors, which let it carry heavier photo and video equipment than previous models from Draganfly. And in case one of them stops, the remaining seven are enough to keep it flying.

Draganfly’s X6 was able to fly with a 500g (1.1lb) payload, so the X8 prototype should be able to enter the realm of some of the higher end, bulkier DSLR’s. It even accepts an optional military grade load bearing system, which allows it to move non-photo equipment to various inaccessible places.

Its carbon fiber frame folds down to backpack carrying size. An onboard processor runs proprietary software to control flight through inputs from three gyros, three accelerometers, a barometric sensor, three magnetometers and a GPS receiver – which, Draganfly claims, allows even relative novices to pilot the X8.

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As a technology writer, critic and journalist, it’s sometimes easy to forget that the products we write about are things people actually buy, and don’t just get for free, or get to try out for a month at a time. That’s not to say I or other staff members at Gadget Review often get free products for review (we do, sometimes), but rather that it’s unhealthy for anyone who tests a lot of equipment free of charge to not buy something which they write about. It disconnects the writer from the reader, because at some point the money spent on the item just stops mattering.

But, in the holiday cheer and thanks to my birthday, I went and bought the Nikon D7000, a top-of-the-line “prosumer” DSLR, an upgrade from my current Nikon D40x. And I’m so glad I did.

The Nikon D7000, which based on Nikon’s nomenclature for different DSLRs appears to be a step up from the D5000, is actually the upgraded D90. It’s the top-end model from Nikon before heading into professional cameras. For some background, DSLRs are often considered professional, though in fact there are three types of DSLRs: starter, prosumer and professional. Starter is for amateur photographers looking to get better picture quality than compact or sub-compact cameras (like point and shoots or superzooms), but don’t want to pay too much. The D40x, for several years now, was one of the best starter DSLRs on the market because it was so cheap and, with enough skill, could crank out excellent pictures. Every product photo I’ve done thus far has been with the D40x.

Then there’s the prosumer, which is a consumer looking for a better edge, but isn’t educated enough, or willing enough to spend several thousand dollars on camera equipment. The D7000 is at the top of this group. It’s not huge and isn’t too expensive at $1300 for the body, but it’s no kids toy. Finally, professional-grade cameras include models like the D3x, Canon 5D Mark II, and named known for over a hundred years like Hasselblad and Leica. While Nikon and Canon may have $5,000 cameras, others can go from the thousands to hundreds of thousands. But let’s focus no the D7000.

It’s a beauty, it really is. My only regret is that I can’t take pictures of it, with it. Photos taken with the D40x, by comparison, are about 40% more likely to be thrown out. At least, that’s been my experience over the past three days. I’ve already accumulated over 500 shots this weekend alone (many of course are duplicates), and just sorting through them all has been an adventure in and of itself. But after taking a peak at the D7000 itself, here’s some of the first photographs I’ve conjured up with it.

First Pictures

Take a look at the first batch of pictures I’ve taken with the D7000. This was with minimal effort, rare settings changing (mostly in auto mode, using no flash), and no post-processing (editing). The only changes made were cropping them to fit the screen, so all images are 650×431. Enjoy!

First Impressions

The D7000 feels great. It’s a heavy camera, but the firm rubber gripping and black metal casing makes it sturdy and easy to grip. In fact, compared to the D5000 and several other models, the D7000 feels great in the hand. The right hand’s middle finger fits perfectly in the groove below the shutter release, and a thin indentation makes it so easy to hold onto with three fingers that, with a lightweight lens, anyone should be able to take steady pictures single-handedly.

That won’t hold true with the kit 18-105mm lens, which is very large, and very good. I tested it with both the D7000 and D40x, and although the lens has a larger circumference than any DSLR lens I’ve used, it works very well. Much better than the similar 55-300mm lens, both of which have motorized autofocus and VR (vibration reduction).

The D7000 comes with a slew of features, which I’ll go into more depth for the full review. The few I did test out have thus far been stunning. Like 6fps for pictures. Setting the D7000 to CH mode should deliver up to 6 frames per second, and that is awesome.

What I found to be the biggest initial difference is how it just soaks up pictures so quickly. Past Nikon cameras I’ve tested weren’t slow per se, but they weren’t fast. The D7000 is just a fast camera, regardless of the lens. It takes pictures faster, even with slower shutter speeds and a slower lens, than the D40x. Against the D40x, this isn’t a surprise, but I’m pretty amazed at how fast the D7000 shoots regardless.

And then there’s the 16 megapixel sensor, which is both good and bad for the D7000. As far as I’ve seen thus far, picture quality doesn’t suffer with the larger image size, something many cameras (specifically compact and smaller) use as a selling point that has no bearing on image quality. Images range from 16.5MB to 24MB, which is a significant scaling issue for the camera. After taking even two pictures in a row, the D7000 often has some slowdown and lag time between shifting the view from one picture to the next. Both the D40x and D5000 didn’t have this problem, though I’ll investigate it further for the full review.

Finally, many of the shots I’ve taken these last few days have been in the dead of night, with only minor artificial lighting. As you can see, the images still come out pretty darn great, with minimal setting changes and zero edits, besides for image cropping. Hell, every image in this first look is the basic JPG, instead of the RAW images downscaled. But don’t worry, for the full review we’ll have RAW pictures properly set for your viewing pleasure.

Stay tuned, as I’ll be using the D7000 for product shots and testing in the coming weeks, and a full review will be up in the coming week or so.