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

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

Skip: The Nikon F4 or F5

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

Instead buy: The Nikon N8008/N8008s

Related: The best used camera to buy right now

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

Skip: A Hasselblad 500-series Medium Format camera

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

Instead buy: A Bronica SQ-series Medium Format camera

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

Skip: The Nikon FM2/FM2n

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

Instead buy: The Nikon FM

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

Skip: The Canon AE-1 Program

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

Instead buy: The Nikon FG

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

Skip: A Rollei Rolleiflex TLR

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

Instead buy: A Yashica TLR

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

Skip: The Pentax K1000

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

Instead buy: The Pentax KM

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

Skip: A Leica M-series rangefinder

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

Instead buy: A Voigtländer Bessa R or R-2

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

Skip: The Nikon FE or FE-2

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

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

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

Skip: The Pentax LX

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

Instead buy: The Pentax K2

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

Skip: The Minolta Maxxum 9

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

Instead buy: The Minolta Maxxum 5

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

The post Affordable analog: 10 alternatives to high-priced film cameras appeared first on Popular Photography.

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

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

The primary problem facing film fans who fly

Related: How to travel with film by land and sea

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

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

Can you avoid X-rays altogether?

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

Never put film in a ‘checked’ bag

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

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

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

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

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

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

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

The PopPhoto guide to hand inspections

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

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

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

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

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

Going home: Have all film hand inspected

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

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

What about lead-lined film bags?

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

Advice for other countries

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

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

The post How to fly with film appeared first on Popular Photography.

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

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

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

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

The post The Star Wars Lightsaber was based on a camera flash handle appeared first on Popular Photography.

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

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

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

The post This vintage video shows what it was like to be a pro photographer in 1946 appeared first on Popular Photography.

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

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

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

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

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

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

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

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

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

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

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

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

²Based on internal testing.

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

Sony a9 III camera at a glance

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

What is a global shutter?

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

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

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

Sony a9 III details

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

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

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

Burst shooting

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

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

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

Autofocus

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

Sony a9 III video specs & features

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

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Sony a9 III pricing & availability

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

FE 300mm F2.8 G Master OSS lens details

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

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

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

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

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

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

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

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

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

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

More Sony early Black Friday deals

Deals on Sony cameras

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

Deals on Sony zoom lenses

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

Deals on Sony prime lenses

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

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

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

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

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

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

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

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

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

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

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Power Zoom Adapters

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

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

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Pricing & availability

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

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

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

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

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

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

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

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

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

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Pricing & availability

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

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

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

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

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

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

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

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Pricing & availability

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

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

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

LensPen NLP-1 $6.50 (was $12.95)

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

More early Black Friday deals on cleaning tools

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

Early Black Friday deals on organization & storage solutions

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

Storage bins

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

Shelving systems

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

Desk organization

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

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

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

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

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

How we chose the best carbon fiber tripods

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

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

The best carbon fiber tripods: Reviews & Recommendations

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

Best overall: Peak Design Travel Tripod

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

Specs

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

Pros

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

Cons

• Expensive
• Only two leg angles

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

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

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

Best for hiking: Manfrotto Befree Advanced

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

Specs

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

Pros

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

Cons

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

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

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

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

Best rugged: 3Pod Everest T3

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

Specs

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

Pros

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

Cons

• A bit bulky

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

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

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

Even more carbon fiber tripods to consider

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

Best for versatility: Manfrotto MT055CXPRO4

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

Specs

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

Pros

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

Cons

• Tripod head must be purchased separately

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

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

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

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

Best for landscape photography: 3 Legged Thing Leo 2.0

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

Specs

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

Pros

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

Cons

• Not as tall as other options

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

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

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

Best heavy-duty: Gitzo GT5533S Systematic Series 5

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

Specs

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

Pros

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

Cons

• Center column or head must be purchased separately

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

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

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

Best budget: Neewer 66 Inch Carbon Fiber Tripod

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

Specs

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

Pros

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

Cons

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

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

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

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

Things to consider before buying the best carbon fiber tripods

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

Weight

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

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

Capacity

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

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

Maximum and minimum height

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

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

FAQs

Final thoughts on the best carbon fiber tripods

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

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

Why trust us

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

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

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

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