LowePro Sideline Shooter review

OK, this may seem silly to review after all this time, but I've had the LowePro Sideline Shooter belt pack for over 20 years now...  It is long since discontinued and it is probably pretty hard to find.

I believe it was meant to hold film canisters, used by sports photographers on the sidelines at a game.  Yes, it is that old.

The Sideline Shooter is a small lumbar pack / belt pack / fanny pack (go ahead, Brits, giggle).  It is lightly padded and came with two dividers, which I lost.  Originally, I used it for urban outings, carrying my old Minolta 24mm, 50mm, and 100mm lenses with one mounted on my XD-11 or SRT-102 bodies.  That's about all it can hold, but it was enough.  I think it would be a great size for current compact mirrorless bodies with small lenses, such as a Fuji XF setup.

With the dividers removed, it is just big enough to tightly squeeze in a Canon 100-400, hood reversed, mounted to a non-pro body.  It's a very tight squeeze.

The interior is roughly 6" high, 4" deep, and 12" wide.  I err'd on the side of caution when measuring because the shape isn't perfectly rectangular.  It is flexible enough to stretch a little.

The materials are strong... it still works like new after at least 20 years.

It has a pair of small stretch pockets on both sides, inside and out.  It has a small pocket on the outside, just big enough for some batteries, memory cards, lens wipes, etc.

It has a pair of cinch straps to hold it up more tightly against you.  You can loosen them and use the grab handle to swing it around to your front to get your gear out.

It sits comfortably on my lower back.

The main opening is a lid, which opens away from you when it sits on your front.  It also has a zipper  in the middle of the lid, in case you want to grab something smaller from the middle section with more privacy.  I never used the zipper.

I'm not convinced the padding is strong enough to protect a lens from a drop.  Maybe, maybe not.  I never dropped it.

Semi-automatic macro flash

Using Self-contained automatic flash for closeups

I came up with this technique when I used film on a pre-TTL (through-the-lens; a revolutionary metering method when it was new) camera.  It bridges a gap between all-manual flash and fully-automatic TTL flash.  It can still work, if you have an older flash (or newer ones with the right settings).  I have never heard of anyone else doing this.

Caveat/warning

Some older flashes used a much higher voltage than current flashes. Read the documentation for your camera and flash system, and learn the voltage of your old flash before you try this. You can fry your camera or flash and this is done at your own risk. For example, my Canon cameras use 6V for the flash, while my old Vivitar 283 uses about 120V and will fry the Canon if used on the hot shoe!

Background

One of the greatest aids to flash photography was the invention of through-the-lens (TTL) flash metering. With TTL flash, correct flash exposures may be made with little or no knowledge of flash theory. Since light intensity varies inversely with the square of the distance between the flash and the subject, measuring the precise flash to subject distance is the major consideration when shooting closeups, and manual flash units essentially limit you to the use of one f/stop for any given distance. TTL flash eliminates this worry, but while I would have loved TTL flash, I refused to part with my Minolta XD-11 until I moved to digital. I did not want to resort to manual flash to shoot closeups, so I used a self contained automatic flash, my Vivitar 283.

With a self contained automatic flash, a sensor on the flash unit reads the amount of light reflected from the subject and automatically shuts the flash off when sufficient light is detected. As long as you keep the flash closer than its maximum range, good exposures are virtually assured; the photographer need not worry about distance or guide numbers.

However, the instruction manuals also list a minimum distance for good exposure. The manufacturers expect most people to mount the flash on a hot shoe and make no provision for shooting accurate closeups. At ranges less than about 2 feet, parallax becomes the limiting factor: the hot shoe mounted flash fires at one place and the sensor reads another, neither of which correspond with the subject seen by the lens. The light entering the lens (at this time) is less than the light reaching the sensor, and the result is underexposure. The solution is simply to hold the flash off camera with a bracket, connect it to the camera with a PC cord and aim the sensor at the subject. Now you can get really close!

Increasing Depth of Field

Depending on the model, the flash may have one or several usable f-stops in the auto mode. The Vivitar 283 has 4 such f stops, selected by a color coded dial. For ISO 100, the "purple" mode selects f/11. This is the smallest f-stop that the 283 is designed to handle. But what happens when you need to stop down for even more depth of field? You can trick the flash into giving you more light by placing a neutral density (ND) filter over the light sensor (but not the flash head). I use the light control kit that I bought from Lepp & Associates years ago, and attach the flexible filters with velcro.

Minolta 200X control panel

Vivitar 283 control panel (pardon my dust)

With a neutral density (ND) filter in place, the sensor receives less light and the flash compensates by increasing the output; all you have to do is stop down the lens by the appropriate amount. For example, if you set your flash to the f/11 exposure mode and place a two stop ND filter over the sensor, you must close the aperture two stops to f/22 (other things being equal). You might worry that the flash won't have sufficient power to give you a couple more stops of light, but I have never found this to be a problem with short flash-to-subject distances. Exactly how many additional stops you get depends on the power of the flash you own. Experiment! I have found that I can get up to 5 additional stops from my Vivitar 283 at ranges less than about 1.5 feet.

Minolta 200X flash with 1-stop ND sheet over sensor

Light loss in lenses at close range

There is one complication. Fortunately, it is the only complication I’ve encountered with this method. Most macro lenses (in fact, most lenses) do not transmit the same amount of light at all focusing distances. For any given f-stop, lenses transmit less light at closer focusing distances than they do when focused to infinity. The closer a lens focuses, the less light is transmitted. My old 100mm macro loses two f-stops at the closest focusing distance (lifesize, or 1:1 in this case). It loses one f-stop at half-lifesize (1:2), and about a half f-stop at one-fifth lifesize. If you ignore this fact, you will under-expose your image (and proper exposure was super-critical when I shot slide film). This is why I said “other things being equal” earlier. One notable exception to this rule is internal focusing lenses; they do not lose any light when focused closer.

Some lenses have an exposure scale built-in. These lenses tell you how many stops of light have been lost at a given focusing distance. Not all lens manufacturers are this considerate. If your lens does not provide this scale, you will need to perform a simple test. To find out how much light your lens losses, you will need to mount your camera with the macro lens on a tripod and point it at a uniform surface (such as a wall). Start by focusing to infinity and take note of the exposure. Now manually focus your lens closer and take note of the exposure change. Write the information down for each 1/3 or ½ stop of light lost. I wrote the information on a sticker and placed in on a non-rotating part of the lens, in easy view.

Sticker with EV adjustments on my old macro lens

Getting the right exposure

Now all you need is some basic arithmetic. Suppose your flash will expose correctly at f/5.6 with ISO 100. If you place a four-stop (16x) ND filter over the sensor, and the focusing distance requires an additional stop of exposure, what is your final f-stop? You need to stop down four stops to f/22 for the ND filter, then open up one stop to f/16. Simple! Set your aperture to f/16 and shoot. As long as you remain within the range of the flash, the exposures should be good.

What is your final aperture if your flash is set to expose correctly at f/4, you use a two-stop (4x) ND filter, and your lens will lose a half-stop of light? Close down two stops for the ND filter to f/8, then open up a half to f/6.3. If you didn’t know it was f/6.3, just set the aperture halfway between f/8 and f/5.6. No problem.

The exposure technique also works for two or more self-contained automatic flashes, if you prefer multiple flash units. I experimented with two flashes at various angles and found that the exposures were still good. Be certain to set each flash to the same setting, unless you are experimenting.

Diffusion

Sometimes you may want harsher light, sometimes you may want softer light. You might want to try using a wide-angle diffuser to soften the light. Or if you don’t have one, experiment with varying thicknesses of tissue taped over the flash head. I used the translucent plastic from a lemonade mix container; I cut it and shaped it to fit over the flash head. Velcro secures it. Note that I reduced the output of the flash somewhat by using such thick plastic; the maximum flash distance is reduced and I can not use that particular diffuser for “normal” photos (meaning, at distances greater than a couple of feet). 

Another great idea is this custom diffuser from Brian Valentine (aka LordV): coke can diffuser.  Actually I find the quality of his light to be the most natural I've seen from a flash.

There are many other options, which is an entire subject unto itself.

Remember not to cover the flash sensor.

That’s a lot of equipment to hold!

If you hand-hold, you will also want a way to hold the flash(es). Many photographers have designed or built flash-holders/ macro flash kits. Your local store is likely to have a very generic unit. I think the majority of these are too bulky. Search the magazines for catalogs, or make one yourself. For one of the best ideas I’ve seen, I highly recommend that you read John Shaw’s Closeups in Nature. He is a great writer, a superb photographer, and the you’ll get a lot out of the book even if you never borrow his flash mount idea. For myself, I use a Wimberley macro flash holder, or I reverse the lens collar and mount a flash on that, depending on the lens I'm using at the time.  Really Right Stuff also has some interesting ideas.

Lens collar with QR foot, small clamp with small ballhead reversed.

In conclusion

If you have a camera capable of TTL flash metering, then by all means use it. TTL flash is the easiest method available. But if you do not have TTL flash available, then using a self-contained automatic flash is a very workable alternative. I found it more flexible than using a manual flash method. I came up with this technique while I was still in school and could not afford to “upgrade” my system.  I confess, I now use a TTL flash.

Review of the Arca-Swiss Z1 ball head

As of 2016, I've had the Arca-Swiss Z1 for over 3 years, and decided to write up a review.

I've noticed the Z1 doesn't seem to be a popular option anymore, which is too bad because the head itself is extremely well-made, strong, and smooth.  I have a theory as to why... I think it is due to Arca-Swiss locking down their own clamps with strong thread-locker, making it difficult for people to swap out the clamps. And it is clear that most people don't like the Arca-Swiss clamps.

I got lucky... I bought one without a quick-release clamp, just an ordinary platform, and it came off easily with a 11mm socket (1/4" drive, meant for indoor use - thin walls are needed to fit).  I attached a Really Right Stuff lever clamp, the B2-LR-II, using a 25mm M6 screw.  

The "ball" is aspherical;  it applies more pressure to itself the more you tilt the stem/clamp. 

I'd say strength is the number one priority for any head. A head that can't handle your gear, or creeps under the weight is just useless. The Z1 is strong enough to handle heavy loads including large format cameras.  Once the head is locked, nothing moves.  I haven't even stressed it; my largest combo is at most 8 lbs and it handles it easily at any angle.  If the head/tripod is stressed, you need a stronger setup.  Strength is definitely not a concern with the Z1.  Some might call it overkill, but I am all about security and peace of mind when it comes to my gear.  For the record, the Z1 is not alone is being strong and does not distinguish the Z1, but it is a basic requirement.  Other brands like Acratech, FLM, Kirk, Really Right Stuff, and Sirui (to name just a few) also make very strong ballheads.  Since there is no universal standard for measuring the strength of a ballhead, ignore the ratings.

The Z1 is super smooth.  Using only the main control knob, it is easy to set the tension just so, where the ball won't move or slip but I can still adjust it.   Embedded in the main control is a tension setting; with it you can set your minimum tension.  My only gripe with the design is that it isn't quick to change once set.  You have to loosen it all the way with several rotations of the tension dial, set the main dial as you want it, then re-tighten the tension dial.  It is not a quick thing to change. I set mine to just a tad looser than can hold my lightest gear, giving me some resistance but making it easy to re-aim.  

The panning base is very smooth, and locks tightly as desired. My only gripe is that the pan control know is low (close to the base), small, and too close to the main control.  If you mount this on a platform wider than the head, access to the control might be difficult.

Aside from the pan control knob, the ergonomics of my Z1 model is just about perfect.  With the drop notch facing away from me, the main control is on the left as I want it (I hold the camera with my right). This part is so important to me that I won't even consider a head without the ergonomics I like.  There are both left and right hand versions of the Z1, so be sure you get the style you desire if you decide to get one.

When doing high magnification images, I have noticed some shift in the composition during lockdown.  I've seen/heard of this with all ballheads (including my Kirk BH-1 and previous Bogen heads) and I suspect the best solution is a geared head for macro work.  According to dpreview, the Z1 is one of the better heads for precision and less shifting during lockdown.  However, I still notice the shift.  The workaround for it is to set the tension to the "sweet spot" so that my macro rig won't move when I let go, but I can still adjust it easily.  This seems to work decently around 1:1. 

With the clamp, the Z1 weighs about 1.5 lbs, compared to my older Kirk BH-1 which is both bigger and heavier at 2 lbs.  That said, I held both in my hands and didn't feel a noticeable difference.

The Z1 is quick to adjust and easy to use.  I don't have to think about it or look at it while I use it; it just solidly does the job.  Combined with the RRS lever clamp, I have no issues with my camera support.

Compared to my previous workhorse, the Kirk BH-1, I think the Kirk locks more solidly (but this is not a problem for any real-world gear).  

The Z1 is smoother and has a usable tension adjustment.  

The Z1 has less shifting during lockdown.  

The Z1 is a little smaller and lighter.  

The Z1 pan control knob is easier to lock.  

My Z1 can change clamps (not that I will), while the BH-1 had red loctite making it difficult to change clamps.  Newer Arca-Swiss heads supposedly have the clamps permanently attached.  

The bottom line is the Z1 is a great ballhead, up to the most demanding of tasks.

Clearance with the lever clamp:

 

As you can see, clearance isn't a problem with the lever clamp.  At vertical, with the clamp facing down, it just touches the base of the Z1.

A couple of images I made while using the Z1 (and Gitzo 3530 tripod):

Highlight recovery in a few raw converters

I found a difficult file that required a bit of highlight recovery and thought I'd show how a few raw converters handle it.  In each case, I attempted to do my best with the tools offered, but there is no guarantee I succeeded.  In DarkTable 2, I used both the highlight recovery module as well as the highlights and shadows.  The color is way off in the RawTherapee image and I assume it because I did not setup the color management in that app.  I am surprised that Canon's DPP4 doesn't do a better job with their own files.

Original image:

100% crops:

Photo Ninja 1.2.6:

Adobe Camera Raw 9.1.1 (last version available in CS6):

DPP4:

RawTherapee 2.4.1:

DarkTable 2.0.0:

Double check your color management settings

I made a pretty big but simple mistake in my color management.  

The symptoms?  Every time I saved for web in Photoshop, the colors became too red and oversaturated.  It wasn't a problem when I used Photo Ninja, and Photoshop looked accurate until I saved as JPG.

One little detail that made Photoshop unusable for web images...  I somehow unchecked the "embed color profile" option in Photoshop's "save for web..." dialog.  Oops.  It took me awhile to find it.

So, just a reminder... 

• Calibrate your monitor
• Set your color-managed apps to use the biggest color gamut your monitor can handle (typically, this is sRGB or Adobe RGB, though some can go wider). I have DPP, Photoshop, and Photo Ninja all set to Adobe RGB since my monitor doesn't handle ProPhoto well.
• Make sure you always embed the color profile in your exported JPGs (which should be sRGB, the internet standard).

Color management is way more complex than that.  For more detail, see Elle Stone's site: Nine Degrees Below Photography

Here is an example of what it looked like:

A JPG straight from Photo Ninja (correct colors):

And a JPG from Photoshop where I failed to embed the sRGB color profile:

With the proper setting, Photoshop now exports to sRGB correctly.

Tripod leg locks

I keep reading differing opinions on leg locks.  It is a matter of taste.  I've used both flip locks and twist locks.  I like both, but I can offer some comments based on my experiences.

Flip locks are fast, and it is easy to see if they are locked or not.  With my old Bogen 3221, I had to keep a tool handy to tighten the screws because they would periodically loosen.  I was unable to use the tripod until I fixed the loose screws.  Also, I have caught branches and such on the flip locks.  I expect that years later, flip locks have improved where the problems I had aren't problems anymore, but it is bound to depend on the design.

When I switched to a carbon fiber Gitzo 3530 years ago, I thought I wouldn't like the twist locks, but I got used to them within a couple of days and haven't given them any thought since.  Speed hasn't been an issue since I can loosen all of the screws on a single leg with a single twist, and re-tighten them similarly once collapsed again.  They have never caught on any branches.  They are easy to clean.  They never need adjustment.  Visually seeing if they are locked or not hasn't been an issue for me; I feel when they are tight or loose.  Also, the Gitzo ALR feature really does work, and I assume most other brands that use twist locks have a similar feature... it helps prevent collapse even if the legs aren't totally tight.

The f-stop Loka backpack review

Update:  I found some wear on the bottom of the Loka in the bottom front corners.  I had decided the Loka wasn't large enough for longer hikes in the mountains and I was cleaning up the bag to sell it to get a larger f-stop bag when I noticed the trouble.  Given the 20 year warranty, I decided to see what f-stop would do about it.  At first they claimed they could not find my purchase information, then later they claimed the damage was abuse (if setting the bag down gently is abuse, then I'm guilty).  Basically, the 20 year warranty is a farce, their customer service has gone further down the tubes, and I will never purchase anything of theirs again.

I "fixed" the bottom of the bag with some Tear Mender, then covered that with some rubber spray.

If that hasn't scared you off, read on.  The design idea is good at least.

I've used a number of camera bags of various brands and styles: Shoulder bags, beltpacks, slings, and backpacks. Given that I hike and tend to do a lot of nature photography, I mostly use backpacks. I have young kids. We moved to the mountains. We hike. Sometimes my wife has to carry our youngest and I end up being the pack-horse for everything else. Put those things together, and I found I needed room in my backpack for more than just photo gear. I have to think about things we really need in the mountains that I never worried about at sea level, such as layers of clothing and additional water. I investigated several brands, but ended up with a f-stop Loka, part of their mountain series of bags. I found it when I started looking for a backpack that had a good harness and could carry more than just camera gear. It is a daypack that doesn't scream camera bag, with about 37L total volume.  

Comfort

The Loka has an OK harness.  It has an internal frame, adjustable straps and padded waist belt. I can adjust it quickly if I change the layers I wear during the day. The hipbelt is sewn on and not stiff enough to support a heavy load.  As long as it is adjusted properly, it fits decently.  However, to use the load lifters properly, the bag needs to be taller.  The lifters go straight out, perpendicular to my back rather than come down from above at a 45 degree angle.  

Access

I really like the rear camera access.  The straps never go in the dirt/snow/mud!  I may get the back of my car dirty or wet, but not my clothes.  It is also secure from pickpockets.

Another thing I've done with the Loka is change lenses without setting the bag down.  One can loosen the belt and swing the backpack to the front, open it, change lenses, zip it back up and put it back on, all while standing in water, etc.  It's slower than just setting the bag down, but it is a useful option to have.

Versatility

A feature that gives f-stop mountain series backpacks great versatility is the interchangeable camera compartments, which F-stop calls the Internal Camera Unit (ICU).  The ICUs let you pick the size you need for your gear, and use the leftover space for non-photo gear as desired.

The large ICU is great when I don't have to think about non-photography items. I can carry all 4 of my lenses with ease, and leave the lens hood mounted on my 100-400, making it fairly quick to get setup.  Of course, I don't have room for a fleece jacket when I use the large ICU. But I can still carry snacks, water, sunscreen, hat, bug repellent, Leatherman tool, flashlight, and a first aid kit.

The Large Pro ICU

Using the medium ICU means I have to store the lens hood reversed on the 100-400, and if I carry all 4 of my lenses, the 100-400 must be mounted on the camera while everything is in the bag.  But of course I can add a nice fleece jacket to my survival gear, and this is now my normal use case.   I gave up some convenience (namely, the ability to store the camera with any of my lenses mounted) for space savings.  Even in summer in the mountains, the fleece has proven useful, particularly at a waterfall waiting for the right light.

The Medium Pro ICU

The small pro ICU half the size of the large pro and is good for 2-3 shorter lenses and filters, memory cards, and batteries.  It can fit a mounted 100-400 or 70-200 sideways, but I found that the weight above will compress the ICU if it doesn't have a vertical support inside the ICU.

The Small Pro ICU

What would I do differently? Too late now, but if I were designing a system like this from scratch, I'd like a wider ICU to better handle the big modern DSLR lenses with hoods attached. Then again, once I go mirrorless it won't be an issue.

A downside of the ICU design is that small items can and will fall down the sides of the bag, between the shell and the ICU. I have to put these small items into bags to avoid the problem.

Other details

Behind the ICU is a spot for a hydration system, up to a 3L model. There is a slot for the tube to come out of the back, and tie-downs to hold the end on the shoulder strap within reach. I don't use this feature, but it should appeal to many hikers.

The mesh pockets on either side can fit a water bottle each, which I can reach without taking the bag off.

There is an exterior pocket meant for a light jacket; I use it for a rain shell.

The underside has a spot for a rain cover (the newer models are better sealed for weather and may not need a rain cover as often as the Loka).

The top lid has pouches on top and bottom of the lid. I use these for my flashlight, small tools, etc.

The inside of the main opening has thin pouches for filters, memory cards, etc.

What else do I like? I like the compression straps on the back and sides; I've used them to carry my tripod, as well as my daughter's stuffed animals.

The most important accessory!

Cons

F-stop as a company has a lot of difficulty with supply. Normal wait times are 4-6 weeks and I know this has put off a lot of potential buyers.  Even years after I bought the Loka, they still have problems getting items to customers right away.  If you like the design, the only solution is to be patient.  But, at the time of purchase, they were been up-front with me whenever I talked with them, and when I told them of an upcoming trip, they were kind enough to expedite the shipping. 

I wish the front stash pocket expanded more.  It is tight once I stuff a thin rain jacket inside.  I believe this pocket is bigger and easier to access on the replacement pack, the Ajna.

I wish the mesh side pockets were just a tad (1") taller to better hold my tall 18 oz water bottle.  I've had the water bottle fall out when I set the bag down once, and the lid can hit rocks.

The medium ICU tends to pop out on one side, and it is worse when I use the front stash pocket. It isn't a show-stopper but it does annoy me. The best fit is really the large ICU, but I often want more space for other gear!

The small pro ICU will compress from the weight above it if you don't use the dividers for vertical support (such as when I stored my 100-400 mounted sideways in it).

It needs a deeper lumbar pad.

The Loka needs to be a couple inches taller for the load lifters to do much good.

I wish the shoulder straps had additional padding; it is possible to overload the Loka.

I wish the back panel had better airflow; it can get sweaty. I wish both the shoulder straps and hipbelt had mesh.  I realize the material they used is meant to repel snow, but I use it in all seasons and having sweat wick away would be better for me most of the time. 

Summary

The Loka was my first decent backpack due to the hipbelt support, but I've found many packs since then that are far more comfortable.  

As I write this, I've had the Loka for a couple of years and f-stop has discontinued the Loka model.  The current similar models are the 32L Lotus and 40L Ajna.