Alpkit Compact Ultra II Walking Poles

I remember the first time I saw photographs of mountaineers in the Himalaya using ski sticks to aid walking. Jump forward 30 odd years and we now see them being used to aid walking along the streets in Lake District towns. They have become an almost essential ingredient in the ‘fashionable walking holiday wardrobe’. I was ‘anti poles’ initially and still believe that to some extent we are better to manage our own balance when on difficult terrain. I first began to take note however when older mountaineers expressed the view that the use of walking poles reduced the stress on their knees and hips when descending. As we age and our leg joints wear and this seemed a reasonable response. One might extend the knee support argument further and postulate that perhaps the use of poles might also reduce the wear and tear in joints if used before they become ‘needed’. The research carried out certainly suggests that this is the case. Views and perspectives change over time and from being anti poles, I am now a frequent user and especially so in the case of photography in the mountains. I’m much more likely to use poles when photographing as my pack weight is likely to be substantially greater than any normal day sack weight. I also find them to be enormously helpful when wading out into flowing water (even if less deep than the height of my wellies) for that perfect spot from which to photograph. Finally given the value of the contents of a photo backpack, I find them a reassuring support when crossing fast flowing water by wading or stepping from rock to rock. There is a bewildering choice of poles out there at a huge range of prices and including esoteric materials such as carbon fibre. After trying and using a number of options from familiar brands, I settled on the subject of this review, the Alpkit Compact Ultra II folding poles. The route to this choice was relatively straightforward although it took some years to navigate. There are essentially only a few choices to make:

• Budget - This ranges from about £5 per pole to well over £100 per pair.

• Twist lock or snap lock

• Sliding (telescopic) or folding

• Material / weight - usually ranging from alloy to carbon fibre.

• Shock absorption - some poles have an internal spring section to reduce impact shock.

• Grip style these vary from a simple foam cylinder grip to carefully moulded anatomical grips.

My own reasoning was as follows. I don't like things sticking up over the top of a rucksack so the two/three section sliding poles are usually too tall even when stowed. This is particularly relevant when negotiating  woodland with poles strapped on to your pack. Anything that reaches above the bag can and will get caught on branches.I find that twist lock poles become much harder to tighten and loosen when they and hands are wet and (from the samples I’ve tried) are prone to being jammed completely by ice in winter. I find the folding snap lock system quicker and easier. I’ll pay the cost to obtain the performance I want but don't choose to ‘over cook’ the specification. The weight saving from alloy to carbon fibre doesn't seem worthwhile to me (unlike with tripods for instance).I also have a leaning towards new agile small companies trying to do things right and in a good way. Alpkit have a very sound ethical approach and I believe such ethics should be supported. Combining all the above I bought a pair of Alpkit Compact Ultra II poles and have never looked back. The poles, sold individually or as a pair, weigh in at a quoted 275g each. My pair weighed 500g.The only change to the quoted spec is that I don't carry the point protectors. These are too easily lost in my opinion and best left at home.  When stowed they are delightfully compact and measure no more than 38cm. To save having to readjust for working length each time they are used, I leave mine ready set at my normal length while stowed and this results in a slightly longer packed size of 51cm. When packed at minimum size, not only will they stow neatly on the outside of a rucksack, they will fit inside even some very small 10L day sacks.This model represents an improved version of the original on which the hand loops were a little undersized. On these, the loops are sufficient for all users. There are poles with better adjusters and those with worse, these are about the middle in terms of smoothness or difficulty of adjustment. The grips are lightly contoured foam and are both comfortable and offer good grip in use. I was a little suspicious of the locking mechanism for the bottom section when I bought the poles. This is a spring loaded ball which pushes through a hole in the leg. Despite my concern the mechanism might clog with dirt,  has been flawless for the year that I’ve owned the set.If you walk the hills and tracks, I’d recommend that you consider a set of walking poles. If you are a photographer, carrying a heavy photo backpack and working in wild terrain, I’d recommend the investigation still further. In my case not only is stability increased and knee/hip pain reduced but I feel less tired after a long day on the hill than without them. If you decide that poles are for you, I’d recommend these Alpkit poles without the slightest reservation.

A week with the Nikon Z7

Nikon Z7 ReviewI’ve owned this camera for a week now, supplied with excellent customer care by www.fixationuk.com  While I’ve no claim to be a super user nor have any overly technical insight, I do have a week’s worth of getting to know this new camera in situations that are common to most landscape photographers working in our typical wet, windy conditions. (I’m also keen to point out that I’m not trying to demonstrate mastery nor make any statements about my own competence. I’m simply trying to share experience in the hope that someone else may gain from it.)  A little background perhaps. From the day I bought a Fuji X-Pro, I’d wished Nikon had made a Mirrorless camera . From the moment, I first heard about the current model, I’d assumed it would fit in and complement my D810. I’d seen it as a lightweight alternative. However during the time it took Nikon to produce the Z7, the world changed. I’m not convinced even they knew the route they were following and suspect that the camera ended up higher in their catalogue than was originally intended. Life with the Z7 has been a mixture of close to perfect and  irritatingly  bad. Image quality, build quality and ergonomics are excellent which to be honest is 95% of the camera. The devil however is, as they say, in the detail. As a tool it feels good in the hand, solid without being too heavy. Compact without being miniaturised. I suspect use is easier if already a Nikon user but each control feels exactly right and seem to follow a largely logical layout. This is a very, very fine camera indeed, my D810 is gathering dust and my old  Fuji X-T2 is not being missed in the slightest. Given that the image output is essentially much the same as a D850 the key decisions as users are three fold:

• Does the weight and size saving justify the size for me?

• Does it matter that the DSLR line now has a limited and defined life? Would I rather invest in technology that is developing rather than being abandoned?

• Does the EVF offer enough advantages to justify the pain of the camera purchase and then subsequent lens purchases.

Nikon z7 Review Virtual Horizon level

Nikon Z7 Review cable release

Nikon Z7 Review with 85mm f1.8 AF-S G Sycamore Leaves

For me, the answers were straightforward, this is getting closer and closer to an almost perfect camera. The first and most important step to take is to fully read the manuals especially those parts that relate to customising the functions attached to the various buttons. This at least allows some of the more glaring oddities to be corrected. ViewfinderThis EVF is perfect, I’ve no idea how it could be improved upon. It's like looking through a straight optical path but better. It’s so good, you just forget all about it. Even allowing for the fact that at heart Nikon is an optical company rather than an electronic one, there is some magic at work. ShutterI’m an advocate of quiet photography, working along, taking time and spending some quiet time in the place that you are making photographs. There are times when even the sound of the shutter and mirror of a DSLR can grate and spoil the moment. The Z7 is delightfully quiet and can even be used in silent mode.PlaybackI like to review images through the viewfinder. In standard form this means removing my left hand from supporting the camera and pressing the Play button. This is, in my opinion, much better achieved by configuring either of the Fn buttons to playback Review can then be achieved without moving the camera from the eye.During review, the + button can be used to zoom in on the image and the edges of the command pad used to navigate. Pressing the centre of the command pad immediately zooms in to 100% This would be much better if Nikon adopted the Fuji method. Use one command dial to zoom, one to scroll to next image. GridWhy not provide a choice of grid line arrangements? At least a thirds grid.LevelI wish Nikon would provide a more subtle level indicator that can be viewed while composing. The fighter pilot sight one is just about OK if you are working from a tripod but you need to be able to see the level and the full composition screen if you are handholding. Silly example of poor design and the tiny indicators at the edges of the D810 finder are much, much better. ConfigurationI’d like Nikon to take away as many restrictions as possible when assigning functions to buttons, let the user customise their camera. Fully customise menus and features also. Let me remove menu items completely. The iMenu is a good start but more could be done.Cards /Card SlotsI had two corrupt files on the first time one card was used. Since then nothing, it’s a worry but provided there is no repeat, I can live with it. I’ve been mulling over the whole aspect and am generally OK with a single card slot. I’m not clear about the technological hurdles but a direct Wi-Fi link to an external hard Disk like the WD MyNotebook would be a great alternative. It may be simply too demanding on battery power. FTZ AdapterYou wonder whether anyone in the Nikon design team actually use their cameras? If so do any of them every use an Arca plate? Every plate I own, even the smallest almost square one, fouls the camera if fitted to the FTZ, meaning you’d have to fit and remove it every time you wanted to fit or remove the adapter. I’ve ordered what I hope is an even tinier one, designed for compact cameras, I'll see if it works out. AdobeACR opens the lossless compressed files but doesn't seem to open uncompressed. I’ve always used the lossless compressed so not an issue here. There is  a lens profile included for the 24-7mm f4, as with the Fuji’s, the profile is applied automatically. It looks as though the Adobe support is in an interim version so I suspect import settings will evolve over time. . Long exposuresGiven that Nikon had time to learn from Fuji, I am surprised that the longest shutter speed they give us is 30s. It took nearly 6 years before Fuji finally gave in and added longer exposures in manual but now the wait begins again. If Nikon gave us 1/2/4 minutes, it would make a huge difference to normal use. If we could see those in manual and auto settings life would be better. One of the benefits I’ve appreciated over the years from mirrorless is being able to ‘see’ though heavy ND filters and I can confirm that it is possible to see well enough to compose and focus on at least easy subjects through a 10 stop filter. It’d be an improvement if there was a timer visible on the rear screen during B/T exposures. Interestingly LE NR is now switched off by default, first recent Nikon I’ve noticed that with. Use with 24mm F2.8 PC-e lensThis works like a dream, no fouling of controls and the focus peaking is life changing. Works like a dream. One can almost ‘see’ the inclined plane of focus and where vertical objects intersect it causing the peaking to show. No personal information on 45/85mm but presume same applies. Use with manual Focus lensesIn addition to my Tilt Shift lens, I also have a set of old AI Nikkors. We get two benefits with these. Firstly we have focus peaking which is especially useful with the large aperture lenses such as the 50mm f1.2. Secondly we get image stabilisation even with 40 yr old lenses. Nikon quote 3 stops with adapted lenses and while having no way of measuring, such a figure feels about right. That really is backwards compatibility. For anyone (shame on you) who hadn’t realised the joy of older Nikkors, ‘tis is definitely the time to investigate. There are some peaches (and a few lemons), more of that in the next instalment. Remote CableThis continues to irritate. The best I’ve managed so far is with a Meike Cable via Ebay that has a 90 degree plug so helps keep things bit more compact and also much less prone to being hit in passing.  I can’t believe Nikon offer this setup as a real life solution, it takes a high end product and makes it low rent. When combined with the PromediaGear L bracket it is functional but the end plate from the bracket has to be removed to attach or detach the cable. Currently PMG are the only vendors of a bracket that will work. They, RRS, Kirk, 3Lt and others have L brackets on the way but we’ll see if any of them work well or not. Battery LifeThe battery lasts less well than a D810/D850. I used to carry 5 spare batteries with the Fuji but I’ve not had to change more than one so far in a day with the Z7. This is to be expected as it is doing more work with the same battery. It’s still OK however, for me.AutofocusDespite the entire world telling photographers that they must use manual settings, I tend to use autofocus and Aperture priority whenever possible. The use of autofocus obviously requires the focus point to be placed exactly where you need it. The combination of the tiny spot focus point on the Z7 together with the ability to place it ANYWHERE in the frame makes this process perfect. FilesGiven that one of the major drivers in moving from Fuji was to produce files with which I felt more comfortable, the outcome has been completely successful. The files produced by the Z7 are beautiful and seem to be able to absorb any amount of manipulation without complaint. The level of detail is exceptional and ‘grain’ size and structure are both exactly to my taste.BandingAnother Nikon, another banding panic. I’m no expert here but it does ‘seem’ that, in some cases at least, those who are experiencing patterns are generally trying to extract impossible amounts of detail from impossibly deep shadows. Looking at some of the files circulating the writers need to ask whether the shadows might just be too dark and whether any other camera would do better. I’m a great believer in letting shadows be the dark places they are meant to be. In day to day use, where I’m trying to get exposure right, there are no nasty patterns of any sort. I’ve loved using the Z7 this week and am looking forward to getting to know it more depth over the coming months and years. I’m wishing for a healthy development through firmware updates but not holding my breath. Nikon will have to learn some new skills of listening to users and responding for that to happen. In the final part of this Blog, to be published next week, I’m going to share a few thoughts on lenses old and new that might be found on the front of this fine camera. For a variety of reasons the list is highly unlikely to mirror the established hierarchy as purveyed by DxO and the like.

New Fotospeed Papers

I recently received two boxes of paper sent by Fotospeed for me to try and then review. Given the vagaries of colour perception, lighting, compression and variations in monitors ( not to mention different printer outputs) , it seems pointless to waste time and space showing heavily compressed jpegs that concentrate on colour reproduction. I plan therefore to concentrate on other properties of these papers. I bought my first Nikon in the early 80’s. At the time it had a great deal to do with the fact that not only did Don McCullin use Nikon but that his life had been saved by his Nikon F when it was hit by a bullet that was meant for him.Our choices are often influenced by the famous and the lauded: these two papers are ‘signed’ by two of the giants of our world, Doug Chinnery and Joe Cornish. I use the term ‘signed’ to emphasise the fact that these papers are not merely ‘endorsed’ (which can mean anything or nothing) but have been designed in conjunction and are genuinely used by the named photographer. These two names are more than enough to cause serious consideration of these papers. If I have an anxiety about Fotospeed, it is that they make a bewildering array of papers through which one has to navigate in order to reach a choice. When I started printing in the early 80’s we simply picked a brand and then chose a gloss or Matt finish, possibly a silk if feeling giddy. Knowledge and technology now require more of us. The important factors which define these two papers are:

• Weight

• Surface texture

• Base colour /use or otherwise of OBA.

• Archival stability (including base material)

Both papers are made from Cotton giving grater archival stability; this is enhanced by both being acid free. Both are 305 gsm in weight so feeling like a thin card rather than a paper. Both are matt finish though one(The Etching)  is much more textured. Both papers have a less than 'Persil White' appearance with the OBA free Platinum Cotton being the less white of the two.Cotton Etching 305 is a 100% cotton Acid Free Fine Art paper with a white base. The surface has an etching texture which helps accentuate detail and gives a depth to you image. Cotton Etching 305 uses the latest coating technology resulting in a wide colour gamut and pin sharp detail. Platinum Cotton 305 is a 100% cotton, Acid & OBA free Fine Art paper with a smooth natural white surface. Platinum Cotton 305 use the latest coating technology resulting in a wide colour gamut and again, pin sharp detail. Comparing the two descriptions (from Fotospeed) we see that they are both heavyweight papers, both matt (though one smooth and one textured) and both acid free for stability. the remaining stand out difference is that the Platinum Cotton is OBA free. This latter is important for two reasons. Firstly the inclusion of OBA (Optical Brightening Agent) gives the paper a 'whiter than white' finish. this does however gradually fade with time. Most OBA free papers seem to have to sacrifice initial whiteness in order to achieve this stability but technology moves on and this new paper makes less of a sacrifice than most. Both papers are however less than the 'whitest white'. the image below shows a comparison between the two papers and a sheet of premium photocopy paper. However your monitor is set up, the comparison will still hold good in relative terms.In order, the whitest is the photocopy paper, followed by the Cotton Etching and finally the Platinum. Many users prefer the softer white of the mid point here others the warmth of the OBA free and others still demand the whitest white. Tastes change; 40 years ago I loved the almost green warmth of Agfa Portriga paper, today I tend to prefer my whites as white as possible.Part of the joy of a print is in looking at a tangible image and how the light reflects off it, another part however is to be able to hold the physical image in your hand. The weight and finish of both papers is truly superb, they both feel like premium offerings destined for large prints on gallery walls.  The pronounced texture of the Cotton Etching is reminiscent of my once favourite Hahnemuhle Etching. My current choice would however be the smoother finish of the Platinum Cotton. All personal taste of course but at some point I find myself looking at the texture rather than the image and for that reason prefer a less visually obvious finish.Personally I am delighted with the output on both papers in terms of colour and resolution of detail. I found that to my eye the smoother finish of the Platinum Cotton helped both the resolve more detail and also to better handle the subtle gradations in a monochrome  print.In the example below, I found this image, filled with closely packed mid tones, was better presented (to my eye) by the Platinum Cotton than it was by the Cotton Etching.As stated above, by the time this has been compressed and displayed on another monitor the accuracy will be lost but the comparison again holds good. Both the subtle tones and the fine detail of the leaves are better represented to my eye.Beauty is of course in the eye of the beholder and our concepts of beauty change over time. these are both beautiful papers of exceptional quality. My current preference is for a very bright white and a smooth (or often pearl) texture. When I used to print in the darkroom, my preferred finish was always that of an unglazed gloss paper. The strength of the Fotospeed range is that whatever one seeks in terms of a printer paper, they almost certainly provide it and of very high quality.Are these papers for you?If you are seeking acid free papers of high quality, yes.If you are looking for a neutral OBA free paper, yes.If you are looking for a high quality matt paper with a smooth or textured finish, yes.These papers were supplied free by Fotospeed but there was no pressure or suggestion that a positive review was expected. https://www.fotospeed.com/   

Breakthrough X4 77mm ND64 Filter Review - Part 1

Breakthrough X4 77mm ND Filter Review - Part One.There’s more to life than looks of course but it is difficult to avoid forming a first impression. From the moment I opened the box, this filter created two impressions. It looked like a high end piece of engineering and it stood apart from the crowd. Such an attention to detail by a manufacturer sends an instant message. ‘We know what we’re doing and we believe it is important to do it right’. As soon as the box is opened two practical aspects make themselves known. After countless years, a manufacturer has finally included a sufficiently 'grippable' edge to transform the process of mounting and removing. At best we’ve been given a knurled edge or often a smooth edge with a lightly knurled front. The X4 starts from a more functional approach and gives an edge that is more scalloped than knurled and provides an infinitely better grip. Even with gloves this is a breeze to remove and no more need for filter removal tools for overtightened items. Secondly, although in principle  the engineering of threads is relatively straightforward, there is a world of difference between the individual variations of a so called standard pitch. Some are simply cut to poor tolerances, others while accurate are left with edges sharp enough to cut skin. Poorly cut threads are a potentially expensive accident waiting to happen. From the moment you first offer up a filter you know instantly how good the thread is, some fight and others work with you. The Breakthrough, almost threads itself. The frame is CNC machined from Brass and oozes quality. The same attention to detail is also paid to the glass, Schott B270 in this case. Secondly a 16 layer multi coating is applied ( 8 layer to each face)  and finally a nano coating which both serves to bead water droplets and make it easier to clean off any marks.Optical performanceBreakthrough make a number of significant claims for the filters including a completely neutral colour, class leading sharpness and great resistance to marks and moisture.Colour: It is certainly the most neutral 6 stop filter that I’ve ever used. In my view, the sample I have, is not quite completely neutral, there is a very, very slight blue cast. Nothing however that cannot easily be removed. Sharpness: I cannot fault the optical sharpness of the filter, more attention will be paid to this is part 2 but for now, it seems flawless.Finally the Nano coating succeeds in two ways. After multiple days in the field, the filter remains unmarked. In light rain the filter resists the water and drips quickly bead and run off. This is a high end product at a high end price but it is easy to see what value has been added. There is a certain pleasure to be derived from anything that is done well and this is a beautiful piece of engineering. Unique in my experience is the presence of an individual serial number for each filter. This enables the similarly unique offer of a 25 year guarantee to be claimed. Although a full comparison with other industry leaders will form the basis of the second part of the review, I currently would have no reason not to make this my first choice for a screw in ND64 filter.

Lee Seven5 storage solution

 A quick Google of cases and storage solutions for the Lee Seven5 filter system swiftly reveals many people seeking in vain for a sensible way of keeping their filters safe when in the camera bag.This is particularly so when one owns a rare and valuable Lee Big Stopper which, being glass, is prone to emerging from the camera bag in pieces. Lee themselves have no sensible offering and the alternative manufacturers have yet to decided that the numbers warrant the design and investment in new products.It is easy to find a huge case and even easier to find something that lack the necessary protective qualities. However there seems to be not a  single advertised, usable solution.Enter the humble 2.5" external hard drive case, These are sold for a few pounds on the usual sites and to me seem to do the job very well until a more specialist item appears. One half of the clam shell holds adapter rings while the other holds at least three and perhaps as many as five Lee Seven5 filters. There is little wasted space and I think just about enough protection for the glass filters. I would prefer a specialised model that holds the filters separately and without their Lee wraps but for now this seems a great solution. if anyone has found a better solution, I'd be really keen to hear.

Lowe Alpine Convert Mitts Review

Just finished a review of some excellent winter mitts for photographers. Here.