One of the primary frustrations of many professional photographers, designers, and illustrators in the digital realm seems to be color consistency. While there are quite a few software and hardware calibration tools available today, coordinating all of your hardware so that they’re all on the same page can seem like a shot in the dark. With the Spyder3- Studio SR package, this task just got a whole lot easier (and more accurate).

Datacolor presents the product in a beautiful package and storage case, which, in most instances, would be a worrisome sign; however, it’s appropriate. The Spyder3Studio SR includes everything you’ll need to properly calibrate everything in most design studios. One standout and well-thought-out feature is the ability to adhere the display sensor to the monitor, either by suction cup or counterweight, so it rests on the screen.

The Spyder3Elite software monitors your ambient lighting conditions and reminds you to recalibrate your display. The cables, software, cradle, storage pouch, cleaning cloth, and Pelican-style mini-briefcase are all included. Setup is surprisingly easy and screen calibration is complete within 5 minutes thanks to a step-by-step assistant or an advanced method in the software. The entire calibration process of the devices takes less than 30 minutes from start to finish.

Starting with the display, the software takes you easily through the process with a user-friendly interface after selecting the type of display (there’s even a laptop option). After launching the Spyder3Elite application and selecting your method of calibration, you have the option to either recheck your current settings or recalibrate your color pro le. Once you select that, a white box appears with an image of the sensor to ensure proper placement of
the device on your screen. Click Continue and wait a few moments for the software to work. It’s magic and that’s it. You can toggle between the before and after once the process is complete as well. Your “previous,” “current,” and “target” levels display to complete the process. For best results, calibration should take place after your monitor is turned on for 20–30 minutes.

Calibrating a printer is a matter of connecting the Spectrocolorimeter directly to a USB port on your computer and launching the Spyder3Print SR software. (Note: USB hubs used in this test didn’t recognize the device.) Again, simple navigation through a clean interface allows for easy page setup via your operating system, as well as more helpful information about color management and the use of the Sypder3Studio SR package.

Before calibration, there are options to check print quality and media settings. Select your target mode, place the calibration tool on its cradle for white balance, and run your tests. The results, like the display calibration, are accurate and the print quality is excellent. Running the calibration twice may help provide best results and a basis for comparison.

The SpyderCube is simple and has white, gray, and black zones along with a chrome ball to analyze specular highlights. Think of it as a gray card on steroids. Shooting the properly situated SpyderCube in RAW mode under your desired lighting conditions and opening the image in your editing software allows for easy calibration using the eyedropper tools. The SpyderCube includes its own storage pouch and makes an impressive difference—especially when shooting for product photography and on full white or black backgrounds.

Company: Datacolor
Price: $599
Web: www.datacolor.com
Rating: 5

The Eye-Fi Pro is the latest, most feature-rich wireless SDHC card in the Eye-Fi lineup—and it should be given that it costs quite a bit more than your typical 4-GB SD card.

Setup is easy: Plug the card into your computer using the supplied card reader, install the software, set up your account, tweak your settings, stick the card in your camera, and snap away.

Overall, I like the card and its many features. You can directly upload to Flickr, Facebook, and other online sharing sites. You have the option to upload everything you shoot, or upload selectively using your camera’s protect function (I recommend the latter). And you can turn on upload notifications via email, SMS, or Twitter.

Many users will find geotagging useful, and Wayport Hotspot access will be handy for photographers in the field without a laptop who want to back up their selects from the day. You can also transfer to any computer that has a wireless card via the ad hoc transfer feature; no need for a router or Internet.

While the Eye-Fi Pro is useful for backing up select RAW images (it takes roughly 30 seconds to transfer a 13-MB file), it’s not really a viable option for downloading the entire 4-GB card (this would take nearly 2.5 hours). This isn’t Eye-Fi’s fault; it’s just the limitation of wireless transfer speed. Kind of like trying to do video chat back in dial-up days, it’s a little ahead of its time.

The bottom line is this card could be useful for field photographers who need to quickly upload selects to the home office. If all the extra features that Eye-Fi Pro has to offer are worth the extra $100 to you, go for it!
—Brad Moore

Company: Eye-Fi, Inc.
Price: $149.99
Web: www.eye.fi
Rating: 3.5

Hot: Easy to use; lots of helpful and useable features
Not: Price; wireless download speed

Nikon has crammed a lot of features and zoom range into a compact, lightweight, and inexpensive little powerhouse, the AF-S 18–105mm f/3.5–5.6G ED VR lens. This dynamo packs a 5.8x zoom in a body that weighs less than a pound and is a mere 3.5″ long. As if size and weight aren’t enough, the lens includes an alphabet of Nikon features that’s longer than the lens itself.

Incorporating Vibration Reduction (VR) technology, I found Nikon’s claim of being able to handhold the lens at shutter speeds up to three stops slower than normal to be right on, if not a bit modest. The light-gathering ability (maximum aperture) is about what you’d expect from a compact, lightweight lens at f/3.5–5.6, but the VR technology helps to make up for the lack of aperture speed in low-light situations.

Not only does the lens have an ED (extra-low dispersion) element, there’s an aspherical element as well—which is optimized for digital SLRs—rendering a tack-sharp image. Exclusively designed for digital SLR cameras with a DX sensor, the zoom range of 18–105mm (27–157.5mm equivalent) is great for photographing subjects from landscapes to portraits. And with a minimum focus distance of 1.5′, it works reasonably well as a close-up lens, offering up a 1:5 reproduction ratio.

In actual use, the AF-S Silent Wave Motor was very quick and accurate to acquire and lock focus. The nonrotating front element makes it a breeze to use a polarizing filter without having to fine-tune it once it’s adjusted.

Who is this lens for? Anyone who wants a small, lightweight, affordable lens that covers a wide range. I consider this the “everyday” lens for owners of DX-format digital SLR bodies.—Laurie Excell

Company: Nikon USA
Price: $399.95
Web: www.nikonusa.com
Rating: 5

Hot: High resolution, compact lens with Vibration Reduction
Not:

I’ve used a number of disc publishers (machines that integrate disc duplication with disc printing) throughout the years. While not perfect, the Epson Discproducer PP-100 is the best disc publisher I’ve used to date.

Discproducer is a PC-only product that runs fine under Apple’s Boot Camp. It’s made up of two Pioneer burners that are capable of write speeds of 40x for CDs, 12x for DVD±R, and 8x for DVD±R DL (dual-layer). The unit connects to your PC using a single USB 2.0 cable (included). While not the speediest of burners in this class, they do burn simultaneously which can speed up the overall workflow. Underneath the two burners, Epson added the technology that makes this unit stand out: a six-color, single-disc inkjet printer capable of printing up to 1440×1440 dpi on regular-sized discs only. The six cartridges (cyan, light cyan, magenta, light magenta, yellow, and black) have an astonishingly long life and can be replaced individually, unlike the integrated cartridges used by all other systems.

The unit can duplicate and print up to 100 discs unattended. It does this by using a series of stacker trays and an automated robotic arm that grabs a disc, inserts it into one of the burners, then moves it to the printer, and finally to an output tray. The whole system is managed by the Epson Total Disc Maker software that has three main sections: Disc, Label, and Publish.

All the specs in the world don’t mean much if the final product isn’t up to par, so here’s the bottom line: Every disc printed and copied without any errors. Discproducer is a capable disc duplicator with impressive print quality on both watershield and glossy media. As a complete package, it’s the unit to beat in its price range for ease of use and print quality.—Rod Harlan

Company: Epson America, Inc.
Price: $2,695
Web: http://discproducer.epson.com
Rating: 4

Hot: 6-color ink printer; excellent print quality
Not: Disc burners could be faster; Windows only

The Eos Wireless core system (available in black or white) ships with a base station transmitter and one satellite speaker. The base station has two built-in tweeters and a ported down-firing subwoofer for 2.1 stereo surround sound, and can support up to four satellite speakers. The unit is very simple to use. Just plug in the unit, dock your iPod (or use the auxiliary audio input for other devices), press play, and pump up the volume. With the help of SRS WOW! sound-enhancement technology, the base unit delivers nice, clean, much-better-than-average sound and bass than you’d expect from an iPod system.

The best part of the system is the satellite speakers. The compact speakers have their own built-in power supply and can be plugged directly into any outlet to hang solidly from the wall. The plug can also be disconnected from the back of the speaker for shelf or countertop placement. The base station automatically locates the speaker almost instantly.

Each satellite speaker is also a self-contained 2.1 stereo system (two tweeters and a ported back-firing subwoofer). The speakers deliver even better sound and bass than the base station. Each speaker has its own independent volume control and delivers plenty of volume before distortion kicks in. We set up four speakers in four different rooms, plus the base station in a fifth room, and it filled the entire house with music. The only problem we encountered was with the speaker in the kitchen; anytime the microwave was in use, the signal to the speaker was completely lost.

Overall, the system is impressive. Keep in mind, however, that depending on the number of speakers you need, it can become quite expensive. A core system with three additional speakers will run you almost $640.—Chris Main

Company: IntelliTouch
Price: Core system: $249.99; Additional speaker: $129.99
Web: www.eoswireless.com
Rating: 4

Hot: Better-than-average sound and bass
Not: Price for speakers adds up quickly

I love tripods. I love the rock-steady, razor-sharp images I can create using a tripod. What I don’t like about tripods is carrying them. They don’t fit in the overhead compartment, and if I use a tripod in Rome or on the Acropolis I have to pay a “professional” fee. So when I first encountered the Joby Gorillapod SLR-ZOOM a few years ago, I was intrigued. Looking like a combination back massager and child’s toy, the SLR-ZOOM could wrap its prehensile legs around almost anything stable, and I quickly discovered it kept my camera as steady as any of my behemoth tripods. When I was doing a night shot at the Roman Coliseum, I wrapped the strange Gorillapod legs around an old steel railing and got some great night shots. Most importantly, the local authorities didn’t think it looked like a tripod and so, no fee.

My one complaint was that my large camera and its huge lens were almost more weight than the SLR-ZOOM could handle. Along comes the Gorillapod Focus. Hooray! Whereas the SLR-ZOOM has a 6.5-lb limit, the new Focus (which only weighs 1.1 lbs) can handle a whopping 11 lbs. I immediately took it for a spin and was impressed. The Gorillapod uses a standard ¼” screw mount (or 3/8″ with an adapter), which takes time to attach or detach. So I added a quick mount adapter, and now it’s perfect. If you want to use a tripod on your trips, buy one of these jewels now! They come in five different sizes; so find the size that matches you camera and lens. The Gorillapod Focus sells for $109.95 and is worth every penny.—Dave Huss

Company: Joby, Inc.
Price: $109.95
Web: www.joby.com
Rating: 5

Hot: Lightweight; handles large cameras
Not:

When it comes to camera bags, every photographer has an opinion about what works and what doesn’t, and everyone is correct. In fact, camera bags are so personal that they often elicit strong praise or harsh criticism. So what do the Glacier, Olympic, and Zion bags from M-ROCK have to offer?

All three bags are well-made from rugged materials with tough stitching and generous padding. Each bag tested includes a lens cloth and a rain flap and weather jacket to cover the bag in inclement weather. Also, M-ROCK offers a number of attachments for these bags, including water bottles, memory card pouches, and camera straps, to name a few.

The Glacier 516 bag is the smallest of the three bags we tested. It’s a top-loading bag with a U-shaped divider that acts as a lens cradle. The Velcro tabs on the divider allow you to move its position in the bag and configure it to your liking. There’s room for the camera body with lens attached, plus another small lens or flash, and lens filters. The small zippered compartment on top of the bag holds lens-cleaning papers, a couple of filters, or a small manual. There’s a bungee cord at the bottom of the bag for carrying a tripod, light jacket, or water bottle.

The most interesting and innovative feature of the Glacier is the two padded straps. These straps attach in a number of locations to allow you to configure the bag any way you like. For example, the bag can be carried as a backpack, shoulder bag, chest bag, or fanny pack (when used with the optional modular belt). It’s quite comfortable, although I did fight with the straps when using the bag as a backpack because the swivel straps don’t stay in position as you put on the bag. Once you wear it as a backpack, it works really well.

This is a nice day bag or first bag for photographers new to digital SLRs who don’t have a lot of gear. But it’s a little bulky and too small for an all-around bag if you own a couple of lenses and a flash.

The Olympic 527 bag is a roomy sling-style bag that accommodates a camera, several lenses, plus a flash and other accessories. It’s deceptively large and doesn’t feel bulky. A small zippered compartment at the top holds lens-cleaning papers, filters, etc. The interior features a modular divider system so you can tailor the bag to fit your gear. There’s a dual-access compartment at the top of the bag (front and side), numerous small zippered compartments, and a wire port on top to slip a headphone cord through (nice touch). As with the Glacier bag, there’s a bungee cord at the bottom for carrying a tripod, jacket, etc.

The only problem with the M-ROCK bags in this size is that they’re all sling bags. The smaller bags can be configured as backpacks, and the large bags are backpacks, but the midsize camera bags are all slings. While that may be fine for some photographers, I prefer a backpack-style bag. (Remember, everyone has an opinion.)

Finally, there’s the Zion 525 bag. This backpack bag is enormous and can hold most anything you need including multiple bodies, lenses, flashes, a laptop, and accessories. (An optional hydration bladder is available for use in the laptop compartment.) The Zion features numerous zippered compartments, modular interior with extra dividers, and a removable accessory bag with shoulder strap. There’s almost no limit to the ways this bag can be configured. You can add dividers to the accessory bag for even more interior room. It also features a wire port for headphones, and shock cords on the front and bottom. Though comfortable, this bag is huge.

If you’re in the market for a new camera bag (or camcorder bag), check out M-ROCK bags. The company has many other models and complete details on their comprehensive website.—Mike Mackenzie

Company: M-ROCK
Price: Glacier 516: $60; Olympic 527: $90; Zion 525: $200
Web: www.m-rock.com
Rating: 4.5

Hot: Rugged; well-made; customizable; nice touches
Not: Lack of true midsize backpack-style bag; some models bulky

I’ve been blogging about the fact that I can’t find a camera bag that works for me when shooting sports. In fact, many of you who are pro sports shooters have come up with suggestions. After my last trip to Birmingham to shoot the Indy Test Weekend (where I had to leave my laptop at home due to carry-on restrictions), I was so cranked I finally had to make a move and find a solution.

THE PROBLEM
My problem is that I have to have three carry-ons, and of course the airlines will only allow two. My carry-ons are:

1. My camera bag (with two bodies, my smaller lenses, battery chargers, etc.)
2. The large lens case for my 200-400mm Nikon lens
3. My laptop case (with powercord and other accessories).

MY DREAM
Ideally, one bag that would hold my 200-400 lens, 2 bodies, all my other lenses and accessories, my laptop and power cord; it has to be a rolling bag (and not be a backpack) and it has to fit in the overhead compartment fairly easily.

THE SOLUTION?
The last time I talked about this problem, a number of kind folks had suggested that I look at Think Tank Photo’s Airport Security V2.0 rolling camera bag, and since I’ve become a total “Think Tank Freak” recently, I went to their site first, and looked at it, and I saw there was an option for “lower dividers” which allow you to store your 15″ laptop right on top. That was it—-I ordered it right then and there (along with the optional 15″ laptop case and the lower dividers). It’s shown at the top of this post (photo courtesy of Think Tank Photo).

Above: Here’s my bag with a 200-400mm lens, 2 bodies, a 24-70mm lens, a 14-24mm lens, a 70-200mm lens, and there’s still room to spare. (photo by Brad Moore).

MY DREAM HAS COME TRUE!
I got the bag two days ago; my photography assistant Brad configured it today for my gear, and my friends, this bag is it! It’s the one. I’m in love!

This bag has more room than I would have imagined, and more storage compartments than I’ll probably ever need (but I love that!). It looks and feels so well built, and it’s so flexible in how you set up the interior. I am just so psyched—now I’m down from three carry-ons to just one, and just like that my problem is solved.

Above: Here’s my new bag with the optional 15″ laptop bag on top (photo by Brad Moore).

Above: Storage pockets in the top flap (Photo by Brad Moore).

Above: More storage compartments in the front. (Photo by Brad Moore)

PROS:
It’s got loads of room, despite the fact that it’s carrying a huge lens right in the middle. All the pockets and storage are really welcome, as is the security cable and lock, so it doesn’t walk off at the airport while you’re checking your email. It also comes with a tripod/monopod holder, which is really important when carrying long glass. It’s really well-built; the wheels are solid (and replaceable), everything has a great fit and finish, and finally all my stuff fits in one bag, and I’m not checking anything other than my clothes. It also has a stretchy front pocket which will hold up to a 17″ laptop. It also comes with a TSA-approved combination lock, and a lock for your laptop as well in the front. The entire bag seems very well thought out, very intelligently designed, and it has lots of little features that make you smile.

CONS:
Because the handles slide down inside the bag (like many rollers), parts of the inside “floor” are raised, which does tend to limit where you can put things like camera bodies standing straight up (especially if you have an L-bracket attached). Also, this raised area creates kind of a “groove” (for lack of a better term) along either side, which is great for lying your lenses down, but this also kind of makes it a little wonky when storing them “on end.” They will store that way, but the grooves make it feel more natural to lie them down. Lastly, the laptop case is very thin (I guess it has to be to fit), so you have to store your laptop’s power cord in the main bag—not within the laptop case itself. Pretty minor stuff, but I thought they bared mentioning. This isn’t minor; the price. At $369 (US), it’s kind of pricey, but for what it does, and how it’s made, at least you feel like you’re getting your money’s worth.

THE BOTTOM LINE
I have finally found the bag I’ve been dreaming of. Nitpicking aside, this is exactly what I was hoping this bag would be. In fact, it’s actually better than I was hoping, and I am just tickled pink that it is working out so well. My only regret is that I didn’t listen to those folks who turned me onto this bag sooner. My hat’s off to Think Tank Photo. Between their belt system, and this Airport Security roller, I have become a big time Think Tank believer!

Here’s the link to Think Tank’s website for more details.

Visit www.epson.com for more information about this product.

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NEC’s high-end 30″ MultiSync LCD3090W-BK-SV LCD is designed for people who insist on precision color management. It packs pertinent technology, like an internal 12-bit lookup table (LUT) delivering 97% Adobe RGB color space. It uses ColorComp technology that compensates for luminance variations, providing even, consistent light and color from edge to edge. NEC’s IPS (In Plane Switching) architecture arranges the pixels to allow for a wide angle of view. As I moved horizontally from the center, light and color held at wide angles, but they didn’t do as well moving vertically.

NEC includes a colorimeter and SpectraViewII calibration and profiling software that bypasses your computer’s graphic card and directly adjusts the display’s built-in LUT. The SpectraViewII software includes eight preset targets that can be edited or you can configure your own settings. My customized profile resulted in accurate colors, smooth gradients, and impressive shadow and highlight detail, making soft-proofing color files very reliable in Photoshop.

The specs on this LCD are impressive: 2560×1600 native resolution; 1000:1 contrast ratio; 350 cd/m2 brightness; 6 ms response time; and of course, all that leg room in a 16:10 cinema aspect ratio that lets you view documents simultaneously or enjoy the space working with graphics programs. Text is crisp and clear.

The display has a 1″ black bezel with menu buttons along the bottom-right corner. The onscreen manager (OSM) allows quick access to menus for fine-tuning your monitor. The display sits on a sturdy base and allows comfortable viewing with smooth tilts, swings, height adjustment, and screen rotation from landscape to portrait mode. One caveat: Brightness is drastically reduced when you pivot into portrait mode. The display has two inputs connectors: DVI-D (HDCP) and DVI-I (digital/analog).—Steve Baczewski

PRICE: $2,449
FROM: NEC Display Solutions
WEB: www.necdisplay.com
RATING: 4.5

LAYERS VERDICT
HOT Precision color display
NOT No USB, composite, or component ports

The Epson P-7000 Multimedia Photo Viewer builds on the last-generation P-5000 with improvements that make it more efficient for photographers to back up their work in the field. At one pound, it beats carrying a laptop, but at almost $800 it’s expensive. However, if you can afford it, it’s a solid performer.

The pièce de résistance of the P-7000 is the improved quality of the screen and with it the ability to make accurate assessments of your images. The 4″ LCD has a wider color gamut encompassing 94% (up from 88%) of Adobe RGB color space, and the screen’s wider viewing angle allows several people to look on. Files are easy to see in bright outdoor light, making culling in the field realistic. Images are sharp, even when zooming in to check detail. A multipurpose jog dial has been added making scrolling through images smooth and easy. As you view your files, you can display EXIF data, a histogram, and visually check highlights and shadows.

The P-7000’s 160-GB capacity is twice that of the P-5000. It has two memory card slots for CompactFlash and SD cards, with provisions for adapting other popular cards. After inserting a card you can copy all your files or browse through your files and copy a designated selection. In general, the menus and interface are easy to use and comprehensive, but could use a makeover. The P-7000 supports JPEGs and extensive RAW file formats.

I compared download times between the P-7000 and the P-5000 and, in general, the P-7000 is approximately 33% faster. The rechargeable lithium battery lasted between 2.5–3 hours. It comes with a protective storage case and fold-out viewing stand.—Steve Baczewski

PRICE: $799.99
FROM: Epson America, Inc.
WEB: www.epson.com
RATING: 4.5

LAYERS VERDICT
HOT Performance and dependability
NOT Price

Epson’s new 13″ Stylus Photo R2880 printer (replacing the Epson 2400) incorporates print technologies that include a new printhead using an ink-repellent coating to improve ink dot placement. Its new UltraChrome K3 inkset and Radiance technology optimizes ink use, reproduces colors with more accuracy, and minimizes metamerism. A built-in “mist-collection system” sucks up ink overspray and keeps the printer’s head clean. The ink cartridges’ small capacity makes the R2880 suitable for fine art photographers and designers who demand professional quality but don’t do high-volume production. What’s disappointing is that the user still has to swap photo and matte black ink cartridges when changing paper types.

The R2880, with two USB ports and PictBridge connectivity, is more solidly built than the Epson 2400. It handles both sheet and roll paper and has a front-loading tray for printing on CD/DVDs—a welcome new feature. There are four paper-feed paths, with most papers being fed through the reliable 100-sheet capacity top feeder. A front paper feed can handle art board up to 1.3mm thick. The rear single-sheet feeder handles thicker, fine art papers but requires patience to master the paper-feed technique.

Epson added vivid and vivid light magenta to the nine-cartridge K3 inkset—in effect, a bigger box of crayons—that widens the color gamut, especially affecting reds, magentas, and blues. When I compared prints of the same file made on the 2400 and the 2880, there’s a noticeable, but not dazzling, difference; however, it’s enough to want to reprint files to gain that extra color and dimensionality. Gradients appear smoother with more subtle transition and there’s more visible shadow and highlight detail. Two features are outstanding: the supplied canned paper profiles and the Advanced Black-and-White Photo Mode.—Steve Baczewski

PRICE: $799.99
FROM: Epson America, Inc.
WEB: www.epson.com
RATING: 4.5

LAYERS VERDICT
HOT Wider color gamut; automatic nozzle check
NOT Small-capacity ink cartridges