The Active Photographer

Test/Review: KATA TLB-300 Backpack

Giles — Wed, 02 May 2012 07:27:39 +0000

When I first accepted this bag for review, I hadn’t seen it ‘in the flesh’ but I did have a very real question I was hoping it might answer.

You see, the quandary that a great majority of photographers face when heading outdoors is how to carry both their outdoor kit (waterproofs, flask, lunch, accessories etc) and camera gear (DSLR, lenses, flash guns etc). Travelling light is the key, so a bag which can comfortably hold everything is a must.

But let me make one thing clear from the start. I know full well that this offering from KATA was not designed with the above needs in mind; it is first and foremost a one-camera-one-lens-plus-accessories arrangement aimed at those who use big telephoto lenses (TLB stands for Telephoto Lens Backpack and 300 relates to the transport of a 300mm telephoto lens or smaller).

So why would I want to test this bag in such a way? Well, us photographers are a resourceful bunch, and it’s not unusual to hear tales of how we adapt our existing outdoor/photography bags to suit our needs on the trail. In reality, though, my initial plan was put to one side, simply because the TLB-300 is, in my opinion, too big for purpose. Bulky is not good on a windy hillside.

So, let’s look at what this bag does have to offer…

One of the first things you’ll notice is the construction. It’s substantial – with a tough abrasion-resistant outer, good stitching around hi-stress areas (straps, pockets etc) and reassuring inner padding secured by tried-and-tested Velcro fastening patches. This attention to detail is what we’ve come to expect from KATA and is by far one of the strongest selling points.

On the exterior, you get a large pocket for carrying a water bottle or accessories on each side, a single small zipped pocket on the front and plenty of loops to attach additional pouches or karabiner clips if required. A removable ‘cap pouch’ compartment sits on top, which can also be mounted on the base.

Round the back you get a sturdy ‘traditional’-style harness system, complete with lumbar pad, sternum strap and removable 6-point adjustable waist strap featuring two zip pockets. Much better, in my opinion, than the newer Gecko EVA foam harness straps featured on the Bumblebee 220-PL Backpack.

A rain cover is also supplied; it’s of a detachable design (rather than built-in/fold-away), as is the handy tripod sling.

In order to support such a big lens, you’re given a number of sturdy dividers to arrange. The U-shaped padding goes right up against the point where lens attaches to camera, a square-shaped divider sits under the lens and a long divider wraps around its circumference to keep it in place. Pretty simple, really. We like simple.

For smaller lenses, you sit the camera/lens towards the top of the bag with the square divider conveniently creating a small compartment for additional accessories. This works great when delving into the fully open bag but, even though I could unzip just the top area for quick access, the route to this was, by default, blocked by the camera setup. Not so quick or convenient – and it’s all too easy to miss precious shots as a result of the need for such fumbling around.

Which leads me to my single biggest criticism of the TLB-300, which has to do with access to this main compartment. Although it may seem good on paper, I would find it incredibly frustrating, not to mention impractical, on a long-term basis. In principle, the design is a good one; a single zip which runs the full length of the bag from one side of the base, up around the top and down to the other side of the base. As such, you are able to easily get to the whole compartment in one go, without the need to remove any padding, inner compartments etc.

In practise, though, I really didn’t like the way the rear panel, complete with shoulder and waist straps, folded back in such a way as to push the base of the bag inwards – at the same time leaving those straps dangling onto the (potentially very wet/muddy) ground beneath. Some people might not be bothered too much about this, but for me it was a real negative point – one which was only exacerbated by the fact that the zip action was continually interrupted by the side quick-release buckles.

Aesthetically, the bag isn’t much of a looker from the outside – which isn’t a bad thing when you’re trying not to attract attention to your photo gear. On the inside, you’ll find KATA’s trade mark bright yellow colour scheme which is very handy when working in low-light conditions as cameras and lenses show up really well against it. In terms of how it shows the dirt? As I’ve said before, over the long term, I think a more neutral option such as grey or black would be more suitable for those venturing into the more wild outdoors regularly.

So what’s my overall conclusion about the TLB-300 Backpack? Whilst I don’t deny it does a great job of protecting camera gear, this clearly wouldn’t be the bag for me. Realistically, I feel it’s best suited to photographers who simply need to transport a big lens setup to a static location (say, a wildlife hide or football pitch sideline), take the camera out and put the bag to one side for the next few hours.

As much as it pains me to say it, for my money this is another example of a product which falls a little short of the mark because, as much as it is not without its good points, some aspects have been unnecessarily over-engineered to the degree that they actually over-complicate what is essentially a very simple product.

Office Cat Sleeps

Giles — Tue, 01 May 2012 07:15:59 +0000

Episode #71 – Taking A Look At Perfect Resize 7

Giles — Sun, 29 Apr 2012 23:01:21 +0000

This week: I’m in conversation once again with photographer/writer Hugh Graham, who was one of my lecturers when I studied photography at University.

Perfect Resize 7 is the latest version of what a lot of you will know as Genuine Fractals - a great program, first and foremost, designed for upscaling photographs.

Rather than this being one of our usual topic-based discussions, on this occasion we are talking specifically about this software – its specification, real-world applications and, of course, our first impressions having used a previous version for many years.

Some quick links to things mentioned in this show:

Music featured in this episode is courtesy of Matt Stevens. You can check out more of his work here.

Giles Interviewed On Outdoor Minded Mag

Giles — Fri, 27 Apr 2012 17:55:45 +0000

Around the middle of last year, you may remember I was interviewed for OutdoorInformer.com, where I spoke about what it is to be involved with the world of photography and the great outdoors.

Well, once again, I’ve had the pleasure of receiving another request for my thoughts – this time from Outdoor Minded Mag. A great privilege and, as ever, who am I to say no?!

In this latest feature, I talk much more in depth about just how I came to be in the profession, my use of social media and my involvement with the outdoor communities both online and in the ‘real world’. I hope you enjoy it.

If you’ve got a minute, I’d really appreciate your feedback in the comments, along with any follow-on questions you might have.

So, without further ado, hit this link for the full interview!

Marking Grandad’s Centenary +1

Giles — Thu, 26 Apr 2012 07:32:23 +0000

Today carries with it a certain poignancy. You see, my Grandad would have been 101 years old and so, as well as pausing for thought, it gives me an excuse to share a post I put up to mark the occasion this time last year.

For those who didn’t see that post, I talked about one of the last ‘proper’ photographs I took of my dear old Grandad – ie not simply a snap – which I arranged to mark his 97th Birthday, the year before he died.

And so…

The backdrop for the pictures was the rear garden of his house; with a bit of privacy and so many happy memories there, it was the ideal setting.

Past experience had shown me that taking a ‘posed’ picture of my Grandad was akin to photographing a young puppy – I would often find myself with a maximum of just a few short minutes before he decided it was time to move off to get on with other more ‘exciting’ activities; thankfully, I quickly learnt not to take this reaction personally!

With this in mind, I set up the lights in advance, making full use once again of the wireless capabilities of the Nikon Speedlight system.

The diagram here shows the basic arrangement, viewed from above. As you can see, the main light was fired through a translucent umbrella; I often use this approach as it provides a clean and flattering diffused illumination which softens the skin nicely.

Behind the two of us were placed 2 other (bare bulb, SB-800) flash units – one either side, each at approximately 30 degrees, creating a nice rim light and giving clear separation from the background. This would have been accentuated even further had our clothes been darker.

For the keener-eyed amongst you – yes, you’re quite right, the main light is in fact a Metz, not a Nikon. Simply put, the Nikons were set to fire off the Metz, thanks to the SU-4 hack. If you haven’t heard about this excellent feature, I’d recommend you take a look at this page over at Strobist.com, where David Hobby gives a great run-down of it.

With hindsight, would I change anything? Quite possibly, I might have brought the ambient light levels up a bit (controlled by shutter speed, not flash) in order to show more detail in the shed behind. Also, the one thing that has always niggled me is the position of my hand on Grandad’s shoulder – not so much where it is, but the fact that it looks a little bit ‘detached’, a la Thing from The Addams Family.

So why did I take the picture? It’s quite simple – the whole reason we create pictures in the first place. Regardless of subject matter, every image is designed to be memorable, meaningful, impactful in some way. Of course this process is subjective to varying degrees – the photographer’s beliefs, his/her stylistic preferences, even one’s state of mind at the time of capturing the image – all can influence how pictures turn out.

Every picture has a purpose, it’s own story to tell.

On this occasion, I simply wanted to document the fact that my Grandad had reached such a great age. The caption would read nothing more than “Giles with Grandad in the garden on his 97th Birthday”. In years to come, as I already am, I will be able to look back on these photographs and remember the happy memories of that day and of the years that led up to it; the times we spent together in that place, the fun we had.

And therein lies photography’s greatest strength – the ability to capture moments in time, no matter what content fills the frame. It is there to preserve those moments for the benefit of future generations.

Technology is wonderful – but it is merely a tool which allows us to realise our visions.

Test/Review: KATA Bumblebee 220-PL Backpack

Giles — Wed, 25 Apr 2012 07:29:27 +0000

One of my pet gripes with the way manufacturers design/construct their kit is the way in which they often confuse the concept of ‘adding features’ with ‘over-engineering’ a product.

Let’s face it, the camera bag is a simple affair really. A main compartment, a couple of accessory pockets, secure fastening of some sort and a way to comfortably carry the thing (handles/straps) is basically all you need.

It’s from this stand-point that I have always looked at how I carry my camera gear. Experience has shown that the more features you add, the more complicated a bag will be to access, bringing with it the risk of missing those all-important pictures, at exactly the wrong moment, because you’re fumbling around with clips, straps, zips, buckles and goodness-knows-what.

So with this in mind, how does the Bumblebee 220-PL fair?

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One of the things I like most about KATA is that they pay great attention to the details, taking onboard real feedback from real photographers in order to better their products.

Using properly decent materials, from the hard-wearing outer right down to the rubberised zip tabs, you immediately get a sense that your valuable kit will be in safe hands. Even the stitching instills faith (how many times have you gone to grab a bag in a hurry, only to have the handle pull away from its mooring?).

The first thing I noticed about this bag was that it’s not exactly what you’d call small. I have used other bags of similar capacity (from other manufacturers) which are nowhere near as bulky. This may or may not be a sticking point, depending on your own particular usage. For example, if you do a lot of travelling and have to store your bag in tight overhead lockers during journeys, it could be a deal-breaker.

Don’t take this as a criticism, though. There is a very good reason why the 220-PL isn’t as flat-looking as other offerings on the market – its Modular Aeriform Dividers are arched so that your lenses etc actually sit below the apex, offering added protection; when you also take into consideration KATA’s flexible Spine Guard integrated into the front exterior zipped area, you can see this makes perfect sense. Personally, I found this latter feature unecessary (it takes up space, for negligable benefit) and I gather that KATA themselves are also having a rethink about how better to work the design.

Looking at the outside… you’ll find two compact front pockets for storage of pen/business cards/phone etc. To the left side are two zipped pockets (one of which is expandable, ideal for flat items) and to the right is an elasticated pocket which can take a small collapsed tripod such as the Manfrotto Compact Photo-Movie Kit. Although this is a nice idea, and I did try it, in reality I’d be worried about ripping its lightweight material, especially if travelling though terrain such as woodland, where it’d be likely to get snagged.*

*I should point out that this is not the intended use for the pocket. The bag actually comes with a dedicated detachable tripod sling, which can be attached to the front or side.

One pocket which I did like was the snug rear padded laptop slot. Designed to fit anything up to 17″, I had no problem fitting my smaller device in; really handy for those occasions where I might need to be shooting tethered on location.

My overall conclusion about these exterior pockets is that, whilst they do serve a purpose, they are not the most practical I have seen. My biggest gripe is that they are too tight, too confining when sliding your hand in. I would rather have one big pocket on the front (which could take a lightweight waterproof coat, for example) and perhaps a second smaller one on the side for those items which need to be accessed quickly, such as keys/money/phone.

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Let’s take a look inside… Ok, so the first thing you will undoubtedly notice is the colour. It’s bright yellow, make no mistake – but this is very handy when working in low-light conditions as cameras and lenses show up really well against it. In terms of how it shows the dirt? Hmm… I would say that over the long term, a more neutral option such as grey or black would be more suitable for those venturing into the great outdoors regularly.

Aesthetics aside, there is plenty of room inside the 220-PL, and I especially liked the way the zipped lid opens away from the user – quite unusual for a backpack, but somehow more compact than the traditional design. With plenty of adjustable padding throughout, you can comfortably fit 2 pro DSLR bodies, a wide range of lenses, a couple of flash guns and assorted accessories inside.

Now, you might expect me to say this, but flexibility is an important factor to consider with camera bag interiors; personally, I have never left any of my bags or cases in the same permanent configuration from day one. A stand-out feature of tha Bumblebee is the integration of two cocoon pouches, held in place by tough velcro patches.

Each pouch features a double zip, which faces inwards, and tough mesh top panels to stop items moving about. Although I’ve not tried it, KATA do say that this bag can even hold a 500mm lens (with tripod collar removed) – so you can see that, by removing just one pouch, your options increase further.

My biggest criticism of the interior space is to do with the orientation of camera bodies. If you look at KATA’s own illustrations, you’ll notice that a camera is shown, complete with lens attached, at the base of the bag. I would never do this; all it would take is a rough landing on rocky ground and there goes your LCD screen, in spite of the padding. Surely there’s a simple remedy, you might think – just put the camera at the other end.

Um, no. Because of the downward shaping at the top end of the bag (both of the outher shell and interior padding), it was a job to zip the bag up with my D3 in place – because it extended above the line of the padding. Short of taking out one of the cocoons in order to broden the centre section, which would frankly be a shame, I can see no other option than to place the camera body alone elsewhere in the bag. Not an ideal solution, again risking those all-important ‘in-the-moment’ shots.

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Of course, the features of any bag are all well and good, but they are pointless if you can’t comfortably carry the thing. And it’s on this final point that I want to round up my Test/Review.

Gecko EVA foam harness straps are what you get with this bag and, to be honest, I couldn’t get on with them.

Even with the bag completely empty, no amount of adjustment and re-adjustment could put a stop to these straps digging into my chest, simply because they refused to lie flat. I’m afraid to say, it was no better around the back, either, with an awkward lump being created at the point where the straps disappear behind the back padding. Why KATA couldn’t have taken the traditional route of anchoring them at the top of the bag, I have no idea – a case of over-engineering, perhaps?

Thinking practically to useage in varying conditions, I can also imagine these EVA straps creating sore points around the chest/shoulder areas on long, hot summer days as a result. Such a shame, because the waist belt (of a considerably more traditional design) was comfy and worked really well at transferring weight to the hips.

But look, I’m of pretty slim design myself, so people of a larger build might not have these same issues. The overall fit might be better.

Other notable features of the Bumblebee 220-PL… There’s a separate double-sided rain cover (why couldn’t an always-ready basic cover have been built in, tucking away into a pocket at the base?) and the function to turn the bag into a roller-case via the addition of KATA’s Insertrolley. There are also a couple of detachable camera straps, too.

And so, here’s my conclusion.

The KATA Bumblebee 220-PL is billed as a multi-featured professional backpack, with PL standing for Pro-Light. Whilst it is pretty light (weighing in at just under 3kg), for my money there are too many frustrations about it when considered with my own requirements in mind. Some are perhaps a little picky, but others I can see would become a problem over the course of prolonged use.

That’s not to say you should write this bag off completely, far from it. Don’t get me wrong, it is solidly built, offers great protection for your kit and would last a lifetime if you looked after it.

But as with all equipment designed to do the best job for its user, you need to find what works best for you.

Episode #70 – Telephoto Bluebells

Giles — Sun, 22 Apr 2012 23:01:45 +0000

This week: I’m deep in woodland once again, this time photographing bluebell flowers.

Around this time each year, many ancient woodlands throughout the country spring to life, with a carpet of bluebells appearing almost overnight. I make a point of visiting one such place every year, to see what different shots I can capture and what opportunities might exist for photo future shoots.

Some quick links to things mentioned in this show:

Music featured in this episode is courtesy of Matt Stevens. You can check out more of his work here.

Make It Count

Giles — Wed, 18 Apr 2012 07:30:01 +0000

I’d like to share another find with you today… Yes, it’s another video and no, it’s not about photographing women in bikinis on the beach!

I’m not going to say any more, other than quoting Casey Neistat’s exact words as they appear at the start. But I think this sends out some good messages relating to life, money, business and just what is expected from us in these areas. Put your own spin on it and let me know what you think.

“Nike asked me to make a movie about what it means to #makeitcount

Instead of making their movie I spent the entire budget traveling around the world with my friend Max.

We’d keep going until the money ran out.

It took 10 days.”

V-Lite

Giles — Tue, 17 Apr 2012 09:32:08 +0000

Episode #69 – Scouting A Location For A Second Time

Giles — Mon, 16 Apr 2012 17:25:39 +0000

This week: I’m returning to the scene of a location I scouted some time ago, to see whether or not it still presents the same opportunities as it once did.

It’s often the case that when we spot great locations on our travels, there’s simply not the chance to make use of them at the time -and there’s always that slight feeling of nervousness when going back, just in case things have dramatically changed. So what did I find on this occasion?

Some quick links to things mentioned in this show:

Music featured in this episode is courtesy of Matt Stevens. You can check out more of his work here.