A Step-by-Step Guide to Color Grading in Capture One Pro

By: Darina Kopcok 

One of the reasons photographers hesitate to move from Lightroom to Capture One Pro is the learning curve associated with a new piece of software. The interface and the tools in COP are very different than those of Lightroom. Color grading in Capture One is one example of a process that is radically different than those found with Adobe products.
That being said, if you already know how to retouch your photos in Lightroom or Photoshop, then it won’t take you long to get up and running with Capture One Pro, which is recognized industry-wide for its superb color grading tools.
Color grading in Capture One Pro is a huge topic, but here are some tips to get you started.

The Color Editor

The Color Editor can be found in the left-hand side of the COP workspace, indicated by an icon as shown below:

Here you’ll find an RGB Histogram, a panel for White Balance, the Color Editor, and Color Balance.
There are three tabs in the Color Editor: Basic, Advanced, and Skin Tone. COP is recognized for its ability to render beautiful and highly realistic skin tones in comparison to other RAW editors.
These tabs allow you to modify the Hue, Saturation, and Lightness of individual colors.
You can also work in Layer Masks. These work similarly to local adjustments in Lightroom and allow you to modify individual colors more precisely.

The Basic tab

There are six color ranges represented in the color wheel under the Basic tab.

To work on a particular color, you first need to define the color range.
Choose the eyedropper to the right of the color wheel and click it on the desired color in your image.
In my image of the roasted cauliflower below, I clicked on the roasted tomatoes in order to work on the red tone.

The shading in the red segment of the color wheel shows you what color/colors have been selected.
You can further define the color range by clicking on the border of the segment and adjusting the width with your mouse.

To see exactly what the range includes click on View Selected Color.

Use the Smoothness slider to control the fall-off of the selected color into neighboring colors. This is represented by the shaded colored area around the boundaries. This will prevent hard edges.
The Basic tab is great in that it allows you to work on colors in your image individually. However, for maximum control when color grading in Capture One, use the Advanced tab.

The Advanced tab

As with the Basic tab, you need to define the color range you wish to work on with the color picker.
Click on the area you wish to adjust.
Then click View Selected Color Range.
Everything that is not part of the selection will be shown on the image as black and white. The width of the selection on the color wheel shows the excluded colors.

When working in the Advanced tab, you have extra precision when controlling the depth of the selection, as shown in the image above.
Simply click on the border and move your mouse towards the center of the color wheel. You can grab the border to include other colors in your selection.
Now you can make adjustments to the Smoothness, Hue, Saturation, and Lightness.
Once you have made the desired adjustments, uncheck View Selected Color Range.
To edit certain colors and not others when color grading in Capture One, you can also work on layers.
Layers in COP work similarly to local adjustments in Lightroom.

The Color Balance Tool

The Color Balance Tool is a simple yet powerful tool for correcting color casts and also for color grading in Capture One.
It can also be found under the Color Tool tab.
Color Balance allows you to not only tweak color, but add luminosity to the highlights, midtones, and shadows individually to an image. It enables precise control over hue and saturation in your images.
It can be used to make local adjustments in conjunction with the Layers Tool.
The tool is split up into five tabs: Master, 3-Way, Shadow, Midtone, and Highlight.
The Master tab allows you to affect color throughout the image. For example, if you want to cool down or warm up your image.
3-Way allows you to conveniently see Shadow, Midtone, and Highlight all at once.
When working with the Color Balance tool, you might want to remove it from the side panel and have it float in your workspace. You can then enlarge it for more comfortable viewing to make extra fine adjustments as needed.
To do this, simply click on the panel and drag it to another area of the workspace with your mouse.

Then drag on a corner to expand it.

To use the individual color balance tools, click on the centerpoint and drag it around the circumference, towards the color you want to affect.

Moving the pointer away from the center towards the perimeter increases saturation.

The curved sliders on either side of the color wheel affect the density of the chosen color range.
To reset the slider, you can click anywhere in the middle.
After you have made your individual color adjustments, you can head over to the Master slider and tweak the overall color balance if you wish.
In the image below, I made a couple of adjustments to the exposure, contrast and brightness of my image but I wanted to improve the colors.

I used the Master tab to cool down the image overall and bring out the blue undertone in the peonies.

Then I added some blue to the shadow. To the naked eye, the plate was quite blue and I wanted to bring this out in my image.

I also added magenta to the midtones and highlights to bring out the pink.
To work on colors individually, like the green of the leaves, you can use the Color Balance tool in conjunction with the Layers tool.
To do this, click on the Layers tab and create a name for your layer so you know what it refers to. I called my “Leaves.”

Paint a mask on the selection of the image you wish to change. There is no need to be super precise.
Use the Master tab to make the adjustment to the color.

The image will be adjusted with the updated color.

Capture One Pro comes with a steeper price tag than Adobe products, however, their claim that they are the number one choice among professionals is not an exaggeration.
Take some time to play around with the Color Editor and Color Balance tool. You may soon find you’ll be abandoning Lightroom for color grading in Capture One Pro.
Do you have any other questions or tips for color grading in Capture One Pro? If so, please share them with us in the comments. 

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RAW vs DNG: What’s the Difference and Why Does it Matter?

By: Simon Ringsmuth

As a photographer, you have no doubt heard people talk about file formats, specifically RAW and JPG. Some people shoot only in RAW, others like JPG, and many photographers use both. Each format has benefits and drawbacks, but if you want the most amount of control over your pictures, you probably shoot in RAW. However, there is a third option you might not even know about: Digital Negative, or DNG. With this other format in the mix, the issue isn’t so much RAW vs JPG, but RAW vs DNG.

DNGs can speed up your Lightroom workflow, but there are some tradeoffs to be aware of.

Understanding RAW

RAW files, unlike JPG files, store all of the light and color data used to capture an image. That means you can recapture blown-out highlights, make better white balance corrections, and have a great deal of editing freedom you don’t get with JPG.
Nikon, Canon, Sony, and others all let photographers shoot in RAW, but each of their RAW files is different. For example, the file extension for a Nikon RAW file is NEF, Canon is CRW, and Sony uses ARW.
As a result of this, cameras from these manufacturers process and store RAW data a little differently. Third-party editing software has to interpolate and reverse-engineer the method used to create the RAW files.
This is great for camera makers because they can tweak their hardware and software to work really well with their own RAW formats. However, it’s not always the best for photographers and editors.

RAW and DNG files give you plenty of editing room that JPG does not offer. Nikon D500, 85mm, 

f/1.8, 1/4000 second, ISO 100

Digital Negative

Adobe developed the Digital Negative (DNG) format in 2004 as an open-source alternative to the proprietary RAW formats that most camera manufacturers used.
What Adobe did was essentially level the playing field by giving everyone access to the same format for working with RAW files.
DNG is open-source, which means anyone can use it without paying licensing fees. A few manufacturers like Pentax and Leica support DNG natively. However, for everyone else, there are easy ways to convert RAW files to DNG and get all the benefits of the latter without the hassles of the former.
DNG is particularly useful if you use Adobe products, like Lightroom and Photoshop, but other editing software support it too.

The photo information in each file is identical, but there might be some reasons to choose one over 

the other.

When looking at the RAW vs DNG issue, there are some important benefits as well as drawbacks that you might want to consider before you switch.
However, please don’t look at this as a matter of which format is better.
Neither RAW nor DNG is objectively superior; both have advantages and disadvantages. The point is to give you enough information to make an informed choice about which format works for you.

DNG benefits

1. Faster workflow

The main reason many people use DNG files is related to editing efficiency when using Lightroom. Since DNG and Lightroom are both made by Adobe, it stands to reason that they would work well together.
If you have ever found doing some simple operations with RAW files in Lightroom frustrating, like switching photos or zooming in to check focus, you will be shocked at how fast things like this are when using DNG files.
Switching from RAW to DNG has made a huge difference for me in speeding up my Lightroom workflow.

Nikon D750, 40mm, f/1.4, ISO 360, 1/180 second.

2. Smaller file sizes

File size is another area where DNG has an edge in the RAW vs DNG debate. Although, it might not be quite as important now with storage so cheap compared to ten or twenty years ago.
DNG files are typically about 20% smaller than a RAW file, which means you can store more of them on your computer. If you are limited in storage space, DNG just might be a good option for you.

I converted a folder of RAW files to DNG. Both contain the exact same data for each photo, but the 

DNGs are much smaller. The entire folder of RAW files is 1.75GB, whereas the folder of DNG files 

is 1.5GB.

3. Wide support

Because DNG doesn’t require a proprietary decoding algorithm, like RAW files from major manufacturers do, there is wider support from a variety of editing software. Various archival organizations, such as the Library of Congress, even use this format. That means it should work just fine for most photographers too. Personally, knowing this helped settle the RAW vs DNG debate for me, but you might prefer another solution.

4. Wide support

One additional benefit of DNG has to do with editing metadata and how it is stored. Lightroom is non-destructive, meaning that any changes you make to an image, you can alter at any point in the future. The original file remains untouched, and a record of your edits is stored separately.
When working with RAW files, these edits are written to a very small file called a sidecar. However, if you use DNG, all your edits are stored in the DNG file itself. Most people consider this an advantage since it requires fewer files to store and manage, but it can be a drawback which I explore later in this article.

Nikon D750, 40mm, f/1.4, ISO 1000, 1/3000 second

DNG Drawbacks

1. File conversion

Since most cameras don’t natively shoot in DNG format, you need to convert your RAW files if you want to use it.
Lightroom can do this automatically for you when importing, but it does come with a drawback that may be significant. Depending on the speed of your computer and the number of RAW files you import, the conversion to DNG can take anywhere from a few minutes to a few hours.
This could be problematic for some people in high-speed workflows such as sports and other action photography. Personally, I don’t mind. I just do the import/convert operation before dinner or at another time when I don’t need to start editing immediately.
I like to think of this initial conversion time as the culmination of all the seconds I used to spend waiting for RAW files to render, but all rolled into one lump sum. It’s a tradeoff I’m happy to make, but some people might find this a dealbreaker and stick with traditional RAW formats.

Converting lots of RAW files to DNG can take a great deal of time. And this is time that some 

photographers don’t have.

2. RAW metadata loss

Another drawback to the DNG format is that some of the RAW metadata gets lost during conversion. All the usual metadata you would expect is intact such as exposure, camera information, focal length, and more. But some information like GPS data, copyright information, and exact focus point don’t always transfer over.
Additionally, the built-in JPG preview gets discarded in favor of a smaller preview, which is another trick Adobe uses to bring down the size of DNG files.
Whether this information matters is up to you. Personally, I find none of the lost metadata a dealbreaker.

3. Multiple editors

One other issue you might want to consider is whether your workflow involves having multiple editors work on the same RAW file.
If that’s the case, then the lack of a sidecar file could be problematic. Essentially, the sidecar acts as a storage locker for all your edits. The RAW file is untouched, but the sidecar stores a record of your edits. This means that if you have two people working on the same RAW file, you can share your edits just by copying the sidecar files.

Edits to RAW images get stored as sidecar files. You can send these sidecar files to other editors to 

share your RAW edits (as long as they have the original RAW files).

If you use DNG, you have to share the entire DNG files, which can be problematic compared to the ease of copying a tiny sidecar file.
For most people, this probably won’t matter, but for those who work in editing rooms or production houses that rely on sidecar files to store edits, DNG might not be the best option.
Finally, if you research this issue long enough, you will hear some trepidation about the longevity of DNG since the biggest camera makers, like Canon, Nikon, and Sony, do not officially support it. Personally, I’m not too worried about this since DNG is a widely-adopted industry standard, and if it’s good enough for the Library of Congress, then it’s good enough for me.

How to use DNG

If you want to give DNG a try, you can start by converting some of your existing RAW files. In your Lightroom Library module, select the RAW files you want to convert and then choose Photo->Convert Photo to DNG.

I recommend checking the values you see here, though if you are ready to go all-in, you can also 

select the option to delete originals. The “Embed Fast Load Data” option is what really speeds things 

up in Lightroom.

Un-check the option to use lossy compression if you want to retain all the data from the RAW file instead of having Lightroom toss out some in favor of a smaller file size. Also, you don’t need to embed the RAW file since doing so will more than double the file size of your DNG.
Another option is to use the Copy as DNG setting when importing photos from your memory card. This will add a great deal of time during the import process since Lightroom converts every one of your RAW files to DNG.
However, for me, the tradeoff is worth it since DNGs are so much faster to work with in Lightroom compared to traditional RAW files.

As with many aspects of photography, the answer here isn’t black and white, and there is not a one-size-fits-all solution. The question of RAW vs DNG isn’t about which format is better, but which format suits your needs.
There is no data loss when working with DNGs, but there are some issues compared to RAW files, and it’s important that you make an informed choice.
If you have experience working with DNG files and would like to share your thoughts, I would love to have them in the comments below!

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6 Tips for Planning the Perfect Landscape Photo Shoot

By: Luigi Trevisi 

How many times have you shown your pictures to someone and said, ”You should have seen that sunset in person to understand how magic it was!” We can make many excuses as to why the photo doesn’t look the same, complaining about our equipment, settings or post-production, but let’s face reality, maybe there was something wrong with our landscape photo! Before you open Photoshop, and even before you press the shutter button, you need to plan the kind of image you want to create. Planning plays a key role in landscape photography. Here are some things that are useful to think about if you want to capture the perfect light and transmit some feelings with your images.

Tip 1: Check the weather forecast

Calton Hill – Edinburgh, Scotland

Landscape photography is one of the most difficult genres, or at least among the most unpredictable, as you don’t have any control over the weather at the scene.
What kind of atmosphere do you want to create with your image? The weather can completely transform a landscape, so think carefully about what mood you want to evoke. If you want to create a bright, cheerful image you might already know that a blue sky with fluffy white clouds would be better than a flat blue sky, or even worse a grey one.
So, before you drive for two hours and you arrive to see is a dull landscape, use the only weapon at your disposal: the weather forecast.

Tip 2: Choose the right time of the day and year

The perfect weather condition alone is useless without proper light. In landscape photography, the light is given by the position of the sun in the sky in relation to your subject. Fortunately, this is something more predictable than the weather. Calculate where the sun will be at particular times of day, and it will be easier for you to foresee how the scene will be illuminated. Again, think about the atmosphere you want to create. Light and peaceful? Dark and moody? Are there any particular landmarks you want to highlight? The answer to these questions will inform where you want your light to be, and consequently what time of day to shoot.

Groningen, Netherlands

Bear in mind that the sun’s position doesn’t change only during the day, but also throughout the year. As a result, in one year there are many different lighting conditions for the same place. It would be a shame not to use them to your advantage. You can use many websites and apps for this; the one that I use the most is PhotoPills, which is very well outlined in this article.

Tip 3: Be inspired by other photographers

When you plan your holiday, after booking the tickets and the hotel, you may buy a travel guide with detailed information about the location. Like where to go and what to eat, to make sure you won’t miss anything. Or you might just ask some friends who have been there before. In both cases, you’re relying on someone who went there before you, and who therefore knows what’s worthwhile to visit, or what’s a good typical (local) dish to try.
Even if you can’t do exactly the same thing with photography, you can get pretty close, thanks to the multitude of photography websites and social networks full of pictures from all over the world. The ones I personally use most of the time are; Google Images, 500px, Instagram, Flickr, and Pinterest. Obviously, the list doesn’t end here.
Feel free to use whatever sites you want, as long as you do it. It doesn’t matter if the picture isn’t the best quality, after all, you don’t want to copy it, but you’re just looking for some inspiration

Zaanse Schaans, Netherlands

Tip 4: Enjoy the place and get familiar with it

When arriving somewhere, especially if it’s for the first time, it’s really tempting to take your camera and shoot whatever you see! This isn’t wrong in itself, but remember you’ll probably take dozens of nice pictures and lose the opportunity to take that single outstanding one. Because when the moment comes you’ll be tired of taking other pictures, or even worse, the battery is dead. (By the way, do you have a spare battery, don’t you?)
It’s better to be patient and spend more time exploring your location and the surrounding area. This way you are more likely to discover some interesting spots, hopefully different from the classic ones. You can use your smartphone for your normal tourist pictures, so don’t worry about anything but composition. This way, you can enjoy the place where you are, instead of spending all the time behind your camera. After all, landscape photography should be the happy ending of a good day outside, not the only reason for being there.

Land’s end – Cornwall, England

Tip 5: Use both golden and blue hours wisely

I’m sure you already know what the golden hour is: the time of the day around dawn and dusk when the sun gives its best warm light and long soft shadows. Hence the adjective golden. Many photographers, including me for a while, consider it as solely the right moment for obtaining good photos. This is wrong, because there is another one, called blue hour, which occurs just before the golden hour at sunrise, and just after sunset.
As you can imagine from the name, its particularity is in the blue colour of the sky, not warm anymore and not totally dark like in the middle of the night. It is very effective for urban landscapes, because it emphasizes artificial lights that wouldn’t be as visible during the golden hour. Furthermore, since the sky is not totally dark, you’ll have a better contrast with the warmer colours of the city, which will add drama to your picture.

Manarola – Liguria, Italy

Tip 6: Take location related issues into account

So, you’ve planned your shoot by choosing the right day, with good weather and explored the place properly. Is that all?
Almost… There’s still something to be considered and it depends on the place. For example, in the case that you want to photograph a coastline, you will need to consider tides. It can be useful for composition purposes, but most importantly it’s for your personal safety. Tides in the ocean are really rapid and wide, and in some cases, it could be difficult (if not impossible) to escape from the waves if you decided to shoot from the rocks along the shore, with a rocky wall behind you.
In the case of very famous landmarks, a common issue is that it will be full of other photographers and tourists that want the same shot as you. This can obviously create problems for your composition, or you won’t have enough space for your tripod. So, try to be in that place before it gets too busy. This not only reduces the risk of finding other photographers who have decided to photograph from your same spot, it also permits you to slow down and avoid making mistakes.

London, England

When I started taking pictures several years ago, I didn’t have anything in my mind other than to take pictures of what I liked. But looking at other photographer’s work I realized that I was missing something. In my opinion, proper planning is the most important thing that I could have learned.
Obviously learning new techniques is useful, but it’s the most obvious. Planning is often underestimated, but it can really help you to go somewhere already having a picture in mind. If this isn’t the case, remember again: landscape photography is just the happy ending, you can still enjoy the place!
Do you have any other tips for planning your landscape photography shoots? I’d love if you shared them in the comments below as well as your images.

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How to Use Leading Lines Effectively in Landscape Photography

By: Prathap DK 

Leading lines composition technique is the easiest to understand and apply in landscape photography.
In fact, we compose some photographs using leading lines unknowingly! You may have done that too, it comes to us naturally. Let me show you, using an example.
Imagine you are driving through a forest, and you see beautiful line of trees on either side of the road. The autumn leaves are so breathtakingly colorful, that you couldn’t help but pull your car to a side. You want to capture that beautiful moment in your camera. Now…how would you photograph it?
Would you stand parallel to the road and just take trees on one side of the road, or would you consider taking a photograph standing right in the middle of the road, with trees on either side?

Invariably, you would likely consider the latter approach. Right? Of course, you don’t want to stand in the middle of a busy road, just be careful when you do it. Don’t hang me for this idea.
When you photograph the road running from the bottom, to the center of the image, you are using the leading lines composition technique, and the road serves as the line.

Leading Lines

Simply put, a leading line is a one that leads you from one point to another in your image. Our eyes naturally follow the line unconsciously.
Check it out now. Your eye will invariably follow the line from left to right (or right to left). Look at the examples below. Your eye connects the dot subconsciously. You make a line, a triangle, and a square! That’s the power of the line.
This very nature of ours is exploited in photography, by composing an image using leading lines. By using this technique, you can force the viewer to follow the line, taking them on a visual journey. The journey becomes more interesting when you have some high drama surrounding the line.

It is one of the simplest, and most powerful composition techniques used in the landscape photography. Landscape photographers always look for leading lines in nature, to create a sense of depth in the image, and also to lead the viewer to the main subject of interest.
The idea is to lead the viewer into the scene with the help of literal, or imaginary/implied lines, in the scene. The photograph becomes much more interesting when this line leads the viewer to the main subject of interest, or an anchor point.
Some of the important aspects of using leading lines in composition are:

• Leads the viewer into the photograph.
• Leads the viewer from one point to another.
• Leads the viewer to the main subject of interest.
• Creates the illusion of depth, that is much needed in landscape photographs.

You can make most the compelling landscape photographs, by combining leading line composition technique, with the Rule of Thirds. Below is one such example where I have used leading lines to guide the viewer from the foreground, all the way to the background. Also, I have placed the horizon on the upper third of the frame, following the Rule of Thirds, and creating a dynamic landscape photograph.

The beauty of nature is that there are plenty of elements in nature which can be used as leading lines:

Roads Railway tracks Boardwalks Pathways Waterfalls

Streams Shorelines Series of trees, poles, etc. Fencing Pebbles or rocks on the shoreline

The list can go on. It’s amazingly simple to use leading lines in your landscape photographs, you just have to look around.

Types of Leading Lines

Leading lines can be straight or curved, and straight lines can also be horizontal, vertical, or diagonal.
A horizontal line induces a feeling of calmness, whereas a vertical line represents strength.

Diagonal lines can be very interesting as they represent energy. If used properly, diagonal lines can make a dull image look more compelling.

A curved line makes it for an interesting composition, as it spirals around the frame asking for more attention. The viewer will eventually scan more parts of the image.

An s-curve is predominantly preferred by many landscape photographers, for its ability to connect many parts of the image. It gives a soothing feeling in the viewer.

A tighter curve, however, might induce sense of danger.

The most important point is to use the leading lines to direct the viewer into the scene. It wouldn’t make much sense, or be effective, if it leads the viewer out of the scene.

Leading line photographic composition is the most powerful natural technique a landscape photographer can use to lead the viewer into the photograph. When combined with the Rule of Thirds, you can make some compelling photographs.
It is by far the easiest method to create a 3-dimensional effect, in a 2-dimensional photograph. Landscape photographers use this very effectively to force the viewer to scan the photograph from foreground to background.

“Lead the viewer in to the scene, not out of the scene.”

Embrace it now, and see how it transforms your landscape photographs into something more realistic and interesting. Think photography! Think Simple!
How do you use leading lines in your photography? Please share in the comments below.

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Review: 2 K&F Concept Carbon Tripods Put to the Test

By: Kav Dadfar 

Recently, I was given 2 new K&F Concept Carbon tripods to test out.
Founded in 2011, K&F Concept is not a new player in the photographic industry, but they have wasted no time forging a name for themselves into a very niche market. Like most things coming out of China, their products are well designed, innovative and offer great value, so I was excited to get my hands on these tripods.

The TC2834L Explorer Series carbon tripod

First up is the K&F Concept TC2834L Explorer Series carbon tripod with a CL40 ball head.

At a glance:

• Material: Carbon Fiber
• Net Weight: 1440g
• Max Height: 1500mm
• Height without Central Axis: 1235mm
• Min Height: 430mm
• Max load: 15kg
• Price: $299.99 (at the time of writing)

First thoughts

The tripod comes in a really nice carry bag with all the necessary Allen keys to maintain it. There are also a set of three screw spikes in the accessory bag that I wasn’t expecting.
My first thoughts were correct, and these were to replace the rubber grips on each leg for those times when you need a little more traction. Simply screw off the rubber pads and screw in the spikes. It’s super easy and a very nice addition that you won’t get with many other tripods.

Locking system

K&F Concept has used twist-leg locks to reduce weight and folded size rather than the more traditional lever lock. Aside from the weight and size, the other advantage of the twist legs is their slick design. I have always found that levers tend to snag on the straps of my camera bag when trying to remove the tripod. Whilst, not a huge inconvenience, it generally results in me having a little wrestle with my camera bag.
With the twist-lock, you eliminate this issue.
The primary leg join is a very unique and innovative design that allows the photographer to get the camera as close to the ground as possible. You simply pull the red leaver out and tilt the legs up to one of the other two notches before pushing it back in to securely lock the legs in place.

Tripod size

The tripod is made up of four carbon fiber sections to keep the weight to a minimum and keep it to a compact height.
One of the most notable aspects of the TC2834L is the lack of center column attached to the tripod. Instead, this comes as a separate section that needs to be screwed onto the tripod when needed. Whilst this achieves its goal of a more compact size tripod, it does mean an extra piece to carry as the column doesn’t attach to the tripod (something that would have been nice to be able to do).
However, I haven’t found this to be a huge problem as the standard height of the tripod is 1235mm, which is more than an adequate hight. Plus, generally having a center column raised on a tripod, is not a great idea as it can mean camera shake through any sort of movement.
I never use this, so actually not having the center column means less weight to carry.
After feeling how light the tripod is, I was a little concerned that it may struggle to support a camera and a 70-200mm lens in anything less than perfect conditions.
Thankfully, I was proved wrong. It proved to be very steady and held up as well as any other travel tripod I have used even in blustery conditions.
The tripod is made up of four carbon fiber sections to keep the weight to a minimum and keep it to a compact height.
One of the most notable aspects of the TC2834L is the lack of center column attached to the tripod. Instead, this comes as a separate section that needs to be screwed onto the tripod when needed. Whilst this achieves its goal of a more compact size tripod, it does mean an extra piece to carry as the column doesn’t attach to the tripod (something that would have been nice to be able to do).
However, I haven’t found this to be a huge problem as the standard height of the tripod is 1235mm, which is more than an adequate hight. Plus, generally having a center column raised on a tripod, is not a great idea as it can mean camera shake through any sort of movement.
I never use this, so actually not having the center column means less weight to carry.
After feeling how light the tripod is, I was a little concerned that it may struggle to support a camera and a 70-200mm lens in anything less than perfect conditions.
Thankfully, I was proved wrong. It proved to be very steady and held up as well as any other travel tripod I have used even in blustery conditions.

Ball head

Sold separately to the tripod, the KF-LC40 ball head may just be the best ball head I have ever used! Beautifully designed for ease of use, the ball head has a slick feel.
It uses the Arca Swiss locking system, which is great as this has now become the universally preferred locking method. This means all your old accessories and L-brackets will work seamlessly with this ball head.
The cleverly designed locking lever is placed a little behind the nodal point, making it much easier to adjust when a camera is attached. It does make the ball head a little bigger, but it’s not an issue, and it allows extra space for more substantial support in the ball head.
However, it’s important to remember that the ball head is sold separately.

Verdict

This is a fantastic sturdy, lightweight, pro-level compact tripod that is a joy to use and even easier to carry.
With a price of just $299.99 (remember, ball head sold separately) and 30 days, no-questions-asked return policy, there isn’t much to not love about this tripod.

Lightweight Travel Tripod

Next up is the TC2634 (Blue) carbon fiber lightweight travel tripod;

At a glance:

• Material: Carbon Fiber
• Net Weight: 3.7 pounds
• Max Height: 1500mm
• Min Height: 430mm
• Max load: 15kg
• Price: $182.28

First thoughts

Like its bigger brother, this tripod also comes in a nice bag with all the same accessories. However, no spikes this time.
It’s amazingly lightweight and compact but still incredibly sturdy. This all makes this tripod perfect for a travel photographer.
You could easily carry this tripod around with you all day without any problem. This is a huge benefit for someone like me who leaves the hotel very early in the morning and ends up having to carry their tripod all day.
This tripod also has a great little trick up its sleeve. One of the legs detaches to become a stand-alone monopod. Just unscrew the ball head and attach the newly removed leg, and you are ready to shoot.
Monopods are great for busy cities and festivals, so it’s nice to have one as easily accessible as this is.

Locking system

Like the TC2834L, the TC2634 uses a twist leg lock, which is great for all the reasons mentioned above. But what this tripod does differently is its 180-degree locking system that makes the tripod even smaller when packed away. It is a little fiddly to get the ball head in the correct spot to make sure all the legs lock closed to be as compact as possible, but you get used to the method after a few uses. This makes the folded up tripod just 430 mm in height!

Tripod size

Given the compact size of this tripod, you could be mistaken for thinking it is going to be pretty small and not sturdy. This is certainly not the case. Whilst it is not as sturdy as the larger TC2834L, it held up fantastically well in all conditions except a fairly fast flowing river where there was some noticeable shake.
However, I expected that, as this tripod is not designed for that purpose. You can’t have super compact and lightweight without some sacrifices. To help avoid any shake issues, the center column has a hook that can be weighted down to add extra stability.
With the 180-degree leg locking system, it means you can get your camera as low to the floor as you wish. The camera will be upside down, but that’s nothing a rotate tool won’t fix in post-production.

Ball head

This is a very sturdy and well-designed Arca Swiss 360-degree ball head. It’s a little smaller than I would normally like, but this doesn’t affect performance in any way. Unlike the previous tripod, the ball head is included with this tripod, making this an even more attractive option.

Verdict

This tripod is quite a lot smaller than what I normally work with, so I was a little skeptical beforehand. But it turned out to be great, and I really enjoy using it. So much so that I will be adding it to my own photography kit.
It’s a great option for a city break and offers more than enough support for the DSLR or mirrorless systems.

Overall

I have had my existing tripod for almost 15 years, and I never thought that I would replace it with anything other than just a newer model when it was time.
But having tested these tripods, I must confess that I am now using them instead of my existing tripod.
Note: The author was given these tripods and ball heads free of charge to test and was offered no incentives. This review is an unbiased opinion of his experience in using the products provided.

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