Review: WANDRD PRVKE 31L Backpack

I'll make this quick: this is the best middleweight backpack I've found for photography so far. It's not the fastest or most rugged, but it's the most versatile and comfortable. Let me explain.

Comparison: RRS L-Bracket vs 3 Legged Thing Ellie for Fujifilm GFX 50S

A quick comparison between two products designed mostly to perform the same function. In case you're not familiar with an L-bracket, it's function is purely to allow rotation of your camera by 90 degrees while keeping it balanced on the X axis of your tripod. This is especially important for panoramas so the camera yaws directly over the center point rather than circumnavigating it, which alters the perspective enough to make stitching the result more difficult or even impossible.

The Pandemic Has Kept Me Quiet

While others have found the pandemic to be an opportunity to do more personal projects, and document them, I've found it has affected me a bit differently. My girlfriend is a neurotic RN, so I've had to respond a little differently and haven't had the free time to work on things like my journal or this blog. Now that things are starting to return to normal, I'm slowly starting to integrate all of the things I was doing before. Yet, just as I begin to get back to work, our streets have erupted in rightful protest. Others can and have done a better job in covering the protests, so I'll leave that subject alone until I have a fully formed commentary on the matter. If there's one thing I prefer to do, it's to stop, listen and form a thoughtful opinion and avoid emotional "hot-takes," especially silly on a subject as important as racism in America.

Adapting GFX: Canon EF 135mm ƒ/2L USM

There are some drawbacks though. Uncannily enough, they’re the same as with the Canon EF 28mm ƒ/1.8 USM: slight vignette with a hard vignette at infinity focus. At ƒ/8, it isn’t very prevalent as you’ll see in the samples, easily corrected with a 5:4 crop that retains 48MP. However, as the aperture gets smaller, the vignette hardens, as you can see at ƒ/32, but still works at a 5:4 crop ratio. The lens works fine with a 3:2 crop at full sensor width and in 35mm crop mode, so you can choose what works best for you. Weirdly, the lens changes focus as you move in and out of playback mode on the GFX...

Adapting GFX: Canon EF 28mm ƒ/1.8 USM

Widening out to an approximate 22mm in 35mm format terms, the Canon EF 28mm ƒ/1.8 USM does show some hard vignetting that is never fully resolved. It’s very, very slight and occurs at ƒ/4 and smaller at infinity focus. Vignetting is prevalent fully open, mostly disappearing by ƒ/4 at close focus distances. If the vignetting is a problem for you, the EF 28mm ƒ/2.8 IS might be a better bet but isn’t on Canon’s list of preferred lenses for the 5DSR, so it may or may not resolve well on a 50MP sensor.

Adapting GFX: Sigma Doesn’t Seem to Be the Answer

After spending a few weeks with the Sigma 50mm ƒ/1.4 Art, I've come to realize maybe Sigma lenses aren't the solution for me. At least the 50mm has a very short focus throw, making manual focus a tedious process, even with focus aids like focus peaking and focus zoom. Autofocus is just too unreliable and slow to depend on for all occasions, making manual focus capability a priority.

Adapting GFX: Sigma 50mm ƒ/1.4 Art

This is the first in a series of posts on individual lenses adapted to the Fujifilm GFX 50S with the TechArt Pro EF-GFX adapter. 
Fujifilm GFX 50S, firmware v3.30 (latest)
TechArt Pro EF-GFX, firmware v1.01 (latest)
Sigma 50mm ƒ/1.4 Art, firmware v2.02 (latest) 
Summary:
Full compatibility: Autofocus, EXIF OK.
This lens shows a correctable vignette throughout the aperture range but is heavily affected by focus breathing. As the aperture shrinks, focus toward infinity causes the vignette to become harder and more pronounced. Despite this, it is easily cropped and corrected while maintaining 45mp or more.

Gear Reviews On Youtube: “Sponsorships,” Brand Awareness and How Not All Payments Are in Cash and They All Lie to You About It

You're familiar with how they all begin: "this video is sponsored by Squarespace." Ok, well, after that, they then feed you the next line, almost all of it verbatim, "I am not sponsored by (insert brand here). They have not paid me to do this review or told me what to say about it. This review is entirely my own and they don't know I'm making this video. I was/was not provided a sample for the purposes of this review. I am not biased in any way so you can trust what I'm about to say about this product." What they don't mention, obviously, is if they had to return that "review unit." But if you pay close attention, you may catch them using the product in later videos, especially if they were especially laudatory in their review. At least they weren't paid, right? Wrong. Payment is simply one form of compensation. That "review unit" usually comes along with an email that says, "you don't need to send this back to us." Simply put, the item itself is payment. Just because you didn't get to choose the item, the form of compensation or were given a special title associating you with their brand doesn't mean you weren't paid. They paid you with product and exclaiming otherwise is a flat out lie by Youtubers who persistently try to claim otherwise. Rarely are these items cameras and lenses; they're usually "soft goods" or accessories, like bags, lens filter kits, etc. that would likely get damaged during a thorough review period or whose cost of manufacture and/or retail price is so low that the cost of return, reconditioning and resale would consume all or more of the potential profit.

Nobody Makes the Perfect Bag, Part 2 (Shimoda Designs + Peak Design)

As I've made clear in a previous post, nobody makes the perfect bag. It's a fools errand because "perfect" is subjective and what works for one is completely inadequate for another. However, the more modular a bag is, the better chance for it to become all things to all people by allowing all people to adorn it with all things to meet their needs. Looking further into this idea, especially since Peak Design's recent release of a fully redesigned bag lineup dubbed "v2," I've realized Peak Design is great at making accessories that meet the needs of most people but wrap it all up in bags that don't. Take their 45L Travel Backpack... it converts into a duffel with a forward facing, wide-mouth, zip opening. It's really not great for anything but a duffel bag that turns into a half-assed backpack for longer distance carry, especially for outdoors. However, for camera carry within, they've created camera cubes with efficient padding, mindful access port placement, an abundance of attachment points and durable exterior skin sufficient enough to be used on its own. A quick check of the external dimensions gave me an idea as the camera cube is nearly spot on with the dimensions of Shimoda Designs' large Integrated Camera Unit (ICU) for Explore and Action X backpacks.

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