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Yongnuo 460II Flash & RF603 radio trigger review
The Yongnuo 460II flash unit is an outstandingly inexpensive flash unit, simple to operate, but only works in fully manual mode.
Build Quality – the build quality is better than one might expect for such a cheap unit. It's not as well made as flashes costing ten times what it costs, but the quality is adequate and certainly good for the budget price.
Function – the flash unit is dead simple. There is an on/off button, a rocker switch to adjust the power level, and a 'mode' switch that lets you change between the hot shoe triggering the flash or using the flash as an optical slave unit. There's not much to read in the piece of paper that constitutes a manual, but the use of the flash is quite obvious. There is no TTL metering function at all.
The guide number of 38 is a little optimistic, but there is adequate light for most applications.
The head fully tilts and swivels, and you can pull out a wide-angle adaptor and bounce card from to top of the head
The obvious partner for this unit is the Yongnuo RF602 or 603 radio trigger. The 603 is the later model and can also be used as a remote shutter release. The 603 unit is a transceiver – it does not matter which you mount on the camera or flash, whereas the 602 unit has send and receive units. In terms of operation, just put one unit on your camera, and another under each flash, and turn them on. In my experience with them the only time they have not worked was when I had forgotten to turn one on, or had incorrect settings on the camera. The on/off switch is poorly located – it's hard to turn on when mounted under the flash unit, but not impossible.
Overall there is a lot to like about this flash and the trigger unit. It's very simple. It just works. It doesn't connect to your camera's metering system, but that also contributes to its simplicity and certainly is a factor in the low cost.
And that is ultimately the reason for recommending it – for significantly less than the cost of a flash unit from the major manufactures, (even less than the cost of a used Canon or Nikon flash!) you could buy two of these units as well as three 603 triggers. And that's what makes this flash so special: its easy to use, and you can afford more of them.
However I do have one word of warning – I purchased two of these units and one was defective. Fortunately I purchased from a reputable dealer (john Thompson) and he replaced the defective one immediately. Possibly the quality control on these units is not what it should be, so make sure that you purchase form someone who will replace a defective unit if you have that problem.
If you are looking for a flash to use mounted on your camera this is probably not the one (but why would you want to use a flash mounted on your camera?), and if you have infinite amounts of money there are also better choices, but for a budget-oriented multiple off-camera flash set up this unit hits the spot.
Tamron SP 24~70 Di VC USD Review
This is going to be a quick review of this lens. There's not a lot to say since the lens pretty much works as advertised. I've used this lens for a couple of months and have tested it and compared it to my other lenses.
The lens is intended as a 'walk-around' workhorse for full frame cameras and is in direct competition with Canon and Nikon offerings. The first point to make about the lens is the cost. Canon's 24~70 f2.8 has a list price in NZ of $3,390, Nikon's 24~70 f/2.8 is $2,400. The Tamron is only $1,398. Of course all of these lenses would be available cheaper if you shopped around, so this is for comparison only.
The focal length range is very useful. At the wide end 24mm gives you a decent wide angle. I find 28mm a little conservative, and I much prefer 24mm. At the long end it is just long enough for looser portrait shots. With a wide maximum aperture you have plenty of scope for shallow depth of field shots. But if you have an APSC camera (Canon 700D, Nikon D5200 and similar) the focal length range is not so useful, taking you only from standard to moderate telephoto range, with no wide-angle)
At first glance the lens looks like it would be the ideal companion to a Canon 6D or Nikon D610.
In terms of sharpness the lens performs very well. The lens is as sharp as my prime lenses. In the centre the lens retains its sharpness very nicely except for the most extreme apertures. In the corners there is some loss of sharpness and vignetting at wide apertures, but compared to other lenses this is nothing more than what one could expect. Stopping down from f2.8 to f/3.2 produces a noticeable improvement with very little loss of light. The lens performs brilliantly at f5.6 and f/8, with only a slight fall off in quality as you move away form the ideal apertures.
The lens does exhibit some rather obvious barrel distortion at the wide end and pincushion distortion at the 70mm end. Seeing the rather obvious results on my shots of a test chart I went into the dojo and photographed a rack of naginata – this subject being full of horizontal and vertical lines which should be about the worst case scenario to show this up. Fortunately the results are not nearly as bad as I expected. You can see the distortion if you look for it, but it's not too much in the way, especially considering the subject.
Can you tell which is which? I'm sure you can if you know what you are looking for, but if you can't, then the distortion will never worry you. The distortion can also be corrected by applying the Lens Profile correction in Lightroom.
In terms of construction the lens is well put together, and feels more solid than most Tamron lenses I've used in the past. The switches for manual/auto focus and the on/off switch for the VC (image stabilisation) are a little small and fiddly. For the VC this is not a problem since it is not something that I would want to accidentally knock out of place, but I would prefer a more accessible autofocus switch since this is one control that I will access during shooting.
The focus ring can be adjusted during autofocus, but the manual warns against doing so, saying that this could cause damage to the autofocus system. This does seem a little confusing – if indeed the lens can be damaged this way it would be a very easy mistake to make, especially if you did not bother to read the manual. The auto focus is fast and silent.
The closest focusing distance is not a true macro lens, but better than I expected for a general purpose lens. The shot below will give you a practical idea of how close you can get. The battery is an AA size.
The lens appears to be weather sealed, but to what extent it is I do not know. I don't plan to leave it out in the rain, but it's nice to know there is some attempt to prevent weather damage in the design, should an emergency arise.
The lens is not small. when you put it on a full size DSLR you have quite a big camera – here the lens is mounted on a 6D, beside a more compact Canon 350D.
But overall how do I think it stacks up?
I think this is an excellent lens. The image quality is excellent. The fiddly auto focus switch is the only real niggle I have with it, but I can live with that especially at the price.
And the price really is an issue. What we have here is a well built 24~70 with great optical performance and good build quality that is half the price of the Canon or Nikon lenses, and it is stabilised. Neither the Nikon or Canon equivalents are stabilised and that really sets the seal on the lens for me. Stabilisation is a really important factor in low light photography. I always seem to be shooting in situations where there is not enough light, and I know form the student work I see that this is true for most people.
So we have to ask… I'm sure the Canon and Nikon lenses are very nice – but why would you pay twice the price for a lens that is probably no better optically than the Tamron, yet is not stabilised?
In short this lens would seem to be the obvious lens to own if you have a Nikon 610 or Canon 6D. And the more I think about it I can't see why you'd want to spend more money even if you had a 5DIII or D800E
The shot below is taken at 70mm, f/5, 1/30th of a second at 1600 ISO. I could have probably dropped down to f/8 or maybe even f/11 if I had needed more depth of field, but if the lens had not been stabilised I'd probably be thinking about opening the aperture until I had a higher shutter speed.
Ten Photography Bargains (in time for Christmas)
Above… left to right… Hoodloupe, Lens Pen, 50mm lens, LED light
1 – Hoodloupe
This is surprisingly useful. If you want to use your camera for video recording you'll have something like this, but for still photography these can be are great too. Basically it's a lens-viewer attachment that goes over your LCD screen. The Hoodloupe is made of a soft-ish rubber-ish stuff that won't scratch the LCD screen. Imagine you are out shooting in bright sunlight – you take a shot, but was it any good. You can hardly see the LCD screen because it's so bright, but you have the Hoodloupe dangling around your neck, so you use that to see the LCD screen really clearly. Or you are like me and need glasses to see the screen in detail – you have the dioptre adjustment set on the viewfinder (so you don't need glasses for most of your photography), and you can adjust the Hoodloupe's dioptre as well – and with the magnification it offers you can se every pixel on the LCD.
2 – Monopod
A monopod is a great tool for stabilizing your camera in fast moving situations. For example you are shooting a wedding in low light – you want so stability, but you need to keep moving to get the good shots. A monopod is not as stable s a tripod, but it's a lot easier to move around and quickly reframe with one. They also make a great instant stabiliser for shooting video hand held – shoot holding the camera out from your body, with the monopod dangling down as a weight – the weight of the monopod helps to prevent roll (leaving you to control pitch and yaw). Some come with little mini-tripod legs at the bottom, but these are no substitute for a real tripod – mine is a plain one with no mini-tripod, and I don't miss the legs.
3 – Reflector.
You can get cheap 5 in 1 reflectors at very little cost these days – not as rugged as the more expensive models, but so cheap you don't need to think too hard either. The inner core is a sheet of translucent white diffuser stretched across a circular frame. Over this you can put a cover that is silver on one side and gold on the other. Turn the cover inside out and it becomes white or black. For that matter – I brought a $4 sunshade to go on the dashboard of my car (why they sell them in Dunedin I'll never know) – it has a silver surface on one side and white on the other – and is a fine reflector.
4 – LED light
My prediction – in ten years time, maybe sooner, flash units will be obsolete. What will make them obsolete will be small LED lights, like this one, but more powerful. This light takes six AA batteries and runs for ages on them. It's realy useful for adding a little fill and in a pinch could be my primary illumination – but really I'd like it to be stronger for that. As it stands it's so convenient and easy to use that I use it all the time as a fill. As LED technology improves, and units the size of this one get cheaper and more powerful, I can see little lights like this taking over from flash units because they are so easy to use.
5 – Microphone Boom Stand.
Obviously this is useful, essential even, if you need something to hold a microphone, but I find I use mine for all sorts of other jobs. The LED light and my flash unit can fit on this, and with a little gaffer tape it can hold just about anything, and the boom arrangement allows you great freedom of positioning. One of those things that when you start using it you wonder how you coped without it.
6 – Lightroom or Aperture
If you are not using one of these software packages, well, I think you should be. I used to scoff at them, priding myself on just keeping my images organized or using Bridge to find files – but once I started using Lightroom… Well, it just made everything easier. Both Lightroom and Aperture are easy to use, great when it comes to basic adjustments on your images, and both are inexpensive (although Aperture is cheaper). Personally I use Lightroom, but Aperture has its strengths as well. See here for a detailed comparison…
7 – Lightroom or Aperture course
Both packages are easy to learn, but it really helps if you get a leg up by doing an online course like the OPI 002 courses. I say this because most of the student work I see has not been worked up as much as it should have been in Lightroom or Aperture – it's the small adjustments that you can make that have a huge impact on the final result (and I think that might make some good material for my next post).
8 – Lens Pen
a really great little accessory that should be in every photographers bag. If you get dust on the lens your fist port of call should be a blower, but if that can't move it, reach for this. One end has a soft brush, and the other has a soft pad for the really stubborn dirt. Ideally you'd never use one of these, because you'll never get dust on your lens, but, lets face it, there are some great locations that are also dusty or dirty, and your photography will suffer if you always avoid them.
9 – 50mm lens
The big bargain in lenses is the 50mm. All the main makers have a bargain 50mm, usually their f/1.8 lens. The build quality is not amazing – lots of plastic – but the optics are great since it's easy to make a fast, sharp lens at this focal length. On a full frame body I don't really like the focal length – it's neither tele nor wide, so a bit blah, but when you put a 50mm on an APSC body it becomes a great portrait lens. Also there are some great older lenses with excellent build quality if you can put up with manual focus. I have an ancient Pentax lens that gives great results on my Canon body.
10 – Smart Phone apps
I guess this could be a whole category in itself, but there are several that I use for photography all the time…
– Hipstamatic – the most fun camera app out there. It takes photos with simulated vintage film and lenses, and has a great randomize function. I don't really use this for serious photography, but I do have a lot of fun with it.
– EOS remote – works with canon cameras via wi-fi and allows you to see what the camera sees on your phone or iPad, and works as a remote control.
– the clock/stopwatch is useful for timing long bulb exposures (and if you are doing really, really long exposures you can listen to music on iTunes or Spotify while you wait).
11 – SD or CF card
Yes one more thing by way of a bonus. A bigger, faster card for the camera. Cards are getting cheaper and cheaper these days, and the capacities keeps on rising. Keep a couple of spare 16GB cards in your camera bag and you'll never run out of room! But beware cards that do not come from reputable sources –there are lots of low quality counterfeit cards out there – they look identical to the real thing – and sometimes they are just as good as the real thing – but you don't know what the quality really is. If you get one of those one-in-a-million shots, and you used a dodgy card, you run the risk of the data corrupting and you image being lost forever.
Rock&Roll, the Samyang 14mm and the hyperfocal distance
Here's a shot of the band Left or Right playing at Chick's Hotel in Port Chalmers, Dunedin. To get the shot I used a 14mm Samyang lens. I was really close to the band – I managed to get myself a good spot just near the foldback speakers where I could get a good view of the band. Since the lighting was constantly changing and I was often shooting blind – holding the camera above my head – it was almost impossible to focus accurately. I needed to use and old technique – the hyperfocal distance combined with white gaffer tape. White gaffer tape??? read on…
It's sad that most modern lenses don't have "depth of field scale" markings any more. If you look at older lenses most of them have a series of cryptic markings that show the hyperfocal distance.
It works like this. Let's say you are shooting at f/16. You set the infinity symbol so that it is set to the little mark for f/16 – as in the example below, which is an old Tamron 28mm…
The focus here is set to 1.5 metres – but that's no longer important. It's the little numbers on either side of the focus mark that count. They show how much will be in focus at any give aperture. So setting the infinity mark to f/16 means that I'll have everything from infinity to just over 0.7 metres in focus. In other words, if I use this setting – the hyperfocal distance, I don't need to worry about focus unless something is very close. So long as everything is more than, a little under a metre away, I know the focus is good.
Here's the same indication on a more modern lens – a Canon 20mm
The markings are still there, but they are quite small.
The hyperfocal distance is mainly useful with wide-angle lenses – it's often too narrow to be of use with telephoto lenses.
Now, lets move on to the Samyang 14mm f/2.8.
This is a great offering from the Korean manufacturer who brought us a great 85mm and the best ever APS-C fisheye. Samyang's philosophy is to make lenses that have fantastic optics and a solid build quality at a low price. To get the price down, something has to go – and that's autofocus. All the Samyang lenses are manual focus only – they are back to basics lenses. They are not for everyone, but if you can focus manually, they represent a great bargain.
There is a drawback with the ultra-wide lenses such as the 14mm and 8mm fisheye though. It's very easy to get the focus a bit wrong. It looks OK in the viewfinder (as you would expect with these lenses almost everything is in focus all the time) but sometimes you'll get home and notice that all your shots are just slightly soft – the focus was set to a really close distance, and you just didn't see the very slight softness in the viewfinder. I've learned to focus these lenses using the focus scale on the lens rather than the viewfinder – the focus doesn't need to be precise due to the massive depth of field, but it does need to be not horribly wrong.
And that's where the gaffer tape comes in.
The 14mm does not have a depth of field scale, and it's a lens where it would be really, really useful. I think I know why it doesn't have one – the positions for the scale would run right around the lens since the depth of field is so great at narrow apertures on this lens, that the scale might have been a bit confusing. So I visited http://www.dofmaster.com/dofjs.html, and looked up the relevant distances for a 14mm lens on a full frame camera…
At f/4 you put the focus point to 1.65 metres, and you will have everywhere from 0.8 meters to infinity in focus.
At f/8 you put the focus point to 0.8 metres, and you will have everywhere from 0.4 meters to infinity in focus.
At f/16 you put the focus point to 0.4 metres, and you will have everywhere from 0.2 meters to infinity in focus.
Since this was an experiment, I didn't want to do anything irreversible to the lens, so I stuck the band of white gaffer tape that you can see in the photo above, and the indications for the different apertures on that.
Then when working taking the photos of Left or Right I could quickly set the aperture – thankfully this lens has a very wide maximum aperture – and then set the focus ring to the matching point on my gaffer tape depth of field scale. In an environment like that – changing light, moving people, focus is difficult, and it would be easy to make a horrible error. With this simple system I was able to shoot without looking through the viewfinder and to get the camera into some unusual places – holding it out, low to the ground, or up above my head. Since the 14mm takes in so much it's easy to estimate whats going to be in shot without looking in the viewfinder.
Below are two more shots taken at the same gig – now remember this was a live gig with the punters dancing right up next to the stage – there was no way I could get these shots without getting in between the audience and the band, or lying on the floor under Callum Hampton's feet.
The Nik Collection review
STOP PRESS: March 2016: Google has now made the Nik Collection completely free. There's an upside and a downside here – obviously free is good, and makes getting the suite a no-brainer (especially if you are into black and white), but there will be no upgrades, so sooner or later the software will no longer work on a modern operating system.
Recently Google acquired Nik Software. Nik had been known for a suite of still image editing tools, although probably Google want the company for its mobile applications. The upshot of this is that the price of the Nik Collection has been made a lot more affordable.
The suite consists of several tools –
- HDR Efex Pro 2 – for HDR effects
- Color Efex Pro 4 – a preset based set of colour image editing tools
- Silver Efex Pro 2 – For converting to Black and White
- Viveza 2 – for making selective adjustments
- Sharpener Pro 3 – for sharpening
- Dfine 2 – for Noise reduction
The important question is, if you already have Lightroom, Photoshop, or Aperture do you want these as well? If you don't have one of the Adobe or Apple packages I'd recommend you spend your money on one of those rather than the Nik Collection, but assuming you already have that software, is it worth spending the money for these additional plug ins?
How it works:
Lightroom and Aperture: Right click on the thumbnail and choose 'Edit in…' or 'Edit with Plug in…' and then choose the relevant Nik pluggin. Nik will generate a separate TIFF image, which will appear next to the original file, and all your edits will be applied to this TIFF. The edits are not non-destructive. Although you can always return to the untouched original, you can't just tweak a setting later. If you want to change an adjustment you need to start again from scratch.
Photoshop: You can apply the Nik Collection effects from the filters menu. When you have applied the effects they appear as a new layer. Nik gives you the option of brushing the effects in or out, but it would be easier to do this using a Layer Mask and Photoshop's more sophisticated selection tools.
Of course, if you are using Lightroom or Aperture, but also have Photoshop, you could also choose to edit the effect in Photoshop, and then apply the filter there. This will often work out best since you can more easily apply the effects to selected regions using a Layer Mask.
Lets look at the individual components…
Sharpener Pro 3 – for sharpening
I don't really see any use for this at all. The tools in Lightroom or ACR are better, and just as easy to use, and more importantly they come at the right stage in the workflow – on the RAW file rather than on a TIFF after the conversion.
Dfine 2
This noise reduction plug in works very well on images that have a very low amount of noise, but is helpless when confronted with an image that has a lot of noise. Given that, if your image is very noisy in the first place, Photoshop or Lightroom's noise reduction is going to be a smeared look anyway, so you could argue that Dfine works only on those image where it is going to be most useful, and is not useable on images that are so bad that the noise reduction would have visible artifacts anyway. However, the built in Noise Reduction in Lightroom or ACR is just as good, and again, as with Sharpener Pro 3, it is applied at a better stage in the workflow. So I don't see much need for this one either.
Colour Efex Pro 4
This is a large collection of preset effects (left column). Each effect is quite customizable (in the right column), and you can apply multiple effects at once – until you 'save' you can tweak the controls to adjust the interaction of the different effects. [Click to see the screenshot larger]
There's nothing here that you can't do in Photoshop, but there are a few effects that you can't really do in Lightroom or Aperture. However, it really is a different way of working. In Photoshop (or Lightroom or Aperture) you tend to have an idea of what you want to achieve, even if you use a fair amount of experimentation as you work. Colour Efex Pro seems to work best when you have no idea of the outcome you want to achieve. You can very easily browse through the dozens of effects until something sparks your imagination, and then refine the image further with the right column controls. If you did a lot of work with it I think you would get to know the various presets well enough to use them more deliberately, but I don't see myself doing that. I think this will be the place I come for inspiration with images that I am stuck on. I can imagine occasional use, but not extensive use of this one.
Here's an example of an image worked up in Color Efex Pro 4… (although a single image is not very revealing – the point is you can produce an almost unlimited number of effects with this pluggin.
Silver Efex Pro 2
I've been using thins one quite a lot in the last few days, and I think it works extremely well. While I think I could do almost everything that this plug in achieves in the other packages, the fact is that in this case the way the interface works encourages me to get better results. While I could probably copy the outcome of using the Silver Efex using the controls in Lightroom, I don't think I would come up with as good an image if I started with Lightroom and used only those tools.
If you are interested in Black and White imagery, I think this plug in alone easily justifies the expense of the set.
Here's the workflow I've been using, in conjunction with Lightroom, which should indicate why I like this pluggin so much.
First, take advantage of the basic raw processing in Lightroom to get the exposure just the way you feel it should be. Then right click and 'Edit in' either Photoshop or Silver Efex Pro 2. I'll use Photoshop for the more advanced edits, where I think I might want to put different effects on different parts of the image, or, more usually, I'll just go straight to Silver Efex if I'm intending to process the entire image the same way.
On the left side there are a series of presets that you can apply, but I don't find these very useful.
On the right side, starting at the top, there are brightness and contrast controls – but you should have already dealt to this in Lightroom. Next are the 'Structure' controls, which work in a similar way to the Clarity controls in Lightroom or ACR, except better. Firstly the controls allow you to adjust the clarity (or 'structure', to use Nik-speak) independently in highlights, mid tones and shadows, as well as having an overall control with 'Fine Structure', which seems to be a similar effect with a very small radius. Secondly, the controls very rarely introduce haloing or artefacting.
Next you can apply the equivalent of a colour filter – for example using a red filter to darken the sky. Again, the effects seem to produce fewer artefacts than using the equivalent effects in Lightroom or ACR. I the Adobe products you can often get halo around the edge of the horizon when you lower the blues to get a darker sky, but I've yet to see this happen when using the approximation of the red filter in Silver Efex Pro 2.
Further down you can apply an approximation of a film look. These are actually presets of tone curves, grain and colour responses. Usually I don't like using preset effects, but these seem to work very well. I'll experiment with several of these and usually one will stand out as working especially well on a given image. Perhaps I'm just being fooled by the film labels, but they do seem to look more organic than conventional adjustments.
Below this are finishing adjustments that allow you to apply a subtle colour tint (or non-subtle, if you wish). The mildest of the Selenium tones seems to work quite well.
You can add a vignette or 'burn' the edges here, but I find that the Lightroom controls work better at this, and have the advantage of being non-destructive.
At this point I'll hit save and return to Lightroom. There I'll open the image that I've been working on in the Develop module and add a vignette or a gradient to 'burn' the edges as needed.
Certainly with high contrast images, Silver Efex Pro 2 seems to work really well, giving interesting, detailed and organic looking images. Below you can see a caparison between working an image up in Lightroom 4 and Silver Efex Pro 2. Although I think I could get a similar result in Lightroom or Photoshop if I copied the Silver Efex version, that's not the point here. What these demonstrate is the difference that the two progams led to in terms of creative choices. I worked up each image independently of the other to see where the diffent interfaces would lead me.
The top one is form Silver Efex Pro 2, bottom form Lightroom. It might not be so apparent at this small size, but the sky and rock textures are much better in the Silver Efex version when viewed large.
Below is a tougher test. In this case I've worked up a low contrast, high ISO image in Lightroom and then had a go at it with Silver Efex Pro 2. The image was shot at 128000 with a Canon 6D.
Here it is the top one from Lightroom and th bottom one from Silver Efex Pro 2. In this case I certainly prefer the Silver Efex version – it has a more subtle range of mid tones, and there is too much contrast in the Lightroom version.
In conclusion: While I don't think that most of the pluggins are especially useful, I do think that Silver Efex Pro 2 is a wonderful pluggin for anyone working in black and white. With the cost of the complete collection now at a very reasonable $US 149, I'd recommend the collection for the use of this pluggin alone. Perhaps with some work you might find that you come to appreciate the other pluggins, but for me they work no better than the equivalent controls in Lightroom or ACR.
Canon 6D Review – a subjective look
This is going to be a quick review. There are other reviews out there that cover the new 6D in great detail, so I'm not going to repeat that material. Instead I'm going to give my subjective views on the camera.
If this is going to be a subjective review, you should know something about me. Many, many years ago I was using a Nikon F3, which was then the greatest, newest camera ever. But when hard financial times struck I sold the F3 and brought an ancient Nikkormat EL (a camera that was already ancient when I got it). The Nikkormat had none of the fancy technological features of the F3, but it did everything I asked of it – aperture priority automatic with the option of manual control. The Nikkormat was built like a tank, and had a nice viewfinder, and was easy to use. I never missed the F3.
Fast forward to today. The 6D is Canon's budget option for a full frame DSLR. A camera intended for those who are unwilling to part with the cash for a 5DIII, and in direct competition to the Nikon D600.
Making a budget version of an expensive camera requires compromises, not only for manufacture costs, but also so that the cheaper model does not cannibalise the sales of the more expensive one. The issue is where the camera designers choose to make those compromises.
In the case of the 6D, the image quality is excellent. The main points of difference between the 6D and the other cameras is that the 6D has fewer autofocus points, writes to a single SD card, and has no headphone socket. Quite frankly, for my use, this feels a lot like comparing the Nikkormat to the F3. There are a bunch of features that the cheaper option is lacking, but none of them impact on me as a photographer.
In terms of useability there are no great surprises. This is a Canon DSLR, and you hardly need to consult the manual. A few things are in different places, but nothing that you won't get used to. The camera is also smaller and lighter than the competition.
The autofocus system is not as good at tracking fast moving subjects as the systems in the D600 or 5DIII, but in poor light the 6D's autofocus outperforms the Nikon's, and to me that is more useful. The fact of the matter is that most of the time I leave the centre point selected, and use that to lock the focus, so I'm not worried about the meagre number of autofocus points.
It seems that I'm often shooting at the point where there is barely enough light. Actually it's been like this as long as I can remember – probably because as technology has advanced it has enabled me to get closer to the shooting that I've always been aiming at. From looking at a lot of student work, I don't think I'm alone here. I'm often looking at student images that represent great opportunities that have not produced great images because the shots have been ruined by excessive noise or camera shake. Pretty much any camera will work well in good light at f:8 and an ISO of 200, but how many can get a decent image in adverse conditions?
There are a few bells and whistles that the 6D has that are a little surprising. It has built in GPS, but this drains the battery, and it has located several of my photos in the harbour. More useful is the built-in Wi-Fi, which allows a smart phone or a computer to control the camera. In the shot below you can see the camera 'tethered' to my iPhone, allowing me to control the exposure settings and click the shutter, as well as see through the lens. What would be really useful though would be to use this with an iPad, where the larger screen would be a big advantage, not only for tethering, but also for reviewing images after they have been shot. I will note however that it was a very cumbersome process to set up the tethering to the iPhone, and although I got it to work in the end, it did take quite a while, and I'm not exactly sure how I got it to work.
I took the camera for a walk around Port Chalmers late at night to put it to the test (images are below).
At the highest ISO, a ridiculous 102400, the images are pretty noisy, especially in the mid tones. There is no noise at all in the blacks. Detail is poor. This really is a setting for emergencies only. But that is to be expected.
However, the image looks cleaner to me than the highest ISO shots I've taken with 60D or 7D cameras, which only reach 12800, and is definitely cleaner than the 51200 setting on my Pentax K-5.
The real surprise is the quality the camera produces at only one stop down, a still-ridiculous 51200. Viewed at 100% there is noise, but the pattern of the noise is not really awful (as it is on the Pentax). Zoom out until the image fills the screen, and the noise is only noticeable in the areas of smooth mid tones. Notice the roadway in the images of the police station below.
Back down to a moderate ISO of 6400 or 3200 and the noise resembles a fine grain pattern, and is only visible at 100%. For my use, these images are perfectly useable, and I doubt if the noise would be visible in an A4 print. Certainly for web use these images are fine.
Overall conclusion – I'm very pleased with the camera. It delivers in all the key areas, and I don't miss the points that make it more affordable. I'd question the wisdom of spending the extra money on a 5DIII unless you had a clear need for its features. Certainly I'd prefer the 6D to Nikon's offerings, and I suspect that the 6D would even suit me better than Nikon's D800. I think this camera sets a new benchmark in terms of image quality for money spent. If your concern is the best image quality at the lowest price, especially if you work in low light, this is a great camera.
Below: the Port Chalmers Police station, which is not well lit at all, and provided a good test subject. The top image is at 102400, the next at 51200, and then 25600.
Below: Outside the supermarket at ISO 6400. There's a little noise in the distant buildings, but even at 100% it's not very objectionable.
I've worked on this one in Lightroom, but only to change the colour – there is no noise reduction applied. This is also at 6400. The noise is definitely there, but it's not a problem. It looks a lot like film grain.
Although there is noise in this shot, because I've put it into black-and-white and I've worked on it with the tone curve the noise looks a lot like film grain, and I don't see it as a problem at all. 6400 again.
In the last shot, a mannequin in a shop window (after Atget) taken at 3200 there's a touch of noise in the lighter shadows, but you really need to look for it at 100%.
Going full frame on a tight budget
I was going to write this up as a proper comparison review, but I think it works better as a story. The moral of this story is to know exactly what it is that youcan purchase more wisely if you know exactly what you want your camera to do.
I decided to go to a full frame camera. The use of full frame sensors offers great low light performance and really good control over depth of field. If you are someone from my generation it kind of makes you feel like the lenses are behaving the way they are supposed to. The key to making an economically sensible camera purchase is to know exactly what you want from the camera. These days all the major manufacturers make great cameras, but some are better fits for individual approaches than others. Look for the camera that seems to have been designed with you in mind.
I decided to go for the Canon 6D. This camera has the same core functionality as its more expensive sibling, the 5D mark III, but less a few bells and whistles. Perhaps if I was a sport photographer I'd miss the more sophisticated autofocus system in the more expensive camera or the competing Nikon D600, but I'm not, and I don't. What is important to me is low light performance. It always seems to work out that I'm trying to take a hand-held photo right at the edge of the cameras low light performance (and, from looking at student work, I think a lot of other people are in the same boat!). The Canon 6D is a relatively no-frills camera (at least compared to other models at the same price point) with really good image quality and low light performance. Sounds like a camera designed for me!
The trouble is that in moving to a full frame camera you need to update all your lenses. If money was no object I'd just buy the 16~35 f:2.8 L series lens and the Tamron f:2.8 24~70 stabilised lens, but those two nice lenses would cost more than the camera. In fact, the budget that I needed to work on gave me enough for a body, but very little left over for lenses.
Again the solution is to know exactly what you need. Most of my shots involve wide angles, and as I mentioned, low light performance is important. I've been noting the focal lengths that I've been using on my Pentax K-5, and I'm consistently using the wide end of by 10~20mm zoom. In fact I think I'm using the wide end because that's as far as the ring goes, and I'd be better off using a setting of around 12mm or 13mm. At that length, the lens itself doesn't dominate the image, and my choice of angle is what makes or breaks the image. At 10mm it tends to be the drama of the ultra-wide angle that sells the image, and I want my photography to be more about my vision than a technical gimmick.
Converting 12mm or 13mm to full frame focal lengths that means I want a 20mm lens, and because I tend to work in poor light, it should ideally be a fast lens.
The other lengths I use are a short telephoto for shots of people, and a slightly-wider-than-standard length for buildings.
My first purchase, because it was cheap, was a used Canon 20~35mm zoom. I was influenced by Ken Rockwell's review of this lens (http://kenrockwell.com/canon/lenses/20-35mm.htm). Unfortunately, while Ken often has some wise things to say, he also says things that are quite wrong, and says them with such complete conviction that they seem very believable. In this case I think he got the lens wrong. To handle, the lens is certainly light, but feels flimsy and cheaply constructed. The lens performs adequately, but never brilliantly, and has very significant distortion and chromatic aberration in the corners. Ken mentions the in-camera correction, but fails to mention that this degrades an already less-than-stellar performance further. It's inexpensive, and you get what you pay for.
Then I came across a used 20mm f:2.8 Canon prime lens for around $NZ450. This lens looks very similar to the 20~35, but feels a lot more solid and better constructed. Also it's faster, as prime lenses usually are. Comparing the two lenses, the prime is significantly sharper when both lenses are at their best (in the centre at f:8), and the prime lens is far superior in the corners. The prime does vignette when it is wide open, but I can live with that since I often add a little vignetting to images in Lightroom anyway. The prime lens completely out performs the zoom in every respect (except the ability to zoom). So the zoom will soon be for sale on Trade Me – it will be great for someone on a tight budget, but the prime suits me better..
For a short telephoto I already had the perfect lens in my cupboard – an old Tamron SP 90mm f:2.5 prime lens. This is a great focal length for people shots, and this lens is one of Tamron's best. It's razor sharp, fast, has great colour, and even has a reasonable macro performance. All I needed was an appropriate adaptor. The lens does not autofocus, and does not record the aperture in the EXIF data, but I can live with that. Manual focussing seems to help me concentrate, and since I'm not shooting sports it is not a problem.
To replace the standard-ish lens I picked up an old 28mm Tamron lens for $NZ25, again manual focus, but I tend to use this on buildings, and they don't move around very much. I also had, in the cupboard, an ancient Pentax M42 50mm with an adaptor and a Pentax 135mm K mount lens* that also have wonderful optics. I think for anyone on a tight budget who doesn't want to sacrifice picture quality, you need to be looking at vintage manual focus lenses. While there are plenty of lemons out there, there are also lenses that are the equal (or better) than the best lenses available today, manufactured to higher standards and with beautifully damped focus rings. They are less convenient, and really not useful for action shots, but I think that's a reasonable compromise.
The result is that my main lens has all the convenience of a modern lens: autofocus and aperture set by the camera, and recorded in the EXIF data. The lenses I use less frequently have superb optical quality at the cost of manual focus. The thing I've noticed about using prime lenses is that you tend to see differently, especially if you go out shooting with only one lens. With everything else stripped away your choices are what to point the camera at, and what angle to use – core photographic choices. With fewer choices, I seem to see more.
The main point is that, if you know exactly what you want a camera to do, you can tailor your purchases to exactly that, and minimise the outlay.
*Pentax K mount lenses can mount, with an adaptor on Canon EF-S bodies (650D, 60D, 7D, etc) but don't work on full frame bodies. The EF-S mount has the mirror further back, but when you put a K-mount lens on a full frame body the aperture lever will strike the camera's mirror. The solution sounds rather harsh – take the back off the lens and cut the aperture lever off. This ruins the lens in terms of using it as a K mount lens, but the fact is that an M Series lens is actually a pain to use on a Pentax body anyway – you need to use manual exposure and meter by using the depth-of-field preview button. With the aperture lever snapped off you could use Aperture priority automatic. As you stop the lens down the viewfinder would get darker, but that's probably better than the other way.


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text: Rebel With a Cause, the earlier of these two outings, was recorded when Loza was a student at Cal Poly and features the Cal Poly Jazz Band. The four numbers contain numerous "recitations"-poems delivered in a censorious monotone by Loza and Vicki Reed, and influenced by Gil Scott-Heron. The opener is a 3l-minute suite, of which the third movement, "Africa Spirit Flow," with Craig Olsen on tenor sax, is the most interesting. On "Prelude to Nirvana," Loza is heard on piano. Although mediocre from an audio standpoint, this recording reveals Loza's precocious, fertile imagination and is a reminder of the curious preoccupations of the mid-Seventies.


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Assess Your Season, Rest and Cross Train
Nov 19, 2016 at 15:00
Nov 19, 2016
Dee Tidwell
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I believe that one of the most important times of the year for any athlete is the off-season but especially us mountain bikers. I know, I know. I hear it all the time, "what off season? I ride all the time bro." To that I say, "I can appreciate that, but please just hear me out."
When a client or friend says this to me, the first question I ask them is, "Do you not want to get better?" And with an objective crinkling of their face, the inevitable answer is, "of course, that's why I ride so much, to get better." Trust me, I've experienced this type of conversation in every sport I've coached, no matter if they're amateurs and professionals, with the same response. You see, It's very difficult to maintain a high level of performance without sufficient amounts of rest. Importantly, if you don't schedule it into your weekly, monthly and yearly schedule (officially called a "Periodization" see example below), you will continue to ride at the same level you have year after year.
Therefore, part of every athlete's annual Periodization plan (whether an amateur or pro) needs to include a time period during the off-season where there is at least 30 days off the bike. It's during this time that the body can unwind and decompress from miles and miles of trail riding and the toll that the mountain biking position takes on the body. Since many amateur, and even pro riders, don't really know what to do in the transition between the end of season into off-season training, I created a simple way for you to determine exactly how to assess your 2016 season, called the "
End of Season Questionnaire
It's a list of probing questions to make you think a bit about your riding or racing performance over the 2016 season, which will help you create a better plan for off-season training for 2017.
Click here to download
the FREE assessment.
Here are a few of the questions in the free End of Season Questionnaire for you to glean insight into exactly how you performed this riding/racing season.
1. Did you have a rest and recovery plan in place for race weekends, including a practice plan? Did it work?
2. What were the particular areas of your body that you found weakest, or were the most problematic in your riding?
3. Any nagging muscle issues you had?
Many times after riders fill this out I hear that they didn't realize certain things until they actually sat down and starting thinking about it.
I've heard:
- "I had an epiphany about why I was struggling half way through my rides, and it's I wasn't eating enough during most rides!" Or,
- "I didn't recognize how much my riding was actually affecting how tired I was."
Of course, that last one is actually a pretty funny statement if you think about it, but what this person was saying proves my point about rest. When you don't provide your body rest days and periods of time of rest, it will eventually catch up to you and your performance will drop like a bag of rocks! All right, if you truly have a desire to improve for the 2017 season, one of the best things you can do is to take 30 days off between now and the end of the year. Here in Colorado, we've had one of the warmest falls we've had in a long while so we've had an extended riding season because of it. However, in no time the snow will be flying and the temperature will plummet and when it does, I will begin my 30 days. I'd say most people take Thanksgiving or Christmas time off since it is a busy time of year.
Here's my challenge to you... when is your time off going to start? Make your decision now and mark it on your calendar! Now that you have a brief understanding of the importance of rest, let's look at a few ideas of what to do during these 30 days off the bike.
#1- Get in the gym.
Start training this week! Each week, do 2-3 weight training sessions; two cardio or cross training workouts (see below) and take 2 days OFF.
As far as a workout, I always encourage riders to be sure to include each of the following "primal movement patterns," each of which is crucial for on and off bike athleticism:
• Squat
• Lunge
• Push
• Pull
• A 'hinge' exercise like deadlifts
• A rotary exercise
In fact, try this quick "primal movement pattern" workout. Do 15 reps of each move and two to three sets in a circuit format with 1-minute rest between sets…
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#2- Do other forms of cardio.
Use all forms of cross training. I'd suggest mixing it up. Do the rowing machine. Its emphasis on leg drive, hip hinge, and posterior chain strengthening is beneficial.
"Run Forest Run!" Yup, Run. It's a very primal exercise that many of us mountain bikers haven't done in a long while (like me, I think it's been 10 years since I ran a few times a week!) and it's beneficial to the transfer of ground reaction forces through the body; the deep spinal stability system; micro-stabilizing of the pelvis and an overall great cardio workout.
Climb. Indoor climbing is a terrific workout on all levels. Like running, climbing is very primal and a strong 'cross-pattern' trainer for the nervous system. It can help us riders 'balance out' our body from the same-sidedness that our downhilling position creates, as well as strengthen the shoulders, forearms and especially the hands!
Another sport I'd highly recommend is going to a 'parkour' gym. These workouts are not only a blast but one of the best at bringing together each of the workouts listed above. It's the granddaddy of human expression of movement and can expose movement weaknesses that, when turned into strengths, greatly improve your athleticism on the bike.
Lastly, don't forget enjoying what the winter season has to offer! Ski, xc-ski, board, snowshoe, ice climb, get into the backcountry, shoot… get on a snowmobile!
Look, in the end, all I'm saying is spend 30 days off your bike. As much as I know most of you think that's such a grim thought, remember, doing other sports and activities for us mountain bikers in the off-season is SUPER IMPORTANT to contributing to your success not just for next season, but for years and decades to come.
Ok, so here's how you can put this together as a training schedule:
Monday- Gym workout
Tuesday- Run/ Parkour/ Row
Wednesday- Gym workout
Thursday- OFF day
Friday- Indoor Climb/ ski/ board/ xc-ski / snowshoe, OR, gym cardio day
Saturday- Indoor Climb/ ski/ board/ xc-ski / snowshoe, OR, gym + small run
Sunday- OFF day
Now that you have a "plan," go ahead and choose your "30-days-off-your-bike-time," while simultaneously starting the video workout and
listed above to get your off-season training off on the right foot!
Questions? Please don't hesitate to reach out-
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82 Comments
Who Faved
+ 44
(Nov 19, 2016 at 15:14)
Lifting Turkey legs for strength training Powering through seconds for stamina Deep resting on couch or recliner for posterity cool down Reward yourself with a nice dessert!
+ 29
(Nov 19, 2016 at 16:07)
Go hunt a deer, kill it and then drag it to the car. Discover where the term "dead lift" really comes from. Eat delicious meat, post pictures on instagram and wait for animal lovers to chime in calling you a murderer and defiler of the nature.
Ok, ok... I've never done it... I want to learn to hunt. Kill ,field dress, skin it, process the meat. Everything from buying a weapon to putting the meat on the table.
Why the hell am I writing this...
+ 4
(Nov 19, 2016 at 16:16)
For the same reason PB is giving a million average Joe's an athletes off season regimen.
The real "athletes" know what to do in the off season. The rest of us really just want to eat dead deer. Or carrots. Or whatever
+ 1
(Nov 19, 2016 at 19:08)
Thats my daily workout! Bike riding is in there somewhere for me though
+ 4
(Nov 20, 2016 at 2:14)
: ...because you're an MTB troll that makes us smile 60% of the time
+ 4
(Nov 20, 2016 at 4:09)
: you need to move to 'Merica.
Most of places to ride near me are only safe on Sunday and at night this time of year.
And the bright TLD shorts are a safety item, not a fashion statement.
+ 2
(Nov 20, 2016 at 4:13)
: Just remember Waki, you will drag him more easily for a mile downhill than you will one hundred yards uphill.
+ 1
(Nov 20, 2016 at 6:18)
: speak for yourself. if I ever meet
I'll do my best to ride him off the trail.
+ 2
(Nov 20, 2016 at 8:52)
here comes the winter !!! oh wait, 365 days of riding here, dont tell anyone !!
+ 1
(Nov 20, 2016 at 12:35)
: ben greenfield is the man to ask about hunting tho not sure about the chop and roast part. also if you are hunting moose near its back look just above the kidney should be 2 small balls in the fat that's the adrenal glands used by the old indians to prevent scurvy (lack of vitamin c)
- 2
(Nov 20, 2016 at 14:19)
: it's all because of that Joe Rogan fkr. I'll get into it when kids grow a big older and I will have more time. Having a house would be cool too.
+ 2
(Nov 21, 2016 at 2:24)
: 60% really? That's massively generous!
+ 18
(Nov 20, 2016 at 2:41)
You forgot 'trail building' as off season activity.
Going to the gym is a waste of time and energy. I rather do something outdoors that will pay off for the riding community.
Maybe you could develop a 'cross fit plan' that includes moving stones, shoveling dirt, etc. so trail building is also something for the cool kids?
+ 3
(Nov 20, 2016 at 4:27)
Hell yeah... digging in the woods, over the gym, any day! Weather don't matter, it's a brutal workout if you go at it..
+ 5
(Nov 20, 2016 at 15:16)
It's not a waste of time, but I agree with your trail building activity! Good stuff!
+ 2
(Nov 21, 2016 at 5:46)
I love building as much as riding but I do notice (at least in my case) that it does take quite its toll on the body, especially my lower back.
+ 1
(Nov 21, 2016 at 23:12)
yeah, its brutal no doubt. I used to dig all winter/spring - the first few building sessions after a long season of riding, really hurts, but your body soon toughens up. Here is a great pic showing how I used to look when I was digging all the time!
I always find digging to build a great strong core and upper body, with very powerful grip strength - there was always an old saying "never fight with trail builders!"
+ 21
(Nov 19, 2016 at 15:07)
Not a racer but I can't go 3 days off a bike let alone 30.....whew.
+ 3
(Nov 20, 2016 at 16:26)
I can't schedule my "time off" because I never know when I'm going to get injured.
+ 5
(Nov 20, 2016 at 17:38)
: I just turned 61. 30 days represents a significant percentage of the riding days I have left, no matter how many that may be.
+ 2
(Nov 21, 2016 at 5:43)
I don't ride to get better or to get results, I ride for fun and to be in the woods with my friends so no way in hell I'm putting the bike in the shed for a month and sit in the gym surrounded by a bunch of meatheads.
+ 11
(Nov 19, 2016 at 20:01)
I know this is good advice that you're offering here. Not only because you're a professional Mtb skills and fitness trainer, but because my quads are constantly fatigued, along with the muscles in my shoulders, my triceps, upper back etc. so yeah my body talks to me about it. If I do happen to take three days off the bike my next couple of rides I feel like I can just pin it through anything. So I get it. But.... One glance at the comments here and you can see that the reason most of us ride far more to do with what it does for our mental health than for simply physical fitness. Comments like mine above and others saying things like "people would die" " I'd be divorced" etc. reveal the true depth of what this sport means to folks. I haven't found any other activity that does for the brain what Mtb does. I used to run 7 miles a day back in my youth. No running doesn't do it. I see folks trail running when I'm out riding and I think they really just need to get over it and get on a bike. Going to the gym? Sure I like to do that but I could work out till I collapsed and not get one tenth the mental reset that going out in the woods and shredding some gnar gives me. Obviously I'm not alone in this so... Again I ask: "How do I get off the bike for a month?" What's the secret for dealing with the mental aspect of that? Thanks
+ 8
(Nov 20, 2016 at 5:00)
Secret is difficult. Everyone is different, but good question, and thanks.
Actually you'll see that I proposed many other activities to do to help with the mental aspect. No, you may not get the "exact" relief of mental stress as others, but that too is the point. MTB is very nervous system and adrenaline dominant. You can be nervous system fatigued and muscular system fatigued both separately and individually. Additionally knowing most peoples adrenals are already zapped for many reasons, adding the three together is a recipe for disaster eventually. Structured rest throughout the year and 30 days off the bike can stave off this disaster and keep all systems feeling more fresh. It's also the time to do other things, again, for the same reasons. Let the body do something different, and 'learn' that your body can produce positive results mentally, even though you aren't working at 90% during a ride!
Trust me, just turning 48, I NEED this time and I understand that younger folks may not seem like they do, but like I mentioned, all athletes need a bit of time away from their sport to maximize their body's ability to recover, grow, develop, resist injury and lastly, and most importantly, provide a platform of longevity. I plan on riding well into my 60's and at this point in my life I know I can.
Lastly, I wrote this to challenge riders. It is hard to get off your bike a while, but if the mental aspect is one of the reasons why you ride so much that your body hurts all the time, then I suggest you step back, reevaluate and see if there's something else to provide you with the relief you need. Life balance is super important and don't forget that adrenaline can be addictive like any other drug, and if you "jones" for it that bad, you may consider another alternative to MTB to help with the mental aspect.
Hope that helps a bit!
+ 2
(Nov 20, 2016 at 9:58)
Part of not being able to get the mental reset you're craving in the gym is doing the right kind of work. If you're running on a treadmill or using an elliptical of course that is not going to match the psychological demands of riding. Maybe you need to up the weight. Stick to big compound joint lifts like deadlifts and squats, then move into more powerful fast movements like the clean and jerk. Once you can do those safely try mixing them into Crossfit style workouts that alternate sprinting (running, a rowing machine, etc) with some heavy lifting, keeping rest to an absolute minimum. Those workouts are as demanding as anything you can do on your bike. If you're not getting the mental reset you need you need more reps, more sets, more weight or less rest between efforts. Can you run a mile in 6 minutes? Can you deadlift 2x your bodyweight?
TL;DR if your workouts are boring find yourself some better workouts. It's good to get off the bike and do some other kind of hard work. Not everything has to be the same as the bike.
+ 12
(Nov 19, 2016 at 17:53)
30 days of bike = divorce
+ 4
(Nov 19, 2016 at 23:14)
Exactly why I never married
+ 3
(Nov 20, 2016 at 6:19)
: also coz ur fugly lel
+ 1
(Nov 20, 2016 at 14:22)
: actually the opposite and I like to shag euro sluts
+ 1
(Nov 21, 2016 at 5:51)
: How should I see this? Are you hopping on a plane to Germany for a weekend to go to a random bar and casually nail some girls while listening to kernkraft3000/aqua/2unlimited?
+ 11
(Nov 19, 2016 at 15:46)
I typically have 3-4 months off the bike for snowboard season.
+ 3
(Nov 19, 2016 at 16:00)
..nobody likes a show off .. (I jest,am jelly)
+ 1
(Nov 19, 2016 at 18:21)
+ 2
(Nov 19, 2016 at 21:10)
: Have to find something when all this white dirt happens. And I can hit my HIIT training more during the Winter. Doing HIIT and riding just leads to sore ankles for me.
+ 1
(Nov 20, 2016 at 2:55)
: hearing that ..
+ 8
(Nov 20, 2016 at 17:05)
Don't forget Crossfit.. and if you do crossfit don't forget to post about it on Facebook every chance you get. And make sure you throw a couple mud races in there too because that shits just crazy.
+ 2
(Nov 21, 2016 at 3:25)
Mon- crosshit tues- corrective rehab for injuries sustained during crosshit weds- corrective rehab for injuries sustained during crosshit thurs- corrective rehab for injuries sustained during crosshit fri- corrective rehab for injuries sustained during crosshit sat- corrective rehab for injuries sustained during crosshit sun- corrective rehab for injuries sustained during crosshit
+ 3
(Nov 20, 2016 at 11:59)
Monday- Gym workout
Tuesday- Run/ Parkour/ Row
Wednesday- Gym workout
Thursday- OFF day
Friday- Indoor Climb/ ski/ board/ xc-ski / snowshoe, OR, gym cardio day
Saturday- Indoor Climb/ ski/ board/ xc-ski / snowshoe, OR, gym + small run
Sunday- OFF day
Pizda. You dont need that "modern western healthy life".
+ 3
(Nov 19, 2016 at 20:16)
Swimming, Yoga and other stretching/mobility work is key to the "off season" mtb'er I think. I had more time outside of long work days and family duties I world implement these type of things more. I don't have that extra time, so I always choose riding instead. My therapy.
+ 3
(Nov 20, 2016 at 0:07)
I"m going to be 3 times more awesome than people on this program because I take 90 days off in the Winter !
Joking aside, I mentally need the rest as much as physically but the reality is I strart riding/training in February and feel like I'm still getting "back into shape" in June. So it does set you back. And every year older it sets me back a little more.
+ 2
(Nov 19, 2016 at 21:50)
What is this off season you talk about, riding is basic human necessary gym sucks. Even wifey understands because I'm a better person coming home muddy, beat up and sometimes bleeding. Injuries are another very depressing story, stay safe!
+ 6
(Nov 20, 2016 at 4:44)
I drink beer and wallow in sadness in the off season.
+ 2
(Nov 20, 2016 at 12:32)
I've ridden all my local trails so much I get flat out bored of biking after so long. 30 days off aren't so bad. Truth is there is so much more in life than just bicycles. Its just one of many hobbies for me. And after compressing my back so much after my early 2000s hucking days, I love rest. Only 27 and my back feels like an 80yr old. Damn you Josh Bender.
+ 2
(Nov 19, 2016 at 18:07)
This was simultaneously the most beneficial yet discouraging post I've read on PB. I'm not even two weeks into fat bike ownership, loving it, and am signed up for BCBR next summer. Oh right, I'm not 30 anymore so would be wise to take the advice of those more knowledgeable than I.
Coffee, weights, skate ski, stretch/yoga, wine, girlfriend, mega-sleep. Repeat daily until Jan 1st.
+ 1
(Nov 19, 2016 at 18:20)
You got the plan
+ 1
(Nov 20, 2016 at 3:17)
I like frozen dirt, crunch ice, traction leaves and sticky snow. My month off is March when the ground turns to mush. That's the best time to add lips, senders, berms, banks and armor to the trails you have beat to crap all year. Your dog will help too.
+ 1
(Nov 20, 2016 at 6:22)
Great advice, I do belong to a gym, and it helps alto in biking, but in the off season I'm not on my bike as much. I play hockey twice a week and I find it keeps the legs and lungs strong for when I get back on the bike. All these off season exercises help in both hockey and biking, thanks again.
+ 1
(Nov 20, 2016 at 15:12)
Your welcome!
+ 1
(Nov 20, 2016 at 4:51)
Great article,great discussions and thanks for the workout ideas. As an older rider who has raced since the mid 90's, we can learn the hard way or the easy way.....yet for all the non racers, what you say here is a tough pill to swallow! We do need rest and yes there is an un-matched mental solace of riding bikes through nature's wonders that can't be beat, and like any drug we crave, who wants to put the handlebars down? So maybe a day or two of rest would go a long way when needed for all the non racers out there and the workout program would make them a better rider, a stronger rider and help keep injuries down.
+ 1
(Nov 20, 2016 at 15:11)
You are right
! Rest is good once and twice a week, which is part of the "weekly, monthly and yearly" plan I mentioned. This info applies to all, not just pro's. It may be a tough pill to swallow, but unlike bad medicine, this one will have positive results to your body!
+ 1
(Nov 22, 2016 at 5:54)
Great guide, exactly what I was looking for, ticks all the boxes that the physio wants me to work on. Only question is, my gym doesn't have the floor mats like you used or anything similar, is there anything else that can be substituted in for that workout?
+ 1
(Nov 19, 2016 at 20:58)
During my offseason I stop cycling completely for 3-4 months and I play high school soccer competitively. We do a lot of conditioning (sprints, planks, squats, lunges) and we are pretty much constantly doing cardio. However when my MTB XC season starts a few months later, its like I haven't been training at all. I disagree with you, for me personally running seems to destroy my cycling ability. Only thing that keeps me in good shape for the season is spin bike stuff (increadibly boring, but effective).
+ 1
(Nov 22, 2016 at 6:38)
Completely agree. Maybe use that time to do some different stuff on the bike, ride BMX, track,
+ 5
(Nov 19, 2016 at 16:38)
Great article!!! More of these please!!!
+ 1
(Nov 20, 2016 at 15:12)
Thanks man!
+ 1
(Nov 19, 2016 at 19:40)
I commute to work every day on my Mtb. It's a 3.5 mile ride each way. Does that count? Plus I do at least 2 big rides a week as well. I don't know how to not ride for a month. I'd go completely bat shit crazy and all the worst demons of my nature would emerge. The trail is like church for me. How do I deal with that bit?
+ 1
(Nov 22, 2016 at 6:36)
If your not burned out subbing rides for runs is probably a best if you really want to perform well. One month off the bike and running, at least for me, will cause adaptation to running and knock back on bike power temporarily.
+ 3
(Nov 19, 2016 at 15:29)
30 days off? People would die..
Glad to see we all picked up on the same thing straight away
+ 2
(Nov 19, 2016 at 18:13)
i spent 12 weeks off the bike this season..... it sucked....... it didnt "reset" me either.
+ 2
(Nov 19, 2016 at 18:19)
Sorry to hear that! Hopefully you've been able to get back at it!
+ 1
(Nov 19, 2016 at 18:49)
: im riding again, no where near as fast or as well. super frustrating, super fun to deal with at the end of good riding weather.
hopefully a winter in the gym pays off in the spring.
+ 1
(Nov 19, 2016 at 16:12)
I will take 30 days off next time I get injured...so hopefully never! I like riding fast and all, but I am not a pro racer therefore not going 30 days off the bike
+ 1
(Nov 19, 2016 at 18:04)
Great information. I honestly didn't realize that I should be taking time off the bike every year, though my schedule kind of forces it anyway.
+ 1
(Nov 21, 2016 at 3:56)
Have an appt. to service your suspension on the first day of your month off.
+ 1
(Nov 22, 2016 at 7:09)
:. Could you offer an alternative twist exercise if we do not have sliders?
+ 1
(Dec 7, 2016 at 12:05)
Sure! Do the same move without the sliders! Almost "old school" break dance-esq
+ 1
(Dec 11, 2016 at 5:33)
: cool thanks
+ 1
(Nov 20, 2016 at 13:49)
Stop reading at " you will continue to ride at the same level you have year after year."
Oh yes please....
+ 1
(Nov 21, 2016 at 11:48)
I skipped to the last part that said "Don't ride your bike for 30 days." Not reading any more. Sick bastard!
+ 1
(Nov 20, 2016 at 4:48)
Off season work out? It's called digging and cutting new trail. Pretty damn primal imo.
+ 0
(Nov 20, 2016 at 4:03)
Get a Cyclocross bike + throw some Schwalbe 35mm studded tires on it, 40kph downhill on ice covered roads is no problem + allot of fun.
+ 1
(Nov 20, 2016 at 13:37)
This is why I stopped racing. I don't want to take days off just to recover.
+ 1
(Nov 20, 2016 at 15:13)
Oh but everyone benefits from rest, this article wasn't just for pros! Be well.
+ 1
(Nov 19, 2016 at 16:34)
It just got under 100 here?! I just got OUT of the off season.
I know, its messed up. Ill keep this mind for next June.
+ 2
(Nov 19, 2016 at 15:57)
30 days off would induce a deep malaise !
+ 2
(Nov 19, 2016 at 21:42)
Ass season
+ 1
(Nov 20, 2016 at 6:48)
sounds like it's time to actually rest and go see a physio.
+ 1
(Nov 19, 2016 at 16:24)
Especially when you get a little long in the tooth... good stuff Dee
+ 1
(Nov 19, 2016 at 16:39)
- 1
(Nov 19, 2016 at 19:48)
: I've had a groin strain for more than a year I can't heal from (xc race induced) because I keep riding !
I'm on 24th day of "off the bike " rest now and no real healing.....going to gym etc (stretching just aggravates it)
Now what Enduromtbtrainer guy?
+ 1
(Nov 20, 2016 at 6:50)
: go see a physio/massage therapist. Groin injuries are difficult to heal on your own (you are always using your adductors for stability- they need to re-learn how to do that after injury).
+ 1
(Nov 20, 2016 at 15:15)
: Oh man, if it's been that long it's probably a longer answer to deal with. If you'd like you can email me and I'm happy to answer. But basics if you haven't yet: see a Orthopedist, get an X-ray and MRI, see a highly qualified physical therapist or physic (I think you have good ones in CAN), see a Doctor of Osteopathy if you have one. Consider your nutrition, rest, stress.
+ 1
(Nov 20, 2016 at 18:50)
Great read!
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text:
The U.S. Department of Commerce branded "Select USA" to aid foreign companies with an interest in locating their businesses to the United States. As part of that effort, the third annual Select USA Summit was held in Washington D.C. on June 19-22. The Summit's purpose was to bring foreign direct investment to the United States by inviting interested companies, service providers and economic development organizations.
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To watch videos taken of the Summit sessions and learn more, visit Select USA.


text:
Christmas in the Colorado Rockies
Jonah Tomlinson spent the last year mending a broken heart. He wanted marriage and children, but didn't want the worries of love and another broken heart. But no woman would ever agree to that, so he sent off for a mail-order bride with the condition that they marry for mere companionship - and not love.
Annie Reed spent the past year mourning the loss of her fiancé to a horse accident. She vowed never to fall in love again. When she answered Jonah's letter, the two agreed to marry without the entanglement of love. They both decided to stick to the plan - until they met.
It's winter time in the Colorado Rockies, and Christmas is right around the corner in the small town of Breckenridge. Sleigh bells ring, Christmas decorations are up, and Annie and Jonah are doing something they promised not to do - fall in love with each other. Both find themselves unable to stick to the agreement, but not wanting to disappoint the other by breaking their promise. Before they say their vows, can they admit their feelings for each other and truly give in to love? Or will Annie return to New York and never see her true love again?
Come for Christmas in the Colorado Rockies.
©2015 Julie Pollitt (P)2016 Julie Pollitt
"A warm romance"
--I was given a copy of this audiobook in exchange for an honest review.
Again, Julie Pollitt has provided a short, entertaining novella. I love these books, she has a way of giving the reader a well developed character in a short period of time. Jonah, a man who has previously lost at love has sent for a mail order bride. He finds Annie, and they agree to meet and if comfortable get married. No love will be involved in this relationship. Annie is coming from a life where her fiance had been killed, so she was more than happy to agree to this. Little did they know when the deal was struck that this would be an impossible task.
Leonor A Woodworth provides us with a beautiful narration of this story. Her voice is perfect for this and creates a warm ambiance as you are listening.
"Sweet novella"
Jonah and Annie, you have warmed my heart!
Such a sweet novella. Nicely written.
Each scenario effortlessly leading to the next one. The tension mounts for the reader as you know what is going to eventually happen and can hardly wait for it. I really enjoyed this tale of two people who weren't looking for love.
I'm sure you too will enjoy this short story .
"Such a good book!"
I love audio books and rarely read printed but the narration is so good and on point that the audio would have to be better.
Yes, this is the third book I have listened to and all three were great! I would definitely listen to any of her books again. Any age can listen to the book. Its a clean book with a touch of religion. Just a good book overall.
I was given this book free of charge by the narrator. Thanks for the opportunity to review this book.
"Good short story"
I found this to be an interesting story of how two different people came to find love when they were only expecting a mutually beneficial relationship. Although this is a short story it seems like a fully completed tale which can sometimes not be the case with short stories. I got this book in exchange for a review
I am a huge bookworm, I read daily and now listen to audiobooks. I review all books I read and listen to on my blog Genuine Jenn.
"A sweet romance"
This is book 2 in the Mail-Order Brides series but I didn't find it confusing. I am thinking it is more a stand alone series. Its a cute, clean romance set back in time of the horse and buggy. For being a very short read, the characters are well developed and you will fall in love with Annie and Jonah right away. Both characters have sworn off falling in love again and have made an agreement that they would be companions in marriage but not more, until both start to fall in love with the other. I love Annie, she is a country girl who doesn't mind to get dirty and help out. She is a sweet girl.
The narrator, Leonor Woodworth does a fantastic job with this story. She has a soft voice that is fitting for the story, especially for Annie, her cadence and volume is perfect. Leonor makes this an enjoyable audiobook. I will listen to more from Leonor in the future.
I also look forward to reading more by Julie Pollitt. I give this novella a 4 out of 5 stars. I received a copy of this audiobook in exchange for an honest review.
I love listening to audiobooks with my three compadres: two sweet tabby cats and a Great Dane!
"I Love Listening to the Mail Order Brides Shorts"
A BRECKENRIDGE ROMANCE was a relaxing, clean, and enjoyable romance. Annie came out west to be with Jonah. His sister liked Annie right away as did Jonah. Both had sworn off ever falling in love again but love prevailed even though his former flame almost interfered.
I'm really enjoying the Mail Order Bride short stories written by JULIE POLLITT. I'm looking forward to listening to more. Please keep writing these.
LEONOR A. WOODWORTH has such a lovely voice. She's perfect for these stories. She had a soft, well-paced and balanced cadence that made this an excellent listen. Very enjoyable.
"This audiobook was provided by the author, narrator, or publisher at no cost in exchange for an unbiased review courtesy of Audiobook Blast."
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ARPA-E advances high-potential, high-impact energy technologies that have too much technical risk or are too early for private-sector investment. Even though we invest in risky technologies, for the ones that do succeed, we expect them to impact the marketplace. And that is our job: helping teams get to market through entrepreneurial coaching and guidance around techno-economics, supply chain and customer development, IP and fundraising. It is a unique role and ARPA-E is not your typical government agency. In fact, one of the mandates of ARPA-E is that staff can only stay three years so that there is a constant flux of new talent and ideas.
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He also stated that he would follow a policy of détente while at the same time upholding Iran's ideals and defending its interests, noting that Iran would neither bludgeon others nor accept being bludgeoned."


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Author has written 5 stories for Cartoon X-overs.
Before we begin, I would like to point out that I rarely check my email addresses (I don't expect many of them), so it may be best not to send me urgent messages when sending me a PM. Also, I'm not a beta-reader, so if you feel the need to email me about a story you want me to proof-read, send a PM with the term PLEASE PROOF-READ ME in the subject heading. Being busy with school stuff and home stuff IRL makes it hard for me to sit down and get to work on my own stories, let alone others'.
Speaking of busy, I like to take my time with my fics, since I'm something of a perfectionist. Patience is a virtue with me. I have no schedule, I update whenever I can. Even if, sadly, it takes years to do so, in some cases. And even then, stories I was not happy with may be baleeted.
~ Bucky
Where to begin? Ah, yes, actually introducing myself.


text: Home Gallery Video Swedish Airport Coaches 50 Cars or 1 Coach Swedish Airport Coaches: 50 Cars or 1 Coach Published on Apr 29, 2009 Editor's Pick Acne Advertising created a sculpture from of 50 scrap cars to look like the airport shuttle service's coaches alongside the highway to a Swedish airport. Fifty cars represents how many fewer cars are on the road when one airport shuttle bus is full of passengers. The campaign website hosts a live feed from the installation and counts all the cars en route to the airport in the video. Counters exhibit the number of cars next to the equivalent number of buses that would be on the road if those car passengers had taken the shuttle service. Rate this Ad You must be registered to rate the ad. Please Login or Register Now About CreditsDateApr 29, 2009Agency:ACNE AdvertisingProduction Company:ACNEWeb Production:Acne DigitalClient:Swedish Airport Coaches Latest Creativity News on Ad Age Pellington Joins Washington Square, Furlined Signs Razvi CP&B Taps Forsman & Bodenfors Leader as Next Global CEO Ad Age Wake-Up Call: Google and Walmart Partner Up, While WPP Cuts Its Forecast Related work Nissan: Project Controller TBWA Helsinki The Real Estate Eye: Tracking Experiment ACNE Advertising Skandia: Transaction Declined ACNE Advertising