Hama Cable Release

Concept: 2 out of 5
Execution: 4 out of 5
Yeah, but: Worst marketing use of the word 'Digital' EVAR.

The Long Version: A high-quality mechanical cable release is something that I've been looking for without any real expectation of success. These are for cameras with threaded shutter buttons, which lets an inexpensive mechanical remote to do the exact same job as an expensive electronic one. For those not familiar with the type, it's a flexible wire that slides inside a guide tube with a screw-attachment on the end, which can trip the camera shutter with very subtle pressure. This is a fairly standardized thing, but what makes the Hama Cable Release special is that it has a very supple fabric covering. Most camera stores around here have one with the wire moving inside a heavy plastic tube, which isn't nearly as good at isolating the camera from movement. The Hama's greater flexibility also makes it easier to pack in the camera bag and easier to use.

The mechanics are really quite simple. It has a locking mechanism, easily disabled and activated, for shooting in bulb mode; it even triggers my Yashica GSN, which the prolific plastic model wouldn't do. And while I'm in a good mood, I'd also like to add that I found this one at FilmPlus in Toronto's west end for substantially less than what B&H charges. I'll have more to say about them in a few more weeks, but essentially they're a rental and pro-support shop that's completely different from the electronics retailers that most camera stores have become.

The truly ridiculous thing about the Hama Cable Release is the huge word "DIGITAL" screaming across the package. (Seriously, is it still 1993?) Not only is this a thoroughly analogue device, you'd have a very hard time finding a digital camera that can use a mechanical shutter release. The only ones I've tracked down are directly based on archaic manual-focus film cameras (RD1, M8, M9); even the Leica X1 uses an electronic remote. So if you have a digital camera, this remote almost certainly won't work for you. If you have a film camera, it probably will.

Grudgingly updated, 21 September 2010: Naturally, two days after I wrote this, Fujifilm has set the internet on fire with its rangefinder-styled X100 concept camera. It has a threaded shutter release. As Apple said back in 1991, sosumi.

Sony RMPCM1 Wired Remote for the PCM-D50 Audio Recorder

Concept: 2 out of 5
Execution: 2 out of 5
Yeah, but: It could be better - but how?

The Long Version: The Sony PCM-D50 is a great audio recorder, tough with good sound quality. One of its nifty features is a five-second preroll buffer, meaning that it can capture sounds that happen when the recorder is running but paused. All you need to do is hit the 'pause' button without spoiling the recording with handling noise, and that's where having a remote comes in.

The RM-PCM1 is a simple little device, being a thin remote on an equally thin 6-foot long cord. It has buttons for pause, record, stop, and divide, and a light to show when the recorder is rolling. Simple, straightforward, and does everything needed to control the recorder during capture. It even has a right-angle connector, which I love.

But despite its seeming usefulness, the RMPCM1 remote isn't an easy recommendation. For one thing, it doesn't really feel like a Sony product, certainly not in the same league as the D50 and D1 recorders that it mates with. The cable is thin and slightly insubstantial, leaving an expensive accessory feeling almost cheap. The other issue is that it's something of a nuisance to use. The six-foot long cord is too long to use while close enough to monitor the levels, and if you want to monitor the audio from the end of the remotes' reach, you'll need an extension for your headphones. Using a reliable radio-frequency wireless system would be a huge improvement, even if it adds to the already nontrivial cost.

So get the PCM1 remote if you'll need to be able to control the PCM-D50 or D1 from a moderate distance, or if the preroll buffer is an important part of how you'll use the recorder. Otherwise, give it a pass - it really doesn't add anything for normal use.

Panasonic DMW-RS1 Remote

Concept: 2 out of 5
Execution: 3 out of 5
Yeah, but: It's worth having.

The Long Version: Panasonic makes two different wired remotes - the RS1, the subject of this review, and the more sophisticated RSL1. The "L" stands for 'locking', which allows bulb exposures; the simpler remote is just a push-button on a cable. The huge difference in features means a huge difference in the price, and they're both compatible with the Panasonic Micro Four Thirds bodies that use a 2.5mm jack.

The RS1 is a lightweight remote, with a thin cable and simple connector. I never quite figured out why the Nikon MC-30 needs ten pins to do such a simple job. But the best part is that it costs about $30 at B&H, which is still a bit `spensive, but not nearly as bad as it could be.

The back of the remote has a little clip on it. I use it to hold the cable, which is about all I ever use pocket clips for. Actually using it to clip to clothing is just inviting tragedy - or comedy, depending on whose camera it's plugged into. Attaching it to a camera strap, or using it to loop to itself around the tripod, is safer and still quite handy.

For those who want to photograph star trails, this isn't the one to pick, but for me losing the ability to take 'Bulb' exposures is far less significant than losing the extra twenty bucks to buy the more expensive remote. All told it's quite a useful accessory, and makes the camera much easier to use on a tripod. Given how the live-view LCD makes it quite natural to use the m4/3 cameras from a distance, this just makes the whole thing better. Macros, portraits, home-made sound blimps - there's all kinds of reasons to get away from the camera so that we can actually see our subjects. Having a decent cable release makes it work.

Pocket Wizard Plus II Transceiver

Concept: 3 out of 5
Execution: 2 out of 5
Yeah, but: They're a little dated, but nearly in a class by themselves.

The Long Version: They're more than just flash triggers: Pocket Wizards are a photographer's expensive rite of passage into professional reliability, and if you need what they do, then there's no substitute. They will fire a remote flash, or certain cameras, with absolute certainty over ridiculous distances. The Plus II and the more elaborate Multimax Pocket Wizards are without equal for this; even Pocket Wizard's new Flex and Mini - the TT line, like the old-skool p0rn star - have some issues with range and reliability so far.

The only time I've ever had my Pocket Wizards not fire is when I've accidentally bumped one of the switches off of the appropriate mode or channel - typically while it was in the bag, and solved with a little tape - or have forgotten to turn one on. In exchange for that reliability, the PWII's take a hefty toll on the wallet. They're selling for anywhere between $170US to $240CAN, depending on where you like to shop, and that doesn't include the pictured hot shoe cable. Each light needs its own PW, and one goes on the camera as well. It adds up very quickly, but to rephrase what I said before, if you really need the best reliability and range, then it's a non-decision.

But who needs them?

There's a new generation of low- and mid-priced wireless flash triggers on the market that didn't exist when Pocket Wizards established themselves as the pro photographer's standard equipment. They may not be as reliable, or have the range, or the reputation and interoperability of genuine Pocket Wizards - but they might do most of it. There are also the different camera's own wireless triggering methods, which work with full TTL flash control over shorter distances. Not as bullet-proof as Pocket Wizards, but quite reliable indoors.

For the price of another Pocket Wizard and hot shoe cable, I could buy a Nikon SB600 and have change left over. I've been wanting to add another flash to my kit for some time, so you can guess what an upcoming review will be.

One other great thing about the excellent reputation and durability of Pocket Wizards is what the can sell for on Craigslist. But I digress...

JJC/Gadget Infinity JR-Series Infrared Remote DSLR Controller

Concept: 4 out of 5
Execution: 2 out of 5
Yeah, but: Works better than the low price might suggest

The Long Version:One of my main areas of interest as a photographer is long exposures, mainly at night but also during the daytime to capture the essence of movement.
A tripod is mandatory, but I have long known that some sort of remote shutter release is also recommended.
Using the camera's timer is a free solution, but isn't always the best solution.
So I have kept an eye out for a wireless shutter release that won't abuse my wallet.
Sony's RM-L1AM Alpha Remote Commander is a simple button in a box on a cable that has an MSRP of $69.99!
I could build one for $10, but it would take time and look a little unprofessional despite my fabrication abilities.

Recently I noticed a wireless IR remote for Sony Alpha DSLRs at Gadget Infinity, my favorite source for strange far-east camera products.
I bought my Cactus remote flash triggers from GI, and trust them more than I do the similar eBay stores. 3 orders and never a problem so far--fast and reasonably priced shipping, and the products are always what I ordered and work as advertised.
One important note--this isn't name-brand stuff (and is priced accordingly) so you get what you pay for but might need some tools and skills to make it "perfect".
(More on this later).

As shown in the top photo (click to enlarge all pics) the JR set includes a receiver module with a standard iso hotshoe mount made of plastic, a transmitter, the specific cable required by different camera brands, and in my case a little plastic hotshoe adapter because Sony/Minolta uses an odd proprietary mount.
Also in the box were two CR-2032 button batteries to power each device, of the Star-Bully brand. As with most similar items from across the ocean these are described in the instruction manual as being "for testing purposes only" meaning they are crap and will die within days of being installed (using the tiny Philips screwdriver supplied).
The instructions are typical bad translations, but have many pictures and are relatively understandable.


Here is the JR system mounted on my Alpha300:

I wrap the excess cable around my lens because I like things to be neat.
The Sony-type hotshoe adapter didn't accept the shoe mount of the receiver, but a few quick passes with a small Dremel file (folded sandpaper would work) cleaned-up the excess molding flash that caused the problem.
This is a Sony-specific detail, and since most serious Alpha owners probably have an
FS-1100 hotshoe adapter already it's of minimal concern.
When also using off-camera flash the hotshoe might be occupied by a radio transmitter, so finding a new place to mount the IR receiver will become a problem--I have yet to solve this for myself.

Note that between the first and second photo we have seen both ends of the receiver, and there is a red-tinted IR window on each side. You can trigger the shutter from behind or in front of the camera.
Very nice!

Not so nice is that when set-up this way, my Alpha's controls were completely locked. Changing iso or shutter speed or aperture or white balance, etc, was impossible without pulling the little 2.5mm plug out of the receiver!
Not cool, but at least I didn't have to remove the other end of the cable from the camera as this is a less-convenient connection to deal with.
Also, the advertised half-press AF (auto-focus) feature didn't work, nor did AF activate with a full shutter press. Totally blurred photos.
After switching the camera to "Continuous AF" mode this became a non-issue except for slightly increased battery drain, but I was surprised that something so important to proper function didn't work.
This may be a Sony-specific compatibility issue, but then again it might not.
You've been warned, and supplied with the fixes, so don't complain to me.
My main reason for wanting a wireless remote is to do group shots of my band, and since I can set those up from behind the camera all settings and focus will be finalized long before I step in front of the camera to pose.
Depending on your needs it may or may not be a deal-breaker.
I'm okay with it, especially at the incredible price.

An interesting feature is an optional 2-second delay, which is perfect for self-portraits as it allows you time to hide the remote before your shutter trips.
(Timer does not work with Panasonic & Leica cameras, according to the instructions).


Having said all that...
If a simple wired remote is all that you need, it takes mere seconds to unplug the cable from the receiver and plug it into the transmitter.

And this restores the camera functions that were previously locked during IR wireless mode!
My Alpha300 works normally in wired mode--all buttons and menus do what they are supposed to do again.
Even half-press AF using the transmitter's button works just fine.
All for much less than the price of Sony's wired version.

Since I'm mainly going to use this remote system at night to reduce camera-shake during the start of long exposures, I already feel like I got my money's worth.
(Actually my brother's money--it was a birthday gift).

As long as you understand the odd limitations of this remote system and keep my recommended work-arounds in mind you shouldn't have any problems getting it to perform in your favor.

Here is the first page of GI's listings for wireless camera remotes so you can search for your specific model.


Please note that the instructions for 'Bulb' mode seem complicated and I haven't had time to try it yet, but then I never use bulb anyway.
I will update this entry should anything important come up in future testing.

Nikon MC-30 Remote Shutter Release

Concept: 3 out of 5
Execution: 1 out of 5
Yeah, but: Seriously, it costs how much?

The Long Version: The Nikon MC-30 is an 80cm wire with a button on one end and a connector on the other. When the button is partially depressed it sends one kind of signal, when it's fully depressed it sends another, and there's a lock to keep the contact closed. The slim amount of power needed for the signal comes from the camera it's connected to. It works reliably and smoothly.

For $14.95, it would be just about perfect. And in a perfect world, it would cost about fifteen bucks.

For those who haven't seen the actual price of this device, I won't spoil the surprise. Let's just say that we live in a very imperfect world. For some reason, wired remotes are invariably expensive, and the Nikon one doesn't break the trend.

A cable release is what you need to make all of the rest of the tripod-related expense and hassles worthwhile. In fact, I'd wager that a decent tripod and a cable release will outperform a tripod that costs significantly more but isn't used with a remote shutter release. So in a way, the Nikon wired remote (and all of its original-manufacturer brethren) are a cheap way to improve your photographs. But by comparing it to the vastly more complicated electronics that you can buy for less money - toasters, alarm clocks, DVD players - it's completely out of alignment with the universe. The MC-30 cable release will probably last forever and is made in Japan, but considering what it costs I have a hard time endorsing it as a general purchase, no matter how useful it can be.

Long-time readers of this blog may notice that this is the first time I've reviewed anything from Nikon, and wonder why I'm not writing up the almost-as-expensive Olympus RM-CB1 instead. That might be a really good question.