Photography and Camera News, Reviews, and Inspiration
Photography and Camera News, Reviews, and Inspiration
TechRadar UK latest feeds
This is TechRadar’s review summary that gives you all the key information you need if you’re looking for quick buying advice in 30 seconds - our usual full, in-depth review follows.
The Yi Technology 4K+ Action Camera is just as good as the GoPro Hero6 Black, but it's not identical. An action camera just as portable as its rival – and with just as poor a battery life (less than two hours) – the Yi Technology 4K+ Action Camera can record in 4K at 60fps, just like a GoPro Hero6 Black. That's more detail and smoothness than you probably need to capture your adventures. Its 12MP photos are great, too – sharp and colourful – and it also shoots in raw (though not natively in HDR).
Where the Yi Technology 4K+ Action Camera gets one over on a GoPro Hero6 Black physically is with its weight (93g vs the GoPro Hero6 Black's 117g) despite having a slightly larger touchscreen. It's also easier to use, thanks to a super-fast processor and an impressively simple user interface your granny could master.
However, the Yi Technology 4K+ Action Camera is more affordable than its rival, and that comes with a few cut corners. Unlike the GoPro Hero6 Black, the Yi Technology 4K+ Action Camera is splash-proof, not waterproof (not without adding a separate housing), while it also lacks GPS, an accelerometer, and a gyroscope. Are any of those omissions deal-breakers? Probably not.
So if you're aquatic-minded, or you need to know exactly where you were, and how fast you are going when you took a video, buy a GoPro Hero6 Black. However, if you're more interested in saving a few quid on features you didn't even want, the Yi Technology 4K+ Action Camera is one of the simplest and best designed gadgets around. Everyone considering buying an action cam should have a look at the Yi Technology 4K+ Action Camera because it's almost exactly the same and, in some ways, even better than a GoPro.
If you have your eye on a GoPro for some time, but haven't yet investors in one, is a great opportunity to save a bit of cash. Almost as good as its more famous rival in almost every way, the Yi Technology 4K+ Action Camera is nevertheless not natively waterproof. Do you care? Action cameras like these tend to be used sporadically, and how often any of them actually get taken underwater is anyone's guess. However, simplicity is the Yi Technology 4K+ Action Camera's biggest attribute, and if you've no need for the GPS, accelerometer and gyroscope found on the GoPro Hero6 Black, why pay for them?
Lightweight, easy to use and producing great quality 4K video and stills that's so easy to transfer to a phone for sharing, the Yi Technology 4K+ Action Camera is an impressive way to save a substantial slab. However, this follow-up to the Yi 4K Action Camera is more tweak than overhaul, with the main improvement being that the Yi Technology 4K+ Action Camera can film in 4K at 60fps, so if you've already got Yi's first action cam, skip this second version and wait for the third.
The Yi 4K+ isn't incredibly different to the original Yi 4K, the main addition being an ability to shoot video at 4K at 60fps, just like a GoPro Hero6 Black. Requiring a U3 class microSD card to be used, shooting in 4K/60fps does mean a maximum bitrate of 120Mbps, which is double what the Yi 4K offered. It's also worth bearing in mind that although the Yi 4K+ does have electronic image stabilization onboard, it only works up to 4K/30fps.
Inside is the same 12MP Sony IMX377 1/2.3-inch CMOS sensor with Exmor R as on the Yi 4K, but this version has a new Ambarella H2 + Quad-core ARM Cortex A53 processor. They work terrifically well together, allowing the Yi 4K+'s operating system to work fluently and without a hitch despite the bigger bitrate.
You're probably not going to use the Yi 4K+ much for photography, but you can. It shoots very usable 12MP images, and it's possible to save in JPEG or keep the raw files, which is outputs as universal .DNG files. It doesn't deal in HDR, as the GoPro Hero6 Black does, but since it shoots in raw that's no big deal.
Unlike the original Yi 4K, this new version recharges via USB-C port , and in the box is an adaptor for hooking-up an external microphone. It takes a microSD card up to 64GB.
So why would anyone buy GoPro? There are a few tiny corners cut on the Yi 4K+. Unlike the GoPro Hero5 Black or the new GoPro Hero6 Black, the Yi 4K+ is not natively waterproof, although a separate Waterproof Case Kit – which is also apparently 'dustyproof' – is available. However, the only really noticeable difference between the Yi 4K+ and GoPros are that the Yi 4K+ lacks the GPS, gyroscope and accelerometer sensors, so your videos don't include tags for geographical positioning, direction and speed. You either care about that, or you don't. Unless you're a performance athlete obsessed by data, it's probably irrelevant.
However, what is annoying – and it's exactly the same with all GoPro products – is a short battery life. The Yi 4K+ has a 1400mAh battery that lasts for just over an hour in 4K mode, a little longer if not.
Aside from its attractive, subtle checkerboard pattern on its font, the Yi 4K+ looks exactly the same, physically, as its forbear, the Yi 4K.
It weighs just 93g, and it's rectangular little 65 x 42 x 30mm body hosts a 2.19-inch colour touchscreen coasted in tough Corning Gorilla glass. Better still, that touchscreen – as well as being a large – is of excellent quality; it's colorful and contrasty, with a great viewing angle, and it's extremely sensitive to touch. That makes the clear, concise operating system a breeze to use; I would go as far as to say that the Yi 4K+ has among the simplest and speediest user interfaces I have come across in the last 15 years.
Its new voice control software does add to that, though results are mixed despite having to first have the Yi 4K+ record a voice sample. Shouting 'Yi Action take photo', 'Yi Action record video' and 'Yi Action turn off' (among other voice commands) at the Yi 4K+ does herald results, but it doesn't work too well if you're outdoors … which is kinda's all what this camera is for.
The Yi 4K+ has a standard tripod thread on the bottom, which is a boon for anyone wanting to connect it to the plethora of mounts available (as well as a standard camera tripod). Despite the natively easy to use Yi 4K+ not requiring a good app to make the device usable (which is so often the case), its free Yi Action app is impressive.
Linking reliably to a smartphone via Wi-Fi on either 2.4GHz or 5GHz, the app can access all the settings on the camera, and hosts an almost instant live feed. Once you're done, you can transfer images and videos to your phone, apply some filters and image effects (from HDR and a the 360-degree camera-style 'Tiny Planet' and 'Spial Galaxy' to more run-of-the-mill 'vintage', 'nostalgia' and 'romance'), and share to Facebook, Instagram and – showing its Asian heritage – Line.
To battery life, which on the Yi 4K+ we measured at around an hour on 4K/60fps, and almost two hours on Full HD 1080p, which is relatively good compared to the GoPro Hero6 Black. However, that doesn't mean such a super-short battery life is acceptable, and seems to me to signal that the Yi 4K+ is too small for its own good.
The Yi 4K+ does 4K at 60fps. Great, but in practice that headline-grabbing feature does come with a few caveats. For example, its 4K Ultra 4K mode – its most detailed – tops-out at 30fps. So does its 4K HD mode (which contains 4000x3008 pixels instead of the standard 3840 x 2160 pixels). However, stick it in 4K mode and the Yi 4K+ can record in 60fps (or 48fps, or 30fps).
At 60fps the results are impressively sharp and contrasty, with well saturated colour. Video can be a little choppy if you hand-hold, which is a result of the low frame-rate (particularly noticeable on camera pans) and the fact that Yi 4K+'s electronic image stabilisation only applies to 4K/30fps and below. Still, that's something for the follow-up from Yi, and besides, image stabilisation can be overdone (see the Sony FDR-X3000R review for proof of that).
Those after the smoothest possible video from the Yi 4K+ should consider shooting in Full HD 1080p, which can be done in all kinds of frame rates, from the 'cinematic' 24fps right through to 120fps, which is good for slow-motion footage. That jumps to 240fps if you shoot in 720p. It's also worth knowing that if you shoot in 4K/24fps it's possible to use an ultra wide field of view mode, which stretches the sensor.
The Yi 4K+ also takes good still images, albeit all in a wide-angle. That means you have to get really close to your subject – uncomfortably close, sometimes – though it produces a reasonably sharp images nevertheless. I didn't notice too much fisheye effect and, besides, it can be easily removed later. However, the finished JPEGs often appear very compressed, contrasty, and with over-exposed areas.
As well as producing JPEGs, the Yi 4K+ records raw images at DNG files. However, shooting in raw does require a little patience, with an approx. 10-seconds wait between each shot. It also doesn't produce the cleanest raw photo you'll ever see, but they're good enough to produce some much better-looking results through Photoshop.
If the Yi 4K+ action camera isn’t for you, here are three excellent alternatives for you to consider...
The Sony Alpha A9 has quite a job on its hands. While the likes of Fujifilm's X-T2 and Sony's own Alpha A7R II have tempted some pros, particularly studio and landscape photographers, to trade-in their DSLR kit, it's been a harder challenge to get sports and action photographers to give up their Canon and Nikon gear.
[Update: Sony's just announced a new Firmware update for the Alpha A9, with version 2.00 offering a number of tweaks and refinements. For Continuous AF, performance has been improved when tracking moving subjects, while there's enhanced stability of the AF-C when zooming. There's also now the option to protect images to a custom button, as well as the ability to transfer (via FTP) all protected files at once, overall operational stability has been improved.]
Rather than being cosseted in a comfy camera bag, the gear of those action photographers is going to get bashed about on a daily basis, while the performance demanded from their camera bodies means we haven't yet seen a mirrorless rival to the likes of Canon's EOS-1D X Mark II and the Nikon D5.
Until now. The new Alpha A9 from Sony has those two speed merchants of the camera world firmly in its sights. So will it fall at the first hurdle, or can it give its rivals a run for their money?
The key piece of tech at the heart of the Alpha A9, and one that's had a knock-on effect on the performance of other components, is the 24.2MP full-frame stacked CMOS sensor.
While it has substantially fewer pixels than the 42.2MP Alpha A7R II, it does offer a slight resolution advantage over the 20-odd megapixels of the Canon 1D X Mark II and Nikon D5, but it's the architecture of the chip that's the key element here.
The stacked design means the integrated DRAM memory modules, a high-speed processing circuit and the BIONZ X image processing engine are all lined up behind the image sensor.
This design has allowed Sony to push the data through the sensor, not around it, resulting in a a sensor that reads data 20 times faster than would otherwise be possible, enabling the Alpha A9 to shoot at a blistering 20fps for 241 raw files or 362 JPEG images.
How does that compare to the EOS-1D X Mark II and Nikon D5? Very well in fact, comfortably beating both the EOS-1D X Mark II's 170 raw files at 14fps and the D5's 200 raw files at 12fps – although if you're planning to hold down the shutter for that long you might want to re-evaluate your technique.
The stacked sensor design also means the Alpha A9 and can perform an impressive 60 AF/AE tracking calculations per second (we'll get onto the nuts and bolts of the AF shortly).
Designing the sensor this way doesn't just have performance benefits – it should also deliver better noise performance, thanks to the light-gathering elements of the photosites (pixels to you and I) being closer to the surface of the sensor.
The Alpha A9 features a broad native ISO range of 100-51,200, and this can be expanded to 50-204,800. That said, for those who shoot regularly in low light, the likes of the D5 offer an extra four stops on the A9 here, with an expanded ISO ceiling equivalent to 3,280,000.
We've always liked the large electronic viewfinder on the Alpha A7R II, but the EVF on the A9 is bigger and better.
With approximately 3,686,000 dots, the all-new, high-luminance Quad-VGA OLED Tru-Finder viewfinder is the highest-resolution viewfinder Sony has ever incorporated in a camera. It boasts 0.78x magnification, a 120fps refresh rate, and a Zeiss T* coating to greatly reduce reflections, as well as a fluorine coating on the outer lens that repels dirt.
Thanks to the electronic shutter, which promises to be both vibration-free and completely silent (with a maximum shutter speed of 1/32,000 sec), there's no horrible viewfinder blackout even at 20fps (though the refresh rate of the EVF does drop to 60fps).
As well as the EVF, there's a 3.0-inch tilt-angle touchscreen with a solid, if not ground-breaking, resolution of 1,440,000 dots (though it's a modest boost over the 1.23m dots of the A7R II's).
The Sony Alpha A9 is equipped with an innovative 5-axis image stabilization system that provides a shutter speed advantage of five stops.
As you'd expect for Sony's mirrorless flagship camera, video is well catered for. For a start, there's 4K (3840 x 2160p) video recording across the full width of the full-frame image sensor. When shooting in this format, the camera uses full pixel readout without pixel binning to collect 6K of information, oversampling it to produce high-quality 4K footage. Recording is also available in Super 35mm size.
Additionally, the Alpha A9 can record Full HD at 120fps at up to 100Mbps, which allows footage to be reviewed and eventually edited into 4x or 5x slow-motion video files in Full HD resolution.
The Alpha A9 benefits from two SD card slots, but it's perhaps slightly disappointing to see that Sony has opted to give only one slot the faster UHS-II media support. In some ways it's a bit of a surprise to see the A9 forego the even faster XQD card format (especially as Sony was instrumental in its development) that both the Nikon D5 and D500 support.
As well as having the usual Wi-Fi, NFC and Bluetooth credentials, the A9 features a flash sync socket (something that was missing from the more studio-focused Alpha A7R II) and Ethernet port, underlining Sony's view that it sees the Alpha A9 as a camera that's going to muscle its way pitch-side, where speedy transfer of images is key.
While the likes of the Canon EOS-1D X Mark II and Nikon D5 are probably some of the bulkiest and heaviest cameras you're likely to pick up this side of a medium format model, the Sony Alpha A9 is noticeably more compact.
It follows a similar design aesthetic to Sony's Alpha 7-series full-frame mirrorless cameras, but the A9 is just that bit chunkier, at 63mm versus 60.3mm.
One of the most obvious differences between the Alpha A9 and its pro-spec DSLR rivals is the lack of an incorporated vertical grip; whether this is a good or a bad thing will depend on your personal preference.
The hand grip itself is a decent size and pretty comfy, but your little finger will overhang the bottom of the camera. An optional GPX1EM grip extension is available, as well as a VGC3EM battery grip.
On its own, the Alpha A9 balances nicely with lenses like Sony's 24-70mm f/2.8, but it feels very front-heavy when a 70-200mm f/2.8 is attached – the VGC3EM battery grip will certainly help on this score.
Appropriately enough for a camera that has designs on being a tool for jobbing pros, the Sony Alpha A9 is based around a durable magnesium alloy body that's also weather-resistant. That said, looking closely at the various doors dotted round the body of the Alpha A9 there don't appear to be any signs of rubber seals to protect the camera from the elements – we'd perhaps be a little nervous, then, if we were sat on the sidelines of a sports pitch in the rain with the Alpha A9, which we wouldn't be if we were shooting with a 1D X Mark II or D5.
In the past we've felt that Alpha (and some Cyber-shot) cameras have been held back a little by their overly complex procedures for changing key settings, and while the overall design of the Alpha A9 follows previous models in the line-up, there have been a number of revisions to the handling.
Starting with the top plate, and to the left of the viewfinder there's now a dedicated control for the Alpha A9's drive modes, with a focus mode selector round the collar to boot.
To the right of the viewfinder is the mode dial, which includes an 'Auto' mode –something we wouldn't expect to see on a pro-orientated camera. One slight annoyance with both dials is the locking mechanism. You have to press down on the central button to rotate the dial, which is a bit of a faff if the camera's held up to your eye; on the Fujifilm X-T2, for example, you can either set the dials to rotate freely, or lock them so that you have to press before you can rotate.
Another slight issue is the positioning of the front command dial. Because the grip is that bit larger than on the Alpha A7R II, your index finger doesn't fall naturally on it – it requires a bit more of a stretch to get to it. This may sound a little nit-picky, but believe us when we say that after a day of shooting you'll wish it was positioned a bit closer to the shutter button.
Round the back, the most obvious difference from the Alpha A7R II is the very welcome arrival of a dedicated joystick control. Primarily for AF point selection, this can also be used to navigate the camera's menu system.
There's also a proper AF-On button here – a must for many sports and action photographers – while the video record button moves to a more sensible spot just next to the viewfinder.
We've always been impressed by the customization options on Alpha cameras, and the Sony Alpha A9 is no different. Pretty much every button or control can be reprogrammed, with some controls, like the dedicated custom buttons, offering the choice of a staggering 69 settings. The default setup makes a good starting point, but it's worth experimenting to find your optimum configuration.
To say the menu is comprehensive is an understatement – the first shooting sub-category has 13 pages to trawl through, while movie settings are still tucked away in the second shooting sub-category. The arrival of the joystick speeds navigation up, but it's a shame the touchscreen interface doesn't allow you to quickly swipe through pages of menus.
The touchscreen itself is actually pretty limited – you can only use it to select an AF area when shooting, and when reviewing images you can double-tap the screen to quickly zoom, then tap and drag to move round the image. If you think you can swipe through images though, you can think again.
Sony's not mucking around with the AF system inside the Alpha A9, showering it with a staggering 693 phase-detect AF points that cover 93% of the frame – something even the likes of the Canon EOS-1D X Mark II and Nikon D5 will struggle to match.
As you'd expect, there's a plethora of autofocus settings available depending on what you're shooting. For general shooting, and to keep things as simple as possible, either the Wide or Zone modes will take care of much of the decision making for you, while Center mode uses the central AF point.
Not everything you want to focus on will be slap-bang in the center of the frame though, so there’s also a Flexible Spot mode (with the choice of three AF area sizes) that enables you to use the joystick to position the focus area pretty much anywhere in the frame. If you're struggling to focus there's also Expand Flexible Spot mode, which utilizes additional AF points to assist with focusing.
Flick the AF mode to AF-C and things really get interesting. You've got the same focusing area options as you have when shooting in the Alpha A9's AF-S focusing mode, but with the addition of a Lock-on setting.
Half-press the shutter button (or preferably use the AF-On button instead), and with your subject selected the AF will instantly snap into focus, while a dizzying array of AF points will light up the viewfinder as it tracks your subject round the frame – thanks to the architecture of the sensor, the Alpha A9 is making 60 tracking calculations per second.
We found that if you want to be really precise with what the camera tracks (especially if your subject is far off in the distance), then Lock-on: Flexible Spot M is the best option, as this allows you to select the specific part of the frame where the subject you want to track is. That said, if you're shooting subjects that fill the frame and make predictable movements, then Zone mode can be very effective.
The Alpha A9 is also the first Sony camera to feature customizable autofocus tracking sensitivity. If you haven't come across this before, it lets you tell the camera how quickly you want the camera to refocus should a distraction obstruct your view of your tracked subject.
In some instances you might want the camera to hold focus (for instance if your subject has disappeared briefly behind an obstacle) or to quickly snap on to a new subject (an opposing player has made a challenge and won the ball). The A9's sensitivity scale ranges from 1 to 5, with 1 least likely to refocus, while 5 is most likely to refocus should a new subject enter the frame.
The Alpha A9's AF performance is incredibly impressive; while it did get tripped up a couple of times, for the most part the speed and precision of the AF is outstanding.
Raise the camera up to your eye and start rattling off bursts of shots at 20fps with no viewfinder blackout, and the Sony Alpha A9 really does feel like the product of witchcraft.
It's almost a little unnerving at first, but you quickly embrace the stunning capabilities of the camera. Helpfully, there's a subtle 'shutter' sound to reassure you that something is actually happening, though you can switch to fully silent operation via the menu if required.
If a burst rate of 20fps is overkill for what you're shooting, you also have two slower drive modes to choose from, while those looking to use a lens adapter (something that's likely given the limited range of longer focal length lenses) will see the Alpha A9's burst shooting performance cut in half to 10fps.
The viewfinder itself is excellent – the 120fps refresh rate and the clarity of the 3,686k-dot resolution combine to provide a beautifully clear and large view of what you're shooting. Whether you have a preference for this over the big and bright optical viewfinders on the A9's DSLR rivals will come down to you; optical viewfinders still have the edge in high-contrast and poorly lit scenes, but the EVF on the Alpha A9 provides a real-time look at how the camera is going to capture the scene – and you can't ignore that blackout-free burst shooting.
Battery life has been bumped up from the Alpha A7R II to deliver 480 shots, but when put up against the EOS-1D X Mark II's 1,210 shots and the D5's staggering 3,780 shots this looks a little paltry, especially if you're going to be holding the shutter down at 20fps for long periods. It goes without saying then that you're going to need spare batteries – and more than one if you're a working photographer.
Landscape and studio photographers should still plump for the more densely populated 42.2MP Alpha A7R II, but that's not to say the sensor inside the Sony Alpha A9 falls short – far from it.
The 24MP sensor is capable of delivering images rich in detail, especially when married with some of Sony's G-Master lenses, and results compare very favorably to those from the slightly lower-resolution EOS-1D X Mark II and D5. You should have no qualms about producing sharp Super A3 prints, while A2 sized prints are a reality too.
The Alpha A9 also holds its own against its rivals when it comes to high-ISO performance. Looking at JPEG files, even at ISO12,800 results look very good; there's a slight hint of luminance (grain-like) noise, but, while detail has been compromised, the overall result is perfectly useable. Raw files at the same sensitivity see some chroma (color) noise appear, but detail is that bit better, and you have the option to apply noise reduction to taste in post-processing.
All told it's very impressive, and while the A9 doesn't quite eclipse the high-ISO performance of our low-light king, the D5, you have to really pixel-peep to see the differences.
The A9's dynamic range performance, while not quite a match for that of the A7R II, is still broad enough in the real world to enable you to recover a decent amount of highlight detail from raw files. It also copes well with shadows – we found that we could happily drag the Shadows slider in Adobe Camera Raw a good way to the right without the image deteriorating.
The Sony Alpha A9 is a phenomenal camera. It's not without its faults – we'll be interested to see how the weather-sealing holds up when it's properly exposed to the elements for starters, while the absence of XQD card slots and very limited touchscreen control is disappointing.
Those issues aside, however, the Alpha A9 doesn't fail to impress. The autofocus system Sony has blessed the A9 with is not only incredibly quick, but the tracking performance has to be seen to be believed.
Partner that with a incredibly rapid 20fps burst shooting speed, and a large and bright EVF that doesn't black out when you're shooting, and you've got a camera that'll mix it with the best that Canon and Nikon has to offer when it comes to shooting sports and other fast-paced action.
Our only slight reservation about whether the Alpha A9 can succeed in this area is not the camera, but the lens support. While photographers shooting with Canon and Nikon DSLRs have a plethora of long lenses to choose from, the Alpha A9 is limited to a single (variable aperture) dedicated zoom lens with a reach beyond 200mm.
Just as Sony is rolling out a series of dedicated pro service centres to meet the demands of professionals, we hope to see similar efforts result in some new fast telephoto optics to support this fabulous camera.
There’s never a shortage of drones at CES 2018 these days, but if you look past all the hexacopter and quadcoptors designed for extreme performance, Ryze unveiled something uniquely simple with the Tello. Priced at $99 (£99, AU$169) Ryze Tello is more of a tiny flying toy to help kids and starting filers into the air.
On top of that, the Tello is brings some fun features including mid-air flips, livestreaming and the ability to program your air frame. Furthermore, the drone is packing some smart tech courtesy of Intel to make it safe and easy to fly indoors.
And in case if you haven't heard of Ryze before, they're a Chinese startup. At the same time DJI is closely partnered as a supplier providing its flight stabilization technology and selling the tiny flier on its online store.
The Ryze Tello really is a little dinky thing when you first see and hold it. Whereas we could hold the DJI Spark in an outstretched hand, the Ryze Tello neatly fits into just our palm. Measuring just 98 x 92.5 x 41mm and weighing 80 grams, it’s an incredibly small drone compared most of the air frames we've seen released so far.
Tininess aside, there’s it's clear the Tello and takes inspiration from the Spark. Both drones share a similar two-tone look and body shape. That said, the Tello gets rid of redundant landing gear and instead extends the bottom of its rotor arms to act as its feet. The result is an even shorter, more compact air frame that should be easier to fly indoors.
The Tello is essentially a smaller DJI Spark in every way. Both drones even pack the same flight stabilization technology and Intel Movidius Myriad 2 VPU, which means you can launch it from your palm and control it with hand motions.
Unfortunately, shrinking things down has led to some downgrades. The drone’s camera utilizes a 5MP sensor that can only record 720p videos – the Spark has a 12MP camera capable of capturing Full HD 1080p footage.
Flight time also cuts off at a maximum 13 minutes, compared to the Spark's 16-minute battery life, although it’s astonishing that a drone this small can fly for so long. You won’t be going anywhere quick with this drone either – its max speed tops out at an 8m/s, and you’ll only be able to fly it outside when there's no wind at all.
On the plus side, the Tello pulls off a few tricks you won’t find even on DJI's drones. For one thing the control interface includes a flip button for being fancy in the air or dodging any Nerf darts at a party. There are also several flight modes, including ones for shooting a quick 360-degree video and having the drone fly away and upward from you in one smooth motion.
Ryze Tello owners will also be able to program their own flight patterns at home, using an included coding tool called Scratch. We haven’t had a chance to try this out ourselves, but we’ve been told it will be simple for anyone to plot their aerial maneuvers.
With an Google Daydream VR-like phone holder, Tello owners will also be able to jump into a POV flying experience.
It’s easy to write off the Tello as a $99 (£99, AU$169) toy drone, but it brings some serious performance to the world of tiny drones. With 13 minutes of flight time and motion-based controls, it’s a much more accessible option than buying another cheap toy drone that you’ll crash-land within minutes of getting airborne.
The Tello isn’t just one of the smallest and cheapest drones, it’s also looks like a ton of fun – the abilities to flip with a single tap and quickly pop into a POV mode with your phone can’t be discounted. We can’t wait to give this drone a full review when it arrives this March.
The Nikon D850 is finally here. After months of speculation, and Nikon itself teasing us back in July that the camera actually existed and was in development, the D850 has been officially announced – and boy, does it look like it's been worth the wait.
Superseding the brilliant 36.3MP D810 that's loved by both pros and enthusiasts alike, the D850 certainly has big shoes to fill. That said, while the D810 ticked a lot of boxes for photographers, its modest burst shooting speed of 5fps meant it wasn't the perfect all-round DSLR.
Nikon doesn't appear to be holding back with the D850, though, boosting numerous areas of the camera's performance to make it appear (on paper at least), the most well-rounded DSLRs we've seen. Is the D850, then, the ultimate DSLR?
Watch our hands-on video below
While the D810 retained the same 36.3MP resolution as the groundbreaking Nikon D800/D800e, it's been eclipsed by both the 50.6MP Canon EOS 5DS and 42.2MP Sony Alpha A7R II. The D850, though, gets an all-new 45.4MP full-frame back-illuminated sensor (BSI), which is a hefty increase in pixels over the D810, and only marginally behind the 5DS.
Thanks to the light-collecting elements being closer to the surface of the sensor, the BSI design should deliver better low-light performance than previous sensors. Just as we've seen with the D810 (and D800e), the D850 forgoes an anti-aliasing filter, which means even more detail can be eked out of the sensor, although there is the added risk of moiré patterning.
On the occasions where you don't want (or need) to shoot at the D850's full resolution, there are two reduced size options, 25.6MP and 11.4MP, recording either raw or JPEG files. We can certainly see this feature appealing to news and sports shooters who'll want to transmit images as quickly a possible to picture desks, and might have otherwise passed up the D850 in favor of the 20.8MP Nikon D5.
Another trick up the D850's sleeve is the camera's DX Crop mode, in which the perimeter of the viewfinder is masked to provide a view equivalent to that of an APS-C-format DSLR. The resolution drops, as you're only using a portion of the sensor, but thanks to the D850's huge resolution you'll still be able to capture 19.4MP files – that's impressive stuff, and not far off the 20.9MP resolution of both the D500 or D7500. There's also a new 1:1 aspect ratio at 30.2MP.
Compared to the D500 (and, for that matter, the D5), the Nikon D850 has quite a modest ISO ceiling of 25,600, with a native base sensitivity of ISO64. This is no surprise really when you consider how densely populated the sensor is, but there is an extended sensitivity range up to an ISO equivalent of 108,400 (Hi2), while landscape photographers will be happy to learn that the D850 also has a Lo1 setting equivalent to ISO32.
The D850 sports a new 0.75x optical viewfinder – that's the largest magnification factor ever on an FX Nikon DSLR, and also a touch bigger than the 0.71x viewfinder on the 5DS. Unlike the D810, the D850 also features a tilt-angle, 3.2-inch 2,359,000-dot touchscreen. It's similar in spec to the one on the D500, but offers greater touch control, enabling you to navigate the menus as well as touch to focus, trigger the shutter and review images.
The D850 can shoot 4K UHD video in FX format with no sensor cropping at up to 30p, allowing you to take full advantage of the field of view of your lenses. Lower-resolution video modes are also available, including Full HD footage in 60p, while 4K UHD timelapse movies can be created in-camera.
If 4K timelapse footage isn't quite enough for you, the D850 can also create a full resolution time-lapse videos in third-party software thanks to the camera's built-in intervalometer – you can now create a new folder and reset the file numbering for each timelapse sequence, and avoid the rigmarole of stripping out the desired files yourself.
There's also an electronic Vibration Reduction system to reduce the impact of camera shake when shooting movies handheld, and there are ports for an external microphone and audio monitoring.
The D850 drops the CompactFlash card slot that was on the D810 in favor of an XQD slot and the performance advantages that brings (although at the moment Nikon is the only manufacturer to take up this storage format on its cameras), while the SD card slot supports cards up to UHS-II.
The D850 gets Nikon's SnapBridge connectivity for wireless transfer of images, which establishes a low-energy Bluetooth connection between the camera and your smart device. Images can then be transferred from camera to device via as you shoot at either 2MP or full resolution (though we'd avoid this with 45.4MP files), or individually if you select images on the camera. For speedier Wi-Fi transfers you can use the app to browse and select the images you desire.
The Nikon D850 may share similar proportions to the D810, but quite a bit has changed.
Pick up the camera, and if you're coming from a D810 or D800, the first thing that strikes you is the re-worked grip. It's now that bit deeper, and much more comfortable to hold than its predecessor, especially for longer periods.
As on the D500, Nikon has omitted the pop-up flash in an effort to make the camera even sturdier. Some may be sorry to see this feature disappear – we've found it useful in the past for triggering remote Speedlights – but it's always felt like a bit of a weak link on a pro-spec DSLR.
And with no pop-up flash, a tough magnesium alloy body, and weather seals to protect it from the elements, the D850 feels every bit the pro DSLR you'd expect it to be. It's incredibly well made, and there's no question this camera's up for the rigors of professional use.
Compared to the D810, the controls have also been tweaked on the D850 – in fact, if you've been shooting with the D500 or D5, it should be pretty much home from home for you, and if you're planning on using different bodies side by side it should making switching between them pretty seamless.
If you're coming from a D810 though, you'll notice that the top plate arrangement has changed for a start, and it's much better for it. The ISO button now sits just behind the shutter button, which makes it easier to adjust single-handed; it's an improvement on the slightly awkward positioning on the D810, where it sat in the cluster of four buttons above the drive mode selector.
Round the back, and along with the tilt-angle display the other notable addition is a small AF joystick, like the one we've seen on both the D500 and D5. This enables you to quickly select your desired focus point, although you can still use the eight-way controller on the back of the camera if you prefer. Its positioning means it falls under the thumb easily; if we're being super-picky it would be nice to be able to assign this as the back-button focus control as well, but the AF-On button is positioned just above the joystick.
As on the D500, you can set the majority of the controls on the Nikon D850 to light up (along with the top-plate LCD) by rotating the on/off switch beyond the 'on' position – it's a really useful feature that makes it much easier to quickly change settings in poor light.
All in all, the D850 offers very refined shooting experience. You'll be able to happily shoot and tweak core shooting settings without taking your eye away from the viewfinder.
The 51-point autofocus system in the D810 is still one of the best performers out there, but Nikon has equipped the D850 with the same Multi-CAM 20K AF module as its flagship D5.
In our book this is one of the best, if not the best, autofocus systems we've seen on any camera to date. It features an impressive 153 AF points, of which 55 are user-selectable, while 99 are the more sensitive cross-type points for even greater precision. That's not all – AF sensitivity goes all the way down to -4EV for the central AF point (with the remainder focusing down to -3EV), which should enable the D850 to focus pretty much in almost complete darkness.
As we've experienced with the D5, the system is excellent, with sports and action photographers unlikely to be disappointed by the D850's autofocus performance.
If you're coming from the 51-point AF system in the D810 you'll notice the difference, particularly in poor light – even in these tricky conditions the D850's ultra-sensitive AF snapped into focus incredibly quickly.
We tested the D850 in a range of conditions, with its toughest challenge coming when we shot the Tour of Britain's Time Trial stage. With cyclists going flat-out, the D850 didn't let us down; focusing speed was incredibly quick, even letting us grab shots when cyclists appeared in the frame without warning, while it would happily track fast-moving subjects as they moved towards and across the frame.
As with the D5 (and the D500), Nikon has included its clever automated procedure for fine-tuning lenses on the D850. It's an incredibly useful tool for tweaking the performance of prime lenses for critical focusing, and the system on the D850 has been improved to make it even easier to set up and calibrate your lenses.
Something the D850 can't quite match Canon's latest DSLRs for is Live View performance. While the Dual Pixel CMOS technology used in the likes of the Canon EOS 5D Mark IV can rival that of mirrorless cameras, Live View focusing with the D850 is still a little clunky; it's better than previous models, but still not as swift as it could be.
Despite the decent increase in pixels over the D810, the Nikon D850 features an increased burst shooting speed, up from 5fps to 7fps, making it an even more versatile piece of kit.
Furthermore, attach the optional MB-D18 battery grip to the D850 with a large EN-EL18B battery (as used in the D5) inserted, and that rate will increase to 9fps. This certainly compares favorably with the 5fps shooting speed of both the Canon EOS 5DS and Sony Alpha A7R II, and considering the size of the files the D850 has to process, the 51-shot buffer (at 14-Bit raws) is also very impressive.
The D850's standard battery is the EN-EL15 – it's the same power pack used by the D810, but Nikon has managed to squeeze even more life out of the battery here to deliver a staggering 1,840-shot life. To put that in perspective, you'd need seven NP-FW50 batteries with the Alpha A7R II to reach anything like the D850's battery capacity, or two LP-E6N batteries with a Canon EOS 5D Mark IV.
Something that's bound to appeal to wedding and social photographers is the D850's ability to utilize an electronic shutter to shoot silently at 6fps in Live View mode. Need more speed? Select the DX crop mode and you can shoot 8.6MP pictures at an impressive 30fps.
The D850 employs a 180K-pixel RGB sensor (the same as the D5's), offering metering down to -3EV. This may not sound like a big deal, but if you're shooting long exposures with ND filters you can now rely fully on the D850’s AE and AF without needing to detach the filter. In our tests, the D850's multi-zone Matrix metering system performed very well under a range of lighting conditions, while the breadth of the camera's dynamic range (more on that in a bit) means you've got a fair bit of leeway should the camera get it wrong.
The D850 features three types of auto white balance to cover you for most scenarios. Auto 0 should faithfully render whites under any light sources, Auto 1 maintains a balance of the original subject color and ambient lighting, while Auto 2 renders colors with a natural sense of warmth, retaining the color of incandescent lighting.
The optical viewfinder is stunning; it's incredibly large and bright, while the clarity of the rear touchscreen display doesn't disappoint.
As you'd expect from a sensor packing 45.4 million pixels, the level of detail the Nikon D850 is capable of resolving is impressive. You'll be able to produce large prints rich in detail, although it goes without saying that to make the most of the sensor you'll need the best glass.
When it comes to high-ISO noise performance, again the D850 doesn't disappoint. Images up to ISO3200 display excellent levels of detail, with minimal noise, while at ISO3200 there's barely any luminance (grain-like) noise in images, and no hint of chroma (color) noise.
Push above that to ISO6400, and while luminance noise is slightly more pronounced, it's still very good – we'd be more than happy to shoot at this sensitivity. Even at ISO12,800 and ISO25,600, while noise is more noticeable it's still well controlled, and results are more than acceptable. Above that we'd try to avoid the two extended settings, which see saturation dropping off a tad; however, with some tweaking in Lightroom or similar it might be possible to get a satisfactory result at ISO51,200.
The D810 has always impressed with its dynamic range performance, and the good news is that despite the extra pixels populating the D850's sensor it appears to be a similar story here. It's possible to severely underexpose a shot and be able to happily recover shadow detail without unwanted noise encroaching on the shot.
Manually shooting focus-stacked images can be a chore, but the D850 introduces a focus shift photography function, which enables it to shoot a sequence of up to 300 frames, while gradually and automatically shifting focus position from the start point to infinity. The shutter release interval can be set from 0-30 seconds, while the focus step width can be selected from 10 levels.
You'll need an image-editing program like Photoshop to then combine the pictures in post-production, but this looks like a great way to quickly shoot highly detailed macro images
It's felt like a long time coming, but the Nikon D850 has definitely been worth the wait. To say the specification is comprehensive is an understatement; the D850 is packed with desirable photographic features, while it backs these up with impressive performance and stunning image quality.
Live View focusing speeds could still be better, while the rather rudimentary SnapBridge connectivity offered is disappointing; but those issues aside, whether you're shooting weddings, landscapes, portraits, action or wildlife, the D850 won't leave you wanting.
A much more versatile proposition than the D810 (and its closest rivals), the D850 is a brilliant DSLR, and perhaps the most well-rounded camera we've ever tested.
The Lenovo Mirage Camera eschews the idea of capturing 360-degree video and, instead, focuses on recording brilliant-looking 180-degree footage in 3D.
We tested Daydream VR-supported camera at CES 2018 and can firmly say that '180' doesn't mean it's half as good as the best 360 cameras available. In fact, for a lot of people, it's simpler to use and better than a 360-degree camera.
The Mirage Camera is shaped like a compact and lightweight point-and-shoot camera – one without a display on back and two 13MP camera lenses in front. They look very much like beady eyes, but that's the magic behind being able to shoot super-wide 3D photos and video in a literal snap. It's also easier for your viewers to understand where you want them to look. 360-degree video can be a bit complex to shoot, edit (file sizes are huge) and watch.
There's a familiar shutter button on the top right and a 1/4-inch screw hole for a tripod on the bottom. The battery is removable that lasts two hours when recording video and charges via USB-C. It'll fit right in your pocket unlike Samsung's first bulbously 360-degree camera, for example.
There's 16GB of internal storage and the ability to optionally add up to 128GB of additional space via a microSD card. We really like this feature, not just because of the expandable storage, but if you forget your microSD card at home (i.e. leave it in your computer), you can still snap 3D photos and video with the camera due to its internal storage. You won't see a "No microSD card" message. How many times has that happened to you?
The Lenovo Mirage Camera is tightly integrated to Google Photos and YouTube, supporting the new YouTube VR180 video format. You can view everything you shoot on a television without the need for special equipment. You don't need a VR headset, like you really would to properly experience 360-degree video. Of course, Lenovo would love it if you did and it was the new Lenovo Mirage Solo standalone Daydream headset.
Here's where could see the Lenovo Mirage Camera getting complicated. Without the viewfinder on back, you can't frame your shot. The argument is that it really doesn't matter thanks to the super-wide aspect ratio. And you can always pair a smartphone to this 3D camera via Wi-Fi Direct. But we've been through this before with screen-less GoPros. We like framing our shot and having to view everything with a smartphone makes for a cumbersome process (often falling out of sync). Everything else about the Mirage Camera appears to be made as simple as can be.
The Lenovo Mirage Camera captures 180-degree video in a 360-degree world – and in a world where there are so many 360 cameras. However, we see the appeal behind its simplicity. It's small, lightweight and acts like a point-and-shoot camera. Of course, the results give you super-wide 3D video, and that's going to be easier to a mainstream audience to capture and watch. We'll test it outside of CES when it gets closer to its middle-of-the-year launch and nail down the price information. Lenovo promises it'll cost under $300 (about £221, AU$381).
The Alpha A7R III is Sony's latest high-resolution mirrorless camera, and an update of the excellent Alpha A7R II, which was responsible for tempting many a photographer away from the comfort of their Canon and Nikon DSLRs.
This latest model looks to draw on many of the technologies used in the speed-orientated Sony Alpha A9, which is just as well, because with the likes of Nikon's brilliant D850 offering a tempting combination of high resolution and high performance the Alpha A7R II was beginning to look a little pedestrian.
With some impressive boosts to performance, as well as tweaks to handling and the peace of mind of a five-year guarantee, could the new Alpha A7R III see even more second-hand Canon and Nikon DSLRs appearing on the shelves of camera stores as more photographers make the switch to Sony?
While many might have expected Sony to boost the amount of pixels to match or exceed DSLR rivals like the D850 and Canon EOS 5DS, it's actually opted to stick with the same count as the Alpha A7R II.
At the core of the A7R III then is a 42.2MP back-illuminated full-frame Exmor R CMOS sensor, although Sony has borrowed some of the innovations from the 24.2MP Alpha A9 and integrated them with this more densely populated chip.
There are gapless microlenses and a new anti-flare coating for starters, while the Alpha A7R III features a new front-end LSI that almost doubles the readout speed of the sensor. It also takes advantage of the latest BIONZ X image processing engine, and combined, these enhancements deliver a boost of up to 1.8x in processing speeds compared to the A7R II.
The A7R III's sensitivity range remains unchanged (ISO50-102,400 at the camera's expanded setting), so those hoping for something to match the Nikon D850's expanded ISO32 setting may be a little disappointed. However, the new processing engine should be able to handle image noise better than its predecessor, while Sony also claims the Alpha A7R III will have a staggering 15-stop dynamic range at low sensitivity settings.
The Alpha A7R III has the same electronic viewfinder (EVF) as the Alpha A9, with the Quad-VGA OLED EVF sporting a resolution of approximately 3,686k dots, and utilizing a Zeiss T* Coating to reduce reflections. On top of this, the A7R III supports a customizable frame rate for the EVF, with options of either 60fps or 120fps, again matching the 120fps offered by the A9.
Along with the EVF, the rear tilt-angle display has also been upgraded over the outgoing model; it now has a resolution of 1.44 million dots, and, just as we've seen with recent models like the RX10 IV, offers touchscreen functionality.
Also as with the A9, Sony has shunned the XQD card format (even though it's now the sole manufacturer of that format), instead opting for dual SD card slots on the Alpha A7R III, with only one of those supporting UHS-II type cards.
The Alpha A7R III offers 4K (3840 x 2160 pixels) video capture, with the option to use either the full width of the sensor or Super 35mm format mode, with the latter using the full pixel readout without pixel binning to collect 5K of information, and oversampling this to produce what promises to be even crisper footage.
As well as this, the Alpha A7R III now features a new HLG (Hybrid Log-Gamma) profile that supports an Instant HDR workflow, allowing HDR (HLG) compatible TVs to play back 4K HDR footage, while both S-Log2 and S-Log3 are also available.
If you want to shoot Full HD footage you can capture this at up to 120fps, while there are ports for both a microphone and audio monitoring.
The look and feel of the Sony Alpha A7R III broadly follows the design of the A7R II, but there are a host of tweaks and refinements when you start looking a little closer.
While the new camera doesn't get the dedicated drive mode dial/focus mode selector that sits to the left of the EVF on the Alpha A9, it does get a similar multi-selector joystick.
It may seem a small thing, but the arrival of the joystick greatly improves handling over the A7R II, as it makes for much quicker AF point selection. The A7R III also sees the addition of a dedicated AF-ON button for back-button focusing, again as on the A9.
In fact, the rear of the camera mimics the control layout of the A9 – that means the A7R III gets an additional 'C3' custom button, while the rear scrollwheel is more pronounced, and less likely to be accidentally knocked.
The rear touch display, meanwhile, does away with an annoying quirk of the A7R II. If you were shooting from the waist with the screen angled outward, the older camera would think you had the camera raised to your eye, resulting in the feed being cut on the screen. The display on the A7R III disables the eye sensor when the screen is flipped out, allowing you to shoot at waist level uninterrupted.
The body is slightly thicker than the A7R II, but fractionally slimmer than the A9, and features a magnesium alloy top, front and rear covers, as well as an internal frame. Sony has also increased the number of lens mount screws to six for enhanced durability, while all major buttons and dials are sealed, and there's sealing throughout the body, to protect the A7R III from dust and moisture.
The menu system has also been overhauled. Now color-coded, it's that bit easier to navigate, but the menu system on the Alpha A7R III is still incredibly comprehensive. That said, once you've tailored the various custom buttons to your desired settings, these, along with the body-mounted controls, mean there should be little need to be regularly diving into the main menu. When you do though, give yourself a bit of time to find exactly what you're looking for.
The changes may be modest, but they combine to make the A7R III that much more user-friendly and satisfying to shoot with.
Sony has improved the focusing system as well. The 399 focal-plane phase-detection AF points from the A7R II remain (with 68% coverage of the frame), but Sony has bolstered the number of contrast-detection AF points from 25 to 400.
Sony reckons this overhaul should improve autofocus speed, delivering up to roughly two times faster speeds in low-light conditions, along with improved AF tracking performance.
The Alpha A7R III can also focus in brightness levels as low as -3EV. When you consider that's pretty much complete darkness, it's very impressive, although the D850's central AF point just edges it at -4EV.
As we've seen on other Sony mirrorless cameras, there's a wide range of autofocus settings. Wide or Zone modes are good for general photography and will take care of much of the decision-making for you, while Center mode uses the central AF point.
There’s also a Flexible Spot mode (with the choice of three AF area sizes) that enables you to use the joystick to position the focus area pretty much anywhere in the frame, while the Expanded Flexible Spot mode takes advantage of additional AF points to assist with focusing.
Focusing is fast in single servo mode, but it's when you flick the focusing over to continuous that the system really impressives. You get the same focusing modes as before, but with the addition of a Lock-on setting – use this mode and you'll find the Alpha A7R III can do a stunning job of tracking your designated subject as it moves round the frame.
The Alpha A7R III's Eye AF has also been enhanced, and now uses the same autofocus algorithms as the Alpha 9. This means that when the A7R III is in AF-C mode and with Eye-AF activated, the system should be able to continuously track and focus on your subject's eye, even if they look down or away from the camera.
In our time with the camera this really impressed us. The A7R III managed to happily maintain focus on a subject in two challenging scenarios – while they were moving round the frame quickly as well as moving towards us, or looking down or away from the camera.
While the A7R II could only manage 5fps burst shooting, the enhanced processing power inside the Alpha A7R III sees that rate double to 10fps, and that's with continuous AF/AE tracking. It can sustain this for up to 76 JPEG/raw images, or 28 uncompressed 14-bit raws.
You have the option of using the A7R III's mechanical shutter to achieve this, or if you prefer you can opt for the camera's electronic shutter for silent shooting. And, rather than having to wait while the camera writes large quantities of images to the card, it's still possible to use many of the A7R III's key functions.
The Alpha A7R III is kitted out with Sony's 5-axis optical image stabilization system, and this has been tweaked for the new camera to deliver a 5.5-stop shutter speed advantage, improving on the A7R II's 4.5-stop system. To reduce the risk of vibration and image blur, especially when shooting at 10fps, there's a new low-vibration shutter mechanism.
The electronic viewfinder is excellent, with a clear and large view thanks to the fast refresh rate and 3,686k-dot resolution, while the rear display doesn't disappoint either.
One of the biggest complaints levelled at the A7R II was its poor battery life, with just 270 shots possible if you were lucky. Sony has swapped out the W-series battery used in that camera and replaced it with its latest Z-series unit, and you can expect the A7R III to carry on shooting for 530 shots if you use the viewfinder, or 650 shots using the rear display. It's a welcome improvement, but still some way behind the likes of the Nikon D850's 1,840-shot rating.
The Alpha A7R III is able to resolve an impressive level of detail; you'd be hard-pushed to distinguish between its images and those from the more densely populated sensors on the 45.2MP Nikon D850 and 50MP Canon EOS 5DS. At the end of the day, if you're planning to produce large A2 sized prints, you won't be disappointed with the files from the Alpha A7R III.
Noise control is another area in which the Alpha A7R III is very strong. Noise levels are kept well within acceptable limits, delivering pleasing results with natural-looking granular noise and minimal Chroma (color) noise even when you're shooting at the higher end of the native sensitivity range (up to ISO32,000). As with most cameras, we'd avoid resorting to the high expansion settings (the maximum here is ISO102,400) unless getting a shot is more important than its ultimate quality.
The Alpha A7R III's dynamic range performance is also very impressive. If you're shooting at low sensitivities and purposefully underexposing the shot to retain highlights, you'll have to really push the file in post-processing before you see any signs of quality beginning to deteriorate in the shadows. For general editing of raw files where you want to recover detail, you've got plenty of flexibility with the A7R III's files.
If Nikon thought it was going to have things all its own way with the D850, it should think again. Sony has taken one of our favorite mirrorless cameras and bolstered the performance to make the new Alpha A7R III a much more capable and well-rounded offering.
As we've seen with the D850, you no longer have to sacrifice performance for resolution or vice versa. The heady mix of 42.2MP and high performance that includes 10fps burst shooting and a very sophisticated AF system is bound to help this camera appeal to an even broader range of photographers than the older model. This is a camera that would be equally at home perched on a mountain as in a studio or on the sidelines of a football match.
For now, the Alpha A7R III is not only the most well-rounded mirrorless camera you can buy, but one of the best cameras out there.
Photography News and Community for Creative Professionals
Let’s face it, many photographers these days utilize Lightroom presets to either expedite their workflow or to help spur creativity when they are in a rut. But have you ever wanted to use a Lightroom preset as a layer in Photoshop, or potentially layer two presets together? Well look no further, Preset Brewery by Adam Bardon makes life easy with a click of a button.
[ Read More ]
Of all the tools and features in Photoshop, perhaps none strike more fear into the heart of the unsuspecting photographer than the Pen Tool. If you're one of those people, this great tutorial will show you both how the Pen Tool behaves and how to put those rules to use in practice.
[ Read More ]
Drones get a lot of criticism for both privacy and air safety concerns, but they also hold enormous potential beyond simply making aerial photography and videography available to the average shooter. This video shows some of that potential as a drone saves two swimmers caught in a rip current.
[ Read More ]
The world of fine art photography exists in the lofty shadows of the photography industry, it’s secrets hidden behind an air of elite mystery. While endless tutorials on how to make a living as a portrait photographer can be found with a quick google search, how to make a living as a fine art photographer remains a more nebulous subject. Last year, award-winning Fine Art Photographer Jason Matias made $60,000 selling fine art prints, and he’s taking away some of the mystery by sharing part of his journey — and solid advice — for budding fine art photographers who want to do the same thing.
[ Read More ]
Earlier this month we published an image of a stealth bomber, taken from above, shot by a photographer who hung out a plane. And now you have to see the work of Jin-Woo Prensena, who captures 100-megapixel aerial images of Los Angeles and beyond with a Phase One XF medium-format camera, shooting from a helicopter.
[ Read More ]
Ever have one of those shoots that seems to never go as planned? Ever have fail after fail but you have to maintain your focus just for the client? This can happen with underwater sessions in a matter of minutes. When you are dealing with something as beautiful but chaotic as water, knowing you have the tools to fix the issues will help regain your sanity.
[ Read More ]
By: Kenneth Wajda
WAJDA PHOTO – Film vs. Digital Photographers: Is There a Difference?
Photo Walk Folks: https://roystryker.wordpress.com/2017…
To support me as a patron with a contribution, even just $1 or $2 a month: https://www.patreon.com/kennethwajda – Many Thanks!
Shop at Adorama and support this channel: http://adorama.evyy.net/c/266353/5192…
My Commercial Photography site: http://KennethWajda.com
Film Portraiture site: http://TheFilmPhotographer.com
The Wise Photo Project : http://TheWisePhotoProject.com
Elderly Photo Visits: http://ElderlyPhotoVisits.com
Street View: http://ColoradoFaces.com
6×6 Blog: http://6x6portraits.com
My Video Production site: http://DenverBoulderVideo.com
By: Darren Miles
http://www.DarrenMiles.com – Southwest Florida Portrait, Real Estate, Wedding and Family Photographer
GET A GREAT DEAL on the Laowa 7.5mm f/2 Lens from B&H HERE: https://www.bhphotovideo.com/c/produc…
CONCLUSION: So to wrap up this review, we give the Venus optics, compact dreamer, lightweight 7.5mm f/2 lens a 35.5/40 and our Recommended Rating.
THE FINAL WORD: More often than not, wide angle lenses suffer from some inherent issues, weak edge performance, distortion, vignetting, and bad flare performance, well, I’m pleased to report that laowa does a great job with distortion control and edge performance, both seem to be really great as the verticals straight out of camera are in fact pretty straight and the edges look really sharp to my eyes, however, the laowa does suffer from strong vignetting – especially wide open and weak flare performance in brightly lit situations, which again aren’t really strong suits for most wide angle lenses, but they are noticeable in the Laowa – but all in, at just $519 the laowa does in fact offer some really nice benefits for this kind of price – specifically, if you’re a drone operator, video shooter and if you do real estate and landscape photography – sure, you only get manual focus and aperture control, but again, when it’s this wide, big scenes are going to be mostly in focus anyway at or close to infinity on the focus ring. In spite of its shortcomings, the pros, definitely outweigh the cons.
By: Anita Sadowska
For your reference, some of my favourite female creators 🙂
https://www.instagram.com/linatesch/ https://www.instagram.com/irenerudnyk… https://www.instagram.com/jenncollins/ https://www.instagram.com/georgiarose… https://www.instagram.com/bellakotak/ https://www.instagram.com/yuliagorbac… https://www.instagram.com/yana_bardadim/ https://www.instagram.com/juliakuzmenko/ https://www.instagram.com/larajadepho… https://www.instagram.com/zoeygrossman/ https://www.instagram.com/emilyabay_p… https://www.instagram.com/elenakalis/ https://www.instagram.com/sarahbrownp… https://www.instagram.com/felicitying…
Please Subscribe for more videos – http://bit.ly/Subscribe-Anita I would love to hear what would you like to see next – if you have any suggestions comment below!
What Gear do I use?
Camera Equipment: https://kit.com/Sadowskaphoto/my-came…
Lighting Gear: https://kit.com/Sadowskaphoto/lightin…
What Video Gear do we use?
Big Camera – http://amzn.to/28YdxWP
Camera Cage – http://amzn.to/28VLK9V
Main Lens – http://amzn.to/294mn2w
Second Lens – http://amzn.to/28WZD6u
Memory Cards – http://amzn.to/28ULUsJ
Sound Recording – http://amzn.to/28UMlmR
Microphone – http://amzn.to/28VLMyN
About Me: My name is Anita Sadowska, Im a 24 year old professional fashion photographer based in Dublin, Ireland. On my channel I will be uploading regular photography tips & tricks, Fashion shoot behind the scenes and loads of photoshop and lightroom retouching and editing tutorials.