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The post 7 Mistakes to Avoid When Photographing Wildlife appeared first on Digital Photography School. It was authored by Jeremy Flint. Wildlife photography can be a great way to secure yourself a series of images of animals that you are proud of. However, it can be extremely challenging to capture good wildlife images because photographers often make errors resulting in missed opportunities. When you have been waiting for a while and are suddenly faced with photographing a wildlife encounter of a rare species, it is easy to get carried away with the excitement. You may forget the essentials and make mistakes, consequently missing out on the perfect shot. To help you improve your chances of capturing a great wildlife image, avoid making these common mistakes: 1. Not doing your researchKnowing a bit about your subject, such as where and when you can see them, is an essential part of capturing a memorable wildlife shot. Turning up to a place and hoping for the best will likely result in disappointment. Your best bet is to do your homework and be as prepared as you can. 2. Motion blurGenerally, animals move quickly, and if you aren’t careful when taking your pictures, they can often result in motion blur. Sometimes adding intentional motion to your wildlife pictures can be effective and is a great way to add dynamism to your images through techniques such as panning. However, if you want to achieve sharper and more static images, which I would recommend for the majority of wildlife photographs, you need to take care that your shutter speed is not too slow. 3. Using too low an ISOOne way to ensure a faster shutter speed is to increase the ISO. Many photographers make the mistake of keeping the ISO low when photographing wildlife. This is usually to maintain maximum image quality. However, with a higher ISO, sharper shots will be achievable as the shutter speed increases. 4. Not being preparedOne of the biggest mistakes photographers tend to make when photographing wildlife is not being prepared. If you are not ready for the shot before it happens, you will miss it. Being unprepared could be something as simple as your battery going flat when you are taking photos or running out of space on your memory card. Having prepared my camera the night before by charging my batteries and making sure my memory card had sufficient room to accommodate several images, I was able to take this shot of a deer as it appeared between the trees. 5. Out-of-focus picturesHave you ever returned home from photographing wildlife images only to discover that your images are not sharp? This is one of the biggest pitfalls of recording good wildlife photos. It is likely that it may have been a case of not focusing on the subject properly. Therefore, be sure to aim and focus the camera on the part of the image you want sharp. 6. Your subject is too small in the frameWild animals are easily spooked when approached by humans which means getting close to them is usually a challenging undertaking. As a result, you may find that your wildlife shots tend to have more of the surroundings in your shot, with your subject looking insignificant and lost in the background. Sometimes shooting an environment portrait of an animal can work well, but most of the time you will want to fill the frame with your animal shots. So if you aim to try and capture more of your subject, zoom in a bit closer. 7. The composition isn’t greatTaking pictures of fast moving animals can often result in poor compositional shots. For example, a fleeting moment of a bird in flight or landing happens so fast that just getting a shot usually occurs to the sacrifice of the composition. Pictures can be spoilt by flapping wings, clipped parts of the body (such as the wings or tail), and not giving your subject enough space. ConclusionCommon mistakes that you are likely to make when photographing wildlife include not being prepared or doing your research, motion blur, using too low an ISO, out-of-focus pictures, poor composition and including too small a main subject in the frame. Now that you are aware of what not to do when photographing wildlife, turn these mistakes around to enhance your chances of capturing an image you can be proud of. Now it’s your turn to venture out with your camera to photograph wildlife and share your images with us in the comments below. The post 7 Mistakes to Avoid When Photographing Wildlife appeared first on Digital Photography School. It was authored by Jeremy Flint. Photography via Digital Photography School http://bit.ly/29wB9CX January 28, 2019 at 12:09PM
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This Short Film is About the Agony of Waiting for a Pre-ordered Camera http://bit.ly/2sN2yXc If you’ve ever pre-ordered some camera gear, you may know the struggle of spending days, weeks, or months waiting and wondering about when you’ll ever hold the equipment in your hands. That’s the pain that’s captured in this 3-minute tongue-in-cheek short film by SkyVista Productions. The film shows a conversation between an uncle and his niece, who has been eagerly waiting months for the Blackmagic Design Pocket Cinema Camera 4K she pre-ordered from B&H. The $1,295 4K RAW compact camera was announced back in April 2018 but has been released in limited quantities on a first-come-first-served basis, so she’s definitely not alone in playing the waiting game. “The impetus behind this short was to test the audio capabilities of the BMPCC4K in a real-world movie shoot setting,” SkyVista writes, sharing that the whole thing was shot in about 2.5 hours. “We want to get better at our craft and genuinely enjoy creating and wanted to have some fun with this one! I hope the satire is appreciated.” Photography News via PetaPixel https://petapixel.com January 28, 2019 at 11:16AM
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With the CP+ show in Yokohama, Japan beginning on February 28, 2019, it’s obvious we’re going to see some significant product announcements from Canon ahead of that date. CP+ is generally a show that Canon uses to show a lot of new gear. WPPI also begins in Las Vegas on February 27, 2019. You can see the 2019 trade show schedule here. The latest word on the street is that Canon will be announcing new gear on February 14, 2019. This date is quite likely for announcements. We think the Canon EOS RP will be announced, along with at least 2 RF mount lenses. The PowerShot G7 X Mark III may also make an appearance for this show, but is so far proving to be a unicorn. There’s been no mention of any new EOS M or EOS DSLRs being announced as of yet.
Photography via Canon Rumors http://bit.ly/2CsmGDw January 28, 2019 at 10:58AM
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I Designed and 3D-Printed My Own LED Softbox http://bit.ly/2RVv6fS I got my first 3D printer recently, but it sits in a dark corner of my room, so I thought I’d design a light for it. Then I realized I could kill two birds with one stone and design it to be useful for photography as well. I designed and 3D printed this LED softbox: Here’s an example photo I shot using it: The lighting setup was: key light from the LED softbox, white paper on the opposite side for some fill, and a blue-gelled flash firing on some crumpled aluminium foil for a background. Here’s the softbox with an optional hexagonal light modifier: The hexagonal light modifier blocks the view of the light from off-angle, effectively restricting its beam width. The 3D-printed casing: The drive electronics are based around a Mean Well LDD-1500LW DC-DC LED driver. The components and accessories: If you’d like to build this for yourself, I’ve posted the LED softbox model and the build instructions to Thingiverse. About the author: Nicholas Sherlock is an amateur photographer and professional software developer based in Dunedin, New Zealand. The opinions expressed in this article are solely those of the author. You can find more of Sherlock’s work on his website. Photography News via PetaPixel https://petapixel.com January 28, 2019 at 10:39AM
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Canon Sees the Digital Camera Market Plunging by 50% in Next Two Years http://bit.ly/2SiDwO9 The worldwide sales of standalone digital cameras have been plummeting since they peaked in around 2010, but Canon thinks its industry is still in for some serious pain in the coming years. The company believes the market will plummet another 50% over just the next two years. In an interview with Nikkei, Canon president Fujio Mitarai gave some insight into how Canon is viewing the rapidly changing market. Mitarai notes that the current global market for interchangeable lens cameras is roughly 10 million units per year, but Canon’s sales have been steadily dropping by 10% a year over the past few years. And here’s why Canon and Nikon were reluctant up until last year to jump into the full-frame mirrorless market: mirrorless cameras do eat away at Canon’s bread-and-butter DSLR sales. Mitarai states that mirrorless cameras don’t add to the total number of digital cameras sold, but instead they’re replacing existing DSLR sales. But Canon believes that the camera market will bottom out soon and that there will still be a demand for about 5 to 6 million prosumer and professional cameras when that happens. “All of this points to an amalgamation of DSLR lines to offset the additional EOS R system cameras that are coming,” Canon Rumors writes. “I believe this is a worst-case scenario that Canon is strategizing for and that innovation and great new products are still coming over the next few years.” Image credits: Header illustration based on photo by WEi WEi and licensed under CC BY 2.0 Photography News via PetaPixel https://petapixel.com January 28, 2019 at 10:11AM
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Nikon's 'Trade up to Z' program offering additional discount for traded-in cameras http://bit.ly/2FV9wlw Nikon has announced a new incentive for its trade-in program that offers additional discounts on its Z6 and Z7 full frame mirrorless cameras if consumers hand over their operating interchangeable lens cameras (ILC). From now through Sunday, March 31, 2019, consumers who hand over a working ILC to Nikon will receive an additional $200 off the Nikon Z6 and $400 off the Nikon Z7 on top of the trade-in value of their camera. The deal is honored regardless of the age or brand being turned in, so long as it's functioning, and the discounts also apply to Nikon's various kits that include the Z6 and Z7 cameras. Nikon also mentions its FTZ Mount Adapter is also $100 off when purchasing it in tandem with a Z6 or Z7 camera. For more information on the program and to get started on the trade-in process, head over to Nikon's 'Trade up to Z' page. NIKON INC. ANNOUNCES “TRADE UP TO Z” CAMERA TRADE-IN PROGRAMAdd an Additional $400 (for Nikon Z 7) or $200 (for Nikon Z 6) to Your Interchangeable Lens Camera’s Trade-In Value Towards the Purchase of a New Nikon Z Series Camera at Participating Nikon Authorized Dealers MELVILLE, NY (January 25, 2019) - Today, Nikon Inc. announced a new trade-in program that makes it easier than ever to upgrade to the revolutionary new Nikon Z Series full-frame mirrorless camera system. Starting on Sunday, January 27, 2019, consumers can trade in their operating interchangeable lens camera for a new, cutting-edge Nikon Z Series camera and get $400 towards a Nikon Z 7 or $200 towards a Nikon Z 6 in addition to their camera’s trade-in value, regardless of camera brand. What’s more, consumers can save an additional $100 on the Mount Adapter FTZ when purchased together with a new Nikon Z 6 or Z 7.* This limited-time trade-in program ends March 31, 2019. For more information about the Trade Up to Z Program, including full terms and conditions, please visit nikonusa.com/ztradeup. Built around the next-generation Z Mount, the acclaimed Nikon Z 6 and Z 7 cameras achieve a new era in optical performance for Nikon. These full-frame mirrorless cameras are equipped with FX-format BSI CMOS image sensors for outstanding image quality, fast hybrid AF, 5-axis in-body stabilization, an exceptionally clear Quad VGA Electronic Viewfinder and amazing video features. Combined with the growing line of high-performance Z NIKKOR lenses, the Nikon Z Series empowers users to pursue their creative vision without limits. For more information about the latest Nikon products, including the new Nikon Z Series full-frame mirrorless camera system, please visit www.nikonusa.com. Photography News via Dpreview http://bit.ly/i0r8o5 January 28, 2019 at 10:07AM
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3 Core Composition Skills That Every Photographer Needs To Develop http://bit.ly/2UpHUrY We have talked a lot about composition in the past, and there is a reason why. This is because we truly believe that composition is where the soul of any photograph resides. Learning how to expose with a camera is just as meritorious as learning how to drive or even to write. Anyone can take photographs, but not all photographs are meaningful. Composition is a huge asset in photography, and there has been a lot said about rules and even recipes about composition. But there is something that goes beyond rules and universal laws, and we are talking about core composition skills. After a huge debate, we have concluded that there are three fundamental and core composition skills when it comes to “the act of composing”. These skills should concern every photographer, no matter the years of experience. They can (and should) be developed in order to get closer to that desired goal of being a photographer that is able to create meaningful and compelling photographs. And of course, we are talking about those images have the power of sticking in people's mind for long periods of time, and in some cases, forever. These three skills are:
But they sound like synonyms, you might be thinking, but we'll discuss them further. The first thing that you need to understand is that these skills are embedded within every single frame that you make to greater or lower scales. By being aware of them you'll be able to exercise in order to develop or fine tune them. The great thing about these abilities is that they are very well suited in all photographic genres. 1. Pre-visualizationSeveral iconic photographs have “seen the light” thanks to the ability their authors have had in terms of pre-visualizing a particular scene. This particular activity requires at first, observation and patience. Also, photographers need to develop a specific ability in order to anticipate a diversity of lighting scenarios. Observation allows us as photographers to recognize shapes, space and certain graphic elements that nurture a scene in terms of aesthetics. And light anticipation will respond particularly to the intention (or the message) that we as photographers wish to convey in a photograph. For illustration purposes, I will narrate a bit how the image above occurred. I was walking near a specialized learning center for the blind. Then I noticed the beautiful Ray Charles graffiti on a wall, and I intuited that after a while, someone with visual disabilities was going to walk by. I waited patiently and suddenly a man approached the scene. I wasn't that able to step back too much. First, because I was carrying my Fuji X100T which has a fixed 23mm (35mm equivalent) lens, and secondly because it was pretty close to a street. That means that if I positioned myself too far away, I was going to put myself in danger due to crossing vehicles. I had measured the light previously and the composition, so I simply waited for this image to happen. I would love to have a wider crop, but that was the widest I could get thanks to the aforementioned context. This is just a simple example of countless situations that can present to you. Try hard to pre-visualize the elements that will compose the scene and the light, and you'll get interesting photos that will go beyond mere snapshots. Pro-tip: If you work with a fixed lens for long periods of time, for example, a year, you'll eventually reach a point at which the lens becomes an extension of your mind. 2. AnticipationAnticipating is different to pre-visualizing because it implies a certain level of “habit” or “custom”. For example, if you are documenting a certain topic, you'll be able to anticipate some actions that could surprise someone else. This requires high levels of constancy and practice, but after a while any photographer could be able to anticipate certain actions that are expected to happen under specific circumstances. For example, if I were to be hired to shoot a wedding, it would be hard for me to capture expected shots since I haven't shot a wedding in years. So, I would definitely limit myself to the traditional shots and some random improvisations. On the other hand, if I were to attend several weddings, I would understand those moments of wonder and I'd be able to anticipate certain common things that happen at weddings. 3. TimingAfter you have created the scene in your mind, you need to be able to shoot the frame of the moment you are willing to capture. As a street photographer, I must confess, this is really hard because sometimes adrenaline gets in the way. This interferes and makes us press the shutter button way before or after the moment happens. This corresponds with the famously commercial statement endorsed to Henri Cartier-Bresson (which wasn't that popular in his mind) about the Decisive Moment. If you are able to see the scene with your own eyes, it has fled away from your camera. You need to practice anticipating the moment before you are able to see it. But don't get discouraged so quickly, you can always use burst mode in your cameras in order to avoid missing the moments you wish to capture. Some photographers like to use it, some don't. Personally, I don't like using it but hey, engineers have put a lot of effort into those features in your expensive camera, used them! These three skills that we have shared with you are not something you'll learn from books by following steps. These are skills that need to be developed at individual levels, and only after conscientious and disciplined practice, will you start to handle them right. How to know that you are handling them right? Easy, You'll be able to control your nerves and you'll be able to surpass the adrenaline rushes. This doesn't mean photography will become boring or uninspiring, this only means that you'll be able to capture things as (or almost as) you wish them to be in your camera. Further LearningWe hope that this information will help you become a more passionate photographer, and if you are looking to take things even further with advanced composition choices, then take a look at Kent Dufault's excellent guide to Advanced Composition. In this guide, you'll discover concepts such as:
Get it here todayThe post 3 Core Composition Skills That Every Photographer Needs To Develop appeared first on Light Stalking. Photography News via Light Stalking http://bit.ly/2kwTW5i January 28, 2019 at 10:04AM
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Motorcycle photographer Mark 'Kato' Kariya talks gear http://bit.ly/2DE2ajT Motorcycle photographer Mark 'Kato' Kariya talks gearPublished Jan 28, 2019 | Sponsored content, created by Vitec California native Mark 'Kato' Kariya has been shooting motorsports for more than 30 years, during which time he's used countless cameras, lenses and bags. Recently he's been working with Lowepro's new range of 'ProTactic AW II' camera backpacks, designed for use in tough conditions. We spoke to him about his career, his gear, and his tips for successful motorsports photography. What's your background?I grew up in rural Southern California, where my family grows oranges and avocados. I've been riding motorcycles since I was nine because that's how we checked the sprinklers every morning and afternoon - a Honda 90 trail bike fits between the trees easily and it's a lot faster than walking! I worked on the high school yearbook as a photographer in my junior and senior years, and I joined the Daily Trojan newspaper when I was at USC, where I got my BA in journalism. After graduating, I figured I'd end up on a daily paper somewhere but instead I started covering local motocross races for Cycle News - a weekly publication centered heavily on race coverage. A year after graduating, Cycle News offered me a job as a staff editor, which was a dream melding of being in the motorcycle industry and using my degree. After two years at CN, my former editor offered me a staff position at a new magazine he was starting called Dirt Rider. I accepted and stayed there for almost 15 years before going freelance in the late 90s, specializing in event coverage as well as photo shoots for various race teams and, on occasion, manufacturers. How did you get your start in photography?Upon graduating eighth grade we were asked what we wanted to do when we grew up. I had no idea! The first thing that popped into mind was photographer so I went with that. I took a basic photo class at a junior college one summer, but other than that, I learned by seeing what others were doing and figuring things out for myself. Mark Kariya portfolio galleryWhat's your ideal way of working?It depends on the job. Even for race coverage, it varies. At some races, I can get by with hiking around to various shoot locations and get different types of shots. At other races, it really helps being able to ride to locations, usually on the course before the race starts, though this limits the equipment I can take. Then there are races like the Baja 1000 where there's so much distance between locations that I drive my truck to various access points off the highway. It just depends on what the client wants. If I'm shooting at a track or somewhere I don't have to go too far, I can bring more equipment and hike around while sometimes the client wants a more remote location so I ride with a backpack to carry what I can. What's your perfect camera bag?There's no perfect bag. Each type of job seems to require a different bag depending on what equipment's needed. I usually use one bag as a travel bag because it'll carry most of the stuff I'll need and fits underneath the seat in front of me or in the overhead of most larger commercial airliners (Boeing 737 Airbus A321 and larger, for the most part). For the smaller regional jets, it can get a little tricky; most of the time my travel bag will fit underneath the seat in front. The hard case/trunk for a 400mm F2.8 or 200-400mm F4 will fit in either spot on big and small jets. What's the most important factor for you, when it comes to gear?As I cover a lot of desert races, dust is a huge issue so I try to stay upwind whenever possible. If it's not dusty, then it'll likely be muddy and rainy. Due to the harsh environments off-road motorcycle races are held in, I need my gear to be rugged as well as easily portable. I always use two of the same camera bodies and am currently running Nikon D5s as my primaries with a D4 as a third when required. You don't want to expose the sensor or other internals so I'll typically leave lenses on the cameras all day, with the 17-35mm F2.8 on one body (always with a a Speedlight SB-900 or 910 on it for fill) and 70-200mm F2.8 on the other. If I think there's going to be a situation where multiple lights might be called for, I'll also carry two extra lights; the last of my SB-800s just died so I'm trying to get SB-5000s dialed in. Mark's top tips for motorsports photography:
How are you finding the LowePro ProTactic II bags?I'm using the prototype BP 450 AW II that we used for the intro video and it is far superior to the kind of generic backpack I'd been using for 20 years. It'll accept the two bodies with lenses attached that are my go-to's with little more required than turning the lens hoods around. When I find a shoot location, I hop off the bike, take the ProTactic off, put it on the ground and unzip the rear panel. Easy! I haven't needed to access gear through the side doors yet, though I appreciate their availability. I like how the ProTactic is a dedicated camera bag so the internal dividers are movable, allowing me to arrange things as I need to, and its padding provides a bit more protection from the elements (dust and mud, usually) and crashes, which happen occasionally when I run out of talent. VIDEO What advice would you give someone who wants to get into motorsports photography?it's very difficult to get trackside access for auto races, at least in the US. Dirt bike races are easier, except for the professional Supercross or motocross Nationals, flat track and road races - those are treated like car races as far as credentialing is concerned. But accessing the course for off-road motorcycle races is much easier. Contact the promoter/organizer a week or two before the race to see what's needed. Even if you can't get trackside, you can usually still get some nice shots from the fence. Watch the way the light changes throughout the day and don't ignore what's in the background. Use everything you can environmentally to enhance your shot. If you're just getting into race shots, fast shutter speeds like 1/1000 and higher are 'safer' and will let you get a higher percentage of good shots. I'm old school so I still try to keep my ISO as low as possible. Once you get fairly comfortable capturing good action, experiment with different settings, from shutter speeds to white balance (again, keeping an eye on environmental factors). Learn more about the Lowepro ProTactic range of bags and accessories This is sponsored content, created by Vitec. What does this mean? Photography News via Dpreview http://bit.ly/i0r8o5 January 28, 2019 at 10:00AM
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13 Confessions of an Amateur Photographer http://bit.ly/2CS8J0R After many years of doing photography as an amateur, I came to a few simple and rather trivial realizations. 1. Focusing on the flaws of your camera is just an excuse to buy new hardware. Re-reading reviews of your current camera is the best remedy for that. The awesome features that made you buy the camera and overlook its shortcomings are still there. 2. Practically any current DSLR and mirrorless camera from Sony, Olympus, Canon, and Nikon is more than good enough if you are an amateur or enthusiast. That has been true for a while. 3. Reading the manual that comes with your camera is not a bad idea at all. 4. The more you use your camera the less its deficiencies and quirks matter. Most of the camera’s limitations can be solved through creative thinking. 5. Obsessing about image quality is counterproductive. If you think that your photo is bad because corners are not sharp, then your photo is probably not that good to begin with. The subject and your interpretation of the scene is what provokes an emotional response, not the dreamy bokeh and corner-to-corner sharpness. 6. Here’s a subjective observation after visiting photography forums regularly and reading through thousands of posts: the more someone is obsessing about gear, the higher the probability that their photos are nothing special. 7. You can take great photos with a kit lens. In fact, if you are not a professional, lenses don’t matter all that much. 8. Stop worrying about what lenses you should get. All you may need is a travel zoom and one or two primes for your favorite photography subjects. 9. Keeping focus on improving your photography through developing skills is much, much harder than fantasizing about how the newest camera model or lens will allow you to do something amazing. 10. Understanding the fundamentals of digital image manipulation is more important than learning what buttons in your favorite application to push for the desired result. If you know how sharpening works and what curve adjustments do, you’ll have less difficulty figuring out how to use this functionality in a specific application. 11. Learning is hard, but it will make you better. Comparing is easy, but it will make you miserable. 12. Most photography competitions are a waste of time. Focus on improving your skills, finding your own style, and making connections. 13. One day, a backup will save your bacon. About the author: Dmitri Popov is an amateur photographer and tech writer. The opinions expressed in this article are solely those of the author. Popov has been writing exclusively about Linux and open source software for almost two decades. In his spare time, he takes photos and develops simple open source photography tools and utilities. You can find more of his work and writing on his website, blog, EyeEm, and Getty Images. This article was also published here. Photography News via PetaPixel https://petapixel.com January 28, 2019 at 09:28AM
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Samsung to acquire smartphone camera tech company CorePhotonics http://bit.ly/2TkPeVI
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Samsung to acquire smartphone camera tech company CorePhotonicsAccording to sources familiar with the matter, Korean smartphone maker Samsung is close to acquiring Isreal-based technology company CorePhotonics. The deal could be worth $150 million. CorePhotonics isn't a company end consumers are too familiar with, but it has been one of the pioneers of the multi-camera trend in smartphones. Most notably it was the company behind OPPO's 5x zoom module and was likely also involved in the creation of OPPO's latest 10x zoom camera. It's unknown at this point what the acquisition would mean for the relationship with OPPO. The CorePhotonics name also appeared in the news when the company filed several law suits against Apple for patent infringement. The legal dispute is still ongoing. Zoom reach is one of the very few areas where smartphone cameras still can't keep up with stand-alone compact cameras and is likely going to be an important differentiator for brands when launching the next generations of smartphones. In this context the acquisition makes a lot of sense for a manufacturer like Samsung. View Comments (0) We reviewed three of the more popular 'pocket printers,' the Canon Ivy, Fujifilm Instax Share and Polaroid ZIP. Here's the one we recommend...
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Jan 24, 2019 at 06:00 The Olympus OM-D E-M1X is a more powerful dual-grip evolution of the E-M1 II. Aimed at sports shooters it promises improved AF, including advanced subject recognition, along with the highest-ever rated image stabilization system. One of three lenses launched alongside the Nikon Z6 and Z7, on the face of it the Z 50mm F1.8 S might appear the most pedestrian of the group, but it might just be the niftiest fifty we've ever seen. The Nikon Z6 may not offer the incredible resolution of its sibling, the Z7, but its excellent video quality and faster performance make it an impressive camera at a considerably lower price. The Peak Design Travel Backpack 45L is the centerpiece of the brand's new Travel Line - it's pricey but awesome. Other components of the line are pricey and less-awesome. If you're looking for a high-quality camera, you don't need to spend a ton of cash, nor do you need to buy the latest and greatest new product on the market. In our latest buying guide we've selected some cameras that while they're a bit older, still offer a lot of bang for the buck. A question frequently asked on the Internet is 'what's the best DSLR?' In this buying guide we've answered that question – but also whether it's the right question to be asking in the first place. What's the best camera for under $500? These entry level cameras should be easy to use, offer good image quality and easily connect with a smartphone for sharing. In this buying guide we've rounded up all the current interchangeable lens cameras costing less than $500 and recommended the best. Whether you've grown tired of what came with your DSLR, or want to start photographing different subjects, a new lens is probably in order. We've selected our favorite lenses for Sony mirrorlses cameras in several categories to make your decisions easier. Whether you've grown tired of what came with your DSLR, or want to start photographing different subjects, a new lens is probably in order. We've selected our favorite lenses for Canon DSLRs in several categories to make your decisions easier. Photography News via Dpreview http://bit.ly/i0r8o5 January 28, 2019 at 09:17AM |
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