Thanks to improvements in sensor design, iPhone and Android smartphones are gaining traction with enthusiast and professional creators. However, one area that has lagged behind developments in imaging sensors is image stabilization. In a significant development, a recent patent granted to Apple hints at a potential game-changer in this field.
As photographers moved from film to digital photography, they gained a new flexibility that changed the entire process. However, what was lost in that transition was a need for a more tangible connection to images that only a printed photo can provide.
The DJI Osmo Pocket 3 skips the smartphone as a capture device and uses an integrated camera, essentially taking the front of a DJI drone and mounting it to a control stick. It is also one of the few creator gimbals I like and love using.
Sigma’s 60-600mm f/4.5-6.3 DG DN OS Sport lens arrived during a flurry of product releases and bitterly cold weather earlier this year. It's been a minute, but I've now had a chance to test it in full.
The ability to capture stunning aerial footage has been made possible by drones, which have gained popularity over the past decade. I remember flying some of the earliest commercial drones and the emphasis was on the flight time and features but not image quality. Being able to capture areal footage was exciting enough that the cameras didn’t need to be particularly advanced to be impressive.
The wetlands of Brazil’s Pantanal region aren’t as well known as the Amazon, but it’s still home to an incredibly diverse ecosystem. With dozens of species of mammals and rodents and hundreds of species of birds, it is a wildlife photographer’s dream. Jaguars roam the shoes of the river while capybara and caiman flee from the hunting cats. Birds are everywhere you look, and their calls are pervasive throughout the day.
After many years of growth, drone technology feels like it has reached a plateau. Even inexpensive drones now have robust collision-avoidance sensors, long battery life, good image quality, and easy-to-use software. So where does the Mavic 3 Pro3 fit in?
I remember when Gordon Laing from CameraLabs showed me the Padcaster Parrot teleprompter on a press trip in California years ago. He was setting up to shoot a video about the new camera we were testing, and as he is meticulous and professional, he had already written a script with all of his first impressions.
When I opened the box containing the Loupeck CT editing station for my review earlier this year, I immediately looked to see if it had a stand. Designed to sit flat on the desk, the orientation of the Loupedeck wasn’t particularly comfortable on my wrist. It did not.
Sony’s ZV-1 “vlog” centric camera arrived in 2020 and was met with some divided opinions about the direction Sony was taking with this new video-first camera. At its launch, I was the Vice President at the public relations company working with Sony’s camera division, and I recall how some of the briefings were met with more enthusiasm than others.
The Jackery booth at the Consumer Electronics Show was attention-grabbing, with solar panels and battery power systems laid out in various outdoor dioramas. Each setup was designed to highlight Jackery’s Portable Power System and its Solar Generator line.
The Insta360 Flow is a gimbal for smartphones that, on paper, looks like the perfect solution for vlogging, YouTube creators, and social media influencers. The Insta360 Flow’s promise is artificial intelligence (AI) tracking in a compact gimbal that can be folded and taken anywhere.
OWC’s Thunderbolt Go Dock not only solves the problem of ports and connectivity but also provides a go-anywhere solution that creatives can use daily on their desktop or when traveling.
Video editors are flocking to DaVinci Resolve in droves, marking a major paradigm shift in the editing landscape that we haven't seen since the dreadful launch of Final Cut Pro X drove users to Adobe Premiere Pro.
In what Rode describes as its "biggest product announcement ever," the company is updaing the Wireless GO II and RODECaster Pro II and introducing seven new products including the Streamer X, RODECaster Duo, and PodMic USB.
DaVinci Resolve 18.5 features four new artificial intelligence (AI) tools and more than 150 feature upgrades.
External editing keyboards and decks are huge time savers. Move the critical features of an editing or creative tool to a compact editing surface, and workflow productivity climbs.
Sigma has announced three new compact prime lenses and the upcoming availability of three existing lenses for the Nikon Z-Mount.
When Sony and Sigma released lenses with nearly identical specifications (or at least nearly identical target customers), photographic gear scheduling marked a rare alignment. Photographically speaking, the concurrent launch of these two similar lenses is the equivalent of a full solar eclipse—incredibly rare and also amazing to see.
The Sony ZV-E1 represents the (current) pinnacle of the company's efforts to radically pivot the camera division to stay ahead of changes in the photography and video markets. It is largely successful in that endeavor.
Sony has announced the ZV-FF, a full-frame camera designed for content creators. The camera boasts an impressive feature set developed based on user feedback and aims to provide creators with the best tools possible.
The new Blackmagic Pocket Cinema Camera 6K G2 successfully carries on the company’s tradition of providing affordable creation tools dedicated to video and cinema creation.
DJI’s RS 3 Mini is a scaled-down version of the popular RS line of gimbals that supports a lighter payload and has scaled-down motors and a more petite frame to accommodate today’s lighter mirrorless cameras -- but doesn't skimp on features.
Sony’s new Sony 50mm f/1.4 GM is a compact, fast, and high-resolution lens in Sony’s upper-echelon G Master lineup, and it joins Sony’s already flush 50mm focal length lineup.
Sony has announced the new Sony FE 50mm f/1.4 GM lens, a standard prime lens that Sony says is perfect for portraits, travel, street, and video.
Canon’s M50 APS-C camera was introduced in February of 2018 when Canon had yet to truly enter the mirrorless camera market, and its tiny new APS-C Canon EOS R50 is more than just a replacement for the M50.
With the introduction of the R50 and the R8, Canon further teeters on the edge of having too many cameras rather than too few.
Canon has released two new lenses for its RF full-frame and RF-S APS-C lineups: RF 24-50mm f/4.5-6.3 IS STM and RF-S 55-210mm f/5-7.1 IS STM.
Canon has announced the Canon EOS R8, a full-frame mirrorless camera the company says is aimed at amateur photographers and videographers.
Canon has announced the Canon EOS R50, a compact and light camera that effectively replaces the EOS M50 II and marks the transition of the series to RF.
Sigma’s 50mm f/1.4 DG DN Art takes its place as the latest lens in Sigma’s venerable high-end lens line and is a welcome addition thanks to excellent performance and a low cost of entry.
Apple’s Mac mini has always been positioned as the company’s affordable desktop machine, an alternative to the low-end iMac for those that don’t need or want the iMac’s display. It’s a machine that has sometimes seemed to languish while other Mac models got performance upgrades. That has changed.
Canon’s EOS R6 Mark II is a major yet, in some ways, a subtle upgrade over the original R6. The new R6 Mark II is faster and more capable than the R6 in most regards, and it addresses several of the limitations found in the original model.
I use various microphones on my YouTube channel and while the majority of them would be considered high-end, the one I’ve been using recently is the Rode VideoMicro II.
As the mirrorless camera market hits its stride and companies have caught up on their typical prime and zoom lens offerings, we see new offerings in non-traditional focal lengths. I can’t remember writing the words “all-in-one” in my decades in the tech press world as I have in the last year.
Sony has announced the new Sony FE 20-70mm f/4 G lens, a compact, lightweight lens with a wider field of view than the traditional 24-70mm focal length.
The Sigma 60-600mm for Sony E-Mount is a versatile, compelling, and unique lens with a mindblowing 10x optical zoom range. As with any all-in-one lens, it’s not without its compromises, and the $2000 price puts it up against Sony’s native FE 200–600mm f/5.6–6.3 G OSS, even though the Sigma has a more versatile zoom range.
Sony's Alpha 7R V has the company's most advanced autofocus system that is remarkably powerful, but while the company has displayed its engineering prowess with Real-Time Recognition, it has also revealed its most significant weakness: interface design.
Canon’s new RF 135mm f/1.8 L IS USM is an essential lens in the company’s mirrorless system, not only because the focal length is a staple choice of portrait, wedding, and corporate photography, but because Canon's latest prime is truly exceptional.
In my brief first look at the X-T5 launch event, I talked about the new smaller size of the Fujifilm X-T5 and its image quality. Fujifilm fans have a lot to love in the X-T5, and it's a big enough upgrade for customers of the X-T4 to consider moving up to the X-T5.