Sony has quietly released a new video that shows its forthcoming Airpeak drone over the remote Iromote Island in Okinawa. The video features the drone outfitted with both a Sony Alpha 7S Mark III and new FX3 as well as the 14mm f/1.8 G-Master.
As a landscape and travel photographer, I often carry around an ultra-wide-angle 14mm lens and the Tamron 28-75mm f/2.8. Last week I was able to test the latest addition to the Tamron series for full-frame mirrorless cameras: the 70-300mm f/4.5-6.3 Di III RXD. And I think I've found the perfect addition to my usual 2-lens kit.
The Peak Design Travel Tripod. Let's just get it out there: it's $600 for the carbon fiber model. That’s a lot of money. You can buy less expensive tripods that are objectively better at a lot of things that this tripod does. The main selling point is that it's light and packs up tiny, so it’s less of a burden to use when you’re traveling.
I was one of the lucky ones who got their hands on the Canon EOS R5 early in August of 2020. The camera arrived in the morning, just before my flight to the Lofoten Islands. Here's a summary of my experience climbing to 7 summits in 7 days with Canon's new flagship mirrorless camera.
The Fujifilm X-Pro3 is Fuji’s flagship stills-orientated body aimed at street and documentary photographers. And while it mostly follows the rangefinder style body of the previous bodies, the X-Pro3 features some significant design changes that will affect the way you use it.
Over the past few weeks, a ton of reviewers have been comparing the new Canon EOS R5 against the new Sony a7S III, but for stills shooters this is the wrong comparison. That's why photographer Matt Granger decided to compare the 45MP R5 against its most obvious high-res stills competitor: the 61MP Sony a7R IV.
I am a Canon Ambassador and I had the chance to test the new Canon EOS R5 (pre-production model) that we have all been anticipating for such a long time. This is not a review of the camera, but I wanted to share some of the most important settings and show you some real-life samples I was able to shoot that week.
Everyone that knows me knows that I love shooting with extreme wide-angle lenses. When I had just gotten the original a7 and no native (fast) wide-angle lenses were available yet, I was always shooting with the Samyang 14mm.
Since the announcement of the new Nikon D6, it’s been a long wait till the camera was available in the market. Here in Singapore, we finally received the first batch, and I was very fortunate to be invited by Nikon Singapore to have a hand-on experience with the new camera.
Tamron has been on a roll the last 2 years with E-Mount lenses. After introducing a holy trinity of fast zooms and 3 compact primes with 1:2 macro abilities, the company has announced its newest E-Mount lens: the 28-200mm f/2.8-5.6.
After teasing an “in development” announcement late last year, Tamron’s all new 70-180mm f/2.8 for Sony E-mount is finally about to hit store shelves. With the release of this lens, Tamron will complete their “holy trinity” for Sony mirrorless.
Boston-based wedding photographer William Hall of The Monochrome Memoirs and Perla Images recently updated his Nikon Z6 to the latest Firmware 3.0, and the news is good: it seems Nikon just gave their mirrorless cameras a HUGE autofocus boost.
Over three years ago, I tested out the Fuji X100F and was introduced to the pleasantries of carrying around a capable point and shoot. Today’s agenda is the fifth installment of Fujifilm’s X100 line of cameras: the Fuji X100V.
In early November, Panasonic announced that a 70-200mm f/2.8 for the L-mount was coming soon. The lens represents, which comes in at a hefty $2,597.99, is a major step closer to completing the holy-trinity lineup for their S series cameras.
Trevor Jones of AstroBackyard recently got his hands on a niche camera that will be extremely interesting to astrophotographers... and just about nobody else: the Canon EOS Ra. In the video above, he takes it out for a test shoot to show off the two features that set this camera apart when it comes to serious night sky shooting.
A lot has been said about the ultra-high resolution Sony a7R IV when it comes to shooting portraits, studio work, or landscapes--basically everywhere high resolution is a must. But what about wildlife photography? Seattle-based wildlife photographer Aaron Baggenstos took the camera to Africa to find out.
Two weeks ago I unboxed the Sony a7R Mark IV mirrorless camera, the high resolution beast, and brought it with me for a field review in the mountains around Santa Clara in Northern California.
Being in the photography game over 12 years has given me some fixed routines that are hard to break. Routines like focusing solely on prime lenses. In the last few years I've been carrying 20mm, 35mm, 85mm, and 200mm fixed focal length lenses on my camera bag while occasionally wondering if the grass looks greener on the flexible focal length side.
Over the years, as a Nikon ambassador, I have been able to test a lot of new gear that has come out and some of it I have reported on, like the 200-500mm f/5.6 and the 500mm f/4. After my contract with Nikon was terminated they still trusted me with new gear to test in collaboration with my partner Stavanger Foto, like the D850.
I recently had the opportunity to test the Sony a7 III thanks to the generosity of Glenn Wenfield from Sony North America. Since this is a camera that has already generated quite a buzz, I want to start by discussing how I am approaching this review.
I was very excited when I first read about the new Nikon D850 and I knew that this camera would be exactly what I had been waiting for. The larger file size is welcomed from a fine art perspective and in combination with a highly improved focus system, fast processors and better ISO capabilities, I could easily see myself using this camera also for wildlife.
I'm going to start this field test back to front and for one reason only: the LoupeDeck system blew my socks off. If you're a wedding photographer -- in fact, if you're into any genre of photography -- the Loupedeck is a game changer.
Last year, I was fortunate enough to earn a Nikon ambassador badge. I took this as a recognition of my work from a the institution I admire for making the best tools to meet my creative needs.
It's the battle of the flagships. The Canon 1D X Mark II squares off against the Nikon D5 in a series of tests including sports shooting and hand-held low-light high ISO street photography. So, which one is better? Or is there even a clear winner?
I'm a hobbyist bird photographer and I recently went birding in the Himalayan foothills in India, to a town called Sattal. For the trip, I rented a Canon 7D Mark II, 300mm f/2.8 II, and 2X TC III teleconverter. My own equipment is a 7D and 100-400L, both of the first generation.
If we had to name the most exciting camera of 2014 thus far, Fuji's X-T1 would probably get the nod (although the Sony a6000 is no slouch). Some call it the Nikon Df done right, others are saying it's the camera that will finally take the X-Series mainstream, but general opinion about this camera seems to be very good.
There's only one problem... many of those opinions come from people who haven't had a chance to use it yet. And since a spec sheet and press release can only say so much, The Camera Store and photographer Nick Devlin decided to go hands-on and take you in the field with this exciting new shooter.
Jordan Drake of Canadian camera shop The Camera Store just published this great hands-on field test of the Canon EOS M. Even if you don't have 10 minutes to watch the entire review, you've got to check out the two short stop-motion animations that start at about 21s and 7m50s. They're a hilarious (and accurate) sketches that poke fun at how "the Canon EOS M is a little bit late to the mirrorless party" and how the camera has a pretty shoddy autofocus system.