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  • Hands on with the Nikon D780

    Introduction

    At long last, it’s here – the Nikon D780, successor to the D750 that was released more than five years ago. At the time, we considered the D750 as one of the most well-rounded digital cameras ever made, and it remains highly capable even today. So, to put it lightly, the new model has some big shoes to fill.

    We’ve just received a full-production D780 and have gotten a start on our full review. As we work through our testing, we figured we’d take a look at the D780’s design, handling, and some of its high-level updates.

    New BSI sensor

    The heart of any digital camera is its sensor, and the unit in the D780 looks to be a good one. With 24MP, it’s not a megapixel monster, but should offer enough resolution for most users and most use cases. It’s now backside-illuminated, which is nice to have but doesn’t offer the same image quality benefits on large, full-frame sensors as it does on smaller ones. No, the real news is that it’s a dual-gain design. This means that, at the lowest ISO values, you can get maximum dynamic range out of the sensor, while higher ISO values give you better noise performance.

    The sensor is also capable of 4K video, and the D780 can shoot silent bursts at up to 12 fps. We’ll be taking a look at rolling shutter as we push through our full review.

    New shutter and mirror mechanism

    Being a DSLR, a mirror sits in front of the sensor most of the time and redirects light up to an optical viewfinder. The D780’s sensor and mirror mechanism have been redesigned, boosting burst speeds modestly up to 7 fps from 6.5. The redesigns also enable a minimum mechanical shutter speed of 1/8000 sec (the D750 could only reach 1/4000 sec). Unfortunately, the flash sync speed remains at 1/200 sec; many competing high-end models can reach 1/250 sec or even 1/320 sec.

    And, speaking of flash…

    Removal of pop-up flash and top-plate design

    That’s right, Nikon’s removed the built-in pop-up flash that was on the previous model. While Nikon says this makes it easier to weather-seal the D780 to a higher degree, it also means that you no longer have that built-in flash for some quick fill-light when you need it. For strobists, the removal of the flash also means that you need a separate dedicated transmitter (or another speedlight) to wirelessly control Nikon’s speedlights using its Creative Lighting System.

    On the top plate, we see an LCD info panel that is about the same as you’d see on the D750. There’s been some button shuffling, though; gone on the right side by the power switch is the dedicated metering button, though an ISO button has been added. Lastly, the mode dial has been simplified with fewer options.

    Rear design and controls

    While the rear of the camera might look familiar, there are a few substantive changes. There’s the addition of a dedicated AF-ON button, and the relocation of the live view and stills / video switch to the top of the plate near the viewfinder for easier access. The ‘i’ and INFO buttons have swapped sides of the camera as well, so if you pick up a D780 and are a long time D750 user, prepare to reprogram your muscle memory just a bit.

    Oh, and if you’ve ever lost your Nikon DK-21 eyecup for your D750, we have some good news – it seems like the DK-31 eyecup for the D780 is attached a bit more securely, and we haven’t lost ours (yet).

    Optical viewfinder and autofocus system

    And so, despite the bit of button shuffling, it looks like much of Nikon’s mantra with the D780 was ‘if it ain’t broke, don’t fix it.’ In that vein, the optical viewfinder is identical to the previous model’s: same pentaprism design, 0.7x magnification, and autofocus layout with 51 points clustered around the center of the frame.

    Indeed, after our experience with ever-more-capable mirrorless cameras over the past five years, we’re starting to find the spread of DSLR autofocus points a bit constricting. But hey – if you’ve been using a D750 for the past five years, well, at least it’ll be familiar, if not a huge upgrade.

    All that said, you can expect at least an increase in accuracy and tracking performance, courtesy of an upgraded 180k-pixel metering sensor and AF algorithms derived from the D5 sports camera. We’ll be digging into these in our full review to find out just how significant these updates are.

    Rear touchscreen and live view

    The D780 retains a similar tilting screen mechanism that its predecessor had – and I have to be honest, when I first used a D750 professionally, I was pretty stoked at tilting the screen out and not having to lay down on my stomach in the dirt for low angle shots. But I digress.

    In consideration of all the D780 offers, this is where the most significant updates lie. Sure, the screen has been updated to 2.36M dots (up from 1.23M), and offers touch functionality for shooting, playback and menus. But the real story is that once you switch the D780 into live view, you effectively have a bulkier, F-mount Nikon Z6 in your hands.

    You get the Z6’s 273 on-sensor phase-detection AF points (compared to the slow, ‘hunty’ contrast detection of the D750) and the same AF tap-to-track functionality for both stills and video. And speaking of video, the D780 is capable of 4K video, which we’d wager will look an awful lot like what the Z6 is capable of (in other words, pretty darn good).

    The one gripe we have with the touchscreen is that you can’t drag your finger across it with your eye to the viewfinder to move your AF point around (and this was included on Nikon’s D5600 DSLR as well as countless mirrorless models from other manufacturers).

    Dual UHS-II SD card slots

    Moving on, we can see that the Nikon has resisted moving the D780 to the XQD format seen on Nikon’s Z-mount cameras, instead offering dual UHS-II SD card slots (an upgrade from the UHS-I slots on the D750). Whether you prefer the more ubiquitous SD card format or not, at least we can breathe a collective sigh of relief that there will be somewhat fewer “NO DUAL CARD SLOTS NO BUY NOT PROFESSIONAL GRR” comments floating around the internet.*

    And while we haven’t yet tested the buffer depth of the D780, it was a bit limited on the D750, and was regarded as one of that camera’s weak points. We’re hopeful that the faster slots on the D780 will enable longer burst-shooting for sports and action photographers.

    *(In all seriousness, the D750 made for a great wedding camera, which is a use-case where dual card slots have an obvious benefit – we’re happy the D780 continues to offer them.)

    Battery, no grip

    One area that has generated a barrage of bilious bloviating is the D780’s apparent lack of compatibility with an add-on vertical grip. The bottom-plate of the camera is where we would usually see a small rubberized door hiding some electrical contacts that enable the camera to use additional controls present on most vertical battery grips. Without those, the most we can hope for is a grip like this one for the Z series, which boosts battery life but doesn’t do much else.

    At the very least, the D780 is CIPA rated to 2260 shots through the optical finder on a single EN-EL15b battery, which is over than a thousand shots more than the D750 could manage. That’s pretty impressive.

    Ports and connectivity

    Further related to battery life, the D780 gains a USB Type C port, which can also charge the camera if you have the EN-EL15b battery installed. The previous EN-EL15a and EN-EL15 batteries will power the camera, but they cannot be charged over USB. It should also allow for faster data transfers, as well as better tethering support.

    In terms of wireless data transfers, the D780 now supports Bluetooth as well as Wi-Fi using Nikon’s SnapBridge wireless system. It’s become quite a capable system and is a far cry from the original WMU mobile app that users had to contend with on the D750.

    There’s also a mini HDMI port, which supports 10-bit 4:2:2 4K video output (just like the Nikon Z6), as well as a remote port and microphone and headphone ports. If you have a stabilized lens, a gimbal or plan to use a tripod a lot, the D780 should make for a pretty capable DSLR video rig.

    The wrap

    By now it should be apparent that, in creating the D780, Nikon has chosen not to mess with the basics of what made the D750 a great camera. We still have a reasonably compact DSLR body with a comfortable grip and well-sorted ergonomics, burst shooting that is likely fast enough for most people, and what is looking to be a really capable viewfinder autofocus system. With the addition of 4K video, a smoother live view experience, a touchscreen and better wireless connectivity, they’ve only really updated the things that really needed updating.

    Does that make the D780 a particularly exciting camera? I suspect it will be pretty exciting for a fairly small subset of users (particularly those with large collections of F-mount lenses). But it does help guarantee that, just like the D750, the D780 will likely remain relevant as a reliable workhorse for pros and enthusiasts for many years to come.

    And if you’re a D750 user that still can’t decide whether or not to upgrade, watch this space – we’ll be publishing an article dedicated to just that very soon.

    Articles: Digital Photography Review (dpreview.com)

  • MacOS beta reveals ‘Pro Mode’ code, teasing a high-performance mode for MacBook Pros

    Apple may be preparing to release a new macOS feature called ‘Pro Mode,’ according to a recent report from 9to5Mac. Evidence of the feature was found nestled within macOS Catalina 10.15.3 beta code alongside strings of text. Based on the text, it seems ‘Pro Mode’ will be a manual feature that enables users to temporarily boost a Mac’s performance.

    Apple releases beta versions of its macOS operating system for developers to test before the updates are made available to casual users. Teardowns of these updates may reveal the presence of unannounced features that are hidden in the code, the latest example being this newly detailed ‘Pro Mode.’

    Strings of text listed as descriptions of the feature state that enabling Pro Mode may make apps ‘run faster, but battery life may decrease and fan noise may increase.’ As well, a string of text reveals that ‘fan speed limit [is] overridden’ when Pro Mode is active.

    The report indicates that users may be able to turn Pro Mode on manually and that the system will automatically disable it by the next day in a way similar to the existing Do Not Disturb feature. The feature is expected to be made available on MacBook laptops, making it possible for users to temporarily boost performance while editing images, processing videos or other tasks with more demanding requirements.

    Articles: Digital Photography Review (dpreview.com)

  • Acer ConceptD Ezel laptops feature a unique five-mode hinge and Wacom pen support

    During CES 2020, Acer introduced its ConceptD 7 Ezel and Ezel Pro laptops with a hinge offering five different usage modes. The laptops are designed for creators in need of powerful graphics performance and a high level of color accuracy. The models are joined by the ConceptD 700 workstation for filmmakers and animators.

    The Acer ConceptD laptops feature a unique Ezel hinge that enables users to position the screen in unique positions that aren’t possible with an ordinary notebook, including Floating Mode, Sharing Mode and Display Mode. The company describes its new laptop models as ideal for users who want to create, finalize and present their content from the same device.

    The Acer ConceptD 7 Ezel laptops are NVIDIA RTX Studio certified with up to 10th-gen Intel Core H processors, NVIDIA GeForce RTX graphics, 32GB of RAM and 2TB SSD storage. The ConceptD Ezel Pro is a more powerful alternative with up to an Intel Xeon processor and Quadro RTX graphics. Both models include the Wacom EMR pen.

    In addition, the models feature a 4K IPS display with a 3840 x 2160 resolution, 400 nits brightness, built-in color correction technology, 100% Adobe RGB color gamut and Delta E <2 color accuracy. The screen is protected with Gorilla Glass 6, plus it features an anti-glare coating. Other features include an SD card slot, dual Thunderbolt 3 ports, DisplayPort 1.4 and HDMI 2.0.

    The ConceptD 7 Ezel will be available in North America, Europe and China with prices starting at $ 2,699 / €2,499 / 19,999 RMB. The ConceptD Ezel Pro model will have a higher starting price at $ 3,099 / €2,999 / 21,999 RMB.

    Articles: Digital Photography Review (dpreview.com)

  • Luminar 4.1 update brings improved Sky Replacement, Portrait Enhancer and Erase tools

    Skylum has launched version 4.1 of its Luminar image editing and organization software, providing improvements to the AI-powered AI Sky Replacement and Portrait Enhancer tools, as well as the Erase tool.

    AI Sky Replacement now lets users add ‘atmospheric haze’ as it is usually seen during daytime, to their images. The company says that in combination with the Sky Temperature and Sky Exposure sliders this allows for a realistic light balance between the replaced sky and the image foreground. This is particularly useful when dealing with strongly saturated replacement skies that don’t match the foreground.

    The Erase tool has been upgraded to allow for more precise object removal with complicated backgrounds or complex gradients. The Erase tool now creates softer edges and Skylum says a new algorithm comes up with smarter selections for area replacement.

    Portrait Enhancer now works with a wider range of images, also enhancing faces that are smaller in the frame, for example in group shots or environmental portraits.

    In addition, the update brings a new Adjustments Amount slider that lets you blend image enhancements with the original image and general performance improvements. More information is available on the Skylum website.

    Press Release:

    Luminar update brings new AI-centric features and performance improvements

    A month after its initial release, Luminar 4 receives update with new and improved tools, performance upgrades and more.

    NEW YORK, NY – December 23, 2019 — Today, Skylum announced its first update to Luminar 4, complete with several feature additions and improvements to make workflow easier, and to allow for more control in its machine-learning tools. Released a month after its initial launch, the Luminar 4.1 update includes updates to AI Sky Replacement, the Erase tool, Portrait Enhancer and more.

    “Since we released Luminar 4 last month, we could not be more thrilled with what we’re seeing photographers create. With our first feature update to Luminar, we hope that these improvements will expand the possibilities for our users, and create new, exciting opportunities for their image creation workflows,” said Alex Tsepko, CEO of Skylum.

    While the new Luminar 4.1 update already packs some new and improved features, photographers can expect to see more updates to Luminar over the coming months, especially for its machine-learning tools.

    NEW Atmospheric Haze for AI Sky Replacement

    With Luminar 4, Skylum added the world’s first automatic sky replacement technology to its software. AI Sky Replacement gets a feature update in Luminar 4.1, letting photographers naturally add atmospheric haze that is usually seen during the day, to their images.

    Coupled with the Sky Temperature and Sky Exposure sliders, it’s now possible to achieve a perfectly balanced, harmonious image in a single tool. It keeps the light balance between the replaced sky and image foreground more realistic, leading to a more “finished” result.

    Atmospheric Haze is the perfect addition when dealing with harsh daylight photos with clear blue skies. If you have an oversaturated sky or if the brightness of your sky doesn’t match the foreground, it will add haze to make for a more accurate image.

    NEW Erase tool technology

    The Erase tool has been upgraded, using an all-new technology for precise object removal. Removing unwanted pixels is easier than ever, even with complicated backgrounds or complex gradients. Edges on the Erase tool are much softer, and the new algorithm means smarter selections for area replacement.

    Portrait Enhancer improvements

    Introduced with Luminar 4, Portrait Enhancer has also received improvements. The tool can now be used on even more images, including those with smaller faces like groups or environmental portraits.

    Adjustments Amount slider

    If you ever need to tone down an adjustment slightly, the new Adjustments Amount slider has you covered. It’s the perfect option to help you blend your tools with the original image. Just use the Layers tool to dial back the Adjustments Amount slider.

    You’ll find this new control for all image and adjustment layers. Traditional opacity controls remain available. The Adjustments Amount slider works with all tools except for transform options like Lens Correction, Slim Face and Enlarge Eyes.

    Additional performance and capability improvements

    Luminar 4.1 brings full support for Adobe Photoshop 2020, allowing you to use Luminar 4.1 as a plugin or as a Smart Filter with Smart Objects.

    Thanks to Luminar users, several performance improvements have been made, including memory management, user experience and stability, helping to make Luminar better than ever.

    How to update

    Luminar 4.1 is a free update to current Luminar 4 users. On a Mac, click in the Top Menu Bar and choose Luminar 4 > Check for updates. On Windows, in the Top Menu Bar choose Help > Check for updates.

    If you are running Luminar as a plugin with Photoshop, Lightroom Classic or Photoshop Elements, it’s also recommended you rerun the plugin installer.

    An expanded user manual has also been added, making it easier than ever for users to search and find answers to questions they might have about the software.

    Celebrate the holidays with savings on Luminar

    For a limited time only, Skylum is offering holiday savings on Luminar 4. Save $ 10 when purchasing Luminar 4, bringing the cost to $ 79 for new users and $ 69 for existing users at skylum.com/holiday-sale-2019.

    And for more photography inspiration, check out the Luminar Holiday Bag — a $ 395 value for just $ 129. Included is Luminar 4 plus a 6-months SmugMug Pro Plan (new users only), PDF Expert, a 1-year Viewbug Pro membership, one free Rocky Nook eBook and 20 free prints from Parabo Press.

    To get your copy or learn more about Luminar 4, visit skylum.com.

    Articles: Digital Photography Review (dpreview.com)

  • The V-Coptr Falcon is a bi-copter drone that has a 50-minute battery life

    The company that created the self-flying Hover 2 is back with a new, uniquely-designed unmanned aerial vehicle. Inspired by the V-22 Osprey military aircraft, the V-Coptr Falcon is a compact, foldable, first-of-its-kind V-shaped drone that boasts only 2 propellers. A reduced number of rotors, coupled with a more aerodynamic design, means less power is consumed during operation. As a result, the Falcon can fly up to 50 minutes.

    The Falcon has a 12MP, 1/2.3-inch Sony sensor with a 77º FOV on a 3-axis gimbal. Video can be recorded up to 4K/30p, 2.7k/60p, and 1080/120p. Photos can be captured in both RAW and JPEG format while video is limited to MP4. There is 8GB of internal storage available onboard though adding an external microSD card with up to 256GB storage is recommended.

    Front-facing stereo cameras provide obstacle avoidance that functions at a speed of up to 7m/s. The BlastOff controller can operate for 2.5 hours, fully charged, and it gives the Falcon a range that extends up to 7,000 meters (4.3 miles). Autofollow mode is available and users can also take advantage of the pre-programmed flight paths and post-editing templates found in Cinematic Shots.

    Similar models from DJI, Autel, and Parrot boast a flight time of up to 30 minutes, maximum. Slower rotation of aerodynamically-designed propellers help the Falcon stay airborne for up to 20 minutes longer. With its 12MP, 4K/30p camera, the Falcon is most similar to DJI’s Mavic Pro Platinum. The V-Coptr Falcon retails for $ 1000, with a required $ 100 deposit, and will start shipping in February 2020.

    Articles: Digital Photography Review (dpreview.com)

  • Tamron 20mm F2.8 macro for Sony E-mount ships this month for $350

    Tamron has announced that its 20mm F2.8 Di III OSD M1:2 macro lens for full-frame Sony E-mount cameras will be on sale at the end of this month. It will sit alongside two other close-focusing Tamron lenses: the 24mm F2.8 and 35mm F2.8.

    The 20mm F2.8 offers a minimum focus distance of 11cm (4.3″) and a max magnification of 0.5x. This compact lens is only 6.4cm (2.5″) long and is sealed against moisture and dust.

    The 20mm F2.8 Di III OSM M1:2 will be priced at $ 350 when it arrives on January 30th.

    Press Release

    Tamron Announces the Launch Date of Close-Focusing

    20mm F/2.8 Di III OSD M1:2 (Model F050)

    January 14, 2020, Commack, NY – Tamron announces the 20mm F/2.8 Di III OSD M1:2 (Model F050) prime lens for Sony E-mount full-frame mirrorless cameras will be on sale in the USA on January 30, 2020. The lens will sell for approximately $ 349.

    Now, all three close-focusing prime lenses including the 24mm F/2.8 Di III OSD M1:2 (Model F051) and the 35mm F/2.8 Di III OSD M1:2 (Model F053) will be on the market. Enjoy the world of wideangle prime lenses with this convenient and mobile lens, featuring the same 67mm filter diameter as all lenses in Tamron’s line-up for full-frame mirrorless cameras.

    Main features

    1. Enhanced close-focusing capability expands lens versatility with an MOD of 4.3 inches.
    2. 67mm filter diameter, same as all other Tamron lenses for full-frame mirrorless cameras.
    3. Superb high-resolution performance that matches the latest high-resolution image sensors.
    4. Superior design and consistent 2.5 in overall length facilitate ease-of-use.
    5. Moisture-Resistant Construction and Fluorine Coating contribute to a comfortable, user friendly photographic experience.
    6. Compatible with various camera-specific features including Fast Hybrid AF and Eye AF.

    Articles: Digital Photography Review (dpreview.com)

  • Sharp 8K Video Camera appears at CES 2020 with some specs and availability details

    During last year’s CES event, Sharp introduced a Micro Four Thirds camera prototype simply referred to as the ‘8K Video Camera.’ Details about the camera at the time had largely come from Kinotika, which had the chance to spend some hands-on time with the model. The company was back with more details about this model during CES 2020 and this time they come from a video published by Personal View.

    During the video interview below, Sharp’s vice president of New Business Development Cliff Quiroga revealed some details about the company’s 8K camera, which was demonstrated with a working model at the most recent Consumer Electronics Show. The camera will be able to record 8K/30p, 4K/60p and 1080/60p video, it was confirmed.

    The latter two recording options will be at 200Mbits/s at 10-bit, according to the interview, which reveals that the camera will feature a full-size HDMI output port, a 14cm (5.5″) fully articulating touch LCD, headphone and audio jacks, as well as a mini XLR port. The camera was demonstrated with an 8K external display.

    Sharp is aiming for an H2 2020 release date in Japan and plans to launch the camera in the United States at some point ‘shortly after that.’ The price is still expected to fall below $ 4,000, but additional details are still pending.

    Articles: Digital Photography Review (dpreview.com)

  • DJI agrees with the need for Remote ID, but not the FAA’s NPRM

    Remote ID, the concept that a drone should have a digital license plate, has long been championed by industry leaders. Implementing it properly would enable remote pilots to safely perform complex flights including over people, at night, and beyond-visual-line-of-sight. The Notice of Proposed Rulemaking (NPRM) for the Remote Identification of Unmanned Aircraft Systems was released the day after Christmas by the Federal Aviation Administration (FAA) after numerous delays. Unfortunately, the 319-page document proposes rules and regulations that many feel would hamper a burgeoning industry, including DJI.

    DJI’s Vice President of Policy & Legal Affairs, Brendan Schulman, posted a 2,100+ word call to action on the company’s main content portal, yesterday, explaining why there was a need for Remote ID while chastising the FAA for not ‘adopting good advice’ when drafting the NPRM. Since 2017, DJI has implemented Remote ID across all of their consumer drones in the form of AeroScope technology. The intention in taking this step is that both the government and industry would willingly adopt Remote ID.

    Schulman and DJI ‘support a simpler, easier, and free version of Remote ID that doesn’t need a cellular connection or a service subscription.’ To illustrate why these ideals are important, Schulman presents the following analogy that anyone who drives an automotive vehicle can understand: ‘…what if instead of just a license plate, your car was also legally required to be connected via the internet to a privately run car-tracking service that charged you an annual fee of about 20% of your car’s value, and stored six months of your driving data for government scrutiny? Would you think the government had gone too far?’

    ‘What if instead of just a license plate, your car was also legally required to be connected via the internet to a privately run car-tracking service that charged you an annual fee of about 20% of your car’s value, and stored six months of your driving data for government scrutiny? Would you think the government had gone too far?’

    The article goes on to explain how detrimental the Remote ID NPRM will be to everyone in the drone industry, except for those who stand to profit from it. The costs involved with compliance in everyday drone operations would cripple most commercial operators. Schulman hopes that every individual who will be adversely affected leaves a comment for the FAA to consider. As of this writing, over 5,300 have been posted. Comments will close on Monday, March 2nd.

    ‘Together, we can ensure that drone innovation is protected and that the safety and security of the skies are assured.’ Read Schulman’s post in its entirety, here.

    Articles: Digital Photography Review (dpreview.com)

  • DPReview TV: Pentax DA* 11-18mm F2.8 lens review

    It’s Pentax week on DPReview TV, so Chris and Jordan review the DA* 11-18mm F2.8 ultra-wide zoom for Pentax APS-C cameras. Do they like it? They sure do! Enough to inspire Jordan to sing. And sing some more. Get out your earplugs.

    Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

    • Introduction
    • Design and build
    • Weather sealing
    • Sample photos
    • Focal length
    • Autofocus
    • Close focusing
    • The town of Kimberly
    • Flare and sunstars
    • Chromatic aberration and distortion
    • Sharpness
    • Conclusion

    Sample gallery from this episode

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    Articles: Digital Photography Review (dpreview.com)

  • Slideshow: Agora’s #Urban2020 photo contest winner and finalists

    Agora’s #Urban2020 photo contest winner and finalists

    Agora, a free-to-use mobile app, hosts weekly competitions with cash prizes based on different themes. They just announced the winner of their #Urban2020 photo contest. 50 of the top entries were judged by Roc Isern, a Barcelona-based architectural photographer. Darren Reichel (@dlr on Agora), from Australia, was selected as the winner for his image of Brisbane’s Inner City Bypass freeway interchange. It was taken with a DJI Mavic 2 Pro at dusk in March 2019.

    “I chose @drl’s photo in first place for its futuristic look with his incredible road junction in the foreground and the downtown in the background. The light, colors and contrast are just gorgeous,” said Isern about his selection. Read more about Reichel’s inspiration behind capturing this image, here. He’ll use the $ 1,000 prize to take his wife on a much-needed vacation from the stresses of raising their two-year-old daughter.

    Agora is currently running photography contests based on the themes of Love, Celebration, Winter, Change the World, and Friends. It is available for iOS and Android. The title of the photo followed by the Agora username of the photographer and their home country. Captions are the photographers own words about their inspiration behind the image.

    #Urban2020 Winner: ‘Myriad’ by @dlr (Australia)

    About this photo: With his photo, @dlr shows how Australia’s third-largest city is adopting a very futuristic and forward-looking feel: “My wife, daughter and I were driving through this area late one evening, and we both commented on how complex this freeway interchange seemed. I thought to myself that this would look particularly amazing from the air, so I decided to go back the following weekend with my DJI Mavic 2 Pro drone, to capture the scene from above.

    This freeway interchange runs over the top of a local waterway known as Breakfast Creek, which is renowned for its mosquito population. Needless to say, I came home covered head to toe in mosquito bites. My body was itchy for a week! I was super impressed with how well this image turned out though, so I think that the pain of the mosquito bites was more than worth it. I’m hoping that Brisbane residents see this photo and feel a sense of pride, and realise just how quickly this amazing city and its urban infrastructure is growing.”

    #Urban2020 Top 50 Finalist: ’Untitled’ by @banudiker (Turkey)

    About this photo: @banudiker snapped this picture while sailing on the Nile River, Egypt: “We were sailing away from Cairo’s noisy neighbourhoods. There is a lot of monotonous, colorless tall buildings along the Nile River in downtown. When I saw this building that is totally different from the others, I started to imagine the life of people living there.”

    #Urban2020 Top 50 Finalist: ‘Organised Chaos’ by @leemumford8 (UK)

    About this photo: British photographer @leemumford8 snapped the incredible architecture of Hong Kong view from above: “Sometimes you don’t get the same sense of scale until you look at something from above. As the day turns too dark, I captured the hustle and bustle of the city streets.

    As the street lights turned on, the roads lit up in this bright yellow-orange which I like to call the city’s veins. As the light was fading, a longer shutter was needed as I wanted to keep the ISO fairly low to help reduce noise. As this was an aerial shot, it was a fine balance before camera shake was an issue. The visibility on this particular was so clear, conditions I’ve been unable to replicate since.”

    #Urban2020 Top 50 Finalist: ’Mind The Gap’ by @_kennyc_ (UK)

    About this photo: @_kennyc_ entered the competition with an iconic shot from the London Tube: “Heading out later at night in London was something I loved to do – it’s a stark difference to the hustle and bustle of the day, giving photographers with completely different scenes to work with. The underground in particular, is eerily peaceful compared to the mayhem of rush hour.

    At the time I had recently been inspired by a number of street/urban photographers who had captured some stunning scenes from various subways around the world – so one evening I picked up my camera and ventured below ground. This particular shot is an idea I’d had in my head ever since I watched the fantastic short film ‘Mind The Gap’ directed by Luke Flanagan.

    This iconic message/recording is played out throughout the Underground network and heard by millions of Londoners every day. It’s a message instantly recognisable to anyone that has lived in this incredible city, and something I wanted to capture in a picture. I knew the message wasn’t just played out through speakers, but painted in bright yellow paint on the floor of many tube stations. I thought getting a close-up shot of this while capturing the speed of a moving train would make for a pretty cool shot – I wasn’t wrong! While the Tube is iconic to many people around the world, ‘MIND THE GAP’ is iconic to Londoners.”

    #Urban2020 Top 50 Finalist: ‘Trapped’ by @laboussole.seon (France)

    About this photo: French expat @laboussole.seon took this photo of the legendary Yick Fat building in October 2017: “Hong Kong is the most exciting and most contrasted urban environment I know. With this photo, I wanted to transmit the feeling to be trapped in a city, in the middle of tall buildings with a high density of apartments, and the sky seems so far away. I took the photo at sunset so that the colours of the sky are an invitation to peace and warmth, to contrast with the main subject.

    It is challenging to take a photo in this place, as it is a famous spot, mostly for Instagramers. I went a couple of hours before sunset secure a good spot. Shortly after this shooting session, the management of the building has added a sign forbidding photo taking as it became too disturbing for the people actually living in the building. unfortunately for them, it doesn’t seem to have stopped tourists.”

    #Urban2020 Top 50 Finalist: ’Untitled’ by @anhtrungqng (Vietnam)

    About this photo: Every day, thousands of motorcycles and cars crowd the streets of Ho Chi Minh City also known as Saigon, the largest city in Vietnam where @anhtrungqng snapped this shot during the evening rush hour.

    #Urban2020 Top 50 Finalist: ‘Eyeshape’ by @marcelvanbalken (Netherlands)

    About this photo: Dutch photographer @marcelvanbalken said: “It was very bad weather, a lot of rain. So I had to take this picture with my camera in one hand and an umbrella in the other. The urban space in a play of light and shadow form shows an almost surrealistic decor. Pure black-and-white, in which the photography of architecture begins to take on abstract forms, reinforced by the apparently disproportionate addition of the man. If I win, I want to purchase a drone to be able to photograph urban spaces from a height.”

    #Urban2020 Top 50 Finalist: ‘Ship city’ by @azimronnie (Bangladesh)

    About this photo: @azimronnie (no longer on the app) shares some facts about this picture taken in his hometown, Dhaka: “The 500 enormous vessels used to transport bricks, sand and other goods, are either being built or are docked for maintenance work in Dhaka, Bangladesh. Shipbuilders in Bangladesh began exporting their ships to other countries in 2009, and it has since become a growing trade in the area.”

    #Urban2020 Top 50 Finalist: ‘Saigon-Vietnam’ by @nguyenvuphuoc (Vietnam)

    About this photo: @nguyenvuphuoc spotted these two female workers on Saigon’s under-construction new metro line: “When they saw me taking pictures, they asked me: Why? We are not beautiful, you should go and photograph beautiful girls instead.”

    #Urban2020 Top 50 Finalist: ‘Nightscape in Rome’ by @henrydo (USA)

    About this photo: The majesty of Rome’s iconic symbol was perfectly captured by @henrydo: “Rome has been completely urbanized but they still kept many historic sites to preserve the history. I think it fits quite well with the hashtag. This shot was a composite of 2 separate images taken at different times in the same location. Many people thought a drone is capable of capturing the lit-up night sky but the technology isn’t that advance, yet. If I. win, I will donate part of my prize to a charity to fight plastic pollution in the ocean and save the marine wildlife.”

    #Urban2020 Top 50 Finalist: ‘Radioactive ??‘ by @notanothermica (Belgium)

    About this photo: @notanothermica snapped this impressive shot while exploring the urban area of Charleroi, Belgium: “This is one of the most famous spots in Belgium for urban exploration. The door to enter this power plant is sometimes closed, which makes it not easy to get in. On that day, I was lucky because the door was open and there was some good light, which caused the cool glow on the metal of the powerplant. I wanted to place a person inside the power plant to had a reason for the viewer to relate to the photo.”

    #Urban2020 Top 50 Finalist: ‘/–\’ by @wunderbilder (Germany)

    About this photo: @wunderbilder captured this photo on a trip to Rome: “During our visit, we stayed in a flat in this building and I found the staircase geometrically very interesting. There was no elevator in the building.”

    #Urban2020 Top 50 Finalist: ‘Sinking in the fog’ by @borsch (Russia)

    About this photo: Russian photographer @borsch entered the competition with a foggy aerial view of his hometown, Moscow.

    #Urban2020 Top 50 Finalist: @paulaaranoa (Argentina)

    About this photo: Argentine photographer @paulaaranoa loved to explore the mysterious streets of Barcelona’s gothic neighbourhood: “The story behind the photo shows a character who is walking through a dark path, however the light is wrapping itself around him. On this day, the light was perfect. I watched how the people walking by were wrapped by the light, I spent at least an hour in the same place until the light changed… it was a unique spectacle and I consider myself privileged to have witnessed it.”

    #Urban2020 Top 50 Finalist: ‘Can’t stop won’t stop’ by @theliamman (UK)

    About this photo: @theliamman shot this photo nearby the telephone box outside St Paul’s Cathedral, London: “I wanted to transmit a sense of adventure. Cities come alive at night and I wanted to capture that bustling energy as the day turns to night. The top of this phone box was filthy, if you want to do the same photo I recommend wearing clothes that you don’t wear often.”

    Articles: Digital Photography Review (dpreview.com)