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Archive for January, 2018

Shutterstock bans unnatural monkey and ape photos at PETA’s request

05 Jan

Stock photography website Shutterstock has banned images showing monkeys and apes in unnatural situations following a complaint made by PETA. The complaint is made on the behalf of primates that may be exploited in order to produce the images, which may also show these animals in a state of distress even if they’re not perceived in that way.

An unnatural image, in this case, is one presenting an ape or monkey is an environment where it wouldn’t ordinarily be found, in costume or otherwise dressed up, demonstrating unnatural behaviors like dancing, interacting with humans in a way that isn’t natural for the animal, and similar scenarios.

In a post dated December 19th, PETA said, “Images of these animals in unnatural settings can harm conservation efforts and may increase the demand for these wild animals as ‘pets.'” After discussing these potential issues with Shutterstock, PETA says the company decided to ban the aforementioned content, also applying the ban to its Bigstock subsidiary.

The stock photo company’s ban is similarly applied to images that have been digitally altered to show the above situations. Other images featuring monkeys and apes are still allowed, however, including ones featuring zoos and natural habitats, as well as in cities where they’re naturally found.

Shutterstock confirmed the content ban to DPReview yesterday evening, with Shutterstock’s VP of Content Operations Paul Brennan saying:

In line with advertising industry changes regarding the use of great apes and monkeys in stock images and clips, Shutterstock no longer accepts commercial photographs or video clips of great apes and monkeys in unnatural situations.

Articles: Digital Photography Review (dpreview.com)

 
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Godox accidentally leaks AD600 Pro strobe that boasts several key improvements

05 Jan

Oops. Godox recently leaked its own strobe light—a new model called the AD600 Pro—via a product listing published briefly on its website. That product listing has since been pulled and no official announcement has been made, though a version of the light sold under the Flashpoint name is already up for preorder on Adorama for $ 900 USD as of this writing.

The Godox AD600 Pro retains the same 600 watts of power as the original model, but improves other elements such as decreasing recycle time from 2.5s to 0.9s, and replacing mini USB with USB-C. Screenshots of the Godox website product page were shared with DIY Photography, which notes that the modeling light’s output has also been increased from 10W to 38W.

Other notable changes between the original and new model include a “stable color temperature mode,” a step-less handle for angle adjustments, a slightly heavier weight at 3kg / 6.6lbs versus 2.66kg / 5.9lbs, and a redesigned head that eliminates the recessed bulb.

Based on the AD600 Pro’s spec sheet, not all changes are positive. The AD600PRO’s li-ion battery has a capacity of only 2600mAh, a drop from the AD600’s 8700mAh battery capacity; that means it can only shell out 360 full power flashes rather than the 500 flashes the original model is rated for. The AD600 Pro also lacks optical transmission mode.

Godox’s launch plans for the AD600 Pro are unclear, but screenshots of its product page live on in this Dropbox file, and it’ll likely appear online shortly.

Articles: Digital Photography Review (dpreview.com)

 
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Famed agency Stockland Martel shut down on December 31st

05 Jan

Bill Stockland and Maureen Martel, founders of the photo-representation agency Stockland Martel, have announced that the agency permanently closed on December 31st, 2017.

The famed agency was founded in 1983 in New York City, where it went on to represent some of the most notable photographers of the last three decades, including Walter Iooss, Art Streiber, Lauren Greenfield, Nadav Kander, and many others. The agency represented up to 25 commercial photographers at any given time across a variety of genres, including fashion, food, sports, and more.

The duo announced the agency’s closure on its website home page, explaining that they have retired from the business with plans to explore different interests, among other things. The statement reads, in full:

After more than three successful, exhilarating, and memorable decades, we decided to retire and begin a new chapter in our lives. We are looking forward to enjoying life at a slower pace, exploring new interests, and spending more time with family and friends.

We have been honored to represent some of the most talented photographers in the industry and are grateful for the trust they invested in us. Together, we built a business that we will forever be proud of, one that endured and thrived despite the many ways in which commercial photography has evolved since we began in 1983.

Stockland Martel has been the center of our lives for so long, and we have made so many wonderful friends along the way. We thank all of you for your collaboration and support over the years, and we wish you all continued success.

Articles: Digital Photography Review (dpreview.com)

 
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The Wait: A beautiful ode to patience and wildlife photography

04 Jan

Michel D’Oultremont is one of the brightest rising stars in the world of wildlife photography, and that’s not just our opinion—at just 22-years-old, he was named ‘Rising Star’ by the Wildlife Photographer of the Year competition. His work very much speaks for itself, but his work ethic is what’s turned the most heads, thanks to this intense short film by Contra titled The Wait.

The Wait follows Michel on a trip to Romania, where he went searching for the ‘perfect’ photo of the bison recently reintroduced to the Carpathian mountains.

Throughout the film, Michel explains his evolution as a wildlife photographer: how he began by taking pictures that were very “documentary” style before backing away to allow more breathing room and compositional space between himself and the animals he was capturing.

“I tried to put more importance on the environment or the play of light, rather than the animal itself,” he explains in the video. “I’d prefer to take a picture of a common bird in a beautiful environment…” That’s how he captures photos like the ones he shared with DPReview below. Environmental shots that are about so much more than their primary subject; photos that show the scene as it was.

“I do not cheat in my pictures, no flash, no post-treatment after,” he told me over email. “I do not remove any items and add none.”

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But the short film is titled Wait, after all, so it doesn’t take long for Michel to arrive at his main subject. As he hunkers down for his week-long wait in the Carpathian mountains, he begins to speak of patience, one of the most challenging skills one must develop to capture powerful wildlife photography.

“Patience is one of the most important things to have. Without patience it’s not possible to see the animals,” he narrates. “If half an hour, an hour passes and you’re fed up and want to leave the hide, it’s just not going to work. Generally, you’ve got to be in place for [at least] a few hours to be forgotten by nature.”

For many of his shots, it often takes a week or a week and a half of waiting, watching, and learning the environment before he captures the photograph he’s after. Which is, in the end, about how long it took to finally capture the bison on camera:

To see the rest of the bison photos he captured while in the Carpathians, or if you’re just in need of inspiration this Thursday, definitely check out the full short film at the top. It’s one of the more poignant and accurate descriptions of the kind of love-of-nature and love-of-photography that it takes to stand out as a wildlife photographer these days.

And if you enjoy the film, be sure to visit Michel’s website, like his Facebook page, and give him a follow on Instagram for lots more.

Articles: Digital Photography Review (dpreview.com)

 
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How to Add a Rainbow to Your Images Using Photoshop

04 Jan

A rainbow is a meteorological phenomenon that needs many specific conditions to come together in order to appear, which is why they are not that easy to come across. They are, however, a beautiful and evocative sight, and they are associated with different cultural and even religious meanings.

For all these reasons you might want to have a rainbow in your image even when there isn’t one, not to worry though, here’s an easy way to create them in Photoshop.

Rainbow landscape

Choosing the right image

Because of its significance and symbolism, you can incorporate a rainbow into almost any scene. However, if you want it to look natural it’s important that you choose a scenario in which it would be possible to see a rainbow in real life. To do so, you first need to understand how rainbows are formed.

When sunlight passes through a droplet of water it gets refracted and what we originally perceived as white light is now spread out into a band of colors called spectrum. Once it’s dispersed, we are able to perceive seven different colors in that light: red, orange, yellow, green, blue, indigo, and violet. This is what we call a rainbow.

Rainbow with reflection

Because it needs sunlight and water drops in the air, a common place to find a rainbow is near a fountain or a waterfall. This is what I’ll use to show you how to do it in Photoshop.

Getting started in Photoshop

Once you have your image opened in Photoshop, add a new empty layer by going to the top Menu > Layer > New Layer. A window will pop-up, you can name it “rainbow” just to keep things organized and then Click OK.

New Rainbow Layer

Then select the Gradient tool from the tools panel and a set of settings appear on the top bar as part of the options to adjust the gradient. On the left side of that top bar there is the Gradient Editor; if you open the menu for that by clicking on the down arrow, another window will pop-up with different gradient colors and styles. On the right of it, there is a gear icon that you can click on for more settings. From that menu, you need to choose the one called Special Effects.

Special Effects - rainbow photoshop

Creating the rainbow

A window appears to ask you if you want to replace current gradients with those from Special Effects. You need to agree to it so that a new set of gradients appears.

Replace Gradients - rainbow

From those select Russell’s Rainbow and adjust the width of each color to your liking with the slider.

Russell Rainbow

Shape the rainbow

A rainbow is theoretically a circle. However, it’s almost impossible to see it complete, only in rare circumstances from a plane. Usually, we see only a part of a rainbow and maximum the top half. In any case, you need to give it curviness. To achieve this just select the Radial Gradient from the top menu.

Curve rainbow photoshop

Then you can use any of the tools from the Menu > Edit > Transform options to rotate, distort or scale the rainbow.

Transform rainbow

Blend it to look more natural

Finally, to incorporate the rainbow into the image naturally, you can change the Layer Blend Mode from the drop-down menu you’ll find on top of the layers window. Select the Screen mode and move the slider to control the opacity.

You can also soften the edges to make it more believable by going to Menu> Filters > Blur > Gaussian Blur and move the Radius slider until you are satisfied with the result.

Blur rainbow

Then you just have to erase (hide) the parts that are overlapping the landscape by adding a layer mask and using the eraser tool. Note: make sure you are erasing on the mask, not the actual layer.

Erase rainbow

Conclusion

There you have it, a perfectly natural rainbow that can appear anytime when the sunlight passes through raindrops. It’s frequently seen after showers and rainstorms or near a fountain or waterfall. As long as you are looking opposite the sun and are at a low altitude angle.

Splash Rainbow

If you are more interested in the symbolic sense of the rainbow, you don’t have to worry so much about it looking natural. According to different cultures and periods in time, rainbows have been associated with different things.

For Christians, it’s found in the Bible after the big flooding as a covenant from God that water will no longer kill mankind, as a symbol of love. A different interpretation originated in ancient Europe as a legend that says that a leprechaun can be found at the end of the rainbow and if you can stare at it long enough, it will tell you where its pot of gold is hidden. And in contemporary cultures, a rainbow has been picked for the flag of the LGBT community as a sign of pride and symbolism of diversity.

Rainbow in the rain

In this case, I used it with this purpose by adding a rainbow to this photo from an Amsterdam’s Gay Pride Parade where it conveniently was raining so it would have been possible to see one. And you, how are you going to use this technique? Please share with us in the comment section below.

The post How to Add a Rainbow to Your Images Using Photoshop by Ana Mireles appeared first on Digital Photography School.


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Panasonic Lumix DC-G9 Shooting Experience

04 Jan

The Panasonic Lumix DC-G9 is the brand’s highest-end stills-oriented camera, sitting beside the video-oriented Lumix DC-GH5 at the top of the product lineup. The GH-series has long held a positive reputation with pro-video shooters but Panasonic hasn’t seen the likes of the GH5 resonate as well with the stills crowd. With the G9 Panasonic hopes to mimic the success the GH series has had in the video realm, and gain a greater foothold in the stills world.

There’s a good bit of crossover between the two cameras, but the G9 has some juicy offerings to whet the appetite of still photographers – specifically advanced amateurs and professionals – as well as those seeking a stills/video hybrid.

For starters, its faster than its video-centric sibling, capable of an impressive 20 fps with continuous autofocus for about 50 frames using the electronic shutter. It can also shoot at 9 fps with AF-C for 600+ frames using the mechanical shutter, which is equally as impressive.

Panasonic’s taken a page out of Olympus’ book – as other manufacturers with stabilized sensors recently have – and added a High-Resolution mode that shifts the sensor to build an 80MP file – this should be hugely appealing to still life and landscape shooters occasionally requiring resolution greater than that of a Micro Four Thirds camera.

Key Features

  • 20.3MP Live MOS sensor with no AA filter (same as GH5)
  • 3.68M-dot electronic viewfinder w/ 0.83x equivalent magnification
  • 1.04M-dot 3″ articulating touchscreen display
  • 5-axis in-body image stabilization with Dual I.S. 2 (CIPA rated 6.5 stops)
  • 20 fps burst w/continuous AF using the e-shutter (for ~50 frames)
  • 9 fps burst w/continuous AF using mechanical shutter (for 600+ frames)
  • 80MP Raw and/or JPEG files using High-Resolution mode
  • 4K/60p UHD video capture
  • Magnesium body designed to be dust/weather-sealed
  • Dual UHS-II card slots supporting new high-speed ‘V’-rated cards
  • Assortment of 4K and 6K Photo modes and in-camera focus stacking
  • USB charge and power capability
  • Top plate LCD
  • AF joystick
  • Wi-Fi + Bluetooth

Physical standouts include a top plate LCD – a true rarity in mirrorless-land – and one of the largest electronic viewfinders on a Micro Four Thirds cameras. It has an equivalent magnification of 0.83x and an eyepoint of 21mm. The G9 also features dual UHS-II card slots and can support V-rated SD cards – the industry’s fastest to date.

Don’t take these mostly-stills oriented improvements to mean the G9 is not a capable video camera, because it surely is. Like the GH5 it can shoot 4K/60p video and offers both headphone and microphone jacks, but it lacks the high bitrate options and extensive video tool set of its sibling. Dual I.S. 2 has also been improved and when using compatible lenses, the G9 offers the highest CIPA-rated level of stabilization – 6.5-stops – of any camera currently on the market. This is great news for both stills and video shooters.

Specs Compared

The Panasonic G9 has some stiff competition from similarly-priced high-end models from both Nikon and Olympus. Have a look at our comparison table below for a detailed breakdown:

MSRP $ 1700 $ 2000 $ 2000 $ 2000
Panasonic DC-G9 Panasonic DC-GH5 Olympus
OM-D E-M1 II
Nikon D500
Sensor size Micro Four Thirds Micro Four Thirds Micro Four Thirds APS-C
Sensor Resolution 20.3MP 20.3MP 20MP 21MP
ISO sensitivity
(expanded)
100-25600 100-25600 64 – 25600 50 – 1640000
AF system 225-point Contrast Detect AF system with DFD 225-point Contrast Detect AF system with DFD 121-point hybrid AF system 153-point Phase Detect AF system
Max frame rate w/C-AF 20 fps 9 fps 18 fps 10 fps
In-body stabilization Yes Yes Yes No
Viewfinder 3.68M-dot EVF (0.83X equiv. mag) 3.68M-dot EVF (0.76X equiv. mag)

2.36M-dot EVF (0.74x equiv. mag)

Optical (0.67x equiv. mag)
Top plate LCD Yes No No Yes
Rear screen 1.04M-dot 3″ articulating touch-sensitive 1.62M-dot 3.2″ articulating touch-sensitive 1.04M- dot 3″ articulating touch-sensitive

2.36M-dot 3.2″, tilting touch-sensitive

Video Resolution
  • UHD/60p
  • 1080/60p
  • UHD/60p
  • 1080/60p
  • UHD/30p
  • 1080/60p
  • UHD/30p
  • 1080/60p
Mic/Headphone Yes/Yes Yes/Yes Yes/Yes Yes/Yes
Battery Life (CIPA) 400 shots 410 shots 440 shots 1240 shots
Dimensions 137 x 97 x 92mm 139 x 98 x 87mm 134 x 91 x 69mm 147 x 115 x 81mm
Weight 658g 725 g 574g 760g

The Nikon D500, Panasonic Lumix DC-GH5 and Olympus OM-D E-M1 II are all DPReview Gold award winning cameras that, at the time of testing, we felt revolutionized their respective class of camera, upping the ante for what we’ve come to expect from a flagship Micro Four Thirds or APS-C body. That’s some big competition to go up against, but the G9 seems to hold its own. In spec terms, at least.

Note: 15mm F1.7 is not included in any kit, but we wish it were.

Availability

The Panasonic Lumix DC-G9 will be available, body-only, from mid-January with an MSRP of around $ 1700.

Articles: Digital Photography Review (dpreview.com)

 
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A letter from the Publisher

04 Jan

The first week of a new year is an important time for every business, and DPReview is no different. As we reflect on the past year and define our goals for 2018, I want to take this opportunity to introduce myself. Some of you might know me from occasional forum posts and comments—usually to explain a new site feature, or some new style of advert. My name is Scott Everett, and I’m DPReview’s new General Manager and Publisher, replacing Simon Joinson, who stepped down in October.

At its core, DPReview is a group of people. Those people are dedicated to investigating all of the latest developments in photographic imaging technology, and providing informed, unbiased analysis to our readers. We’ve been doing this in one way or another for almost 20 years; I joined DPReview in 2011, which feels like a long time ago, especially in such a fast-paced industry, but the site’s essential mission hasn’t changed in that time.

We are, of course, also a business. Traditionally, like most websites, DPReview has generated the majority of its income via conventional ‘banner’ advertising. But as advertisers increasingly move away from conventional ads and seek to position different types of content in as many channels as they can, we’ve faced an important question: how can we meet the needs of our advertisers while maintaining the trust of our readers?

Regular site visitors will have seen new kinds of content appearing on DPReview over the past couple of years—from long-form videos to occasional co-branded articles. Most of it has proven popular with our readers (thanks as always for the feedback), but we’re not going to rest on our laurels. And we are most definitely not going to compromise the high editorial standards that brought you here in the first place.

Simon Joinson, Barney Britton, and Allison Johnson listen politely as I attempt to explain something.

You’ll see some changes on the site in 2018 and beyond. We are in the middle of automating many of the tests we perform on cameras and lenses (yes, we plan to bring back lens reviews), which we hope will increase the consistency of our product reviews, and hopefully decrease the amount of time that some of them take. We are also working hard to re-think the user experience of the site on both desktop and—perhaps more importantly—mobile.

In an era when countless blogs offer up half-baked opinions on new products within minutes of their launch, DPReview with our labor-intensive method of testing might seem like something of a dinosaur. But we’re OK with that.

While both the photography and publishing worlds have changed drastically since I bought my first digital camera (an Olympus E-1, if you were curious), DPReview in 2018 is what it always was: a website run by and for discerning photography and technology enthusiasts. And our readers are our most valuable asset. This site would not be what it is without the community of photographers that visit every day.

So hello, thank you for your support, and Happy New Year!

Scott Everett, Publisher and General Manager, DPReview.com

Articles: Digital Photography Review (dpreview.com)

 
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Modular PITTA camera transforms into drone, action, and security cameras

04 Jan

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PITTA, a modular ball-shaped 13MP camera that transforms into a drone, is currently blasting its way through a campaign on Kickstarter. The small, sphere-shaped modular camera launched on the crowdfunding platform with a $ 50K goal, but as of this writing it has already raised well over a quarter million dollars.

Eyedea, the company behind PITTA, describes its product as a multi-purpose device:

It’s not just aerial, not just handheld, not just wearable or mountable, it’s all of these. It’s a complete system packed into a single device.

Here’s a quick intro video from the company’s Kickstarter:

In its most basic form, PITTA looks like a simple black sphere, which is the 200g/7oz camera body. The sphere-shaped body features a 13MP sensor, support for 4K/30fps recording, and “software image stabilization.” Additionally, the body contains various sensors including GPS/GLONASS, gyroscope, accelerometer, barometer, magnetometer, object detection and visual tracking hardware, and optical flow positioning sensors.

Joining that is an Action Cam Module, Charging Cradle, and Drone Module. When docked in the Charging Cradle, PITTA can be used as a stationary security camera or livestreaming camera.

When used with the Action Module, PITTA can be attached to a tripod or other mount and used as an action camera that supports burst shot, 60fps slow-motion recording, livestreaming, and time lapse, as well as direct sharing to the major social media platforms.

The Drone Module, meanwhile, transforms the camera sphere into a drone via a snap and twist-to-lock design. The resulting camera drone is controlled using a smartphone and companion app, which itself offers several operation modes. PITTA as a drone supports taking panoramas, hovering in place, orbiting around the operator, auto-following the operator, as well as a “Come Back Home” function, terrain awareness, auto-landing, and GPS. The slow-motion and time lapse functions aren’t available in drone mode.

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PITTA is being offered to Kickstarter backers who pledge $ 290 for a Kickstarter Exclusive Basic Kit or $ 320 for a Kickstarter Exclusive Full Package, though other pledge packages are also available. Shipments to backers are expected to start in May 2018, though as with any crowdfunding campaign, plans could change, so proceed with caution.

To learn more or pledge for your own, head over to Kickstarter by clicking here.

Articles: Digital Photography Review (dpreview.com)

 
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NYPD investigating Terry Richardson over sexual assault accusations

04 Jan
Photo by Christopher Macsurak (cc-by-2.0)

Fashion industry photographer Terry Richardson is reportedly the subject of an ongoing NYPD investigation following multiple accusations of sexual assault. According to the NY Daily News, two former models and a Model Alliance representative confirmed that they have been approached by law enforcement as part of the investigation.

According to the report, NYPD Special Victims division detectives have spoken with former models Caron Bernstein and Lindsay Jones about their alleged encounters with Richardson. Both have previously accused Richardson of sexual assault, similar accusations to which have been made by some other women who have worked with Richardson over the years.

Richardson has long denied the accusations against him, and yet he has continued to face increased scrutiny following an editorial published by The Times in October 2017. The article claimed, among other things, that the photographer has a “reputation as the Harvey Weinstein of fashion.” Days later, a leaked email revealed that Condé Nast had ordered its publications to blacklist Richardson.

A representative of Richardson’s had issued a statement to HuffPost back in October about the Condé Nast email and the accusations in general, saying:

Terry is disappointed to hear about this email especially because he has previously addressed these old stories. He is an artist who has been known for his sexually explicit work so many of his professional interactions with subjects were sexual and explicit in nature but all of the subjects of his work participated consensually.

In a more recent statement to the NY Daily News, Bernstein shot down Richardson’s claims of innocence, saying, “I didn’t know this man from Adam. I would never walk in somewhere and agree to a sex act with a stranger. I’ve never done that in my entire life. Never in a million years.”

Neither the NYPD nor Richardson have commented on the NY Daily News report at this time.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Using the $5,700 Canon 200mm F2 on the Sony a7R III

04 Jan

Photographer and YouTuber Manny Ortiz recently put together what he calls “the sexiest camera and lens combo” he has ever held: combining the DPReview Product of the Year Sony a7R III with Canon’s beastly 200mm F2L IS USM. He wanted to see if this $ 5,700 lens could live up to its potential on Sony’s latest mirrorless flagship, so he took it with him to a family photo shoot and brought along the vlogging camera to give us all a behind the scenes look.

He adapted the Canon lens to the Sony body using the Sigma MC-11 mount converter, and despite the fact that he was using three different brands at once, the Sony and Canon played well together. In particular, Manny was impressed that Sony’s Eye-AF worked as well as it did with the Canon 200mm, keeping focus locked even on the edges of the frame.

Summing up his final thoughts on this camera and lens combo, he says:

The performance of the Canon 200mm on the Sony a7RIII is really impressive […] It actually blows me away how far [Sony] have come in terms of improving autofocus performance with adapted lenses.

I did notice that in low light, autofocus, especially Eye-AF, isn’t as consistent […] but in good light I didn’t miss any focus.

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Beyond the low-light limitations Manny mentions, it’s also worth noting that you don’t exactly get “all of those” AF modes Sony offers. You still don’t have access to Zone or any of the Lock-on AF modes of the Sony a7R III with Canon glass. Also, max burst rate is just 3 fps. Still, for portrait photographers like Manny, face recognition and Eye-AF are the big ones, and the a7R III seemed to perform very well in those modes in Manny’s test shoot.

To see more of Manny’s photos or tag along on his next photo shoot, head over to his website, give him a follow on Instagram, or subscribe to his channel on YouTube.

Articles: Digital Photography Review (dpreview.com)

 
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