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DPReview TV: Sony a6400 first impressions review

21 Jan

This week, Sony introduced its newest APS-C camera, the a6400. Of course, Chris and Jordan were on hand to take it for a spin and test out all the new features. Watch to find out what they think of Sony’s newest model.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

Opening sequence
Introduction
Shooting with tracking autofocus (beta) on the Sony a9
Body and handling
Weather sealing
Sensor
Buffer
Menus and customization
Video
Video: tracking AF
Video: time-lapse
Video: rolling shutter
Video: no record limit
As a vlogging camera
Autofocus
Final thoughts

Articles: Digital Photography Review (dpreview.com)

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How Failure Can Improve Your Photography

21 Jan

The post How Failure Can Improve Your Photography appeared first on Digital Photography School. It was authored by Mat Coker.

Failure is an indication that you’re not good at something, but it’s not a sign that you should give up.

Many people let failure stop them from moving forward. But you should use it as a guide to growth. If the taste of failure has convinced you to give up in the past, let me show you how to use it for your benefit.

Failure in photography can be defined in a number of ways, so let’s look at how failure can help you improve your photography.

You tried photography but you totally sucked at it

Maybe you wish you were a ‘natural’ and capable of taking amazing photos without lots of practice and disappointment. But I think it’s better that you have to struggle to get good.

Yes, some people seem to have a knack for picking up a camera for the first time and taking gorgeous photos without even knowing what they’re doing. But because people who are naturals don’t really know what they’re doing, they’re going to hit their limits pretty quick. Their photos may all look the same and they won’t know how to improve. But because you had to struggle to get good, learning tough new things will be comfortable and normal for you.

I started out as a kid with a film camera and almost all of my photos were terrible. I made very little progress over the years until I found people to teach me.

If you’re terrible at photography then you need a teacher. You can find teachers online or in person. Usually, a combination of online and in person learning works well.

Failure should lead you to learn more.

This was my first attempt at a formal portrait of my son. I had no idea how to work my camera or how light effects a photo.

With the help of Lightroom, I was able to salvage the photo to some degree. It’s not quite the emotion I was going for, but that’s what he and I were feeling in the moment. At that point, I never wanted to take another formal portrait again. Little did I know, I just needed to learn.

You fail to accomplish something simple

It can be so humiliating to fail at something simple! You might feel dumb or completely incompetent, but don’t give up.

When you fail at something you thought would be simple, you probably just underestimated how difficult it would be. You found out it would be tougher than you thought and you have a little more to learn.

As long as you understand what made you fail at something simple, you can learn how to improve.

Thinking that a quick head and shoulder portrait of my son would be easy to accomplish, this was the best shot I could get! I tried for half an hour but failed to get that simple photo. What I learned was that toddlers have no intention of sitting still for a photo. So I learned to work with toddlers and to embrace unexpected candid moments like the one in this photo.

You fail to achieve your vision

Maybe you have good photography skills, but you always seem to fall short of your vision.

That is perfectly normal. Nobody who aims high achieves their goals or vision easily. Most of your journey will be learning failure, but it will be so sweet when you do achieve it.

Having learned about light and the nature of toddlers, I decided to create a portrait that I envisioned based on a Charlie Brown Christmas movie. Working with a toddler, I knew that I would only have a minute or two to capture the image.

Even though I failed to work well with toddlers at first, learning how to do it helped me to hone my vision under pressure.

Follow failure until it leads you to success.

You lose competitions

Perhaps you pour your heart and soul into your photography only to lose competition after competition.

I actually recommend that at first, don’t enter competitions to win, but enter for the valuable feedback from the judges. Put your photos up against photographers who are better than you and listen to the feedback you receive. Learn to express your unique vision in a way that pleases viewers with high standards. In this way failure will be your guide, telling you exactly how to improve.

I had a “second runner up” photo that might have won first place, but one of the judges brought my score down a lot. He said the light was bad in my photo. At first, I was hurt by his comments. But to be honest, I hadn’t even thought about light when I took the photo. Light was the very next thing I learned about.

Invite failure to be part of your journey and you won’t mind it so much.

There are technical imperfections in your photos

If you find it difficult to live with technical imperfections then there are two things you should do.

The first is to relax your attitude toward standards a bit. At the very least don’t expect every photo to be perfect. Most photographers are thrilled if 10% of their photos turn out. But perhaps only 1% will be worth keeping. If you keep having the same technical problem then you should learn how to fix it.

The second is to occasionally embrace imperfections as part of your photo. Perhaps extreme conditions (light, weather, etc.) will inevitably lead to imperfect photos. Is that so bad?

Change your attitude toward technical failure.

I love walking into a chaotic scene and making a portrait from it. This picture has some technical errors though. It is quite grainy and a little misfocused. To me, that expresses the chaos of the moment all the more.

“Don’t like the high-ISO noise? Make a photograph that’s so good, so captivating, that no one notices it! If noise is what people notice, noise is not your biggest problem.” – David DuChemin

Your photos fail to move you

I’ve gone through long periods of boredom with photography and my photos. At times it has become a mechanical process. In those times I’ve plunged deeper into why I even take photos to begin with. I’ve come to realize that for me photography is an exploration of human nature – explaining man to man and each to himself, as Edward Steichen puts it.

Wrestling with why your photography fails to move you may actually take you deeper into your pursuit of photography. It may help you to understand what excites you about photography and get you back on track.

Inspired by a friend’s struggle with anxiety, I envisioned a candid portrait session on the theme “A Glorious Mess.” I didn’t allow any posing. I could only capture candid moments that happened naturally. This is one of the photos that I felt best expressed the theme.

Your photos fail to move others

My wife paid a lot of money to surprise me with a mentoring session with a famous Canadian photographer. He told me that my photos are technically fine but they don’t move him. He referred to them as saccharine (super sweet fake sugar).

Imagine putting it all there and paying big money to have a person tell you how terrible they think your photos are! He didn’t say it to be mean, he was just being honest.

This is a good example of photos I take that fail to move other photographers. It’s the same old golden light and cute toddler smile that they see everywhere. Though this photo may fail to move fellow photographers, It does move the families that hire me. That’s worth it for me.

If other photographers aren’t interested in your photos or editors reject them for publication, it doesn’t mean you’re a failure as a photographer. Your photos just didn’t interest them or weren’t useful to them. But listening to their critique or advice might help you to take photos that are more universally pleasing.

When others think you have failed, try to learn something from their perspective.

Failure should lead to refinement.

If you never grow – this is true failure

Perhaps you’re stuck because you need a teacher, or you’re stuck because you’re afraid to fail, or haven’t bounced back from failure.

Each type of failure has the potential to make you throw up your hands and quit. You’re more likely to quit when you believe that failure is a sign that you lack natural talent.

But failure also has the potential to help you grow, perhaps in ways you wouldn’t have grown without the failure.

Failure isn’t a reason to give up but a reason to go deeper.

Feature image: pixabay

The post How Failure Can Improve Your Photography appeared first on Digital Photography School. It was authored by Mat Coker.

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So You Want to Build a Website? Part 4: Adding Website Content

21 Jan

The post So You Want to Build a Website? Part 4: Adding Website Content appeared first on Digital Photography School. It was authored by Carl Spring.

Patrick Fore

If you’ve been following along with this series (part one, part two, part three), you should now have a great portfolio to proudly display on your website. Next comes to what many think is the hardest part – writing about yourself and your photography. Whilst it may seem hard, there are some tips and tricks for adding website content.

Write for your audience

I cannot stress this enough. You need to know who you are talking to with your website. Are you talking to newly engaged couples looking for a wedding photographer? Are you talking to art directors who are looking for a photographer to shoot their next advertising campaign? Or, are you talking to family & friends, showing them your photography? You will speak to all of the people in these examples differently, therefore your website text must do the same. When you know who you are talking to, you know how to talk to them. Therefore, make sure you have an audience in mind before you start to write.

The fab five

The main pages on almost all websites are; the Home page, your Portfolio, an About page, a Contact page and a Blog. We’ve already covered the portfolio in a previous post, therefore if you’ve not read that, do it first. The Contact page is super easy, simply let people know how to get in touch with you, that’s all there is to it. However, the Home, About and Blog pages are a little more complicated. Let’s have a look at these in a little more detail.

The home page

A website you all know well. Straight away you see a relevant image and a call to action.

The home page is the introduction to you and your work and it is the first thing people see. For those of you who are art/commercial photographers, it is standard to lead with your portfolio. Therefore, if this is the field you are aiming for, it is best to stick with this format. Also, if your website is currently aimed at showcasing your work to family and friends, a portfolio is also a good option for your home page.

However, if you are setting up a website for selling photography services, things are slightly different. The main aim of your home page is to answer the three basic questions any potential customer will have within five seconds. Who are you? What do you do? Where are you based? If these questions can’t be answered in their first few seconds on a website, people will generally click back and look somewhere else. We live in a world where attention spans are shrinking all the time. You need to make sure that your website is geared toward this.

Your home page still needs to feature images to draw attention, therefore starting with a hero shot is the best idea. This is the main image for the page and can usually take up all/most of the screen when first viewed, therefore it is essential that this image should be your best work and relevant to your audience. This image will make the right people explore your site further and the wrong ones exit. Remember, you are not looking to please everyone. You need to attract your tribe.

Adding a good headline can grab your readers attention and get them to further explore your site. Write it for your audience. Photography is a service industry. People come to you with a problem (they need photos) and you provide the service to help them fix their problem (you take their photos). Explain how can you help them. What can you do to make their life better? Make it short, snappy and always tell them the benefits of using you.

This homepage passes the test. It shows the name, what they do & where they are based quickly. Also note the call to action.

The main text should be light in tone and friendly. It should tell the viewer about you, your site and services. Keep it focussed on your audience and include a Call to Action. A call to action tells visitors what you want them to do (for example, a click to contact button). You should try to have multiple calls to action on your page and preferably one that the user can do without scrolling down the page. Making it easy for the visitor to know what to do next is key.

Lastly, add a couple of testimonials for happy past clients. Not only past clients but awards and competitions you have won. This shows viewers you are able to deliver great photos and can be trusted. Think about it, how many people check a hotel on Trip Advisor before booking? Social proof shows you mean business!

The About Page

This is where you get to show the real you. A list of facts will not interest anyone, neither will a simple list of how wonderful you are. This is the chance to showcase who you really are and what you believe in. This isn’t the place to brag about what cameras you own, this is the place to explain why you love photography.

You can tell the story of your photography journey. How did you get into it? What do you love about your work? Again make it interesting and try to avoid listing facts. Show your passion.

The about page is also a great place to add social proof. List any publications you have featured in, and showcase more reviews from happy customers. Remember, people want to know you can be trusted and social proof is the best way to show this on your site.

You should always write in the same way you speak on your about page. If your website speaks to people in a certain way, but when they meet you there is a disconnect it is never good. Don’t try to be something you’re not. Be you! Now, whether you write in first or third person is down to personal preference, but know your audience (and yourself) and write accordingly.

Lastly, you need a photo of you. A well-shot photo where people can see and connect with you is always worthwhile.

An example of an about page aimed at Art Directors. Short sweet and shows who I have worked with

The blog

I’ve saved the most important (and most daunting) until last. No matter what type of photography you do, your blog will be the reason people come back to your site. Think of your blog as a magazine for your audience. It shows your latest work (and progress) as well as letting you explain your thoughts behind your photography.

I know some of you reading this now will be filled with dread. Not only do I have to write a load of stuff for my website, now you’re asking me to write all the time? However, like taking photos, writing becomes easier over time.

Some examples of good blog posts include “Why I like this image”. Talk about a photo you love and then explain why you love it and possibly the technical stuff behind it. A blog about each photo shoot you do. Again, explain your thought process and how you approached the shoot. Another post idea could be showing your personality. Talk about films or records you love. The choice is endless, but the important thing is to write them. One other thing to remember is to aim for at least 350 words as this works great with SEO (search engine optimization).

There are few better examples of a blog than Digital Photography School. Constant content that keeps us all coming back.

Get feedback

As with creating your portfolio, get others to give their opinion. When you have written your content, it is particularly important to check it thoroughly and get a couple of people to proofread your work before you go live. It is so simple to misread your work (trust me I do it often) and nothing gives off the impression of an amateur like spelling mistakes.

For example, my wonderful wife proofs all my work. Just remember, if you do spot a spelling or grammar mistake in my articles, it is her not me! (dPS editor’s note: or me!)

On that point (and whilst my wife shouts at me for that last comment), it is time for you to take these tips and begin to craft your own website copy. In the final installment of this series, you’ll learn top tips to help your site rank well in Google. Until then, get writing your copy and let’s see the fruits of your labor in the comment section.

The post So You Want to Build a Website? Part 4: Adding Website Content appeared first on Digital Photography School. It was authored by Carl Spring.

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How to Choose the Right Photography Backdrop

21 Jan

The post How to Choose the Right Photography Backdrop appeared first on Digital Photography School. It was authored by Mark C Hughes.

So, you’ve picked up some strobes to help light your subjects and are in the process of setting up your studio. This is a very exciting time: so much to photograph, total control of the lighting, what an opportunity…. but how to choose the right photography backdrop? How you shoot and what you shoot will affect your decision, as will your budget.

1 - How to Choose the Right Photography Backdrop

Model with a black seamless paper backdrop

Photography backdrops make your photographs pop

If you haven’t figured it out already – you soon will – most photographers realize that one of the essential features of a good photograph is the thing that nobody notices: the background. When it works, people “oohh” and “aahh”. However, if it doesn’t work, people can’t figure out why they don’t like your image. One of the secrets of any successful photographer is paying attention to what’s behind your subject. This applies to any photograph, not just those taken in the studio. You might want to consider purchasing commercial backdrops that can significantly improve the quality of your shots.

2 - How to Choose the Right Photography Backdrop

Model with a white seamless paper backdrop

Beyond lighting

Assuming you already know what’s involved in lighting a studio (if not check this out), the next question is what to use as a backdrop. There are multiple types and sizes with pros and cons for each. Backdrop mounting and portability are also necessary.

It is one thing to have a backdrop for use in your studio, but what if you are asked to set up somewhere else? How do you make your backdrop portable? What goes best with the subject? If you are shooting a white subject, you probably don’t want a white backdrop because the white may disappear into the background (same with black on black). The color doesn’t need to be complementary (although it helps if it is) but should provide contrast. Lighting tricks can alleviate some of this, but sometimes it’s just easier to use a contrasting backdrop.

3 - How to Choose the Right Photography Backdrop

Model with a white seamless paper backdrop

Types

There are multiple types of backdrops but they all function similarly. They all tend to be relatively thin and only intended as backgrounds (not designed for subjects to interact with). Then can be constructed of seamless paper, muslin, hand-painted canvas or vinyl. The most expensive, least flexible, and the fanciest backdrop is the cyclorama or cyc studio.

Seamless paper

Seamless paper is a versatile and inexpensive backdrop and is a staple for many studios. They are available in many colors, with the most common being black or white. You can produce gray from white backdrops by altering your lighting setup, so a dedicated gray backdrop isn’t necessary. You can also modify white backgrounds with gelled lighting to created colored backgrounds.

4 - How to Choose the Right Photography Backdrop

Product photo on a seamless white paper backdrop

There are pros of using seamless paper: the look is clean, you can modify the background colors with lighting, and the images can be cut out for background replacement. The cons of using seamless paper are: the rolls can be awkward to transport if a wide size (even just from the store to the studio), the paper can be easily damaged, and the backgrounds have no texture. In addition, if you have colored paper, the background colors can seep into the edges of your subject.

Seamless paper provides flooring as well as the backdrop without a visible interface between the floor and the background. This makes it ideal for product photography as well as studio shots. The lack of a seam makes the image appear to float with an infinite background.

Muslin

Muslin backdrops are constructed from a cotton fabric. They come in various weights and sizes and can be dyed in a single color, have color splotches, or be hand painted. Because muslin backdrops have been in use for a long time, some photographers don’t pay much attention to them. They are, however, very portable and generally look good. Another great feature is that you can easily wash them if soiled. However, you may need to clean larger sizes in a commercial machine. Muslin backdrops can look modern or retro, depending upon the style of lighting. They are a great addition to every photographer’s arsenal of backdrops.

5 - How to Choose the Right Photography Backdrop

Model in front of dyed muslin backdrop

Similar to paper, you can use longer muslin as flooring for the subject. Solid colors function much like seamless paper, but you need to be cautious about folds in the muslin as they can be distracting from the subject. Muslin backdrops produce many of the same effects as a seamless paper but are much easier to transport.

6 - How to Choose the Right Photography Backdrop

Dog in front of muslin backdrop showing flooring

There are a few downsides to muslin backdrops. Depending upon how you light them, you may see folds in the fabric behind your subject. As your subject moves, the backdrop may also move, disrupting your background. People may even trip over the material as they walk across the muslin. If you are not careful, solid colored muslins will wrinkle, detracting from the appearance of the background. Because muslins were popular for so many years, certain styles appear particularly old or dated. Photographers need to take care in choosing the style of the muslin backdrops.

7 - How to Choose the Right Photography Backdrop

Dog in front of muslin backdrop

Hand-painted canvas

If you have ever flipped through a copy of Vanity Fair or seen images from Annie Leibovitz, you know the look of a hand-painted canvas backdrop. They look amazing. These studio backdrops are hand painted onto large sheets of canvas. The paint is done in multiple layers to give the perception of depth and texture. The ones used in many of the fashion or movie-star photoshoots tend to be specialty canvases that are custom made. The effort to paint the backdrops, and the large space required to create them, tends to make these expensive.

8 - How to Choose the Right Photography Backdrop

Cat in front of hand-painted canvas backdrop

Hand-painted canvas backdrops provide a vibrant appearance. A lighting change does not generate this richness, but purely because of the reflective surfaces on the backdrop. The paint adds texture, and the various layers of the paint add depth and tonality you cannot achieve with seamless paper. Because they are hand-painted, each canvas tends to be unique.

9 - How to Choose the Right Photography Backdrop

Hand-painted canvas backdrop

The downsides of hand-painted canvas backdrops are cost and care in handling. You don’t want people stepping on your canvas backdrops because they are easily damaged and difficult to clean. That said, the visual effect of a hand-painted canvas backdrop can be stunning.

Vinyl

Vinyl backdrops consist of large images printed on pliable vinyl. Many images are suitable for a vinyl backdrop, but this form is limited to the vertical surface in the background. Flooring is separate. You can purchase separate vinyl sheets for flooring to simulate flooring (such as hardwood floors).

10 - How to Choose the Right Photography Backdrop

Unimpressed dog in front of a vinyl backdrop

Vinyl backdrops can feature unusual or creative backgrounds. They are great for children, parties or events and are washable, so they work for different types of cake smash, food fight or spray images (be careful about the rest of your studio). Also, they are quite pliable so they can be moved about without much difficulty. Finally, they can feature images that appear three dimensional (like a bookcase).

On the other hand, vinyl backdrops are a little reflective, so you need to be cautious about how your lights are set up. You also need to be aware that the backgrounds are two dimensional even though they can appear to be three dimensional.

Cycloramas or Cyc Studios

A cyclorama or cyc studio is a fixed (built in place) backdrop consisting of two intersecting wall sections that have been curved seamlessly into one another and the floor so that there are no visible corners. By curving the corners, the background flows from wall to wall to floor. A cyclorama is a practical and durable backdrop. However, it is also the least flexible (it won’t move) and is only one color (usually white). It makes the subject appear to be floating with an infinite background and is a great way to create cut outs to modify your background.

This type of backdrop takes a lot of space, time and effort, but makes for great photographs.

Sizes and handling

Seamless paper doesn’t usually have any texture. It comes in large rolls of varying widths, with 53 inches and 107 inches being the two most common sizes. Seamless paper also provides the flooring in front of the background without a corner edge. Because it is paper, you need to be aware of dirty or wet footwear because they leave marks and can damage the paper. When the paper is too damaged, you roll out more paper and discard the dirty or damaged section. The rolls generally have lots of paper, somewhere in the range of 9-12 yards (27-36 feet). White seamless paper is often ideal for a studio set up when you want to cut out the background and replace it with something else.

11 - How to Choose the Right Photography Backdrop

Santa in front of black muslin backdrop

Muslin backdrops come in different styles: standard, washed, crumpled and hand-painted. Standard sizes are 10 feet wide by 12 or 24 feet long. They can be challenging to manage but cover a wide area. Ideally, they come sewn with a pocket at the top that allows you to run it on a rod. Folds in the backdrop can evoke an older photographic style, so most contemporary photographers try to flatten out the muslin. Wrinkle elimination sometimes requires a steamer.

12 - How to Choose the Right Photography Backdrop

Model with a large muslin backdrop

Because canvas is a much heavier material, these backdrops typically come on rolls. If you don’t manage them as rolls, they can be difficult to handle. Standard sizes are about 6 feet wide by 8 feet tall. Most suppliers have a range of sizes. Canvas tends to hang in stretched out to avoid any folds. If you are doing full-length photographs, you will need to consider what you are using for the floor.

Vinyl backdrops vary in size. Similar to canvas, you need to stretch them to eliminate folds. Some vinyl backdrops come with printed flooring (such as hardwood floors) and can be used together, provided you deal with the interface. Stretching the vinyl on the mounting allows for the image to present well. When shooting with vinyl, you need to ensure that the lighting does not reflect into the camera lens. If you’ve used a backdrop with a three-dimensional image, a reflection will make it clear that the background is not real.

Mounting

There are a few options for mounting backdrops. The determining factor tends to be the size and type of backdrop you are using, as well as the frequency with which you plan on changing them. In general, you want some ability to change and mix up the backgrounds.

The basic options for mounting are fixed bars or portable stands. If you have a permanent studio and never plan on taking any of your backgrounds on the road, fixed bars or rollers are ideal. You mount them on the ceiling or wall so that they are suitably high, and allow the paper or fabric to roll off. Mounting on the ceiling means the backdrop will be high enough for your tallest subjects. Framing can be done merely with conduit and small size piping. There are also large electrically controlled rollers available. The costs can range from very cheap to very expensive.

13 - How to Choose the Right Photography Backdrop

Stands, allow for flexibility of the configuration. Some stands are intended for backdrops and often come as a set with clamps included. With portable backdrops, clamps play an integral role in making the background smooth and even. It is particularly the case with muslin or canvas backdrops, but seamless paper also benefits from strategic use of clamps to ensure that it does not keep unspooling as you hang the rolls.

There are also pop-up stands that you can use for canvas or vinyl backgrounds. You simply clamp the background to the edges of a springy stand. There are multiple systems for this, and many come with their own backgrounds as a complete set.

Using

Regardless of your backdrop choice, keep the subject at least 3 feet away from it to avoid casting shadows onto the backdrop. This all ties to the strategic use of lighting setups. Your goal is to have the backdrop disappear behind the subject, making it the center of attention.

Some backdrops, particularly white seamless paper, may need to be lit separately. If you don’t light the backdrop you may have uneven colors behind the subject that detract from the image or prevent the easy masking of the backdrop.

14 - How to Choose the Right Photography Backdrop

Dog in front of muslin backdrop

In general, keeping backdrops clean can be a challenge. Some are easier to clean than others. However, hand-painted canvas and paper backdrops can’t be cleaned without damaging the surfaces, while muslin and vinyl backdrops are easier to clean. You may need to wash large muslins commercially. It is also important that any washing gets done in such a way that the fabrics don’t become altered or damaged.

Conclusion

Choosing the right studio backdrop can affect the mood and overall feel of your images. My personal favorite is hand-painted canvas, but I have used them all (except a cyclorama) effectively. The use of backdrops work hand in glove with your chosen lighting setup, and you should consider both together. If used well, you can make your images pop by having the backdrops pull focus onto your subjects.

The post How to Choose the Right Photography Backdrop appeared first on Digital Photography School. It was authored by Mark C Hughes.

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Should I buy the Sony a6400? Here’s how it compares

20 Jan

Introduction

The Sony a6400 is the company’s latest midrange mirrorless camera. Its body, 24MP sensor and many of its specs are familiar from the existing model, the a6300.

And, because it’s a new model, the a6400 is, initially at least, more expensive relative to the lineup it fits into. So is it better to buy an older model at a discount price, rather than forking-out more to have the most up-to-date features?

We’ll have a look at how the a6400 compares with its immediate peers and the factors you may wish to consider if you’re in the market for a new camera.

Sony a6400 vs a6300
Sony a6400 vs a6500
Sony a6400 vs a6000
Sony or a different brand?
Sony a6400 vs Panasonic DC-GX9
Sony a6400 vs Canon EOS M50
Sony a6400 vs Fujifilm X-E3
Sony a6400 vs Nikon D5600
Conclusion

Which is better, a6400 or a6300?

The a6400 shares a lot with the model it replaces (and, for once, Sony has made clear that it replaces the a6300). They both offer 24MP APS-C sensors, oversampled 4K video and 11 fps continuous shooting. They have the same viewfinder and much of the same hardware. So what’s the difference?

The most immediate difference is a rear screen that’s now touch-sensitive and can tilt up by 180 degrees, and allows for touch control of autofocus, selfies and vlogging (though any hot shoe mic will block the screen). These are nice additions, but are unlikely to swing most people towards the (initially) more expensive model, unless you really need one of those things.

The big difference is autofocus performance and operation. Our initial experiences are that the a6400’s AF is more ‘sticky’ and consistent but also much simpler to use, offering Eye AF without a second button press and being much smarter at using its most precise focus method, depending on the target it can see.

The new, presumably more efficient, processor means there’s less risk of overheating limiting when capturing video. Unlike its predecessors, the a6400 is not limited to 29:59 minutes of recording time, either, and recorded for over 45 minutes in our initial tests.

It’s also worth considering that Sony will be selling a kit that bundles the a6400 with its recent 18-135mm zoom. It costs more and is larger than the 16-50mm power zoom but covers a wider range (albeit without such wide-angle capability), and has the advantage of not being the weakest kit lens on the market.

Which should I buy, a6400 or a6500?

The comparison to the a6500 is more difficult, since the older camera was originally a much more expensive camera and hence has at least one key additional feature: in-body image stabilization.

In-body stabilization is an undeniably useful feature for photography and is even more valuable if you’re shooting video, since it more easily allows shots without a tripod and lets you keep horizons steady in a way in-lens stabilization can’t.

The a6400’s AF is significantly better, though: both in terms of performance and ease-of-use (the new AF experience requires much less manual intervention), which is hard to ignore. The a6400 is also quicker to focus and fire off a shot from boot-up, possibly thanks to the new processor.

Which you choose will come down to which of these features you value more. Or, if you need both and your current setup is workable, can you wait long enough to see if Sony brings an a6400-like upgrade to its stabilized model?

Is the a6400 better than the a6000?

Another tempting model is the a6000. Part of the reason it sells so well is because it’s cheaper than many of its rivals but it’s very much a case that you get what you pay for (it was recognizably stripped-down even for 2014).

The a6400 is better in every respect. It has several generations of AF improvement, revised user interface and touchscreen, vastly better video capabilities (4K vs 1080) and a better viewfinder. It’s a higher-end model, as well as being much newer.

However, more fundamentally than any of this, the a6400 will offer better image quality. Partly because it has a more modern sensor, but mainly because in the time between the two cameras’ launches Sony has continually worked to improve its JPEG color. And the difference is marked: the a6400’s output will simply be more attractive, even before you look closely at the sharpening and noise reduction improvements.

Sony a6400 vs the competition

Of course, the a6400 faces competition from outside the Sony lineup. And, while this slideshow focuses on how the bodies stack up against one another, it’s massively important to consider the lens availability for different systems.

Don’t be swayed by promises of X number of lenses, or cross-compatibility with full frame (the ‘upgrade path’ might lead to manufacturer profit more directly than to the place where all your photographic problems are solved). Instead check whether the lenses you think you might want exist, for a price you’re willing to pay. After all, there’s little solace in knowing there’s a choice of manual focus 12mm primes if you primarily shoot portraits.

That said, it’s hard to think of a camera that promises the all-round capability of the a6400 in terms of image quality, autofocus and video quality. Not because the Sony’s performance is the best possible – its 4K is pretty wobbly, thanks to significant rolling shutter – but because any cameras that outdo it in any regard are all significantly more expensive.

Sony a6400 vs Panasonic Lumix DC-GX9

The Panasonic GX9 is probably the Sony’s most capable rival. It has a slightly smaller sensor, but feels better built, has more direct controls and adds in-body image stabilization. It also tends to come with a better kit zoom (and a wider range of native lens choices, generally).

The GX9’s autofocus is pretty good, but it can’t offer the dependability that we’ve seen from the a6400 so far. Equally, if you’re interested in shooting video, the significant extra crop on the Panasonic means it’s noisier and harder to shoot wide-angle with. That said, the GX9’s video will be stabilized and it exhibits much less rolling shutter, though like the Sony, you can’t attach headphones to monitor your audio.

Sony a6400 vs Canon EOS M50

The Canon EOS M50 is the other obvious rival to the Sony. It’s slightly less expensive and fits into a system with even fewer native lenses than the a6400 but, like the Sony, it’s an unstabilized APS-C mirrorless camera with a built-in viewfinder.

The Canon’s main appeal is that it’s comfortable and easy to use. Its AF performance isn’t in the same league as the Sony, and its cropped 4K video is distinctly soft by comparison. But, despite a sensor with less dynamic range for Raw shooters, its JPEG output is very pleasant. So, while it falls a little behind in just about every regard, it’s still a likeable option if you just want a small, easy-to-use camera that takes good photos.

Sony a6400 vs Fujifilm X-E3

The Fujifilm X-E3 is also a 24MP APS-C rangefinder-styled mirrorless camera without built-in stabilization, so why do the two cameras seem so un-alike? Part of the reason is that the Fujifilm is a much less expensive body paired with a much more expensive lens (the 18-55mm F2.8-4 OIS is one of our favorite kit lenses, which is not something anyone has ever said of the Sony 16-50mm power zoom).

The X-E3 shoots beautiful images, thanks to one of the best JPEG engines in the business. However, while it’s a nicer camera to take control over than the Sony, it’s not the best-handling Fujifilm, with a bit too much dependence on the little fiddly command dials. It also can’t come near the Sony in terms of AF speed or dependability and is one of the only 4K cameras to exhibit more rolling shutter than the Sony.

Sony a6400 vs Nikon D5600

The other camera that falls into the ‘cheaper body, better lens’ category is the Nikon D5600 DSLR. The twin-dial D7500 is rather more expensive, as well as being larger, so we’d consider the D5600 and 18-140mm F3.5-5.6 VR kit to be most directly comparable. The single dial setup of the D5600 also ends up making you as dependent on the function menus as the Sony does.

Despite being a DSLR (meaning fewer AF points, more tightly grouped near the center,) the D5600 perhaps comes closest to matching the Sony for ease of getting the AF point to stay on your chosen subject. However, its video specs are nowhere near that of the mirrorless cameras: offering only 1080 capture and essentially unusable video AF. Like the Fujifilm, you’d only choose this over the Sony if you exclusively shoot stills.

Conclusion

Sony’s a6000 has always been a popular camera, but the more advanced a6300 and a6500 models don’t stand out from their peers quite so well, despite the more advanced technology and impressive looking specifications. We’ve always found them capable all-rounders but not always the most enjoyable to use (especially if you want to take control over what’s going on).

The a6400 has immediately impressed us in this regard: the revamped autofocus performance and, just as importantly, usability means there’s one less thing to wrestle against the camera over.

As with every system, it’s worth checking the lens lineup offers you the options you want, but our early impressions are of a camera that’ll turn itself to a bit of everything gaining possibly the most capable and usable AF systems we’ve encountered. Which may just be the cherry on the cake.

Articles: Digital Photography Review (dpreview.com)

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Video: ‘The Terrible History of Photographs’ as told by puppets

20 Jan

There are plenty of videos on YouTube that dive into the history of photography. But few will make you laugh like this one will.

This tongue-in-cheek video, created by YouTube channel Glove and Boots, shares The Terrible History of Photographs using puppets, a la Sesame Street.

The video comes in just under five minutes and in that time both Glove and Boots (as well as their gorilla friend) explain a very basic, cynical look at how photography got to where it is today and the terrible, no good, awful technology that camera before smartphones.

Articles: Digital Photography Review (dpreview.com)

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7 Easy Ways to be More Creative Every Day

20 Jan

The post 7 Easy Ways to be More Creative Every Day appeared first on Digital Photography School. It was authored by Anthony Epes.

I have been a photographer for as long as I can remember. As a visual person, I get excited when I see beautiful light and love to explore the world with my camera and create interesting images from this vast, magnificent world.

I suspect you are the same.

There is something about taking photos that is so enriching to our lives. Connecting us more closely to our surroundings, showing us how to observe the world in a deep and meaningful way.

And yet, it is so easy to be pulled away from the things that we love to do, and which are most likely listed in our minds as ‘not essential.’

Our explorations with our cameras aren’t our jobs, nor is looking after our children or cleaning our houses.

As a father to two young kids and running a more than full-time photography business, it can feel almost decadent to spend an afternoon on my own just wandering around, exploring and taking photos. After all, there are always more important things to do, right?

But I counter that, actually, taking photos is essential for our lives. It is what we are called to do.

Making something, whatever it is that you are passionate about, is what we are alive for, surely?

So with our busy lives, how do we become more creative?

Here are 7 Easy Ways to be More Creative Every Day

1. At any moment we can refine our ability to see the world around us

Taking photos isn’t just about taking photos – it’s about taking all of the experiences we have on a daily basis and turning them into an expression of how we think and feel about the world.

As photographers, we want to observe the world by looking at the moments of life. Even if it’s just for that one moment. After all, if we are not seeing the moments of our lives, you could say we are not seeing our lives at all.

When we wake early in the morning and see the light eagerly streaming into our room, between all the little gaps between the curtains and the wall, we stop and we watch. We pay attention, we don’t always rush off.

And when are driving home late from work. The night is so dark, so enveloping, as we meander through the city, with bursts of light and activity every now and again, around stop lights, or rows of shops or outside restaurants.

Beyond that, it’s just meditative darkness, with tiny flares of soft light along the road. The darkness is closing us into our car.

We don’t allow our minds to race off into thoughts of the day. We pay attention. Looking at the darkness, we feel it. We notice.

These are all sensations in our daily life that we can pay attention to. This all helps with the art of seeing, or as it could also be called, the art of paying attention to our environment.

It sounds very strange to say this, but unless you are consciously cultivating being present – or are naturally good at it – then it’s likely you spend most of your day totally lost in busyness.

There is nothing wrong with that. However, in order to create something you need to carve out time and space.

Don’t just wait until you have time. Because either it won’t come – there are always more things to do – or when you get time, the pressure to instantly create will be too great.

Spend time every day developing a practice of being present, of looking around you, of seeing what is really there. Then, when you actually pick up your camera, it will be easier to cultivate the mood within you of a creative, relaxed, present flow state.

2. Reject perfectionism

“Perfectionism is the voice of the oppressor, the enemy of the people. It will keep you cramped and insane your whole life.” Anne Lamott

One of the major barriers to being creative is the most insidious, painful and stressful emotion – perfectionism.

I call it an emotion because it envelops and paralyzes us when getting started with a project. It’s very hard to get up, push past perfectionism and get out the door.

For me, perfectionism can take many forms that seem logical, until I consciously pierce a hole in the flimsy argument. It used to be that I would become obsessed with having new gear. I couldn’t start a project until I had a new camera or lens, or the help of an assistant.

Then I realized this was the ultimate in procrastination. Either I did the project with the kit I had, or if that didn’t work, I found another project. I don’t mind buying new kit, in fact, I love it. However, I never buy a new kit because I am in a fit of perfectionism anymore.

Now perfectionism often comes to me in the form of: I have nothing unique to say about this place I want to photograph. It has been photographed so many times before by better photographers. What can I say that is new?

When I get emails from my students they often say: I don’t know enough about my camera/composition/ technique to take any good photos!

Even with very experienced amateurs, I see people who don’t believe in their skills and abilities with photography. They want just that little bit more advice or feedback. When really, they just need to keep taking photos.

As humans, we seem to have an innate ability not to recognize what we are doing well, and instead focus attention on the negative aspects of our skills.

Well, focusing on the negative is not going to get you very far. Like the writer, Anne Lamott says in the quote above, it will keep you oppressed your whole life.

It’s time to throw off the shackles of all that you are not and instead try to live with the ideas of imperfection instead.

If we are not trying to be perfect, we can just get started and not worry about being amazing.

We can go out and have some fun with our photography. We won’t worry if our shots are great – we’ll just practice, shoot, and have a good time.

The new mantra here is accepting imperfection. Celebrate it even. We are all on a journey, are all developing, and will never arrive at total perfection. It doesn’t exist.

So unhook yourself from the idea of perfection and do what every major artist, entrepreneur and anyone who creates anything for a living says: just go create.

3. Lower your expectations

Think about nurturing your photography as it needs to be nurtured. Think about your creativity as a journey, one in which you will keep persevering, weaving it into your life for as long as it engages you.

And if you’re like me, that’s probably your whole life.

We take so many photos now with digital that I think our expectations of the number of fantastic photos we should be getting is way higher than if we were shooting film.

When Ansel Adams said, “Twelve significant photographs in any one year is a good crop” he was talking obviously in the time of film when we were so much more careful with our shots. Making sure that we didn’t waste them unnecessarily.

The idea of expecting a small number of excellent shots is both realistic and freeing.

I spend a lot of time editing down hundreds, and sometimes thousands of photos after a shoot. To make sure that I get the few that are my very, very best.

When you lower your expectations about how many shots you should be getting, it means you can experiment and do things you might not normally do because the end result is unknown.

You can chase that strange light and see what your camera does with it. You can try lots of different subjects and shoot people/things/places that totally fascinate you – without thinking just about results.

It means you can practice perfecting your technique. Remember, when you are improving your technique – starting to shoot on manual for example – it is vitally important to constantly practice.

Practice takes time. Practice is about making mistakes and missing shots. But the more you do it, the better your understanding of your camera will get.

4. Use the power of silence

We all know the spiel that technology is ruining our lives, right? Well, I don’t totally agree. Technology has brought incredible things to my life. It has allowed my wife and me to become digital nomads. It has made photography truly accessible – no longer do you need a $ 3000 camera to get you started in photography.

Like everything fun and absorbing. However, moderation is key. When we check our emails 134 times per day (a statistic I read recently) instead of enjoying a beautiful sunrise, a great concert or a beautiful moment with our child, we rush to capture it instead of being in the moment. In that case, technology has become out of hand in our lives.

The downside to so much tech activity is you start to get lost in the constant stimulation of the world. You are so busy thinking and responding to that world that you leave your brain no space to…create anything new.

You will continue with the same habits, the same thoughts, and routines unless you consciously create space in your life.

Focusing on bringing more silence into your life is a beautiful way to allow new ideas in. It also helps to ‘clear the clutter’ of excessive thoughts in your mind. It cleanses your thinking a little, so you can turn your attention away from doing to creating.

What I like to ask my students sometimes is when they last listened to, and were totally absorbed, by silence.

And when I say absorbed, I mean totally aware and present for the silence. They weren’t thinking about what they were making for dinner, or their annoying work colleague or how much money they spent last night.

So it’s not just being surrounded by silence – it’s being actively absorbed by it. Listen to it and feel how the absence of noise affects your body.

For me, taking photographs is a total sensory experience. It’s not just about what I see, because all of my senses are heightened. Entering into silence is a way to connect more with my senses.

It’s feeling the different way that silence stimulates your senses, such as the feeling of melancholy on an empty high street on a grey winter’s day. Or the comforting nostalgia of a clear, cold autumn evening, with the smell of wood smoke wafting in the air.

Or the heady beauty of a spring morning full of the opulent perfume of flowers and the feeling of scorching, rich sunshine on your skin.

I know that it’s hard to pull your mind away from its busy thinking and doing. I get that being human means that thoughts endlessly appear in our mind, taking our attention and energy.

When this happens and you become conscious of it happening, take your attention gently back to the moment. Wrestle control from the thoughts and bring your mind back to what’s here in front of you. I like to say to myself – I’ll think about that later.

That way you can actually appreciate the life that you have in the moment, and you will develop seeing and awareness in your photography, regardless of where you are. Whether it be on your way to work, at the playground with your kids or even doing your shopping.

This awareness is a powerful catalyst for your creativity and will find you reaching for your camera more and more often because you have learned to listen to the silence and connect to the world around you.

5. Fear

Fear is certainly in the category of things that inhibit creativity in our lives. But if you can learn to work with fear, then you’ll automatically feel more inspired and confident to create and take photos.

There are two major fears I see in photographers at my workshops.

Firstly, fear of photographing their subject. This applies to street photography a lot. You very much want to take a photo of that magnetic looking stranger, or that strange event unfolding before your eyes, but you are gripped by fear.

You know you want to bring your camera up, you want to move closer to your subject but something stops you. You end up walking away without the shot and feel annoyed with yourself.

The second type of fear response I see in my students is a deep self-consciousness about shooting for too long in front of strangers.

Think about this scenario. You are walking along a busy city street on a rainy day when all of sudden a ray of golden sunshine bursts through the grey clouds, creating stunning reflections and patterns around you.

It’s mesmerizing! You want to shoot everything that this beautiful light is reflecting off. You start to shoot, but after a few minutes, you are hit by a wave of self-consciousness.

There are people everywhere. People shopping, coming home from work, tourists chatting, kids running. And here you are crouching down on the ground photographing puddles!

I’ve noticed that when this wave of self-consciousness hits, most people stop shooting and move on because it feels weird to be doing something that no one else is.

Now fear is normal in these situations. I think most photographers experience fear in certain situations. We know that our bodies produce a chemical response to new situations, which can make us want to run away.

Instead, we need to examine how to deal with this situation so that fear doesn’t overpower us. So how can I dispel my fear and get those great shots?

First, accept that like clouds, fear comes and goes. You will never live a life where fear disappears. You wouldn’t be human otherwise.

Even if you are a super-experienced photographer, there will always be times when you will be dogged by fear.

Secondly – allow it! This might seem counterintuitive, but I have found that if I try to run away from fear, or suppress or ignore it, it starts to get bigger and bigger until I am almost paralyzed by dread.

So I allow the fear. I just say – Ok, here is some fear. Welcome. OK, I don’t say welcome. I’m not that zen. But you get what I mean? I don’t fight it.

Carry on taking the photograph – and just let the fear be there. Eventually, like a cloud in the sky, it will leave. Fear always leaves! Maybe it will take a few seconds or a few minutes. Maybe longer.

Yet, the more you allow fear to be there, the quicker it seems to evaporate.

The good thing to understand is that the more you practice being in such situations as photographers, the more you will get used to these fear responses. They won’t overpower you and stop you from shooting.

If you suffer greatly from fear, then I suggest you practice getting comfortable being with your camera, so you can focus on the actual photography!

6. Stop consuming and start making

I don’t know why, but a day spent creating is a day that feels much more satisfying to me than a day spent consuming.

When I think about consuming, it’s not just buying things – it’s the endless stream of social media, checking Facebook, 24/7 news, and endless discussions about the politics of the day.

When we are just consuming, we definitely aren’t making anything.

To stop mindlessly consuming was an important realization for me to make in my life. Instead, I think to myself – what can I accomplish today?

7. Get started

With something as enjoyable and satisfying as taking photos, you should never be in a state of I should be doing my photography!

You don’t want to create a situation where photography is one of many things you should be doing – like going to the gym or eating less of your kids’ candy.

And yet, sometimes we need a push to get us out the door. We are all responsible humans beings and we are all keeping various plates spinning. And so taking time out can induce guilt.

But think about it: every single day of our lives is a day we will never experience again. And in every single day of our lives, we are given a choice of how to spend our time. We do the things we have to do but then we weave in the time to do the things we are passionate about.

If we don’t do it now, then when?

Taking time to cultivate our photography practice pays dividends across our lives too. Great by-products of a strong photo practice are that we are more present when we are in other spheres of our lives, we are more engaged and excited in life because of our inspirational photo practices.

I have to say I am a more interesting, inspired and happier person to be around when I have taken time out to do my personal photography. And in that, everyone in my life benefits!

I really hope you enjoyed those ideas about how to be more creative every day. They are ideas I feel passionate about and hope that you will too. I would love to know if these ideas have helped you, so do let me know in the comment box below.

The post 7 Easy Ways to be More Creative Every Day appeared first on Digital Photography School. It was authored by Anthony Epes.

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How to Use the Lightroom Graduated Filter

19 Jan

The post How to Use the Lightroom Graduated Filter appeared first on Digital Photography School. It was authored by Christian Hoiberg.

Adobe Photoshop has always been my software of choice when it comes to landscape photography and post-processing. However, Adobe Lightroom is constantly getting better and I’m able to do a lot of the things I could only do in Photoshop several years ago.

The Lightroom Graduated Filter isn’t a new feature but it’s one that I’ve begun to use more and more during the last years. It’s a tool that can make a huge difference to an image and it’s fairly easy to use. The big benefit is that you can add several graduated filters to one single image. You don’t have to only use one. This gives you more flexibility.

Let me show you how to use the Lightroom Graduated Filter.

Soft transitions vs. hard transitions

The very first thing you need to know about how I use the Graduated Filter is that I never use a hard transition. That means that I don’t drag the filter down and include the top part of the transition. (If you’re not familiar with this tool, any adjustment you make is visible at a 100-50 percent opacity transitioning from the top to middle line and 50-0 percent from the middle to the bottom line)

1 - How to Use the Lightroom Graduated Filter

You don’t want there to be a hard, visible transition that obviously shows the adjustment made to a particular area. Instead, you want a long and smooth transition.

This is done by dragging the graduated filter from top to bottom, then moving it up so that the middle line is at the upper edge of the frame. You can then click and drag the lower line up or down depending on how much of the image you want to affect.

Keep in mind that when you’re using an adjustment as smooth as this, you’ll need to increase the values of the adjustments you’re making. For example, instead of exposure -0.2 you might need an exposure of -1.0 to darken an area.

Darkening the sky

The main purpose of Graduated Neutral Density filters is to darken the sky in order to capture a well-balanced exposure. This is also the most common use of Lightroom’s Graduated Filter.

2 - How to Use the Lightroom Graduated Filter

I tend to darken the sky a lot in my photography. This helps me guide the viewers’ eyes towards the important part of the image and strengthens the composition. This is quite easy to do and by using soft graduation such as explained above, it can be applied even when there are mountains or other subjects projecting the horizon, without looking strange.

Click and drag the graduated filter such as explained above, and place the middle transition line at the top of the frame. Adjust the bottom line in such a way that the adjustment is added only to the parts you want. Then lower the exposure. Since the transition is so smooth, I often lower the exposure down to -4.0 without it being too dark. Of course, this depends on how dark the original file is; you don’t want it to be completely black afterward.

Add a cold tone to foreground and sky

Color is an important part of the composition and that’s something that many tend to forget. Our eyes are naturally drawn towards the warmer tones but, unfortunately, nature doesn’t always let us capture that in the file. So to further enhance the main subject, I often add a cold tone and desaturate certain areas of the image. These areas quite often include the lower and upper part of the frame.

3 - How to Use the Lightroom Graduated Filter

Using the graduated filter the opposite way works quite similar. The only difference is that you drag from the bottom up instead of top down. Then, just as before, adjust the filter to your likings. I tend to only desaturate and add a cold tone to the very bottom of the frame.

Sharpen & increase Clarity

The fourth and final feature is sharpening and increasing the clarity by using the graduated tool. This could be done either to bring out details in a nice cloudy sky or to increase clarity in a vibrant foreground.

4 - How to Use the Lightroom Graduated Filter

I’m generally not a big fan of the Clarity slider so even though I’m still using a soft transition I gently increase the slider; I don’t want to add +100 clarity regardless of how soft the transition is. Increase the clarity gradually by clicking on the number next to the slider and holding shift plus tapping the up arrow until you’re satisfied with the result.

Last words

There are many ways to use Lightroom’s Graduated Tool. The examples above are just a handful of ideas what you can use it for.

Truth be told, I use several Graduated Tools at the same time. It’s not uncommon that I use one or two for the sky, another couple for the foreground and perhaps a few more to create a small vignette. In the end, it depends on what you want to do with the image!

The post How to Use the Lightroom Graduated Filter appeared first on Digital Photography School. It was authored by Christian Hoiberg.

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Sample gallery: Sony a9 with beta firmware 5.0

19 Jan

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This week Sony announced new firmware updates coming soon for the a9. Firmware version 5.0 officially arrives in March and adds some powerful autofocus improvements to the camera’s already impressive AF toolkit. Quite simply, it makes the a9 an industry leader in AF tracking ability. There’s much more analysis to come, but for now here’s a selection of the images captured with a beta version of the new firmware, and exclusively using the new Real-Time Tracking autofocus mode.

See our Sony a9 firmware 5.0 beta
sample gallery

Articles: Digital Photography Review (dpreview.com)

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DJI addresses alleged corruption scandal that reportedly increased product prices by 20%

19 Jan

DJI Technology, China’s largest drone manufacturer, is looking at a substantial financial loss in the midst of ongoing investigations wherein 45 current and former employees are facing allegations of corruption.

According to a report from Yicai Global, more than 100 individuals are involved in an alleged widespread corruption scandal for falsely increasing the prices of parts and materials used to make DJI drones.

The report says 26 people allegedly involved in the scandal ‘are from the research and development department, as well as the procurement division.’ Another 19 individuals work in other various departments including administration, design, factories and sales. 16 people have been reported to authorities regarding the allegations.

In a statement to DroneDJ, DJI said:

‘We hold our employees to the highest ethical standards and take any violation of our code of ethics very seriously. During a recent investigation, DJI itself found some employees inflated the cost of parts and materials for certain products for personal financial gain. We took swift action to address this issue, fired the bad actors, and contacted law enforcement officials. We continue to investigate the situation and are cooperating fully with law enforcement’s investigation.’

DJI is facing losses of more than CNY1 billion (approximately $ 147.6 million USD), according to Yicai Global’s estimates. It is believed DJI products suffered from a 20% price increase in 2018 due to the alleged widespread corruption within the supply chain.

Articles: Digital Photography Review (dpreview.com)

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