The Tamron 28-200mm F2.8-5.6 Di III RXD provides a wide zoom range in compact, weather-sealed design. Find out why it’s Chris and Jordan’s new favorite travel lens.
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Intro
Design + size and weight
No image stabilization
Barrier Lake sample photos
Chromatic aberration
Minimum focus distance
Mount Lorette Ponds
Focal length and aperture
Autofocus
Sunstars and bokeh
Sharpness
Grafitti and waterfalls!
Who's it for?
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The post How Using Instant Cameras Can Improve Your Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.
There is something magical about instant cameras. Depress the shutter button and a little image is ejected, slowly developing before your eyes. More than just a novelty, instant cameras have practical and artistic applications. Here’s how using instant cameras can help improve your photography overall.
What are instant cameras?
First things first. What exactly is an instant camera? Generally, the term instant camera describes a camera that uses self-developing film to deliver a photographic image within minutes of pressing the shutter button.
The Instax Mini and Barbie Polaroid instant cameras. f/4, 1/50, ISO 500
The first commercially viable instant camera system was introduced in 1947 by the founder of Polaroid, Edwin Land.
A year later, Land’s Model 95 Land Camera and the corresponding film went on sale in a department store in Boston. The cameras, which dramatically altered the accessibility and creative possibilities of photography, sold out in mere minutes.
Land and Polaroid continued to develop instant camera systems. Originally delivering a sepia-toned image, instant film graduated to black and white and then to color in 1963.
However, up until 1972, using instant cameras was much less straight forward than the process we know today. Exposed Polaroid film required a photographer to peel back a negative sheet after 60 seconds to reveal the instant image. This often left chemical residue on the user’s hands.
Some earlier processes also required users to coat the developed film with a mixture of stabilizing chemicals.
f/4, 1/40, ISO 300
The arrival of the Polaroid SX-70 in 1972 marked a turning point in instant camera technology. The SX-70 ejected film with no negative sheet or chemical residue, shaping the trajectory of instant camera models thereafter and realizing Land’s dream of a fully instant camera system.
Instant cameras may have been largely superseded by digital technology today. Still, the distinctive aesthetic and physicality of the instant camera process have seen a resurgence in recent years. Companies like Polaroid, Fujifilm, and Leica all offering up modern incarnations of the instant camera and corresponding film.
A new approach
There are many ways using instant cameras can improve on a photographer’s process. Perhaps the most obvious impact of modern instant photography is the practical knowledge that a less-than-mainstream photographic medium affords.
Since their invention, instant cameras have presented an intriguing alternative to standard photographic practice.
Andy Warhol made famous use of the instant camera, as did Luigi Ghirri – a pioneer of color photography. By using both a familiar yet unique photographic technique, these photographers (and many more) pushed the boundaries of what was understood to be the accepted approach to photographic image-making.
Most modern photography is created and distributed digitally. But stepping away from the norm to negotiate the ins and outs of an instant camera presents new perspectives and challenges – broadening artistic experience and opening up creative opportunities.
The benefits of new photographic experiences are not exclusive to instant cameras. However, the process, inherent associations, and distinctive aesthetics of instant camera photography can contribute greatly to the many layers of visual language a photographer draws upon in the field.
Getting it right in-camera
They’re nifty, but keeping an instant camera stocked with film can be pricey. This means that getting the most out of each frame is a priority. Even though price can be a downside to using instant cameras, maximizing the success of each shot encourages a more effective photographic practice overall.
Getting an image right in-camera makes the most of the technology at hand, refining photographic skill sets and saving time. By measuring an exposure against a limited amount of instant film frames, instant cameras slow the photographic process, inviting the photographer to carefully and deliberately consider creative and technical aspects before depressing the shutter button.
While instant camera photography often departs from the technical standards of digital and film photography, this ‘slow’ approach to photography inevitably translates to other facets of a photographer’s practice, honing visual awareness and sharpening technical skill.
Pre-Visualisation
An early proponent of instant camera technology, Ansel Adams maintained that pre-visualization was a critical component of strong image-making. As we’ve touched on, instant camera film isn’t cheap, but pre-visualization is a valuable way to minimize dud shots.
Pre-visualization involves mentally untangling the many components that go into executing an effective photograph before the photograph is made. By pre-visualizing, a photographer can take executable steps towards achieving an appealing image in-camera, often with greater efficiency and success.
Instant camera photography is a great way to capture and preserve memories.
The risk of wasting expensive film makes the need for pre-visualization particularly pronounced in instant camera photography. The more consideration that is put into an image pre-exposure, the greater the chances of a successful instant photograph.
Also, the immediate effectiveness of combining pre-visualization techniques with instant camera photography generates positive momentum. This then feeds better habits across all forms of photographic practice.
The reset button
Instant photography was designed with fun in mind, so it’s no surprise that the simple, idiosyncratic cameras provide a well-deserved distraction from the effects of creative fatigue.
Paired back in design, instant cameras tend to have less in-built settings than their digital counterparts. This simplicity can encourage creativity in composition and subject selection over technical perfection.
f/7.1, 1/25, ISO 500
In addition, the unique aesthetic of instant photography is viewed as the marker of a distinct and quirky artistic process. This means that some mistakes that would ruin a digital image are embraced in an instant camera photograph.
This loosening of technical constraints means that instant cameras can serve as an effective refresher for photographers looking to recharge creative batteries.
Conclusion
Using instant cameras isn’t just fun, it can inform and improve your image-making overall. With a unique aesthetic, limited film and paired-down design, instant cameras are an engaging alternative to the photographic mainstream.
Do you shoot with instant cameras? Share your thoughts and images with us in the comments below.
The post How Using Instant Cameras Can Improve Your Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.
The post Canon’s New 1 MP SPAD Sensor Offers Potential for Highly-Sensitive Imaging appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Canon has just announced the completion of a 1-megapixel single-photon avalanche diode (SPAD) image sensor, making it the first of its kind.
Traditional CMOS sensors work by capturing photons (i.e., particles of light), and converting them to charge (which are ultimately transformed into digital pixels).
That way, when you press the shutter button, your camera’s sensor starts capturing photons, with each photon equivalent to a very small amount of light. These photons are turned into pixels, so that areas of a scene that produce or reflect more light are rendered brightly compared to areas of a scene that produce or reflect less light.
Now, CMOS sensors only offer a certain level of sensitivity. If you shoot at 1/8000s, unless the light is unusually powerful, you’re not going to capture many photons at all, resulting in a completely black image.
(That’s essentially what underexposure is, after all: The failure to capture a sufficient number of photons for a bright image.)
Anyways, that’s how a standard sensor works.
But as explained by Canon, a SPAD sensor works differently:
“When a single light particle…reaches a pixel it is multiplied – as if creating an “avalanche” – that results in a single large electrical pulse.”
In other words: Each photon gives you far more charge to work with, resulting in much greater sensitivity overall.
While Canon’s current SPAD sensor only captures 1 megapixel images, an imaging device that sensitive could offer plenty of benefits in terms of scientific technology. For instance, Canon’s SPAD sensor can expose its pixels in 3.8 nanoseconds, which makes it possible to capture events and features that were previously considered impossible.
Canon argues that “thanks to its ability to capture fine details for the entirety of events and phenomena, this technology holds the potential for use in a wide variety of fields and applications including clear, safe and durable analysis of chemical reactions, natural phenomena including lightning strikes, falling objects, damage upon impacts and other events that can’t be observed with precision by the naked eye.”
There are also applications in terms of 3D imaging, due to a SPAD sensor’s capacity to record precise exposure times.
While it doesn’t sound like SPAD sensors will be reaching consumer sensors any time soon, it’ll be interesting to see how this technology gets utilized!
Now over to you:
What potential applications can you imagine for SPAD sensors? Share your thoughts in the comments!
The post Canon’s New 1 MP SPAD Sensor Offers Potential for Highly-Sensitive Imaging appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
I just returned from a trip to the Victorian High Country in Australia. It was, cold, snowy and misty, et incredibly beautiful. There is such a wonderment to the mist and the way it transforms a landscape.
So, if you are lucky enough to be somewhere you will find mist at this time of year (like here in Australia, go out and take some fresh mist photos. Alternatively, go through your catalog and show us your best mist photos!
Play with post-processing too – try split-toning, black and white or sepia. See if you can make your dramatic mist photos even more dramatic!
Slot photos together, like I do to see how images work together as a series too.
Take them with your camera or phone too (mine are just taken with my phone, as I am yet to find the time to edit my camera shots!)
The choice is yours! I look forward to seeing what you share
Check out some of the articles below that give you tips on this week’s challenge.
Tips for photographing MIST
4 Tips for Photographing Fog to Create Mystical Images
Tips for How to Enhance the Mood in Your Foggy Photos
How to Make Use of Foggy Surfaces for Abstract Photography
Tips for How to Think and Use Lightroom More Artistically
How to Use a Black and White Filter to Improve Your Photos
How to Create Silky Split Toned Black and White Photos Using Luminosity Masks
Discover Seven Ways to Create Sepia Images in Photoshop
How to Dramatically Shape the Light and Mood Using Adjustment Brushes in Lightroom (video)
2 Methods for Creating Duotones in Photoshop
Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.
Share in the dPS Facebook Group
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSmist2020 to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.
The post Weekly Photography Challenge – Mist appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
Kodak Portra 800 is a wonderful and versatile color film. And any rumors of it being discontinued, we’re pleased to report, are simply untrue. That’s a good thing, because Portra 800 is capable of producing lovely results in all sorts of lighting conditions and even holds up well to being under or overexposed.
Our friends over at 35mmc have a detailed review of this film stock (which is also a DPR staff favorite). It’s chock full of sample photos. Have a look!
Read: Kodak Portra 800 review
About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at 35mmc.
The head of the World Press Photo Foundation has stepped down after five years in the role. Dutchman Lars Boering joined the foundation in 2015 but left without much explanation from either him or the WPP. In an official statement, Boering said ‘It was a tough decision to leave this beautiful organization, especially given the timing’ but doesn’t go on to give his reasons other than to say ‘it is time for me to pursue other opportunities’.
The organization only says ‘Today, the World Press Photo Foundation announces that Managing Director Lars Boering will be leaving the organization’ and goes on to say it is ‘appreciative of Lars’ leadership over the past five years. In this time, major talent programs and grants were developed, digital reach saw substantial growth, and a new format was established to announce contest nominees and winners, to further spotlight the stories that matter.’
Since the announcement, DPReview has spoken with Boering, independently, who said he left the foundation because so much of what he had planned for the future has changed since the coronavirus pandemic:
‘Some of the programs and some of the activities are on hold or will never come back in the same way. I believe we will not see many festivals or events return in the near future, and its doubtful whether many of our ideas will get funding to make them happen. COVID has changed everything and so I have brought my departure forward. My strength is in growth and re-imagining things. It is very clear to me and the Supervisory board that World Press Photo foundation will be better off with a Director that can steer it through, in a calm and steady way, the challenging landscape that Covid19 has unveiled.’
The organization says it is heading towards a ‘new phase’ that will help it to ‘future-proof the business model and ways of working’ as it explores ‘new digital avenues and establishing a new International Advisory Board’.
Boering adds a slightly clearer dimension to the part of the statement that mentions future-proofing the foundation, saying:
‘Over the next two years World Press Photo will be working carefully and steady to keep going, and we now know 2020 and 2021 will be okay for the foundation. I never intended to stay much longer than 7 or so years, and with the changing times now is the right moment to hand it over. WPP now reaches an audience of 300 million when we announce the winners and our reach on social media is growing ever faster. The challenge now is to monetize this value in the right way, in a way that is fits with the values of WPP and visual journalism. That has a great future and will be a wonderful challenge for my successor.’
Boerings departure leaves the foundation looking for a new head while an interim business director, Arnoud van Dommele, steps in for the time being. The organization will also establish an international advisory board by the end of this year, which will ‘provide strategic advice to the Supervisory Board and Executive Board of WPPF.’
Boering tells DPReview that he’s enjoyed his time at WPP and is proud of what he has achieved in his five and a half years:
‘I have steered the foundation toward becoming an organization devoted to progressive values and ethics, and one with a set of advocacy agendas. Programs like the African Photojournalism Database, the 6×6 talent program and various global workshops, are initiatives by WPP to provide more opportunities to photographers of different backgrounds. I’m taking some time off for a small sabbatical and will choose my new path carefully. Many offers and initiatives are already coming my way, and to continue my work in the creative industries will be a pleasure.’
‘The future of visual storytelling is very bright and more money is available than ever before,’ he promises.
You can read more about Lars Boering in an article on Australia’s Inside Imaging, and the statement on the matter on the World Press Photo website.
Press release:
The World Press Photo Foundation enters new phase
The World Press Photo Foundation enters new phase for connecting the world to the stories that matter
Managing Director Lars Boering leaves the organization after 5 years; establishment of an International Advisory Board announced
Today, the World Press Photo Foundation announces that Managing Director Lars Boering will be leaving the organization. As a result, the Supervisory Board will start the search for a new Executive Director. This coincides with the preparations of a broader approach for “connecting the world to the stories that matter” required for the changed world that has presented itself in recent months.
Guido van Nispen, Chairman of the Supervisory Board: “We see the pandemic having an immense impact on everyone and everything. The collateral damage is huge, and the World Press Photo Foundation has also been impacted, which depends partially on a model that organizes physical exhibitions all over the world.
The organization is appreciative of Lars’ leadership over the past five years. In this time, major talent programs and grants were developed, digital reach saw substantial growth, and a new format was established to announce contest nominees and winners, to further spotlight the stories that matter.
A new phase for World Press Photo begins. A phase that builds on a strong foundation, and also leads to opportunities to future-proof the business model and ways of working. This includes exploring new digital avenues and establishing a new International Advisory Board. Press freedom, freedom of expression and the support of visual journalism are more important than ever, and as a leading organization that plays a crucial role for visual storytellers, the World Press Photo Foundation, with the great support of its people and partners, will keep on innovating to deliver on that promise.”
Lars Boering, Managing Director: “It was a tough decision to leave this beautiful organization, especially given the timing. It has been an amazing time and I am incredibly proud of the organization and the impact it has achieved. In these interesting and challenging times the World Press Photo Foundation, and the work it does, is more relevant now than ever before. The admiration I have for visual storytellers has grown and I hope my efforts have contributed to improving their work and position. Personally, it is time for me to pursue other opportunities, but I am confident about the future path for the organization, and am sure a successor can be identified soon.”
Lars Boering will hand over his work to Arnoud van Dommele, who has served as interim business director since March, while the Supervisory Board starts the search for a new Executive Director.
The International Advisory Board will consist of approximately 12 global experts and will be established before the end of 2020. The International Advisory Board will provide strategic advice to the Supervisory Board and Executive Board of WPPF.
About the World Press Photo Foundation
Connecting the world to the stories that matter.
We are a global platform connecting professionals and audiences through trustworthy visual journalism and storytelling, founded in 1955 when a group of Dutch photographers organized a contest (“World Press Photo”) to expose their work to an international audience. Since then, the contest has grown into the world’s most prestigious photography competition, and through our successful worldwide exhibition program, we present to millions of people the stories that matter.
World Press Photo Foundation is a creative, independent, nonprofit organization, based in Amsterdam, the Netherlands. We appreciate the support of our global partner, the Dutch Postcode Lottery, and our partners, PwC and Aegon.
In addition to its new lens and updated roadmap, Olympus has also released OM-D Webcam Beta, a utility program for Windows 10 computers that turns compatible Olympus OM-D cameras into webcams.
Following in the footsteps of Canon and Fujifilm, this new utility works on Windows 10 computers (both 32 bit and 64 bit) and is compatible with five Olympus OM-D cameras: the E-M1X, E-M1, E-M1 Mark II, E-M1 Mark III and the E-M5 Mark II. As with similar utilities, the process is as simple as downloading the free software, plugging in an OM-D camera via the appropriate USB cable and turning the camera on.
Once all of this is finished, the plugged-in camera should be available as an image input option in video conferencing software such as Skype and Zoom.
This is a beta, so keep that in mind if you come across any bugs or issues. You can find the download link and further instructions on Olympus’ support page.
There are many ways to learn the basics of photography, such as classes, tutorials and simply capturing more images. However, there’s a neat new method using playing cards, Photography Deck.
Launched on Kickstarter, the campaign far exceeded its funding goal during its first day. At the time of writing, over 600 backers had contributed more than $ 20,000 USD, compared to the goal of just $ 1,122.
The unique and attractive deck of cards are designed to appeal to shutterbugs and photography newcomers alike. Each suit covers a different topic: Clubs cover technical details, diamonds showcase shooting styles, hearts offer composition tips and finally, spades teach camera basics.
The 3 of spades card features the exposure triangle. Image credit: Photography Deck on Kickstarter
The technical details on the clubs cards include manual shooting, white balance, color theory and more. For example, the 6 of clubs teaches the viewer about the histogram. The shooting style-themed diamonds cards illustrate styles of photography including flash photography, macro, portrait photography among others. The hearts cards feature composition topics such as negative space, symmetry, patterns, leading lines, the rule of thirds and more. Adorned with basic camera information, the spades cards illustrate camera topics such as aperture, shutter speed, focal length, depth of field and more. The 3 of spades illustrates the exposure triangle of shutter speed, ISO and aperture.
Via the Kickstarter page, creator Eric Bohring states that each card ‘illustrates the most important rules and techniques about photography’ while featuring unique camera artwork. ‘Think of them as pocket-sized cheat sheets that you can bring wherever you travel,’ the campaign continues. The product is designed as a unique gift for photography enthusiasts and as a useful and artistic addition to your own camera bag.
The deck of cards is a standard playing deck with 52 cards and a pair of jokers. Each card features a micro-linen texture and is a standard playing card size: 3.5 x 2.5 inches (89 x 64mm).
If you’d like to make a pledge to the Photography Deck project, it’s about $ 14 USD to receive a standard Photography Deck, with shipping expected in August. For about $ 17, you can receive a limited edition green deck. If you’d like both decks you can receive a standard and limited edition deck for $ 29.
Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
They’re may not necessarily be aimed at you (except as demonstrated here), but the recently released vlogging cameras from Panasonic and Sony could yet have an impact on your next camera.
The past two months have seen both Panasonic and Sony introduce cameras explicitly aimed at vloggers. This may seem to have come from nowhere, but if two large companies independently decide there’s a market there, it’s a pretty sure sign that there’s demand for devices tailored to self-videoing. The question now is: what, if anything, does it mean for your next camera?
The answer might be “nothing”: we’ve seen niche camera types such as Flip pocket video cameras come and go, and fads such as 3D fizzle when the public’s interest didn’t come close to matching the manufacturers’ enthusiasm.
Vlogging cameras are likely to prove a little more durable though, partly because the demand is consumer-led: Chris and Jordan of DPRTV constantly tell us how often they encountered customers asking for cameras that were good for vlogging, back when they worked in retail. Enough years have now passed since that point for manufacturers to have developed these specific vlogging cameras (rather than simply adding vlogging-friendly features, such as video streaming, to their existing models).
Canon’s most recent G7 X model had some features added to make it more vlogging friendly, but it was an adaptation of an existing model, rather than being redesigned primarily with vlogging in mind.
The source of that demand is also likely to be long-lived, since any fall in interest in YouTube is only likely to come from the rise in popularity of other video-based platforms, whether that be TikTok or something we’ve not yet heard of. The big question is probably whether a dedicated camera turns out to be the best tool for the job. Or, perhaps, so much better that it overcomes the immediate convenience of a smartphone.
Only the beginning
In terms of the models we’ve seen so far, they’re just the beginning. There’s every chance we’ll see others, if Sony and Panasonic both concluded there’s a need for them, but what we’ve seen of this first generation seems a little cautious.
Both the ZV-1 and G100 are recognizable adaptations of existing technology. Sony appears to have spotted the market need and recognized that its very good face/eye detection technology would be a powerful proposition for those users. It’s a company with a solid history in audio technology, which might explain the three capsule mic setup but beyond this, the ZV-1 is essentially a modified RX100 VII.
The G100 contains some interesting new ideas but it’s primarily made from familiar components.
It looks like a similar story with the G100: Panasonic knows how to make very good video cameras and how to make very small cameras, and it presumably saw Nokia’s OZO directional sound technology as an effective way to stand out to vloggers. Again, beyond the flip-out screen and the more sophisticated mic setup, the G100 is broadly made from a series of familiar components. All of which gives the feel of toes being dipped in the water.
Stand out or blend in
At which point, this could go either way: they could evolve into a completely different devices or their features could simply be adopted across to more models.
For instance, there’s no reason a vlogging camera has to even resemble a traditional camera, if it’s primarily (or even regularly) used at arms length, pointing back at the user. Why should hand grips and control points resemble conventional cameras, if they’re awkward to reach, from the bright side of the lens? This could lead to the diverging from the recognizable camera form altogether.
Could be see some sort of strange, convergent evolution, with vlogging cameras coming to resemble early, innovative digital cameras, but with differing motivations?
The alternative is that features such as sophisticated mics and selfie-focused focusing could become so popular that they become standard features across much of the industry.
This second option may sound horrifying if you want a camera whose sensor is the only thing separating it from mechanical SLRs. But for most people, some vlogging features could probably be introduced without detracting too much from the everyday experience. And, once you’ve become accustomed to the idea, would improved audio capture be a bad thing?
Beyond this, many of the underlying capabilities that would make a good vlogging camera – fast, quiet and reliable face detection, decent battery life and attractive output – are things that are desirable on any type of camera.
Either way, it’s extremely unlikely that the ZV-1 and G100 are the last vlogging cameras we’ll see. And my money would be on there being at least some crossover into your camera bag in the future. Perhaps it’s a point I can make more convincingly if I try to show you the things I’m talking about, over on YouTube.
The post The Nikon Z5 Will Be Announced on July 21st appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
If you’ve been hoping for a more affordable full-frame mirrorless option from Nikon, you don’t have long to wait.
According to Nikon Rumors, we will likely see the launch of the new Nikon Z5 on July 21st, a camera that will be positioned beneath both of Nikon’s current mirrorless models, the Nikon Z6 and the Nikon Z7.
Any new Z-mount camera would be a welcome addition to the Nikon mirrorless lineup, which currently consists of two full-frame bodies (the Z6 and Z7), as well as the APS-C Z50. And while all three of these cameras are worthy of praise, the lineup still contains quite a few gaps, such as an action-centric “professional” body, a true entry-level APS-C body, and a more affordable full-frame model.
Enter the Nikon Z5, a camera with the potential to energize Nikon fans, especially shooters that are on the fence about switching to mirrorless.
What can you expect from the Z5?
While there is no official word from Nikon on the camera, rumors suggest that the Z5 will offer a lot of the same features as the Z6, including:
A 3.69M-dot electronic viewfinder
In-body image stabilization
An identical autofocus system
A 24 MP sensor
Interestingly, it’s looking like the Z5 will also offer dual SD card slots, perhaps in response to the criticism Nikon took over the lack of dual slots in the Z6 and the Z7.
Of course, for the Z5 to stay reasonably priced, Nikon will be making some cuts, including continuous shooting speed (expect 6 frames per second, rather than the 12 fps you get with the Z6), the loss of full-frame 4K video (there will likely be a substantial crop), as well as no top LCD.
But the Z5 is still looking to be an impressive camera, even if it’s not as action-capable as the Z6.
What’ll be interesting to see is how Nikon’s new camera stacks up against the Canon EOS R6, which will debut just weeks before the Z5, and will be positioned below the Canon EOS R5, as well as (likely) the EOS R. There’s also still the Canon EOS RP, which is very much a lower-priced full-frame option, even if it may become far less interesting after the launch of the R6.
Bottom line:
If you’re a photographer hoping to go full-frame, or you’re already a Nikon full-frame photographer seeking a mirrorless option, then keep an eye out for the Z5 announcement; if the rumors are true, then it’ll be one very impressive camera!
Now over to you:
What do you think about the upcoming Z5? What do you expect it’ll offer? What do you hope it will offer? Share your thoughts in the comments!
The post The Nikon Z5 Will Be Announced on July 21st appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
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