Don’t ask why Yongnuo decided to showcase a full-frame E-mount lens on an APS-C camera body…our guess is as good as yours.
Chinese accessory and lens manufacturer Yongnuo has announced the release of a new 35mm F2 autofocus lens for full-frame Sony cameras.
The new lens is constructed of nine elements in eight groups, including one low-dispersion element and one aspherical element. The lens also features what Yongnuo calls a ‘nano-multilayer coating,’ but doesn’t specify what elements this coating is applied to.
The 35mm F2 has an aperture range of F2-F16, uses a seven-blade aperture diaphragm and has a minimum focusing distance of ‘about’ 35cm (13.7”). Its autofocus is driven by a digitally-controlled stepping motor (DSM) and an onboard USB-C port will allow for firmware updates, should Yongnuo release any to improve function or compatibility.
A diagram of the lens’ optical construction.
While constructed mostly of plastic, the lens features metal bayonet mounts and uses gold-plated contacts, which transmit, in addition to data for autofocus and aperture control, EXIF data. Also present is a switch for turning on and off autofocus, as well as a Function (Fn) button that can be customized to perform a certain action or bring up a certain menu.
There’s no word on when exactly the lens will go live or how much it will retail for, but you can keep an eye out on Yongnuo’s online shop and Amazon shop.
Award-winning artist and director Lynette Wallworth released her documentary Awavena in 2018 to critical acclaim. The project’s director of photography, Greg Downing, utilized numerous cameras during production, including the specialized Canon ME20F-SH multi-purpose camera.
Awavena follows the first female shaman of the Yawanawa tribe in the Amazonian rainforest. As part of the film, the crew documents an Ayahuasca vision quest and represents this experience using real footage captured in incredibly low light and CGI. Downing, with the aid of the ME20F-SH, captured footage of fluorescent insects and plants in nearly no light, something that Canon believes could have proven impossible for other cameras.
This week, Canon shared a video going behind the scenes with Downing and the ME20F-Sh camera. You can view this below.
If you’d like to view the trailer for Awavena, it can be seen below. Awavena is Wallworth’s second mixed-reality VR film, following up on the Emmy-winning film, Collisions. Wallworth says, ‘We engaged DP Greg Downing from XRez to film in the Amazon and brought the eminent Australian fluorescent biologist Dr. Anya Salih, my longtime collaborator, along on the shoot so we could film the previously unseen world of forest fluorescence as part of the vision sequence.’ Wallworth’s full artist statement about Awavena can be read here.
While the Canon ME20F-SH camera is getting a bit long in the tooth, its technical specifications and features continue to impress over five years since it was announced. The camera utilizes a 2.26MP CMOS image sensor, which was originally announced all the way back in 2013. The sensor has pixels measuring 19?m, allowing for 1080/60p video capture in light levels as low as 0.0005 lux at a gain setting of 75 Db, which is equivalent to over ISO 4,000,000. The ME20F-SH supports Canon’s EF and EF-S lenses. While Awavena represented Downing’s first experience with the ME20F-SH camera, he has long relied upon Canon cameras for his work and has been a longtime Canon Professional Services member.
Canon ME20F-SH camera
This is not the first time footage from the ME20F-SH has been featured on our site. In 2016, Ben Canales recorded video of the Perseid meteor shower using the camera. You can see that footage below.
In 2017, Canon outfitted an industrial done with the ME20F-SH all-purpose camera for nighttime surveillance. That video can be seen here.
As PetaPixel notes in its coverage of Awavena, the ME20F-SH has been used to record the aurora borealis in real-time and record bioluminescent coral over 1,000 feet beneath the ocean’s surface. You can check out these videos below:
The post Weekly Photography Challenge – Silhouette appeared first on Digital Photography School. It was authored by Sime.
This week we’re looking forward to not seeing the subject of your photographs because the theme is ‘Silhouette’ we hope you’re up for it! #dPSSilhouette is the hashtag we’d like you to use (add it to your post wherever you post it: details at the end of the post)
See ALL of our weekly challenges right here
Not sure how to make a silhouette photograph? Have a look at these articles!
Photograph silhouettes in eight easy steps
18 Shape defining silhouette images
Perfect outdoors silhouettes
Great! Where do I upload my photos?
Simply upload your shot into the comments 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 favourite photo-sharing site and leave the link to them.
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 #DPSSilhouette 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.
Follow us on Instagram?
The post Weekly Photography Challenge – Silhouette appeared first on Digital Photography School. It was authored by Sime.
If you’re wondering what all Apple managed to pack inside its iPhone 12, repair site iFixit is currently hosting a live teardown of one of Apple’s latest smartphone on its YouTube channel.
The review started at roughly 1:20pm ET, but it’s still going on and is available to watch from the beginning if you’d prefer to take it all in. If iFixit comes across any interesting surprises, we’ll summarize them in an update to this article.
The post Photography Equipment for Beginners: What to Buy When Starting Out appeared first on Digital Photography School. It was authored by Rick Ohnsman.
You’ve decided you want to get more serious about photography, move beyond just making snapshots with your cellphone, and perhaps even pursue making money from your hobby. You’re ready to start shopping for a better camera and the accessories that go with it.
Many articles about photography equipment for beginners will immediately start recommending makes and models. Or, if you walk into a traditional brick-and-mortar photo store, a salesperson might start showing you equipment, eager to make a big sale.
Your needs should dictate what to buy. Might a simple point-and-shoot be a good starter camera, or will you need a full-frame DSLR with a long lens and a big tripod? Don’t just buy what a salesperson or someone else tells you is “the best.” Ask yourself some important questions.
Ask other photographers, “What should I buy?” and many will launch into a list of equipment they like, probably favoring the make and model of the gear they own.
(Stay far away from “fanboys,” people who will tell you Brand X is the only way to go and only idiots would buy anything else.)
I’m here to suggest that, rather than immediately seeking a make/model answer to the “What should I buy?” question, you should instead start by asking yourself some more general questions.
Assessing your needs
Cameras and associated equipment will not make you a great photographer, any more than buying an expensive sports car will instantly make you a winning race car driver. To take that analogy further, why would you plunk down the big bucks for that exotic sports car when all you need is something to drive to the grocery store?
The same goes for simply buying the “latest and greatest” gear because that’s what other photographers are excited about, or because that make/model is the buzz of trade magazines and online photo sites. Porsche sports cars have a great reputation, but do you need one? The new mirrorless cameras from the big-name camera manufacturers are exciting, but are they right for you?
If money is no object (I wish that were my situation!), does that mean you should buy the most expensive, sophisticated camera and all the lenses and goodies to go with it? Will that guarantee you have the “best” and most capable gear that will ensure you make stellar photos?
I hope you don’t just reach for your wallet. Instead, do a little self-assessment and homework first.
You could just buy the top-of-the-line flagship camera from one of the big-name companies and figure it would do everything you’d ever need. But when you’re still learning, the plethora of buttons, dials, knobs, and menus would likely overwhelm you. Then you’d be paying for things you won’t use or understand. The “best” is not always what is best for you.
So, let’s explore the questions you should be asking yourself as we dive into photography equipment for beginners.
What do you already know about photography?
If you’re looking for photography equipment for beginners, here’s the first question you should ask:
What do you already know about photography?
How much knowledge and experience do you already have? Have you only made some “pretty pictures” with a single press of the shutter button on your cellphone? Have you heard of the exposure triangle? Do you understand what ISO, shutter speed, and aperture are and how they interact to control exposure, depth of field, and motion capture? Have you had or might you have an interest in pursuing formal instruction to better learn both the artistic composition of photos and the technical operation of the camera?
What do you already know about photography? Do you understand the exposure triangle? When exploring photography equipment for beginners, your pre-existing knowledge, as well as your interest in learning, should be factors in deciding the right gear for you.
Sure, you can buy a fancier, more expensive camera with the idea that you will “grow into it.” Of course, that more sophisticated camera with buttons, knobs, dials, and cryptic menus could also overwhelm you as a beginner. Sometimes simpler is better, especially when you’re still learning.
On the flip side, a cheap point-and-shoot, highly automatic camera might be easy to learn, but can very quickly create limitations for you as you grow as a photographer.
The real question here is, “How serious are you about photography?”
Do you simply want a camera you will use on occasion, perhaps take on vacation, and that will make good photos with its automatic modes? Or do you plan to make this a serious hobby in which you will invest time, study, and frequent practice? Do you want to dig in and really learn?
What type of photos will you be making?
Cameras don’t make photographs; photographers do. A camera is simply a tool a photographer uses to create a photograph.
In any endeavor, having the right tool for the job makes the work easier and gives improved results. So, when choosing the right camera for your photography, an essential question is, “What kind of photographs do I intend to make?”
I purposely use the word “make” rather than what many people say about “taking photos.” Snapshooters might take photos, seeing something of interest and quickly, without much thought, snapping a shot. Serious photographers, however, are craftspersons, thinking about composition, camera settings, and many other things involved in creating and “making” a photograph.
Whether you just want to take snapshots or make photographs will also influence what kind of equipment you should buy.
So what kind of photos do you want to make? What subject matter is your favorite?
I hear some saying, “I’d like to make all kinds of photos of whatever catches my eye.” So let’s ask the question this way: “What kind of photos do you envision making 80% of the time?” Photos of your kids as they grow up? Formal portraits? Landscapes? Vacation photos? Wildlife photos? There are hundreds of photo genres to explore and, while some camera and lens combinations might be able to handle a greater variety of these, expect to pay more for such photography equipment.
Specialized kinds of photography, such as bird or wildlife shooting where fast camera responsiveness and long lenses are required, will take more specialized gear. Perhaps you want to take photos of your kids playing soccer or engaging in other sports. You might consider an inexpensive point-and-shoot camera, but even if it does have a built-in 10x “superzoom,” will the lag-time between when you press the shutter and when it fires cause you to frequently miss the action? Will the tiny built-in flash have enough power to light your kid at the other end of the basketball court as he hits the winning shot at the buzzer?
Finding the balance between spending enough to have the most versatile equipment and yet not paying for things you will never or only rarely use can be hard. Back to the “80% factor” I mentioned: Buy the gear that will accommodate 80% of your needs. If you suddenly get to photograph that African safari and don’t have the equipment you need, then you can upgrade or, better yet, rent the equipment to handle that unique opportunity.
How will your photos be used?
Before digital photography and the internet, a photograph meant a print. Today, it’s becoming rarer and rarer to see printed photos. Some of these statistics are from 2017, so they’re already dated, but still amazing to consider:
An estimated 1.3 trillion photos are taken each year
75% of those photos are taken with cellphones
Less than 13% of photos are taken with dedicated digital cameras
Approximately 121.5 million digital cameras were sold in 2010; that dropped to 14.8 million in 2019
Over 1.3 trillion photos are being taken each year, the vast majority with cellphone cameras. Just a small percentage of those are printed. If you don’t plan to make prints, do you need a high-megapixel camera?
Do you wonder why companies such as Olympus have folded and even the largest digital camera makers are struggling? Sure, you’re reading this because you intend to continue pursuing digital photography, but the question I’m heading toward is, “What percentage of your images do you intend to print?”
Do you need a high-megapixel camera?
Top-end camera manufacturers like to boast about the high-megapixel cameras they are producing and, yes, these can produce some amazing images. Cameras from the top manufacturers now tout specs showing sensors between 40 and 60 megapixels (with prices to match).
The question is: If the vast majority of the images you shoot are only for display on your monitor or online, do you need such high megapixel counts? You can print a beautiful 300 DPI 16” x 20” print with a 4800 x 6000 pixel (28.8 MP) image.
At the time of writing, the Sony A7R IV is the highest megapixel full-frame camera, and it produces a 9504 x 6336 pixel (60.2 MP) image. Printing that at 300 DPI would give you a nice 20″ x 30″ print, and it would be quite easy to go far bigger than that.
On the other hand, if the largest you’d ever print is 8″ x 10″ (about an A4 size using European standards), a 7.2-megapixel image would be just fine. Most current smartphones produce higher resolution images than that.
If you do intend to make prints, think about how large you’d like to make them. My Canon Pixma Pro-100 can print up to 13″ x 19″. To print at 300 DPI, that means I need a 3900 x 5700 pixel image. My Canon 6D is a 20.2-megapixel camera with a maximum resolution of 5472 x 3648 pixels. 13” x 19” is about the maximum I can go with good quality. There are ways to go larger, but give consideration to your printing needs when purchasing a camera.
I don’t mean to confuse you with math. But I want you to ask yourself the question, “Do I expect to be printing my photos and, if so, how large might I print them?”
Do you need an expensive, full-frame, high-megapixel camera if all you’ll ever do is share your work on social media?
My first digital camera was the 1.2 MP Nikon Coolpix 950. I still have it.Here’s a slightly-cropped image from the Nikon Coolpix 950. The maximum resolution for that camera was 1600 x 1200 pixels, just enough to make a 4″ x 6″ print. If all I wanted to do was post images online or to social media, however, that still would be plenty of resolution. What you intend to do with your photos should be an important consideration when purchasing a camera.
The little Coolpix 950 excelled at macro shots.
Size, weight, and environmental factors
You’ve heard the saying, “The best camera is the one you have with you.” I suppose the corollary to that is, “The worst camera is the one you left at home” (or in your car, or anywhere that is not with you). If you buy a camera (and lenses, and tripods, and other equipment) that becomes a nuisance to bring along, or makes you wish it were smaller and lighter, you’ve probably bought the wrong gear.
Interestingly, many people believed the way to save on size and weight was to move to the latest mirrorless cameras. Yes, mirrorless cameras are marginally smaller and lighter, but lenses for them are not appreciably smaller and lighter. Many mirrorless cameras also draw more battery power, and so the weight saved with smaller equipment is offset by having to carry more batteries. About the only thing that has grown appreciably lighter are photographers’ wallets, because the new smaller, lighter cameras often carry a premium price.
Something else to be considered when shopping for photography equipment for beginners is where and how the camera and accessories will be used. If you’re taking a camera on vacation for travel photos, how much equipment do you want to pack and carry around all day? If you’re a backpacker or outdoorsman, do you want to take a tripod? An array of lenses? Might one of the more sophisticated bridge cameras be a better option for a travel camera?
Another consideration might be the operating environment in which you intend to make photos. If you will frequently be in dusty environments, you may not want a camera with interchangeable lenses. Maybe you frequently shoot in the wet, rain, snow, or in other inclement weather. If so, a camera that is weather-sealed might be worth considering.
Upgradability
If you intend to pursue photography for many years, you will want to give consideration to upgrading your equipment as you improve, as new innovations come along, as you diversify in your shooting, or even as equipment wears out.
Photographers who shoot with interchangeable lenses often find that they soon have more money invested in good lenses than their camera bodies. “Good glass” that can still be used when a camera body is replaced becomes a good investment. Because camera manufacturer lens mounts are usually proprietary to that brand, once you select a make and purchase a few lenses, you will likely want to stick with that manufacturer in the future, rather than sell off everything and start all over.
Once you start buying lenses and accessories, you will soon have invested more than the price of your camera body. Because each camera make typically has its own proprietary mount, picking and sticking with a camera brand makes upgrades less expensive. You’ll be reluctant to switch brands if it means selling off everything and starting over.
New, used, or refurbished?
Some people only want to buy new equipment and, if paying full-price for equipment to get factory-fresh gear with a full warranty is worth it to you, go for it.
But sometimes, when researching photography equipment for beginners, substantial savings can be had by buying well-cared-for, used equipment (with stress on well-cared-for). Here’s a good article from Jaymes Dempsey about considerations when buying used photo equipment, and here’s another by Tom Mason. I have had generally good experiences buying used equipment because I:
Buy from photographers I personally know who take good care of their gear, or
Buy from top resellers such as B&H, Adorama, KEH, and others that check and give their used equipment full inspections, ratings, and even limited warranties, or
Buy directly from manufacturers who service, inspect, sell, and warranty refurbished equipment.
Do you need the “latest and greatest” as a beginner? Do you need new equipment, or might a slightly used and well-cared-for earlier model save you some money and be more than adequate for you?
Excellent savings can often be had by purchasing used when new equipment is just coming out. Photographers with GAS (Gear Acquisition Syndrome) just have to have the latest, greatest thing. Many of these shooters, eager to trade up, are willing to sell their slightly used equipment for bargain prices.
Now, as a beginning photographer, you don’t need the newest cutting-edge equipment, because you likely still have to master the basics. If last year’s top (and now slightly used) camera can be had, helps you learn the basics, allows you to better understand your needs, and fits the bill at a reduced price, so what if you only have it a short while before you upgrade?
Who to purchase from?
Some good advice about buying photo equipment (or anything else for that matter) is the Latin phrase caveat emptor. You likely know that means let the buyer beware.
It used to be that you could walk into a camera store and deal face-to-face with the store owner or at least a salesperson. Even then, you always had to be wary of the unscrupulous salesperson who, once you were pegged as a beginner without much knowledge, would try to upsell you into purchasing far more gear (or more expensive gear) than you really needed. You hoped instead that you’d get a dealer who really wanted to understand your needs and outfit you with the best equipment suited to your budget and needs. This second type of dealer would ask the kinds of questions we’re exploring here, knowing that a satisfied customer would tell others of their good experience and thus bring in more business.
Sadly, these kinds of brick-and-mortar camera stores are becoming rare (the last dealer in my town closed shop about a month ago after 74 years in the photo business). That doesn’t mean there aren’t reputable online dealers who offer good customer service on photo equipment. You just have to do your research. Talk to experienced photographers and ask them where they buy their equipment, who gives good deals, who provides good advice and service, and who honors warranties.
Idaho Camera had been the camera store in my town for 74 years. They closed permanently this past month, a victim of changing economic times, competition with online dealers and, finally, the Covid-19 crisis.
Always be cautious of dealers who have questionable reputations and, even more so, offer deals that are too-good-to-be-true. Often photo equipment manufacturers will require all dealers to offer their equipment at the same price, and so where you shop won’t change the price. Some dealers will thus come up with their own incentives and offer packages of accessories they throw in to sweeten the deal. Look carefully at whether this is really worthwhile. You might get a cheap cleaning kit, a worse-than-nothing tripod, or a shoddy camera bag, stuff that’s not worth it if it tempts you to do business with a shady dealer.
Also, beware of the dealer who tries high-pressure tactics to get you to add on stuff you didn’t initially intend to buy or a questionable “extended warranty.” And beware of “gray market” equipment, which most manufacturers won’t warranty at all.
Using online buying guides
I have refrained from suggesting any specific makes or models targeted as specific photography equipment for beginners. If, after asking yourself the questions I’ve outlined, you think you’re ready to begin looking at specific gear, there are some great places to check out.
Here on the Digital Photography School (dPS) site, check out the Cameras & Equipment section.
Check out the Cameras & Equipment section here on dPS for good information and reviews of photo equipment.
Another place I particularly like is the Digital Photography Review site (DPReview.com) and their Buying Guides section. The Cameras by Use Case pages are great for helping suggest makes and models based on how you intend to use your camera.
I’ve primarily discussed cameras, but if you’re shopping for tripods, lighting equipment, or any other kind of photo accessories, places such as dPS and DPReview offer a wealth of information. There are also forums where you can learn from other photographers about the ins-and-outs of specific gear.
Do be cautious, however. Fanboys and trolls like to hang out in places like that, so don’t just go with the first opinion you read.
The Digital Photography Review site. Cameras by Use Case is great for helping you explore photography equipment for beginners and is specifically geared toward how you intend to use your equipment.
Photography equipment for beginners: The questions to ask
I’ve thrown out a lot of stuff here, so let’s summarize with a list of questions to ask yourself:
What are my needs for a camera (or other photo gear)?
How much do I know about photography?
How serious do I intend to get? Will I pursue learning opportunities?
How often will I use this equipment?
What kind of photos will I be making (use the 80% rule)?
Do I want to specialize in a particular photo genre/subject?
How will I use my photos? (Online? Print? Sell?)
How much resolution (megapixels) do I need?
Is size/weight an important factor?
Where will I use my gear (environmental factors)?
Do I plan to upgrade, add lenses, and add accessories?
Do I want new gear, or might I consider used or refurbished equipment?
Who should I buy from? A store, an online dealer, or a private individual?
Have I done research (via buying guides, and/or discussions with trusted photographers)?
Here, take my money! I guess if money is no object, you might just buy what someone else tells you is the “best.” But, for most of us, research will help you get what you need, and what will be the best tool for the job at the best price.
Now take my money
Some people aren’t much for researching purchases and simply want someone to tell them what to buy. It’s easy to find salespeople perfectly willing to tell you what you “need” and take your money.
I suspect that, if you’ve read this article, you are not one of those people.
So, in writing this guide to photography equipment for beginners, my aim is not to tell you what to buy, but rather to have you ask yourself the right questions. If you do that, you can best make a wise purchase and get the photo tools that best suit your task.
The ultimate objective is that you learn and grow as a photographer, enjoy photography, and make increasingly better photographs. Best wishes!
The post Photography Equipment for Beginners: What to Buy When Starting Out appeared first on Digital Photography School. It was authored by Rick Ohnsman.
Pinhole photography is often associated with ‘intro to photography’ -type classes, because it simplifies the process of recording an image down to bare bones. But there is both an art and a science to creating a well-functioning pinhole camera. Specifications like hole diameter and the light-sensitive material’s distance and angle-of-view to the pinhole make a huge difference.
So, how does one elevate the pinhole camera from DIY beginner project to serious creative tool? With a little bit of technical know-how and a whole lot of trial-and-error. Join 35mmc’s Sroyon on their adventures in the world of cardboard cameras.
Read: Making and using a cardboard camera – adventures in pinhole photography
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 KosmoFoto and 35mmc.
DJI’s new Ronin gimbals, the RS 2 and RSC 2, have been updated a ton of important ways: better stabilization algorithms, built-in color displays, heavier payloads… heck, even the carrying cases are better. Jordan takes a closer look at what’s new and how they function in the field, both as tools for videographers and fitness buffs alike. Yep, you read that right.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
Canon’s EOS R5 is an excellent camera for professionals or anyone that’s looking for a supremely capable option for almost any type of photography, from sports and action to studio portraits and landscapes.
It’s a 45MP full-frame mirrorless camera that can shoot clips of 8K video, has impressive Dual Pixel autofocus and excellent ergonomics. It can also capture 10-bit HDR stills and video for HDR display and is the spiritual (and mirrorless) successor to Canon’s 5D-series DSLR cameras. It’s not a perfect camera, but we think it’s an excellent and highly competitive addition to an already crowded field of competent high-resolution full-frame mirrorless cameras.
Key specifications:
45MP full-frame Dual Pixel CMOS sensor
8K video, with option for Raw or 10-bit 4:2:2 C-log or HDR PQ
Up to 4K/120p, or oversampled 4K up to 30p
100% coverage Dual Pixel II AF system with human and animal detection trained by machine learning
12 fps / 20 fps bursts (mech. / elec. shutter)
5.76M-dot OLED EVF with 120fps max refresh rate
3.2″ 2.1M-dot fully articulating touchscreen
10-bit HDR photos in HEIF format
1x CFexpress slot, 1x UHS-II SD slot
Claimed weather-sealing to EOS 5D Mark IV levels
2.4/5Ghz Wi-FI with Bluetooth and FTP connectivity
As you can see from the spec list, there’s a lot to cover. The EOS R5 is available now for $ 3899 USD body-only, or $ 4999 with the RF 24-105mm F4L lens.
Next page: What’s new and how it compares
Review index
What’s new and how it compares
The EOS R5 has a lot of new features inside and out. We’ll go through what they are, and why they matter, here.
Read more
Body, controls and handling
Canon has banished the EOS R’s touchbar and put a very nice AF joystick in its place. Overall, the R5 is a really pleasant camera to use.
Read more
Image quality
The EOS R5 offers strong JPEG and Raw performance; find out the details here.
Read more
Dynamic range
Canon’s EOS R5 does a great job with high-contrast scenes, like sunrises and sunsets.
Read more
Autofocus and performance
There aren’t a ton of settings you need to fiddle with on the EOS R5 to get the most of its AF system…but you should check out one or two of them right here.
Read more
Video
This might be the hottest part of the review.
(Read about EOS R5 overheating issues and its overall video quality here.)
Read more
Conclusion
The EOS R5 is absolutely the ‘mirrorless EOS 5D’ for most users. Find out why, right here.
Read more
Sample gallery
Peruse our huge sample gallery full of JPEGs, Raws and processed Raw images from a full-production EOS R5.
Apple doesn’t make its naming system easy to understand, but to be fair, the company is hardly alone in this. This year’s class of new iPhones includes four models – iPhone 12, 12 mini, 12 Pro and 12 Pro Max – and aside from the size differences implied by ‘mini’ and ‘Max,’ you’re on your own to figure out what separates them. One of the differences that matters to a lot of people is the device’s camera features, and that’s what we’re here to help demystify.
We’ll go into depth on the more subtle differences between each device’s cameras below, but if you’re looking for a really quick answer here it is: the non-Pro models only have standard wide and ultra-wide cameras, while the Pro models have telephoto, standard and wide cameras. For visual learners, like us, here’s what that looks like in table form:
iPhone 12
iPhone 12 mini
iPhone 12 Pro
iPhone 12 Pro Max
Standard wide camera
?
?
?
?
Ultra-wide camera
?
?
?
?
Telephoto camera
?
?
?
?
There’s more to it than that of course. There’s always more to it. Here’s a detailed rundown of each phone’s cameras and photo features.
iPhone 12 ($ 800 and up) and iPhone 12 mini ($ 700 and up)
Two rear cameras (Standard and Ultra-wide)
Front-facing selfie camera
The two non-Pro models offer the exact same camera hardware and features, which makes a choice between the two much easier – choose between the 12’s 6.1″ display or the 12 mini’s 5.4″ screen. As mentioned, both of these models lack a telephoto lens, as well as the Pro models’ Time-of-Flight (ToF) LiDAR sensor, used for better depth mapping, augmented reality and Night Mode portraits.
So what’s changed since the iPhone 11? The 12, 12 mini (and both Pro models) use a new 7-element lens with a wider F1.6 aperture on the main wide-angle camera. All three of the 12 and 12 mini’s cameras (as well as the Pros’ telephotos) now support Night Mode and Deep Fusion; technologies that use computational methods to improve photo quality.
Resolution
Aperture
Focal length (equiv.)
Stabilization
Night Mode portraits
Standard wide
12MP (1.4 µm pixels)
F1.6
26mm
?
?
Ultra-wide
12MP
F2.4
13mm
?
?
Selfie camera
12MP
F2.2
23mm
?
?
iPhone 12 Pro (starts at $ 1000)
Three rear cameras (Standard, Ultra-wide and Telephoto)
Front-facing selfie camera
Includes a ToF LiDAR 3D mapping sensor
Apple ProRaw (via update later this year)
Here’s where the differences in camera features start to get a little more complicated. The Pro and Pro Max both have standard wide and telephoto cameras, but they’re not the same. The Pro features the 12MP sensor found in the 12 and 12 mini, while the Max uses a different, larger sensor. The Pro offers a 52mm equiv. telephoto lens, while the Pro Max offers a slightly longer 65mm equiv. lens.
Resolution
Aperture
Focal length (equiv.)
Stabilization
Night Mode portraits
Standard wide
12MP (1.4 µm pixels)
F1.6
26mm
OIS
?
Ultra-wide
12MP
F2.4
13mm
?
?
Telephoto
12MP
F2.0
52mm
OIS
?
Selfie camera
12MP
F2.2
23mm
?
?
iPhone 12 Pro Max (starts at $ 1100)
Three rear cameras (Standard, Ultra-wide and Telephoto)
Front-facing selfie camera
Includes a ToF LiDAR 3D mapping sensor (for better depth mapping, augmented reality and Night Mode portraits)
Apple ProRaw (via an update planned for later this year)
The 12 Pro Max builds on the 12 Pro’s camera capabilities by opting for a larger sensor in its standard wide camera with bigger pixels, which should improve low-light performance. The standard camera also includes more robust sensor-shift image stabilization, and the Max’s telephoto lens is also a bit longer for tighter portrait framing.
Resolution
Aperture
Focal length (equiv.)
OIS
Night Mode portraits
Standard wide
12MP (1.7 µm pixels)
F1.6
26mm
Sensor-shift OIS
?
Ultra-wide
12MP
F2.4
13mm
?
?
Telephoto
12MP
F2.2
65mm
OIS
?
Selfie camera
12MP
F2.2
23mm
?
?
Which one should you buy?
The short answer is that if you care about getting the very best image quality from your phone, the iPhone 12 Pro Max looks to be your best option. We’re eager to test out Apple’s big image quality claims, but on paper at least, the improvements that have been made – especially to the main camera sensor – should add up to better performance.
Apple ProRaw is likely to be another key feature for those who care deeply about image quality, combining the flexibility of Raw capture with the benefits of computational photography. Unfortunately it’s another unknown at this point, since it will come to the 12 Pro and 12 Pro Max later this year.
While it’s a relatively safe assumption that the 12 Pro Max’s camera will be better than that of the other 12-series devices, the question is how much better, and whether it’s enough to make a difference to most people. We’re looking forward to testing the phones and finding out for ourselves.
Adam Schultz, oficial photographer for the Biden For President campaign. Photo: Drew Heskett
Adam Schultz is a busy man. Official photographer for Joe Biden’s presidential campaign, he’s traveling all over the US with the candidate, taking and sharing pictures of the campaign trail. We caught up with Adam recently to talk about what it means to shoot for a presidential campaign, how 2020 differs from previous election cycles, and why he can’t wait until it’s possible to take pictures of people without masks on.
All pictures courtesy of Adam Schultz unless otherwise noted. The following interview has been edited for clarity and flow.
How do you end up as a campaign photographer?
Well in 2016 I worked on the Hillary campaign with Barbara Kinney, who was one of the White House photographers in the 90s, and before that I worked at the Clinton Foundation for eight or nine years. I’ve always been interested in politics and photography. It’s a really interesting niche, being able to use photographs to show what these people do on a day to day basis.
An early January shot of presidential candidate Joe Biden with supporters at Simpson College, Indianola, Iowa.
The Biden campaign trialled a bunch of photographers in the early days, but I remember on one of the longer flights back to Delaware, I was showing VP Biden the pictures on my computer, and he was going through them, and he turned to me and asked if he could put some of the pictures on his phone. And that’s when I thought ‘OK, good, he gets it, he likes this stuff!’ From that point on I’ve just stuck close and tried to build trust with him.
What is it about politics and politicians which interests you as a photographer?
I’ve always thought of myself as being a politically-conscious person, I try to keep my ear to the ground, and keep an eye on the issues that affect people. For me personally, I grew up in a household where my parents both had strong opinions, and they always talked about issues, and how important it was to vote, so it’s always been a part of my life.
Being able to combine photography and politics, well that’s a neat job!
A typical ‘pre-COVID’ campaign-trail scene in St Louis, taken in early February, before lockdown measures were put in place.
What does your role as campaign photographer involve?
A lot of it is generating marketing materials, effectively. In this campaign, because of the pandemic, we’ve concentrated a lot more on pictures that show the candidate with people. Whether that’s working on rope-lines or talking to supporters, and making sure that we get the shot of him walking out with the flag of a state behind him, to visually illustrate the fact that he’s at a certain location.
So every day I wake up, look at the schedule, and determine ‘OK, from this event we need a picture of X, Y and Z and from this meeting, we need a picture of him greeting such and such a person’.
If you go to our Flickr account, we’ve done a pretty good job of sharing photos from pretty much every public event that we do. One of the things I wanted to do a lot of in this campaign was to let people see what is actually happening. And Flickr is a great public forum where people can see the photos.
How has the pandemic affected your work on this campaign compared to 2016?
There were a couple of months when we were figuring out our COVID testing, and there were a lot of unknowns around what was safe, and what we could do. Questions like ‘Can we fly?’ And first and foremost, the campaign – and vice-president Biden – has said ‘safety first’. Wear a mask, get tested, all that stuff. There were a handful of times when I saw vice-president Biden before we started rigorous testing, but now, every day before I see him I get tested. So that’s definitely an extra layer, operationally, which has to be built into the schedule.
We always make sure we know exactly how many people can be in a space, what the safe distance is, and of course masks
But this is go-time – we do things every day. We’ve gotten around a lot, and the pictures show it. We’re out at events, being socially distanced, and we’re always following local guidelines, whether that’s state, county or city, whatever. We always make sure we know exactly how many people can be in a space, what the safe distance is, and of course masks. We follow mask mandates religiously. In my opinion, that indicates true leadership. We have to set a good example.
Presidential candidate Joe Biden speaks to his running mate, Kamala Harris, via video call, in August 2020.
Have all of those restrictions affected how you work as a photographer? Are there pictures this time around that you just haven’t been able to get?
One of the things that we used to love to do before the pandemic was rope-line moments. Often VP Biden would spend more time on the line talking to people after an event than the actual event ran for. You have to think about who those people are, who take time out of their day to come to the events and hang out on the line afterwards to talk to him, and tell him about their issues. Unfortunately, this time around, it’s been tough to talk to people like that and shake their hands.
As a photographer, that’s tricky. Events are socially distanced, and group photos always have to have six feet of distance between people. If you look at the photos we’re capturing now compared to this time last year, there’s a huge difference. Last year it was have been pictures of the candidate speaking, working the rope line, group photos, all the traditional kinds of pictures you’d see from a political campaign, but this is a wild time.
I’ll spend a fair amount of time trying to get shots showing what the event looks like from VP Biden’s perspective.
What does that mean for you technically?
One of the things I’ve always tried to do is move around a lot. As much as possible. When we go into a space I’ll move around and get the typical shots, then I’ll spend a fair amount of time trying to get shots showing what the event looks like from VP Biden’s perspective. And that’s where a lens like the 100-400mm is great, you can get those really tight shots. One thing that I’m doing in this role is documenting what the candidate sees, and what he’s thinking about.
If we’re in a smaller room, the trick is to take a picture of two people standing on opposite sides of that room, I’ll reach for the 16-35mm. But I’ll also back up on the 85mm, and for larger events the 100-400mm is great. It’s a really versatile lens. Being able to move around, both physically and in terms of focal length is really important.
Are you looking forward to the day when you can take pictures of people without masks?
We always follow local guidelines, and if the guidelines say ‘wear a mask everywhere, no matter what’ then VP Biden does that. It’s a tough thing to shoot around, because it makes it tough to capture really good moments sometimes. You’ll hear people say ‘I’m smiling with my eyes’ and you can see that, but it’s not the same.
Once we make it through this, God willing, it’ll open up a whole different realm of opportunities for photography. Being able to do normal events again, and shake hands with people again, it’ll be great.
An ABC interview with Joe Biden and Kamala Harris in August, conducted according to social distancing guidelines.
What gear do you shoot with right now?
I have three Sony a9 II bodies, about twelve batteries, and four lenses, including the three I mentioned earlier. The Sony FE 16-35mm F2.8 GM, the FE 24-105mm F4 G OSS, which is mostly a backup, then the FE 85mm F1.4 GM, which is a great lens, and the FE 100-400mm F4.5-5.6 GM OSS. For me, it’s tricky because I never know exactly what kind of an event, or situation I’m going to walk into. So having those three bodies and those three main lenses gives me a really wide range of possibilities.
What’s the most fun thing about your job right now?
Right now [October 15th] we’re about two and a half weeks out, and it’s just the excitement. We’ve gone through ups and downs, and good days and bad days. This is a very exciting time. Every day I wake up, and I put all of the experience of the last year and a half to use. I follow his schedule, I do it, get the pictures, then edit. I’ll review the day when I’m going through my selects and I’ll think ‘Oh wow that was a really cool day!’
Every day I get to do this is a special day, and it’s important to remember that
A perfect day is one where we do an unscheduled stop. We used to do a lot of them, and it’s trickier now, but there have been a bunch of times where we’re on a two or three-day trip, and we’ll stop by a restaurant, or go to a little hole-in-the-wall place and order a sandwich or an ice-cream or something. Those kinds of things are great. They put the candidate in front of people who wouldn’t necessarily have seen him otherwise and they add a local flavor to the coverage of the campaign. Having those images peppered in among planned events, that really makes it fun.
Do you have any tips for staying healthy and sane, when you’re traveling so much?
Eat right! And never forget to take a step back and look at where you are. Paul Morse [White House photographer during the George W. Bush administration] told me that. To be in this kind of role, and to be given this kind of opportunity is such a cool thing. Some people might see it as a grind, and it is, but I don’t see it like that. Every day I get to do this is a special day, and it’s important to remember that. It’s not about me. I’m doing my job to make sure that the candidate is painted in a good light. There are rough days, but it’s a very special thing.
You can find more of Adam’s work on Instagram, and the official Biden For President Flickr page.
You must be logged in to post a comment.