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CP+ 2019: Finally – Nikon has cut a Z Noct 58mm 0.95 S in half

01 Mar

CP+ 2019: Finally – Nikon has cut a Z Noct 58mm 0.95 in half

The past couple of years haven’t seen the veritable cornucopia of Things That Have Been Cut In Half that we used to see at CP+, but here and there, scattered around the show this year are some good examples of the waterjet cutters’ art.

The definite highlight is a bisected Nikkor Noct 58mm 0.95 S, which has been keenly awaited by Nikon fans since it was announced at the launch of the Z system last August. Wait for it….

CP+ 2019: Finally – Nikon has cut a Z Noct 58mm 0.95 in half

….here it is, in all its glassy glory. Nikon has released very few details of the lens’ specifications, but we do know that it features a new ARNEO coating technology and at least one large, ground aspherical element. Intended to continue the legacy of the now-legendary original Noct-Nikkor of decades past, Nikon has designed this ultra-fast prime for ultimate image quality above all other considerations.

CP+ 2019: Finally – Nikon has cut a Z Noct 58mm 0.95 in half

The Noct will be a manual focus lens, which shouldn’t come as all that much of a surprise now that you’ve seen how much glass Nikon has packed inside it. Accordingly, almost half of the total length of the lens is taken up with a large, knurled focusing ring and a clear, widely-spaced engraved focus scale.

It’s unclear whether the focus will be ‘focus by wire’, but we can’t see any evidence of a focus actuating motor in the schematic, which suggests that the Noct might – possibly – use a conventional mechanical helicoid. Are you an expert at reading schematics? Let us know in the comments.

CP+ 2019: Finally – Nikon has cut a Z Noct 58mm 0.95 in half

In addition to the engraved focus scale, the 58mm Noct also features a control ring, and a similar OLED display as the Z 24-70mm F2.8 S, which we saw yesterday. On that lens, the screen can be switched between various informational displays, but it’s unclear what (apart from shooting aperture) might be shown on a fixed focal length short-tele lens with a permanent focus scale.

CP+ 2019: Finally – Nikon has cut a Z Noct 58mm 0.95 in half

Shown here attached to a Z7 it’s obvious that the Noct is shaping up to be a very big, and we suspect quite weighty lens. So big in fact that it features an integral tripod collar. And beyond Nikon’s promise that it will “take advantage of the advanced design flexibility afforded by the Z mount […] offering the ultimate in NIKKOR rendering performance with superior detail and sharpness” that’s about all we know about the Noct, for now.

Pricing and availability are still firmly TBD, but we’ll bring you more details as they become available.

Articles: Digital Photography Review (dpreview.com)

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CP+ 2019: Canon shows concept cameras and limited-edition gold EOS RP

01 Mar

Canon concept cameras and limited-edition silver EOS RP

Canon has been working on a small range of concept cameras for a little while now, and following last year’s display of various mockups, this year the company has been demonstrating some working models, which may or may not be developed into real, shipping cameras.

First up is a digital camera designed for kids. This is a non-working example, but it’s easy to grasp the basic idea. It’s a colorful, simple camera with a tunnel-type optical viewfinder and simplified controls.

Canon concept cameras and limited-edition silver EOS RP

Rather than conventional exposure modes and complicated controls, Canon envisions kids interacting with the camera via ‘missions’, designed to help them created images based around simple themes, like emojis, colors, or (cat?) feelings. We’re showing the pink version here, but the camera might be available in several different color variations.

‘Smart’ camera

Next up is a ‘smart’ camera, designed to automatically select and focus on subjects without any user interaction. This particular model is a working camera, set up on Canon’s booth. The housing is motorized, allowing the lens to be directed up and down, and around in any direction, through 360 degrees.

‘Smart’ camera

As I was setting up my camera to grab a shot, it locked on to my face. Which I must admit was a bit disconcerting. Does anyone remember the Kodak Party Shot? This is a similar kind of thing, except it can capture video, and it actually works. I don’t know who the lady is at lower-left, by the way, but I hope she’s not driving.

Telephoto camera

This is a working prototype of a lightweight telephoto zoom camera, which in its current form allows the users to switch between a 100 and 400mm equivalent field of view, at the press of a button.

Telephoto camera

Perhaps intended to provide a means of capturing the action from the stands of a sports stadium or concert arena, we’re told that the simple 100/400mm toggle is provisional – Canon is working on a stepless zoom to allow for the use of intermediate focal lengths.

Telephoto camera

Canon is also working on miniaturizing the concept, and although these are just mockups, we’re told that they’re closer to the ideal size of the camera, if it ends up being developed for commercial release. Notice what looks like an Apple Lightning connector on the pink mockup, reminiscent of the short-lived DxO One.

Outdoor action camera

Finally, here’s a concept for a colorful outdoor action camera, based around a fixed wideangle lens. The square cutout is both a simple framing device, and (as shown here) a means of hanging the camera from, or attaching it to things. The flat panel on the front of the camera is removable, and held on by a magnet.

Outdoor action camera

Canon is showing off a range of representative swappable panels, which might be swapped in for quick customization.

Outdoor action camera

A simple control dial allows the camera to be switched between modes.

Gold EOS RP

Next up is the very real, very working, and definitely shipping limited edition gold EOS RP. Sadly this color variant will only be available in limited numbers, in Japan. We say ‘sadly’ because it’s actually quite handsome.

Gold EOS RP

And in fact, strictly speaking it’s more of a champagne finish. If you remember the old film-era EOS 50 / Elan II it’s rather similar, with the control dials picked out against the warmer body finish in bright, neutral silver. Sadly if you want one, you’ll probably need to fly to Japan to get it – and be quick, because there are only 5,000 in existence.

Articles: Digital Photography Review (dpreview.com)

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CP+ 2019: Hands-on with Nikon Z 14-30mm F4 S

28 Feb

CP+ 2019: Hands-on with Nikon Z 14-30mm F4 S

Announced earlier this year, Nikon’s new Z 14-30mm F4 S is a compact wideangle zoom lens for Nikon’s Z-series mirrorless cameras. We just got our hands on a working sample at CP+. Click through for more details and some initial handling impressions.

Locking zoom mechanism

Shown here on a Nikon Z6 (one of two cameras capable of mounting it, the other being the ergonomically identical Z7) this compact lens weighs just 485g (17oz). Like the Z 24-70mm F4, the 14-30mm is most compact when ‘locked’ (indicated by a white dot on the zoom ring).

Size and weight

Unlocking the zoom ring and moving the ring to the 14mm position increases the overall length of the lens, but this is as long as it gets. When zoomed in toward 30mm, the zoom extension is gradually reduced. Compared to the AF-S 14-24mm F2.8 for F-mount, the Z 14-30mm F4 S is a good deal smaller and lighter, and very nicely balanced on the Z6/7.

We’d expect a degree of size and weight reduction considering its more modest continuous aperture, and for many (probably most) photographic purposes, the more portable form factor, and the option of adding a conventional protective filter, will outweigh the penalty in brightness.

Compared to Z 24-70mm F4 S

Shown here alongside an Z 24-70mm F4 S (on the right) the new lens is almost indistinguishable at a casual glance. The biggest difference – literally – is the 82mm filter ring. While in no way unreasonable for a wideangle lens of this kind, it’s substantially larger than the 72mm ring on the front of the Z 24-70mm F4.

Neither lens features the control ring found on the forthcoming Z 24-70mm F2.8 S, but the focus ring can be customized to provide direct control over various functions if required.

Optical construction and 82mm filter thread

The front element of the Z 14-40mm S is only slightly domed, which is what allows for a filter to be attached in the first place. If you take a look at the reflections in this image though, you’ll see the telltale curves of at least one aspherical element in the foremost optical group. In total, the Z 14-30mm contains no fewer than four aspherical elements, and four ED (extra low-dispersion glass).

Lenshood and coatings

While pleasantly compact overall, the Z 14-30mm S comes with a large, shallow hood to help protect against flare. Inside the lens, Nikon’s Nano Crystal Coat provides another layer of defense.

Weather-sealed construction

As with all of Nikon’s Z-mount lenses released so far, the 14-30mm F4 is sealed against dust and moisture. It will be available soon for $ 1299.

Articles: Digital Photography Review (dpreview.com)

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CP+ 2019: Zeiss ZX1 – hands-on with the full-frame Android camera

28 Feb

Hands-on with the Zeiss ZX1

We’ve seen Android-based cameras before, we’ve seen primarily touchscreen-based cameras before and we’ve seen full frame compacts with built-in 35mm lenses, but we’ve never seen anything that combines them, which is essentially what Zeiss’s ZX1 does.

Zeiss’s first entry into the digital camera market has echoes of the touchscreen-based Leica TL, it also can’t help but conjure-up thoughts of Sony’s RX1 cameras, which are also built around 35mm F2 lenses on full frame chips. What it doesn’t feel like, though, are Samsung’s erstwhile Android-based Galaxy cameras or Nikon’s Coolpix S800c, which felt like smartphones with a lens glued onto the front.

We got the chance to handle and explore a pre-production ZX1 at CP+ in Yokohama. Zeiss isn’t yet giving a release date for the ZX1 so it’s difficult to know how close to finished it is, but the camera seemed stable and to have most features in place, so we can at least describe how it’s going to work.

ZX1 Physical controls

There are only five physical control points on the camera: dedicates aperture, shutter speed and ISO dials, a solitary function button and a sprung switch at the base of the shutter speed dial. Everything else is controlled via the touchscreen.

All three dials have ‘A’ positions, if you want to hand-off control of their function to the camera. The shutter speed dial only goes up to 1/1000 sec since that’s where the camera’s leaf shutter tops-out. You’ll also notice there’s an ‘H’ position, though. This switches the camera over to electronic shutter mode, to access shutter speeds up to 1/8000 sec, via the touchscreen. At the other end of the scale there’s a ‘L’ setting for shutter speeds longer than a second. There are Low and High positions on the ISO dial, too.

ZX1 power switch

But before we get into the details of the touchscreen, we should take a closer look at that sprung switch. At first glance, this little nub looks like a power switch, but it’s not quite that simple. Although it is the way you turn the camera on and off, this three-position switch provides access to the ZX1’s video shooting mode, too, and it’s also how you put the camera to sleep.

Because it’s an Android device, the ZX1 doesn’t just leap into life when you flick the power switch forward from being off – it starts to boot up, which just like a smartphone, takes a little while. To avoid you having to go through this ordeal every time you want to take a shot, pulling the switch back doesn’t turn the camera off: instead, like a smartphone it just sends it to sleep: powering down the sensor and screen. Pull the switch back for three seconds and it’ll completely shut the camera down. Push it forward while shooting and you enter video mode. We’re told that in ‘sleep’ mode, your battery should only drain by about 10% over the course of a day.

The function button can be reconfigured. With the current firmware it’s an AEL button but you can also get it to control a couple of other functions, including AFL.

ZX1 Swipe bar

The first thing you’ll notice about the ZX1’s touchscreen is that it’s not flat. Instead there’s a distinct crease (but a lovely, smooth one that we suspect must be quite costly) around 1.5 cm in from the right-hand edge. This angled strip of screen is home to a series of icons, which are used for controlling everything else on the camera. In stills mode they’re displayed on a black background but in video mode they’re overlaid on the preview, which expands out to use the full 16:9 expanse of the screen.

There are four icons to a page and swiping your finger up or down along the control strip scrolls through the available options. The top option on the strip is exposure compensation and tapping it brings up a vertical slider so that you can swipe-in the amount you want to apply. Most of the other options work in the same way, popping up a small virtual slider to adjust the setting. Some options also present three dots in a circle, giving you access to a menu with more detailed settings.

Menus, playback and the Android homescreen

What’s not quite so obvious is that there’s another, un-indicated swipeable region along the right-hand-side of the screen. Swipe up and you’ll enter the camera’s main menu, swipe down and you’ll enter playback mode. Left and right swipes change the level of information shown on the screen.

Only if you swipe down do you get a a little 3-dot icon that then finally lets you see the homepage of familiar circular icons that belie the camera’s Android underpinnings. At present, the available apps are locked-down, for security purposes but will be opened up somewhat when the camera is finished. We doubt that Zeiss will simply allow all Google Play apps to be accessible, though.

ZX1 battery and battery life

All the extra processing to run a more complex operating system has the predictable effect on battery life. The ZX1 packs a pretty sizable battery pack that offers around 3190mAh. At present Zeiss is discussing a figure of around 250 shots per charge when tested in a manner comparable with the CIPA standard. We’ll see whether this improves at all with the last bits of fine-tuning of code, prior to launch.

This image gives you a better idea of the angled right-hand portion of the rear display, which follows the angle of the body shell. It really is beautifully done.

ZX1 construction

Back on the physical side of things, the camera has a solid-feeling metal body. The right-hand edges are wrapped with a thin rubberized coating, which means it feels surprisingly secure in the hand. I found myself rotating my hand to the right to adjust my grip whenever I held the camera, but I’m not sure if this was a conscious attempt to more comfortably reach the shutter button or an unconscious attempt to access a front control wheel that doesn’t exist.

The top left of the camera is the only other non-metal body panel: a plastic cover that looks for all the world like it should conceal a pop-up flash but is actually a ‘window’ in the camera’s metal shell to allow the Wi-Fi to communicate efficiently. Given the large files (~70MB per uncompressed Raw), the Wi-FI needs to work as effectively as possible.

Storage, image management and output

What you can’t see on the ZX1 is that it has no memory card slot. Instead it has a vast 500GB SSD built in. We weren’t told exactly how much of that space is taken up by the operating system, but that’s still a ridiculously large amount of space. To sensibly manage such a large drive, the ZX1 lets you shoot what it calls ‘collections’. Essentially these are image folders on the camera’s internal drive, so that you can easily find the images to took on a particular shoot. They appear as separate folders if you connect a device to the exposed USB C socket on the left-hand side of the camera.

Interestingly, because it has an onboard operating system the ZX1 can act both as a slave device (effectively a computer will see it as a massive memory card, as you’d expect from a conventional camera) or a host device that can read a USB memory stick or hard drive plugged into it. This means you can transfer images from the camera to an external drive without ever having to connect to a computer.

Summing up

One advantage the Zeiss has over previous attempts at Android-based cameras is that it’s not trying to compete on price with less-sophisticated mass-market models, meaning (in theory) fewer corners should need to be cut in terms of processing power or memory.

The company say they’ve also stripped the Android implementation back to the bare essentials and focused on building a camera interface, rather than trying to use any of the operating system’s built-in camera capabilities. And even in this non-final form, this decision appear to have paid-off, with the interface working smoothly.

If anything, it’s Zeiss’s decision to include an ISO dial, rather than an exposure comp control (or an unmarked dial to let you choose which you want access to), that took us longest to adapt to in our brief time with the camera. Zeiss believes that a lot of people will manually set exposure, leaving ISO effectively playing the role of exposure compensation. I guess we’ll see how that feels once we get our hands on a testable camera in the coming months.

Articles: Digital Photography Review (dpreview.com)

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CP+ 2019: Hands-on with Nikon Z 24-70mm F2.8 S

28 Feb

CP+ 2019: Hands-on with Nikon Z 24-70mm F2.8 S

At the annual CP+ photography show in Yokohama, Japan, Nikon has been showing its new Z 24-70mm F2.8 S. The Z 24-70mm F2.8 S sits above the Z 24-70mm F4 in Nikon’s new mirrorless lineup, and offers a native mirrorless alternative to the company’s AF-S Nikkor 24-70mm F2.8 for its DSLRs. Promising to be smaller, lighter, and sharper than its forebears, the new lens has been keenly awaited by professional and enthusiast Nikon photographers.

Smaller and lighter than F-mount 24-70mm F2.8

Compared to the AF-S 24-70mm F2.8 for F-mount, the new lens is 25% smaller and 18% lighter. This size comparison shows the difference pretty clearly. Even without the FTZ adapter, it is obvious that the older 24-70mm (top) is a larger lens.

Among the many differences between the two lenses is the zoom ring of the newer zoom, which is much slimmer. in the hand, the weight difference is also obvious. The new lens is a noticeably lighter bit of kit than the older F-mount equivalent, which is a welcome change.

New optical formulation

The optical formula of the Z 24-70mm F2.8 S is totally new, and comprises 17 elements in 15 groups. Two of the elements are Extra Low Dispersion (ED) glass, and four are aspherical. As well as Nikon’s Nano Crystal coating, the 24-70mm introduces a new ‘Arneo’ coat, which is promised to further reduce flare and ghosting.

Fluorine coating

Fluorine coating on the front and rear elements is designed to help make it easier to clean oil and moisture from the outer surfaces of the lens. As you can (just) see in this image, like the older AF-S 24-70mm F2.8, the lens extends when zoomed – taking the hood mounting ring with it.

Control ring

A customizable ‘control ring’, closest to the lens mount joins focus and zoom rings to provide direct control over various functions. Some photographers might find it useful for direct control over aperture, or exposure compensation. There’s potential for the ring to be accidentally bumped, and if this is an issue, the ring can also be disabled.

OLED display

Joining the control ring and customizable ‘L-Fn’ button is an OLED panel, which can display various information, including focal length…

OLED display

Aperture…

OLED display

And focus distance.

‘Multi-Focus System’

A new ‘Multi-Focus System’ has been included in the Z 24-70mm F2.8 S, which appears to be designed along the same lines as recent high-performance Sony GM lenses. In the Z 24-70mm F2.8 S, two autofocus actuators move two focus groups at once, enabling the lens – in Nikon’s words – to “achieve critical focus rapidly from nearly any distance, including close-up shooting”.

Our very limited use of a what judging by the very early serial number we assume is a pre-production sample at the Nikon booth indicates that focus is, indeed, quite fast and responsive in favorable light. More or less comparable, in fact, to the older AF-S Nikkor 24-70mm F2.8. In lower light, and with a bit less contrast to bite onto, autofocus response appears very similar to the Z 24-70mm F4 S when mounted on a Z7.

The new Z 24-70mm F2.8 S will be shipping soon, at an MSRP of $ 2299.

Articles: Digital Photography Review (dpreview.com)

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Full Moon and Eclipse Photography: Your Guide to Where They Are in 2019 and How to Capture Them Effectively

26 Feb

The post Full Moon and Eclipse Photography: Your Guide to Where They Are in 2019 and How to Capture Them Effectively appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Jongsun Lee

Full moons and eclipses are a unique time to capture some interesting photographs.

Full Moons

Full moons usually happen once a month, with the occasional second full moon falling in the same month. This second full moon is called a Blue Moon.

Solar and Lunar Eclipses

A solar eclipse happens when the new moon passes between the earth and the sun, casting a shadow over the sun.

A lunar eclipse occurs when the earth passes between the full moon and the sun, causing the moon to fall into earth’s shadow. Lunar Eclipses occur only at the full moon.

To give you the opportunity to shoot the moon, below is a calendar of Full Moons and Eclipses for 2019, followed by some articles that will help you to capture the moon or eclipse effectively.

Full Moon and Eclipse Calendar

Full Moons

New York, N.Y (US/Eastern)

Date	Time
Jan 21	00:17
Feb 19	10:53
Mar 20	21:43
Apr 19	07:12
May 18	17:11
Jun 17	04:31
July 16	17:39
Aug 15	08:31
Sep 14	00:35
Oct 13	17:10
Nov 12	08:37
Dec 12	00:14

Eclipses

Date	Type
July 2	Total Solar Eclipse
July 16	Partial Lunar Eclipse
Nov 11	Mercury Transit
Dec 26	Annular Solar Eclipse

Full Moons

Sydney, Australia (AEST)

Date	Time
Jan 21	00:17
Feb 20	02:53
Mar 21	12:42
Apr 19	21:12
May 19	07:11
Jun 17	07:38
July 17	17:38
Aug 15	22:29
Sep 14	14:32
Oct 14	08:07
Nov 13	00:34
Dec 12	16:12

Eclipses

Date	Type
July 17	Partial Lunar Eclipse

Full Moons

London, England, UK

Date	Time
Jan 21	05:16
Feb 19	15:53
Mar 21	01:42
Apr 19	12:12
May 18	22:11
Jun 17	09:30
July 16	22:38
Aug 15	13:29
Sep 14	05:32
Oct 13	22:07
Nov 12	13:34
Dec 12	05:12

Eclipses

Date	Type
July 16-17	Partial Lunar Eclipse
Nov 11	Mercury Transit

How to Achieve Better Full Moon and Eclipse Photography

20 Dos and Don’ts for Shooting the Moon

Beyond Full Moon Photography

Moon Photography: 6 Tips for Better Moon Photos

How to Photograph a Solar Eclipse

Tips for Photographing a Lunar Eclipse

How to Photograph a Lunar Eclipse

The post Full Moon and Eclipse Photography: Your Guide to Where They Are in 2019 and How to Capture Them Effectively appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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Slideshow: World Press Photo announces nominees for its 2019 Photo Competition

25 Feb

2019 World Press Photo of the Year Nominees

Editors note: There are images in the above gallery that are considered graphic and explicit in nature. Keep this in mind while looking through the gallery.

World Press Photo has announced the nominees for its 2019 Photo Contest. The contest, which is in its 62nd year, celebrates the work of photojournalists around the world who have captured profound images that depict defining moments throughout the year.

78,801 photographs from 4,738 photographers were considered and the 43 nominees hail from 25 countries around the world.

The nominated photos fall under two headline awards: ‘World Press Photo of the Year’ and ‘World Press Photo Story of the Year,’ the latter of which showcases a series of images from a particular assignment or project from photojournalists around the world. There are eight additional categories, each of which has its own set of nominees: Contemporary Issues, Environment, General News, Long Term Projects, Nature, Portraits, Sports and Spot News. Each of these categories have the sub-categories of single picture entries and story entires with the exception of Long Term Projects, which is a series.

We’ve rounded up the single picture nominees for each category in the gallery above. Along with the image will be a caption and accompanying backstory provided by the photographers and edited for clarity and brevity by World Press Photo.

The winning photos and stories will be announced at the World Press Photo Award Show on April 11th in Amsterdam. All winners are chosen from an independent jury from a wide range of photo backgrounds.

2019 World Press Photo of the Year Nominees

Victims of an Alleged Gas Attack Receive Treatment in Eastern Ghouta | © Mohammed Badra, European Pressphoto Agency

Victims of an Alleged Gas Attack Receive Treatment in Eastern Ghouta | © Mohammed Badra, European Pressphoto Agency

Caption: A man and a child receive treatment after the suspected gas attack on al-Shifunieh, 25 February 2018.

Story: By February 2018, the people of Eastern Ghouta, a suburban district outside Damascus and one of the last rebel enclaves in the ongoing Syrian conflict, had been under siege by government forces for five years. During the final offensive, Eastern Ghouta came under rocket fire and air bombardment, including at least one alleged gas attack—on the village of al-Shifunieh, on 25 February 2018. Figures are difficult to verify, but Médecins Sans Fronti?res (MSF) reported 4,829 wounded and 1,005 killed between 18 February and 3 March 2018, according to data from medical facilities they supported alone. MSF also reported 13 hospitals and clinics damaged or destroyed in just three days. Reports on the end of the siege in Eastern Ghouta are conflicting, though the Syrian army appear to have recaptured most of the south of the country by July. UNICEF reported the siege of Eastern Ghouta to have ended by late-March, with limited humanitarian access becoming available.

2019 World Press Photo of the Year Nominees

Almajiri Boy | © Marco Gualazzini, Contrasto

Almajiri Boy | © Marco Gualazzini, Contrasto

Caption: An orphaned boy walks past a wall with drawings depicting rocket-propelled grenade launchers, in Bol, Chad.

Story: A humanitarian crisis is underway in the Chad Basin, caused by a complex combination of political conflict and environmental factors. Lake Chad—once one of Africa’s largest lakes and a lifeline to 40 million people—is experiencing massive desertification. As a result of unplanned irrigation, extended drought, deforestation and resource mismanagement, the size of the lake has decreased by 90 percent over the past 60 years. Traditional livelihoods such as fishing have withered, and water shortages are causing conflict between farmers and cattle herders. Jihadist group Boko Haram, which is active in the area, both benefits from the hardship and widespread hunger and contributes to it. The group uses local villages as a recruiting ground, and the protracted conflict has uprooted 2.5 million people, exacerbating food insecurity.

The Lake Chad Crisis was funded by InsideOver.

2019 World Press Photo of the Year Nominees

Being Pregnant After FARC Child-Bearing Ban | © Catalina Martin-Chico, Panos

Being Pregnant After FARC Child-Bearing Ban | © Catalina Martin-Chico, Panos

Caption: Yorladis is pregnant for the sixth time, after five other pregnancies were terminated during her FARC years. She says she managed to hide the fifth pregnancy from her commander until the sixth month by wearing loose clothes.

Story: Since the signing of a peace agreement between the Colombian government and the FARC rebel movement in 2016, there has been a baby boom among former female guerillas. Pregnancy was thought incompatible with guerrilla life. Women were obliged to put war before children, leaving babies with relatives or, some say, undergoing forced abortions—a charge FARC denies.

2019 World Press Photo of the Year Nominees

The Disappearance of Jamal Kashoggi | © Chris McGrath, Getty Images

The Disappearance of Jamal Kashoggi | © Chris McGrath, Getty Images

Caption: An unidentified man tries to hold back the press on 15 October, as Saudi investigators arrive at the Saudi Arabian Consulate in Istanbul, Turkey, amid a growing international backlash to the disappearance of journalist Jamal Khashoggi.

Story: A critic of the Saudi regime, Khashoggi had been missing since entering the consulate on 2 October to obtain documents. After weeks of rumor and false information, Riyadh announced that Khashoggi had been killed accidentally during an altercation. Turkish authorities and the CIA claimed he had been murdered by Saudi intelligence operatives, working under high Saudi authority.

2019 World Press Photo of the Year Nominees

Crying Girl on the Border | © John Moore, Getty Images

Crying Girl on the Border | © John Moore, Getty Images

Caption: Honduran toddler Yanela Sanchez cries as she and her mother, Sandra Sanchez, are taken into custody by US border officials in McAllen, Texas, USA, on 12 June.

Story: Immigrant families had rafted across the Rio Grande from Mexico and were then detained by US authorities. Sandra Sanchez said that she and her daughter had been traveling for a month through Central America and Mexico before reaching the US to seek asylum. The Trump Administration had announced a ‘zero tolerance’ policy at the border under which immigrants caught entering the US could be criminally prosecuted. As a result, many apprehended parents were separated from their children, often sent to different detention facilities. After this picture was published worldwide, US Customs and Border Protection confirmed that Yanela and her mother had not been among the thousands who had been separated by US officials. Nevertheless, public outcry over the controversial practice resulted in President Donald Trump reversing the policy on 20 June.

2019 World Press Photo of the Year Nominees

Akashinga – the Brave Ones | © Brent Stirton, Getty Images

Akashinga – the Brave Ones | © Brent Stirton, Getty Images

Caption: Petronella Chigumbura (30), a member of an all-female anti-poaching unit called Akashinga, participates in stealth and concealment training in the Phundundu Wildlife Park, Zimbabwe.

Story: Akashinga (‘The Brave Ones’) is a ranger force established as an alternative conservation model. It aims to work with, rather than against local populations, for the long-term benefits of their communities and the environment. Akashinga comprises women from disadvantaged backgrounds, empowering them, offering jobs, and helping local people to benefit directly from the preservation of wildlife. Other strategies—such as using fees from trophy hunting to fund conservation—have been criticized for imposing solutions from the outside and excluding the needs of local people.

2019 World Press Photo Contemporary Issues Single Nominees

Afghan Refugees Waiting to Cross the Iranian Border | © Enayat Asadi

Afghan Refugees Waiting to Cross the Iranian Border | © Enayat Asadi

Caption: An Afghan refugee comforts his companion while waiting for transport across the eastern border of Iran, on 27 July.

Story: UNHCR reports that Iran has almost one million registered refugees, the vast majority from Afghanistan. In addition, more than 1.5 million undocumented Afghans are estimated to be present in the country. Many people fleeing violence, insecurity and poverty in Afghanistan find no alternative but to use illegal traffickers, along routes where they are exposed to robbery, kidnapping and death. Their aim is to pass through Iran and Turkey or Greece to seek a better life elsewhere, but trafficked refugees are highly vulnerable to forced labor, debt bondage, forced marriage, or work in the sex trade.

2019 World Press Photo Contemporary Issues Single Nominees

Male Rape | © Mary F. Calvert

Male Rape | © Mary F. Calvert

Caption: Former US marine Ethan Hanson bathes at home in Austin, Minnesota, USA, after a sexual trauma experienced during his military service left him unable to take showers.

Story: During a boot camp, Ethan and fellow recruits were ordered to walk naked through a communal shower while pressed together. Ethan reported the incident, but was harassed by the other men for doing so. Nightmares and panic attacks later forced him to resign. Recent Defense Department figures show sexual assault in the military to be on the increase. Servicemen are less likely than women to report sexual trauma, fearing retaliation or stigma.

2019 World Press Photo Contemporary Issues Single Nominees

The Cubanitas | © Diana Markosian, Magnum Photos

The Cubanitas | © Diana Markosian, Magnum Photos

Caption: Pura rides around her neighborhood in a pink 1950s convertible, as the community gathers to celebrate her fifteenth birthday, in Havana, Cuba.

Story: A girl’s quinceañera (fifteenth birthday) is a Latino coming-of-age tradition marking transition into womanhood. It is a gender-specific rite of passage, traditionally showcasing a girl’s purity and readiness for marriage. Families go to great expense, often celebrating with a lavish party. The girl dresses as a princess, living out a fantasy and perceived idea of femininity. In Cuba, the tradition has transformed into a performance involving photo and video shoots, often documented in a photobook. Pura’s quinceañera had a special poignancy, as some years earlier, having been diagnosed with a brain tumor, she was told she would not live beyond the age of 13.

2019 World Press Photo Environment Single Nominees

Living Among What’s Left Behind | © Mário Cruz

Living Among What’s Left Behind | © Mário Cruz

Caption: A child who collects recyclable material lies on a mattress surrounded by garbage floating on the Pasig River, in Manila, Philippines.

Story: The Pasig River was declared biologically dead in the 1990s, due to a combination of industrial pollution and waste being dumped by nearby communities living without adequate sanitation infrastructure. A 2017 report by Nature Communications cites the Pasig as one of 20 most polluted rivers in the world, with up to 63,700 tons of plastic deposited into the ocean each year. Considerable efforts are being made to clean up the Pasig, which were recognized by an international prize in 2018, but in some parts of the river the waste is still so dense that it is possible to walk on top of the garbage.

2019 World Press Photo Environment Single Nominees

Evacuated | © Wally Skalij, Los Angeles Times

Evacuated | © Wally Skalij, Los Angeles Times

Caption: Evacuated horses stand tied to a pole, as smoke from a wildfire billows above them, on Zuma Beach, in Malibu, California, USA, on 10 November.

Story: The 2018 wildfire season in California was the deadliest and most destructive on record, burning an area of more than 676,000 hectares. While scientists pointed to the vegetation-drying effects of climate change as a cause, US President Donald Trump blamed forest management.

2019 World Press Photo Environment Single Nominees

Akashinga – the Brave Ones | © Brent Stirton, Getty Images

Akashinga – the Brave Ones | © Brent Stirton, Getty Images

Caption: Petronella Chigumbura (30), a member of an all-female anti-poaching unit called Akashinga, participates in stealth and concealment training in the Phundundu Wildlife Park, Zimbabwe.

2019 World Press Photo General News Single Nominees

The Disappearance of Jamal Kashoggi | © Chris McGrath, Getty Images

The Disappearance of Jamal Kashoggi | © Chris McGrath, Getty Images

2019 World Press Photo General News Single Nominees

Unilateral | © Brendan Smialowski, Agence France-Presse

Unilateral | © Brendan Smialowski, Agence France-Presse

Caption: US President Donald Trump leads France’s President Emmanuel Macron by the hand while walking to the Oval Office of the White House, in Washington DC, on 24 April 2018.

Story: President Macron’s three-day visit to the United States was the first official state visit of the Trump administration. Unexpectedly, the two presidents’ body language went beyond the norm for such visits, bordering on the intimate. The leaders also praised each other effusively. The 2015 international nuclear agreement with Iran was one of the main topics under discussion. Macron aimed to persuade Trump to adhere to the deal, which limited Iran’s nuclear program in return for a lifting of sanctions, but failed. On 8 May 2018, President Trump withdrew from the agreement, breaking with European allies. The relationship between the two leaders appears to have soured, with Trump later attacking Macron on Twitter.

2019 World Press Photo General News Single Nominees

Still Life Volcano | © Daniele Volpe

Still Life Volcano | © Daniele Volpe

Caption: The living-room of an abandoned home in San Miguel Los Lotes, Guatemala, lies covered in ash after the eruption of Volcán de Fuego on 3 June 2018.

Story: Fuego, around 40 km southwest of the capital Guatemala City, is one of Latin America’s most active volcanoes, and has been erupting periodically since 2002. It is monitored by volcanologists, but this eruption came without warning. People living around the volcano, many at Sunday lunch, were surprised by the suddenness of the event, as Fuego spewed red-hot lava, ash, poisonous gases and flaming debris onto villages below. The eruption was one of the deadliest in Guatemala for over a century. Guatemala’s National Institute of Forensic Sciences reported the recovery of 318 bodies, over a third of them unidentified.

2019 World Press Photo Nature Single Nominees

Flamingo Socks | © Jasper Doest

Flamingo Socks | © Jasper Doest

Caption: A Caribbean flamingo inspects the improvised socks created to help heal its severe foot lesions, at the Fundashon Dier en Onderwijs Cariben, Curaçao.

Story: The bird was brought by plane from neighboring island Bonaire, after spending a few weeks in a local rehabilitation facility. Such lesions are common among captive flamingos, as they have very sensitive feet and are used to walking on soft ground. After a few weeks of care the bird was transported back to Bonaire There are around 3,000 breeding pairs of Caribbean flamingos on Bonaire, and a further 200 to 300 birds on Curaçao.

2019 World Press Photo Nature Single Nominees

Glass Butterfly | © Angel Fitor

Glass Butterfly | © Angel Fitor

Caption: A winged comb jelly, Leucothea multicornis, its wings widely opened, propels itself through waters off Alicante, Spain.

Story: Leucothea multicornis, like other comb jellies, is a voracious predator, capturing its prey using sticky cells rather than by stinging. Little is currently known about the biology of comb jellies. Because the creatures are so fragile and fold their wings in reaction to the slightest vibration, they are extremely difficult to study and to photograph.

2019 World Press Photo Nature Single Nominees

Survival Instinct | © Bence Máté

Survival Instinct | © Bence Máté

Caption: Frogs with their legs severed and surrounded by frogspawn struggle to the surface, after being thrown back into the water in Covasna, Eastern Carpathians, Romania, in April 2018.

Story: Frogs legs are frequently harvested for food in the spring, when males and females gather to mate and spawn. Legs are sometimes severed while the animal is still living. Each year, about US$ 40 million worth are sold annually, with countries across the world participating in the trade.

2019 World Press Photo Portrait Single Nominees

Black Birds | © Heba Khamis

Black Birds | © Heba Khamis

Caption: Jochen (71) and Mohamed (21; not his real name) sit in the Tiergarten, Berlin. Jochen fell in love after meeting Mohamed, then a sex worker in the park. They have been dating for 19 months.

Story: Prostitution between consenting adults is legal in Germany, and German aid charities have reported a marked increase in the number of young migrants turning to sex work. While they wait for their documents, refugees are not allowed to work legally or attend school. The German government prioritizes assistance to refugees from countries with an ongoing war; those seeking asylum from countries without war are placed in a second category, where papers take longer to complete. This lack of employment opportunity creates a severe lack of choice for many, with some young men becoming sex workers, sometimes to fund a heroin addiction. The Tiergarten, a large park in central Berlin, is a popular meeting spot for male sex workers and older clients. Mohamed now works in a gay bar, and is quitting heroin.

2019 World Press Photo Portrait Single Nominees

When I Was Ill | © Alyona Kochetkova

When I Was Ill | © Alyona Kochetkova

Caption: Alyona Kochetkova sits at home, unable to face borscht (beet soup), her favorite food, during treatment for cancer.

Story: Alyona shot this self-portrait following surgery and chemotherapy, when, although she knew the vital importance of food, she struggled to eat. Taking photos was not only a way of sharing a difficult and personal story in the hope that it might support others with a cancer diagnosis, it was also a means of accepting her ordeal by doing what she loved.

2019 World Press Photo Portrait Single Nominees

Dakar Fashion | © Finbarr O’Reilly

Caption: Diarra Ndiaye, Ndeye Fatou Mbaye and Mariz Sakho model outfits by designer Adama Paris, in the Medina neighborhood of the Senegalese capital, Dakar, as curious residents look on.

Story: Dakar is a growing hub of Franco-African fashion, and is home to Fashion Africa TV, the first station entirely dedicated to fashion on the continent. The annual Dakar Fashion Week includes an extravagant street show that is open to all and attended by thousands from all corners of the capital. Adama Paris (who has a namesake brand) is a driving force behind the fashion week, and much else on the design scene.

2019 World Press Photo Sports Single Nominees

Caption: Naomi Osaka serves during her match against Simona Halep from Romania during the Australian Open tennis tournament, at Margaret Court Arena, Melbourne, Australia, on 22 January.

Story: Osaka, who was born to a Japanese mother and Haitian father is now based in Florida, USA, went on to win the tournament. In September, she won the US Open women’s singles, defeating Serena Williams. Over the course of 2018, Osaka rose from number 72 in world rankings to number one.

2019 World Press Photo Sports Single Nominees

Caption: Olympic champion Claressa Shields (right) meets Hanna Gabriels in a boxing match at the Masonic Temple in Detroit, Michigan, USA, on 22 June.

Story: Shields suffered a second-round knock down by Gabriels—the first in her career—but went on to win the match by unanimous decision. Shields is the first American woman to win an Olympic gold medal in boxing, and the first (male or female) to win a gold back-to-back in successive Olympic Games. She has had only one loss in her career, against British World Champion Savannah Marshal, in 2012.

2019 World Press Photo Sports Single Nominees

Caption: Boxer Morin Ajambo (30) trains in Katanga, a large slum settlement in Kampala, Uganda, on 24 March.

Story: More than 20,000 people live in Katanga, crowded together and often in extreme poverty. The boxing club receives no outside funding. From these disadvantaged beginnings, Ajambo, a mother of seven, went on to box in the Ugandan women’s team. Men’s boxing has a long history in Uganda, bur women boxers are often frustrated by the few opportunities to compete at an international level.

2019 World Press Photo Spot News Single Nominees

Warning: the above image is graphic in nature. Click here to see the original photo. The Death of Michael Nadayo | © Ezra Acayan

Warning: the above image is graphic in nature. Click here to see the original photo. The Death of Michael Nadayo | © Ezra Acayan

Caption: The body of Michael Nadayao lies in the street after he was shot dead by unidentified men in front of mourners at a wake, in Quezon City, Philippines, on 31 August 2018.

Story: President Rodrigo Duterte began a concerted anti-drug offensive soon after taking office in June 2016, repeatedly ordering increased attacks against suspects. Amnesty International reports that this led to human rights violations, including extrajudicial killings by both civilians and police. A spokesman for the Philippine Drug Enforcement Agency said the campaign had led to 5,050 deaths by December 2018, with Human Rights Watch citing over 12,000. In June, 38 UN member states called on President Duterte to end the killings and probe the causes of the drug war.

2019 World Press Photo Spot News Single Nominees

Caption: Honduran toddler Yanela Sanchez cries as she and her mother, Sandra Sanchez, are taken into custody by US border officials in McAllen, Texas, USA, on 12 June.

2019 World Press Photo Spot News Single Nominees

Caption: Central American migrants climb the border fence between Mexico and the United States, near El Chaparral border crossing, Tijuana, Baja California, Mexico, on 25 November 2018.

Story: Refugees who were part of a caravan that originated in Honduras in October 2018, began arriving at the border in November 2018 to find a backlog of some 3,000 people waiting to be processed into the United States, and a potential delay of months. This led to rising tensions, and to people breaking away from the caravan to attempt their own entry.

Articles: Digital Photography Review (dpreview.com)

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Best Vlogging Cameras for 2019

13 Feb

The post Best Vlogging Cameras for 2019 appeared first on Digital Photography School. It was authored by Suzi Pratt.

What’s the best vlogging camera for 2019? That’s a tough question to answer given the wide variety of cameras on the market. In this article, I’ll talk about traditional vlogging camera rigs. I’ll also introduce three non-traditional cameras that also serve as modern vlogging options. Which is the best for you? Read on for some ideas, and let me know your thoughts in the comments below!

best vlogging camera

Traditional vlogging cameras

Before we go any further, let’s define vlogging as a video blog. The traditional way to film a vlog is to point the camera at oneself, while also inserting B-roll (supplemental footage). Thus, most modern vloggers need a camera that allows them to film themselves, and also gather alternative shots.

Popular vloggers such as Casey Neistat and Peter McKinnon use traditional vlogging tools: a DSLR camera with a wide angle lens and shotgun mic, all attached to a Gorilla Pod. This is a tried and true vlogging rig, but it can also be modernized or made simpler by switching out the camera. Mirrorless cameras such as the Panasonic GH5 and Sony a6400 offer a slightly smaller footprint while also giving you a flip screen to monitor yourself. Or you can opt for even smaller point and shoot cameras such as the ever-popular Canon G7X or Sony RX100.

Modern vlogging cameras

While the traditional vlogging cameras mentioned above are still ubiquitous among vloggers, there are newer, more modern cameras worth considering. Here are three fairly new cameras that might fit the role as best vlogging camera of 2019.

GoPro Hero 7 Black Review

Contender #1: GoPro Hero 7 Black

GoPros are traditionally known as action cameras. However, many people use GoPros for everyday usage, including vlogging. This actually makes a lot of sense given GoPro’s tiny footprint, and its wide-angle lens that is perfect for capturing the first-person perspective. The brand new GoPro Hero 7 Black also adds several new features that work in a vlogger’s favor.

HyperSmooth and Timewarp

First, HyperSmooth. GoPro claims gimbal-like stabilization when HyperSmooth is in use, and it’s hard to argue. When shooting in HyperSmooth, bumpy footage is nearly completely eliminated. This means you can walk, run, drive, or perform just about any movement and get buttery smooth video. You can also shoot at up to 4K 60 frames-per-second with HyperSmooth enabled. Second, Timewarp. This is basically a timelapse video with HyperSmooth applied, resulting in a stabilized moving timelapse. It’s perfect for shooting B-roll and transitional scenes for a vlog or video.

GoPro Hero 7 Black Review

Vastly Improved Sound

GoPros have always had atrocious sound quality. For a long time, this was due to the fact that GoPros had to be put into a plastic cage to become waterproof. All of this changed with the Hero 5, which was the first GoPro camera to be waterproof without the cage. The Hero 7 Black is also waterproof without a cage, and it adds much-improved sound. There are now 3 microphones dispersed throughout the camera, and they do a pretty good job at picking up voices. The Hero 7 Black is still without a built-in microphone jack, but if you really need one, GoPro sells a (rather ridiculous and expensive) mic jack adapter.

Contender #2: DJI Osmo Pocket

Brand new to the camera world is the DJI Osmo Pocket. Made by the same manufacturers of DJI drones, the Osmo Pocket employs nearly the same camera found on the Mavic Pro drone. The camera has just a 1/2.3-inch sensor with a f/2.0 aperture. It can shoot at up to 4K/60fps at 100 Mbps. It can even shoot 12-megapixel photos. Best of all, the camera comes mounted on a 3-axis gimbal so that you can record buttery smooth footage.

There are a host of other features worth mentioning about the Osmo Pocket. But two features in particular that relate to vlogging are FPV and Active Track. FPV allows you to quickly reorient the camera to face yourself, while Active Track is intelligent in-camera tracking. Both of these features are incredibly handy for vlogging. And just in case the Osmo Pocket screen is too small for you, you can also plug in your phone for a much bigger touchscreen interface.

best vlogging camera DJI Osmo Pocket

Two Downsides

There are two major downsides to the Osmo Pocket as they relate to vlogging. The first is that the built-in sound quality is bad. No matter what side of the camera you’re on, it doesn’t pick up voices very well, especially if you’re filming in a noisy area. Currently, there are also no adapters or ways to install a microphone to enhance the sound. The second downside is the Osmo Pocket’s fixed 24mm camera lens. While 24mm is great for taking more cinematic footage without distortion, it’s not the best focal length for vlogging. You have to hold your arm out pretty far to get yourself in the frame, and even further if you have a buddy.

Contender #3: Modern Smartphone

A third camera to consider using to vlog is any modern day smartphone. Phones today are jam-packed with impressive camera specs with both front and rear-facing cameras. Many phones such as flagship Apple and Samsung phones also have in-camera stabilization, and the ability to shoot 4K video. They also have superior built-in sound since they are still phones, after all. You can also purchase a few accessories to take your smartphone photography and videography a step further. Investing in a smartphone gimbal gives you added stability, while Moment lenses increase image sharpness and offer wider angles.

The only real downside to using your phone to vlog is that you can’t use your phone to do other tasks while filming. Smartphone videos can also take up tremendous space on your phone, eating into your storage.

best moment lens for smartphone review

In Conclusion

So what is the best vlogging camera? It comes down to your shooting preferences. Personally, I find myself oscillating between the GoPro Hero 7 Black and my Samsung Galaxy S8 with a fisheye Moment Lens. These two cameras are so compact and easy to take anywhere, and they have been great for spontaneous vlogging.

If you’re looking for the best vlogging camera in 2019 and beyond, the good news is that you have lots of options. You can opt for tried and true DSLR or point-and-shoot rigs. Or you can look at modern, super compact options such as the GoPro Hero 7 Black or DJI Osmo Pocket. Or you can use the camera you have on you – a modern-day smartphone – and buy a few extra accessories to make your phone a pretty awesome vlogging rig. The choice is yours!

You may also find this articles helpful:

Essential Tools for Making Videos on Your Mirrorless Camera

Equipment List for Making Better Smartphone Videos

The post Best Vlogging Cameras for 2019 appeared first on Digital Photography School. It was authored by Suzi Pratt.

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Comparative review: The best pocket printer in 2019

27 Jan

From left to right: Fujifilm Instax Share SP-2, Canon Ivy, Polaroid ZIP

With the resurgence of the instant camera, photographers and non-photographers alike have found a new love for printed photos. Enter pocket printers, a recent addition to the accessories market that offer portable, fast and simple photo printing. These pocket printers all work in basically the same way: They’re powered by rechargeable batteries, and once you connect your smartphone or camera via Wi-Fi/Bluetooth you pick your image, make an edit via the app (if you want to) and then click print.

Our selections were the Polaroid ZIP, Canon Ivy and Fujifilm Instax Share SP2

For a lot of photographers, these printers will feel a little gimmicky, but that doesn’t mean they aren’t useful and fun. So, we took three of the most popular models and played around with them to see which one we like best. Our selections were the Polaroid ZIP, Canon Ivy and Fujifilm Instax Share SP2, though it should be noted that many other brands have comparable offerings including HP and Kodak.

Specifications compared

	Polaroid ZIP	Canon IVY	Fujifilm Instax Share SP-2
Dimensions	2.9 x 4.7 x 0.9 in	3.2 x 4.7 x 0.7 in	3.5 x 5.2 x 1.5 in
Weight	6.6 oz. (186g)	5.6 oz. (159g)	8.8 oz. (250g)
Powered by	Micro USB	Micro USB	Micro USB
Battery	Rechargeable 500mAh Lithium Polymer battery	Rechargeable 500mAh Lithium Polymer battery	Rechargeable 500mAh Lithium Polymer battery
Charge Time	1.5 hours	1.5 hours	1.5 hours
Prints per charge	25	20	20
Print time	~45 sec	~51 sec	~20 second + ~5 minutes to develop
Print paper / ~cost per shot	Zink photo paper / ~$ 0.50 per shot	Zink photo paper / ~$ 0.50 per shot	Instax Mini / ~$ 0.50 per shot
Print format	2 x 3 in	2 x 3 in	1.8 x 2.4 in
Connectivity	Bluetooth	Bluetooth	Wi-Fi
Price	$ 99.95	$ 129.99	$ 139.95

Spec-wise, the Canon and Polaroid are virtually the same (this will come up again). With that out of the way, lets start with the obvious. The Fujifilm is a bit thicker and heavier than the other two. While the Canon and Polaroid are pretty comparable to a portable hard drive, the Fujifilm feels closer to single-serving cereal boxes in size. While the size is definitely noticeable, the weight difference is pretty negligible given that none of these printers are heavy by any stretch of the word.

To get an idea of their size, here’s all three printers next to a standard pack of playing cards.

The other major difference comes down to the printing format. The Polaroid and Canon both use ZINK paper (meaning, Zero Ink). This process works through cyan, yellow and magenta layers within the paper that respond to heat provided by the printer, making your photo possible. Meanwhile, the Fujifilm uses the same instant film as the Fujifilm Instax Mini line of cameras. (Note: Fujifilm also offers a square format printer that we assume works identically) ZINK paper prints as a 2″ x 3″ image with no border (by default, more on that later) on a sticky backed paper (read: sticker) while the Fujifilm instant film prints a 1.8″ x 2.4″ image with the instant film border that we all know and love (or maybe just know… I love it, but that’s just me).


Polaroid ZIP	Canon Ivy

Design wise, the Polaroid and Canon basically just look like cute little hard drives and the Fujifilm has kind of an odd sleek sci-fi aesthetic to it. The Polaroid and Canon are available in a couple of colors (mostly pastels,) while the Fujifilm is available in silver or gold. The corners on the Polaroid and Canon are very round while they are a little more angular on the Fujifilm but still not sharp in any sort of way. The Canon also features a small loop for a strap.

In use

Ultimately, these three printers work in very similar ways. Of the three apps the design on the Canon app is definitely the most attractive though the Polaroid app is in a close second with just little bit less attention paid to how things flow. The Fujifilm app is ugly with colored tiles that feel like they were picked with very little design intent. That being said, I actually found that the interface of the Fujifilm app was the best when it came to usability. The differences here are minimal and in the end each app worked just fine.

One nice touch on the Fujifilm is that it will display the number of prints left

The apps feature a slew of options and customizability including: frames you can add to your photos, filters, basic color and exposure adjustments, cropping, and “stickers” you can add on top of photos. Outside of the frames, I didn’t find much appeal in most of these features. The color and exposure adjustments I tried seemed to only degrade the image quality and didn’t improve things much. I would say you’re better off using whatever editing software your smartphone comes with and just printing the edited photo through the printer’s app.

An example of one of the many lovely border options on the Polaroid ZIP app. Note: the sticker peeling after ~2 weeks.

Physically, they’re all fairly portable (though again, the Fujifilm less so), charge with a simple Micro USB cable, and use a variety of green, red and white lights to indicate their charging status or if there’s an error. One nice touch on the Fujifilm is that it will display the number of prints left in the pack when you turn it on. Loading film into all three of these is as easy as can be though the Fujifilm requires some reading/fiddling to figure out the first time.

The Fujifilm also allows you to remove and replace the NP-45S battery

Another nice feature on the Fujifilm is that it stands up on it’s own, taking up less desk space. The other two can only lay flat. The Fujifilm also allows you to remove and replace the NP-45S battery while the other two don’t have removable batteries.

All three of these printers were fun and easy to use.

In terms of the print time, there’s a clear winner: Fujifilm. If you’re looking to hand out prints fast, the SP-2 can churn them out in 20 seconds. That said, the 45-60 second range of the Polaroid and Canon didn’t feel excessive at all.

Lastly, the Fujifilm has one very big feature that only applies to those that own other modern Fujifilm cameras. Unlike the Polaroid and Canon (and most other pocket printers on the market) the Fujifilm can print directly from a handful of Fujifilm cameras. The compatible models are as follows: GFX 50S, GFX 50R, X-H1, X-Pro2, X-T3, X-T2, X-T20, X-T100, X-E3, X-A5, X100F.

Print Quality

The prints are just a bit smaller than an average playing card (left to right: Fujifilm, Canon, Polaroid).

Well let’s just get this right out of the way – compared to a dedicated inkjet photo printer, they all suck. These 3 pocket printers are exactly that, pocket printers. If you’re expecting true high quality prints out of these things then you’ll be disappointed.

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Let’s talk about the Polaroid and Canon prints first. I noticed a lot of over-sharpening in these both. Interestingly, despite the near-identical design, they show a really obvious difference in their prints; the Polaroid leans warmer and the Canon leans cooler. The Canon prints also seem to have a bit less of that over-sharpening which definitely helps in making people’s skin look more natural. Definitely keep in mind that these are small prints. Not your standard 4×6 but rather, half of that.

Keep in mind that these are small prints. Not your standard 4×6 but rather, half of that

As for the Fujifilm, because it uses instant film as opposed to photo paper, there’s a much different look to these prints. They’re soft and almost blurry, especially in comparison to the look of the Canon and Polaroid. The color seems to lean a bit cooler as well but I found that the color reproduction on the Fujifilm prints was without a doubt the best of the three. The Fujifilm prints also have a glossier finish than the others.

And the winner is… Fujifilm

Film (or paper) will cost money.

The Polaroid and Canon are extremely portable and if nothing else make for a really easy way to print custom stickers that reference specific memories you’ve captured on your phone. But the Fujifilm Instax Share SP-2 produced the most-pleasing images, prints the fastest, can connect to Fujifilm cameras and indicates the number of prints left. For that reason, it’s our choice.

Our pick: Fujifilm Instax Share SP-2

What we like:

Most pleasing print-quality
Prints in 20 secs
Indicator for number of prints left
Stands up-right
Print directly from Fujifilm digital cameras

What we don’t:

Larger and heavier than the competition
App design is ugly
Prints are pricey

Note: All of the images printed were taken with and printed from the apps on a Samsung Galaxy S9.

Articles: Digital Photography Review (dpreview.com)

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Apple launches its 2019 ‘Shot on iPhone’ contest, but don’t forget to read the fine print

24 Jan

Shot on iPhone 6s by Mariko Klug.

Apple is launching its 2019 ‘Shot on iPhone’ photo contest by inviting iPhone photographers to submit their best photographs shot on an Apple device. Photos can be submitted from now to February 7th and will be judged by an impressive panel including photographer Pete Souza and Annet de Graaf, as well as Apple’s VP of Marketing Phil Schiller and head of camera software team Jon McCormack. Apple says winning images will be featured on billboards in select cities, Apple retail stores and online.

Shot on iPhone 6 by Mandy Blake.

To participate you can post images on Instagram or Twitter using the hashtag #ShotOniPhone. In the image caption you should note which iPhone model it was captured with. Alternatively images can be submitted by emailing them in full resolution to shotoniphone@apple.com with the file format ‘firstname_lastname_iphonemodel.’ Photos can be straight out of the camera or edited.

If you’re thinking about submitting your photos you should probably have a look at official rules on the Apple website, to make sure you know what participation in the contest means for your images. Photographers are essentially handing over exclusive commercial ownership of their images in exchange for photo credit. In a post on Reddit, photographer Trevor Mahlmann shared his thoughts on the campaign and the issues he noticed with the fine print.

Shot on iPhone 7 by Erdem Summak.

In the fine print Apple says: ‘you retain your rights to your photograph; however, by submitting your photo, you grant Apple a royalty-free, world-wide, irrevocable, non-exclusive license for one year to use, modify, publish, display, distribute, create derivative works from and reproduce the photo on Apple Newsroom, apple.com, Twitter, Instagram, in Apple retail stores, Weibo, WeChat, on billboards and any Apple internal exhibitions. Any photograph reproduced will include a photographer credit.’

The company goes on to say: ‘If your photo is selected to be featured on a billboard, you further agree to grant Apple exclusive commercial use of the photo for the life of the license.’

Articles: Digital Photography Review (dpreview.com)

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