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Nikon’s Z 7 mirrorless camera has full-frame 45MP sensor, in-body image stabilization and hybrid AF

23 Aug

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After years of speculation and a month of teasers, Nikon has lifted the curtain on its new Z-series full-frame mirrorless system. The system will initially comprise two bodies – the flagship Z 7 and midrange Z 6 – alongside three lenses and an F-mount adapter. The Z 7 and Z 6 are physically almost identical, with the main differences being internal: pixel count, number of autofocus points and maximum burst rate.

The Z 7 is a 45.7MP camera with built-in 5-axis image stabilization. It can shoot at up to 9 frames per second and capture 4K video or output a 10-bit 4:2:2 Log video stream over HDMI.

“We aim to become number 1 in full-frame mirrorless cameras in the future”
– Nobuyoshi Gokyu, Senior VP, Imaging, Nikon Inc.

The Z-mount is the largest full-frame mirrorless mount on the market with a diameter of 55mm, allowing it to support lenses as fast as F0.95. The flange distance is just 16mm, the shortest of any full-frame mirrorless system. The Z-mount has a 65% smaller flange and 17% larger diameter than the legacy F-mount, which, fundamentally, has remained more or less unchanged since the 1950s.

The Z 7 is the flagship model and has a lot in common with the D850, both in terms of core features and price. It features a Nikon-designed 45.7 BSI-CMOS sensor, 5-axis in-body image stabilization and a hybrid autofocus system with 493 phase-detect points.

The magnesium alloy body is fully weather-sealed to the same level as the D850. It features an ultra-high-resolution electronic viewfinder with 3.6 million dots and 0.8x magnification, along with a 3.2″ 2.1M-dot tilting touchscreen display on the rear of the camera. On the top plate is an OLED display showing current camera settings. The Z 7 has a single XQD slot, which will support CFexpress via a firmware upgrade in the near future.

The camera’s in-body Vibration Reduction system can reduce shake by up to 5 stops and, when used with the optional F-mount adapter, provides 5-axis stabilization for VR-equipped lenses and 3-axis for those without VR.

The camera’s in-body Vibration Reduction system can reduce shake by up to 5 stops

The autofocus system features 493 PDAF points with 90% vertical and horizontal coverage. While the camera can detect faces, it lacks an equivalent to Sony’s useful Eye AF. Naturally, the Z 7 offers subject tracking (though it doesn’t behave in the same way as the 3D Tracking system that we enjoy in Nikon’s DSLRs) and it’s sensitive down to -3EV on lenses with apertures of F2 and faster.

The Z 7 can shoot bursts at 9 fps with full autofocus but with exposure locked on the first shot, or at 5.5 fps with with continuous exposure and focus. The Z 7’s buffer fills up after about 18 14-bit compressed and 23 12-bit lossless compressed Raws. Battery life is rated at 330 shots per charge (CIPA) and a battery grip will be available in the future.

Video features are plentiful. The camera captures UHD 4K video at 30p and 24p using the full width of the sensor. When using a Super 35/DX crop of 1.5x, the camera uses all the pixels in that region to produce its video. There are 435 phase-detect points available when capturing video, with both in-body and electronic VR available to reduce shake.

The Z 7 supports 10-bit N-LOG (4:2:2) when output over HDMI as well as the ability to simultaneously output video (8-bit 4:2:0) while recording to the memory card. There’s also live focus peaking, zebra stripes, adjustable AF tracking speeds, time code while in 4K mode.

The Nikon Z 7 will be available body-only
for $ 3399

The Z 7 uses the latest version of the company’s SnapBridge wireless system, which includes 802.11ac Wi-Fi and Bluetooth. Users can transfer JPEGs and Raws direct to a PC and, of course, remotely control the camera from a smartphone. The currently available WT-7A wireless transmitter set is also compatible, allowing Wi-Fi transfer outside the SnapBridge system.

The Nikon Z 7 will be available body-only for $ 3399 or bundled with the 24-70mm F4 S lens for $ 3999 when it ships in late September.

Press Release

NIKON INTRODUCES THE NEW NIKON Z MOUNT SYSTEM, AND RELEASES TWO FULL-FRAME MIRRORLESS CAMERAS: THE NIKON Z 7 AND NIKON Z 6

MELVILLE, NY (AUGUST 23, 2018 AT 1:01 A.M. EDT) – Nikon Inc. is pleased to announce the release of the full-frame (Nikon FX–format) Nikon Z 7 and Nikon Z 6 mirrorless cameras, as well as NIKKOR Z lenses, featuring a new, larger-diameter mount to enable the next generation of ultimate optical performance.

Mirrorless Reinvented

The new Nikon Z mount system is comprised of mirrorless cameras and compatible NIKKOR Z lenses and accessories. This system has been realized through the pursuit of a new dimension in optical performance. It has inherited Nikon’s tradition of quality, superior imaging technology, intuitive operability and high reliability, all innovated from its digital SLR cameras.

At the heart of the Z mount system is the new, larger-diameter mount, which unlocks further possibilities of lens design. The Z mount system will offer a variety of high-performance lenses, including the fastest lens in Nikon history, with f/0.951. Additionally, the new mount adapter will enable compatibility with NIKKOR F mount lenses, adding to the range of choices for photographers.

The letter “Z” represents the culmination of Nikon’s relentless pursuit of ultimate optical performance, and a bridge to a new chapter. It is about redefining possibilities to provide image makers with tools to pursue greater creativity.

Nikon will expand the value of mirrorless cameras through the pursuit of a new dimension in optical performance, and by upholding Nikon’s tradition of quality while responding to the evolution of imaging technology. By providing image makers with stimulating new products, Nikon will continue to lead imaging culture.

Z 7, Z 6 Product Overview

The Z 7 and Z 6 are equipped with a new backside illumination Nikon FX-format CMOS sensor with built-in focal-plane phase-detection AF pixels, and the latest image-processing engine, EXPEED 6.

The high-resolution Z 7 has 45.7 effective megapixels, and supports a standard sensitivity range of ISO 64–25600. In combination with NIKKOR Z lenses, the camera achieves an outstanding level of sharpness and detail, all the way to the edges of the image.

The versatile Z 6 is an all-purpose FX-format camera with 24.5 effective megapixels, and supports the wide sensitivity range of ISO 100–51200. With superior performance at high ISO sensitivities and full-frame 4K UHD video capture with full pixel readout, the Z 6 responds to a variety of needs, such as shooting in dimly lit environments and high-quality movie recording.

These two models combine legendary Nikon reliability and a familiar interface with the benefits of a mirrorless, including rapid FPS, hybrid AF, silent shooting and advanced multimedia capabilities.

Primary Features of the Z 7 and Z 6

  1. Equipped with a new backside illumination Nikon FX-format CMOS sensor with focal-plane phase-detection AF pixels

A backside illumination CMOS sensor without an Optical Low Pass Filter, with focal-plane phase-detection AF pixels, has been adopted for both the Z 7 and the Z 6. The Z 7 has 45.7 effective megapixels, and supports ISO 64–25600 range of standard sensitivities (reduction to the equivalent of ISO 32 and expansion to the equivalent of ISO 102400 is also possible). The Z 6 has an effective pixel count of 24.5 megapixels, and supports a broad range of standard sensitivities, from ISO 100–51200 (additional reduction to the equivalent of ISO 50 and expansion to the equivalent of ISO 204800).

  1. A fast and accurate hybrid AF system with focus points covering approximately 90% of the imaging area

The Z 7 has 493 focus points2 and the Z 6 has 273 focus points2, enabling broad coverage of approximately 90% of the imaging area both horizontally and vertically. This hybrid AF system uses an algorithm optimized for the FX-format sensor, to automatically switches between focal-plane phase-detection AF and contrast-detect AF when focusing to achieve focus. Newly-designed NIKKOR Z lenses take full advantage of this system, providing faster, quieter and with increased AF accuracy than previously possible for both still images and videos.

  1. The new EXPEED 6 image-processing engine for sharp and clear imaging, and new functions that support creativity

The Z 7 and Z 6 are equipped with the new EXPEED 6 image-processing engine. Employing the superior resolving power of NIKKOR Z and NIKKOR F mount lenses, subjects are rendered more sharply than ever before. Noise is also effectively reduced.

Additionally, a mid-range sharpening option has been added to Picture Control sharpness parameters. This option, along with existing sharpening and clarity parameters, allows users to make various textures within the screen sharper or softer, for both still images and video3. The cameras also offer 20 options of Creative Picture Control, supporting creative imaging expression. The effect level is adjustable from 0 to 100.

  1. An electronic viewfinder that utilizes Nikon’s superior optical and image-processing technologies to offer a clear and natural view

The electronic viewfinder adopted for the Z 7 and Z 6 is comfortable and easy to use, comparable to optical viewfinders. Both cameras are equipped with an electronic viewfinder for which an approximately 3690k-dot OLED panel has been adopted. The electronic viewfinder has frame coverage and magnification of approximately 100% and 0.8×, respectively, as well as an approximately 37.0° diagonal viewing angle. It draws on Nikon’s superior optical technologies and image-processing technologies, ensuring a clear and comfortable view, with reduced aberration and minimum eyestrain, even during extended shoots. Furthermore, a fluorine coat that effectively repels dirt has been applied to the eyepiece protection window. In addition, the <i> menu can be displayed in the electronic viewfinder, allowing users to quickly view and adjust a variety of shooting settings, including ISO sensitivity, AF-area mode, and Picture Control, all while looking through the viewfinder.

  1. An ergonomic design unique to Nikon that enables intuitive and familiar operation

The Z 7 and Z 6 have inherited the superior operability that Nikon has cultivated over the years through its development of cameras. The bodies are compact, while boasting a firm grip that is easy to hold, and the sub-selector and buttons such as AF-ON, ISO, and exposure compensation are all placed so that they can be operated swiftly and easily. Additionally, a display panel has been placed on the top plate of the camera, where information about settings can be displayed, similar to high-end digital SLR camera models.

  1. Video functions such as 10-bit N-Log that enables wide dynamic range, and timecoding that respond to professional needs

The Z 7 and Z 6 support recording of not only full-frame 4K UHD (3840 × 2160)/30p movies using the FX-based video format, but also Full-HD/120p movies. Sharper 4K UHD movies are made possible, using the full-pixel readout4. Additionally, Active D-Lighting, electronic vibration reduction, and focus peaking can be used with 4K UHD and Full-HD movie recording. Nikon’s original N-Log color profile can also be used with 10-bit5 HDMI output. The N-Log setting utilizes extensive color depth and twelve-stop, 1,300% dynamic range to record a wealth of tone information from highlights and shadows for more effective color grading. Timecode support makes synchronizing video and sound from multiple devices easier. Additionally, the control ring built into NIKKOR Z lenses can be used to quietly and smoothly adjust settings such as aperture and exposure compensation.

  1. Nikon’s first6 in-camera vibration reduction with approx. 5.0-stop7 effectiveness

The Z 7 and Z 6 are equipped with in-camera vibration reduction (VR). The VR unit provides compensation for movement along five axes. The effects of vibration reduction are equivalent to a shutter speed up to approximately 5.0 stops6. This function can also be used effectively with NIKKOR F lenses, including those not equipped with a VR function, with the Mount Adapter FTZ (sold separately)8.

  1. Other features
  • Same level of strength and durability, as well as dust- and drip- resistance, as the Nikon D850, offered in a compact body
  • A 3.2-in., approximately 2100k-dot touch-sensitive LCD monitor, with a tilting mechanism
  • Silent photography function eliminates shake and noise caused by shutter release,
  • Peaking stack image function9 enables confirmation of the area in focus after shooting using focus shift, which is convenient for focus stacking10
  • High-speed continuous shooting (extended)11 at approximately 9 fps (Z 7) and 12 fps (Z 6) captures fast motion
  • Interval timer photography that makes 8K (Z 7) time-lapse movie creation10 possible
  • An extended low-light metering range12 allows users to easily capture scenes such as the transition from sunset to starry night sky, using aperture-priority auto exposure
  • Built-in Wi-Fi® for direct connection to a smart device using SnapBridge
  • Built-in Wi-Fi® makes the transfer of images and movies to a computer possible
  • Support for existing digital SLR camera accessories such as the EN-EL15/a/b batteries, WT-7/A/B/C Wireless Transmitter (available separately) for transferring images and movies at high speed over a wired or wireless LAN, and radio-controlled/optical controlled Advanced Wireless Lighting, which makes flexible multi-flash photography possible

Development of the MB-N10 Multi-Power Battery Pack

The MB-N10 Multi-Power Battery Pack that is currently in development will hold two EN-EL15b, effectively increasing the number of shots possible and/or movie recording time by approximately 1.8×. It will provide the same level of dust and drip resistance as the Z 7 and Z 6, and will support USB charging using the EH-7P Charging AC Adapter. Information regarding the release of this product will be announced at a later date.

Price and Availability

The Nikon Z 7 will be available September 27 for a suggested retail price (SRP) of $ 3399.95* for the body-only configuration, or for $ 3999.95* SRP as a kit with the new NIKKOR Z 24-70 f/4 S lens. The Nikon Z 6 will be available in late November for the $ 1995.95* SRP for the body only configuration, or for the $ 2,599.95* SRP with the NIKKOR Z 24-70mm f/4 S lens kit. For more information on these and other Nikon products, please visit www.nikonusa.com.

  1. Within interchangeable lenses for Nikon SLR cameras and Advanced Cameras with Interchangeable Lens.
  2. With FX (36×24) image area and single-point AF enabled.
  3. Mid-range sharpness adjustment is only possible at “High quality” movie setting.
  4. DX-based movie format with the Z 7.
  5. Simultaneous recording of 4K UHD movies with 10-bit output to the camera’s memory card is not possible.
  6. Among interchangeable-lens cameras.
  7. Measured in accordance with CIPA standards (using the NIKKOR Z 24-70mm f/4 S, with zoom set at the maximum telephoto position)
  8. The level of compensation achieved when a NIKKOR F mount lens is used is not as high as that of a NIKKOR Z lens
  9. Can only be confirmed using the camera with which focus shift was performed.
  10. Third-party software is required.
  11. Continuous H (extended) in 12-bit RAW, JPEG, or TIFF format.
  12. With interval timer shooting or time-lapse movie recording with silent photography and exposure smoothing enabled.

Nikon Z 7 specifications

Price
MSRP $ 3399 (body only), $ 3999 (w/24-70 F4 lens)
Body type
Body type Rangefinder-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 8256 x 5504
Other resolutions 5408 x 3600 (DX crop), 6880 x 5504 (5:4), 5504 x 5504 (1:1), 8256 x 4640 (16:9)
Image ratio w:h 1:1, 5:4, 3:2, 16:9
Effective pixels 46 megapixels
Sensor photo detectors 47 megapixels
Sensor size Full frame (35.9 x 23.9 mm)
Sensor type CMOS
Processor Expeed 6
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 64-25600 (expands to 32-102400)
Boosted ISO (minimum) 32
Boosted ISO (maximum) 102400
White balance presets 12
Custom white balance Yes (6 slots)
Image stabilization Sensor-shift
Image stabilization notes 5-axis
CIPA image stabilization rating 5 stop(s)
Uncompressed format RAW
JPEG quality levels Fine, normal, basic
File format
  • JPEG
  • Raw (NEF, 12 or 14-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 493
Lens mount Nikon Z
Focal length multiplier 1×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3.2″
Screen dots 2,100,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.8×
Viewfinder resolution 3,690,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/8000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe)
Flash modes Front-curtain sync, slow sync, rear-curtain sync, red-eye reduction, red-eye reduction with slow sync, slow rear-curtain sync, off
Flash X sync speed 1/200 sec
Continuous drive 9.0 fps
Self-timer Yes (2, 5, 10 or 20 secs)
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 30p / 144 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 144 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 144 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 120p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 100p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types XQD card
Connectivity
USB USB 3.1 Gen 1 (5 GBit/sec)
USB charging Yes
HDMI Yes (micro HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11ac + Bluetooth
Remote control Yes (via MC-DC2 or smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description EN-EL15b lithium-ion battery & charger
Battery Life (CIPA) 330
Weight (inc. batteries) 675 g (1.49 lb / 23.81 oz)
Dimensions 134 x 101 x 68 mm (5.28 x 3.98 x 2.68″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Long Acre Farms in New York celebrates Kodak with giant camera corn maze design

23 Aug

Long Acre Farms in Macedon, New York, has unveiled the autumn 2018 pattern for its Amazing Maize Maze: a giant Kodak camera. The design was created for Kodak’s 130th anniversary and Long Acre Farms’ 25th anniversary; it features a vintage camera, large flash, a finger capturing an image, and a strip of film.

One of Long Acre Farms’ owners, Joan Allen, explained the reason for the design to WXXI News, saying the farm has provided guests with an opportunity to create memories and capture images of them for decades:

You know we all think of, maybe, I’m pretty sure it’s worldwide, to think of capturing a memory with a Kodak camera and given that that’s our neighbor right her[e] in Rochester this seems like an appropriate theme.

Long Acre Farms shares images on Instagram and provides information on tickets and more on Facebook.

Via: WXXI News

Articles: Digital Photography Review (dpreview.com)

 
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Adobe updates Lightroom CC, Lightroom Classic CC and Camera Raw

22 Aug

Adobe has released its August 2018 update for Adobe Lightroom CC (v1.5), Adobe Lightroom Classic CC (v7.5) and Adobe Camera Raw (v10.5). Across the board, the update brings along bug fixes, new features and support for more cameras and lenses.

First on the docket is Adobe Lightroom CC (v1.5). The stand-out feature of the update is the ability to store albums locally. Now, you can download images from an album onto your computer and edit them offline if you’re going to be without internet for a bit. The next time you get internet the images will sync to the files stored in Creative Cloud.

Adobe Lightroom CC (v1.5) also brings the ability to see what albums a particular image belongs to. Windows users now have support for Apple’s HEIC image file format as well.

Onto Lightroom Classic CC (v7.5), Adobe has added the ability to upload presets and profiles in bulk, rather than having to do it one-by-one. ‘You can import XMP presets and profiles, DCP profiles, and LCP profiles as part of a zip file,’ says Adobe in its press release. ‘However, .lrtemplate presets can’t be imported as part of a zip file.’

Adobe also added two new book types (Blurb Magazine and Blurb Trade Book), as well as a new paper type (Standard Layflat) inside the Book module of Lightroom Classic CC. Lightroom Classic CC (v7.5) for Windows also receives support for Apple’s HEIC image file format.

Bug fixes inside Lightroom Classic CC (v7.5) include fixes for various preset issues, exporting problems, metadata errors and performance issues. You can find a full list of squashed bugs on Adobe’s announcement page.

The update to Adobe Camera Raw (v10.5) is rather minor, as it only adds support for three new cameras and eight new lenses. Support for these new cameras and lenses has also been added to Adobe Lightroom CC (v1.5) and Lightroom Classic CC (v7.5). Below is a complete list of the new cameras and lenses supported in these updates:

Cameras:

  • Parrot Anafi
  • Sony RX100 VA (DSC-RX100MSA)
  • Sony RX100 VI (DSC-RX100M6)

Lenses:

  • Nikon AF-S NIKKOR 180-400mm f/4E TC1.4 FL ED VR
  • Nikon AF-S NIKKOR 180-400mm f/4E TC1.4 FL ED VR + 1.4x
  • Anafi 23mm F2.4
  • SIGMA 70mm F2.8 DG MACRO A018
  • SIGMA 105mm F1.4 DG HSM A018
  • Sony FE 400mm F2.8 GM OSS
  • Sony FE 400mm F2.8 GM OSS + 1.4X Teleconverter
  • Sony FE 400mm F2.8 GM OSS + 2X Teleconverter

You can find a full list of cameras and lenses supported by Adobe products here and here, respectively.

The updates for all three apps went live today, so head to your Adobe Creative Cloud desktop app (or respective app store) and update your programs.

Articles: Digital Photography Review (dpreview.com)

 
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The Insta360 Pro 2 is an 8K 3D 360-degree camera

22 Aug

Insta360 is probably best known for its smartphone 360-degree cameras, but the company is also very active in the professional space. Today it underlined its ambitions in the market for professional 360-degree imaging equipment by launching the Insta360 Pro 2, a six-lens 8K 3D professional VR camera.

The Insta360 Pro 2 uses six cameras to capture a scene, fusing the image data into two 8K photos or videos to create 3D VR image output. Available shooting modes include 8K 3D at 30 fps, 8K monoscopic at 60 fps, 6K 3D at 60 fps, and 4K 3D at 120 fps.

In-camera HDR allows for capturing highlight and shadow detail, even in difficult lighting situations, and i-Log mode offers flexibility in post-production coloring. The camera also features Insta360’s FlowState stabilization. The software-based system uses data from a gyroscope and the company says it offers gimbal-like performance, doing away with the need for bulky stabilizing gear that would possibly be visible in the footage.

For monitoring the Pro 2 comes with a 360-degree live monitoring system that, according to Insta360, offers a high-definition, low-latency video stream that is optimized for long-distance previewing. Thanks to a transmitter and receiver, the camera can be controlled and footage previewed from a distance of roughly 300 meters ground-to-ground, and 1 kilometer ground-to-air.

In addition the camera features four built-in mics for 360 audio, a pair of USB and 3.5 mm audio inputs, and six MicroSD card slots for recording at the maximum possible bit rate. A seventh SD card is reserved for recording stabilization data and low-res proxy files that can be used for editing in Adobe Premiere Pro.

The Insta360 Pro 2 can now be preordered at the Insta360 Store and other retailers for $ 4999.95 USD. The package includes the Farsight transmitter system and an additional battery. Shipping is scheduled for September. Sample footage can be viewed on the Insta360 Youtube channel.

Press Release:

Insta360 Pro 2 Launches with 8K 3D, FlowState Stabilization, Simplified VR Workflow

Insta360 today launched the Insta360 Pro 2, a groundbreaking six-lens professional VR camera. Ready to shoot 8K-per-eye 3D 360 video, the Pro 2 innovates the entire professional VR production workflow – offering effortless FlowState stabilization, long-range live monitoring, simplified post-production in partnership with Adobe, and a new technology that delivers 8K VR to viewers regardless of whether they have high-end playback devices.

Introducing the Insta360 Pro 2: https://www.youtube.com/watch?v=wjM3wS68cYo

Every Detail. From Every Angle.

The Insta360 Pro 2 uses six cameras to capture every angle of a scene at once. The resulting videos or photos are then fused into two 8K 360 images, one per eye, to create immersive, beautifully detailed 3D VR.

Available shooting modes include 8K 3D at 30 FPS, 8K monoscopic at 60 FPS, 6K 3D at 60 FPS, and 4K 3D at 120 FPS, among others. New in-camera HDR keeps lighting natural even when it varies in every direction, and i-Log mode is optimized for maximum flexibility in post-production coloring.

Make Your Move

The Pro 2 features Insta360’s proprietary FlowState stabilization, bringing a high-quality in-camera stabilization system to professional VR for the first time ever. Until now, VR creators have faced a grim choice: Make their audience sick with poorly stabilized footage, or use bulky stabilizing gear that would show up in scene and create a post-production headache.

FlowState solves this, achieving gimbal-level, pro-quality stabilization with no gear necessary. The Pro 2 uses an ultra-precise gyroscope that tracks motion on nine axes, and then – when paired with Insta360’s software innovations – allows creators to stabilize their footage down to a hair, fully automatically.

The dynamic, moving shots that filmmakers rely on to tell good stories are now possible in VR, along with a new language of dynamic 360 shots waiting to be created.

Action at a Distance

VR creators struggle with a fundamental challenge of the medium. How do you direct a shot when you can’t be on-set? The common solution – Wi-Fi monitoring – is notorious for being unreliable, short-range and prone to delay and interference.

The Pro 2 comes paired with all-new Farsight technology, a 360° live monitoring system that offers a high-definition, low-latency video stream that’s optimized for long-distance previewing.

With a transmitter and receiver, creators can effortlessly direct and control their scene from a distance of roughly 300 meters ground-to-ground, and 1 kilometer ground-to-air. Transmitting at 5.18Ghz, the Farsight uses smart channel switching to ensure it always cuts through the noise.

“No-Stitch” Editing in Adobe Premiere Pro

The Pro 2 is tailored for convenient stitching and editing using Insta360’s integrated Adobe Premiere Pro workflow. Every time the Pro 2 captures a video, it automatically saves a low-res proxy version in addition to the full-quality footage.

All a creator needs to do when they finish a shoot is directly import their footage into Adobe Premiere Pro. The proxy files will be automatically recognized and stitched instantly to let creators preview their final project.

This proxy version can be used to edit the project as usual. Then, when users are ready to export, Insta360’s algorithm will take over and stitch together exactly the footage they used in the final project, at full quality. There’s no wasted time, processing power, or effort. Creators stitch only what they use.

Ready for Anything

The Pro 2 weighs in at a handy 3.42 pounds (including a battery and antennae), making it easy to carry on remote shoots or send up on a drone, and its hot-swap battery dock ensures that it stays powered-up out in the field.

It sports four built-in mics for 360 audio, plus a pair of USB and 3.5 mm audio inputs on its top and bottom – allowing creators to add a custom audio setup or other add-ons as their shoots demand.

Six MicroSD card slots, one per each camera, allow the Pro 2 to record at the maximum possible bitrate, ensuring optimal image quality and post-production flexibility. A seventh Full SD card captures stabilization data and low-res proxy files optimized for editing in Adobe Premiere Pro.

Clear as Crystal

There’s a drawback to creating a beautiful, high-res VR project: You have to figure out how to deliver it to an audience — most of whom are going to be using either a smartphone or a popular headset like the Oculus Go or Samsung Gear VR, both of which max out at 4K.

Using Insta360’s proprietary CrystalView technology, Pro 2 content can be quickly converted into a format that’s ready to play back – at full 8K quality – on any mainstream smartphone or headset. Insta360’s free playback apps (such as Insta360 Moment) will dynamically render these files, displaying in full quality the exact segment of a scene that a user is looking at.

Live In the Moment. But Capture It.

The Insta360 supports 360 live-streaming at 4K resolution — in both 3D and monoscopic formats. The best part: Creators can save full-quality 8K footage at the same time that they broadcast in 4K, giving them the flexibility to turn their live recording into a polished edit later on.

Perfect Sense of Direction

The Insta360 Pro 2 sports a built-in GPS module, enhanced with a top-mounted antenna to improve signal strength. Creators can automatically append GPS data to their captures, allowing for easy contributions to Google Maps Street View and other precision-mapping projects.

Tools for Any Job

Insta360 Pro 2 customers will also have access to some of the premiere post-production tools in the VR industry. Included in the purchase of the Pro 2 is a 3-month license for Mistika VR Professional Edition ($ 236 USD value), offering customizable stitching controls, integrated with Insta360’s official stitching libraries. Also included is a 3-month license for Blend Media’s 360 Stories Pro software ($ 745 USD value), letting users easily create and publish virtual tours and other interactive 360 experiences.

Preorder Open

Preorders for the Insta360 Pro 2 are open now via Insta360 Store, B&H Photo Video and select retailers worldwide. It’s priced at $ 4999.95 USD, and includes the Farsight transmitter system, plus one battery. Cameras are set to ship in September.

Pre-order Now:

https://store.insta360.com/

Sample Footage – 8K 2D H265

https://www.youtube.com/watch?v=rjES6kpciWY

https://www.youtube.com/watch?v=Jb700lV7oLc


Sample Footage – FlowState

https://www.youtube.com/watch?v=WPlpTvutqzs

https://www.youtube.com/watch?v=bQKHZFn5A_c

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App-based camera triggers compared: Alpine Labs Spark & Miops Mobile Dongle

16 Aug

Introduction

From left, the Alpine Labs Spark and the Miops Mobile Dongle.

Finger. Shutter button. Click. Next.

That sequence is so ingrained in our idea of “taking a photo” that it’s pure muscle memory. Many situations call for more than just the press of a finger to capture a shot, though, which is where remote triggers come in.

Plenty of us have a remote release cable buried in our camera bags that activates the shutter from a foot or two away. But what about when you want to trigger a night sky shot in the bitter cold from within the comfortable confines of a sleeping bag? Or hours of time-lapse long exposures? What about automatically tripping the shutter when something moves in front of the camera?

These are exactly the needs that app-based triggers are designed to meet. And while there are traditional accessory triggers that’ll individually accomplish one of the above tasks, none do it all.

Key features of app-based remote releases

  • Remotely trigger a camera’s shutter
  • Automate time-lapse capture sequences
  • HDR capture that’s more flexible than some cameras’ built-in modes
  • Activate the camera shutter using external stimuli such as sound or movement (Miops only)
A photo shot using the Miops Mobile Dongle’s sound trigger function.

Devices to enable remote capture aren’t new, but the popularity of smartphones has shifted attention to app-based solutions. With a small activation device or cable connected to the camera, software on the phone can handle the details—and be easily updated for fixes or new features. I looked at two recent products that connect your camera and smartphone, the Alpine Labs Spark and the Miops Mobile Dongle.

Alpine Labs Spark
$ 74 | AlpineLaboratories.com

The Alpine Labs Spark can sit in the camera’s hot shoe.

The Alpine Labs Spark ($ 74) is a triple-purpose remote trigger. The unit itself sits on top of your camera in the hot-shoe and connects via USB – you need to make sure you have the right cable for your camera model – with a single button on top that can activate the shutter when pressed. Or, for compatible cameras with infrared ports, the Spark on its own can trigger a shot wirelessly.

Things get more interesting with the third connection method, paired with a smartphone running the Spark app via Bluetooth wireless networking. When both devices are within range (up to 100 feet), the app can trigger the shutter remotely, or you can set a timed or manual long exposure capture. The Spark includes a battery that Alpine Labs says is good for more than 2,000 hours.

The trigger options in the Spark app. Setting a long exposure in the Spark app.

You also have control over creating time lapse images, setting an interval and total duration of the shoot, such as one frame every 30 seconds over the course of an hour. Or, you can capture a series of HDR brackets with the option of choosing the number of images and the exposure adjustment between each shot. There’s even a Photo Booth mode that dictates how many photos to capture and the delay between each shot.

Commands are sent and stored in the battery-powered Spark, so for long exposures or time lapse sequences, the app doesn’t need to stay engaged and drain your phone’s battery.

With the Spark connected to my Fujifilm X-T1, I couldn’t get the Time Lapse mode to work at all

Although the Bluetooth connection promises more interesting uses, “interesting” can go in a few different directions, and not always forward. With the Spark connected to my Fujifilm X-T1, I couldn’t get the Time Lapse mode to work at all; even more annoying is a bug that repeatedly pops up a dialog exclaiming that the time lapse is finished. Similarly, the HDR mode was spotty during my time with the unit; sometimes it worked, sometimes it didn’t.

The Spark offers exposure adjustments in full stops, not partial ones, and for whatever reason, when I’m capturing three shots with one-stop difference between them, I end up with three identical one-second exposures. It also assumes you’re only shooting in dark conditions, because the fastest shutter speed it offers is 1/10 (the camera needs to be in bulb mode).

Ultimately, the Spark shows promise, but Alpine Labs needs to work through some software issues.

What we like:

  • Compact and easy to pack
  • Device sits in camera’s hotshoe
  • Camera can be triggered via USB, infrared or Bluetooth (using a smart device and the Spark app)

What we don’t:

  • Overall, unreliable
  • Buggy mobile app
  • Only full stop exposure adjustments offered

Miops Mobile Dongle
$ 37 | Miops.com

Unlike the Spark, the Miops Mobile Dongle ($ 37) is literally just a cable that connects your camera to a smartphone. The cable has two sections: one attaches to your camera’s USB port (you need to specify your camera mode when ordering), and the other attached to the headphone port on your mobile phone. If you own a recent iPhone or Android phone that doesn’t offer a dedicated headphone port, you can use the adapter that came with your phone – yes, that means a dongle for the dongle (see image below).

The Miops Mobile Dongle is a pair of cables (assisted by the Lightning port adapter that came with the iPhone X), which communicates using the Miops app.

With the connection made, the Miops Mobile app presents 15 different ways to trigger the camera’s shutter. There are the usual methods, like Cable Release, Self Timer, and Basic Timelapse, but those are just basics. With the Miops app, the phone plays a much more interactive role.

Some of the options in the Miops app.

For example, you can trip the camera shutter when the phone’s microphone registers a sound above a specific volume level, or when the phone’s built-in camera registers movement. Or take advantage of the phone’s accelerometer and grab a shot when it detects vibration. The Road Lapse feature uses the phone’s GPS to record a shot every X number of meters or feet as you travel, up to a specific number of frames.

Some of the features automate other tasks to make things easy for you, such as HDR Timelapse, which captures brackets at set intervals, or Bulb Ramping Timelapse, which lets you set an initial exposure and a final exposure so the shots remain evenly exposed even as light levels drop or rise (during sunset or sunrise, for instance).

Running a Bulb Ramping Timelapse in the Miops Mobile app. The Miops Mobile app uses the phone’s microphone to trigger the shutter by sound.
Whacking the underside of the table provided the sound needed to trigger the shutter using the Miops dongle. Here’s the setup for capturing a shot based on sound.

A ‘Scenario’ feature enables you to combine modes like a recipe, such as firing an HDR once a sound level is reached. As a bonus, there’s also a Neutral Density Calculator to figure out ideal shutter speeds when using ND filters, and a Solar Calculator that lists sunrise and sunset times.

The downside to the Miops Mobile Dongle is that the phone has to be physically connected
to the camera

The downside to the Miops Mobile Dongle is that the phone has to be connected by the cable to the camera. So, even if the camera is set up on a tripod, you’re still juggling the phone. I solved that by purchasing an inexpensive mini ball head mount that fits into the camera’s hot shoe, and then screwing a Studio Neat Glif onto it to hold the phone in place.

Even without a wireless connection, though, the Miops software offers plenty of remote-triggering options at an affordable price.

A sample time-lapse video shot using the Miops Mobile Dongle and a Fujfilm X-T1.

What we like:

  • Compact and easy to pack
  • The Miops app’s many triggering methods, including sound and motion
  • Reliability
  • Affordability

What we don’t:

  • The dongle’s physical connection requires juggling a phone
  • Some modern phones that lack headphone ports require that you add a dongle to the dongle

Miops also sells the $ 125 Mobile Remote, which is a wireless device akin to the Spark, and the $ 219 Miops Smart, with additional triggering modes like a laser sensor.

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Review: the GoPro Fusion is a different kind of action camera

16 Aug

Introduction to the Fusion and OverCapture

The GoPro Fusion ships with an extendable selfie stick that doubles as a small tripod.

GoPro may have jump started the action camera market, but the Fusion is different than all the GoPros that came before it: it’s a true 360 camera. Instead of using a single forward-facing lens, its two ultra-wide angle lenses capture a full 360 spherical image of everything around it.

Unlike most 360 cameras, the Fusion is designed to create both spherical and standard HD videos, potentially offering action camera users more capability than they can get from their current action camera – something that’s become progressively difficult in a highly commoditized market. If action/adventure is your game and your workflow is geared towards mobile and web, the GoPro Fusion may be the camera you’re looking for.

Key features

  • 360 video: 5.2K/30p, 3K/60p
  • 360 photo: 18MP 5K 360 photos (5760 x 2880)
  • OverCapture for creating HD videos
  • Image stabilization
  • Spatial audio (4 microphones)
  • Waterproof (5m/16ft.)
  • GPS
  • Wi-Fi + Bluetooth
  • Smartphone app + desktop software
  • Includes two 32GB SD cards (75 minutes record time)
  • Removable battery (75-80 minutes record time)
A view of the Fusion’s twin offset lenses.

What makes the Fusion most exciting, and what is arguably its main selling point, is ‘OverCapture’, a feature that allows you to pull standard 1080p HD videos from anywhere within the 360 sphere.

This is an entirely different way of producing video content. Since you’re capturing every single direction at once, you can frame your shot after you’ve shot it. For an action camera user, this unshackles you from the confines of recording a single, unchanging perspective and opens the doors to generating complex camera moves for more compelling footage.

OverCapture is an entirely different way of producing video content. You can frame your shot after you’ve shot it.

To be fair, the Fusion isn’t the first consumer camera to provide this functionality. The Rylo Camera offers a similar feature, and as we discussed in our review of the Rylo it works impressively well. (The main difference between the Fusion and the Rylo comes down to how you edit over-captured video: the GoPro lets you pan/tilt your phone to follow the action, whereas the Rylo provides excellent subject tracking to follow the action. Both methods work well.)

Let’s take a look at a real world example. To create the two videos below, I set the camera in the middle of a skate-park and asked Colin Flynn, founder of Fool’s Gold Surf, to skate around it. In the first video, you can drag around to see all the angles or, if you’re watching using a VR headset, you can just look around in any direction.

This is an example of 360 video captured with the GoPro Fusion. You can drag around the image to look in different directions.

The second video was created from the exact same camera footage, but using OverCapture to follow Colin’s movement on the mobile app (literally by moving my phone around as if I was recording in real-time), then exported as a standard HD video.

This video was created from the exact same clip as the one above, except that I used OverCapture to follow the action on my phone after the clip was recorded, then exported it as a standard HD video.

You can do all of this – and share it – from the mobile app. You can do the same with the desktop software, though as we’ll see, there are some glaring differences between the two and OverCapture does have its limitations.

Despite being GoPro’s first foray into the 360 camera space, the Fusion gets a lot of things right and performs well.

In fact, one important consideration when using OverCapture is that while the camera may be high resolution, you’re exporting a 1920×1080 HD video (if shot on 5.2K), or 1280×720 HD video (if shot in 60fps 3K). Furthermore, if you zoom in, you’re losing more resolution relative to how much you’re punching in on that OverCapture frame, so if 4K is essential to your needs, or you’re interested in the Fusion primarily for action footage using OverCapture, those are things you might want to think about.

Despite being GoPro’s first foray into the 360 camera space, the Fusion gets a lot of things right and performs well. The things it doesn’t do well could, for the most part, be remedied by firmware and software updates, and we’ll take a look at some of those things in the following pages.

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Sony claims top spot in full-frame interchangeable lens camera market, launches ‘Be Alpha’ campaign

16 Aug

In a press release issued this morning, Sony announced it has sold more full-frame cameras than any other brand in the US over the past six months, measured both by units sold and by value.

Perhaps more impressively, the company is also celebrating occupying the top position in the overall mirrorless market, a spot it has owned for the past six years thanks to the huge success of the a6000, as well as sales of the a7 series.

That’s all good news for Sony, yes, but it’s probably no coincidence that Sony was the last brand to release a mass-market full frame camera. It’s been a year since Canon’s last entry in the category, and a similar amount of time since Nikon announced the D850. And either way, we don’t recommend getting too invested in brand market share, but that’s just us.

Sony’s also taking the opportunity to launch a brand new ‘Be Alpha’ campaign, which will comprise a number of in-person events in major cities, starting on August 19th in New York City to celebrate World Photography Day. The initiative also includes an ‘Alpha Female’ program, which will include grants, mentorship and events to address “the imaging industry’s well-documented diversity challenges.”

Sony Celebrates No.1 Overall Position in U.S. Full-frame Cameras with Launch of Historic “Be Alpha” Campaign

The Leader in Full-frame Empowers Creators of all Types to Continue to Innovate, to Lead, to Push the Limits, to “Be Alpha”

SAN DIEGO, Aug. 15, 2018 – Sony Electronics, Inc. – a worldwide leader in digital imaging and the world’s largest image sensor manufacturer – today announced that it has overtaken and held the No. 1 overall position in the United States full-frame interchangeable lens camera market in the first half of 2018, in both dollars and units1. In fact, four out of every 10 full-frame cameras sold during this time period have come from the Sony brand1.

Additionally, Sony has announced that within the overall mirrorless market, it has held the No. 1 position in both dollars and units for more than six years2. These strong results can be attributed to the company’s leadership in transitioning the market from older DSLR technology to next-generation mirrorless cameras.

Much of Sony’s recent success has been driven by sales of the acclaimed ?7R III and ?7 III models, as well as the rapid adoption of the ?9 camera amongst professional sports photographers and photojournalists. The brand’s extremely active community has played a major part as well, as evidenced by the strong engagement on key social platforms like Instagram, where the official @SonyAlpha page has just surpassed the coveted one million followers count.

As a celebration of these historic achievements, Sony has announced the launch of its extensive “Be Alpha” campaign that will connect creators of all types with the brand and its ever-growing roster of talented photographers and videographers.

“We’re extremely proud of achieving No. 1 overall share in Full-frame cameras in the US market, as well as holding a strong No. 1 share in the mirrorless market for six years running” said Neal Manowitz, vice president of Digital Imaging at Sony Electronics. “More than anything, we owe this to our community. It is our pleasure to create for you, the true creators. You pushed us to innovate, to change, to continually adapt, and your voice remains core to everything we do.”

Manowitz added, “To ‘Be Alpha’ is to be a leader, to be an innovator, to stand out amongst the crowd. It represents everything we stand for as a brand. Our campaign will celebrate the extended Sony community, while also shining a light on the topics that that we are most passionate about – diversity, conservation, equality and much more.”

Sony’s “Be Alpha” movement will be headlined by a series of community events in major markets throughout North America in 2018 and beyond, beginning with the official launch event on August 19th, World Photography Day, in New York City. The campaign will encourage all creators to get involved by sharing their own “Be Alpha” content on all relevant social platforms while tagging #BeAlpha.

The “Be Alpha” campaign will also feature programs that are designed to foster growth in both the current and next generations of imaging professionals, the most notable of which being the flagship “Alpha Female” program. This multi-tiered, female exclusive program is Sony’s thoughtful response to the imaging industry’s well-documented diversity challenges. It will include a variety of grants and mentorship opportunities for female photographers and videographers, as well as the production of several large-scale industry events. Additional details to be released soon.

All key information regarding Sony’s “Be Alpha” movement, including the campaign launch video, will be hosted at www.alphauniverse.com/BeAlpha. This page will be continually updated with information on new events, content pieces and more.

A variety of additional stories and exciting new content shot with Sony products can be found at www.alphauniverse.com , Sony’s community site built to educate, inspire and showcase all fans and customers of the Sony ? brand.

A chart summarizing Sony’s rapid growth in Full-frame market is included below:
  1. Source: The NPD Group, Inc., U.S. Retail Tracking Service, Detachable Lens Camera, Sensor Size: Full Frame, Based on dollar and unit sales, Jan. – June 2018.
  2. Source: Sony internal historical data sources.
  3. Source: The NPD Group, Inc., U.S. Retail Tracking Service, Detachable Lens Camera, Sensor Size: Full Frame, Based on dollar sales, Jan.- Dec. 2017 vs. Jan.- Dec. 2016.
  4. Source: The NPD Group, Inc., U.S. Retail Tracking Service, Detachable Lens Camera, Sensor Size: Full Frame, Based on adjusted dollar sales, Jan.- June 2018 vs. Jan.- June 2017. Sales are adjusted for 5wk Jan. 2018 vs. 4wk Jan. 2017.

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Yuneec Mantis Q 4K camera drone offers voice control and 33 minute flight time

15 Aug

Yuneec has introduced the Mantis Q, a consumer drone with an integrated 4K camera, electronic image stabilization and voice control. The model is designed for both outdoor and indoor use, utilizing down-facing dual sensor alongside infrared detection to navigation inside buildings. Mantis Q includes a controller with a smartphone mount in addition to the voice control.

Yuneec Mantis Q is small and lightweight at 16.7 x 9.7 x 5.6cm / 6.6 x 3.8 x 2.2in when folded; it weights of 0.5kg / 1lb. The drone’s integrated camera supports recording video and capturing images at 4800 x 2700 (16:9) and 4160 x 3120 (4:3), as well as recording Full HD video with electronic stabilization. Still images are saved to a microSD card in either DNG or JPEG formats.

Users can control both the camera and the drone using voice commands, using phrases like “Take a picture” or “Take a video.” Gesture Control enables the user to take a selfie using a hand wave, and there’s also face detection that snaps a photo when the camera detects a smile. Recording modes include Orbit Me and Point of Interest.

The Mantis Q has a flight time of up to 33 minutes and a top speed of 44mph / 71kph, as well as a drone racing mode with a live video feed that is presented on a smartphone.

Yuneec is now accepting pre-orders for Mantis Q. The drone with a controller, single battery, spare propellers, a three-port charger, power supply, and USB cable is $ 499.99 USD. There’s also an X-Pack that adds three batteries and a travel shoulder bag for $ 649.99 USD.

Via: New Atlas

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More detail on Samsung Galaxy S10 triple camera setup revealed

14 Aug

Last week, Samsung revealed its latest high-end smartphone, the Galaxy Note 9. The Note 9’s camera hardware is identical to last year’s Galaxy S9 Plus dual-camera, but we’ve already seen rumors of the 2019 Galaxy S10 Plus featuring a triple-camera.

Next year’s flagship is likely to be the first smartphone to combine a super-wide-angle and a tele-lens with the primary camera. The super-wide-angle is expected to come with a 123-degree angle of view, and the tele lens with a 3x magnification, offering a wider zoom range than any other smartphone.

Today a report from South Korean publication ET News has provided more detail on the Galaxy S10 camera specifications and if the sources can be trusted all three cameras will come with a different sensor resolution. The main camera will offer a 16MP pixel count, the telephoto camera captures 13MP images and the wide angle is expected to feature a 12MP sensor.

…it’s likely that the output image size will be the same, no matter the zoom setting

Samsung is likely going to merge image data from all three sensors to leverage the combined sensor surface for improved light gathering, and provide a stepless zoom experience. Therefore, it’s likely that the output image size will be the same, no matter the zoom setting. That said, as usual we can’t know for sure at this point.

The ET News report contains another interesting piece of information: While Samsung initially planned to implement the triple camera only in one model of the Galaxy S10 series, the company’s plans changed and there will now be two triple-camera models. Hopefully this should increase the chances of a triple-camera model becoming available at a (halfway) affordable price point.

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The First 10 Things You Need to Buy After Your Camera for Travel Photography

13 Aug

You’ve just splashed out a vast sum of money on a shiny new camera to do amazing travel photography, but what’s next? There are so many different lenses, accessories, and even filters to choose from. Most people would not be able to afford to buy everything they need in one go. So what should you buy first?

Fear not, here is a simple guide on what to purchase, and in what order, after you have bought a new camera.

photo on the back of a DSLR camera - The First 10 Things You Need to Buy After Your Camera for Travel Photography

1. Lens

It may seem pretty obvious but you won’t be able to do much without a lens for your camera, so naturally, this should be the first purchase.

But the lens you choose will impact on the quality of your photos. For travel photography, you will be able to get away with only using one lens most of the time so try to buy the best lens that you can afford. Look for something that has a good focal length range and is fairly fast.

Something like a 24-70mm lens will often mean you can get 95% of the shots that you would take.

24-70mm and 70-200mm lenses - The First 10 Things You Need to Buy After Your Camera for Travel Photography

Left: 24-70mm f/2.8. Right: 70-200mm f/2.8 lens.

2. Memory Cards

The next vital purchase is at least one memory card to be able to store your photos.

Again this is something that is worth spending a little more money on in order to buy a higher capacity memory card. If you are going to be shooting in RAW format (which you should be doing) then your file sizes will be large. This means memory cards can fill up pretty quickly. Something like a 32gb or 64gb memory card should usually last a few days, depending on what you’re shooting.

Whether you buy more will come down to your budget. Using one card will mean that you have to clear your memory cards each day or every few days. So if you can afford a couple more, it will be worth the investment.

CF memory cards in a case - The First 10 Things You Need to Buy After Your Camera for Travel Photography

3. UV Filter

A UV filter might seem like an unnecessary expense, but the real benefit of buying one is to protect your lens’s glass.

They are pretty cheap to buy compared to having to repair a lens so consider getting one straight away. I fit every one of my lenses with a UV filter the day that it comes out of the box.

Canon L-series lens with a UV filter fitted on the front. The First 10 Things You Need to Buy After Your Camera for Travel Photography

Canon L-series lens with a UV filter fitted on the front

4. Tripod

Most travel photographers would put a tripod at the top of the list of their accessories. This is with good reason. If you want to capture the best possible photos at the best possible time of the day a tripod is a must.

During low light conditions, you simply will not be able to hold a camera steady enough to take a sharp photo. The only way will be to raise your ISO which will in turn mean noise in your final shot.

But it’s also worth investing in a good tripod rather than something that is cheap and flimsy. I always find it astonishing when I see people with expensive cameras using poor quality tripods. Not only are poor quality tripods subject to vibrations which cause camera shake and blurred photos, but they are putting their expensive camera at risk of falling over.

So, always look to buy a good quality tripod that can support the weight of your DSLR.

camera on a tripod overlooking a landscape scene - The First 10 Things You Need to Buy After Your Camera for Travel Photography

5. Camera Bag

Over time most photographers will end up with a collection of different bags for different scenarios. For example, a long hike will require a bigger bag, whereas day to day, you will need something more compact.

But most people can certainly get by with one bag to start off with so look for something that you can use day to day. I would always recommend buying a day backpack as a first camera bag as opposed to a top-loader or sling bag.

Look for one that is carry-on approved as you should always take you camera equipment on board rather than checking it in when you’re flying. It’s also worth buying one that you can strap your tripod to and has space for a laptop.

There are so many choices out there so do your research and even test them out at your local camera store before buying one. It’s an important purchase that will not only keep your camera equipment safe, but also mean carrying things in comfort.

camera bag full of gear - The First 10 Things You Need to Buy After Your Camera for Travel Photography

6. Graduated Neutral Density Filters

Once you’ve purchased the above items it’s time to start building up an inventory of the more specialized things you might need.

Graduated Neutral Density filters are incredibly useful anytime you are photographing at sunrise or sunset. They help to even out the light across your image when you are faced with one area being too bright (the sky) and another area being dark (the foreground).

They will generally come as a glass rectangle that fits onto the front of a lens with an adaptor. There are also screw-in versions (like traditional polarizing or UV filters) but frankly, they are a poor substitute in my opinion.

There are a whole range of brands and options and buying a complete set can work out to be pretty expensive. But you will find them incredibly useful and use them for years.

Canon camera with filter on the lens - The First 10 Things You Need to Buy After Your Camera for Travel Photography

7. Polarizing Filter

The next thing that you should look to purchase is a polarizing filter. Primarily used for suppressing glare or reflections these little screw-in filters can be really useful when photographing water, metallic objects, or even glass (like shop windows).

They also have the added benefit of darkening blues and greens which makes them very useful for landscape and travel photography. Like most photographic items you are better off purchasing a better quality version rather than cheap alternatives that can have a detrimental effect on the sharpness of the image.

beach scene tropical location - The First 10 Things You Need to Buy After Your Camera for Travel Photography

Use a polarizing filter to darken the sky to a rich blue like in this image.

8. Neutral Density Filters

Whereas Graduated ND filters are used for darkening part of the image, these filters can darken the whole scene. They are essentially a square or rectangular piece of glass that come in different darkness levels (representing the same effect as stopping down you aperture).

You might be wandering when you will ever need to darken the scene? Well, for example, if you are photographing water during the day you could use a Neutral Density filter to help you capture a smooth moving water effect. Or cloud movements in the sky.

Again a full set of these filters can be expensive so build up your collection slowly over time.

waterfall and a river flowing - The First 10 Things You Need to Buy After Your Camera for Travel Photography

9. Spare Batteries

While most people can get by with one battery, it’s always worth having a spare. The last thing you would want is to run out of power mid-way through a shoot.

Keep in mind that long exposure photography will drain your battery more quickly than photographing during the day. So if you are going to be doing a lot of this kind of photography or if you’re heading to a remote place with no electricity, this item may move up on your priority list.

I tend to travel with around six batteries in total and charge the ones I have used each night.

camera batteries - The First 10 Things You Need to Buy After Your Camera for Travel Photography

10. GorillaPod

It could be argued that a cable release should be on this list, but as you can use your camera’s timer instead, I feel a GorillaPod will be a better purchase.

The great thing about these small bendy tripods is that they will often draw less attention than a regular one. So in places where tripods are not allowed, you might get away with a GorillaPod. The other great thing about them is that you can set them up on tables, which makes them great for food photography on the go.

Just make sure that the GorillaPod you select can support the weight of your camera and not collapse.

gorillapod - The First 10 Things You Need to Buy After Your Camera for Travel Photography

Conclusion

There you have the 10 items that you should buy in order after you’ve purchased your camera. There will always be exceptions and you might need to tweak this order for your needs. Building your camera and accessories collection up is expensive, so the key is to plan out your purchases in order and take your time.

What do you think? Have I missed anything? Anything you would swap with the 10 on the list? Share your answers below.

The post The First 10 Things You Need to Buy After Your Camera for Travel Photography appeared first on Digital Photography School.


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