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Sony Cyber-shot RX100 VI: What you need to know

06 Jun

Sony Cyber-shot RX100 VI: What you need to know

The sixth and latest in Sony’s popular RX100-series, the RX100 VI is (unsurprisingly) the most powerful yet. Still pocketable, but now offering a longer zoom than any of its predecessors and an updated AF system, the RX100 VI promises to be a highly versatile camera. We’ve been poring over the specs for a while – click through this article for a closer look.

New 24-200mm (equiv) F2.8-4.5 lens

Perhaps the most obvious addition to the RX100 VI compared to its predecessors is a substantially longer zoom lens, with a claimed 4EV of optical image stabilization. Whereas the RX100 V’s zoom topped out at a modest 70mm, the RX100 VI’s lens reaches all the way to 200mm (equivalent).

In one sense, this should make the RX100 VI a more versatile camera than its predecessors, but that additional zoom range doesn’t come for free. The RX100 VI’s maximum aperture is F2.8-4.5, which is significantly slower than the F1.8-2.8 of its predecessor, and it does not include the useful built-in ND found in earlier models.

New 24-200mm (equiv) F2.8-4.5 lens

As you can see from our equivalent aperture graph, the RX100 VI’s lens offers an equivalent (in DoF terms) maximum aperture of around F8 at 24mm, and it only gets darker from there. Whether this matters depends on several factors, not least ambient light. It’s worth noting though that subject/background separation will be more challenging with the RX100 VI compared to previous-generation RX100-series cameras. That being said, it should be noted that beyond 50mm (equivalent) the RX100 VI’s lens is significantly brighter than both the Panasonic Lumix DC-ZS200 and the older ZS100. The maximum F12 equivalent aperture on the long end should mean less diffraction-induced softening than the F16 equivalent offered by the Panasonics.

The lens itself is comprised of 15 elements in 12 groups, featuring two ED (extra-low dispersion) aspherical glass elements and eight aspherical lens elements including four AA (advanced aspherical) lenses. Sony claims that this results in ‘outstanding sharpness from corner-to-corner at all focal lengths’ and we’ll be sure to test this for ourselves as soon as possible.

Upgraded tracking and better buffer

The RX100 VI incorporates an upgraded BIONZ X™ image processor and Front-end LSI. This has resulted in several improvements, including to autofocus speed (Sony claims an AF response time of 0.03 seconds) and superior Eye AF tracking, to the tune (again, claimed) of a 2x performance increase compared to the RX100 V.

The maximum stills capture rate of 24fps is unchanged compared to the RX100 V, but the new camera can shoot for up to 233 images, compared to around 150 in the earlier model.

Full-width oversampled 4K video

As we’ve come to expect from Sony’s RX-series as a whole, the RX100 VI offers impressive video specifications, in addition to its stills capture features. The new camera can capture 4K video at up to 30p, at a maximum bitrate of 100 Mbps. 4K video is oversampled from 5K, and the entire sensor area is utilized, resulting in very clean, detailed footage. High definition 1080p footage is also possible, at up to 120fps. High frame rate modes are available, with up to 960 fps capture.

New in the RX100 VI is an HLG (Hybrid Log-Gamma) gamma curve option within Picture Profiles, which in Sony’s words offers ‘an instant HDR workflow solution’. HLG gamma fits the entire dynamic range of the sensor into your video. While footage will look flat on a standard display like the rear LCD, plug the camera into an HDR display and enable its HLG mode and you’ll see your high dynamic range footage, from preserved highlights to detailed shadows, with the more lifelike contrast modern TVs offer. The use of HLG and zebras in stills also allows you perfectly expose your Raws, as we covered in our a7R III review.

Sadly, the RX100 VI omits a microphone socket, meaning that external recording will be necessary for any kind of serious filmmaking.

Touch-sensitive, tilting LCD

Oh happy day! The RX100 VI is the first RX100-series model to offer a touch-sensitive LCD. This enables touch to focus and touch shutter – both nice features that we’ve been enjoying for several years on competitive cameras. It’s particularly important for the RX100 series, which has always had limited controls and particularly cumbersome methods for selecting your AF point.

Touch-sensitive, tilting LCD

The tilt angle of the screen has also been expanded, to up to 90 degrees downwards and 180 degrees upwards. You know – for selfies.

Updated Menus

Not only have menus been updated to the far more organized structure we’ve come to expect on a7/a9 cameras, a My Menu has been added. You can populate it with your most accessed menu items, in your preferred order. This, combined with the customizable Fn menu accessible on-screen during shooting, should make it easy to quickly access your most used settings. This is particularly important on a camera with so few controls.

Redesigned ‘one push’ EVF

The RX100 VI’s XGA OLED pop-up EVF is similar to previous models in the series, but once popped-up, the finder optics no longer need to be manually extended for use. This might sound like a minor upgrade, but missing a shot because you forgot to pop out the finder window is an annoyance that will be familiar to many RX100 IV/V owners.

Articles: Digital Photography Review (dpreview.com)

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5 Camera Settings That All Macro Photographers Should Know

03 Jun

This article will detail five camera settings that are essential and which all macro photographers should know. It was inspired by Will Nichols’ excellent tips Five Camera Settings Every New Photographer Needs to Know. You will notice two main themes in this article – ensuring a perfect point of focus and ensuring maximum sharpness. Both of which are critical in macro photography.

Included in the list of settings are Manual Focus, Manual Mode, Live View, the self-timer, and burst mode. By familiarizing yourself with these settings, your macro photography will grow by leaps and bounds.

dahlia macro photography flower - 5 Camera Settings That All Macro Photographers Should Know

1. Manual Focus

Manual focus is one of the most important tools in a macro photographer’s toolkit. When working at high magnifications, you cannot rely on a lens’s autofocus capabilities for a couple of reasons.

First, Manual Focus is necessary for creative macro photography. In macro photography, particularly in more abstract macro photography, you have to make your point of focus count. Only by using Manual Focus, can you do so with the required pinpoint accuracy.

Secondly, macro lenses tend to have relatively bad autofocus capabilities, especially at high magnifications. It becomes frustrating to sit and wait while the lens pans back and forth (this is an even bigger problem in low light).

Macro photography grape hyacinth abstract - 5 Camera Settings That All Macro Photographers Should Know

By using Manual Focus, I was able to render the tip of the flower sharp.

The solution? Learn to use Manual Focus. With a bit of practice, you’ll find that you can focus quickly and efficiently, and your keeper rate will immediately increase.

Flower Abstract Macro Photography pink flower - 5 Camera Settings That All Macro Photographers Should Know

2. Aperture Priority or Manual Mode

There’s no way around this. A macro photographer must have maximum control over their depth of field.

At the high magnifications that are characteristic of macro photography, depth of field is often mere millimeters. And, as touched on above, it is essential that you use that in-focus area to your advantage.

One way to do this is by carefully selecting your depth of field. This may involve using a shallow depth of field for a more abstract look, or a large depth of field so as to ensure a completely sharp subject. Regardless, being able to modify your depth of field from subject to subject, from image to image, is crucial.

Tulip abstract macro photography - 5 Camera Settings That All Macro Photographers Should Know

I knew that I needed a very shallow depth of field if I wanted to pull off this tulip photograph. I used Manual Mode to select an aperture of f/4.2.

There are two settings that offer this level of control: Aperture Priority and Manual Mode. Aperture Priority Mode (labeled A or Av on your camera mode dial) allows you to set the aperture (and hence adjust the depth of field). Then the camera sets the shutter speed based on its internal light meter. Manual Mode (labeled M on your camera mode dial) allows you to control the aperture but also gives you control over the shutter speed.

I generally use Manual Mode, because I like to make split-second decisions regarding the shutter speed. But there are good reasons to use aperture priority mode as well. Whichever mode you choose, make sure that you are consciously adjusting the depth of field to fit your creative vision.

macro photography abstract trout lily - 5 Camera Settings That All Macro Photographers Should Know

3. Live View

Live View is useful in macro photography for a few reasons.

First, Live View allows for you to check your point of focus. As mentioned above, nailing your desired point of focus is essential in macro photography. With Live View, you can zoom in on the LCD screen to ensure that you are not front-focusing or back-focusing.

macro photography abstract flower - 5 Camera Settings That All Macro Photographers Should Know

Live View allows for you to make an image such as this where you can carefully focus on the base of the flower.

Furthermore, on some camera bodies, Live View enables you to reduce camera shake and keep your images sharp.

How? For the relevant camera bodies (I recommend that you check to see if this is true for your camera because it is an excellent trick), when Live View is activated, the mirror in your camera immediately flips up. Normally, this mirror flip occurs when you press the shutter release, causing camera vibration, and thus reducing sharpness.

But with Live View, this pre-flip means that, when you ultimately press the shutter release, no extra vibration occurs.

Macro photography black eyed susan abstract - 5 Camera Settings That All Macro Photographers Should Know

I took this handheld image at dusk, and just barely managed a sharp image.

4. Burst Mode

If you always use a tripod when shooting macro, feel free to ignore this tip. But for those who don’t like the weight or reduced flexibility that a tripod brings, Burst Mode can be a great tool.

What is Burst Mode? This is the camera setting that allows rapid-fire photography when you hold down the shutter release button. It ranges from a few frames per second to upwards of 10 (depending on your camera model).

While primarily used by wildlife, sports, and bird photographers in order to capture split-second action in the field, Burst Mode can also be used by macro photographers in order to ensure maximum focusing accuracy.

macro photography seedhead abstract - 5 Camera Settings That All Macro Photographers Should Know

I took this photograph while hand-holding at an extreme magnification. Without burst mode, I probably would have failed to get a usable image.

Macro photographers are often working at such high magnifications that it’s difficult to ensure perfect focusing even when using the above settings. This is where Burst Mode comes in. By taking a series of images, any slight camera motion is controlled. Even if a few photographs are out of focus, you are likely to be satisfied with some of the others.

5. Two-Second Self-Timer

A final setting that is useful for macro photographers is the two-second self-timer. When shooting (with or without a tripod) in low light with a large depth of field, you might struggle to get sharp images. Part of the problem may be camera shake, caused when you press the shutter release button. Your finger pushes the button but also rocks the camera at the same time.

The solution is to use the two-second self-timer. This is a setting offered by most DSLRs which allows you to obtain maximum sharpness and may be the difference between a usable image and a blurry one.

macro photography abstract lights - 5 Camera Settings That All Macro Photographers Should Know

When shooting in the evening, the two-second timer can be extremely useful.

Conclusion

By familiarizing yourself with these five settings; Manual Focus, Manual Mode, Live View, Burst Mode and the two-second self timer – you will have the technical grounding that all macro photographers need.

Can you think of any others settings that all macro photographers should know? Please share them in the comments below.

macro photography abstract - 5 Camera Settings That All Macro Photographers Should Know

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Video: 10 Lightroom features you may not know about

17 Apr

No matter how well you think you know Adobe Lightroom, this video probably still has something to teach you about Adobe’s photo editing and digital asset management program.

In the video, photographer and YouTuber Jamie Windsor spends twelve minutes looking at 10 “hidden” Lightroom Classic features you may or may not know about. Some are a bit more common-knowledge than the others, but odds are you’ll find at least one feature you didn’t know existed.

Check out the video above for a full rundown, or keep reading for a quick synopsis of all 10 tips:

Sharing online – Using an integrated share function, you can easily share an album of your images online, where people can favorite and even comment on your photos.
Getting good color – Hidden inside the develop dialog is a little color calibration tool. Adobe recently updated this tool, but the tip still stands and proves even more useful.
Change preset opacity – This tip needs a plugin (The Fader), so it’s not directly integrated into Lightroom. But the tool is free to download. Once installed, you can choose how strong any presets are that you’ve installed.
Targeted adjustment tool – Rather than using HSL sliders, the targeted adjustment tool lets you adjust the variables in a specific area with minimal affect on the rest of the image.
Auto exposures match – This one is pure magic. Take a batch of photos with varying exposures, edit one how you want, and select the auto exposure match tool in the menu. Boom. The photos will look like they were shot with exactly the same settings. Great for wedding and even sports photography.
Faster image rating – Rather than using the arrow keys and pressing numbers, simply press caps lock on your keyboard. Now, after you press a number it will automatically advance to the next image.
Selective auto settings – If you hold shift and double-click the slider on an adjustment, Lightroom will automatically give you what it believes to be the proper setup.
Edit local adjustment tools – Does that gradient filter overlay you just applied affect the subject of your image? Don’t fret. Simply click on the brush tool and use the erase function to selectively remove the are of the gradient you don’t want.
Increased slider size – Drag out your adjustment tools to get more accurate edits (in case you didn’t know, you can also hold shift while moving a slider to make it more precise)
Alt precision views – Holding the Alt key will more precisely show you what edits are being made—great for sharpening and exposure tools.

These tips apply to Adobe Lightroom Classic CC. If you’re using the new cloud-based Lightroom CC, a few of them will translate over, but not all, so play around a bit and see what you find. And if you found these tips useful, you can check out more of Windsor’s videos on his YouTube channel.

Articles: Digital Photography Review (dpreview.com)

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How to Know if Your Photo is Good or Not – The Art of Self Image Critique

15 Mar

One of the common issues that amateur or newbie photographers often have is deciding which photos to include in their portfolio or website. The great thing about photography is that it is subjective, and every person will have different ways of assessing if they like a photo or not, doing an image critique.

You should always aim to photograph what you enjoy with your own unique style and vision. But sometimes, especially if you are looking to earn money from your images, you will need to consider other people’s tastes and needs. Here is a quick guide on how to know if your photo is good or not.

How to Know if Your Photo is Good or Not - The Art of Self Image Critique

1. Is it Technically Good?

Different photographers have different workflows, but often for most, it starts with actually checking if a photo is technically good because let’s be honest, a blurred or poorly focused photo isn’t going to make it into your portfolio.

So a good first step when evaluating a particular photo is checking that it is sharp with good tonal range, good contrast between shadows and highlights and focused correctly on the right part of the scene.

Of course, there might be occasions when a photo might be slightly off in terms of focus, for example, but it still works and if you want to showcase it in your portfolio that’s fine. But the majority of the time, a blurred photo can be discounted.

How to Know if Your Photo is Good or Not - The Art of Self Image Critique

Image not sharp and not completely in focus.

2. Is it Missing Something?

Sometimes you can look at one of your photos and you can tell that it is missing something.

It might be a quiet cobbled street that just looks empty without a person in the shot. Or it might be a landscape image that’s missing a point of interest. These are the type of photos that you look at and think, “I wish I had done this” or “if only there was something or someone in that spot”.

If you think that about one of your images, then it’s probably missing that certain something that would make it a great photo.

Whilst it’s a nice landscape and sunrise, there is no point of interest. Would have improved with a boat in the lake or similar point of interest.

3. The Stop Test

One of my favorite tests when I edit a collection of my photos is what I call the “stop test”. As you flick through one of your galleries of photos – whether that’s on your smartphone, your computer, or even your camera, there are usually some photos that make you stop.

Sometimes it might just be a split second longer than usual, but you did still pause briefly from continuing to flick through the set to look at that one photo.

This is usually a good sign that there is clearly something about that particular shot that grabs your attention. If it can grab your attention it might grab the attention of others as well.

How to Know if Your Photo is Good or Not - The Art of Self Image Critique

4. Are You Being Sentimental?

One thing that is really easy to do, as a photographer, is to get sentimental about a photo. Regardless of how detached you want to make yourself when editing your photos, there will still be that part of you that remembers what it took to capture the shot.

It might have been that you spent hours getting to a location or maybe it reminds you of a memorable encounter with someone interesting. No photographer is a robot and we are all guilty of being sentimental about some of our images.

So try to ask yourself, if you are unsure about an image, if it is actually a good photo, or you are just being sentimental.

Even though it took a while to get up to this point to be able to capture the photo, the lack of light means the image doesn’t work.

5. Is it Different Than What Already Exists?

In this era of digital photography, often the biggest challenge is capturing unique photos. But that is also a good test of whether you should include a photo in your portfolio or not.

It could be that the photo you have taken is perfectly fine, but if you have managed to capture something unique that doesn’t already exist, then it might be a great photo. The key is to search what already exists and see if your image is better or different than others.

How to Know if Your Photo is Good or Not - The Art of Self Image Critique

6. Can You See it Being Used?

Even if you are not planning on selling your photos, trying to envision them being used in real life scenarios can often be a good guide as to how good they are.

When you look at your image can you imagine it being used on the cover of a magazine or to illustrate something for a feature or story? Can you see it on a billboard, flyer, or even a postcard? If you can imagine your photo in those scenarios then it’s probably a good photo and you should include it in your portfolio.

How to Know if Your Photo is Good or Not - The Art of Self Image Critique

7. Go With Your Gut

For all of the different ways that you can critique or evaluate a photo, sometimes you just have to go with your gut feeling.

Sometimes you could be proved right and that image that you were unsure of, leads to work or even ends up making sales. Always remind yourself that photography is subjective and at some point, we all look at a photo we’ve taken and just have a good feeling about it.

Taken at a local market in London, it was a last minute decision to submit this image to my agency. Since then it has made over $ 350 worth of sales.

Conclusion

These are just some of the ways that can help you assess if a photo is good or not. But remember that these are not hard and fast rules that you should adhere to all the time.

Not every photo will fall into every point above and that doesn’t make it a bad photo. Use these points as a guide when you are really stuck on an image and if in doubt go with your gut feeling.

Read more on image critique tips in these dPS articles:

How to Critique Your Images Objectively: Ask for Other Points of View
Constructive Photography Critique: How to Give and Receive with Grace
4 Ways Self-Critique Can Improve Your Photography

The post How to Know if Your Photo is Good or Not – The Art of Self Image Critique by Kav Dadfar appeared first on Digital Photography School.

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3 Things You Need to Know to Get Started with Infrared Photography

05 Mar

An Introduction to Infrared Photography

Infrared light is not visible to human eyes. The light your eyes see is that within what is referred to as the “visible spectrum” and infrared (IR) lies beyond this band. Thus Infrared (IR) Photography requires special equipment beyond your standard camera, to tap into this “unseen” world.

Over the years, IR photography has not only become more accessible but is also less complicated with more inexpensive options. If you have been exposed to infrared images, you immediately notice how the look stands out. While some find it rather eerie, others are intrigued by the way the ordinary transforms.

An Introduction to Infrared Photography

In this article, we’ll look at a few things you need to know to get started with infrared photography.

1) What gear do you need to shoot IR?

Filters

If you are just starting to explore this haunting genre of photography, a filter is an easy addition to your gear list. It is least expensive and a good way to gauge how much further you want to delve into and invest in infrared photography.

Infrared filters allow infrared light to hit your camera’s sensor, while at the same time prevent visible light from doing so.

3 Things You Need to Know to Get Started with Infrared Photography

Most manufacturers offer infrared filters and they can range from screw-on to slide-in filter systems. The Hoya R72 is a popular screw-on infrared filter. Interestingly this filter allows just a little bit of visible light through as well, which makes it a nice introductory filter to the world of infrared.

If you already have or prefer to use slide-in systems, note that the infrared filter should be closest to the camera body, to avoid any unwanted visible light hitting your camera sensor.

Different brand filters render color differently as they may address specific ranges of the infrared spectrum. The plus side is that you can experiment with different filters until you find the one that suits your vision.

3 Things You Need to Know to Get Started with Infrared Photography

Converted Camera

If you are committed to doing infrared, a more permanent option is having a dedicated infrared camera body. When a DSLR camera is converted, the infrared blocking filter (that resides in front of your DSLR sensor) is removed. It is a more expensive option, but the benefits include using your camera similar to how you usually do, with normal exposure values.

Note: once a camera has been converted, its sole use is infrared photography – you cannot take “regular” images with it any longer.

3 Things You Need to Know to Get Started with Infrared Photography

Film

With film photography on the rise again, infrared film is readily available and relatively cheap. Developing this film though may nullify that cost-benefit, as you will have to find a lab that has the ability to process infrared.

3 Things You Need to Know to Get Started with Infrared Photography

2) Camera Settings

RAW and JPEG

Shoot both RAW and JPEG files in the beginning. As with any images taken with a DSLR, RAW gives you the most scope when processing. If you are just starting out with infrared photography though, you may be horrified when you look at the back of your camera and see a flat pinkish red image staring back at you.

The JPEG option allows you to see a little more differentiation and determine how to adjust your settings. Believe it or not, with time you will be able to look at those dull pinkish RAW files and be able to tell if they are good or not.

3 Things You Need to Know to Get Started with Infrared Photography

Exposure

If you are using infrared filters, you will need longer exposures when you block out the visible light. So on a bright sunny day, you can work with exposure times between 30-120 seconds, at f/8. Thus a tripod is a must!

If your camera is infrared converted, your settings will vary depending on the amount of light as with normal exposures. Using the sunny day example, your settings could be 1/125th or faster at f/8.

White Balance

A topic all of its own, white balance is important in infrared photography. Refer to your camera’s manual on setting custom white balance, as this is your friend when it comes to infrared.

3 Things You Need to Know to Get Started with Infrared Photography

3) Post-processing Infrared

Auto Tone

As previously mentioned, when you shoot RAW images your output is a dull pinkish red image as shown below.

3 Things You Need to Know to Get Started with Infrared Photography

Infrared RAW image straight out of the camera.

There are several methods to start your infrared file processing, including applying a DNG profile conversion tool. One of the more common ways is to import it into Photoshop and apply Auto Tone.

Note: You can also do both of these processes if you wish.

Auto Tone applied to an infrared image.

Channel Swap

Next, to get those blue skies you need to Channel Swap your colors. While channel swapping is an essential part of infrared photography processing, there are mixed views on which channels to swap to what values. The following are some of the values that are used. Experiment until you find which one works for you:

Changing the Red and Blue Channels only:

Red Channel: Red=0, Green=0, Blue=100
Blue Channel: Red=100, Green=0, Blue=0

Changing all the channels:

Red Channel: Red=0, Green=0, Blue=100
Blue Channel: Red=100, Green=0, Blue=0
Green Channel: Red=0, Green=100, Blue=0

or another option:

Red Channel: Red=0, Green=0, Blue=100
Blue Channel: Red=100, Green=100, Blue=-100
Green Channel: Red=0, Green=0, Blue=100

After Channel Swapping has been applied.

Final Processing

Final touches include adjusting your hue/saturation and your curves and levels adjustment in Photoshop. It all comes down to your personal taste. Then there is the whole other topic of black and white infrared photography. Read more on that here: How to Enhance your Black and White images with Infrared Photography.

3 Things You Need to Know to Get Started with Infrared Photography

Conclusion

Infrared photography is a small but growing niche of photography, that has evolved with time. It offers creative choices and opens a whole new dimension to explore. You can start off simple with filters and then graduate to converting your camera to be a full-time infrared camera in time.

If you have tried infrared photography please share your tips and images in the comments below. If you haven’t, please let me know if you have any other questions.

The post 3 Things You Need to Know to Get Started with Infrared Photography by Nisha Ramroop appeared first on Digital Photography School.

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Canon EOS M50: What you need to know

28 Feb

Canon ESO M50: What you need to know

The Canon EOS M50 is the brand’s beefier entry-level mirrorless camera, slated above the comparatively compact EOS M100. Both sport APS-C sensors and single control dials, but the M50 provides a 2.36M-dot EVF, hotshoe and more substantial grip (similar to the EOS M5). An articulating touchscreen adorns the back and Canon’s stellar Dual Pixel autofocus is available when shooting stills and video (in most settings… more on that later).

We’ve had time to develop some first impressions of the camera. What follows is a distillation of the keys takeaways – everything you need to know about the Canon EOS M50.

Same 24MP APS-C sensor, new Digic 8 processor

It uses the same 24MP sensor as many of its siblings including fellow M-mount cameras like the M5, M6 and M100 as well as SLRs like the EOS 80D. But it makes use of the new Digic 8 processor, giving it a few advantages over other Canon interchangeable lens cameras.

A faster burst speed is one of them: with autofocus the M50 can shoot at 7.4 fps (10 fps with focus locked). That’s a big jump from the M100’s 4 fps burst with autofocus, and even faster than the 80D’s 7 fps burst rate with AF. The one caveat is that the buffer is limited to about one second.

Another major advantage the new Digic 8 chip provides is the ability to shoot Ultra High Definition Video, making it the first Canon mirrorless camera to do so. But…

It shoots 4K but…

…don’t throw the confetti just yet, because the implementation of 4K leaves much to be desired, due to several limitations.

The most notable limitation is that you can’t use Canon’s excellent Dual Pixel autofocus when shooting 4K, which is a real shame. We love Dual Pixel AF for its ability to stick to a subject without hunting, even if the subject moves. With the M50, there’s still an option to use autofocus in 4K, but it’s Contrast Detect, so will need to ‘hunt’ and is more prone to some wobbles.

The other big limitation is a 1.6x crop when shooting UHD video – that’s on top of the sensor’s 1.6x APS-C crop. Thus, a 22mm F2 becomes the equivalent field of view to a 56mm lens. Hardly ideal.

But it’s not all caveats and bad news on the video front: the EOS M50 can shoot 1080/60p and 720/120p high frame rate capture with Dual Pixel AF. And there’s no pesky additional crop (unless you use digital stabilization).

New CR3 Raw format with a better compression setting

The M50 is the first Canon camera to offer the latest CR3 Raw format, another product of the new Digic 8 processor. Why introduce it in an entry-level camera? Because it includes a new and improved compression option that might appeal to users wishing to dip their toes in shooting Raw, but don’t want the large file sizes that come with it.

With the old CR2 Raw files, if you want to save memory card/hard-drive space, there is an option for downsized ‘small’ and ‘medium’ Raw files that are lower resolution than an ordinary CR2 file. With CR3 there is a new compression option called C Raw: a compressed, full-resolution Raw file that can be as small as half the size of a full CR3 file. And, if Canon has been sensible about it, it should offer effectively the same quality.

Increased Dual Pixel AF point coverage, Eye detect mode

There’s a couple of improvements in the autofocus department of the M50: there are now 99 selectable points to choose from, up from 49 on previous M cameras. Point coverage is still 80% x 80% when using most M-series lenses, users just now have more point precision.

That said, with some lenses – specifically the 18-150mm, 28mm macro and 55-200mm – that coverage jumps to 88% x 100% with 143 points selectable. Canon representatives gave us no concrete reason for why some, but not all, lenses offer expanded coverage. However, we’re hopeful any newly-introduced M-glass will offer the updated spread.

The M50 also introduces a new ‘Eye Detection’ AF option. We’re huge fans of Sony’s Eye AF feature, with its impressive ability to track the eye of a moving subject. Sadly, Canon’s implementation seems less useful as it only works in AF-S – better hope your subject remains still.

Better wireless connectivity

This is not the first Canon ILC to offer Wi-Fi, Bluetooth and NFC, but it is the first to feature a ‘send to smartphone after each shot’ function. We had a little bit of time to play around with this new feature during a demonstration of the camera and found it to work well, once paired. And like other entry-level Canon ILCs, the M50 has a dedicated Wi-Fi button (visible above).

Articulating touchscreen, high-res OLD EVF

A 1.04M-dot touchscreen can be fully articulated for selfies/vlogging and flipped inward against the body to protect it from damage – the back of has a lovely faux leather texture.

There aren’t a whole lot of control points on the camera but the touchscreen somewhat makes up for it: you can use it to change quite a few settings, access the Q menu and move your AF point, all with a tap of the finger. Plus, Canon’s touch implementation is excellent on the whole: the screen is responsive and common gesture controls like swiping between images are recognized.

The 2.36M dot OLED EVF is lovely to look through and on par with the best you can get at this price point.

Mediocre battery life

Battery life isn’t stellar: at 235 shots per charge (CIPA rated), you’d be wise to carry a spare battery (though if you switch it into ‘Eco mode,’ battery life jumps to 370 shots). As always, you’ll often get more shots than the number given in the rating but it does give a good impression of longevity, and 235 shots isn’t great.

The M50 uses the same LP-E12 as the M100: a second one will cost you about $ 50 (on brand). Fortunately if you do pick up a second, the M50 ships with an external charger, so you can top it off while you’re out shooting. There is no in-body charging.

Ports, hotshoe and pop-up flash

In terms of wired connectivity, the M50 offers a 3.5mm microphone socket: a real rarity in entry-level products. There’s also a Micro-HDMI and Micro-USB port, though again, the latter does not support charging.

We like the M100’s pop-up flash because you can use your finger to direct it to bounce off the ceiling – with the M50, you can only fire the flash directly at your subject. However, unlike the M100, the M50 offers a hotshoe for use with an accessory flash.

More buttons than the M100, plus Canon’s Guide Modes and a new silent mode

We already mentioned that the M50 doesn’t have a lot of buttons, but it does have more control points than the smaller, more affordable M100, despite also being fairly point-and-shoot in nature. These additional controls/buttons include: an AE lock button, AF frame selector button, mode dial and custom function button.

And like the Canon SL2 and T7i, the M50 offers Canon’s helpful Guide Modes. These were omitted on the M100 and we’re glad to see them make their way into an entry-level Canon mirrorless product.

The M50 also gains a new silent scene mode, which sounds useful for a variety of scenarios like photographing sleeping babies or a documenting a school play. You won’t be able to control exposure settings when using it – such is the case for all ‘scene modes’ – but it’s a nice beginner-friendly feature.

What do you think?

There you have it, the EOS M50: the first Canon mirrorless camera with 4K and the new auto send-to-smartphone feature. It’s also the first Canon camera to use the new Digic 8 processor which brings about the updated CR3 Raw format. And to top things off, it has expanded Dual Pixel AF coverage (with some lenses). That’s a lot of ‘new’ to pack into an entry-level product.

So what do you think? Is the EOS M50 a sign that Canon is taking mirrorless seriously, or are you upset about the 4K limitations? And for those impressed, would you still buy the M50 despite the limited lens family (7 M-series lenses as of writing), especially when compared to that of Fujifilm X-mount or the Micro Four Thirds system? Let us know all of your thoughts, good bad and weird, in the comments below.

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Pentax K-1 Mark II: What you need to know

22 Feb

Pentax K-1 Mark II: What you need to know

The Pentax K-1 was one of the most-anticipated cameras in recent memory. After many starts-and-stops, this full-frame DSLR finally arrived in 2016, much to the delight of Pentax photographers. It offered superb image quality from its 36MP CMOS sensor, 5-axis in-body image stabilization with several tricks up its sleeve, a unique (to say the least) articulating LCD and a body built like a tank.

The K-1 Mark II carries all of that over, but improves upon the K-1’s image quality thanks to a new ‘accelerator unit’ while adding the ability to use the Pixel Shift high-res mode without a tripod. Ricoh also mentions that the Mark II’s AF tracking algorithms have been improved.

Image Quality Enhancements

The K-1 II’s main addition is an ‘accelerator unit,’ which is a pre-processor that sits between the 36MP CMOS sensor and the PRIME IV image processor. Ricoh says that this pre-processor increases the signal-to-noise ratio, thus reducing noise, which implies it’s a a noise reduction process. Ricoh told us that the accelerator unit, which was found on other Pentax models like the K-70, was not ready for the K-1 when it launched.

Thus, the company has increased the top ISO to 819,200 – a big jump from 209,400 on the original model. We’d be shocked if anything near that ISO is usable, seeing how the K-1 looked at 209,400 (hint: poor, like all cameras in its class), but we’ll find out soon enough.

Ricoh says that ‘deep blues’ and ‘lively greens’ are more ‘true to life,’ as well.

The unit does put the hurt on battery life, though, reducing it to 670 shots per charge from 760 shots on the original K-1.

Pentax K-1 II: Shifting Pixels

Pixel Shift is a clever feature first seen on the K-3 II that uses the in-body image stabilization system to create a high resolution image by combining four images that are offset by a single pixel. This process cancels out the Bayer color array used on nearly all digital cameras, which both eliminates color aliasing and artifacts and removes the need to demosaic, thus improving resolution.

Pixel Shift is best-suited for shooting still objects on a tripod. On the K-1 II Ricoh is trying something that sounds a bit crazy, by using the natural shake of your hands to collect the four images needed to combine into a single high-res image. Ricoh calls this called Dynamic Pixel Shift Resolution mode, and we can’t wait to see how well it works.

What hasn’t changed

As mentioned earlier, the K-1 II retains the 36MP full-frame CMOS sensor from its predecessor, along with its PRIME IV image processor, 33-point AF system and 5-axis in-body image stabilization. In addition to its Pixel Shift and shake reduction duties, the IBIS system also allows for automatic horizon correction and AA-filter simulation.

The unique ‘Cross-Tilt’ LCD makes an appearance on the Mark II, complete with LEDs that can shed light on nearby controls. You can compose your photos through a large pentaprism viewfinder with a magnification of 0.70x and 100% coverage (naturally).

The built-in GPS on the K-1 II not only allows for geolocation but is also used for the camera’s Astrotracer feature, which lets you capture celestial bodies without star trails.

We could keep listing the K-1 II’s features, but since they’re identical to those on the original, check out our review of that camera for all the details.

Good News for K-1 owners

Nobody wants to be left out in the cold when their camera gets replaced. Ricoh hasn’t forgotten this, and will be giving current K-1 owners the opportunity to upgrade to the K-1 Mark II for a limited time.

Between May 21st and September 30th (in North America), K-1 owners can ship their cameras to a Ricoh service center, where the logic board will be replaced with the one found in the Mark II. Pricing for the upgrade is set at $ 550 in the US and $ 690 CAD in Canada.

Pricing and Availability

The K-1 Mark II will begin shipping this April. It will be sold body-only for $ 1999 or with the HD Pentax-D FA 28-105mm F3.5-5.6 ED DC WR lens for $ 2399.

If you’re a current K-1 owner, are you thinking about upgrading to the Mark II? Let us know in the comments.

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Fujifilm X-H1: What you need to know

17 Feb

Introduction

The Fujifilm X-H1 arrived in the last few hours of February 14th, at least out here on the West Coast in the US, making it a Valentine’s gift that came in just under the wire for the Fujifilm faithful. It’s deserving of a big red bow with a range-topping APS-C 24MP X-Trans sensor, sitting above the X-T2. It builds on many of the X-T2’s features by adding in-body image stabilization, a touchscreen and enhanced video options. Here’s a detailed look at everything that’s new and improved.

Image Quality

Given the camera’s pedigree and the initial results we’ve seen, the X-H1 looks highly capable of great image quality. The sensor, shared with the X-T2, has already shown itself to have performance comparable with the best of its APS-C peers, both in terms of dynamic range and noise performance at high ISO settings.

Throw in Fujifilm’s excellent film simulation modes (plus a bonus new one!), and you’ve got a mighty tempting camera for stills shooters. However, the camera’s unique X-Trans color filter pattern is worth taking into account – your results will vary greatly depending on your Raw conversion software.

Further enticing stills photographers is the X-H1’s healthy 14 fps burst rate with electronic shutter and 8 fps with mechanical shutter (which can be boosted to 11 with an optional grip). Buffer depth looks reasonably good too, allowing for 40 JPEG shots or 23 uncompressed Raws (27 compressed). Fujifilm also promises autofocus improvement, with better performance in low light and at smaller apertures. All excellent news.

Image Stabilization

Despite Fujifilm previously suggesting that it couldn’t be done, the X-H1 offers in-body stabilization rated up to 5 stops. Unusually, Fujifilm says the system works better with non-IS lenses because they project a larger image circle and tend to be neither too long nor too wide, both of which are harder to stabilize. With such a lens, up to 5.5 stops of stabilization can be achieved.

Viewfinder and rear LCD

Comparing to the X-T2, the X-H1 gets a higher resolution viewfinder: a 3.69 million dot OLED panel with 0.75x magnification to the X-T2’s 2.36 million dots and 0.77x magnification. Like the X-T2, the X-H1 provides a 3″ 1.04 million dot rear LCD that tilts upwards and downwards, but of course, adds touch sensitivity where the X-T2 has none.

The X-H1, like the X-T2, also comes with a ‘Boost’ mode that increases the viewfinder refresh rate from 60Hz to 100Hz for a smoother look.

Touchscreen

The X-H1’s touchscreen is all-around nice to have, allowing you to place a focus point with a tap, tap and acquire focus, or acquire focus and shoot all with one touch. It’s also usable as a touchpad with the camera to your eye. That said, we have a word of caution – in our initial use of the touchscreen both setting focus points and touchpad operation, the screen has felt noticeably laggy.

The LCD also provides touch control of the camera’s Q.Menu, and in playback mode offers quick access to 100% image viewing, along with gesture-controlled swiping and scrolling. As in the X-E3, a swipe across the shooting screen acts as a Fn button shortcut.

Video specs

The latest generation of flagship mirrorless cameras take video very seriously, and Fujifilm has definitely gotten the memo. The X-H1 offers DCI 4K in 23.98p and 24p, as well as UHD 4K in 23.98/24/25/29.97p. Where the X-T2 requires an external recorder to use flat Log capture, the X-H1 allows for internal F-Log recording. The camera offers bitrates of up to 200 Mbps and 24-bit audio (vs 16-bit on the X-T2).

Plenty of other goodies are on offer for videographers, like a new Eterna/Cinema film simulation mode, slow motion 1080p capture, and the ability to record full HD internally while outputting 4K over HDMI. Autofocus in movie mode is still a bit of a question mark, but rest assured we’ll be putting it to the test in short order.

Video interface and usability

In a further nod to the X-H1’s cinematic leanings, Fujifilm’s included specific shutter speed options in video mode that directly correspond to 90, 180 and 360 degree shutter angles on more dedicated video cameras. In other words, instead of being stuck with shutter speeds of 1/25 sec, 1/50 sec or 1/100 sec for shooting 24p video, you can choose 1/24 sec, 1/48 sec, 1/96 sec, and so on.

Touchscreen benefits aren’t limited to stills applications either – Fujifilm put a lot of thought into adding touch control for video shooters. Movie Silent Control disables the aperture ring, shutter speed dial and ISO dial, shifting those settings to touch control. This makes it easy to leave settings dialed in for stills, and then jump quickly to video shooting with separate settings. It’s a great feature to have if you’re, say, shooting stills and video at the same time at a wedding reception, but our initial impression is that the interface itself feels a bit fiddly.

It’s worth noting that the newly announced X-mount versions of Fujifilm’s MK cinema lenses will work beautifully on the X-H1, as you can see your aperture as T-stops rather than F-stops.

Unfortunately, despite all the strides Fujfilm’s made for video users, there’s a notable lack of exposure aids of any kind – you don’t even get zebra warnings, much less waveforms.

Who’s it for?

It’s not totally clear-cut who this camera is for. High-end stills shooters who want an X-T2 with stabilization may feel that their ship has finally arrived. But with so much emphasis on video features, is this a camera that’s better suited for photographers who need to shoot video along with their stills?

Fujifilm tells us it’s a camera for both parties. Like the Sony a6500, it acts as a step-up model even if you aren’t planning on shooting video (a step-up model that happens to be VERY capable in the video department). So if you’re a stills shooter who buys one, do us a favor and give the movie mode a try – it looks pretty darn good so far.

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Panasonic Lumix DC-GX9: What you need to know

16 Feb

Panasonic Lumix DC-GX9: What you need to know

Nominally at least, the new Panasonic Lumix DC-GX9 is the successor to the GX8. But while it has a lot in common with the earlier model, the new camera comes with some serious updates, and a couple of caveats. In some ways in fact, the GX9 can be thought of as a step-up model from the GX85, rather than as a direct successor to the more expensive GX8.

We’ve had access to a pre-production GX9 for a few days, and we’ve been digging into its feature set. Here’s what you need to know.

No low-pass filter

The GX9 incorporates the same 20MP Micro Four Thirds sensor as its predecessor, but omits the low-pass filter found on previous models. JPEG shooters might not see much of a difference, but this should allow you to eke out a little more detail in low-ISO Raw files.

Redesigned shutter – no more ‘shutter shock’

The GX8 was a very likable camera, but at certain shutter speeds, we encountered issues with so-called ‘shutter shock’ when the vibration caused by the shutter movement blurred fine detail. We reported this issue to Panasonic at the time, and apparently they took it seriously. The GX9 features a redesigned shutter, which should result in a 90% reduction in shutter shock, compared to its predecessor. That’s according to Panasonic – obviously we’ll be testing it for ourselves as soon as possible.

As well as the mechanical shutter, you also have the option of engaging the silent, fully-electronic shutter from 1 – 1/16,000 sec. If you’re taking pictures in a very quiet environment, this is the way to go, but distortion might become an issue when shooting fast moving subjects.

Tilting EVF (but not the same viewfinder)

One of our favorite features of the GX7 and GX8 were their tilting viewfinders, and we’re pleased to see that this design has been carried over into the GX9.

The bad news is that it’s not the same finder. The GX9’s EVF is a field-sequential type, featuring 2.7 million dot (equivalent) resolution and an equivalent magnification of 0.7X, compared to the 1.04 million-dot, 0.77X magnification OLED of the GX8. The GX9’s viewfinder image is very nice, but it’s a little smaller, and (being field-sequential) it is also prone to ‘rainbow effect’, if you’re one of the people who are bothered by that.

Touch-sensitive rear LCD – tilting only

As well as a tilting EVF, the GX9 also features a tilting, 1.24 million-dot rear LCD. The 3″ screen is touch-sensitive, allowing for (among other thing) easy AF point placement. By contrast, the GX8’s rear LCD was fully-articulating. Some people prefer tilting screens, some people don’t, which will determine whether or not you see this as an up or downgrade.

Continuous shooting and autofocus

Continuous shooting is possible at up to 9 fps with focus locked (and no live view), or 6fps with live view and/or in continuous AF mode. While the GX9’s sensor is not set up for on-sensor phase detection, Panasonic’s Depth from Defocus autofocus technology does a pretty good job of focus acquisition and tracking. DFD uses the individual (de)focus blur characteristics of modern Panasonic Micro Four Thirds lenses to quickly drive the lens’s focus groups in the right direction, largely avoiding the distracting hunting behavior of conventional contrast-detection AF systems. Face and eye-detection AF modes both work well.

In use, the GX9 isn’t in the same league as its action-focused stablemate the G9, but autofocus is fast and accurate in most shooting situations.

4K video

As well as stills, the GX9 can also capture UHD 4K video, at up to 30p. The maximum bitrate of 100Mbps (4K/30) isn’t competitive against Panasonic’s more pro-oriented GH5 and GH5S, but the GX9 should be more than capable of satisfying the needs of occasional videographers.

Video is initiated via the distinctive red button at the center of the main on/off switch, just behind the shutter release in this image. Note also the integrated exposure mode / compensation dials on the upper right of the GX9’s body.

I/O ports door

We don’t normally get too excited by the door that covers I/O ports but we’ll make an exception for the GX9…

I/O ports door

…because the GX9’s ports door is a little bit special. Rather than flapping around, getting in the way of your USB or HDMI cables whenever they’re plugged into the camera, the door hides itself away inside the body of the camera. Neat.

4K Auto Marking and Sequence Composition

Two new 4K features have been added in the GX9: Auto Marking, which automatically marks faces or motion in your video (full disclosure – try as we might, we cannot get this feature to work in our pre-production camera), and 4K Photo Sequence Composition (shown above).

Sequence Composition allows you to shoot a moving sequence in 4K, and then quickly create a composite JPEG in-camera by dragging and dropping the moving element/s from neighboring frames.

5-axis image stabilization

The GX9 features in-body stabilization, which combines with the optical stabilization systems in many Panasonic M43 lenses to offer 5-axis stabilization for a total benefit of around 4EV.

While not up there with the G9 and Olympus OM-D E-M1 Mark II’s 6EV+ stabilization systems, 4EV is still very useful, and should mean for example that with a 25mm lens (50mm) equivalent, sharp images can be taken right down to 1/8sec.

New ‘Dynamic’ monochrome mode

A new ‘L Monochrome: Dynamic’ mode has been added to the GX9’s suite of Creative Control effects, along with a random (i.e. non-repeating) monochrome grain effect. Normally we’re pretty indifferent towards modes like this on enthusiast-grade cameras, but the results when shooting in Monochrome D mode + grain actually look really good. Not quite Kodak Tri-X good, but close.

Built-in flash

Also new compared to the GX8 is a small built-in flash. This pop-up flash is available for close-range portraits and fill light, but with a guide number of 4.2 (ISO 100) it won’t replace an external flash for anything more than that.

The GX9 is compatible with Panasonic’s wireless flash control system, when paired with DMW-FL200L / FL360L / FL580L flashguns.

Optional grip and eyecup

The GX9 features a fairly skinny (but perfectly comfortable) handgrip, but if you want a bit more of a handful, an optional grip is available for the pretty reasonable price of $ 59.

Optional grip and eyecup

A wider eyecup is also available as an optional extra, for more comfortable shooting when wearing glasses.

Wi-Fi- and LE Bluetooth

As we’d expect from a modern Panasonic camera, the GX9 features built-in Wi-Fi for image transfer to and remote control from a mobile device, but low-energy Bluetooth (BLE) is a new addition.

BLE allows the camera to maintain a constant connection, allowing for easy wireless remote triggering and avoiding the need to go through lengthy and sometimes frustrating connection steps every time you want to use a wireless feature.

Body, sealing and battery life

The GX9 is about 25g heavier than the GX85, and about 40g lighter than the GX8. It’s slightly smaller than the GX8, too, and lacks the older models’ weather-sealing. Weather-sealing is one of those rather nebulous ‘features’ that means different things to different manufacturers, but if you enjoy shooting in all winds and weathers, take note – you have been warned.

In terms of battery life, the GX9 uses the same DMW-BLG10 battery as the GX85, and as such its CIPA-rated battery life has dropped compared to the GX8, to around 250 images per full charge. It’s not all bad news though – this increases to around 900 shots in Eco Mode, and as always, it’s likely that a stills-focused photographer will be able to get quite a bit more endurance than the CIPA figures suggest. We’d still invest in a spare battery, just in case.

What do you think?

The GX9 is dividing our commenters – some of you like the focus on feature enhancement, and don’t mind the loss of an articulating screen, weather-sealing, and the rest while others are unhappy that Panasonic hasn’t doubled-down on some of the GX8’s unique features.

Some of you, like us, are probably just confused by Panasonic’s ever-changing naming scheme for its entry-level and midrange ILCs. Which camp do you fall into? Let us know in the comments.

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How to Know if You Should Upgrade Your Equipment or if You Just Have Gear Lust

29 Jan

Gear lust – it’s out there and is bound to bite you sooner or later. Whether photography is a business or a hobby for you, gear lust is a natural part of the consumer cycle. But there is a sane way to approach your desires and check if they are ruling you or you are ruling them. So here are some tips to help you know if you should upgrade or it’s just gear lust.

How to Know if You Should Upgrade Your Equipment or if You Just Have Gear Lust

New Photo Equipment Flowchart

Follow this flowchart to see where you land. Only if you end up at a green bubble should you consider upgrading or buying more camera gear.

How to Know if You Should Upgrade Your Equipment or if You Just Have Gear Lust - infographic

Click to view the chart in a new tab or print it out.

Do you shoot for profit?

The first question on the chart is the most defining, “Are you going to make money from this lens?” Whether photography is a hobby or profession for you makes a big difference in the purchase decision. I believe both groups should look at the choice through different eyes, so let’s start down the hobby side of things first.

Skip down to below the hobby section to find the questions for profitable shooters.

How to Know if You Should Upgrade Your Equipment or if You Just Have Gear Lust

Hobby: What can’t you currently do with your gear?

If you can’t answer this question truthfully, then you have textbook gear lust. If you answer it and that answer is, “Nothing,” you too have gear lust. That’s not a bad thing! I just want to help you recognize it so you can make your choice with a little more clarity.

But, if there is a technique or style you have tried to replicate over and over again with your current equipment, such as parallel lines in architectural photography or a ten-minute exposure when your camera has no Blub mode, you’re one step closer to justifying an outlay of cash. So let’s take a look at your next question.

Hobby: Should you buy pro equipment?

This question is usually related to lenses but can be adapted to camera bodies, lighting equipment, printers, and more.

If you’re in this photography game for the long haul, it’s in your best interest to purchase higher quality equipment. Lenses specifically will last through a number of camera bodies over the years, while camera bodies tend to make reasonable improvements every 3-5 years.

How to Know if You Should Upgrade Your Equipment or if You Just Have Gear Lust

I usually suggest intermediate or pro-quality equipment to anyone who has been using their gear for a couple of years and continually hits the limit for its abilities. Then we need to ask the next critical question…

Hobby: Can you afford it?

If you can’t afford the higher quality equipment, and you can still justify the need to upgrade, I would suggest looking for used equipment in the style you want or possibly renting it for a short-term project. This is an excellent idea for trips abroad, for instance.

If you have come this far and can afford the purchase without going broke, hungry or breaking up a relationship to do so, I say go for it! It might be wise to do a quick cost/benefit analysis (e.g. I’d rather spend $ 1500 on travel than on a new lens). That might point you to a cheaper option to balance the scales, which tends to be a wise choice for hobbies. Or you might find bliss in your Gear Lust (this time) and will revel in the joy of new shooting opportunities.

Profit: Should you get pro equipment?

How to Know if You Should Upgrade Your Equipment or if You Just Have Gear Lust

If you are making a profit or looking to do so with your equipment, you’re going to want to look at this decision through money-making glasses. That equipment won’t do you any good if it just sits on a shelf. It needs to be making you money!

To answer the pro equipment question for profit-seekers, let’s look at how this lens will be used. Make no mistake; it’s easy for pros to justify business-related purchases right away when they are really just gear lust in disguise.

Real Life Lesson: I bought a drone on the chance that I’d get a gig where I’d use it heavily. The client ended up canceling the project, but I bought the drone before the contract was signed, because of my gear lust. I made up a reason to justify it when I had no concrete payback schedule. Now I use the drone mostly as a hobby and it dented my pocketbook unnecessarily.

Should you get pro equipment? Let’s ask first if the photos are mission critical.

Profit: Are your photos mission critical?

Relating another analogy from my recent past, I bought a nice Sigma 150-600mm Sport Lens because I recently got into birding. I ‘”needed” (heavy emphasis on the quotes) a longer lens to capture those small or far away birds. That’s bad, expensive gear lust and I didn’t ask myself the “Mission Critical” question.

On the other side of the coin, I also shoot weddings and portraits, so buying a new 24-105mm lens would easily be justified, because the lens will pay for itself over time. Those photos are mission critical and pay my bills. Photos of bird, currently, do not. “Maybe I’ll sell some photos in the future,” is not the best business decision to make and the purchase of said item should be put off until it can be afforded as a hobby.

Profit: Will the equipment increase profits?

These new photos you will take with this new equipment, will those photos increase your profits? Really?

How to Know if You Should Upgrade Your Equipment or if You Just Have Gear Lust

Dig deep with this one, because you need to look at this as a business decision. Do you have work lined up that will pay for most, if not all, of the new equipment purchase? If so, skip to the last question. If not, continue.

Profit: Is the new equipment replacing old equipment?

If you’ve answered no this far, this no is your last. It’s gear lust, plain and simple.

How to Know if You Should Upgrade Your Equipment or if You Just Have Gear Lust

If you are replacing old gear, the purchase can likely be justified. Especially if you can offload your old equipment or use it as a much-needed backup. But I have one last question for you before you click the “Buy Now” button.

Profit: Can your old equipment be repaired?

I felt gear lust strong and clear when my 28-300mm L lens started having problems. A new one, not all scratched up, would be so nice. Then I asked Canon about fixing it. They said it would cost me $ 300. Once I compared that to the $ 2700 cost of buying a new lens, my decision was clear.

This choice can be made more difficult if the manufacturer has upgraded your camera or lens to a Mark II or III version. If your old equipment is simply aged beyond your capabilities, or it can’t be repaired, it’s time to buy new gear. But if it can be repaired and you can get a few more years of use out of it, then save your profits for expanding your business rather than giving in to gear lust.

Profit: At what photo business stage are you?

You’ve made your way through the chart and are going to buy that new piece of equipment. Congratulations on being clearheaded!

There is one last thing to consider: What stage are you at in your business development?

Beginner

How to Know if You Should Upgrade Your Equipment or if You Just Have Gear Lust

If you’re just beginning, I would consider some lower cost options for equipment. This might mean getting a mid-level camera body instead of the $ 8000 pro-version that gear lust is drawing you toward. Spending $ 6500 more than you need to on a camera body won’t make you that much more profit. Investing it in advertising has a better chance of bringing in more clients and hence more profits.

If you have a specific project to shoot for a client and you’re not sure if you’ll use that equipment afterward, renting can be a viable option to keep your profits up.

You’re getting some paid gigs

If the money is coming in steady enough, but it’s not your main source of income yet, then it’s likely a good time to upgrade to better gear. Especially if you have made a case for how you can increase profits or ease workflow (e.g. replacing a 6-year old computer will vastly improve your editing speed and leave more time for finding and shooting new gigs).

Be honest with yourself here. If paid work is sporadic and you can do other types of jobs to make cash, hold off on spending profits until the volume is up and more regular.

Also, I highly suggest upgrading your lenses before your bodies, all things being equal. While getting a new body that has GPS or one extra frame per second in high-speed mode might seem tempting, a faster and sharper lens will improve your end product in a more profitable way.

You make regular income with photography

If the dough is rolling in regularly and you can see the next three years being this way, pull the trigger and buy that new gear. You’re in this for the long-haul and can write off the new equipment as a business expense over its useful life.

Hint: If a new purchase would put your balance sheet far into the red for the year, you’re not making enough regular income.

How to Know if You Should Upgrade Your Equipment or if You Just Have Gear Lust

Conclusion

Gear lust happens to us all and it can be a struggle. I’ve suffered from it more than once and made bad choices more than once – thus the reason for this flowchart.

I hope it helps you find your way to photo-taking bliss. Remember, that’s why we own all this stuff: to take amazing photos. Don’t let the gear lust pull you away from that goal.

The post How to Know if You Should Upgrade Your Equipment or if You Just Have Gear Lust by Peter West Carey appeared first on Digital Photography School.

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