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How to Sell a Travel Story to a Magazine and Help Fund Your Travels

The post How to Sell a Travel Story to a Magazine and Help Fund Your Travels appeared first on Digital Photography School. It was authored by Kav Dadfar.

There is nothing quite like when you sell a travel story to a magazine. Seeing all your hard work in print gives you a great sense of satisfaction. Editorial work has changed a lot over the past few years, and you must prepare yourself for some rejection. However, if you follow this simple process of selling a story, and don’t give up, you will reap the rewards.

Also note, once you have built up a few relationships with editors, things get simpler. Once editors know and trust you, they will be far more receptive to your pitch for a story.

Publication research

Once you have an article idea, it’s always a good idea to research the type of magazines that may be interested in printing your story. Magazines differ significantly from one another. To give your story the best possible chance of publication, aim to pitch it to the right place.

For example, if your story is about walking, then pitch it to magazines that specialize in hiking or outdoor activities. Go to your local shop and flick through the magazine you intend to pitch to and see if it would be the right fit.

Also, research their submission process. Many publications have clear guidelines on how to submit work.

An example of a travel article in 360ºMagazine by Jennifer Bell.

Find a fresh angle

When you have your list of possible publications, ensure your story is fresh and unique. You don’t want to pitch ideas that are the same or similar to articles already recently published.

Most publications publish their articles on their website too, so check that what you are pitching is different. Also, remember to check upcoming articles as well. It may be that your article idea is set to feature in the next few issues.

The publication’s media pack is usually a good place to search for this sort of thing.

Destination research

Now that you have your angle and a list of preferred publications, it is time to research your topic. Researching your topic is one of the most important aspects of any shoot, and one rarely mentioned when discussing selling a story to a magazine. Many photographers will have you believe everything just comes together out in the field. But the reality is very different.

If your story is on the best museums in a certain city, then make sure you have a list of the museums you plan to visit. Write down everything from the best times to be there to the most important exhibits. If your angle is about hiking, then plan your walk to factor in the best times at viewpoints for photography.

The more you research, the better your shoot will be.

Prepare for rejection

If you want to be successful in any industry, you have to accept rejection along the way. Even as a pro with years of experience behind you, not every pitch will be successful. If only it was…

The key is not to take rejection personally. Don’t let it discourage you from pitching a different story to the same publication. If you are lucky and the editor gives you some feedback, take note of their suggestions, and work on these areas. Never get angry or burn your bridges with anyone as you will have an impossible task to win them round again.

Shoot plan

Once you’ve got your angle and completed your research, its time to start putting a shoot plan together. Your shoot plan should be more than just a list of locations – think of your shoot plan like an encyclopedia of your shoot. Include anything relevant like opening times, best times to shoot (sunset/sunrise), and logistics of getting to your required shoot locations.

Make a note of other potential locations you can visit. It’s also worth putting together some contingency ideas in the case of bad weather or unforeseen closures. The key to a good shoot plan is to make it as easy as possible to capture the shots you want to take.

The last thing that you want to be doing is rushing around, wasting valuable shooting time.

Image variation

The reason that a shot list is so important is it ensures you cover the shots that you need to capture, and will also give you variety. Your images should include a range of details, people, buildings, landscapes/cityscapes, food, and anything else that would be relevant to your story.

The more variation and options you can provide an editor, the more chance you will have of selling your story.

Tell a story

The big difference between a story and just documenting a place is the story you are trying to tell. You want to try to make sure your piece isn’t just a photographic list of places. The key is to take the viewer on a journey with you. It is also important to take notes of all the necessary information that accompanies your story. People’s names, places, names of food dishes – you never know what might be needed.

The final piece should be a coherent story that has a variety in the shots.

The pitch

Some people prefer to pitch their idea before embarking on their journey. While this is a safe option in regards to knowing you wouldn’t be wasting money unnecessarily unless you already have a relationship with an editor, it can be difficult. Even if an editor does like your idea, it is very unlikely they will offer you a commission straightaway. Any agreement will usually be on a speculative basis so they will not be under any obligation to buy your article afterward.

I personally believe you are best to pitch a finished piece that’s ready to go to press. Whatever approach you decide to take, the pitch is the most crucial part of the process. You’ve put in all that hard work and investment, so it’s important to get your pitch just right so you make a great first impression.

Your email should be direct and well thought out, showing off your knowledge of your subject. It should be backed up with the credibility required to give the editor confidence in you and your work. Take your time composing your pitch email and run it by friends and family for feedback. It’s okay to send a follow-up email a couple of weeks later but don’t keep pestering the editor. If you haven’t heard back after a couple of emails, assume it hasn’t been successful.

Submission

If you do get that great bit of news that your story has been accepted, make sure to follow all submission guidelines. Otherwise, your piece will more than likely be rejected. Your text should be proofread to avoid any spelling or grammatical mistakes. Even if you are just providing images, typos make you look unprofessional.

The majority of publications will also have strict guidelines for images, so be sure to follow these. It’s a good idea to read these before you start your edit as there will usually be guidelines on color space, sharpening and even cropping. Many publications prefer to do this in-house.

What next?

So you’ve sent your pitch and nothing even after the follow-up. You can either try another publication or go back to the drawing board with a different story. However, even if your story has been successful, be sure to go back with other ideas. Even if it takes time, going back to the same editor might be a little easier now that they have seen your work.

Publications have limited space for freelance photographers to pitch stories. Inevitably there is also a huge amount of competition for any available space. The best way to give yourself a chance is to really research the publication and pitch something that would be too good for them to turn down.

Do you have any other tips about how to sell a travel story to a magazine? If so, share with us in the comments below!

The post How to Sell a Travel Story to a Magazine and Help Fund Your Travels appeared first on Digital Photography School. It was authored by Kav Dadfar.

Digital Photography School

September 10, 2019
Huawei Kirin 990 mobile chipset launches with improved image signal processor

Last week Samsung announced its new top end mobile chipset Exynos 980 with a range of new imaging capabilities. Now it’s rival Huawei’s turn. At its press conference at the IFA trade show in Berlin the Chinese company revealed its new system-on-a-chip (SoC) that will likely power upcoming high-end Huawei devices, including the Mate 30 Pro which is expected to launch on September 19th.

Like for the the Exynos, one of the Huawei’s Kirin 990 chipset’s new stand-out features is the integration of 5G modem. Huawei says the Kirin 990 will provide peak download speeds of 2.3 Gbit/s and upload of 1.25 Gbit/s.

Of course there’s also an integrated Neural Processing Unit (NPU) that will be tasked will all sorts of AI-applications and Huawei says the new chipset will be more energy-efficient and deliver more power for mobile gaming aficionados.

Mobile photographers will be more interested in the new Image Signal Processor ISO 5.0, though. The company says it’s 15 percent more powerful than its predecessor for faster image and video processing, and also comes with ‘professional-level’ hardware noise reduction. In addition, real-time video post-processing and rendering is based on AI segmentation and is capable of adjusting color parameters frame by frame for optimized video color.

We should find out in just over a week how the new chipset performs in an actual device.

Articles: Digital Photography Review (dpreview.com)

September 10, 2019
The Polaroid Lab turns your digital smartphone photos into analog instant prints

Polaroid Originals has introduced the Polaroid Lab, a new instant printer that will turn your digital smartphone photos into instant prints.

The Polaroid Lab appears to be a rebranded version of Impossible Project’s Instant Lab released back in 2013, but offers a few new features and brings a retro-inspired design.

Like the Instant Lab, the Polaroid Lab uses your smartphone’s screen as a projector of sorts to capture the image on an instant photo. The process requires you to download the Polaroid Originals app on your Android or iOS smartphone. Once downloaded, images can be selected and edited before prepping them for their analog conversion.

Three lenses and multiple mirrors inside the Polaroid Lab take the image on the screen and focus them on any Polaroid i-Type film. When the red button on the base of the Polaroid Lab is pressed, the image is transferred to the instant film and ejected from the device.

The Polaroid Lab features an internal battery that’s rechargeable via Micro USB. Polaroid Originals says it supports iOS devices running iOS 11 or newer going back to the iPhone 6S and Android devices running Android 7 or newer for the current devices from major manufacturers.

The Polaroid Lab will retail for $ 129.99 / EUR €129,99 / GBP £119 when it ships. Polaroid Originals says the Polaroid Lab is ‘coming soon’ but fails to provide specifics beyond that. For more information, visit the Polaroid Originals’ website and sign up to receive more information on the Polaroid Lab as it’s released.

Articles: Digital Photography Review (dpreview.com)

September 10, 2019
Hands-on with the Phase One XT camera system

Introduction

Phase One has just unveiled their new XT Camera System, which uses the same IQ4 digital backs as their XF system, but in a much smaller and lighter overall package. Phase One is billing the XT system as a ‘field camera,’ explaining to us that, while the XF system is really about ultimate image quality in a studio environment, the XT is about making it easier to achieve that quality beyond the studio.

Let’s take a closer look at the components of the XT camera system and how it handles.

The XT camera

Although Phase One likes to use ‘back-to-basics’ as a phrase to describe the entire XT camera system, it’s the impressively slim XT camera itself that is perhaps most representative of this philosophy. The IQ4 digital backs mount to the rear of the camera, and a series of new Rodenstock lenses (which are attached to the company’s new ‘X-Shutter’ mechanism – more on that in a bit) mount to the front, using a standard Cambo mount. You can see the electrical contacts here that control that shutter, and also communicate shooting data between the lens and the camera.

The XT camera also allows users to quickly switch from landscape to portrait orientation, thanks to a tripod plate mounted on a grooved track (visible here on the right of the camera) that allows the whole system to rotate 90 degrees without leaving the tripod. If you like, you can remove the tripod foot altogether.

There are only three control points on the XT camera – one which you can easily see here, is that bright blue shutter button at the top left. The others are…

Lens shift knobs

…shift-knobs, seen here as the textured tumbler on the top of the camera. These will adjust the Rodenstock lenses by as much as 12mm up, down, left and right. There is another of these knobs on the rear of the camera (not visible, but just below the thumb in the photograph), and they principally allow for the correction of perspective distortion while shooting, but could also aid those shooting with high-megapixel stitched panoramas in mind, as well.

Lens shift knobs

Here, you can see one of this early prototype camera’s lens-shift display windows, as well as a peak of that second shift knob. These show you how far you’ve currently got the lens shifted. This value is saved into the EXIF data for the files, for later reference.

So, on the XT camera, you have the dual-action shutter button and two shift knobs – how do you go about controlling the rest of the camera?

The digital back

As is already an option for users of Phase One’s XF system, the touchscreen interface on the company’s IQ4 lineup of digital backs becomes absolutely key when using the XT system. They provide a robust live view display to aid in composition, and also include helpful exposure aids, such as Raw clipping indicators. You also have full access to the system’s menus, and from there, you can enable the new Automated Frame Averaging feature, which we’ll be looking at in greater depth in a separate article.

The rear touch-sensitive display also allows for adjustment of all exposure parameters, including aperture (there’s no aperture ring on the Rodenstock lenses). Speaking of rings on lenses…

Manual focus only

…the XT system is manual focus-only. Here, you can see the manual focus ring for the Rodenstock 32mm F4 lens – it’s very well-damped and very smooth, and we’d expect the same on the other lenses offered. Of course, manual focus generally precludes the use of the XT system as a fast, reactive photographic tool for moving subjects, but Phase One is…unfazed…by this reality. The company has stated that it’s really aiming the XT system at high-end landscape and architectural photographers that will likely use smaller apertures for greater depth-of-field, and for whom focusing using the rear screen and its in-built focus aids is an expected way of working.

Of course, there will probably be users who will take their XT system out as a ‘carry-around’ kit for shooting just about everything, just as there are users who currently do the same with the much-bigger XF system.

The X-Shutter and ebony grip

This brings us to the new X-Shutter mechanism, shown here protruding between the mount and the lens barrel. Phase One tells us that their experience in industrial applications informed this new unit’s construction.

The X-Shutter is electromagnetically controlled, and allows for shutter speeds from 1/1000 sec to 60 minutes, and is tested for a minimum of 500,000 actuations. There are 5 rounded aperture blades, all made of carbon fiber.

Oh, and last but not least, you can get a nice view of the XT’s grip in this image. It’s made of ebony, and is one of very few non-metal components on the camera.

The wrap

And that’s it for our quick hands-on tour of Phase One’s new XT camera system. The Phase One XT is the second example we’ve yet seen of modular medium format makers embracing the possibility of mirrorless cameras.

With the exception of the Pentax 645D and Z, most medium format systems have been based around modular backs that attach to camera bodies that contain an SLR mirror and viewfinder mechanism, along with the mechanism required to fire the shutter.

In the digital era, most of the camera functions and, increasingly, the ability to preview the image, have migrated from the camera body to the camera back. A move to a mirrorless design further reduces the role played by the camera body, to the point that it becomes almost a back-to-lens adapter with a shutter button.

Whether encouraged by the acceptance of the mirrorless approach by the rest of the market or as a by-product of a generation of large CMOS sensors with usably-fast live view, it’s interesting to see both Hasselblad (with its 907x) and Phase One recognize how minimalist a ‘camera body’ can be.

What do you make of the brand-new XT camera system? Let us know in the comments!

Articles: Digital Photography Review (dpreview.com)

September 10, 2019
Sigma halts production of Pentax K mount lenses to put its focus on mirrorless

Independent lens manufacturer Sigma has announced that it will no longer offer lenses for Pentax K-mount cameras. The announcement was made on the Facebook page of Sigma Czech Republic, stating that because of dwindling numbers of Pentax users and company has decided to stop producing Pentax mount lenses. Instead, the post says, Sigma plans to focus more on developing and supporting mirrorless systems, which it believes are ‘the future.’

The post on the Sigma-foto CZ Facebook page, with Facebook’s translation

The move will be a blow to Pentax users and will leave them with almost no support for AF lenses from third-party manufacturers as Tamron appears to have practically dropped the mount as well. Pentax itself offers about 14 lenses for its full-frame K1 and K1II cameras, but a much wider collection for the APS-C sensor cameras.

One of the lenses Sigma still offers in the Pentax K mount. Most of the company’s newer lenses have not been made available for Pentax users

Sigma’s move away from the Pentax K mount has been confirmed by Sigma Imaging UK. For more information on Sigma see its website.

Articles: Digital Photography Review (dpreview.com)

September 10, 2019
Leaked promo video hints at Google Pixel 4 astrophotography mode

Google’s Pixel devices are usually cutting edge in terms of computational photography and the current Pixel 3 device comes with an entire range of computational imaging features, including the multi-frame-stacking Night Sight low light mode.

Now it looks like Google is planning to take things one step further with the upcoming Pixel 4 generation and offer some kind of astrophotography feature.

A fuzzy screenshot of the leaked promotional video showing off a dedicated camera mode for capturing stars.

Pro Android has managed to get hold of what appears to be an (as yet) unreleased Google Pixel 4 promotional video. The clip highlights several software features of the still unreleased device, including a Night Sight-like astrophotography mode. Unfortunately, no technical detail is provided but it is fair to assume to mode will use some combination of frame-layering techniques and artificial intelligence to create well-exposed noise-free images of the night sky.

Huawei’s current flagship P30 Pro already features a multi-frame star trail mode which is capable of achieving pretty attractive results in the right circumstances. We’ll have to wait until October, when the Pixel 4 is expected to be launched, to find out if Google’s solution is capable of improving on the Huawei feature.

Articles: Digital Photography Review (dpreview.com)

September 10, 2019
Remote identification ruling for drones delayed once again

Remote Identification (Remote ID) is the concept that drones should have a digital license plate. If officials can track who is flying where, when, and for what purpose, then drones may be permitted to fly beyond visual line of sight (BVLOS) and above people. DJI’s Vice President of Policy & Legal Affairs, Brendan Schulman, along with Mark Aitken, who serves on the drone manufacturer’s D.C. Advocacy Team, had brought a proposal to the Association for Unmanned Vehicle Systems International’s (AUVSI) annual XPONENTIAL conference over two years ago.

The lack of progress on this initiative, which will open up opportunities for commercial remote pilots, and safely integrate drones into the National Airspace System (NAS), is frustrating to both industry stakeholders and small business owners. Senators on opposing sides of the political spectrum recently united and urged U.S. Transportation Secretary Elaine Chao to take action. Rulemaking, which was initially scheduled to commence this past May, has been delayed to a proposed date of December 20, 2019.

The USDOT website has confirmed another delay on rulemaking for Remote ID.

This latest postponement has been confirmed in the August 2019 rulemaking report from the US Department of Transportation’s (USDOT) website. The report reads ‘This action would implement system(s) for the remote identification of certain unmanned aircraft systems. The remote identification of unmanned aircraft systems in the national airspace system would further address security and law enforcement concerns regarding the further integration of these aircraft into the national airspace while also enabling greater operational capabilities by these same aircraft.’

Commenting on the notice of proposed rulemaking (NPRM) has been pushed back from October 29th to February 1, 2020. These are projected dates, meaning that the publication of and commenting on the NPRM could potentially be delayed even further. AUVSI’s president and CEO, Brian Wynne, released the following statement regarding the USDOT’s latest significant rulemaking report:

It’s disappointing the rulemaking for remote identification has been delayed again. The need for remote identification cannot be overstated, as the advancement of the UAS industry depends on identifying and tracking UAS flying in the airspace.

‘It’s disappointing the rulemaking for remote identification has been delayed again. The need for remote identification cannot be overstated, as the advancement of the UAS industry depends on identifying and tracking UAS flying in the airspace. Remote ID is necessary for enabling advanced and expanded operations such as flights over people and beyond line of sight, which will provide significant benefits throughout our economy and society. Most importantly, remote ID is critical for ensuring airspace safety by helping law enforcement identify and distinguish authorized UAS from those that may pose a security threat. We urge the FAA to move as quickly as possible with rulemaking for remote identification to keep the skies safe for all aircraft — both manned and unmanned.’

Recently, the Federal Aviation Administration’s (FAA) Deputy Administrator, Daniel K. Elwell, had publicly stated that ‘we are making progress toward the full integration of drones’ and ‘the idea is to crawl, walk, and run, but we are doing so rapidly.’ Given this latest setback, coupled with another delay on the proposed rule for Section 2209, which will provide protections for drone flights near critical infrastructure, it seems like the FAA needs make an effort to ensure their actions are consistent with their words.

Articles: Digital Photography Review (dpreview.com)

September 10, 2019
3 Tips for Capturing your Holiday with the Nikkor 60mm Micro Lens

The post 3 Tips for Capturing your Holiday with the Nikkor 60mm Micro Lens appeared first on Digital Photography School. It was authored by Lily Sawyer.

Going on holiday is so exciting for me. It’s a chance to unwind and take it easy. The one thing I don’t want to do on holidays is carry heavy equipment for my photography. I do that already as my day job and heavy cameras paired with heavier lenses are a drag. When on holiday, I usually take one camera body and one small prime lens with me. That’s it!

This article is about capturing your holiday photos with the simplest of gear: a camera and lens. I used my Nikon D750 full-frame camera and a Nikkor 60mm micro prime lens for all the photos featured in this article. The combination is small in size and light in weight. Just a note though, as the D750 has a full-frame sensor, the 60mm viewed through it is a 60mm. If you use a cropped-sensor camera, this 60mm becomes a 90mm when viewed through the smaller sensor. Therefore it’s not something I recommend as a holiday combo. If you only have a cropped-sensor camera, then you are better off going with a 35mm fixed lens.

Why Nikkor 60mm?

You may ask why 60mm, not 50mm, not 35mm? That’s a valid question. I used to take the 50mm as that focal length is most versatile and I love it’s lightness too. I have previously written an article here on the 50mm and its versatility. But I have swapped this for my 60mm as my go-to holiday lens recently.

1. The 60mm medium focal range is versatile

Landscape

If you have enough space to back off from the subject, you can take a good landscape photo without distortions (like cropping out too many tourists for example) and without it being too unnecessarily wide. Landscape in wide-open areas is easy. You can do more “considered” compositions because of the viewpoint the focal length allows. You can also “crop” in-camera just by moving forward or backward to include or exclude areas within the frame.

Portraits

A portrait, by strict definition, is usually a view from the shoulders to the head. However, you can loosen it up a bit by going half body or even full-body! It’s not close-up nor too wide. The Nikkor 60mm Micro is the perfect focal length for a portrait. Because it’s an f/2.8 lens, you can still get shallow depth of field and achieve a pleasing background compression for a flattering image. This is especially so when I want to accentuate the subject and blur the background.

Close-Up

Because the Nikkor 60mm Micro has a micro/macro lens capability, I can capture close-ups (including extreme close-ups) with it too. The photos below are of a wall covering at Peterhof Palace in St. Petersburg, Russia. We were passing through the darkly lit rooms (no flashes allowed) in a tour group so there was no stopping for a long time. It’s quite literally aim, shoot and go! I wanted to capture the intricate embroidery on these fabric wall coverings and a patch of the design. The Nikkor 60mm Micro gives fairly heavy vignetting, especially when shooting close-ups in low light. Close-range photography usually requires more light which wasn’t available here. However, the vignetting created works for me because I wanted to focus on the central areas of the patterns.

All in all, the Nikkor 60mm Micro is light and nifty and has macro capabilities. With it, you can shoot really close-up details, through to much wider views, as shown in the photo below.

2. Shoot to tell a story

I have recently written an article, 3 tips in photographing details in a scene, where I talked about shooting to tell a story. This is essentially utilizing the elements of story-telling as you visually capture scenes. So, you can tell the beginning, middle and end of a story effectively just by using photos.

Varied angles

You can make a story more interesting by employing a variety of angles. Think of a film being shot. You often have several cameras with various lenses coming in from different angles: wide, medium, high, low and close-up. These viewpoints offer new and different insights into the scene at hand.

Emotions

Capturing moments that carry emotions is a surefire way of immortalizing memories in our minds. Action photos often help with these. The photos below of my daughter blowing soapy suds will remind her of her delight upon seeing a fountain overflowing with foamy white stuff! It was a marathon day when we visited Tallinn, Estonia. Crossing roads was tricky with all the runners zooming past too. A nice smile at the camera when we got on a train, and a much-needed rest from miles and miles of walking while sightseeing. All precious memories.

Series

A series of shots showing a progression or a beginning, middle and end can also be a fun and interesting way of telling a story of a moment. It doesn’t have to be a complicated moment. A snapshot of something that catches your eye will do, like the little scene below. Including a couple of other shots of the same material but from a different perspective will bring new interest.

3. Don’t forget the details

Details help us remember and set memories firmly in our minds so we can chat about it for years to come. I make annual family albums which my kids love to pore over and talk about regularly. They give us a lot of laughter as we recall the fun events of our holidays and reminisce the special moments. Still life, scenery, close-ups…they all play a part in helping us capture details more effectively to tell stories of our lives.

I hope you found this little article on how to capture your holiday photos with just one lens, such as the Nikkor 60mm Micro helpful. Do share more tips in the comments below.

The post 3 Tips for Capturing your Holiday with the Nikkor 60mm Micro Lens appeared first on Digital Photography School. It was authored by Lily Sawyer.

Digital Photography School

September 10, 2019
Canon’s DPP Express app for iPad will soon require a monthly subscription plan

According to a new note on Canon Singapore’s website, Canon is making its Digital Photo Professional (DPP) Express iPad app subscription-based in the near future.

DPP Express is an iPad-only app that works hand-in-hand with the Canon Camera Connect app to process JPEG and ‘CR3’ Raw files from Canon cameras. The application is fairly standard in its feature set and functionality, with a rather standard interface designed to easily make adjustments and edits to images on the go.

A screenshot from Canon Singapore’s website showing the note that clarifies a subscription will be required starting with app version 1.2.0.

Currently, Canon DPP Express has a rating of just 1.6 stars out of 5 in the iOS App Store—and that’s before the impending update. Starting with version 1.2.0, which is due out October 2019 according to the note, the app will require a monthly subscription at a cost that’s yet to be disclosed.

It will still be possible to transfer ‘CR3’ files from compatible cameras to mobile devices via the Canon Camera Connect app, but Canon considers DPP Express to be a major component in its ‘mobile Raw workflow,’ so adding a monthly subscription cost to the workflow likely won’t go over well for those who do use the app.

We have contacted Canon for more details on pricing and whether or not there will be an annual subscription option as well and will update this article accordingly when we hear back.

Articles: Digital Photography Review (dpreview.com)

September 10, 2019
Leaked photos, specs allegedly reveal Leica’s upcoming SL2 mirrorless camera

Nokishita has shared images and specifications for a new Leica camera it claims is the SL2.

According to the report, the new camera (codenamed Vader) will feature a 47-megapixel CMOS sensor and feature 4K video recording with a new ‘Cine Mode.’ The report also notes the camera will have both Wi-Fi and Bluetooth connectivity and be compatible with Leica’s mobile app, FOTOS.

Based on the images, the front of the camera remains largely unchanged from the original Leica SL (Typ 601) with the exception of the viewfinder bump and edges around the grip, both of which have been rounded off compared to the sharper design of the original SL. The rear of the camera stays the same up top, but swaps the unlabeled buttons on both sides of the camera for a row of three buttons on the left-hand side of the rear display: a play, function and menu button.

????????????????2998???????SL????????????????4700???CMOS??CINE?????4K???????????Vader??????????????????????????????Vader??????????????????#? pic.twitter.com/MbT7udnQeY

— ????????? (@nokishita_c) September 9, 2019

There’s no additional information on pricing, but Nokishita points at a September release with a note that the camera could be pushed back to later in the year pending other factors.

Articles: Digital Photography Review (dpreview.com)

September 9, 2019