If you want to create a logo for your company and you do not have any design knowledge, I have good news to give you since there are a large number of online tools with which you can make your logo for free. The vast majority of these tools are going to ask you to register to download the new Continue Reading
The post 10 Online Tools to Create a Free Logo appeared first on Photodoto.
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In an exclusive interview with Dave Etchells of Imaging Resource Canon’s top product-planning executive, Yoshiyuki Mizoguchi, shared a number of interesting details regarding the future of the Canon R series.
Considering his position in the company, Mizoguchi-san is the foremost expert in terms of understanding where Canon is currently at and where it anticipates on going with the EOS R lineup in the future.
The interview is full of smaller tid-bits regarding the Canon EOS R series, but the stand-out detail from the lengthy interview is the mention of an upcoming EOS R camera that’s capable of recording 8K video.
When inquired by Etchells as to how video plays a roll in the EOS R series — both in terms of lenses and cameras — and how important it will be within the product lineup, Mizoguchi-san had the following to say:
Video will play a huge role in the EOS R System for sure. For example, an 8K video capable camera is already in our EOS R-series roadmap. And we are not just looking at video from a camera perspective, we are also working on how to make RF lenses better for video capture as well. [Emphasis provided by Imaging Resource]
The answer continues on with Mizoguchi-san saying the RF 24-105mm F4L was designed, in part, with Nano USM technology due to its ‘silent and smooth autofocus while shooting video.’
Mizoguchi-san wraps up the answer saying ‘Paired with Dual Pixel CMOS AF, a wide range of Nano USM equipped RF lenses will promise video creators great image quality as well as impressive autofocus together in the R-series.’
As Imaging Resource pointed out in an editorial note underneath this specific question and response, the phrase ‘on the roadmap’ could mean later this year or within the next decade. However, the fact Mizoguchi-san even mentioned it shows it’s very likely a sooner-rather-than-later sort of deal considering how conservative and quiet Canon tends to be when talking about future technologies.
There is plenty to dig into within the full interview, but a few other notable mentions include Mizoguchi-san saying 4K without crop factor, faster frame rates, and in-body image stabilization (IBIS) are all features Canon ‘[is] aware of and are working on.’ Mizoguchi-san also confirms that Canon is very much focused on ‘satisfying’ both the DSLR and mirrorless market, at least for the time being.
To read the full interview, head on over to Imaging Resource. It’s a fantastic dive into the EOS R system and its future with the man who would know best.
The post How to Customize Your Lightroom Workspace for Better Workflow appeared first on Digital Photography School. It was authored by Darina Kopcok.
Although it is sometimes overshadowed by its powerful cousin Photoshop, Adobe Lightroom is a robust post-processing program in its own right.
Lightroom is designed with simplicity in mind, however, it still offers a lot of options and can be confusing to new users.
This article assumes you have a basic familiarity with the appearance of the various panels in the Lightroom, and gives you some tips on how to customize your Lightroom workspace for better workflow and productivity.
The Lightroom Workspace in Grid View
Lightroom is organized into seven Modules: Library, Develop, Map, Book, Slideshow, Print, and Web.
You can find these modules in the uppermost right-hand corner of your screen. This panel or bar is called the Module Picker.
Each of these modules contains a set of tools that work specifically within that module.
For example, if you want to design and print contact sheets of select images from a shoot, you would navigate to the Print module, where you would find the required tools to do that.
You will find, however, that there are some modules that you rarely (or even never) use.
Most users of Lightroom spend the majority of their time in the Library and Develop Modules. Therefore, Lightroom gives you the option to hide these modules from view if you wish.
To set up which modules you would like to remain visible, right click on the module panel to bring up a pop-up menu:
The panels that are visible are noted with a checkmark. To make the module invisible, simply click on it to uncheck it in the menu.
For example, I never use the Book and Slideshow modules, so I have those checked off in my own Lightroom workspace.
The missing modules are still available under the Window menu; you can use keyboard shortcuts to open them.
Keep in mind that if you do this, Lightroom will automatically add the missing module back to the Module Picker.
In the above image, the following are noted:
A. Library Filter bar
B. Image Display area
C. Identity Plate area
D. Panels displaying photos
E. Filmstrip
F. Module Picker
G. Panels for working with metadata, keywords, adjustments
H. Toolbar
There are four panels in each of the Lightroom Modules. Only two panels – the Module panel and Filmstrip panel – appear in all of the different modules in Lightroom.
For example, the Library module has a top Module Panel, the Navigation panel is located on the left-hand side. The right-side panel is mostly for Metadata, while the bottom panel is where the Filmstrip appears.
Develop Module has Develop and Preset panels instead of Navigation and Metadata.
Tabs are small panels inside of panels.
Below are the various tabs in the Develop panel in the Develop Module in Lightroom:
You can customize your workspace to display only the panels you want.
If you don’t use a panel often, you can hide it form view: Control-Click (Mac) or Right-Click (Windows) on any panel header in the group and choose the panel name.
You can also change the screen display to hide the title bar, menus, and panels.
Choose -> Window -> Screen Mode, and choose an option from the drop-down menu.
When in Normal, Full Screen with Menubar, or Full Screen Mode, press the F key to cycle through them.
If you’re on a Mac OS, note that Full Screen mode and Full Screen and Hide Panels mode both hide the Dock. If you don’t see the Minimize, Maximize, or Close buttons for the application, press the F key once or twice until they appear.
Press Shift-Tab and then the F key to display the panels and menu bar.
To dim or hide the Lightroom Classic CC workspace, choose -> Window then -> Lights Out, then choose an option. Press the F key to cycle through the options.
You can brand your Lightroom with the logo of your photography business through the Identity Plate Setup.
It’s not going to impact your workflow in any way, but this is a cool customization you can make to appear more professional when working with clients and utilizing tethered capture.
To access the Identity Plate Setup click on a Mac -> Lightroom and choose -> Identity Plate Setup from the drop-down menu. For Windows, go to -> Edit and choose -> Identity Plate Setup.
Under Identity Plate, choose -> Personalized and Custom.
Click on -> Use a Graphical Identity Plate and then -> Locate File to navigate to wherever you have your logo saved on your computer.
However, if you don’t have a logo, you can still customize the text that appears in Identity Plate by changing the font, size of the font, and the color of the module names.
A customized workspace can help you improve your workflow and therefore efficiency when working in Lightroom.
Hopefully, some of these tips will help you navigate Lightroom a bit more easily and has given you some ideas on setting up the interface in the way that works for you.
The post How to Customize Your Lightroom Workspace for Better Workflow appeared first on Digital Photography School. It was authored by Darina Kopcok.
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During CES 2019, Moza revealed Mini-S, a new compact, highly portable handheld 3-axis gimbal stabilizer designed for smartphones measuring 55mm to 88mm wide. The stabilizer can be extended up to 17.2in / 43.6cm and folded into a compact 5.12 x 2.68 x 7.68in / 13 x 6.8 x 19.5cm form-factor when not in use.
Though designed exclusively for smartphones, the Moza Mini-S packs several advanced features, including numerous physical controls, support for vertical and horizontal orientations, multiple follow modes, and object tracking.
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The stabilizer’s base, which has a 10-degree tilt for ergonomic reasons, includes a 1/4-20″ port and a removable miniature tripod. Physical controls include a joystick, dedicated playback and Inception Mode buttons, focus control, one-button zoom, and a recording button. The internal 2200mAh battery provides 8 hours of use per charge.
The Mini-S stabilizer’s shooting modes include support for tracking objects, time-lapse, a Vertigo Mode zooming effect, and an Inception Mode that imitates the world rotation seen in the movie Inception. When paired with the Moza Genie mobile app, the phone displays a mixture of controls and camera settings for enhanced usability.
Pricing and availability haven’t been revealed yet, though News Shooter reports that Moza expects to start shipping in March.
The post 9 Pioneering Women Who Shaped Photographic History appeared first on Digital Photography School. It was authored by Megan Kennedy.
The history of women photographers dates back to the beginnings of photography itself. Yet while names like Ansel Adams and Man Ray have floated to the top of the photographic vernacular, the contribution of women in photography has been diluted or erased from history altogether. In this, photography is no less guilty than other forms of art. Yet there is no doubt that the omission of women, both unintentionally and intentionally, leaves a gaping hole in the narrative of photography.
In this article, I turn the spotlight on women who shaped photographic history. These 9 women (and many more) asserted their presence through both technical and artistic ingenuity. Here is a brief recount of their stories.
A portrait by Julia Margaret Cameron. Image courtesy of Wikimedia
Julia Margaret Cameron received her first camera as a gift from her daughter in 1863. Cameron threw herself into photography, crafting portraits and staged scenes inspired by literature, mythology, and religion.
Cameron rejected the meticulous photo-reality sought after by her contemporaries. Instead, she favored a dreamlike softness saying “…when focusing and coming to something which, to my eye, was very beautiful, I stopped there instead of screwing on the lens to the more definite focus which all other photographers insist upon.”
The revolving door of luminaries in Cameron’s home provided her with ample opportunity to produce piercing character studies of some of the most famous people of the period. Her portraits represented some of the earliest examples of art meeting formal practice.
Cameron was a prolific photographer. Over 16 years, Cameron created more than 1,200 images – a staggering amount considering the laborious process involved to create each finished piece.
Mary Steen excelled at indoor photography. Image courtesy of Wikimedia
Mary Steen was a photographer and feminist from Denmark, Scandinavia. She excelled at indoor photography, a particularly difficult field due to the lack of electrically powered light sources available at the time.
In 1888, Stern became Denmark’s first female court photographer, a role that involved photographing both Danish and British royals. In 1891, she became the first woman on the board of the Danish Photographic Society.
Steen was also a member of the Board of Directors for the Danish Women’s Society. Together with Julie Laurberg, she photographed leading figures in the Danish women’s movement. In 1896, Steen started working as a photographer to Alexandra, Princess of Wales, the later Queen of England.
Steen encouraged other women to take up photography. She campaigned for better conditions at work, including eight day’s holiday and a half day off on Sundays. Leading by example, she treated her staff well, paying them fair wages.
“Succulent” by Imogen Cunningham. Image courtesy of Wikimedia
Known for her botanical, nude and industrial photography, Imogen Cunningham was one of America’s first professional female photographers.
After studying photographic chemistry at university, Cunningham opened a studio in Seattle. Cunningham drew acclaim for her portraiture and pictorial work. Subsequently, she invited other women to join her, publishing an article in 1913 called “Photography as a Profession for Women.”
Cunningham never confined herself to a single genre or style of photography. In 1915 Cunningham’s then-husband, Roi Partridge posed for a series of nude photographs. The nudes achieved critical appraise, despite being a taboo subject for a female artist at the time.
A two-year study of botanical subjects resulted in Cunningham’s opulently lit magnolia flower. She also turned her lens toward industry and fashion.
It was Cunningham who said “which of my photographs is my favorite? The one I’m going to take tomorrow.”
An example of solarization, a darkroom technique used by the New Photography movement in Paris that can now be emulated in Photoshop
After studying at the Bavarian School of Photography, Gertrude Fehr apprenticed with Edward Wasow. In 1918, Fehr opened a studio for portraiture and theater photography.
During 1933, the political climate forced Fehr to leave Germany with Jules Fehr. Settling in Paris, the couple opened the Publi-phot school of photography. The school specialized in advertising photography, a pioneering program at the time.
Fehr participated in the New Photography movement in Paris. Exhibiting artists alongside Man Ray, Fehr explored the artistic boundaries of photography, producing photograms, photomontages, and solarized prints.
During the 1930s, Gertrude and Jules Fehr moved to Switzerland. There, they opened a photography school in Lausanne, now known as the Ecole Photographique de la Suisse Romande.
Fehr gave classes in portrait, fashion, advertising and journalistic photography at the school until 1960 when she dedicated herself to freelance portraiture. Both her teaching and photography paved the way for contemporary photographic art.
Trude Fleischmann with her work. Image courtesy of Wikimedia
After studying art in Paris and Vienna, Trude Fleishmann apprenticed with Dora Kallmus and Hermann Schieberth.
Fleischmann opened a studio when she was 25. Working with glass plates and artificial light, Fleishmann created deftly diffused portraits of celebrities. Her studio quickly became a hub for Viennese cultural life.
In 1925, Fleishmann took a nude series of dancer Claire Bauroff. Displayed at a theater in Berlin, the images were confiscated by police, winning Fleischmann international fame.
The Anschluss forced Fleischmann to leave the country in 1938. After settling in New York in 1940, she established a new studio where she resumed photographing celebrities, dancers and intellectuals including Albert Einstein and Eleanor Roosevelt. Her introspective and atmospheric portraiture is viewed as art suffused with technical prowess.
Dorothea Lange’s “Migrant Mother”. Image courtesy of Wikipedia
Known for her work documenting the depression, American photographer Dorothea Lange’s “Migrant Mother” became a symbol of hardship and resilience in the face of economic collapse.
The majority of Lange’s early studio work centered around portraits of the social elite of San Francisco. With the commencement of the Great Depression, however, Lange transitioned from the studio to the streets.
Applying techniques she had developed for photographing portraits of wealthy clientele, Lange’s unapologetic studies led to her employment with the Farm Security Administration. There, she continued to document the suffering of victims of the depression. Soon, her powerful images became an icon of the era.
Described in her own words, Lange used the camera as “…an instrument that teaches people how to see without a camera”. Her unflinching study of the human condition in the 20th century shaped photojournalism in a way that continues to resonate today.
A self-portrait by Grete Stern. Image courtesy of Wikipedia
Originally a graphic designer, Grete Stern studied under Walter Peterhans in Berlin where she and Ellen Auerbach opened a well-regarded studio, ringl+pit.
Emigrating to England in 1933, Stern then traveled to Argentina with her husband, Horacio Coppola. They opened an exhibition literary magazine Sur hailed as “the first serious exhibition of photographic art in Buenos Aires.”
By the mid-1940s, Stern was well established in Buenos Aires. She worked with women’s magazine Idilio, illustrating reader-submitted dreams through photomontage. Stern incorporated feminist critiques into her pieces which became popular with readers.
In 1964, Stern traveled Northeast Argentina, producing over 800 photos of Aboriginals in the region. The body of work is considered to be the most significant Argentinian record of its time.
“Photography has given me great happiness,” said Stern in 1992. “I learned a lot and [said] things I wanted to say and show”.
Ylla photographing a toucan. Image courtesy of Wikipedia – ©Pryor Dodge at the English Wikipedia [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0/)]
Animal photographer, Ylla (Camilla Koffler) originally studied sculpture under Petar Palavicini at the Belgrade Academy of Fine Arts, moving to Paris to continue her studies in 1931.
Working as an assistant to photographer Ergy Landau, Ylla began photographing animals on holiday. Encouraged by Landau, Ylla started exhibiting, opening a studio dedicated to pet photography shortly after.
Ylla’s first major book, Petits et Grands was published in 1938. That same year she collaborated with British evolutionary biologist Julian Huxley for his book Animal Language.
During 1941 Ylla immigrated to the United States. She opened a new studio in New York, photographing a miscellany of animals from lions and tigers to birds and mice.
In 1955, Ylla fell from a jeep while photographing a bullock cart race in India. She was fatally wounded. Her New York Times obituary read that Ylla “…was generally considered the most proficient animal photographer in the world.”
“Teacup Ballet” by Olive Cotton. Image courtesy of Wikimedia
Describing her process as “drawing with light”, Olive Cotton’s Teacup Ballet has become synonymous with her artful command over light and shadow.
After studying English and Mathematics at university, Cotton pursued photography by joining childhood-friend Max Dupain at his studio in Sydney.
Besides assisting Dupain, Cotton also perused her own work. Cotton and Dupain were married briefly and she ran the studio in his absence during the war. She was one of the few professional women photographers in Australia at the time.
In 1944, Cotton married Ross McInerney, moving to a property near Cowra, NSW. Cotton gave up work as a professional photographer until 1964 when she opened a small photographic studio.
In the early 1980s, Cotton reprinted negatives she had taken over the past forty years or more. The resulting retrospective exhibition in Sydney in 1985 earned her recognition as a key figure in the development of Australian photography.
It’s impossible to cover the sheer number of women that have embodied the tenacity and creativity of a photographer’s spirit in a single article. With this piece, however, I hope to have encapsulated some of the resolves of the generations of women who have shaped photographic history. And although we aren’t all the way to achieving equality yet, thanks to the female photographers of the past and present, we’re a lot closer than we used to be.
The post 9 Pioneering Women Who Shaped Photographic History appeared first on Digital Photography School. It was authored by Megan Kennedy.
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Lomography has expanded its Kino Films product line with its new Potsdam Kino 100 ISO 35mm black and white film. The new product joins the Berlin Kino 400 ISO B&W film Lomography introduced in November, its new Potsdam likewise inspired by the New German Cinema that experienced high popularity in 1960s Europe.
All of the maker’s Kino Films products are ‘extracted from rolls of cine film produced by a legendary German company that has been changing the face of cinema since the early 1900s,’ according to Lomography.
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The triacetate-based Potsdam Kino Film is designed for scenes that require an attention to detail, as well as sunny environments. Resulting images have a fine grain structure coupled with ‘subtle contrast,’ making this what Lomography calls a ‘poetic film.’ The company promises Potsdam film development is ‘a breeze,’ but it has also launched the Lomography B&W Potsdam Kino Cookbook to help photographers get started with the film.
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Shipping won’t begin until April or May 2019, but Lomography is offering preorders through its online shop now. Each pack contains a single roll with 36 exposures for $ 7.90; buyers can also get a 5-roll bundle for $ 39.50 and a bundle of 10 rolls for $ 79.
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We’ve seen Sony’s IMX586 1/2-inch 48MP sensor appear in several higher-end devices in recent months but the Redmi 7 is now the first budget device to offer the chip. The sensor isn’t really meant for outputting medium-format image resolution image files. Instead a quad-Bayer filter array allows for high-quality 12MP images with low noise levels and real-time HDR processing. The main chip is accompanied by a 5MP depth sensor for bokeh and similar effects.
Redmi, which used to be the budget line within the Xiaomi smartphone portfolio, has now been promoted to a proper sub-brand, similar to what Honor is to Xiaomi competitor Huawei. The 7 is the first device launched under this new sub-brand and does not only offer impressively looking main camera specs for the money.
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You also get a 13 MP front camera, 6.3-inch Full-HD+ LCD display, Snapdragon 660 chipset a massive 4,000 mAh battery with quick charge support and a microSD slot.
In terms of RAM and storage you can choose between 3/32 GB, 4/64 GB, and 6/64 GB combinations. and there is a microSD slot as well.
The cheapest option will set you back $ 150 (CNY999) and even the largest memory version is only $ 210 (CNY1,399). Pre-orders have already started in China and shipments are scheduled for January 15. We’d expect the Redmi 7 to make the jump into the US and other regions in the nearer future. We’ll have to wait for the first samples but it looks like the Redmi 7 should be high up the list of those who want good smartphone image quality at budget pricing in 2019.
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Both the Nikon Z7 and Sony a7R III feature 5-axis in-body image stabilization. When tested against one another at 24mm, 55mm and 200mm both cameras’ IS systems proved similarly useful. Users can expect around 2 to 3-stops IS advantage when shooting with wide angle lenses, 3 to 4-stops when using normal lenses and 4 to 5-stops when shooting with telephotos (helped by both cameras making use of in-lens IS at 200mm).
| 24mm | 55mm | 200mm | |
|---|---|---|---|
| Nikon Z7 | 2.3-stops | 4-stops | 4-stops |
| Sony a7 R III | 2.6-stops | 3.3-stops | 4.6-stops |
These results correlate pretty similarly to our Sony a7 III IS test. That camera is rated as being 0.5EV less well corrected than the a7R III, so it’s not surprising to see that it performed about 1 stop behind its high-res counterpart at 200mm.
Our standard image stabilization test is performed by shooting 10 frames of our test target, starting with a shutter speed of 1/focal length and working our way downward in intervals of 2/3-stops using a neutral density filter (to maintain the same aperture). The test is done at 24mm, 55mm and 200mm, since the challenges of stabilization change with focal length and exposure duration.
We first do this with IS on, and then with IS off. The images for both are then assessed to the following standard:
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| Excellent | Some softness |
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| Noticeable blur | Unusable |
1) Excellent – the best the camera is capable of
2) Some softness – only distinguishable from Excellent by comparison
3) Noticeable blur – blur can be perceived without reference to another image
4) Unusable – significant motion perceptible
After each frame is assessed, we plot the results in the graphs you see below. We then compare the lowest shutter speed at which the camera was able to maintain a 50% or greater hit rate with IS on and off at a given focal length (images that are acceptably sharp are those rated ‘Excellent’ or ‘Some softness’). This allows us to determine how effective the IS system is in real world shooting.
CIPA offers a good baseline to compare cameras, but CIPA tests tend to use focal lengths around 50mm (which are relatively easy to stabilize) and do not include any rolling motion, which can give very high numbers. For instance, the Sony a7R III’s in-body stabilization is quoted as offering a ‘5.5-stop shutter speed advantage,’ according to CIPA testing (the Nikon was rated at 5-stops). That suggests you can get usable shots, consistently, at 0.8 secs (5.3-stops below one over focal length), which we could not reproduce: at 1/2 sec (4.6-stops below) we were only about to get one usable shot in ten with IS on.
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24mm Equivalent
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55mm Equivalent
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200mm Equivalent
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| Stabilization On | Stabilization On | Stabilization On |
| Stabilization Off | Stabilization Off | Stabilization Off |
For 24mm and 55mm we tested the Z7 using the Z 24-70mm F4. At 200mm we used used an adapted Nikon 70-200m F2.8E FL ED VR.
At 24mm with IS on, the Z7 maintains a 60% acceptable hit rate at 1/5 sec and a 40% at 1/3 sec, which indicates 1/4 sec would likely be where it’d hit the 50% acceptable threshold. With IS off, the acceptable rate is 60% at 1/20 sec and plummets to 10% thereafter. The results indicate about a 2.3-stop IS advantage at 24mm.
With IS on, the 50% acceptable hit rate at 55mm should be 1/4 sec – the Z7 maintains an 80% acceptable rate at 1/5 sec and a 40% at 1/3 sec. With IS off, we weren’t able to hit the 50% acceptable threshold at 1 over the focal length (40%), but it’s safe to assume at a third a stop faster (1/60 sec), 50% should be manageable. 1/60 sec off vs 1/4 sec results in a 4-stop IS advantage at 55mm.
At 200mm, the Z7 maintained a 50% or greater hit rate down to 1/8 sec, our lowest speed on the graph. We pushed it an additional 2/3rds stop slower in testing (down to 1/5 sec) and found it dropped to a 30% hit rate. With IS off we were able to get 50% or greater usable down to 1/125 sec. The result is a 4-stop IS advantage at 200mm. This is helped by the use of a VR lens: Nikon says the pitch and yaw corrections are handled by the lens, where possible.
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24mm Equivalent
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55mm Equivalent
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200mm Equivalent
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| Stabilization On | Stabilization On | Stabilization On |
| Stabilization Off | Stabilization Off | Stabilization Off |
At 24mm we tested using the Sony 24-70 F4 OSS, at 55mm we used the Sony 55mm F1.8 and at 200mm we used the Sony 70-200mm F2.8 GM OSS.
At 24mm with IS on, the a7R III maintains a 60% hit rate down to 1/5 sec and 40% hit rate at 1/3 sec, meaning 1/4 sec is where it’s likely to hit the 50% threshold. With IS off this threshold is reached around 1/25 sec. This gives the a7R III about a 2.6-stop advantage at 24mm. Note that this result includes the use of a lens with its own stabilization (though sensor shift is usually better-suited to the corrections needed for wide-angle lenses).
At 55mm we opted to de-couple the Sony’s sensor IS from lens IS by using a non-stabilized lens (the same we tested on the a7 III). With stabilization on, the hit rate was 60% at 1/8 sec and 40% at 1/4 sec meaning 1/6 sec is the likely 50% point. We weren’t able to get a 50% hit rate with IS off at one over the focal length, but it’s safe to assume we would have by 1/60 sec (and surely by 1/80 sec). This gives us at least a 3.3-stop advantage at 55mm using sensor IS alone.
Like the Z7, we tested the a7R III at 200mm with IS on down to 1/5 sec. Good thing we did: it’s not until this speed that a7R III’s IS system also drops below the 50% acceptable threshold with 2 images rated ‘some softness.’ This means you can expect a 50% or greater hit rate down to 1/8 sec with IS on vs 1/200 sec with IS off, providing a 4.6-stops advantage at 200mm. Like the Nikon, this is helped by the use of a lens with IS, which is able to provide the large movements needed to correct long focal lengths.
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The votes have been tallied and final results are in! After first picking winners in six sub-categories, DPReview readers voted for their top gear of 2018 from a final selection of twelve outstanding lenses and cameras. Without further ado, here are the results of that selection process.
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With the third-highest number of votes, the Nikon Z7 earns a place as one of DPR readers’ favorite cameras of the year. It’s easy to see why: while there’s a little room for improvement, the Z7 packs excellent image quality and solid 4K video into a well-built package that’s a pleasure to shoot with.
Find out why it’s Barney’s
Gear of the Year too
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Fujifilm impressed a lot of folks with the X-T3 this year, ourselves included. Simply put, it’s one of the best hybrid stills/video cameras we’ve ever tested, and it clearly made an impression on a lot of our readers too as it earned the second-place position in our year-end poll.
Find out why we gave the Fujifilm X-T3 a Gold Award
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The third-generation of Sony’s entry-level full framer is a huge leap forward for the system. Autofocus has been improved, with Eye-AF in continuous AF a stand-out feature, and Sony has even tried to make sense of its menus at last. But overall it’s the all-round capability that makes the a7 III so good: it’ll turn its hand to almost anything that’s asked of it, meaning it’s an excellent camera almost regardless of your needs. We’re not surprised so many of you were as impressed as we were.
See how the a7 III stacks up against the Nikon Z6 and Canon EOS R
