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Gear of the Year 2018 – Richard’s Choice: Fujifilm’s 4K video cameras

My Gear of the Year pick relates to the photos I’ve most enjoyed taking and the ones I’m most proud of. I’ve chosen the kit I used to shoot my favorite images of the year: all 17,100 of them. Specifically two series of 8MP images. Shot at a rate of 23.97 frames per second.

Because, while I’ve been rather enjoying thinking in 1:1 terms for Instagram this year and have had a chance to engage with and shoot some experienced models in pre-lit setups, the thing I’ve enjoyed most of all this year has been shooting and editing 4K video from the Fujifilm X-H1 and X-T3.

The great outdoors

The first opportunity came in April, when I took some time off work to walk Hadrian’s Wall: the path of a Roman fortification that ran across the North of England. I had to choose a camera that I could carry on my back for five consecutive days, along with a week’s clothes and full wet-weather gear. This ruled out the GFX 50S because, while I thought it would be funny to haul a massive great medium format lump out of my bag every time I wanted to take a picture, it also struck me as the kind of joke that would wear thin pretty quickly.

When planning for my trip, I wasn’t sure what sorts of things I’d be shooting.

My next thought was the Sony a7 III. It’s a terrific camera for both stills and video, but the more I thought about which lenses to take, the more it started to creep towards GFX proportions (the Sony 35mm F1.4 is optically very good but it’s neither small, nor especially light).

The compromise ended up being the Fujifilm X-H1 paired with a 23mm F2 and 18mm F1.8. This little kit, plus a vari-ND filter, filter adapter so it would fit both lenses and a USB battery pack to keep both the camera and my phone alive during the trip, ended up being pretty convenient. Two card slots meant I could have a big, fast card dedicated to video and stills going to the other slot (perhaps the first time I’ve found this feature useful).

The X-H1 and a pair of lenses was light enough that I didn’t mind carrying it for five days.

The video I captured is somewhat shambolic: I’d not really decided whether I was going to shoot video or stick mainly to stills until the second day of the walk, by which stage I was a Transatlantic flight away from any of the audio equipment from the office and a day’s walk from anywhere I could buy some. The result is an audio track that’s primarily WHSSHHHSSSSSWUHWUHWUHHHHHHHHHind noise.

There were certainly times I wished for something wider than the 34mm equiv of an 18mm lens.

But the footage itself is better than I could have hoped for. Highlight warnings gave me enough information to exposure correctly and the camera’s stabilization meant I could shoot hand-held, so long as I didn’t try to pan (which the IS would try to fight against). But the levels of detail are stunning, even when downscaled for playback on a lower-res device.

It’s hard to argue with this level of detail (shot hand-held into a significant headwind).

The final result is too long, too rough and too personal to be shared here, but it’s ended up being an excellent memento of something I hope to remember for the rest of my life. Which presumably isn’t why the color mode is called Eterna, but still.

Back in Seattle

The video I shot with the X-T3 has things in common with my X-H1 project in that both depict events with an inherent narrative: The X-H1 video follows a path from Carlisle to Wallsend, and the X-T3 follows the creation of a sculpture from a roughly-shaped lump of clay through to being a finished, painted object. But beyond that, they couldn’t be more different. The X-T3 project was much more planned, in the sense that I went into it with a much clearer picture of what I wanted to shoot. I even remembered to think about audio for most of the shoot.

Without any in-body stabilization I had to teach myself how to use a handheld gimbal if I wasn’t going to be limited to tripod shots (itself an enjoyable process). But, unlike the X-H1, I was able to use the full width of the sensor. (I’d ended up using the 18mm lens for almost all of my UK video, since the X-H1’s 4K crop gives it a wide-ish 34mm equivalent field of view, leaving me without the wide and wide-ish combination I thought I’d packed). Moreover I felt much more able to trust the camera’s autofocus than I had with the older camera.

Again, I shot primarily in Eterna, but the T3 also gave me the option to shoot 10-bit Log, for the times I needed to capture more dynamic range, with the knowledge that Fujifilm provides an F-Log to Eterna LUT to make sure it matched the rest of my footage.

The final video is one of the best things I’ve done in any medium for quite some time, in part thanks to the lessons I’d learned on my UK trip.

To end the video I had the idea of a matched transition: lining-up the two shots I wanted to fade between.

Both are really good stills cameras, of course and I’ve had a number of positive experiences of shooting with them both. But it’s been the process of shooting and editing these two videos I’ve really enjoyed. For instance, I knew I wanted to start and finish the X-T3 video in a natural setting. I’d worked out the transition at the beginning, but I couldn’t work out how to get back again at the end. Having the idea of a matched transition (even if I’ve not edited it perfectly) was one of the single most satisfying creative moments I’ve had in a very long time.

I remain primarily a keen stills photographer, and both the X-H1 and X-T3 are superb stills cameras, as well as really capable video tools.

I still think of myself primarily as a keen amateur photographer. But after my experience along Hadrian’s Wall, my favorite cameras are increasingly the ones that make it easy for me to shoot some stills, grab some video, then go back to shooting stills. All the brands are getting better at this, but with the X-H1 and X-T3, Fujifilm got closest, first.

Articles: Digital Photography Review (dpreview.com)

December 21, 2018
3 Practical Tips to Improve Your Blue Hour Photography

The post 3 Practical Tips to Improve Your Blue Hour Photography appeared first on Digital Photography School. It was authored by Nisha Ramroop.

Most people are familiar with the term Golden Hour – used to describe that time just after the sun rises or just before it sets. The light is soft, extraordinary and sought out by many. However, if you pack up your gear when the sun drops below the horizon, you are missing out on another magical time!

Also known as twilight, Blue Hour refers to that time of the day just before or after the Golden Hour. Depending on your location, it may be shorter (or longer) than an hour but happens before sunrise or after sunset. If you want to capture images of this amazing time of day, here are a few tips to help you get started.

1. Timing is everything

There is a unique quality of light available at blue hour. The sky has a vivid hue of blue and purple. Perhaps even hints of your fallen sunset, cresting sunrise colors: yellow, orange and red. In either case, the sun is below the horizon, but its light is indirect and still visible. If you are shooting cityscapes after sunset, wait for the lights to come on and for the sky to darken a little, so you can shoot longer exposures.

As mentioned above, depending on your location your Blue “Hour” will vary. If you are closer to the equator, both the Golden and Blue “Hours” are shorter. Similarly, you have more shooting time when further away from the equator. Blue Hour times vary by season and, depending on the time of year and location, may not even occur immediately before or after the Golden Hours. There are locations where blue hour happens up to forty-five minutes after sunset!

When in an unfamiliar environment (e.g. traveling), one option is to get there early and wait. There are also apps and websites available to help you determine Blue Hour based on location. If you use the latter, scouting your environment beforehand still proves useful.

2. Keep it steady

Same location as above, but at a different time of the year

You may get away with shooting sunrises and sunsets without a tripod, but it is non-negotiable for blue hour. This is especially true if you want to shoot cityscapes with a smaller aperture (to get those beautiful starbursts). A tripod is a must for long exposures and allows you to shoot at lower ISOs, thus reducing noise in your images.

You can further reduce camera shake by using a remote shutter release. This useful gadget helps you minimize touching the camera. If you do not have a remote, use your camera’s timer, so that the image is taken a few seconds after you press the shutter button.

Bonus tip: Long exposures use more battery power, so pack a few spares.

3. What settings?

There is some flexibility when it comes to Blue Hour photography, depending on your subject.

If you are shooting a cityscape or skyline, most likely you want to keep your buildings sharp. In an image like this, your depth of field (f-number) will determine your settings. You can start at f/8 and go higher – keeping in mind that a higher f-number means a slower shutter speed.

If you are shooting light trails from cars against your blue sky, your shutter speed will determine your settings. This interesting subject comes to life with slower shutter speeds. On the other hand, if you want to freeze action in your Blue Hour, you need faster shutter speeds. Due to the lower light available during Blue Hour, this may mean shooting at lower f-numbers and increasing your ISO.

Conclusion

Blue hour is a beautiful part of the day that is often overlooked for the more popular Golden Hour. It is an amazing time to experiment with different captures and challenge yourself to work quickly in your limited “hour”. Plan ahead and envision your outcome, so you can maximize this time of day. Cityscapes and other subjects can come alive due to the unique quality of light available. Experiment, have fun and share some of your Blue Hour photography below.

The post 3 Practical Tips to Improve Your Blue Hour Photography appeared first on Digital Photography School. It was authored by Nisha Ramroop.

Digital Photography School

December 21, 2018
Day 4 Delivery from The Photography Express
The post Day 4 Delivery from The Photography Express appeared first on Digital Photography School. It was authored by Darren Rowse.

Regardless how we celebrate this time of year, we generally want to spend time with the people we care about. Which makes for excellent, and sometimes rare, opportunities to capture those memories.

Today’s deals from The Photography Express will hopefully provide everything you need to learn about taking family photos (hold the awkward) and amazing portraits of friends and loved ones. Say no to poorly lit or composed shots that will never make it into a photo frame or quirky family calendar.

Want to go straight to the deals?
- Choose from our entire Portrait Photography collection up to 60% off
- Grab the Dynamic Natural Light Set-Up Mini Course for just $ 9.99 (save 80%)
Deal #7 Massive dPS Portrait Photography Sale

Everything you need to take amazing portraits in the Holidays and New Year! Pick and choose to create your own Portrait Photography Bundle with up to 60% off our portrait collection. There’s a video course, presets, and eBooks from top professional photographers from just $ 9. Already have a few? Then just grab the ones you don’t!

Save 50- 60% for the next 24 hours only! Offer ends 03:00AM PST Friday 21st December.

Shop the collection now

Deal #8 Dynamic Natural Light Set-Up Mini Course with Cole’s Classroom

The “missing link” to giving you jaw dropping, powerful natural light photos. Discover how Marissa transforms ordinary, flat and boring natural light indoors to powerful, flattering and beautiful light that anyone can learn how to set-up.

Valued at $ 59 you can grab the Dynamic Natural Lighting Behind the Scenes + Complete Set-Up Video (Downloadable) + Quick Guide with Lighting Diagrams, Gear Used, How to Set-Up & More (PDF) for just $ 9.99.

Just $ 9.99 (Save 80%) for the next 24 hours only! Offer ends 03:00AM PST Friday 21st December.

Grab this deal now

Have fun implementing what you learn to take gorgeous portraits these holidays and beyond.

Both deals come with money back guarantees (dPS 60 days and our trusted partner Cole’s Classroom 30 days), so you can easily buy now to secure the deal and if you don’t think they’re for you, you’ll get refunded.

Don’t miss the next two deals – sign up here for The Photography Express!

Disclosure: We receive a commission from our partners if you buy via our promotion, but it is at no cost to you. In fact, you’re getting an even better price than usual!

The post Day 4 Delivery from The Photography Express appeared first on Digital Photography School. It was authored by Darren Rowse.

Digital Photography School
December 21, 2018
The 10 most inspiring drone images of 2018

The 10 most inspiring drone images of 2018

Thanks to camera drones, it’s easier than ever to capture stunning photos from an aerial perspective. Whether through careful planning, or clever editing to create interesting art, drones can be used to push the boundaries of creativity. Here, we present the 10 drone images that inspired us most this year.

Above: Reuben Wu

This image is part of musician and artist Reuben Wu’s Lux Noctis series. Taken in the Vermillion Cliffs of Arizona at night, Wu used a drone with a powerful DIY LED light attached to it to achieve a halo effect above the peaks.

He set up a digital medium format camera positioned high up from across the pinnacles. A single drone was used so he could operate the camera and flight simultaneously.

Fabien Barrau

French photo editor and photographer, Fabien Barrau, mixes photos taken with his DJI Mavic Pro and stock images to create landscapes that oscillate between reality and fantasy.

Inspired by the phenomenon of pareidolia, he creates animal faces within the elements of the landscape. Barrau spent more than 60 hours in Photoshop to realize this image of the night owl.

Martin Sanchez

What’s most remarkable about this image of a group of hippos, taken in Tanzania with a Mavic 2 Pro, is that a drone is the only possible tool that can capture these animals in such close proximity, from above, without disturbing their natural habitat.

Mole Media

Danny, an Australian-based remote pilot from Mole Media, was inspired by legendary photographer Demas Rusli who created a similar image.

He used a Mavic Pro for his take on a classic, found an intersection in Penrose State Forest, shot in RAW, and used Photoshop to individually recreate the seasons and add different layers of objects and clouds. The result, a 4 seasons in 1 day illusion.

Reed Plummer

Reed Plummer happened to capture this school of salmon in perfect circular formation, no post-processing needed. The image was captured on the coast line of Wamberal Beach in New South Wales.

Marc Le Cornu

Marc Le Cornu used a DJI Phantom 4 Pro with an ISO of 100 at 1/1000 shutter speed and f/8 aperture. He wanted to catch his local ferry in full flight for ages, so after some careful timetable planning, he flew from a rocky point close to the shipping lane and managed to race out to get in position as the ferry approached.

There was only one chance to capture the perfect top down due to the speed of the ship. When he initially edited the shot in Lightroom, he thought it resembled a starship. That sparked the idea of creating the illusion of a rocket blasting into space. The final image was created in Photoshop, adding a few stars and lens flare.

Henry Do

Using a Mavic Pro Platinum, Henry Do shot a series of images using Automatic Exposure Bracketing. This process of capturing these shots starts with a horizontal scene at a straight angle, followed by repeatedly turning the lens down slightly and shooting, repeating the process until the camera is pointing down at 90 degrees.

Do uses a combination of Lightroom and Photoshop to merge these images into a portrait, splits individual images, such as day and night in this view of Barcelona, and merges them again to create this effect.

Micah Fitch

Micah Fitch perfectly captured this image of a recent Space X launch with an Inspire 2, Zenmuse X5S, and the 25mm f/1.8 Olympus lens (50mm equivalent on the X5S’s M43 sensor). He took 3 shots as quickly as possible in the 4:3 aspect ratio and stacked them vertically, overlapping about 30% from shot to shot.

The goal was to also frame the Huntington Beach Pier in the foreground to add a sense of scale. Micah combined 3 RAW files using Lightroom’s panorama mode, matching the exposures up. The overall intention for this image was to edit it so it would mirror what he saw with his own eyes.

Costas Spathis

Costas Spathis created this image with a Mavic Pro. The settings he used were ISO 100, shutter 320, and a f/4 aperture. The original capture was a simple line of ships located in a calm Marina in Greece.

To create this particular illusion, Spathis used a tool called Polar Coordinates in Photoshop. Much of his work is inspired by the sea and his love of symmetry.

Kristina Makeeva

Moscow-based photographer Kristina Makeeva creates magic with her images, many where she relies heavily on Photoshop to produce surreal effects.

What makes this image particularly remarkable, besides the fact that she placed one person with a yellow raincoat in the center of a fall-color-lined street for a striking, unique composition is that she used Automatic settings on her Phantom 4 with minimal editing. This image was taken in Ontario, near Toronto, Canada.

Articles: Digital Photography Review (dpreview.com)

December 21, 2018
5 Ways to Apply Artistic Expression for Memorable Photography

The post 5 Ways to Apply Artistic Expression for Memorable Photography appeared first on Digital Photography School. It was authored by Jeremy Flint.

Rickshaw rider, Kathmandu, Nepal © Jeremy Flint

Photography can be a wonderful way to express your creativity and artistic flair. Artistic expression is all about you and allowing yourself the freedom in your photography to satisfy your visual curiosity. Fundamentally, it is a means to fuel your imagination and a way of being artful, according to your mood. The subject matter is entirely your choice, whether you decide to capture wildlife, landscapes, architecture or abstract scenes.

You can apply photography techniques that inspire you, from motion blur to creative arrangements. Alternatively, work with what you find.

Here are 5 ways you can use artistic expression in your photography to capture some memorable shots:

1. Sharpness and blur

Freezing the action of your chosen subject can be achieved with short exposure times and result in sharper images. Photography doesn’t have to be about capturing the beauty of a scene in its sharpest and most natural form. You can be playful in your creations and apply a bit of artistic blur from time to time. Adding artistic blur is a great way to put some art and movement into your photographs.

Sharp images are dynamic and provide an obvious and real static representation of a scene. However, using blur can make an image more compelling. Using a slower shutter speed helps to provide motion and movement to photographs while adding drama and vitality.

Hyena Pan, Tanzania © Jeremy Flint

2. Light trails at night

At nighttime, as darkness falls, lights come on and provide excellent subjects to capture. Roads become lit by light trails from vehicles that give unique patterns.

© Jeremy Flint

Fairgrounds are great for artistic shots. This is due to their unique atmosphere, as well as the fairground’s color and excitement. Be inventive and artistic in your approach to capturing these scenes. Look for elements such as the vibrant and attractive Christmas lights and car light trails as shown in the image below.

London Xmas Lights © Jeremy Flint

3. Shoot a silhouette

While many shots taken during daylight hours tend to show all details in an image, get creative by shooting a silhouette. You can achieve a silhouette by mainly photographing a subject’s outline and making it featureless against a bright background.

Stonehenge, Wiltshire, UK © Jeremy Flint

In the image example here, I have used the famous landmark of Stonehenge in the UK with a vibrant sky behind. Make sure you choose a strong subject for a silhouette such as the distinct shape of a person or animal. The best way to shoot a silhouette is to position your subject in front of a bright background and to expose for the background, rendering your subject dark and underexposed.

© Jeremy Flint

Silhouettes are an interesting way to convey drama and energy into your images and makes them stand out.

4. Shoot an abstract

Abstract photography can be made up of several characteristics. Usually, abstraction takes place when a photographer focuses on a section of a natural scene isolating it from its context. This could be a color, texture, line, shape, geometry, symmetry or reflection of a scene. The photographer changes our perception of the real and familiar subject or object. The viewer doesn’t immediately recognize it.

Abstraction facilitates a move away from the specific, the concrete and the obvious. You achieve abstraction by isolating, or eliminating an object and its texture, shape, and form. Color and tones can become strong elements in an abstract photograph.

Slot Canyon, Arizona, USA © Jeremy Flint

Details can be used to create abstract photographs by moving closer to our subjects. Alternatively, you can achieve abstraction through movement. Through subject motion, photographer motion, camera movement or a combination of any of these, information gets reduced, and impressions are created. For example, moving the camera upwards or downwards when photographing trees leaves behind colors, patterns, and lines.

5. Find patterns

Patterns are a wonderful way to add interest to your abstract photography. Our day to day visual life consists of patterns, shapes, and textures that evoke a certain mood or atmosphere.

We are visually drawn to patterns because they provide us with a graphic element that looks appealing and interesting.

© Jeremy Flint

Photographing patterns can make for good compositions. For example, you could show a small area of a broader subject. Macro lenses can be used to get in close and add more interest.

Conclusion

Learning to apply artistic expression in your photos can be a great way to create intriguing and unusual images that make a viewer stop and think about your image. Try out the 5 techniques outlined above and share your images with us below.

The post 5 Ways to Apply Artistic Expression for Memorable Photography appeared first on Digital Photography School. It was authored by Jeremy Flint.

Digital Photography School

December 21, 2018
Sony fixes data loss issues with firmware v2.10 for a7 III, a7R III cameras
In October 2018, Sony released firmware version 2.0 for its a7 III and a7R III mirrorless cameras. Two months later, in early December, firmware version 2.0 was removed from Sony’s website unexpectedly, due to an issue where some users were experiencing lost data when using an SD card that had already been used multiple times.

Specifically, Sony cited the following reasons for pulling firmware version 2.0 for the a7 III and a7R III cameras:
1. In rare cases, your ?7R III or ?7 III model may stop functioning while writing RAW data onto an SD card that has already been used multiple times.
2. With the ?7R III, taking a picture while using the Auto Review function may occasionally cause the camera to stop responding.
At the time of the firmware removal, Sony said it would ‘provide updated system software addressing the above issues in mid-December.’ Well, mid-December is here and as promised, Sony has released an update fixing the aforementioned issues.

Firmware version 2.10 features the same upgrades and features as firmware version 2.0, while addressing the data loss and Auto Review issues that plagued the update.

Users can upgrade to firmware version 2.10 for the a7 III (Windows, macOS) and a7R III (Windows, macOS) mirrorless cameras on Sony’s website.

Articles: Digital Photography Review (dpreview.com)
December 21, 2018
Rogue drones cause chaos at London’s Gatwick international airport

Aircraft stands at the North Terminal — Martin Roell from Berlin, Germany CC BY-SA 2.0

London’s Gatwick airport has been in a state of perpetual disruption since Wednesday, December 19, after ‘rogue drones’ forced officials to close down the runways. According to Transport Secretary Chris Grayling, the drones would reappear each time officials attempted to reopen the runaway, leaving the airport in a state of ‘chaos.’

Grayling explained to the press that officials were dealing with a ‘very serious ongoing incident in which substantial drones have been used to bring about the temporary closure of a major international airport.’

Gatwick was forced to ground flights around 4PM ET / 2100 GMT after two drones were seen flying in the airport’s airfield. More than 20 police units are searching for the individual(s) responsible for the drones, according to Reuters, and The Guardian now reports that Army officials have responded to aid with the situation.

Eurocontrol, the European aviation agency, at this time states that Gatwick will not reopen until 10PM local time at the earliest. Though police sharpshooters are on site, they were not authorized to shoot down the drones due to the risk of a stray bullet causing injury. Tens of thousands of passengers traveling over the holiday season have been impacted by the closure and more than 800 flights have been cancelled.

Gatwick airport chief executive Stewart Wingate has released a statement on the matter, saying in part:

Although not for today, these events obviously highlight a wider strategic challenge for aviation in this country which we need to address together with speed – the aviation industry, Government and all the other relevant authorities. It cannot be right that drones can close a vital part of our national infrastructure in this way. This is obviously a relatively new technology and we need to think through together the right solutions to make sure it cannot happen again.

Nations around the world have scrambled to develop regulations covering consumer drones and the potential risks they pose, including possible damage to commercial aircraft. Many countries have restricted the use of drones in the airspace near and above airports to avoid collisions during takeoff and landing.

Earlier this year, the University of Dayton Research Institute published a controversial video showing the damage a small drone caused to an airplane wing in a simulated environment. Though there haven’t been any substantial incidents resulting from drone-plane collisions, there was a helicopter crash earlier this year that may have resulted from a wayward drone.

A number of methods for deterring and capturing unauthorized drones have been developed, but few are in use. Existing methods include net-based drone take-down launchers and systems that disrupt a drone’s ability to communicate with its operator. No single, universal, rapidly deployable system has been developed, however.

Articles: Digital Photography Review (dpreview.com)

December 21, 2018
Google photos expands album limit to 20,000 photos and videos

In early October this year Google announced Live Albums for Google Photos. Live Albums is an automated way of creating albums in your Photos accounts. The system is capable of identifying specific people and pets in your images and moving them into dedicated albums, without the need for any user interaction.

However, it seems with the new feature the limit of 10,000 images and video per album was way to low. Turns out, people take a lot of pictures and videos of their favorite people and pets.

Thankfully the limit has now been bumped up and family or pet albums, as well as all other albums, can now contain up to 20,000 image and video files. The change has been confirmed by Google to Android Police and documented in the support pages.

The new limit should prevent the need to remove content for a while, but in the event space is at a premium, users can choose to exclude older photos in the album creation process to fee up a little space.

Articles: Digital Photography Review (dpreview.com)

December 20, 2018
Nikon AF-S NIKKOR 500mm F4 D II ED lens with rare grey color appears on eBay

A new eBay listing details a rare grey Nikon AF-S NIKKOR 500mm F4 D II ED lens in ‘very good’ condition with included case and accessories. According to the auction listing, the lens is fully functional with only ‘minimal to moderate’ signs of use on the barrel. ‘The glass is clean,’ according to the seller midwestphotoexchange, an authorized Nikon seller with a 99.8% positive rating with more than a thousand transactions. ‘The aperture blades are oil and corrosion free, and their action and control are snappy.’

The lens features the Nikon F mount and is compatible with all of the company’s SLR and DSLR models, though the seller warns it won’t meter on camera bodies made before 1977. The telephoto lens was manufactured in Japan at an unknown date and notably features a grey body overlaid with a prominent, bright red Nikon logo.

The lens is offered with a CT-502 hard case, HK-28 lens hood, both the front cover and rear cap, lens and case straps, and an extra drop-in filter holder. The seller, who will ship the item from Columbus, Ohio, is offering the lens bundle on eBay with the Buy it Now price of $ 3,995 USD, though the listing also allows interested buyers to make an offer on the item.

Articles: Digital Photography Review (dpreview.com)

December 20, 2018
Why we haven’t taken a stance on in-body stabilization vs OIS – and why that has changed

DPReview has never taken sides in the row over whether image stabilization should be provided in-body or in the lens. But we’ll now list the absence of in-body stabilization as a Con in our camera reviews. We’ll explain what’s happened to change our stance.

For at least the last decade, our internal policy has been to have no preference between in-body and in-lens stabilization. It’s an approach that was sometimes seen as fence-sitting but was driven by two logical precepts:

Our primary reasoning was based on our guiding principal that it makes more sense to concentrate on the photographic impact, rather than which technology was used. For many years, a majority of users bought DSLRs that came with a stabilized lens and had essentially the same experience as those users who bought a camera body with stabilization. The in-body advocates talked a good game about ‘every lens being stabilized’ but we didn’t hear reports from thousands of distraught DSLR buyers wondering why their shots were blurry.

There are genuine advantages and disadvantages to both approaches

Secondly, there are genuine advantages and disadvantages to both approaches. As a broad generalization, in-body stabilization does a better job of correcting the translational movements that affect close-up and wide-angle photography, while in-lens designs cope better with the large pitch and yaw corrections needed with long focal lengths. So why would we give credit for one and ignore the benefits of the other?

The result was close enough to a wash that we felt it was inappropriate to have a preference.

So what’s changed?

That’s now changed, again for two main reasons. The first is prevalence: for our review Pros and Cons, we tend to recognize a new feature as a Pro if it’s rare or exceptional but then acknowledge its absence as a shortcoming, once it’s become a common (and hence expected) feature. So, for example, we started off seeing USB charging as a ‘Pro’ (with an associated ‘Con’ if it was used as an excuse to leave an external charger out of the box), when it first appeared. But, now that it’s become commonplace, it’s the absence of USB charging that would be seen as a negative.

Now that Ricoh, Olympus, Panasonic, Sony, Fujifilm and Nikon all offer in-body IS on at least some of their interchangeable lens cameras, its omission starts to look like a factor we should highlight to would-be buyers.

The second factor is the growth in importance of video. There may have been little difference in performance between in-lens and in-body stabilization when it came to stills, but the same can’t be said for video. Watch TV or movies and you’ll see all sorts of camera movements, but what you won’t tend to see is roll: left-and-right rotations that cause the horizon to tilt. In-lens stabilization can correct for pitch and yaw but it can’t correct for roll: which gives in-body stabilization an immediate advantage.

There may have been little difference in performance between in-lens and in-body stabilization when it came to stills, but the same can’t be said for video

We’ll still test each camera to see how well its IS works: our approach of assessing effect, rather than technology means we’ll check whether digital stabilization in concert with in-lens stabilization provides a good degree of correction. But don’t be surprised if you see Cons highlighting the lack of in-body stabilization in our future reviews.

Articles: Digital Photography Review (dpreview.com)

December 20, 2018