Google has shared an article on its AI Blog that dives into the intricacies of the HDR capabilities of its most recent Pixel devices. In it, Google explains how its HDR+ with Bracketing technology works to capture the best image quality possible through clever capture and computational editing techniques.
To kick off the article, Google explains how its new ‘under the hood’ HDR+ with Bracketing technology — first launched on the Pixel 4a 5G and Pixel 5 back in October — ‘works by merging images taken with different exposure times to improve image quality (especially in shadows), resulting in more natural colors, improved details and texture, and reduced noise.’
Using bursts to improve image quality. HDR+ starts from a burst of full-resolution raw images (left). Depending on conditions, between 2 and 15 images are aligned and merged into a computational raw image (middle). The merged image has reduced noise and increased dynamic range, leading to a higher quality final result (right). Caption and image via Google.
Before diving into how the behind-the-scenes work is done to capture the HDR+ with Bracketing images, Google explains why high dynamic range (HDR) scenes are difficult to capture, particularly on mobile devices. ‘Because of the physical constraints of image sensors combined with limited signal in the shadows […] We can correctly expose either the shadows or the highlights, but not both at the same time.’
Left: The result of merging 12 short-exposure frames in Night Sight mode. Right: A single frame whose exposure time is 12 times longer than an individual short exposure. The longer exposure has significantly less noise in the shadows but sacrifices the highlights. Caption and image via Google.
Google says one way to combat this is to capture two different exposures and combine them — something ‘Photographers sometimes [do to] work around these limitations.’ While this works fairly well with cameras with larger sensors and more capable processors inside tablets and laptops to merge the images, Google says it’s a challenge to do on mobile devices because it requires ‘Capturing additional long exposure frames while maintaining the fast, predictable capture experience of the Pixel camera’ and ‘Taking advantage of long exposure frames while avoiding ghosting artifacts caused by motion between frames.’
Google was able to mitigate these issues with its original HDR+ technology through prioritizing the highlights in an image and using burst photography to reduce noise in the shadows. Google explains the HDR+ method ‘works well for scenes with moderate dynamic range, but breaks down for HDR scenes.’ As for why, Google breaks down the two different types of noise that get into an image when capturing bursts of photos: shot noise and read noise.
Google explains the differences in detail:
‘One important type of noise is called shot noise, which depends only on the total amount of light captured — the sum of N frames, each with E seconds of exposure time has the same amount of shot noise as a single frame exposed for N × E seconds. If this were the only type of noise present in captured images, burst photography would be as efficient as taking longer exposures. Unfortunately, a second type of noise, read noise, is introduced by the sensor every time a frame is captured. Read noise doesn’t depend on the amount of light captured but instead depends on the number of frames taken — that is, with each frame taken, an additional fixed amount of read noise is added.’
Left: The result of merging 12 short-exposure frames in Night Sight mode. Right: A single frame whose exposure time is 12 times longer than an individual short exposure. The longer exposure has significantly less noise in the shadows but sacrifices the highlights. Caption and image via Google.
As visible in the above image, Google highlights ‘why using burst photography to reduce total noise isn’t as efficient as simply taking longer exposures: taking multiple frames can reduce the effect of shot noise, but will also increase read noise.’
To address this shortcoming, Google explains how it’s managed to use a ‘concentrated effort’ to make the most of recent ‘incremental improvements’ in exposure bracketing to combined the burst photography component of HDR+ with the more traditional HDR method of exposure bracketing to get the best result possible in extreme high dynamic range scenes:
‘To start, adding bracketing to HDR+ required redesigning the capture strategy. Capturing is complicated by zero shutter lag (ZSL), which underpins the fast capture experience on Pixel. With ZSL, the frames displayed in the viewfinder before the shutter press are the frames we use for HDR+ burst merging. For bracketing, we capture an additional long exposure frame after the shutter press, which is not shown in the viewfinder. Note that holding the camera still for half a second after the shutter press to accommodate the long exposure can help improve image quality, even with a typical amount of handshake.’
Google explains how its Night Sight technology has also been improved through the use of its advanced bracketing technology. As visible in the illustration below, the original Night Sight mode captured 15 short exposure frames, which it merged to create the final image. Now, Night Sight with bracketing will capture 12 short and 3 long exposures before merging them, resulting in greater detail in the shadows.
Capture strategy for Night Sight. Top: The original Night Sight captured 15 short exposure frames. Bottom: Night Sight with bracketing captures 12 short and 3 long exposures. Caption and image via Google.
As for the merging process, Google says its technology chooses ‘one of the short frames as the reference frame to avoid potentially clipped highlights and motion blur.’ The remaining frames are then aligned with the reference frame before being merged.
To reduce ghosting artifacts caused by motion, Google says it’s designed a new spatial merge algorithm, similar to that used in its Super Res Zoom technology, ‘that decides per pixel whether image content should be merged or not.’ Unlike Super Res Zoom though, this new algorithm faces additional challenges due to the long exposure shots, which are more difficult to align with the reference frame due to blown out highlights, motion blur and different noise characteristics.
Left: Ghosting artifacts are visible around the silhouette of a moving person, when deghosting is disabled. Right: Robust merging produces a clean image. Caption and image via Google.
Google is confident it’s been able to overcome those challenges though, all while merging images even faster than before:
‘Despite those challenges, our algorithm is as robust to these issues as the original HDR+ and Super Res Zoom and doesn’t produce ghosting artifacts. At the same time, it merges images 40% faster than its predecessors. Because it merges RAW images early in the photographic pipeline, we were able to achieve all of those benefits while keeping the rest of processing and the signature HDR+ look unchanged. Furthermore, users who prefer to use computational RAW images can take advantage of those image quality and performance improvements.’
All of this is done behind the scenes without any need for the user to change settings. Google notes ‘depending on the dynamic range of the scene, and the presence of motion, HDR+ with bracketing chooses the best exposures to maximize image quality.’
Google’s HDR+ with Bracketing technology is found on its Pixel 4a 5G and Pixel 5 devices with the default camera app, Night Sight and Portrait modes. Pixel 4 and 4a devices also have it, but it’s limited to Night Sight mode. It’s also safe to assume this and further improvements will be available on Pixel devices going forward.
You can read Google’s entire blog post in detail on its AI blog at the link below:
The post The 3 Must-Have Camera Lenses Every Photographer Should Own appeared first on Digital Photography School. It was authored by Guest Contributor.
What are the essential camera lenses every photographer must have?
In this article, I’m going to share the three key lenses that no photographer should be without. These recommendations come from personal experience; I rely heavily on these three lenses in my own photography.
They offer enough versatility to shoot in almost any situation, and they’re available for just about every camera system and lens mount on the market, from DSLR to mirrorless, from Nikon to Sony.
So if you’re ready to discover the must-have camera lenses for every photographer, let’s dive right in, starting with…
1. The general-purpose zoom
A general-purpose (standard) zoom goes from around 18mm to 70mm. At the wide end, you get an expansive field of view for environmental shots. And at the long end, you get a field of view close to that of the human eye.
These zooms are hugely popular and come in many shapes and sizes. For instance, you can grab an 18-55mm kit lens or a (more expensive) 24-70mm lens.
Out of all my lenses, a standard zoom sits on my camera the most. It lets me shoot fairly wide while also offering decent zoom for objects off in the distance. You can shoot landscapes at 18mm, environmental portraits at 24mm, street shots at 50mm, and tighter portraits in the 60mm+ range.
Ideally, your general-purpose zoom packs a wide maximum aperture for low-light shooting and precise depth of field control (f/2.8 is best, but f/4 also works). Of course, if you can’t yet afford a wide-aperture zoom, that’s okay; a standard kit lens will work fine in most situations.
Consider these general-purpose zooms from Canon:
Canon EF-S 18-55mm f/4-5.6 IS STM
Canon EF 24-70mm f/4L IS
Canon EF 24-70mm f/2.8L II USM
Canon RF 24-70mm f/2.8L IS USM
These general-purpose zooms from Nikon:
Nikon AF-S DX 18-55mm f/3.5-5.6G II
Nikon AF-S 24-70mm f/2.8G
Nikon Z 24-70mm f/2.8 S
Nikon Z 24-70mm f/4 S
And these general-purpose zooms from Sony:
Sony 16-50mm f/3.5-5.6 OSS
Sony 24-70mm f/2.8 GM
Sony 24-70mm f/4 Vario-Tessar OSS
2. The macro lens
A macro lens lets you get up close and personal to your subject so you can capture stunning details of insects and flowers – as well as close-ups of clothing, jewelry, and more.
Note that the length of your macro lens isn’t as important as its magnification capabilities (a 1:1 magnification ratio or higher is best; it’ll let you get insanely close to your subjects).
I currently keep a 50mm f/2.8 macro in my bag because it’s small and light. I carry it around with me all the time, and when I need it, I whip it out for a detail shot or two. My macro lens also doubles as a decent portrait lens (it’s very sharp and the f/2.8 maximum aperture provides a shallow depth of field). And the level of detail you can get when shooting objects up close is fantastic.
Having a macro lens opens up a whole new world of tiny objects to photograph. Also, if you do any type of product photography (jewelry, food, etc.), this lens will allow you to capture a much greater level of detail than is possible with non-macro lenses.
Consider these macro lenses from Canon:
Canon EF 100mm f/2.8L IS Macro
Canon RF 85mm f/2 Macro IS STM
Canon EF-S 35mm f/2.8 Macro IS STM
These macro lenses from Nikon:
Nikon AF-S Micro 60mm f/2.8G
Nikon AF-S Micro 105mm f/2.8G VR
And these macro lenses from Sony:
Sony 90mm f/2.8 Macro G OSS
Sony 30mm f/3.5 Macro
3. The telephoto zoom
The most useful telephoto zooms span from around 70mm to 200mm – so you can capture standard field of view shots on the wide end and tight shots on the long end.
For instance, you might shoot full-body portraits at 70mm, tighter landscapes at 150mm, and headshots at 200mm. You can also use a 70-200mm lens to photograph sports, architecture, weddings, and more.
Regarding the maximum aperture: f/4 is acceptable and will get you decent low-light capabilities plus a shallow depth of field (especially when shooting at 200mm). But an f/2.8 maximum aperture is the holy grail of 70-200mm lenses; the depth of field is gorgeous at f/2.8, plus you can shoot indoors for basketball games, wedding ceremonies, graduations, etc.
The wider aperture will also let you shoot at faster shutter speeds so you can capture moving subjects such as birds and other wildlife. And a 70-200mm lens is a handy portrait lens; the focal length minimizes distortion and narrows the field of view to fill the frame with your subject.
So check out these telephoto zooms from Canon:
Canon RF 70-200mm f/2.8L IS
Canon RF 70-200mm f/4L IS
Canon EF 70-200mm f/2.8L IS III
Canon EF 70-200mm f/4L IS II
These telephoto zooms from Nikon:
Nikon Z 70-200mm f/2.8 S
Nikon AF-S 70-200mm f/2.8E VR
Nikon 70-200mm f/4G VR
And these telephoto zooms from Sony:
Sony 70-200mm f/2.8 GM OSS
Sony 70-200mm f/4 G OSS
Wait, what about…?
I am sure that many of you reading this have other lenses you would consider essential.
For instance, a fast 50mm prime is great for portraits and street shots. A wide-angle zoom is perfect for landscape, architecture, and environmental portraits. A longer zoom lets you capture ultra-tight landscapes, birds, wildlife, and sports.
And it’s true:
All of those lenses are great to own.
But I’m trying to give you the three lenses that are most useful for every photographer, including folks who are new to photography or who have just bought their first camera.
And if you’re new to photography, these three lenses will give you the versatility to shoot in almost any situation.
You can use them for:
Family gatherings
Sports
Wildlife
Insects
Flowers
Landscapes
Events
Street scenes
Portraits
Then, once you hone in on the type of photography that most interests you, you might find that other lenses are essential for that specific subject – but until then, these are the lenses you should be carrying.
3 must-have camera lenses: conclusion
Well, there you have it:
The three camera lenses that every photographer should have, especially when starting out.
If you already own these lenses, great! And if not, consider adding them to your wish list.
Now over to you:
What lenses would you include on your own must-have lens list? Share your thoughts in the comments below!
About the author: Chris Folsom is a hobbyist photographer who spends much of his time photographing abandoned buildings. His photos have been published in newspapers and on numerous websites.
The post The 3 Must-Have Camera Lenses Every Photographer Should Own appeared first on Digital Photography School. It was authored by Guest Contributor.
The annual Sony World Photography Awards is one of the world’s most reputable competitions for creatives. DPReview makes it a point to cover every announcement. Over the course of the past year, over 330,000 images were submitted to its myriad of contests covering contemporary events and issues. A documentary, produced by Chocolate Films, showcasing the winning images, as well as the stories behind them, was recently released.
Hosted by British stand-up comedian and art historian Jacky Klein, who curiously stated that submissions came in from over 200 countries (she possibly meant territories as well), A Year in Photos from Sony World Photography Awards 2021 features imagery, behind-the-scenes takes, and interviews from some of the award-winning photographers. Some of the jurors also share what they love about a particular photographer’s style the most.
Winning imagery addresses how some people believe the novel Coronavirus was a conspiracy.
Naturally, a good deal of imagery discussed in the hour-long film cover the impact of climate change and the pandemic. As winning photographer Coenraad Heinz Torlage stated early on in the film, ‘I think photography is a powerful medium to speak for those who can’t speak for themselves.’ A Year in Photos from Sony World Photography Awards 2021 can be viewed in its entirety above or here.
The post Weekly Photo Challenge – Phones Only appeared first on Digital Photography School. It was authored by Sime.
Controversial, Simon! But you have to admit that, at some point, you’ve made a photograph with a phone – or you haven’t and that’s OK, too.
Use the hashtag #dPSPhonesOnly when you post on social media to help us see your photos! You can post here in the comments, (instructions down the bottom) or you can join and post over in our Facebook group if you like!
For this challenge, we’d like to see the BEST photo you’ve ever taken on your phone! It can be one you’ve taken at any time in the last year, or it can be a new one you make specifically for this challenge!
Remember, photography doesn’t need to be only ever with the highest resolution camera or the most expensive lens, learning comes in all shapes and sizes!
Point Lonsdale – Australia
Sometimes we use them for documentation, sometimes just because we don’t have a camera-camera with us, whatever the reason, as opposed to what a few muttered when phones started seeing better resolution cameras, I think they’re here to stay!
Swan Bay – Queenscliff
Right then! Some admin, first things first! If you’ve missed any of our previous challenges, you’re welcome to go back and do them all, brush up on your skills or just find some inspiration in the comments that others have posted with their photographs – find them here
And here is a mini-tutorial on how to post your images in the comments below.
How do I upload my photo to the comments?
Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them.
The post Weekly Photo Challenge – Phones Only appeared first on Digital Photography School. It was authored by Sime.
The post Tamron Announces the 150-500mm, a Portable Zoom for Sony Mirrorless appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Earlier this week, Tamron unveiled the 150-500mm f/5-6.7 Di III VC VXD for Sony E-mount cameras, a lens that will offer significant power, versatility, and affordability to Sony users.
The 150-500mm f/5-6.7 is Tamron’s “first ultra-telephoto zoom lens for full-frame mirrorless cameras that reaches the 500mm focal length.” But despite the super-telephoto range, the 150-500mm is surprisingly compact. At 500mm, the lens reaches 11.1 in (28 cm), and when retracted to 150mm, it clocks in at a portable 8.3 in (21 cm) for a travel-ready package.
While the f/6.7 maximum aperture may frustrate professionals, enthusiast sports, wildlife, and bird photographers will love the opportunity to get up close and personal without splurging on Sony’s $ 2000 USD 200-600mm lens. At 150mm to 300mm, you can capture wider photos of your subject; zoomed in to 400mm and 500mm, you can grab crisp detail shots and wildlife portraits.
And though the Tamron 150-500mm will work just fine on Sony full-frame cameras, when mounted on an APS-C camera – such as the Sony a6600 – the lens delivers a whopping 225-750mm range, perfect for photographers seeking to shoot small, skittish subjects such as birds.
Of course, image quality remains to be seen, but Tamron confidently claims that the 150-500mm packs “amazing high image quality,” boasting “exceptionally high resolving power across the entire image.”
As for autofocus, the 150-500mm “provides high speed, high precision, and excellent quietness,” thanks to Tamron’s VXD focusing technology.
Sure, a wider maximum aperture would be useful, especially for low-light wildlife and sports photography. But wider apertures come with eye-watering costs, plus Tamron has added Vibration Compensation (VC), which ensures sharp images even when shooting handheld in limited light.
While the Tamron 150-500mm doesn’t come cheap, it’s not pricey, either (relatively speaking). You can preorder the lens for just $ 1399 USD, though expect to receive your copy after June 10th (also, Tamron notes that “the release date or product supply schedule could change” due to COVID-related problems).
So if you’re an enthusiast photographer in need of a super-telephoto zoom, I highly recommend you check out the Tamron 150-500mm.
Now over to you:
What do you think of this new lens from Tamron? Will you be interested in purchasing it? Share your thoughts in the comments below!
The post Tamron Announces the 150-500mm, a Portable Zoom for Sony Mirrorless appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post 11 Portrait Photography Ideas to Inspire You appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
Coming up with fresh portrait photography ideas is challenging for many photographers. Whether you take a lot of portraits or are a beginner, it’s always best to have a few good ideas up your sleeve.
So here are 11 portrait photography ideas to create great images of whoever is in front of your camera, starting with…
1. Communicate well
Let your portrait subjects know what you want from them. Talk to them about what you are doing with the lighting, props, and background. This will build their confidence in you and show them you are serious about taking some great portraits.
Don’t be shy. Be interested in who they are and how they are feeling. Ask them questions. Show an interest in what they want.
Style your lighting to suit the mood of the portrait you are creating. If you want a soft, gentle portrait, use soft lighting and add lights or reflectors to reduce strong shadows.
Alternatively, embrace the darkness and generate a sullen atmosphere by creating a shadowy, dark effect. Purposely underexpose so you create a sense of mystery.
3. Make use of the environment or isolate your subject
Wherever you are, look around and think about how you can incorporate elements of the environment into your portrait photos. Think about whether showing some of the location will add to the portraits you are making.
If there’s nothing suitable to include in the photo, then isolate your subject. Blur the background by using a shallow depth of field, or find a plain, blank background to position your subject in front of.
Even if you have some good portrait photography ideas of your own, ask your subject what they want. You may be surprised at what they have to offer.
The young lady in the photo below told me to include ice cream in our planned portrait session. So I bought ice cream. We were challenged by the weather. Even indoors with the air conditioning on full, the ice cream melted too quickly. So we made the most of it!
Think outside the box and use different lighting setups and backgrounds during the portrait session. By controlling the lighting and backgrounds, you can create a strikingly diverse set of portraits.
Take a series of portraits with the aim of displaying them together. Keep the lighting and background the same for each shot and capture a range of expressions and poses from your model.
If you isolate your model on a plain background, you can print the entire series as a single image. Or you can frame each shot on its own but hang the series together.
Hands bring a fresh dynamic and can help add more story to your pictures. You can have the hands holding something, or you can just arrange them nicely.
Giving your subject something to do with their hands will often help them relax. People can feel uneasy when they don’t know how to place their hands. So guiding the hands with some directions or suggestions will help your subject feel more comfortable.
Sometimes, your subject may have some great ideas that are quite different from yours. Go with the flow and include these. Take the photos they want because they will always be enthusiastic and more expressive when trying out their own ideas.
Even if the ideas your subject suggests are not so stellar, take the photos anyway. This will help your subject build confidence and strengthen the relationship between the two of you.
Then, once you’ve spent some time capturing the photos they want, move on to your own portrait photography ideas.
Be prepared to capture special moments as they happen. Don’t be peering down at your camera and fiddling with the settings. Instead, engage with your subject. Be constantly aware of what they are doing and how they are looking. You want to be ready when they smile (and even when they grimace).
When your subject is engaged in an activity, getting your timing right can be more challenging. For the street portrait below, I had to move to keep up with my subject. He was demonstrating the quality of the wallets he had for sale. He poured lighter fluid on one and set it alight to show that it was not made of plastic. It all happened very quickly!
Head movement works best when a person has long hair, but it can be a good idea even for shorter-haired subjects.
Any movement can make way for spontaneity, so don’t forget about the importance of capturing the moment (as I discussed in the previous section). Be ready for anything that might happen.
11. Expose for good skin tones
I’ll add one technical idea:
Set your exposure so your subject’s skin tone is well exposed. This is especially important when there’s a lot of contrast in your composition.
For instance, wedding portraits of a bride and groom can be challenging. A stunning bride in a white dress and a groom looking handsome in his dark suit can make it difficult for you to find a balanced exposure setting. So spot meter off their faces; this will ensure you end up with a good exposure.
As soon as you have a few good photos, show your subject. Until you do this, they may not have a clear idea of what you are doing or how you are framing them. But once you show them how good you are making them look in the portraits, they will feel better about themselves. This boosted confidence will only lead to more great portraits.
The post Smartphone RAW Photography: An Easy Way to Improve Your Photos appeared first on Digital Photography School. It was authored by Ana Mireles.
What is smartphone RAW photography, and how can you set up RAW imaging on your phone? If high-quality photos are your goal, you must know how to do smartphone RAW photography.
For a long time, only standalone cameras supported RAW format. But these days, many smartphone manufacturers are including it as a feature on their devices – and in this article, I’ll share with you step-by-step instructions for capturing RAW photos on iPhones, Samsung phones, and Huawei phones.
And in case your native camera app doesn’t support RAW, I’ll include a list of third-party apps that produce RAW photos.
Let’s get started.
What is smartphone RAW photography?
RAW format on the left/JPEG format on the right (taken in the Huawei P20 Lite native camera app.)
A RAW file is the unprocessed version of a photo. When you take a photograph, the camera records all sorts of information.
Then, if it saves it in JPEG – which is the most common format – it will use only the information it needs and discard the rest.
After that process, there’s no way to recover the information that was thrown away. So you’ll have less dynamic range and fewer details in the highlights and shadows. (The loss of information will be more noticeable if you want to do extreme editing, which can lead to unpleasant artifacts such as banding.)
Both these images were taken using the Lightroom app on a Xiaomi Redmi 8. There’s faint color banding in the sky on the JPEG image (right).
Most camera manufacturers have proprietary RAW file formats. For example, Nikon cameras generate NEF files, Canon files are CRW, and so on.
DNG format was developed by Adobe as an open-source RAW file, so it’s more compatible and any manufacturer can use it. In smartphone photography, DNG is the most commonly used RAW format.
Should you shoot in RAW on a smartphone?
If you want to do serious mobile photography, then yes. Photographing in RAW gives you great flexibility when you edit your photos.
However, RAW files are 10 to 12 times bigger than JPEG files – and that’s a lot of storage space. So you might not want to shoot in RAW for every single picture that you take.
If it’s an option on your phone, save the images to an SD card instead of the internal memory. Another storage solution is to send your files to the cloud or transfer them to your computer to be backed up on an external hard drive.
How to shoot in RAW: Step by step
Not all phones support RAW format, and the ones that do have different ways of enabling it.
Here’s a step-by-step guide for the most common smartphone brands:
For Huawei shooters
These instructions reference a Huawei P20 Lite; however, the process should be the same on all Huawei models that support RAW photography.
First, open the camera app and scroll through the Mode menu until you reach Pro. Select this mode, and keep in mind that RAW shooting is not available in the other photo modes.
Open your camera Settings menu by tapping on the gear icon (this will be in the upper left corner if you’re shooting in landscape orientation and in the upper right corner if you’re shooting in portrait orientation):
Tap Resolution:
Then scroll to the bottom, where you’ll find the Photo Format section. Enable RAW format:
Then close the settings and snap your photo! As long as you’re in Pro mode, the images will be saved in RAW (plus a JPEG copy).
RAW files are saved in Files > Internal Storage > DCIM > Camera > RAW. You can review them in the gallery under More Albums > Others > RAW.
For iPhone shooters
Not all iPhones support RAW format in the native camera app. If your iPhone doesn’t shoot in RAW, you’ll have to use a third-party app. Look for recommendations at the end of this article.
However, the iPhone 12 Pro and the iPhone 12 Pro Max both support Apple ProRAW (they need to have iOS 14.3 or later, though).
To enable ProRAW, go to Settings > Camera > Formats. Under the Photo Capture section, you can turn on Apple ProRAW.
Once you have enabled this function, you’ll have the RAW option when you’re taking pictures. Simply tap to turn it on or off. (That way, you can shoot in different formats without having to go through the Settings menu every time.)
When you take a photo and RAW is on, it will be saved as a DNG file of about 25 MB. But if you turn ProRAW off, your iPhone will create a JPEG or HEIF file – whichever you have selected as the default.
For Samsung shooters
Keep in mind that not all Samsung devices will support RAW files. However, for the Samsung devices that do support smartphone RAW photography, here’s how to set it up:
Open the camera app and scroll the options bar until you find More.
In the More menu, you can see different modes. Tap on PRO.
Then open Camera Settings and scroll down to Save Options.
Enable Save RAW copies.
Once you’ve done this, all the pictures you take in PRO mode will be saved with a RAW copy – in every other mode, the images will still be JPEGs.
If you want to save a JPEG file when shooting in PRO, you need to go to the Camera Settings and disable the RAW option.
If your Samsung phone doesn’t support RAW files in the native camera app, you can always download another app to do so. You’ll find a list of recommendations at the end of the article.
Apps to shoot in RAW
As I explained above, not all smartphones offer RAW shooting in their native camera app. However, there are plenty of third-party apps that will let you work in RAW. Here’s a list of a few good ones:
Lightroom Mobile (for iOS and Android). The free limited version includes the RAW function, though you will need to create an Adobe account. Of course, if you have an Adobe Lightroom or an Adobe Photography subscription, you already have access to the full version of Lightroom Mobile.
In Lightroom Mobile, you just have to tap on the top of the screen to open the menu and switch between DNG (RAW) and JPEG.
VSCO (iOS and Android). The RAW function is only for iPhone 6 and later. Older devices and Android phones can use VSCO as a camera and editor but won’t be able to shoot in RAW.
ProShot (iOS and Android). The RAW function works only on compatible phones. To know if your phone supports ProShot RAW, you might want to do some research before purchasing it. The cost is $ 1.99.
ProCam (iOS). Works on iPhones with 12 MP cameras – that’s iPhone 6s and later. It supports RAW files in Auto and Manual mode.
On1Photo RAW (iOS and Android). Free. Supports RAW and JPEG formats in all photo modes.
Flannl RAW camera (iOS). Free.
Manual Camera Lite: Professional Camera DSLR (Android). This free version supports RAW format on some phones. You can upgrade to the PRO version, but it’s not necessary to capture photos in RAW.
Smartphone RAW photography: conclusion
As you can see, it’s very easy to do smartphone RAW photography, no matter your phone type. It may take a few extra taps, but it makes a world of difference!
Now over to you:
Have you tried shooting smartphone RAW photos? Have you noticed a difference compared to your JPEGs? Share your thoughts (and images!) in the comments below.
The post Smartphone RAW Photography: An Easy Way to Improve Your Photos appeared first on Digital Photography School. It was authored by Ana Mireles.
The post Top 10 Mistakes That Cause Blurry Pictures (And How to Fix Them) appeared first on Digital Photography School. It was authored by Anne McKinnell.
“Why are my pictures blurry?”
It’s a common question, and one that doesn’t have an easy answer. The truth is that blurry pictures are caused by many factors – so if your photos are blurry, it’s often difficult to pinpoint the exact problem.
That’s why I wrote this article. I’m going to list the 10 main reasons why you’re ending up with blurry photos. I want you to carefully go through this list. See if any of the reasons stand out.
And then make the necessary changes!
Odds are, if you can address the problem, you’ll be taking tack-sharp images in no time at all.
Let’s dive right in, starting with the biggest reason why your photos are blurry:
1. Your shutter speed is too slow
A too-slow shutter speed is the number one culprit of blurry photos.
You might think you can hold perfectly still for half a second, but I assure you there are very few people in the world who can.
In fact, most folks can only handhold a camera down to the 1/160s to 1/80s range (though this can fluctuate, depending on the focal length of the lens, as well as the size, the lens technology, and the level of magnification).
When handholding your camera, remember this rule of thumb to avoid blur caused by camera shake:
Your shutter speed should be the reciprocal of your lens’s focal length.
So if you’re using a 60mm lens, your shutter speed should be 1/60s or faster. With a 200mm lens, use at least 1/200s. With a 400mm lens, use at least 1/400s.
(The longer your lens length, the more camera shake is magnified, so telephoto lenses require much faster shutter speeds.)
Using a 400mm lens, I selected a shutter speed of 1/400s to reduce the possibility of camera shake.
Some lenses and cameras have image stabilization technology built into them. Now, image stabilization usually allows you to slow your minimum shutter speed by around 3-5 stops, so you can handhold a 60mm lens past the 1/8s range. But you should always be cautious and take extra shots just to be sure.
What is your minimum shutter speed?
In addition to the reciprocal rule, it’s important to know your own personal minimum shutter speed.
You see, we all shake a little, but some of us shake more than others. So it’s good to know at what point camera shake becomes an issue for you.
Try this exercise:
Put your camera in Shutter Priority mode and take a photo at 1/500s. Then lower your shutter speed and take another image. Keep this going until you head all the way down to 1s or so, then pull up the images on your computer. Ask yourself: When does the blur become a problem? Personally, I rarely go below 1/125s if I’m handholding my camera.
2. Not using a tripod
If you’re experiencing camera shake and you can’t use a faster shutter speed (due to low-light conditions), or you don’t want to use a faster shutter speed (because you’re purposely trying to blur something in the frame), then you need to steady your camera another way.
And I highly recommend using a tripod. It’ll keep your camera completely steady even as you dial in exposures of one second or longer. If a tripod is too inconvenient, consider a monopod, which is a more compact, flexible option.
Also, when you use a tripod, image stabilization is not necessary and may even be counterproductive, so it’s a good idea to get in the habit of turning any IS off when you put your camera on a tripod.
3. Bad camera-holding technique
For the best stability, practice the official photographer position:
Stand with your feet slightly apart, one staggered forward, and firmly planted to stabilize your body right to left and back to front. Support the camera with your left hand by holding the lens from underneath, and use your right hand to grab the grip and gently press the shutter button. Tuck your elbows tight to your chest and use the viewfinder rather than the Live View screen (holding the camera to your face will help keep it steady).
Some photographers even go so far as to listen to their breathing and heartbeat, taking care to fire the shot between breaths and beats for maximum stability.
Proper technique when handholding your camera.
4. Your aperture is too wide
The size of the aperture determines the depth of field, which is how much of the image is in focus. And this has a direct effect on the sharpness of your photo.
When a lens finds focus, it locks onto a specific distance known as the plane of focus. So if you focus at, say, 15 feet, everything 15 feet away from the camera will have maximum sharpness, and anything in front of or behind that plane will start to blur. The strength of this blur effect – that is, the speed at which sharpness falls off – depends on the aperture.
If you use a wide aperture such as f/2.8, the depth of field will be very shallow. This effect is magnified by longer focal-length lenses. So if you use a telephoto lens and the aperture is f/2.8, there may be only a razor-thin sliver of the image that is in sharp focus. But if you use a small aperture such as f/11 or f/18, the depth of field will be larger. More of the image will be sharp.
Using an aperture of f/20, everything is sharp from foreground to background.
Choosing the right aperture depends on the type of image you want to create. But if you are trying to get everything in the frame as sharp as possible, try using a small aperture (produced by a larger f-number such as f/11 or f/22).
Note that a small aperture will let in less light, so you will need to use a slower shutter speed to compensate. See the first problem on this list!
5. Not using autofocus
These days, cameras are sophisticated. So let them do what they are good at! Cameras do a fantastic job of nailing focus, both with still subjects and subjects in motion.
Is autofocus perfect? No, and later on in this article, I’ll discuss a few times when manual focus is actually helpful. But generally speaking, autofocus is the way to go.
6. Not focusing in the correct place
Even if you’re using the perfect handholding technique or a rock-solid tripod, if you focus in the wrong place, you’ll end up with blurry pictures anyway.
Focusing carefully is especially crucial when using a wide aperture (because you’ll have a razor-thin depth of field!). A slight miscalculation in the focus can throw the subject completely out of the focal plane, or give you a subject with perfectly sharp earlobes and blurry eyes.
Photographers often leave their cameras set to an auto AF-area mode – one that tells the camera to decide automatically what part of the picture should be in focus. Most of the time, modern cameras are pretty good at this, particularly if the subject is prominent in the frame. However, with more complex compositions, the camera can get confused and try to focus on the wrong thing. To specify the focal point yourself, switch to a single-point AF-area mode.
When you look through your viewfinder, you should see an array of little dots or squares laid over the display, like this:
These are your focus points, and they show you where in the frame the camera can lock focus. In single-point AF-area modes, you can use the camera’s direction pad to select one of these dots, and the camera will always focus on that point (and that point alone).
Note that, to tell the camera to focus, you would normally depress the shutter button halfway before pressing it the rest of the way to take the shot. This works pretty well, but cameras can be overly sensitive – if you press too lightly, the button may come unpressed and try to re-focus after you’ve already found your point of focus. If you press too hard, you might capture the shot before the focus is ready. And if you take multiple pictures in succession, your camera may try to focus again before each shot. For these reasons, some photographers highly recommend back-button focusing.
7. Using the incorrect autofocus mode
There are three main autofocus modes offered by most cameras. You should be switching between these modes every time you’re faced with a new shooting situation; otherwise, you’re bound to miss shots that you normally could’ve nailed.
Single-shot autofocus, called AF-S or One-Shot AF, is meant to be used with still subjects.
Continuous autofocus, called AF-C or AI Servo AF, is designed to track movement through the frame, so it works best when your subject is in motion.
Finally, there’s an automatic mode, called AF-A or AI Focus AF. This is likely the default setting on your camera. It reads the scene and determines which of the first two modes it should use.
8. Not using manual focus
While I’m a big advocate of autofocus, there is one particular time when manual focus comes in handy:
When your camera is on a tripod, and you’re using a wide aperture to achieve a very shallow depth of field.
If you want to make sure the most important thing in your frame is sharp, switch to manual focus. Then use the LCD zoom function to magnify the display by 5x or 10x. And make tiny adjustments to the focus until you get it just right.
You can also try manual focusing when shooting close-up subjects (e.g., a flower petal) or when photographing landscapes in the darkness.
9. There’s junk on or in front of your lens
A big smear on your lens is going to affect the clarity of your image.
And if you put a cheap plastic filter in front of your lens, that’ll degrade image quality, too.
So make sure your lens is clean. And make sure that all your filters are high quality. If you always shoot with a UV filter and you keep getting blurry pictures, try taking a few shots without the filter to see if the quality of the glass is negatively affecting your images.
10. Poor lens quality
Beginners love to blame their blurry pictures on their optics, though a bad lens is rarely the problem.
That said, lens quality can make a difference, and you’ll occasionally find lenses that are genuinely soft. And some lenses may be sharp in the center but get blurry around the corners and edges of the image, or sharp at certain apertures but slightly fuzzy at others. Every lens has a unique character that may or may not be useful to the type of work you’re doing.
It’s also worth noting that each lens has a “sweet spot” – a certain aperture at which it performs best. This is usually in the middle of its aperture range, around f/8 or f/11.
Fixed focal length lenses are usually sharpest, though it’s not always convenient to carry around two or three lenses rather than a single, all-purpose zoom.
Mistakes that cause blurry pictures: final words
Well, that’s it:
The 10 most common reasons your pictures are blurry.
If you’ve been struggling with blurry photos, you hopefully now know (or can at least guess) the culprit! And you can make adjustments to get things looking sharp.
Now over to you:
Are your photos blurry? Did you figure out why? Which of these mistakes have you been making? Share your thoughts in the comments below!
The post Top 10 Mistakes That Cause Blurry Pictures (And How to Fix Them) appeared first on Digital Photography School. It was authored by Anne McKinnell.
When you’re beginning to learn about photography, there is a lot to understand. Apart from the basics of cameras and photography, if there is one thing that trips most beginner photographers, it’s the different kinds of lenses available for a single brand of camera body. I’ve been there myself, so I thought I’ll clear up some basics. Let’s talk about Continue Reading Photodoto
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The post The Best Camera for Street Photography in 2021 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Choosing the best camera for street photography doesn’t have to be difficult, but it can take some time to weigh the options. Fortunately, with all the cameras available today, it’s tough to make a bad choice!
That said, there are some street photography cameras that stand out among their peers – thanks to a unique combination of features.
Fujifilm X100F | f/16 | 1/30s | ISO 200
While street photography can be done with almost any camera, from mobile phones to medium format, there are a few characteristics to look for when choosing your gear. A small size, easy-to-use manual controls, a quiet shutter, and a fast response time are all very much appreciated when capturing slices of life in public spaces.
Other features like a tilting screen, a built-in ND filter, a bright viewfinder, and weather sealing are nice, but not deal-breakers for most photographers. Ultimately, you’ll need to decide what’s important to you and choose accordingly, but if you’re not sure where to start, this list will hopefully be of use.
(Note: In terms of ranking, the top three picks are ranked in order; after that, every camera is about equally good, followed by four honorable mentions that don’t quite make the cut.)
1. Fujifilm X100V
Back in 2010, Fujifilm released the original X100, which featured a groundbreaking set of features including a hybrid optical/electronic viewfinder and an APS-C sensor. It quickly became a runaway hit.
The X100V is the fifth iteration of this camera, and over the years Fujifilm has steadily refined it for street photography. Aperture, shutter speed, ISO, and exposure compensation each have their own control dials, which makes them dead simple to adjust on the fly. The hybrid viewfinder lets you shoot with an old-school rangefinder or an ultra-modern mirrorless, and the flip-out touchscreen makes it easy to compose from low angles.
Other benefits for street photographers include a 23mm fixed lens mated to an APS-C sensor, which results in a 35mm equivalent field of view – perfect for street photography. The lens is sharp and bright with a maximum aperture of f/2, so you can take pictures with ease and never worry about missing a shot due to poor light. The built-in leaf shutter makes photography virtually silent, which is great if you value discretion.
The X100V is small but not exactly pocketable, and it has a full suite of customizable buttons and dials to suit your style. If you want a virtually no-compromises camera designed from the ground up for street shooters, the Fuji X100V is a fantastic option; it is, in my opinion, the best camera for street photography today.
Pros:
Stellar image quality
Easy-to-use controls
Hybrid optical/electronic rangefinder-style viewfinder (the only one of its kind among all the cameras on this list)
Beautiful JPEG files with a wide variety of available film simulations
Cons:
Weather sealing requires the purchase of an adapter ring for the front of the lens
Autofocus isn’t as fast as some of its peers
Expensive, especially for casual photographers
No image stabilization
2. Ricoh GR III
The Ricoh GR line of cameras has been a favorite of street photographers for years, and with good reason. The third iteration of this venerable camera series continues the tradition of being small in size but packing quite a punch, and it offers nearly everything a street photographer could want.
An 18mm lens mated to the APS-C sensor results in a 28mm field of view; this is a bit wider than the Fujifilm X100V, and more like what you might see on a mobile phone. Some people like the wider angle, but I find the 35mm field of view much more pleasing and versatile. Image quality is outstanding, and high-ISO shots look great. Lots of photographers swear by the Ricoh black and white JPEGs, so if you like to shoot in monochrome, this might be a good option.
The Ricoh GR III has plenty of buttons but not as many dedicated controls as the Fujifilm X100V and other cameras on this list. It’s not quite as easy to rapidly change settings, but many custom functions can be mapped to specific buttons to make things easier. The maximum f/2.8 aperture isn’t as bright as the Fuji X100V, but the camera compensates with built-in image stabilization; this makes low-light photography a bit more practical as long as you are shooting still subjects. A non-tilting touchscreen makes composing shots a cinch, but the lack of a dedicated viewfinder is certainly something to consider if you prefer composing your shots by bringing the camera up to your eye.
Pros:
Small size makes it easy to carry in a pocket or handbag
Much more affordable than the Fuji X100V and some other options on this list
Excellent image quality
Built-in image stabilization
Cons:
f/2.8 lens is not as bright as the Fujifilm X100V
The lack of a built-in viewfinder means photos must be composed using the rear LCD screen
Battery life isn’t great, so you might consider carrying a spare
3. Sony RX100 VII
The Sony RX100 line has been around for many years and has gone through myriad iterations to adapt to the demands of photographers. The most dramatic change in recent years is the lens, which used to have a much smaller focal range but now goes all the way from 24mm to 200mm (in equivalent 35mm measurements). This makes the RX100 VII an outstanding camera for many genres, including street photography.
While the lens isn’t nearly as bright as the Fuji X100V’s or Ricoh GR III’s, its maximum f/2.8 aperture on the wide end is great for daytime street photography. This quickly shrinks to a maximum f/4.5 aperture as you zoom in, but most street photographers typically shoot wide as opposed to telephoto.
The 1″ sensor in the Sony RX100 VII is what enables this camera to have such a versatile lens. And while it’s no match for its APS-C and full-frame siblings’ image quality and high-ISO performance, Sony makes up for it in terms of sheer technological prowess.
The RX100 VII camera is packed to the gills with features normally found on high-end mirrorless cameras costing thousands of dollars. Autofocus is snappy and reliable and includes subject tracking and eye AF, video recording is outstanding, and the pop-up viewfinder is a boon for street photographers. A rear touchscreen, a relatively robust set of manual controls, and several customizable buttons mean you can set the camera to shoot how you want to get the street photos you might otherwise miss. At the end of the day, the reason this camera earns a spot on my list is due to its unique combination of features and size; no other camera offers so much in so small a body.
Pros:
Very small size makes the camera extremely portable and pocketable
Incredible technology, from 4K video to fast, reliable autofocus
Versatile lens with a 200mm focal length at the long end
Optical stabilization helps you get clear shots of still subjects in low light
Cons:
f/2.8 aperture is only available at the widest end of the focal range
The small image sensor results in less depth of field and inferior high-ISO performance compared to other cameras
The pop-up viewfinder isn’t instantly accessible
4. Panasonic Lumix LX100 II
While the Panasonic Lumix LX100 II isn’t as feature-packed as other cameras on the list, it nonetheless acquits itself nicely in the world of street photography. It’s easy to use and packs fast autofocus and responsive controls, including dedicated dials for shutter speed and exposure compensation. The built-in 24-75mm (35mm equivalent) lens is great for wide-angle shots as well as tighter crops, and the bright f/1.7 aperture is perfect for low-light photography, though it does shrink to f/2.8 when zoomed to 75mm. Street photographers will love the small size of this camera, though the lens does stick out from the body enough to cause problems in a pocket or handbag.
Panasonic packs a lot of technology into its cameras, and the Lumix LX100 II has a range of high-tech features that make it well suited to street photographers. The autofocus points cover nearly the entire frame so you can focus almost anywhere, and built-in crop modes let you frame your shots in a variety of different aspect ratios.
The touchscreen makes focusing a breeze, which can be useful for on-the-spot candids, and the electronic viewfinder is great for thoughtfully composing your photos. Street photographers will also appreciate the aperture ring, which gives you full control over the aperture without requiring a trip to the camera menus.
Pros
Manual control dials for shutter speed and aperture
Built-in zoom lens covers a useful focal range for street photography
Small size
Cons
Image quality isn’t as good at higher ISO values
f/1.7 aperture is only available at the widest end of the focal length range
The viewfinder isn’t as sharp and crisp as others on this list, which makes composing some shots a little frustrating
5. Canon G1 X Mark III
The Canon G1 X Mark III combines the best of compact cameras and their larger-sensor DSLR/mirrorless brethren; the result is an imaging tool that is quite well suited to many types of street photography.
The G1 X Mark III’s overall appeal is a bit hampered by its size as well as some limitations of the built-in lens, but anyone after a street photography camera would be wise to consider it. The huge APS-C image sensor on the G1 X III makes for superb shots in a variety of lighting conditions, and a long list of impressive technical specifications makes this camera great for street shots.
Composing is simple with the rear LCD, and Canon goes one step further than most by offering a fully articulating touchscreen. Autofocus isn’t particularly noteworthy, especially when tracking moving subjects, but that’s usually not a primary concern for street photographers.
The 24-72mm (35mm equivalent) focal range of the zoom lens means you can get wide shots and street portraits, but the aperture range on the lens is definitely less than ideal. The f/2.8 maximum aperture (when zoomed out) is respectable, but the f/5.6 aperture when zoomed in severely limits this camera’s functionality in low light.
However, high-ISO shots look great, and street photographers will love the abundance of control dials and function buttons to access commonly used settings. The electronic viewfinder is crisp and sharp, and while not as nice as Canon’s high-end cameras, it’s certainly good enough for street photography.
Pros:
Excellent image quality, especially compared to some cameras on this list with much smaller sensors
Leaf shutter lets you use very fast internal flash sync speeds
Built-in neutral density filter lets you explore more creative possibilities
Cons:
Small maximum aperture limits the usefulness of the built-in lens, especially when zoomed in
Battery life is not great
The lens isn’t as sharp as others on this list
6. Nikon Z5
The inclusion of the Nikon Z5 on this list might seem a bit strange, but hear me out. The Nikon Z5 isn’t specifically designed for street photography like the Ricoh GR III or Fuji X100V, and it’s larger and heavier than the Canon G1 X Mark III. You also need to attach a lens because it doesn’t include one like the Panasonic LX100 II and others.
But it has one standout quality for street photography: it is currently the cheapest full-frame mirrorless camera on the market. So for street photographers who value image quality above all else, the Nikon Z5 is definitely worth a look.
In addition to a full-frame sensor, the Nikon Z5 has plenty of other features to make street photographers sit up and take notice. Its flip-out touchscreen lets you shoot from up high and down low, and it has more than enough manual controls and customizable settings. It features a bright viewfinder, fast autofocus, built-in image stabilization, and an (optional) fully electronic shutter for discreet shooting.
The Nikon Z5 can be paired with Nikon’s Z lenses, many of which are outstanding for street photography. Bear in mind that the Z5 is expensive, heavy, and downright cumbersome next to its nimble, pocketable counterparts. But for full-frame street shooters, it’s one of the best options available.
Pros:
Exquisite image quality and autofocus performance
Dual memory card slots
Built-in image stabilization helps you get great shots with slower shutter speeds
Cons:
Larger than almost every camera on this list; it will not fit in a pocket
Very few small Z-mount lenses available, which limits its appeal for street photography
7. Olympus PEN E-PL10
The Olympus PEN series has long been beloved by street photographers, and while not up to the standards of some of its peers, the PEN E-PL10 definitely holds its own in key areas. It sports a Micro Four Thirds sensor, which sits comfortably between the 1″ sensor of the RX100 series and the APS-C sensors offered by cameras such as the G1 X Mark III and Fuji X100V. It strikes a nice balance between size and capability, with features that appeal to many street photographers.
Like the Nikon Z5, the PEN E-PL10 requires a separate lens, but Micro Four Thirds lenses are much smaller than their Nikon/Canon/Sony counterparts. For example, the 14-42mm lens (28-84mm equivalent) shown in the photo above makes the E-PL10 about the same size as the Fuji X100V when the lens is zoomed out to 14mm. And there’s a huge variety of MFT lenses, many of which are great for casual street shooting.
The PEN E-PL10 isn’t as feature-rich as some of its more pro-oriented siblings like the OM-D E-M1 Mark III, but it has a full complement of manual controls so you can get precisely the shot you’re after. Some street photographers might lament the lack of a dedicated viewfinder, but the articulating rear touchscreen makes composing photos easy and enjoyable.
The E-PL10 also stands out thanks to built-in image stabilization and fast, reliable autofocus. And the PEN E-PL10 is much less expensive than other cameras on this list, which makes it a great option for people wanting to get started with street photography.
Pros:
One of the smallest interchangeable lens cameras on the market
Excellent manual controls and built-in image stabilization
Inexpensive, even when factoring in the cost of a lens
Cons:
A Micro Four Thirds sensor means high-ISO shots aren’t top-notch
No dedicated viewfinder
Serious street shooters might outgrow the feature set of the camera rather quickly
Honorable mentions
The cameras listed below are all well-suited to street photography, but I generally consider them outliers in this type of discussion. While they are all worth considering, each is limited by some important factors, and I would generally recommend one of the initial cameras on this list over one of the honorable mentions.
However, if money, size, or access to the latest technology are not your primary concerns, then by all means, look at the models listed below.
8. Leica Q2
The Leica Q2 is a no-compromise street photographer’s dream. Everything about this camera is ideally suited to street photography, from its full-frame sensor to its exquisitely sharp 28mm f/1.8 lens to the brilliant optical viewfinder, durable construction, and weather sealing.
While you could buy several Fujifilm X100Vs and a Ricoh GR III for the same price as a Leica Q2, you would be making some compromises and tradeoffs in the process that you simply don’t have to think about with the Leica. So if money is no object and you don’t mind a massive lens protruding from the camera body, the Leica Q2 is my top recommendation.
9. Sony RX1R II
If you’re searching for an ideal street photography camera but can’t afford the Leica Q2, then the Sony RX1R II should sit at the top of your list. It’s similar to the Leica in many ways, with specs that surpass almost every camera at the top of this list, even if it doesn’t quite reach the same soaring heights as its German-made counterpart.
If the Q2 sits at the top of the podium, the RX1R is a very close second place. It’s expensive, but not quite as much as the Q2. It has a 35mm f/2 lens that isn’t quite as wide or bright as the Q2. It has a viewfinder, but it pops out like a periscope instead of being elegantly embedded in the camera body. While the rear screen flips out for greater versatility, the camera sacrifices weather sealing as a result.
In short, the Sony RX1R II is an outstanding camera for good reasons, but generally not one I would recommend for most casual street shooters.
10. Sony a6100
The Sony a6100 isn’t designed for street photography, but don’t overlook it. It’s a small, well-rounded, highly capable camera that also happens to serve the needs of street photographers quite well.
The Sony a6100 is a full-featured APS-C camera that accepts all of Sony’s E-mount lenses, and it packs some impressive technology to help you capture the images you’re after. Everything you would expect in a proper camera is here: manual controls, a bright viewfinder, great autofocus, and a flip-out rear screen. It’s small enough to tote around but not as pocketable as the Ricoh GR III or Sony RX100 VII. I would recommend pairing it with the 20mm (30mm equivalent) f/2.8 pancake lens, which essentially transforms this camera into a Fujifilm X100V.
Strictly from a street photography perspective, I prefer the X100V – but some might appreciate the technology and the ability to change lenses offered by the a6100.
11. Fujifilm X-E4
It almost doesn’t seem fair to relegate the Fujifilm X-E4 to the bottom of the honorable mentions category. In many ways, it seems like one of the best cameras for street photography you can buy! But while this camera has an extensive list of features that appeal to street photographers, I can’t recommend it over the Fuji X100V.
The X-E4 and the Fujifilm X100V share many common elements, from sensor size to flip-out screen to manual controls and even an integrated viewfinder. But while the X-E4 is newer and less expensive, it doesn’t come with a lens, and by the time you add one that is suited to street photography, the price is almost the same as an X100V.
And the X100V has a wide-aperture lens, better manual controls, and a hybrid optical/electronic viewfinder that will appeal to a lot of street photographers. As a small, capable, interchangeable lens camera, the X-E4 is great. But for street photography, the X100V is the better choice.
Fuji X100F | f/2 | 1/600s | ISO 200
The best camera for street photography: final words
Street photography is all about capturing the candid everyday moments that make up the world around us. And almost every camera is capable of getting those shots – mobile phones, pocket cameras, and even DSLRs with big lenses.
There’s no rule that says the camera you already have isn’t going to be well suited to street photography. And your only inherent limitations are the ones you set for yourself. But if you’re looking for the best camera for street photography, I hope this list was helpful and gave you a few things to think about!
Street photography camera FAQs
Can I use my mobile phone for street photography?
Mobile phones are great for street photography, as long as you have plenty of light. When the lights go down, photo quality decreases dramatically, especially if you are shooting moving subjects. (Night Mode on mobile phones almost always requires your subjects to be very still.)
What focal range is best for street photography?
This one is largely a matter of personal taste, but anything between 25mm and 35mm is generally ideal for street photography. Much wider than 25mm and people start to look a bit distorted. Much narrower than 35mm, and you will have trouble fitting everything into the frame.
Can I use a DSLR for street photography?
While traditional DSLRs can certainly be used for street photography, I don’t recommend them when there are so many excellent mirrorless options available. DSLRs are large and conspicuous, and Live View shooting often uses contrast-detection autofocus (which is highly unreliable for dynamic street photography settings).
Do I need weather sealing on my camera?
Unless you are shooting in extreme weather conditions, you probably don’t need weather sealing. It’s nice to have for peace of mind and I wouldn’t recommend against it, but as long as you’re careful not to let your camera get soaked with rain or covered in dust, you’ll probably be fine.
Do I need to focus manually when shooting street photos?
Many street photographers enjoy shooting manually, which is very simple thanks to focus peaking on modern mirrorless cameras. However, autofocus works perfectly fine, and there is nothing wrong with using it for street photography.
The post The Best Camera for Street Photography in 2021 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
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