Path would be nothing without our people. To recognize our team’s unrelenting dedication to honing their craft and providing quality service to customers like you, we decided to host our first Talent Hunt at the end of 2023. After much success, we did it again in 2024!
The contest
The Talent Hunt was created with a few goals in mind:
to identify exemplary photo editing techniques an
to recognize the editors behind the edits—we do everything by hand here, no sloppy AI shortcuts
to foster innovation and future leaders in the industry
We let everyone get in on the fun—our in-house folks, temp workers, and even our subcontracting team—to see who can make the best, the fastest, and the most accurate photo edits. And not only that, but how the rest of our organization can learn from them. It’s just another way we’ve found to continuously innovate and push ourselves to always do better.
Quality Wizard: the editor who can edit images with extraordinary quality by using different techniques outside of their traditional quality within the defined timeframe
Technique Mastermind: for the most creative editing techniques that still deliver quality and speed
We also had a judging panel, made of:
Creative review
Md. Ataur Rahman, Senior Manager, Production
MD. Shahadat Hossain, Senior Manager, Customer Support
Md Shaharia Kabir, Assistant Manager, Audit
Rayhanul Islam, Senior Executive, R&D
Abdullah Al Jasim, Executive, R&D
Overall organization and coordination
Rifat Rahmatullah, Manager, Human Resources
Shams Al Mujahid, Senior Executive, HR and Admin
Final decision
Md. Atiqur Rahman Molla, CEO
Rokaiya Yesmin, COO
The winners
Seven participants competed in the Talent Hunt, with two emerging as the top contestants. These editors displayed exceptional proficiency in all types of edits. Their techniques not only streamlined editing processes but also elevated the overall quality.
Get to know the winners—some of the very people who edit your photos:
Sure, the Talent Hunt was a lot of fun! But there’s also a business goal behind it. Our top editors have innovated to bring new editing techniques and workflows to their work.
By having this Talent Hunt, we can bring our larger team of editors together, identify top talent, and learn from them. The Talent Hunt winners can share their expertise, learnings, and techniques with the rest of the Path editing team to help continue to propel the quality of our services higher and higher.
Thanks for being a part of our family
We wouldn’t be able to edit images, innovate, and give back to our people without our customers. To us, Path is more than just a photo editing studio. It’s a family. And we’re happy to have you a part of that big, extended Path family.
Ready to send your photo edits our way? Get started now—and get your edits back in as little as 6 hours.
Almost three weeks ago, I launched my brand new online course, MASTERING THE FUJIFILM AUTOFOCUS SYSTEM, and in that short time, I’ve been blown away by the number of students who have enrolled in the course, and by the amazing feedback I’ve received.
Mastering the FUJIFILM Autofocus System
Learn How to Get Maximum Performance from your X Series Focus System
“Dear Dan, I am 60% through the course and it is brilliant. I find your combination of careful detailed spoken explanations and pictures much easier to follow and learn from than even your excellent book.”
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-John K.
This course compiles every bit of useful knowledge and real-world practice I’ve gained, not just from my ten years using the X Series cameras but from my 26+ years shooting as a professional action, adventure and outdoor photographer.
With over 2 hours of content, the course is a deep dive into the entire Fujifilm focus system. In a series of 20 individual lessons, spread over 10 different modules, I show you every single setting, every single feature, and how they can be applied to your own shooting process.
“Dan: Awesome course. Well done!”
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-Mark R.
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Based on what type of camera system you use, I have a photography guide that’s optimized just for you!
“Very informative and useful!”
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-Robert A.
I also share invaluable tips will help you optimize your camera, so that you can be a more efficient shooter, and I give you tons of real-world tips that will help you increase your proficiency and confidence with the system, especially when shooting challenging and moving subjects
A large part of being a successful photographer is having a full understanding of your gear and realistic expectations of how it will perform in certain conditions.
We Fuji shooters often hear the Fujifilm AF system is not as good as SONY/NIKON/CANON/blahblahblah, and that the X Series cameras are not good enough for shooting things like sports action and birds.
If this is indeed the case, then why have I been able to capture so many great action images with every single X-T model that Fuji has made, from the X-T1 to the X-T5? In addition, why have so many of my favorite action images from the past decade been made with the X-T2, a camera from three generations ago?
The simple fact is that it’s not the camera, it’s the big lump behind the camera that is what makes all the difference in photography, and as a long time experienced pro shooter,I can help you make a difference in your own photography.
“Great course on Fujifilm Autofocus Dan! I ran through all the video, now I will go watch all the videos again with camera in hand to insure I understand all the settings.
Everyone with a Fuji camera should watch this course.
Thanks very much, keep up the good work!”
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-Neil M.
The best testimonial I’ve received came from a student named Tim, an experienced, former Nikon user who shoots motorsports. He opted for the Add-On Personal 1:1 Coaching Session that’s available when you enroll in the course, and during our session yesterday, he basically explained it this way:
Enrolling in this course is WAY cheaper than buying a new X-H2 or X-T5.
“I have been a longtime follower of Dan’s website and videos. These were an major influence for my move from Nikon to Fuji back in 2017. Dan’s insights gave the confidence that Fuji could handle sports which what I shoot most.“
“Fuji releasing 3 new models this past year all promising huge AF improvements was very tempting! The question I needed to ask is will a new camera make my images better? About this time I saw the offering for Dan’s course to master the Fuji AF system. I enrolled in the course to make sure I could maximize the camera and lens I have, not drop a bunch of money, and be left with the same questions.“
“Upon enrolling there was an offer to add the personal coaching session which looked like a great deal.“
“The “Mastering the FUJIFILM Autofocus System” course is an excellent training resource to explore the nuances that the manual does not cover. The lessons are short and to the point and end chapter quiz is a check on your learning. The early lessons are a good review of the basis function. As you move on, the lessons hone the intricacies of the settings and menus. As I proceeded through the course, I kept notes to ask questions for the Personal Coaching Session.“
“Meeting Dan in the coaching session was a perfect way to addresses all my questions. He was able to point out some misconceptions I held. I look forward to testing these out in the field.“
“I would very much recommend the course AND the Personal Coaching Session to anyone using the Fujifilm system.“
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-Timothy Owens
No matter what model X Series camera you use, or no matter what you like to shoot, I can help make you a more proficient and skilled photographer, so that you can create exciting and dynamic images that you’ll love forever…
…for about the price of a tank of gas with inflation, which will only last about a week.
Sony makes some of the best camera gear around right now, with cameras and lenses suitable for high-level pros and complete beginners. Right now, you can take advantage of these Sony early Black Friday deals on a selection of equipment covering that spectrum. Whether you are picking up something for yourself or shopping for a generous gift for someone you know, these deals will give you up to $200 in savings.
A 24-70mm is a must-have tool for just about every photographer. This standard zoom offers a bit of every focal length in one, meaning you don’t have to swap lenses as often. The Sony 24-70mm f/4 Vario-Tessar is a budget-friendly 24-70mm that still offers plenty of quality. It’s also very compact and lightweight, making it easier to travel with and hold during long shoots. This lens is a great beginner lens, so if you are shopping for a newer photographer, it would be a great bet.
As a landscape photographer, you often find yourself drawn to the expansive views and deep sceneries you create. However, even tiny subjects may have a significant influence. Photographs of intimate landscapes may provide stunning pictures alone or enhance the enormous views that draw viewers to your images.
To photograph intimate landscapes, you must incorporate design elements such as lines, textures, patterns, colors, and forms into the frame. Keep an eye out for details that convey a narrative about a subject or provide viewers with background info about it. The type of elements you need to capture while shooting an intimate landscape are present in these “small details.”
Read on to learn tips and a tutorial helpful in navigating an environment with intimate landscape photography.
What Makes an Incredible Intimate Landscape?
This branch of nature photography is deserving of some appreciation. Intimate landscape photos seduce us with delicacy and peaceful invitation, in contrast to the grand landscape, which dazzles us with vivid hues and stunning near-far perspectives. It tempts us to delve deeper into the event captured in the picture.
Making incredible intimate landscapes is all about the little things. Think of landscape photographs as falling into three subgenres: the expansive view, the extreme close-up, or the intimate landscape photography.
It takes more than merely filling the frame with things to create the intimate compositions of a landscape, even while textures, lines, forms, and patterns are essential elements. It recounts a section of the narrative.
Consider what “smaller details” are in every site that provides context for the area. When you have your entire scene, compose it using a visually appealing layout. The mix of pebbles, kelp, and a bird feather at the beach tells a complete story. You may get a sense of the setting from any small scenes.
Choices of Equipment
Many often bring just one lens, for the goal is to capture the subtleties of a larger landscape. To make sure you have everything you need when photographing intimate landscapes, check the list below:
Extra Lenses
adorama
Because you only have one lens, you must focus on selecting a worthwhile subject and creating a better image. By changing lenses, you are losing time on the scene for searching, discovering, and taking pictures.
Without the weight of extra gear, you can move more quickly, trek further, and locate things that you otherwise wouldn’t have been able to. When you are constantly changing lenses, it might be challenging to focus on that.
Mid-Range Zoom Lens
futurecdn
A mid-range zoom lens is best for capturing an intimate landscape. Wide-angle lenses are often beloved by landscape photographers.
Still, when it comes to a small, intimate scene, wide-angle lenses tend to contain too much backdrop and too many distinct subjects, which detract from all the details that are the primary focus. Although it’s not a strict rule, a mid-range zoom with a fast shutter speed typically works best.
Tripod
photographyacademy
A tripod is yet another crucial gear to capture the intimate details of your intimate landscape. A tripod helps you slow down, even in conditions where you have enough light to work with, and may not require a slow shutter speed.
You may find the distinctive nuances that make a scene unique by spending time and getting to know the area; they are the ideal scene for your intimate landscape.
Compositional Methods
Just because we aren’t taking pictures of grand vistas doesn’t imply we should neglect good compositional techniques. When practicing intimate landscape photography, the same compositional strategies still hold. We may approach this subgenre in many different ways.
Lines are one of the best methods to guide your viewer around a small scene. Using lines from photographing nature is more than just large-scale landscapes.
Even when photographing intimate landscapes, leading lines are an excellent method to show the viewer the image’s main subject.
This strategy allows you to display a larger scene that, at first look, is just a repeat of the same thing. But the beauty of this strategy is that, upon closer examination, the spectator may revel in the variations you often see in nature.
Depiction or Portrayal
photopills
Do you recall attempting to identify shapes in the passing clouds when you were little? The strategy is the same.
Here, finding natural components that mimic something altogether different is the aim. This strategy’s appeal lies in its ability to capture your and the viewer’s imagination.
Separation or Isolation
photzy
Isolation is often found in varied textures and light rather than epic fog when capturing more abstract landscapes. The sudden change in texture in a photo is what provides the whole narrative.
Contrast or Duality
contrastly
When capturing more abstract features in the environment, similar to balancing in expansive views, you may examine various components using the this vs. that approach. The notion is practical when two incompatible natural components coexist peacefully in a constrained space.
Simple examples are dark background vs. bright contrast or complementary colors. Or it might be more intricate, as in the resulting photographs showing the distinction between explicit and reflected water waves.
The Framing
pixinfocus
In many facets of photography, but notably in the grand landscape, the idea of framing is helpful. With framing, you make the main subject the center of some vignette form by using a small portion of the surrounding area.
The framing approach requires the photographer to locate anything in the surroundings that pulls the viewer to a particular photo section. It is much like how a frame enhances a photograph or painting by bringing the observer into the center.
The Colors
improvephotography
All landscape photographers should learn about and become comfortable with the color wheel. When it comes to complementary and similar hues, this is particularly true.
Similar hues create harmony because they are close to one another on the color wheel, while complimentary hues are on opposing sides. You must learn how colors interact with one another.
8 Simple Tips For Better Intimate Landscape Photography
Here are some photography tips to assist you in navigating the intimate landscape photography world.
1. Start Small
One advantage of finding intimate landscapes is that you don’t need to visit parks like Glacier National Park or Zion National Park. You may find it everywhere, in your backyards, surrounding parks, besides the stream, metropolitan museum, or the neighboring forests.
Any time of day, if you take your camera on a stroll, you will come across some intimate landscapes. You will discover that close-up landscapes often lend themselves to various styles.
2. Get Closer and Personal
A telephoto lens is a great lens to use when focusing on small scenes in the most intriguing area. Compress and eliminate distracting elements from the scene using a telephoto zoom lens or fixed lens to frame it closely.
You may use a mid-range lens instead of a telephoto lens if you don’t have one, and then “zoom with your feet” to get closer to your subject.
Consider utilizing your 24-70 mm lens to capture a scene with a mountain and grand vista. Step a few steps forward and start exploring for interesting compositions, or zoom in to the most significant focal lengths on your lens. Your eye will learn to see in smaller details as a result.
3. Eliminate Distractions
Asking oneself, “Is this a significant component of the photo?” is a valuable habit to get into while taking intimate landscape photos. A little shift in perspective may make disturbing components in more intimate compositions disappear.
The sky is one component that often draws attention away from the subject of your shot. Work to remove the sky from your composition as much as you can.
It will distract your viewer from the focal focus of your photograph since it is often the brightest part of your frame. When we eliminate context from our landscape photographs, we allow our viewers to see with their imaginations.
4. Start Wide, Go Narrow
You may take your wide-angle lens out of the bag as you approach that expansive, gorgeous scene. Start focusing on the more compelling compositions that fit within the bigger picture.
Using a wide-angle lens to capture a picture and then using the magnify button on the camera’s rear to browse through the image to look for any small scene. More interesting compositions inside the frame will help you find more intimate photos.
Before you even take the camera out of the bag, you may use a card to frame smaller scenes. A frame card is a little mat board with an opening proportionate to your sensor.
5. Recognize Patterns, Different Textures, Shapes, and Lines
The two dimensions of an image are its limitations. Therefore, there are a few extra tools that you may use to add shallow depth and movement to your composition.
The artist may create an appealing photo using various techniques, including texture, lines, colors, tonal value, and forms.
When you train your eye to recognize the fundamental elements of composition, you will start to see them everywhere — in the texture of grasses, the contrast of colors on the surface of the water, the shapes and lines of sticks, and the forms of rocks.
Make your composition using the colors in nature photography. Develop your two-dimensional vision.
6. Use The Scene With Multiple Shots
insider
Consider employing intimate landscapes to communicate a more sweeping tale about the setting where you are photographing.
For example, looking inside an abandoned place, you will see several discarded objects that reveal the place had been abandoned and was in a state of disrepair. Combined with other images, it supports a fuller narrative than a snapshot of the place alone.
7. Illustrate The Focal Point
You may see a suitable focal point as the anchor in landscape composition, such as an eye-catching boulder near a canyon’s entrance. Once you’ve captured that composition, experiment using the focal point as a separate composition.
For example in street photography, the grass is a lovely subject, and the water mirrors the sky, providing a little more subtle interest to the photo.
8. Notice Details in Abstract Compositions
Abstract painting has numerous options in this type of landscape. Intimate landscapes can’t depend on spectacular sunrises to draw in viewers. Therefore, composition is crucial in creating an intimate experience.
Consider alternatives to the “rule of thirds,” often used in photographing nature’s smaller scenes. Pay particular attention to how the composition’s lines and forms direct the viewer’s eye and how they may arouse feelings.
For instance, horizontal lines evoke tranquility since everything parallel to the Earth is at rest. Vertical lines provide the impression of strength, size, and force. Diagonal lines produce movement and energy. Furthermore, symmetry suggests stability.
Don’t forget to Have Fun!
It is very refreshing and memorable to see and capture intimate, grand landscapes. Remember to discover humorous images while searching for serious and artistic ones!
Conclusion
A challenging yet worthwhile photographic strategy is intimate landscape photography. Your photos tend to be more original, artistic, and emotional since you are capturing intimate moments.
With this, you may connect with your audience more significantly and profoundly than ever.
DxO Software’s flagship photo editing program PhotoLab 6, (v.6.4) now features full support for Fujifilm X-Trans sensor cameras, including the new X-T5, X-H2 and X-H2S, as well as previous models. It’s also fully compatible with Nikon Z9 NEF RAW files.
Fuji and Z9 users now have full RAW-processing capability, with PhotoLab 6, and can thus take advantage of DxO’s updated DeepPRIME XD denoising algorithms, which uses machine learning to remove noise and preserve an exceptional amount of detail and color clarity in your image.
I’ve been using DxO PhotoLab for the past two years, and I’ve been highly impressed with its array of powerful image editing tools and relatively easy user interface. The comprehensive tool palettes offer everything from quick adjustment options, to in-depth processing options for everything from exposure, color, lens correction and retouching.
A powerful local adjustments menu allows you to perform precise edits with masks, brushes, control points/lines, graduated filters and erasers.
In addition, you can also incorporate other DxO programs seamlessly into your workflow, such as FilmPack, which produces classic film effects from the past, andthe entire NIK Collection of 8 powerful and popular processing plugins, like Silver Efex, Color Efex, Viveza and HDR Efex.
One of my favorite components of DxO PhotoLab, is that it contains an integrated library/digital asset management module, which allows you to browse, search and organize your images, without the hassles of having to actually import all of your images.
This has long been my issue with so many photo programs. If you have a massive library of images, it can take many hours, or even days to build an image database from scratch… that is, if it even finishes without freezing or crashing the program and forcing to you to start over. And even if you do get it all imported, browsing a database can be much slower and way more computer intensive than simply looking at individual folders
That’s what PhotoLab does; it’s simply a browser, and much like Photo Mechanic, which is my all-time favorite image browser, it just looks at whatever folder you point it to. And you can choose how to sort or display your images, set tags (picks/rejects) view EXIF and metadata for your images and also add/sort by keywords and add/sort by color and star ratings as well.
PhotoLab 6 also has a new Soft Proofing feature, which uses paper and ink simulations to help ensure even greater accuracy when preparing your image files for printing.
I’ve used a lot of photo editing programs over the years, and for me, DxO PhotoLab 6 ticks all of the boxes. It has all of the power I would ever need, whether I’m doing full RAW conversions, deep editing or just adding some life to my straight Fuji JPEGs, it has a simple, straightforward user interface, a built-in image browser, and none of the frustrations that I’ve found with other software.
Now, with full Fujifilm support, I’m able to use PhotoLab to bring out maximum detail from my X-T5 images and make them look as good as they can possibly be.
And finally, no subscriptions with PhotoLab 6. One-time purchase and it’s yours.
I’m excited to announce that the 2nd edition paperback version of my bestselling FUJIFILM guide book, X SERIES UNLIMITED has just been published, and is now available from RockyNook, Amazon, other booksellers and select camera stores.
Now at 306 pages, with lots of new text and a host of brand new images, FUJIFILM X SERIES UNLIMITED has been fully updated to cover the powerful new fifth generation X series models, including, X-H2, X-H2S, and X-T5.
And of course, it also covers all previous X SERIES cameras as well, since nearly every single model has the same menu system, and they all share many of the same settings and functions.
The Ultimate Fujifilm Guide Book
As with the ebook version, you’ll learn every feature and every menu item, button, and function of the FUJIFILM X Series lineup. More importantly, you’ll learn how to use these features and settings in actual shooting situations out in the world in order to capture great photographs.
Sign up below and I’ll send you a special discount code so you can start learning how to master your Fuji camera today.
In addition to all the technical info and tips on how to adjust all your camera settings, FUJIFILM X SERIES UNLIMITED is packed full of inspiration. I show you how to optimize your settings for maximum creative control and I tell you how to take advantage of the best features on the X SERIES cameras so that you can have the most fun possible with your camera.
If you’ve taken a workshop with me, or seen my presentations or video lessons, then you know that my primary goal as an instructor is to show you how to have maximum confidence and fun with your photography.
I want you to love taking pictures as much as I do. I want you to love your Fuji camera as much as I do, and I want you to be able to take awesome photos that you love, and that you’re really proud of. Thats what you’ll get from this book.
Get Your Copy Today!
Order your print copy of FUJIFILM X SERIES UNLIMITED, 2nd Editionto feel that luscious real paper beneath your fingertips, and learn how to get the most from your Fujifilm camera in the process.
I have over 400,000 photographs on my hard drives. Of those, only 2,000 images have been compelling enough over the years to consider them final photographs or “keepers.” I suspect I’d have even fewer if I went through them all now. That’s a so-called keeper rate of 0.5% or less.
After almost 40 years behind a camera, only half of one percent of the images I make become something I’m proud of, something that feels like it does what I wanted it to, something I’d sign my name to.
Most of the 99.5% that I have rejected are sharp; most are exposed “properly.”
Those 398,000 images weren’t excluded from my final choices because they failed technically but for other reasons. The balance didn’t feel right. I missed the moment. The colours didn’t harmonize.
In many cases, the story didn’t work or the mood wasn’t…well, it just wasn’t. And sometimes they just feel too…safe. Or repetitive, like a crappier version of something I’ve already done better but tried to replicate because that’s just easier than risking something new.
And yes, sometimes I’ve tried to do something new with my technique and it didn’t go to plan. But I learned something, and that’s valuable.
Those 398,000 rejected images weren’t failures. They’re my most faithful teachers; I needed them to get me to the 2,000. But they weren’t successes, either. And every now and then, I send a couple thousand of them to the bin so their 1’s and 0’s get recycled into fresh efforts, saving me some much-needed hard drive space.
As I have grown as a photographer, my keeper rate (can we stop calling it that?) has worsened. I return from my trips with more image files and fewer that make the cut. Can you identify with that?
Far from being a bad thing, it might be important that your keeper rate is diminishing. It should be something we strive for.
That it takes more effort to get to an image that really works for you might mean you’re taking more risks and trying new things. If that were the case, you’d probably have more “sketch images”—more photographs that are a swing and miss. They’re important, but that doesn’t mean you’ll be showing them at the next club meeting or adding them to your portfolio.
If you love every photograph you make, you’re probably not trying hard enough—not risking enough.
Fewer keepers might also mean you’re getting pickier, that you’re refining your sense of what works and what does not as you seek to make photographs that express something specific or reflect who you’re becoming as a photographer.
Fewer keepers probably means your tastes are evolving and that you’re getting better at your craft and are less willing to accept the images you would have once been thrilled with. You’re growing, and that should be celebrated.
Photographers who follow their curiosity and ask, “I wonder what would happen if…?” will answer that question by pressing the shutter, then react to the results and try again and again. They are photographers who make a lot of sketch images and follow the process further because they aren’t put off by the stinkers. And because they get so familiar with the so-called failures, they’re photographers who become more courageous and less tentative in their efforts. They know that 99 efforts are a small price to pay for the one image that isn’t just sharp but poignant.
Growing into excellence in this craft is a long game. It begs patience from us—and perseverance.
It takes time to wrap our imaginations around the way the camera sees light, space, and time differently than we do.
It takes time to remember where all the buttons and dials are and get our fingers there without thinking about it.
It takes time to learn who we are as photographers, what we like and don’t like, which subjects we want to focus our efforts on and what we can leave for others.
Yes, it takes time. But what’s the hurry? Isn’t so much of the joy of this found in the process, in the looking, in the playful attempts at something better (or just different) than what we’ve done before? Isn’t so much of the pleasure found in the making, not just in the having made? Isn’t that part of the delight?
Keeper rates are a terrible metric to measure progress. They make us rigid where we should be free and hedge our bets and play it safe. I suspect they also make some very good photographers feel like they’re moving in the wrong direction when, in fact, they’re getting closer to discovering their voice.
Art-making is not measured with rates and ratios. You don’t measure wonder and delight and the thrill of discovery or expression. You feel it.
The goal of art-making is not efficiency. It’s not subject to cost-benefit analyses. It can’t be reduced to “this is what I kept and this is what I discarded” as if the one had nothing to do with the other. The one leads to the others. It’s necessary. It’s not waste; it’s process. It’s the price extracted for wanting to make something more than just good but truly your own. It’s the grease on the wheels of your creativity.
So screw your keeper rate. Make peace with your so-called failures. Celebrate them. Learn from them. And whatever you do, don’t let them make you feel like you’re on the wrong track. My “keeper rate” is getting worse every year. But I’ve never been happier with my photographs.
For the Love of the Photograph, David
The biggest challenges for most photographers are not technical but creative.They are not so much what goes on in the camera but what goes on in the mind of the person wielding it. Light, Space & Time is a book about thinking and feeling your way through making photographs that are not only good, but truly your own. It would make an amazing gift for the photographer in your life, especially if that’s you. Find out more on Amazon.
Nikon has announced the Z5 II, the company’s entry-level full-frame mirrorless camera. The new model improves on its predecessor, the five-year-old Z5, in key areas. Its 24-megapixel full-frame, backside-illuminated sensor is paired with Nikon’s EXPEED 7 processing engine, delivering best-in-class low-light performance and autofocus performance (down to –10EV)—according to Nikon. As well as featuring Nikon’s much-loved 3D tracking, it’s the first full-frame Nikon mirrorless camera to boast the AF-A focus mode, which switches between AF-S and AF-C automatically in response to a detected subject. The Z5 II can shoot up to 11fps in RAW with the mechanical shutter and up to 15fps RAW using the electronic shutter.
In terms of video, the Z5 II can shoot uncropped 4K at up to 30fps (which its predecessor could not), but shooting 4K at 60fps incurs a hefty 1.5x crop. If you’re content with Full HD, the Z5 II delivers 1080/120p recording. The camera can capture video in 12-bit N-RAW as well as 10-bit H.265 and 8-bit H.264. In addition, it is the first camera capable of recording N-RAW to an SD card.
Rounding off the package is an in-body image stabilization system promising 7.5 stops of compensation in the center of the frame and 6 stops at the edges of the frame; an improved EVF that can reach up to 3,000 nits peak brightness (six times brighter than any competing model, says Nikon); and dual UHS-II SD card slots.
Shipping this month, the Nikon Z5 II will be available from retailers such as Backscatter for $1,700.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRESS RELEASE
Nikon releases the Z5II full-frame mirrorless camera
Achieving the same superior performance as high-end models, with greater responsiveness in dark scenes and improved ability to capture sudden movement
Nikon Corporation (Nikon) is pleased to announce the release of the full-frame/FX-format Nikon Z5II mirrorless camera for which the Nikon Z mount has been adopted.
The Z5II inherits the superior shooting functions and performance of high-end Nikon cameras while offering an even greater ability to respond to a wide variety of dark or dimly lit scenes and situations. Equipped with the same EXPEED 7 image-processing engine as the Nikon Z9, the flagship model of the Nikon Z series, and the Nikon Z8, it also offers subject detection powered by deep learning (AI) technology, and makes focusing on the intended subject easier with highly accurate, high-speed autofocusing in approximately one third* of the time required by the Nikon Z5. In addition, the high-sensitivity performance made possible by the back-illuminated CMOS sensor suppresses blur and noise for beautiful rendering of the textures and details of subjects and scenes, even in dimly lit situations, such as when shooting indoors or capturing night landscapes. The Z5II also supports Imaging Recipes, downloadable imaging presets created by Nikon and creators, as well as Flexible Color Picture Control that allows users to precisely control the expression of colors with intuitive operation. The Z5II is a camera that empowers users to fully immerse themselves in their unique creative expression while enjoying the powerful shooting performance and rich, expressive capabilities of a full-frame camera.
Nikon will continue to pursue new dimensions in optical performance while meeting users’ needs, contributing to the development of imaging culture, with the hope of expanding possibilities for imaging expression.
*Measured in accordance with CIPA standards. The measurement values are based on the following testing conditions: Subject brightness of 10 EV; in photo mode using aperture-priority auto (A), single-servo AF (AF-S), single-point AF (center), at 70-mm focal length with the NIKKOR Z 24-70mm f/4 S.
Primary features
1. Advanced AF performance inherited from higher-end models
AI-utilizing deep learning technology has been adopted for the Z5II, enabling automatic detection of the same nine types of subject as the Z9 and Z8, for both stills and video recording. It is the first full-frame Nikon mirrorless camera to support AF-A focus mode; when shooting stills, the camera automatically switches between AF-S and AF-C focus modes in response to subject movement or changes in composition. This allows the camera to automatically focus on the subject, with no setting adjustments, when photographing pets or other subjects whose movements are difficult to predict, thus freeing users to concentrate on framing and creating the desired image. In addition, increased AF performance achieves focus in approximately one-third of the time required by the Z5, facilitating the capture of decisive moments. The Z5II is also equipped with 3D-tracking, which keeps the target subject in focus even if it moves rapidly or erratically. This provides subject tracking at a constant 14 fps, so users will never miss a crucial moment when photographing subjects whose movements cannot be predicted.
2. A variety of features that allow users to unleash their creativity with unique color and imaging expression
Nikon Imaging Cloud connectivity permits users to download Imaging Recipes recommended by Nikon or supervised by popular creators at no charge, and to apply these recipes when shooting. Recipes downloaded to the camera can be applied immediately via the dedicated Picture Control button. Users can quickly switch between color presets and choose from a variety of expressions while exploring their own unique style. In addition, the Z5II supports Flexible Color Picture Control, which allows users to create and establish their own unique color styles using Nikon’s NX Studio* RAW processing and editing computer software. Using tools such as the Color Blender and Color Grading, users can adjust hues, brightness, and contrast to achieve users desired color aesthetic. Combinations of settings configured in NX Studio can then be exported to the Z5II and registered as Custom Picture Controls that can be applied at any time when shooting.
*A Nikon ID is required for NX Studio Ver. 1.9.0 and later.
3. Shooting performance for beautiful rendering of dark scenes
The Z5II is equipped with the same EXPEED 7 image-processing engine as the Z9, as well as a back-illuminated CMOS sensor that stands up well to high sensitivities, for significantly less noise. This camera offers a maximum standard sensitivity for still-image shooting of ISO 64000 and ISO 51200 for video recording. This outstanding high-sensitivity performance enables the shooting of beautiful, high-resolution images in which textures and details are preserved, even in dimly lit or dark indoor locations such as cafés and aquariums, as well as outdoors or at night. In fact, the autofocus detection range extends down to the low-light limit of -10 EV*1, making focusing in dark surroundings easier and expanding shooting possibilities. The 5-axis in-camera vibration reduction (VR) provides superior image stabilization equivalent to a 7.5-stop*2 increase in shutter speed at the center and a 6.0-stop*2 increase at the peripheral areas of the frame. This allows users to explore more creative shooting, such as trying out slower shutter speeds even when shooting handheld. The Z5II is also equipped with Focus-point VR*3. This feature suppresses blurring around focused areas for sharp rendering of the subject, even when it is positioned near the edge of the frame.
*1 Photo mode, single-servo AF (AF-S), single-point AF (center), ISO 100 equivalent, f/1.2 lens used, at 20°C/68°F.
*2 Based on CIPA 2024 Standard. Yaw/pitch/roll performance when using the NIKKOR Z 24-120mm f/4 S (telephoto end, NORMAL).
*3 Only in photo mode with NIKKOR Z lenses not equipped with VR. Does not function when multiple focus points are displayed.
4. Performance and ease of use that support reliable and comfortable shooting
AUTO shooting mode has been improved with EXPEED 7’s superior image-processing performance and Nikon’s unique AI deep learning technology. The camera responds to a wide variety of shooting scenarios by analyzing and recognizing the subject and its surroundings, and then automatically optimizing exposure values, including aperture value, shutter speed, ISO sensitivity, and even focus mode, all while the user simply holds the camera. With a high-luminance 3000 cd/m2 electronic viewfinder (EVF) panel, the EVF built into the Z5II is approximately 3x brighter than that employed for the Z5, allowing the user to check focus and exposure, even in bright surroundings such as outdoors under strong sunlight. In addition, superior operability has been inherited from high-end models. For example, buttons are positioned for right-handed operation that enables smooth adjustment of settings when shooting, and the grip is shaped to prevent tiredness of the arm, even when a heavy lens is used for extended periods of time.
5. Additional features
Equipped with a Pre-Release Capture function*1 capable of recording images buffered up to one second before the shutter-release button is fully pressed.
Equipped with Nikon’s exclusive portrait functions, including Rich Tone Portrait that realizes radiant and beautiful rendering of skin textures, and Skin Softening that smooths the skin while leaving hair, eyes, and other details sharp.
Supports Hi-Res Zoom*2 with video recording that allows users to zoom-in on their subject with no loss in resolution when using a prime lens or when the telephoto end of a zoom lens doesn’t quite reach.
The first Nikon Z series camera to support internal recording of N-RAW video to an SD card.*3
Supports recording of N-Log*4 video that offers subtle and rich tonal gradation.
N-Log LUTs, developed in collaboration with RED for users to enjoy cinematic colors and looks, can be used at no charge.
Equipped with Product Review Mode, with which the camera automatically switches focus to the object in front of it, and Video Self-timer, with which the camera automatically starts recording video after a preset delay when the record button is pressed.
Equipped with a large and high-resolution vari-angle monitor with a touch screen for intuitive operation.
With still-image photography in vertical orientation, the monitor’s user interface and EVF information display automatically rotate to vertical orientation, making them easier to check and operate.
*1 Available only with JPEG recording.
*2 Hi-Res Zoom is available when all the following conditions are met: H.265 10-bit (MOV), H.265 8-bit (MOV) or H.264 8-bit (MP4) -with image area set to FX, and [1920×1080; 30p], [1920×1080; 25p], or [1920×1080; 24p] selected for [Frame size/frame rate] in the video recording menu.
*3 When a frame size and rate of [[FX] 4032×2268 30p], [[FX] 4032×2268 25p], [[FX] 4032×2268 24p], [[DX] 3984×2240 30p], [[DX] 3984×2240 25p], or [[DX] 3984×2240 24p] is selected for [Frame size/frame rate] in the video recording menu. Picture quality is equivalent to that of a video quality setting of [Normal]. Use of Video Speed Class 90 (V90) SD memory cards is recommended.
*4 When [H.265 10-bit (MOV)] or [N-RAW 12-bit (NEV)] is selected for [Video file type] in the video recording menu.
I’m a little embarrassed to say that this is my first blog post since June 2023. What can I say, I’ve had a lot of personal stuff and other interests take priority over writing blog posts. I’ve always been a proponent of following your heart and doing what you want at any given time in your live, and after recovering from shoulder surgery last summer, I was way more into riding my mountain bike than sitting at my desk writing blog posts.
However, I’ve missed it. I actually love writing, and while I’ve been doing other types of creative writing during the past year, I have missed this regular creative and mental outlet that has satisfied a huge part of my live during the past 15 plus years.
So, I’m back at it today with some brand new photos. I recently spent three weeks in upstate New York, which kicked off with a day trip to Niagra Falls. I visited this place once before when I was a kid, and even then it was a spectacular sight. Imagine the same kid 50 years later, but with a camera.
Walking around all day, on both the American and Canadian side, I shot hundreds of photos the Fujifilm X-T50 body that a friend loaned me, and three lenses, the 16m f/2.8, 35mm f2 and 70-300mm. I loved using the X-T50, (here’s my first look review of the X-T50), especially the dedicated “film simulation dial,” and that trio of lenses was a perfect combo. I often say that for any trip or photography outing, as long as you have wide, middle and long, then you’re covered for just about anything. No need to carry more than you need, right?
However, when you’re at a place like Niagra Falls with tens of thousands of other people, and you have very few unique vantage points, and there are already millions of pictures of the falls, how do you come up with something unique, or at least intriguing to your own eyes and creative brain?
This is where long lenses really shine. Aside from letting you eliminate all the other tourists and buildings in your photos, you can zoom in and compose on specific elements of the falls. One of my favorite compositional methods in photography is the concept of abbreviation, where you pick out bits and pieces of the main subject that suggest the larger scene. This approach worked really well here, and I’m pleased with the photos I was able to capture.
I also enjoyed playing around with the different film sims, which also adds a great deal of unique creativity to your images. The photo above was shot with Classic Neg film sim, while this one below was ACROS black and white. Overall, this is a very monochromatic scene, but the different color palettes add a slight unique quality to each photo.
I’m fascinated by the geological aspect of the of the falls, and of the entire Finger Lakes area, where we spent most of our vacation. When the massive ice sheets that once covered this area retreated about 10,000 years ago, the left behind a landscape filled with mountains, steep gorges and numerous large lakes, including the Great Lakes themselves, which comprise 20% of the world’s fresh water, all of which flows over Niagra Falls at a rate of over three thousand tons of water per second.
Living here in Alaska, we have glaciers just a few miles away from our doorstep, and I explore them as often as I can with my little Cessna bush plane. Of course, even with increasingly warmer temps every year, it’s still going to take a very long time for all of our glaciers to melt, but when they have finished carving up the landscape up here, what will it look like? Interesting things to ponder…
One of the most memorable aspect about this day was shooting photos of other people enjoying their visit to the falls. After watching one couple awkwardly trying to take a selfie, I offered my services, which began a fifteen minute session of me shooting portraits of people and couples with their phones, some at my own offering, and a few others who watched form the side before garnering up the courage to ask me for their turn. It was fun to share my skills in this way, knowing that theses strangers will go home with a great photo of themselves in front of this amazing natural wonder.
Anyway, I hope you enjoy these photos. Thanks for reading and for your understanding during my long absence from the blog. I promise I won’t let that much time pass again before my next post.
It’s the old school methodology but it is particularly helpful if you’re using a wide angle lens. Stopping down really far to f/8 – f/16 increases depth of field which makes small focus errors less of an issue. See my post on Hyperfocal Distance for more help. On most cameras it may be referred to as focus priority release. Essentially with this setting you’re telling the camera not to…
