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A Love Letter to Lindbergh: Sigma 135mm F1.4 DG Art Lens

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Sigma 135mm F1.4 DG | Art
Sony a1
ISO 250, F2.0, 1/500s

I’ve been searching, for some time now, for the answer to a quiet question: “How do you capture longing?”

The moment I learned about Sigma’s latest Art lens and its ability to create incredibly soft, elegant bokeh with high-contrast resolution, my mind immediately went to Peter Lindbergh.

If you’re not familiar with Lindbergh’s work, he is widely considered one of the most iconic fashion photographers of our time. He had a singular gift for capturing raw human beauty by stripping away the excess, leaving us with only intimacy. His passing truly broke my heart.

While sharing the final images made with the Sigma 135mm F1.4 DG | Art lens, I want to take you behind the stillness. Into the spark that lit the idea. The collaborations that gave it breath. The constraints that invited intimacy. And the accidents that turned into magic.

In fashion photography we always begin with a moodboard to help align the team around a shared visual language.

To create a story that honored Peter Lindbergh’s interpretation of timeless beauty, I turned to Pinterest, to curate some of my favorite Lindbergh photographs: moody black-and-whites, high contrast, minimal backgrounds, stunning natural light, and that ethereal bokeh that gives the subject space to breathe.

Looking at Peter’s work, I knew we had to cast someone with a raw, classic kind of beauty. We partnered with Elite Model Management to cast Bojana Reljic. She has a timeless presence, soft yet powerful.

Sigma 135mm F1.4 DG | Art
Sony a1
ISO 250, F1.4, 1/2000s

For makeup, I wanted authenticity. We reached out to Lateisha Grant through P1M. Her approach is subtle, enhancing natural features without masking them.

It was important to me that Bojana looks like herself. Not a character, not a mannequin, but a woman with a story behind her eyes.

This season, I’ve been completely taken by the romanticism on the runways, especially the Chloé Winter 2025 collection by Chemena Kamali. Her layering of light fabrics to bring summer dresses into the cool of autumn, felt quietly rebellious. I loved the idea that elegance doesn’t need to be heavy-handed.

Sigma 135mm F1.4 DG | Art
Sony a1
ISO 250, F1.4, 1/2000s

For styling, I brought on wardrobe stylist Rashi Bindra. She’s brilliant at translating high fashion into accessible looks. We talked about how every woman has a silk slip dress in her wardrobe, and how silk pajamas have become the new post-pandemic luxury.

That conversation led us to Silk Laundry, a Canadian-born brand creating timeless silk pieces. They generously lent us key items from their most recent collection. For jewelry, we worked with Michelle Ross, whose bold yet refined pieces added just the right amount of strength to the looks.

Sigma 135mm F1.4 DG | Art
Sony a1
ISO 250, F1.4, 1/8000s

Shoot day called for thundershowers, but I still wanted to play in natural light to honor Lindbergh’s love for it. To ensure rain was a challenge we were ready for, we chose Neighbourhood Studios for its courtyard access and rain-proof equipment.

Luckily, there was only a light drizzle, and the cloud cover instead gifted us with a giant diffuser.

Working with one prime lens meant I had to move. A lot. I had to think more carefully about composition, framing, and angles before pressing the shutter.

It reminded me of when I first started in photography, working with just one lens and a lot of intention. That limitation became part of the poetry.

The first time I reviewed an image on the back of the camera, I gasped. The background didn’t just blur, it softened into silence. A visual hush.

A compression that pulled all attention to the subject without losing the richness of the surrounding textures. Despite shooting in low light, this lens allowed me to open the aperture to F1.4, letting in enough light to keep the mood without compromising detail.

Even dark tones against dark backdrops came alive. It honestly felt like I was shooting in medium format. I couldn’t believe how crisp and cinematic the images looked.

Sigma 135mm F1.4 DG | Art
Sony a1
ISO 250, F1.4, 1/2000s

One of the biggest distinctions between editorial and advertising photography is the emotion in the details. I love motion blur, soft focus, and layering elements that feel like memory.

This lens gave me so much room to play. The ability to layer soft neutrals in both wardrobe and backdrop, and still have the subject sing through the frame, is a gift.

Further honoring Peter, the images are very lightly retouched, only to remove distractions. I worked with Danila Panfilov for his soft touch and minimalist approach.

Sigma 135mm F1.4 DG | Art
Sony a1
ISO 250, F1.4, 1/1600s

Sigma 135mm F1.4 DG | Art
Sony a1
ISO 250, F1.6, 1/8000s

To me, a fashion film is its own kind of poetry. It moves differently than traditional cinema. There is no beginning, middle, and end. The story is often circular, not linear. It is made to be watched in loops, whether on social media or playing on screens in showrooms. With each replay, the story settles deeper into your senses.

Observing the quiet solitude of the studio courtyard, I found myself reflecting and longing for more quiet mornings on my deck. I wanted to romanticize that experience.

Inspired by The Alchemist by Paulo Coelho, a story of personal transformation and spiritual longing. I hoped to invite the viewer into an intimate moment.

To witness the vulnerability of someone reflecting on who they are becoming.

In the film, there’s a moment when the wind moves through the courtyard, and Bojana leans back in her chair, surrendering to it. Just for a second, with eyes closed. That is the kind of shot I live for. And the Sigma 135mm F1.4 DG | Art caught it beautifully. Every thread in soft motion.

Further, having recently listened to Lana Del Rey’s audiobook Violet Bent Backwards Over the Grass, I fell in love with her approach. Her book isn’t just read, it’s performed.

Her longing voice over the music was woven into something cinematic yet confessional. It gave me permission to approach this film in the same way.

So, I wrote a poem. A love letter, to play as the voiceover throughout the film, paired with a minimal score.

Like Lana’s poetry recordings, the audio is moody and raw. Not everything is explained, but everything is felt.

These are the kind of visuals that I love. When fashion isn’t about spectacle, but about memory, presence, and emotion.

Sigma 135mm F1.4 DG | Art
Sony a1
ISO 250, F1.4, 1/2000s

Creating this story reminded me why I fell in love with photography and film in the first place. It’s about intimacy, memory, emotion.

The Sigma 135mm F1.4 DG | Art allowed me to shoot with intentionality, to capture softness in low light, to layer textures and time, all within the frame.

Thank you, Sigma, for inviting me to explore. For challenging me to tell a story with a single lens. And for giving me the space to honor the artists who have shaped me.

BEHIND THE SCENES

Additional Credits:

Muse: Bojana Reljic

Director/DOP/ Photographer: Ara Coutts
Editor: Danila Panfilov
Costume: Rashi Bindra
Grooming: Lateisha Grant

BTS Director: Gajan Balan
BTS Cinematographer: Thamilini Balakumar

Director’s Assistant: Carter Gallie
2nd Assistant: Fred Abramov

Special Thanks to: Neighbourhood Studios, Silk Laundry, Michelle Ross, Elite Models, P1M

Music: “The Spanish Heart” by Olivier Olsen

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14/09/2025
Case Study: Sigma High Speed Cine Primes Lens the Edge of Space in Sci-Fi Short “Termination Shock”

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Sigma 40mm T1.5 Full Frame High Speed Prime

On a decades-long solo mission to the edge of space, an astronaut clings to routine as reality begins to fracture and isolation takes its toll… but are they truly alone?

Director Cody Mobley turned to Sigma’s Full Frame High Speed Primes and Full Frame Classic Primes for his recent sci-fi short Termination Shock.

We caught up with Mobley shortly after production wrapped to hear firsthand how the lenses shaped his visual approach and what the experience was like bringing this story to life.

Sigma 28mm T1.5 Full Frame High-Speed Prime between takes.

Low Light Capability

Sigma:

The Sigma High Speed Primes open up to T1.5 and as such, are well-regarded for their performance in low light. Did this play an important role in how you approached the darker, atmospheric sequences in Termination Shock?

Mobley:

There was a specific moment of deep emotion and anguish where our main character Lieutenant Taylor (played by Darian Michael Garey) has a breakdown. When you ask an actor to go somewhere dark and bring that emotion out, you want to make sure to capture as much of their performance as you can on the first few takes, or risk putting them somewhere deep in their head. Even in the darkened room, with a small splash of color on him, you can see the despair, the tears streaming down his face. We couldn’t have accomplished this shot without great low-light performance. This is an issue many filmmakers have, especially when making a thriller or horror, since you want to show what’s in the dark, without fully showing what’s in the dark.

Sigma 28mm T1.5 Full Frame High Speed Prime on Arri Alexa Mini

Mobley and Steadicam Operator Jesse Mar Ramirez

World Building

Sigma:

Sci-fi demands a visceral sense of atmosphere and immersion. Did the lenses help capture the scale, texture, or detail you needed to sell the story of Termination Shock?

Mobley:

The very first shot we tackled was one of our more lengthy and technical takes, where we track down a long hallway and swing to a closeup of a small object on the ground before sliding back to reveal our actor within the space. Going from micro to macro and back again isn’t easy on just any lens, especially on a space ship set flooded with fog, lights, and debris. So to say that the lenses helped capture the scale and detail would be insanely accurate. It was a very cool moment, everyone holding their breath watching on one of the monitors, wondering what the “look” of the story would be — and after I cut, this wave of excitement and awe passed through the crew. We knew at that moment we had something awesome on our hands..

Mobley Directing Garey along with the Sigma 28mm T1.5 Full Frame High Speed Prime lens.

Creating Isolation

Sigma:

Most of Termination Shock unfolds in close quarters with a single character. Was lens choice a consideration regarding how to capture the astronaut’s psychological state or convey something as abstract as the feeling (or reality) of isolation?

Mobley:

It was one of the biggest considerations we had when building our rig. Using a single character, with no dialogue, can create obstacles or opportunities, depending on how you look at it. Having the correct lenses was pivotal in showing the inner turmoil that our main character never outwardly expresses, and can be the key to encapsulating the feeling of being trapped while something stalks you through tight spaces — we made the best choice going with the Primes.

40mm T1.5mm Full Frame High Speed Prime

Image Character

Sigma:

The High Speed Primes have developed a reputation for their edge-to-edge sharpness and hyper-accurate color rendition. Did the “look” (or even lack thereof) of the lenses contribute to how you and your Director of Photography Eric Payne envisioned the overall look/feel of the film?

Mobley:

From day one when we were building the project I was adamant to shoot on the Primes, and all of our pre-production stills and camera tests were done with them; so it’s safe to say that the lenses not only had a large impact on the aesthetic of the film but shaped the look from the beginning. My DP Eric Payne likes to color correct our projects, and sets the shots up knowing what we are looking for in advance, and it was refreshing to see how close the raw footage aligned with our desired look.

40mm T1.5 Full Frame High Speed Prime on shoulder rig

(Practical) Production Demands

Sigma:

From a production standpoint, how did the build and practical usability of the lenses support your team on set—especially when working in controlled or minimal spaces like a tiny spacecraft set?

Mobley:

Well I can tell you that our cam-op (Jesse Mar Ramirez) definitely appreciated the lighter weight of the Sigma Primes when we went handheld! But honestly, an added benefit was the easy swaps when we were on Steadicam. When you can spend less time balancing the rig and reconfiguring the follow-focus, it takes a lot of stress off the production as a whole. I also can say the close focus listed for each lens was pretty much dead on, so thanks for that.

AC Jeremy Estrada slating for Steadicam operator Jesse Mar Ramirez

Post-Production

Sigma:

In terms of post-production, especially if visual effects were involved, how did the image quality from the High-Speed Primes influence your post process?

Mobley:

I prefer to go practical with my shoots. Nothing looks as good as real, solid, practical effects. Still, it’s hard to do a spaceship computer screen practically when the screens don’t actually work, so we had to go with a larger visual effect footprint than usual. I had always wanted to stay away from the green or blue tint you generally see on spaceship HUDs, and after going through our footage it was highly beneficial for us to go with a more muted and “older” looking graphic instead. Because the ship looks so real and crisp thanks to the Primes, it became a choice to make the special effects look dated and warped to better convey what you would expect after 27 years running non-stop.

Garey between takes. BTS shot on Sigma Aizu Prime 27mm T1.3 LF.

Creative Flexibility

Sigma:

Did having access to a full range of focal lengths in the High Speed Prime set give you more creative freedom in how you framed and told the story? Which focal lengths did the production and your DOP Eric Payne end up utilizing the most?

Mobley:

Absolutely. Being able to craft a story with a full range of lenses is paramount, especially when we want to convey the isolation and turmoil in our main character’s head. Because each “day” in the story is shot differently, we used a variety of focal lengths depending on if we were on steadicam, handheld, or locked off on sticks. That being said, as it generally is on a tightly scheduled film shoot, we ended up relying heavily on the 28, 35, and 50 when we needed to nail a shot. We did capture the final shot of the film on a 35mm Classic though, to give us a bit more flare and ethereal feel to end our journey.

40mm T1.5 Full Frame High Speed Prime

Watch The High Speed Prime Lenses In Action:

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13/09/2025
Surfers, Ghost Town And Nature Photos – The Weekly Light Stalking Community Roundup
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Welcome to our weekly community wrap-up. It’s been another great and exciting week on the Light Stalking forums with some stunning photography by the community.

Here is the Photo Of The Week that is judged by Federico every week. This week’s photo of the week is by Click and you can read about what Federico had to say about this photo in the link here – Photo of the Week – September 05th

Night Cycle – Copyright Click

The weekend photography challenge from last week was framing cityscapes in interesting ways and members had their creative take on some very interesting shots – some of them are shared below.

A self guided tour – Copyright Patrick

Copyright – Elin Laxdal

Ghost Towns – Copyright Robert Apple

Copyright Pat

Liberty Park – Copyright Pat

Copyright Patrick

Take a look at more submissions here – “Cityscapes Framed“

This week, we have a new challenge that has some very beautiful submissions already. Join the challenge here – “Perspectives Redefined“

If you are someone who captures images with your smartphone, we have a Mobile Photography Challenge where you can post your mobile photos and also check out the works by other photographers. The images must be captured and edited on a smartphone. Join to submit the photos over here. Here are some photos too.

Copyright Rob Wood

Copyright Patrick

There are also some members’ picks that are featured. These can be chosen by any of the members and are put in a whole new thread of their own and called out as being a great addition and shot for the forums. Check out those stunning captures here.

Patrick started a thread late last year – “Community Inspired Photo Story Challenge” – capture a story in 3 to 6 photos that hold personal significance and post them with a brief description. While that thread was started to be completed within a week, it has been open with ongoing submissions for the past year and is still open where members can post their stories.

Here are some amazing shots from the past week that we thought were great and should be included here:

Patrick is working on something different. Join the conversation here.

The Last Piece – Copyright Patrick

Self Reflection – Copyright Patrick

Steve shared a photo from the Saluda River, South Carolina USA. The image looks classic with the black and white treatment and a powerful composition.

Saluda River – Copyright Steve

Tersha shared a beautiful photo of a Long Tailed Tit and the post processing, light were perfect with a distinctive style.

Long Tailed Tit – Copyright Tersha

Steve also shared another fun photo “Long Necked Gremlin scans their domain” that shows how a change in perspective can make a photo very interesting.

Long Necked Gremlin scans their domain – Copyright Steve

Marty had some fun at the beach and shared some very interesting photos of surfers. Check out the discussions and the surfer shots here.

Surfer – Copyright Marty

She also shared a few highlights from her recent trip to Arizona and California here:

Copyright Marty

Here are some throwdowns to follow and post your own photos,, or you can start your own throwdown too.
- 2025 Reflections Throwdown – a unique way to capture your own reflection, whether abstract or otherwise. There are many beautiful images to go through for some inspiration.
- Your Pets – Share photos of your pets here.
And, there are images posted in the Shark Tank forum where members request for constructive criticism on their photos.

If you’d like to join in with our members, feel free to join us on the forums. We’d love to see you there, and we are a friendly bunch.
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12/09/2025
Andrei Duman – A Photo Editor

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The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.

Today’s featured artist: Andrei Duman

For as long as I can remember, I’ve been captivated by the art of image-making—regardless of the method, setting, or medium. Over time, as I worked with increasingly sophisticated cameras and complex equipment, my curiosity deepened. I found myself drawn not just to the images they created but to the intricate mechanics hidden within them.

This fascination led me to explore the unseen everyday objects we use without a second thought, yet under an X-ray, they reveal astonishingly intricate internal designs. What was once familiar became extraordinary, sparking the foundation of my latest photographic series, Beyond the Surface: The Art of X-rays.

What began as a simple experiment—testing a few random objects—evolved into an ongoing six-year journey of discovery and documentation. With each new subject, my appreciation for the hidden beauty and structural elegance of these objects grew. It creatively morphed from one object to the next, driven by curiosity and the one question that always underpins it all: ”What if we X-rayed…? Ultimately, this body of work aims to inspire a deeper understanding and exploration of the world around us and, perhaps, a newfound appreciation for what lies beyond the surface.

To see more of this project, click here

To purchase the book, click here

Instagram

Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.

Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.

As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.

Instagram

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12/09/2025
21 Beautifully Composed Photographs Of Flowers

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Nature has blessed us photographers with a variety of subjects that we can photograph. From the grand mountains and landscapes to the tiny micro critters, everything in nature is photographable and beautiful and it is an educative and rewarding journey. One just needs to learn to slow down, observe the environment around, to capture beautiful photos.

One of the most photographed subjects is flowers and from experience, I know there are people who think that flowers are subjects for only beginner photographers, but it is not true as it requires some skills to capture stunning flower photographs. Flowers are interesting subjects and if approached from a different perspective in terms of light, angle and composition, they are one of the most beautiful subjects and can yield very artful results. Here are 21 beautifully composed photographs of flowers.

Composition is a very important factor in photography and if you need to capture unique flower photographs, you need to give importance to composition besides light. If you are new to photography and are finding it difficult to understand compositions then check out this eBook, “Understanding Composition” by Photzy that is a step-by-step guide to learning the fundamentals of composition for stand–out photography.

Photo by Annie Spratt

Photo by Jill Dimond

Photo by Hulki Okan Tabak

Photo by Jay-R John Soriano

Photo by Thanuj Mathew

Photo by William Warby

Photo by Wyxina Tresse

Flowers are simple subjects and can be found in your garden or backyard. The way you photograph a flower and the creative thought behind the composition along with the best light is what will make your flower photographs stand out. There are many factors when composing a photo that will make it great. You need a focal point or some element that will lead the viewer to the focal point and this is achieved with the help of effective compositional techniques. If you want to learn these techniques to improve your photography, check out this eBook “Understanding Composition” by Photzy.

Photo by Polina

Photo by Scurtu Corina

Photo by Maddy Hunt

Photo by Jei Lee

Photo by Zoltan Tasi

Photo by J F

When photographing a particular flower or a bunch of flowers, you can either capture a snapshot or a compelling photo that is more than a snapshot. A strong composition is what differentiates a great photo from a snapshot. If you are looking to improve your compositional techniques, we recommend you to check out this eBook, “Understanding Composition” by Photzy that has 120 step-by-step pages,, 25 key lessons, a lot of sample images with comparisons, self-check quizzes, assignments and exercises to make learning more fun and exciting.

Photo by n kono

Photo by Anna Meshkov

Photo by Rebecca Orlov

Photo by Julia Karnavusha

Photo by Skyler Ewing

Photo by Kristīne Zāle

Photo by Aaron Burden

Further Reading

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11/09/2025
Photographer Scam Alert – A Photo Editor

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The project specs and budget seems legit, and has a very credible and detailed shot list that seems like it came from an agency.

I decided to play along and the weirdest part was the professional and responsive two-way communication. We talked details, negotiated the contract, compromised on certain concessions, etc. They were ready to move forward, schedule the date and pay me half upfront asap.

From what I understand of these scams, they “accidentally” over pay you with a fraudulent check. Then ask for a refund before the check has been flagged by the bank. You have transferred real funds to them by the time the forgery is discovered.

This is a long running scam but since it’s popping up again it’s worth putting the information out there again.

One variation I’ve heard is they overpay you but ask you to pay an advance to the stylist or some member of the crew who works for them.

Here’s the emails:

First Name: William
Last Name: Morris
Phone: 208-480-5114
Email: Will.Morris.E@proton.me

Message:
Hello,

My name is William Morris, Creative Director contracted by The Residence 1502, Austin, TX to conceptualize a two-concept lifestyle interior photoshoot to promote one of their luxury condominium residences.

Concept 1 captures the quiet elegance of everyday moments with a couple subtly engaging with the space to convey aspirational living.

Concept 2 features a young family of four, highlighting the warmth, versatility, and family-friendly appeal of the same luxury setting.

We aim to create 50+ final images that blend high-end architectural photography with natural, authentic lifestyle moments. We’re seeking the right photographer who can balance clean, well-composed interiors with an unobtrusive, candid approach to people within the space.

You can view the full project scope and creative direction here: https://app.milanote.com/1UMTsd1qNQYG4C?p=wEijF185S97.

If this aligns with your style, please feel free to get in touch with any questions.

Warmly,
William Morris
Creative Director

— — — — — — — — — — — — — — — — — — — — —

Hello,

My name is Merlin Gauvin, Creative Director contracted by The Broadway Building, San Antonio, TX to conceptualize a lifestyle interior photoshoot to promote one of their luxury condominium residences.

We aim to create 26+ final images that blend high-end architectural photography with natural, authentic lifestyle moments. We’re seeking the right photographer who can balance clean, well-composed interiors with an unobtrusive, candid approach to people within the space.

You can view the full project scope and creative direction here: https://docs.google.com/document/d/e/2PACX-1vSwdS_mHLfUtOUwksBwmaTNUJZEfElN3EyX0bkp5d0NBkYvmJQHS_NSPpyFZmZiOsaN3CFQDH1w0Ddy/pub.

If this aligns with your style, please feel free to get in touch with any questions.

Warmly,
Merlin Gauvin
Creative Director

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11/09/2025
Canon Unveils EOS C50 7K Cinema Camera

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Canon has announced the EOS C50, a compact cinema camera featuring a new full-frame CMOS sensor that when paired with the camera’s DIGIC DV7 processor is capable of recording 12-bit video at up to 7K/60p in Cinema RAW Light. Boasting Dual Pixel CMOS AF II, the new RF-mount camera offers a range of features and tools aimed at videographers and cinematographers.

The new sensor has dual base ISO at 800 and 6400 in C-Log2, and Canon says the sensor is capable of up to 16 stops of dynamic range. The EOS C50 is Canon’s first to support 3:2 open-gate recording, making use of the full sensor height. The camera also supports oversampled 4K up to 60p as well as high frame rate modes such as 4K/120p in 10-bit 4:2:2 with no crop.

Despite its video-centric design, the EOS C50 offers some impressive still shooting specs. It can capture 32-megapixel photos at up to 40fps in RAW and with full autofocus. Sensitivity ranges from ISO 100 to ISO 64,000 natively, but it can be expanded to ISO 512,000. Photographers should note, however, that with its total lack of a mechanical shutter, the EOS C50 has no flash sync capability.

Other features include CFexpress 2.0 Type B and UHS-II SD slots (allowing the simultaneously recording of landscape and portrait orientation video files), a full-size HDMI port, dedicated microphone and headphone ports, and a 3-inch fully articulating touchscreen. The EOS C50 takes the powerful LP-E6P battery used in the EOS R5 II, which promises up to 90 minutes of continuous shooting. The camera can also be powered via USB.

Avaliable in November, the Canon EOS C50 will have an MSRP of $3,900.

When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.

PRESS RELEASE

Canon U.S.A. Announces New EOS C50 7K Full-Frame CMOS Sensor Cinema Camera and RF-Mount RF85mm F1.4 L VCM Hybrid Lens

Firmware updates for select Canon Cinema EOS cameras and new PowerShot ELPH 360 HS A camera also available

MELVILLE, NY, September 9, 2025 – Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to introduce the new EOS C50 cinema camera, the newest addition to Canon’s cinema EOS system. The EOS C50 is a compact, full-frame cinema camera featuring a brand new 7K full-frame CMOS sensor, 7K 60P internal RAW recording and 32 megapixel still photo capture, making it a true hybrid camera. Weighing approximately one and a half pounds, the EOS C50 is Canon’s smallest and lightest cinema camera ever, making it ideal for handheld and verité shooting.

The lightweight design and hyper-mobile form factor the EOS C50 camera meets growing demands from shooters who are increasingly looking for compact, ergonomic cinema cameras for a variety of settings and shooting styles. Excellent for large and small scale productions, documentary shooting in the field, social media video creation, sports, and more, the EOS C50 camera features a detachable top handle which adds two full-size XLR audio inputs, a start-stop button, and a zoom rocker for unbeatable agility. It also features an RF-mount, lending it native compatibility with a wide variety of Canon lenses, such as the new RF85mm F1.4 L VCM Hybrid Lens.

EOS C50 Camera Recording Options

At the heart of the EOS C50 camera is the 7K full-frame CMOS sensor, which is capable of a Dual Base ISO of 800 and 6400 in Canon Log 2, and 12-bit Cinema RAW Light recording at up to 7K 60P. This powerful sensor is coupled with a DIGIC DV7 processor. The EOS C50 is the first camera in the Cinema EOS lineup to feature the full frame 3:2 open gate recording. In addition to Cinema RAW Light and the standard XF-AVC, the EOS C50 camera also features XF- AVC S and XF-HEVC S recording codecs, proving an easy-to-manage naming system and folder structure, all while preserving metadata and recording in the familiar MP4 format.

Social media shooters will enjoy that the EOS C50 camera is capable of simultaneous crop recording when shooting in 4K DCI or UHD, allowing you to record at a chosen aspect ratio while also recording a cropped portion of the frame in 2K. When shooting in simultaneous crop mode, the three format options include: 9:17, 9:16, or 1:1.

For those looking for camera connectivity, the EOS C50 camera supports XC protocol which allows for remote control over IP via Wi-Fi® or a compatible third-party USB-C ethernet adapter. The EOS C50 camera is also compatible with the Multi Camera Control App and features native integration of frame.io camera to cloud.

New RF-Mount RF85mm F1.4 L VCM Hybrid Lens

The new RF-Mount RF85mm F1.4 L VCM Hybrid lens is the latest addition to Canon’s line of VCM lenses, designed for shooters who increasingly are seeking powerful options whether shooting stills or video content. The RF85mm F1.4 L VCM has a focal length of 85mm, making it perfect for portrait-style shooting. The lens provides beautiful background blurring, as well as a F1.4 Maximum aperture, and well-controlled focus breathing.

Firmware Updates for EOS C400, C80, C70, and R5C Cameras

A new firmware update for select Canon Cinema EOS cameras bring in a few of these bleeding-edge features, available later this year. New firmware updates will enable full frame 3:2 open gate recording (EOS C400), view assist in media mode, quality improvement of focus peaking, improved assign buttons, improved Joy-Stick operability (EOS C80 and EOS C400), and more.

New PowerShot ELPH 360 HS A

Originally released in 2016, the PowerShot ELPH 360 HS still remains a popular compact camera. Appealing to fans of pocketable point and shoot style cameras, the newly updated PowerShot ELPH 360 HS A camera’s memory card slot will be changed from SD to microSD to help meet emerging needs in the compact camera market. The PowerShot ELPH 360 HS A camera will be available in two colors, black and silver.

Pricing and Availability

The Canon EOS C50 camera is currently scheduled to ship towards the end of Q4 of 2025 for an estimated retail price of $3,899.00*. The firmware updates for EOS C400, C80, C70, and the R5C cameras are currently scheduled to be available in Q4 of 2025. The RF85mm F1.4 L VCM lens is currently scheduled to be available in September 2025 for an estimated retail price of $1,649.00*. The new PowerShot ELPH 360 HS A camera is currently scheduled to be available in October 2025 for an estimated retail price of $379.99*. For more information, please visit www.usa.canon.com.

*Specifications, availability and prices are subject to change without notice.

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11/09/2025
These Tutorials Will Help You Master The Art Of Flower Photography

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Flowers are colourful and come in all shapes, sizes, textures and colours. They are also used to celebrate important moments in life and as a daily addition to brighten up spaces. If you are a beginner in photography, flowers are great subjects to start with. Whether you have a camera or just your phone, you can use it to capture beautiful photographs of flowers.

If you are someone who prints photos to hang in your space, flower photos truly work as great printed pieces and can add a pop of colour to your space. A basic camera and your kit lens or a 50mm lens or even your smartphone, are all you need to get started with flower photography. You can also capture interesting macros of flowers that can be both abstract and intriguing. In this article,, we have put together a set of tutorials that will help you to master the art of flower photography.

Photo by Zoe Richardson

When photographing flowers, people may not consider it as a very serious subject and approach it without much thought or any other creative techniques in mind. For example for closeup details of textures on the flower you will need to use a narrow aperture and get quite close to the subject and for a photo where you want the flower to stand out from the background you will need to shoot using a wide aperture. This article provides a detailed guide on how to photograph flowers for great results.

Photo by Stux

We cannot imagine a world without flowers, can we? Flowers add a lot of beauty colour and magic to landscapes and gardens. Flowers come in all shapes, colours and sizes and they can be photographed in different ways If you take a little care in terms of light, composition and techniques, and you can create stunning results. This article discusses 8 tips that you should embrace to get the best out of your flower photography.

We would all imagine that flower photos can only be captured with a wide or moderate focal length lens, but there are times when flowers may be high up on a tree or in a location where you may not be able to get close to the flower/s. Besides, using a telephoto lens for flower photography will also help with achieving various looks and effects in the resulting images. this article discusses how to capture great flower photos using a telephoto lens.

Photo by Cristiane Teston

Flowers are attractive and they most of the time attract birds and other critters with their vibrant colours. There is a lot of science behind why certain flowers are evolved to be in terms of their colour size, form and shape. When the colour is removed you can look deeper into the textures and other details of a flower. Here is a collection of black and white flower images with a small write up of what the author feels about black and white flower photography.

Photo by Erik Karits

Have you looked at flowers up close? Observed their intricate details? There are a lot of beautiful textures, and even some forms that can be observed, which can go unnoticed otherwise. Macro photography of flowers is something that will help you to capture these stunning details. If you take care of the lighting, composition and a few other factors, you will have beautiful resulting images and this article discusses those details.

Photo by Rapha Wilde

One of the best subjects for macro photography is flowers. Macro photos of flowers can be captured when in the fields but there are times when the weather may not be favourable, especially if it is windy and in those situations, the flower can be brought indoors to capture its minute details. Unless you have good window light that can illuminate your subject, you may need to use some kind of artificial lighting setup to capture sharp details. This article discusses how to set up a lighting studio to capture macro photos of flowers.

Photo by Danielle Stein

Flowers are brightly coloured and they bring in a lot of cheer to the place they are in. Some flowers are very brightly coloured and they just bring a pop and mood to a spot or surroundings. When capturing or editing flower photos one does not always need to stick to the bright and cheerful style but can also lean towards the dark and moody vibe which works great for flower photography. When capturing images for this style, and during the editing process, some care needs to be taken, which may be slightly different. This article talks about capturing and editing dark and moody flowers or in general flora.

Photo by Charles Smart

Most of the time, we may be photographing flowers in our own garden. When doing so we have a number of opportunities to capture the flowers differently. The tools we use in the garden and other garden features can serve as interesting backdrops or props and this will help to capture interesting storytelling images. This article was written after taking inspiration from my small garden and explains how to capture photos in your own garden for stunning results.

Photo by Sheen

There are many types of flowers on this planet – some big, some small and others very tiny.. There are times when you may come across a field of a particular flower and you may be running out of ideas to photograph in that location. It may look too busy or you may be confused but the right choice of focal length, and composition can help you capture beautiful shots. This article discusses how you can photograph the gorgeous looking sunflowers in different ways. This can also be applied to other flowers.

Photo by Sheen

Here is another article that talks about capturing a particular flower – Dahlias. Dahlias come in a variety of colours, shapes and sizes too and choosing the right combination of colours will work great. If you love dahlias and are interested in capturing their beauty, then this article talks about the different ways these flowers can be photographed, creative post processing including black and white, lens choices and more.

Further Reading

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10/09/2025
Nikon Announces ZR Compact 6K Cinema Camera
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Nikon has announced its very first cinema camera: the ZR. The compact full-frame “Z Cinema” camera is the first Nikon camera developed with RED, which the Japanese company acquired in 2024. Boasting a very compact form factor, the ZR features a magnesium alloy chassis (like the Z6 III) and an efficient thermal management design (sans cooling fan) that Nikon claims allows for long record times. The ZR is the first camera to use the new 12-bit RAWCODE RAW (R3D NE) codec, facilitating full control over ISO, exposure and color in post.

The ZR is built around the partially-stacked 24.5-megapixel full-frame CMOS sensor and EXPEED 7 processing engine found in the Z6 III. The camera can record 6K/60p from the full sensor width in 12-bit RAW internally, 4K/60p with no crop, and 4K/120p using the DX portion of the sensor. Offering 7.5 stops of in-body image stabilization, the ZR boasts various features aimed at pro videographers, including dual base ISO 800/6400, custom in-camera LUT support, and the ability to set shutter angle.

While the ZR has no electronic viewfinder, Nikon has equipped it with a high-quality 4-inch 3.07M-dot vari-angle DCI-P3 touchscreen display with a peak brightness of 1,000 nits. The camera also has built-in support for 32-bit float audio, and ports for a mic, headphones, HDMI, and USB charging.

Available in late October 2025, the Nikon ZR will have a body-only price of $2,200. Among the kit configurations on offer will be the camera paired with the Z 24–50mm f/4–6.3 for $2,500.

When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.

PRESS RELEASE

THE NIKON ZR: A NEW ERA OF LIMITLESS CINEMATIC POSSIBILITIES, BORN FROM NIKON’S SYNERGY WITH RED DIGITAL CINEMA

The first Nikon Camera in the Z Cinema Series Combines Nikon’s Optical expertise and High-Performance AF with RED’s Color Science and Cinematic DNA

MELVILLE, NY (September 10, 2025) – Today, Nikon announced their first cinema camera made for filmmakers, the ZR. The ZR is an ultra-lightweight, full-frame camera that marks an audacious introduction to the Z Cinema series, a collection that invokes the best technologies and philosophies of both companies. Designed for emerging cinematographers and high-end content producers, the supremely capable Nikon ZR packs an unparalleled amount of professional video production features at a price that puts cinematic quality within reach for all types of filmmakers.

The Nikon ZR is as versatile as it is powerful, with a multitude of original and class-leading capture and workflow features never seen before in this level of camera. The new Nikon ZR can record up to 6K/60p (59.94p) and incorporates the new R3D NE1 RAW video file format with RED color science based on RED’s popular R3D RAW codec, with 15+ stops2 of dynamic range. This new codec uses color science and exposure standards of RED cameras to ensure accurate color matching, even for multi-cam shoots. The impressively huge 4 in. DCI-P3 LCD is nothing short of stunning, and bright enough to be used even in direct sunlight, while often eliminating the need for an external monitor. It also has class-leading audio capabilities such as 32-bit float audio from built-in and external microphones, plus OZO3 directional audio. The ZR also has 7.5 stops of built-in image stabilization (IBIS) and unlocks a whole new world of optical versatility, since the wide Nikon Z mount enables a large variety of lenses to be adapted using third-party lens adaptors4.

“We aren’t holding anything back – our first Nikon camera developed with RED has all the creative controls that filmmakers need, with features that have never been seen in this level of handheld cinema camera,” said Fumiko Kawabata, Sr. Vice President of Marketing and Planning, Nikon Inc. “The Nikon ZR is the camera that will challenge the established video market and will demonstrate Nikon’s commitment to advancing the tools available to video production professionals.”

Legendary RED Color Science, Built-In

The new ZR features a full-frame sensor for excellent depth of field and video quality and supports internal recording up to 12-bit RAW 6K/60p. This is the first camera to use the new 12-bit R3D NE RAW codec, a new RAW format which REDCODE RAW users will find familiar. By leveraging its broad 15+ stop dynamic range, it achieves well-balanced image quality from highlights to shadows. Support for Log3G10 and the REDWideGamutRGB gamut reproduces exposure standards and colors consistent with RED color science, with true RED color tonality, skin tone integrity and tonal roll-off – similar to the output of RED’s cinema cameras such as the V-RAPTOR [X] and KOMODO-X. Two base ISO sensitivities are available, ISO 800 and ISO 64005, allowing users to choose the best option for a particular scene or situation such as bright daylight or low-light interior scenes. However, just like REDCODE RAW, ISO in R3D NE files is fully adjustable in post for maximum flexibility.

Furthermore, users also have the option to shoot in N-RAW, ProRes RAW, and other formats to best suit their production and workflow. The camera also features a new view assist function which allows the user to store and select from up to ten LUTs in the camera. This will let the filmmaker preview the effect of the color grade in real time using the monitor. Three types of LUT data (17-point, 33-point, 65-point6) can be loaded into the camera. RED’s Creative LUT Kit is available for free via the RED website here.

The ZR features a new Cinematic video mode, a user preset for those who want to easily enjoy the RED cinematic look with a faster workflow in less data-intensive non-RAW formats. Cinematic mode automatically adjusts the shutter angle to 180 degrees, changes the frame rate to 24 fps, and applies the RED Cine Bias Picture Control for gorgeous yet simple cinematic color. What’s more, nine RED-curated cinematic Picture Controls based on RED creative LUTs will be available for free download via Nikon Imaging Cloud, expanding possibilities for more diverse imaging expression.

Incredible Audio: 32-Bit Float Audio Recording + OZO Audio Support for Built-In Mic

With uncompromising attention to audio capabilities, the ZR is the world’s first7 cinema camera to support 32-bit float audio recording with both built-in and external microphones, as well as through the 3.5mm microphone jack. This unique ability enables the recording of clear, distortion-free sound from quiet to loud, without requiring on-location gain adjustment. It supports recording a wide range of sound sources, from interviews to live concerts, with maximum audio flexibility in post. The three high-performance mics built into the camera use Nokia’s OZO Audio technology to realize cutting-edge audio recording. Filmmakers can choose from one of the five polar pickup patterns8 — [Front (Super directional)], [Front], [All directions], [Rear], and [Stereo (binaural)] — that best suits the situation, from interviews or product tutorials to immersive audio applications.

The ZR is also the first Nikon camera to feature a digital accessory shoe, which enables two-way digital communication between the camera and compatible accessories, allowing for advanced functionality such as tally lamp and microphone LED control. Additionally, the camera can supply power directly to supported accessories, eliminating the need for separate batteries or cables. The newly designed rubber shoe cover provides excellent dust and drip resistance, ensuring reliable performance in a variety of shooting environments. Going forward, Nikon will collaborate with third-party accessory manufacturers to offer a wide range of solutions that meet the diverse needs of filmmakers.

High-Performance Autofocus with Nikon’s Deep Learning-Based AI Technology

The impressive processing power of the EXPEED 7 image-processing engine installed in Nikon’s flagship camera Z9 and AI technology that utilizes deep learning, enables more accurate subject detection and tracking for optimal image processing in accordance with the subject, scene and situation. This makes capturing the intended subject with greater accuracy much easier, significantly expanding possibilities for film production. The camera also detects nine types of subjects automatically, including people, animals and vehicles. It even detects small faces occupying as little as 3% of the long side of the frame for precise focusing on distant human subjects. Users can also adjust AF speed and sensitivity to suit their creative style, enabling a slow rack for cinematic effect or fast-paced focus for action.

Designed to Thrive in any Production Environment

The ZR uses an innovative fanless design, with the entire camera body contributing to efficient heat dissipation and thermal management. This design decreases audible noise, enhances battery life and increases durability. The ZR can shoot uninterrupted recording for up to approximately 125 minutes9. Additionally, USB power delivery capability allows for long takes and worry-free shooting at events that require extended recording, such as weddings, concerts and interviews.

With its magnesium alloy chassis, the ZR inherits the same rugged durability standards of Nikon’s Z6III. This means it’s designed to handle the pressures of professional production environments—indoors or out. The body is resistant to dust, sand and moisture, thanks to careful sealing at critical points like buttons, seams and ports. It’s a tool designed for real-world filmmaking—resilient under pressure and ready to shoot on location. The controls on the ZR also reflect a new filmmaker-oriented UI, with familiar menus, a new quick menu for filmmakers, as well as customizable button placement made for a cinematographer’s most used features.

Additional Features of the Nikon ZR
- Super lightweight with small footprint at just 1.19 lb. (body only).
- A short 16mm flange focal distance (the shortest among full-frame cameras) offers greater flexibility in the lenses that can be used, allowing filmmakers to make the most of their existing lens assets.
- The shutter angle can be adjusted from 5.6° to 360° for video recording. Shutter speed is also available.
- The brightness of the information display (histogram/waveform monitor size, transparency and position, and zebra pattern color) can be changed.
- Automatic rotation of vertical video for social media content creation.
- A front tally light /rec lamp lets subjects know you are recording. Additionally, it receives tally control signals10 input via HDMI-CEC11 and displays the status of each camera when multiple cameras are used.
- A superior dust- and drip-resistant, durable construction expands shooting possibilities.
- Equipped with advanced still photography features inherited from the Z6III, as well as new features such as a preset for starscape photography and a new dehaze function.
- Slow-motion presets: Instant access to 4K/119.88p12 and Full HD/239.76p cinematic motion, as well as user modes for 4x and 5x slow-mo.
- It also supports Frame.io Camera to Cloud using NX MobileAir, automatically transferring video data directly to the cloud for a faster and more efficient post-shooting workflow.
RED Digital Cinema, Inc. Releases the V-RAPTOR XE

RED Digital Cinema, Inc., a subsidiary of Nikon Corporation, is pleased to announce the release13 of the new V-RAPTOR XE digital cinema camera, which was released on September 9, 2025. The newest addition to its acclaimed Z CINEMA camera lineup, this streamlined version of the revolutionary V-RAPTOR [X], curates the essential tools for cinematic storytelling. Designed for independent creators who demand uncompromising image quality, the V-RAPTOR XE delivers large-format, cinema-grade features at a more accessible price point. The new camera retains RED’s industry-leading 8K large format (VV) global shutter sensor found in the V-RAPTOR [X] series, ensuring cinematic image fidelity, dynamic range, and low-light performance that filmmakers trust. Nikon and RED will meet a wide range of needs in film production with an extensive lineup of cinema-oriented products under the Z CINEMA series.

New ME-D10 Shotgun Microphone

The ME-D10 is a 32-bit float shotgun microphone compatible with the new digital accessory shoe developed for the ZR. It requires no battery or cable and has built-in shock mounts to minimize any interference. It offers two recording modes, PURE and FOCUS, which can be selected with a switch on the microphone. PURE mode features a wide dynamic range and a sound design true to the original source, allowing natural and accurate capture of raw audio, including the ambient atmosphere. FOCUS Mode accurately captures the intended voice, even in noisy surroundings such as those outdoors, ensuring clear audio for product presentations and live streams.

Price and Availability

The new Nikon ZR Cinema Camera will be available in late October 2025 for a suggested retail price of $2,199.95* for the body only. Additional kit configurations include: the body with the NIKKOR Z 50mm f/1.8 lens for $2,749.95*, with the NIKKOR Z 35mm f/1.4 for $2,849.95*, or with the NIKKOR Z 24-50mm f/4-6.3 for $2,499.95*. The ME-D10 shotgun microphone, also scheduled for release in late October, has a suggested retail price of $339.95*.

For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit nikonusa.com.

Specifications, equipment, and release dates are subject to change without any notice or obligation on the part of the manufacturer.

1. A dedicated codec developed for Nikon cameras to record video in R3D format. The file extension is “.R3D”.

2. Value based on measurement performed by Nikon

3. OZO is a registered trademark of Nokia Technologies Oy.

4. Certain features may be unavailable when other brands’ lens adapters are used.

5. With R3D NE recording.

6. With recording at video frame rates of 23.976p, 25p, 29.97p, 50p, and 59.94p.

7. Among cameras with interchangeable lenses that record audio via the built-in microphone and 3.5-mm stereo mini-pin jack.

8. Available when recording with H.264 or H.265 at 59.94p or lower.

9. R3D NE 6K/59.94p: [Auto temperature cutout]: [High], at 25°C/77°F, using portable battery or other external power source.

10. Supports Cerevo tally lamps.

11. Up to six cameras can be connected.

12. In DX crop mode

13. The V-RAPTOR XE will be available from RED Digital Cinema, Inc. and RED authorized dealers. Visit RED’s official website for product details, as well as for information on release dates and sales regions.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.
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10/09/2025
Cutting The Cord – X Ways To Use Wireless in Your Photography
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We are all used to wireless Internet. It’s been around in one form or another for 25 years and pretty much every connected household will have a Wi-Fi capable router. However, many of us might not realize that modern cameras also have a number of wireless capabilities that can enhance our workflow or allow us to capture unique images.

Today we are going to cut the cord and take a look at some of the many ways that we can utilize wireless connections in our photography.

Wifi and BLuetooth has reduced our dependance on wires. By Jonathon on Unsplash

Ways of Cutting The Cord
There are actually a number of ways for creating a wireless connection in your camera. This will obviously depend on the camera specification but these are the most common ways.

WiFi – In this mode you connect your camera to your local Wifi network. You will need to search for your network then enter your WiFi password. For security reasons it’s best limited to a home, well secured, WiFi network and not open source free WiFi. However if you are looking to have WiFi connections in the field you can buy portable hubs. These are often used to connect multiple devices to 4/5G data whilst traveling.

Bluetooth – Many cameras now come with a version of Bluetooth for short range wireless connectivity. As Bluetooth has evolved it has gained more and more capabilities, making it increasingly useful in cameras.

On camera adapters – These adapters are most commonly attached to the hot shoe and connected to a camera port via a shot cable. They allow for the wireless connection of more complex peripherals.

Those are the primary wireless connections that our camera may be able to make. But what can we do with them? Let’s find out,
Bluetooth Wireless to OEM Smartphone App
The most common wireless connection we will make with our cameras is to connect to the manufacturer’s dedicated app on a smartphone. Mainly connected through Bluetooth, these apps have varying degrees of capability and usability.

Some of the functions might include –

Remote viewing and shutter triggering.

The ability to change camera settings remotely – usually this is limited to exposure controls and sometimes focus points.

GPS locations gathering – many cameras do not yet have GPS built in, but some apps can geolocate the camera’s position using the smartphone’s internal GPS.

Image transfer to a device – apps can often wirelessly transfer images from the camera to a smartphone, tablet or computer over Bluetooth. Whilst useful in the field, it can be a slow and sometimes unreliable process.

Send images to the cloud – usually the OEM’s own cloud server but sometimes sites such as Dropbox or Google Drive
Most modern cameras can connect to Bluetooth and Wifi. By Jason Row Photography

Manufacturer apps can be a useful way to wirelessly connect your camera. However as they are provided free, often they can be a little clunky, limited or even unreliable. For some cameras there may be third party, paid apps that do a better job.

Bluetooth to External Accessories

The increasing capability of Bluetooth has led to the ability for cameras to connect wirelessly to peripherals. The most obvious example of this is connecting the camera to a gimbal via Bluetooth.

With gimbals, you are able to control the camera directly from an interface on the gimbal itself. Controls might include, triggering the shutter/record button, focussing the camera and even controlling some aspects of the exposure.

Other uses include connecting hotshoe mounted wireless adapters to a smartphone. Typically this might be a wireless flash trigger that can be controlled from your phone.

Many printers these days are wireless and can easily connect to a camera directly. You can send images straight from your camera to the printer, without the need to import them to a laptop.

As Bluetooth is a relatively low powered wireless connection, any peripherals will need to be in close proximity to the camera.

The Wirelss Go II system is a good example of cutting the cord. By Jason Row Photography

Wireless Tethering

Tethering is the ability to connect our camera directly to our computer, either a desktop or laptop. In wired form it has been around since the early days of digital cameras. However in recent years, it has become increasingly wireless. Mainly this is done over Wifi as it has a better range.

Why would we need to tether our cameras? The most common use is in a studio environment. A photographer can be shooting whilst the camera is simultaneously downloading the image to an editor. This can greatly speed up the workflow in busy studios.

Tethering can also allow the photography to see the live image on a large, color calibrated screen. This allows them to make minute adjustments to exposure, color and even focus.

Recent developments in wireless tethering have allowed our stills cameras to be adapted as high quality webcams. With the advent of video conferencing, especially during the pandemic, this has allowed for much higher video quality in calls.

Wireless Adapters

Some more complex wireless photographic systems require specialist adaptors that attach either to the camera’s hot shoe or baseplate. The most common applications for these are in remote photography and flash triggers.

The simplest form of remote photography will be a wireless shutter/intervalometer. This will allow the photographer to remotely control and trigger the camera from a short distance away. These types of remotes are often used in long exposure and time-lapse photography. There are also often much cheaper third party options available for OEM models .

Wireless remotes allow you to safely step away from the camera. By Blake Cheek on Unsplash

A more complex type of remote trigger system involves motion detection to trigger the camera. These are often used in camera traps for wildlife photography and research but also, increasingly in sports photography.

The other main use is to trigger complex flash set ups. A wireless adapter is connected to the hot shoe where it talks to the camera flash dedication module. This adapter is wirelessly connected to multiple flash units and even smartphone apps. The system allows the photographer to minutely control the power output of each flash unit to finely tailor the lighting on the subject.

Another form of wireless adapter is one that connects to the camera baseplate. These are often OEM models that allow for ultra fast transfer of images to remote computers. Typically these are used in sports photography where images need to be online within seconds of being taken.

These are just some of the very powerful ways we can wirelessly control our cameras. From simple image transfer to capturing endangered species without encroaching on their habitat, wireless photography has become a powerful tool – one that is almost universally available.

Do you use wireless for your photography? Feel free to share your experiences in the comments section below. We would love to know!

Further Reading
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10/09/2025