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  • DJI Releases Its First 360 Degree Camera – The Osmo 360

    DJI Releases Its First 360 Degree Camera – The Osmo 360


    We know of a few 360 degree cameras in the market with Insta360 being the best overall and then the GoPro Max and Ricoh Theta X also in line. DJI which did not have a 360 camera so far, has filled the gap with its recent release of the Osmo 360 that is capable of capturing 8K videos at 50fps.

    Image via DJI

    The Osmo 360 camera comes with a square 1 inch HDR image sensor, that provides great image quality while consuming low power and also helping with the ultra compact and lightweight design. This is the first of DJI’s cameras that offers 360 videos at up to 8K, 50fps and comes with a good dynamic range to help capture high contrast scenes, for example during sunrise and sunsets.

    One of the most interesting features is that the user can switch between front and rear cameras without the need to stop recording. The camera is very compact and weighs only 183g and comes with 105GB storage.

    The camera can record in extreme temperatures as low as -20 degree Celsius and can also be used underwater up till a depth of 10 meters without a protective case.

    Here are some of the most important features of the Osmo 360:

    • Square sensor design with dual 1 inch 360° image fields
    • Large f/1.9 aperture for maximum light intake in even low light situations
    •  SuperNight mode to capture all details in night scenes
    • 105GB of built-in storage
    • High-frame-rate with 4K 100fps 360° video
    • Up to 4x slow motion
    • Ultra-clear 360° photos up to 120 megapixels
    • Video format supports 10-bit color depth
    • D-Log M mode to capture all details and for flexibility when postprocessing
    • Continuous 8K/30fps recording for up to 100 minutes and 190 minutes of continuous recording when capturing 6K 360° video
    • Pair the camera with invisible selfie stick to make it vanish from the 360° videos without the need for editing, also third person views will make it look like the footage was captured by a cameraman
    • Switch between front and rear camera without the need to stop recording
    • Magnetic quick release design to pair with accessories

    If you are interested, here is a first impression and a hands-on comparison of the Osmo 360 with a leading 360 degree camera.

    https://www.youtube.com/watch?v=vEDncuegfmQ

    The camera is out of stock on DJI’s website, but is available to pre-order from resellers. It is priced at $549.99. More details about this product can be found here. We have more news for you to read if you are interested at this link here.





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  • Follow These Tutorials To Capture Night Sky Objects With The Camera You Have

    Follow These Tutorials To Capture Night Sky Objects With The Camera You Have


    Night sky is an addictive subject to photograph and if you look closer, there are many night sky objects that you can photograph, other than the moon and the Milky Way. On very clear nights, you will be able to see a lot of nebulae, star clusters, cloud complexes and even a galaxy without the aid of a telescope.

    Right now it is the Milky Way season in the Northern Hemisphere, but for those who live in the Southern Hemisphere, there are many objects in the Winter sky that are worth photographing. If you are new to astrophotography, start by photographing the moon and then move on to photograph the Milky Way, before working towards photographing deep space objects.

    Grab your Milky Way Photography Blueprint for free right here.

     

    In this article here, we have put together a collection of tutorials that are highly detailed and provide you with every information you need to photograph the sky at night. Don’t forget to check out the “Further Reading” section.

    Let us start with the Moon which is the natural satellite to our planet Earth and it is one of the closest and brightest subjects in the night sky, that you can easily photograph. If you observe the moon over a few weeks, you will get an understanding of the phases of the moon, its rising and setting time, etc. You just need to do a little bit of planning to get the best shot.

    Graphic by Light Stalking

    If you are wondering what if you do not have a camera yet, but only a smartphone that you use to capture photos right now? Smartphone technology has advanced quite a lot in the recent years and they can be used to capture beautiful images of the moon and some brighter objects in the night sky. Especially if you are a a beginner in astrophotography, with some practice and knowledge, you can capture interesting photos of the moon with your smartphone.

    Photo by Dahlia Ambrose using Samsung Galaxy S22 – 20x digital zoom. ISO 25, 69mm, -0.2 ev, f/2.4, 1/583s. Cropped to fill the frame.

    And, did you know that the moon is not just white, but has some colours due to the mineral deposits on its surface? If you zoom in on live view with a long lens, on a very clear night, you will be able to observe these colours faintly. You can photograph the moon and bring in those beautiful colours and this article will help you achieve that. It is interesting and can be done during any phase of the moon, but remember that you will have to take a series of shots to get the best results in terms of colours and details.

    Photo by Dahlia Ambrose

    We have heard of rules for correctly setting exposure for certain subjects in photography, rules that do not need to be followed as such, but rules that can help you get started initially and then can be refined further according to the situation. One such rule to capture the moon is the Looney 11 rule which can be a start to estimate exposure times. We will summarise the rule here:

    • Set aperture to f/11 and shutter speed to the reciprocal value of ISO.

    Check out the article to learn more about this rule.

    Graphic by Light Stalking

    We live in the Milky Way galaxy and it is one of the easiest subjects to photograph, after the moon. Depending on the time of the year, you will be able to photograph only specific areas of the Milky Way galaxy. The core is the most stunning region and it is above the horizon at night, a few months every year. So keep an eye on the weather forecast and find the darkest location possible and photograph the Milky Way with the camera you have in hand.

    Photo by John Lemieux

    If you want to go a bit further after some experience and photograph a nebula, the Orion Nebula is one of the easiest to capture and one that is most commonly photographed too. You can use the camera that you have in hand and a moderate focal length lens to capture the frames and then with some detailed post processing, you will have a beautiful image. You will need to capture a series of shots including calibration frames and everything is explained in detail in this article.

    Photo by Dahlia Ambrose

    Now, similar to the rule we mentioned above to set exposure for moon photography, if you are a beginner and not sure where to start in terms of settings for your night sky photography like stars, nebulae, etc., start with the 500 rule. It is not very accurate, but is a great start to get an image of the stars, galaxies and the Milky Way. Here is the rule summarised below:

    • Set your camera to ISO 3200 or 6400, your Aperture to f/2.8 (or as wide as possible) and your shutter speed to 500 divided by the focal length of your camera, taking into account the crop factor of your camera.

    There is also a 600 rule where you replace the 500 above with 600 and see if it works better than the above setting.

    Snapwire at Pexels

    With more advanced cameras and sensors, sometimes the 500 or 600 rule may not get you the best results, especially if you want to have a large print. Sometimes there may be some trailing in the stars instead of point sharp stars. To avoid this situation, the photographer needs to calculate exposure based on the type of camera and lens combination.

    A formula was devised by Frédéric Michaud for the Société Astronòmique du Havre called the NPF rule which is quite complex, where

    • N stands for aperture, the letter N is used to represent aperture in optics.
    • P for photosites or pixel density or pixel pitch (distance between two pixels)
    • F for focal length

    If you have an app called PhotoPills, you can easily calculate exposure times using the NPF rule on that app.

    Screenshot from PhotoPills App showing different exposure times for two different full frame cameras

    Star photography is easy, but in order to get the best results like sharp and noise free images, there are a few things that you will need to keep in mind. It also requires you to choose the right location, weather conditions, keep an eye on the moon phases and use the right tools and accessories to get the best shot. Last but not the least, patience and practice is key to perfect star images.

    Photo by Skeeze

    Cameras come with noise reduction features called high iso noise reduction and long exposure noise reduction. Many photographers seem to be confused if they need to leave these settings on for astrophotography, in order to get the best results. Depending on what you are shooting, these features can cause some delay in sequences, can cause heat, and also remove faint star details. Read to find if you should leave these settings on or off for astrophotography and why.

    Image by Benjamin Voros

    When capturing night sky or dep space object, you are working with very little light and longer exposure times. Factors like heat due to long exposure and high iso can induce thermal and/or digital noise in these photographs that can leave unwanted effects/artifacts in the images that also greatly reduce the sharpness and quality of the image. Here are some ways in which noise can be reduced in your night sky images.

    This is how noise looks in photographs – this is for illustration purposes only. Image by MartinThoma

    Further Reading





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  • Sony RX1R III Premium Compact Camera Unveiled After Almost Decade Wait

    Sony RX1R III Premium Compact Camera Unveiled After Almost Decade Wait



    Good things come to those who wait. Certainly, that’s the reaction Sony is hoping for with the launch of the RX1R III premium full-frame compact—very nearly 10 years after the RX1R II was announced. One thing is for sure: A lot has changed in terms of camera technology in the intervening period.

    For starters, while the RX1R II combined a 42.4-megapixel sensor with the BIONZ X image processor, the RX1R III boasts a 61MP sensor and the latest BIONZ XR chip as well as Sony’s newest AI-processing unit for locking onto and tracking subjects. There are also now 693 phase-detection AF points covering around 78% of the image capture area, up from 399 points in the RX1R II. Unsurprisingly, video also gets a significant boost: The new camera can shoot 4K/30p 10-bit 4:2:2 and 1080/120p 8-bit 4:2:0 video, while its predecessor maxed out at 1080/60p.

    Other things that have changed include: the rear 3-inch LCD, which is now a touchscreen and offers improved resolution (2.36M dot vs 1.23M); the battery, a NP-FW50 unit that increases the CIPA rating from 220 shots to 300; and the EVF, which is rear mounted rather than pop up (though still 2.36M-dot resolution). It’s worth noting a couple of minor negatives: the screen no longer tilts and the viewfinder has a smaller magnification—0.7x vs 0.74x. What has not changed is the camera’s fixed lens—it’s the same Zeiss Sonnar T* 35mm f/2 that was built into the original RX1 from 2012. For underwater use, of course, that’s going to need high-quality wet lenses in front of it to capture the vast majority of subjects.

    Available in July, the Sony RX1R III will retail for an eye-watering $5,100—a price tag, most will agree, justifies its “premium” designation.

     


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


    PRESS RELEASE

    Sony Electronics Introduces The RX1R III: The Flagship Full-Frame Premium Compact Camera With A Fixed Lens

    SAN DIEGO, July 15, 2025 – Sony Electronics Inc. announces the RX1R III, the eagerly anticipated third generation of its RX1R series, featuring a 61-megapixel1 35 mm full-frame Exmor R™ CMOS image sensor, the latest BIONZ XR™ image processing engine, and a ZEISS® Sonnar T* 35 mm F2 lens.

    “The RX1R III combines Sony’s design savvy with the latest innovations in imaging technology to produce a new flagship in our RX1R camera series that offers uncompromising full-frame quality in a premium compact camera body,” said Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc. “The RX1R series has resonated greatly among discerning photographers, and we’re proud to now deliver the next generation of this popular camera model.”

     


    A Focus On High-Quality Photography

    The combination of the 61-megapixel1 full-frame Exmor R™ back-illuminated CMOS image sensor and the BIONZ XR™ image processing engine delivers high resolution and sensitivity, with low noise and a wide dynamic range. The sensor surface features AR (Anti-Reflection) coating and omits the optical low-pass filter to achieve superior image quality.

    The integrated lens offers excellent image quality. By optimizing the position of the lens and the imaging surface one by one at the micron level, RX1R III achieves high optical performance in a compact form factor.

    Dedicated To Creative Freedom

    To ensure you always get your shot accurately and without effort, RX1R III is equipped with the latest AI-processing unit, a valued feature of top-of-the-line professional Sony Alpha™ cameras. The AI-processing unit can accurately recognize the shape and movement of subjects, human bodies, heads, and the position of eyes, tracking subjects even when their faces are not visible, and is available for both still images and videos2. Up to 693 densely arranged3 phase-detection AF (Auto-Focus) points cover approximately 78% (for still image shooting) of the image capture’s area.

    While the camera has a fixed lens, users can tap into the versatility of three prime lenses thanks to the Step Crop Shooting4 function, which allows users to switch between focal lengths equivalent to 35 mm, 50 mm, and 70 mm5 via assigned buttons or dials. When shooting in RAW format, users can reselect the focal length during post-production. The lens’s macro ring enables instant switching to macro mode, allowing users to get as close as 20 cm (maximum magnification: 0.26x).

    For creators who enjoy unique and personalized visuals, RX1R III offers twelve built-in Creative Looks. Adjustments to hue, saturation, brightness, contrast, and sharpness can be applied not only to still images but also to videos. Most notable among the Creative Looks6, FL2 allows the capturing of a nostalgic expression with subdued colors, and FL3 allows for a more vibrant image.

    Streamlined Design & Reliable Hardware

    Made of lightweight yet highly rigid magnesium alloy, the RX1R III design balances aesthetics and functionality. While maintaining excellent operability, the dials and Multi-Interface (MI) Shoe are embedded into the camera body and the top surface of the body features a flat design. The grip design and surface texture provide a secure and comfortable hold.

    RX1R III is equipped with an electronic viewfinder featuring an approximately 2.36 million-dot XGA OLED with high resolution and high contrast, offering a magnification of approximately 0.70x.

    RX1R III uses the rechargeable battery pack NP-FW50, allowing the capture of up to 300 still images7. It features a USB Type-C® port that allows rapid charging when connected to USB Power Delivery8-compatible devices, or the addition of external power sources, such as mobile batteries, for extended shooting sessions.

    Social Responsibility

    Aligned with Sony’s ambitious ‘Road to Zero’ initiative, this product supports the company’s vision for achieving a zero environmental footprint by 2050. The Sony Group’s manufacturing facilities for imaging products, including the RX1R III, are operating at 100% renewable energy. The RX1R III packaging uses Sony’s proprietary environmentally friendly Original Blended Material9 instead of plastic10.

    The camera system incorporates comprehensive accessibility options, including a Screen Reader function11 and Display Magnification, to support visually impaired users across an expanded range of menu items.

    Optional Accessories

    TG-2 is a dedicated thumb grip that attaches to the Multi Interface (MI) Shoe to provide stable holding and operability, including when operated with one hand. When attached to the body, the metal material and high-quality paint finish provide exceptional design unity.

    LCS-RXL is a compact body case dedicated to this camera model intended to protect the camera from scratches and dirt and enhance its elegance with its refined texture material. The body case allows access to all ports—USB, HDMI, battery, memory card, and tripod attachment—without removal. The grip design improves the holding experience.

    LHP-1 is a lens hood made specifically for this camera. It features a robust construction using lightweight and high-strength aluminum material, protecting the lens from impact and dirt. The bayonet mount allows for quick and secure attachment.

     


    Pricing & Availability

    The RX1R III will be available in July 2025 for approximately $5,099.99 USD and $6,299.99 CAD. The TG-2 for approximately $299.99 USD and $349.99 CAD, the LCS-RXL for approximately $249.99 USD and $224.99 CAD, and the LHP-1 for approximately $199.99 USD and $249.99 CAD, in August 2025. They will be sold directly through Sony and at a variety of Sony’s authorized dealers throughout North America.

    1Approximate effective

    2Available subject settings are: Auto, Human, Animal, Bird, Insect, Car/Train, and Airplane. Subject types other than the type specified may be erroneously recognized in some cases.

    3It is number of AF measurement points during still image shooting. The number of points varies depending on the shooting mode.

    4Not available for movies.

    5When shooting JPEG images with a 3:2 aspect ratio, the resolution is as follows: At 35 mm: L size (60 megapixels), at 50 mm: M size (29 megapixels), at 70 mm: S size (15 megapixels)

    6ST (Standard), PT (Portrait), NT (Neutral), VV (Vivid), VV2 (Vivid 2), FL (Film), FL2 (Film 2), FL3 (Film 3), IN (Instant), SH (Soft Highkey), BW (Black & White) and SE (Sepia).

    7When using the viewfinder: 270 shots.

    818W (9V/2A) USB PD power source is recommended.

    9Paper material made from bamboo, sugarcane fibers, and post-consumer recycled paper.

    10Excluding materials used in coatings and adhesives.

    11Supported languages differ according to country and region.





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  • Nauticam Announces Housing for the Canon EOS C400 Cinema Camera

    Nauticam Announces Housing for the Canon EOS C400 Cinema Camera


    Nauticam has unveiled its housing for the Canon EOS C400. Sporting a cube-style design like that of the EOS C300 Mark III, the C400 features a full-frame 6K CMOS back-illuminated stacked image sensor with up to 16 stops of dynamic range. It can record 6K/60p full-frame footage in 12-bit Cinema RAW Light, as well as shoot 4K/120p and 2K/180p RAW video.

    Employing the company’s N120 port system, Nauticam’s NA-C400 housing features important controls within easy reach of the integrated ergonomic handles, including lens control dials, and exposure and capture controls. Making use of the camera’s remote functionality, the housing also features electronic controls at the rear and on the sides. The housing supports HDMI 2.0 and 1.4 for external monitors or recorders, while SDI output is also available for either surface monitoring or supported monitors. 

    Retailers such as Backscatter are now taking pre-orders for the NA-C400, which is priced at $11,000.

     


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


    PRODUCT INFORMATION

    INTRODUCING NAUTICAM NA-C400

    The Canon EOS C400 Cinema Camera

    Canon’s EOS C-series Cinema Cameras have long been among the most versatile cinema cameras for underwater filmmakers and the C400 is no exception. Built around a 6K BSI full-frame sensor and the large RF-mount, the C-400 also features mechanical ND filters and Canon’s powerful Dual Pixel AF II.

    Key Camera Specifications:

    Canon EOS-C400

    • 6K Full Frame Back-Illuminated Sensor

    • 6K60, DCI 4K/2K, UHD 4K120

    • Full Frame, Super35 & Super16 Modes

    • Triple-Base ISO: 800, 3200, 12,800

    • Record Internal Cinema RAW Light, XF-AVC

    • Improved Dual-Pixel CMOS AF II


    The Nauticam NA-C400 Underwater Housing

    The Nauticam NA-C400 is a professional underwater aluminum housing that builds on Nauticam’s extensive cinema housing lineup. The NA-C400 features the large N120 port opening shared with other Canon RF and EF-mount cameras such as the R5II and R5C. This allows for the use of identical lens and port combinations when using a combination of RF-mount Canon cameras on a project with Nauticam housings.

    Mission Control

    Nauticam engineers obsess over placing essential controls where they are needed most so you never miss a shot looking for a button, dial or lever. Nauticam’s cinema lineup features large cinema-style lens control dials for precise control of focus and zoom. Exposure and capture controls are placed within easy reach of the ergonomic handles.

    In addition to mechanical controls for Power, Zoom, Focus and Lens Release, the NA-C400 features electronic controls at the rear, and both sides of the housing through the camera’s remote functionality. The left handle adjacent controls are for ‘Up’, ‘Down’, ‘ISO+’, and ‘ISO-‘. Right handle adjacent controls are for ‘Rec’, ‘Fn3’, ‘Fn4’, ‘IRIS+’ and ‘IRIS-‘. The main control board accesses ‘Left’, ‘Right’, ‘Up’, ‘Down’, ‘Set’, ‘1’, ‘2’, ‘Set’, ‘MENU/REC Review’.

     

    LCD Monitor Support

    The C400 features a detachable LCD screen that can be easily integrated into the NA-C400. The LCD monitor is supported inside the housing and is mounted at the rear of the camera with a supplied bracket that allows it to be easily viewed underwater through the shaded rear window making for a streamlined filming solution.


    HMDI/SDI

    The NA-C400 supports Nauticam’s optional HDMI 2.0 and 1.4 system that can accommodate external monitors or recorders in Nauticam housings. SDI output is also available for either surface monitoring or supported monitors. The NA-C400 has 1 M28 and 5 M16 bulkheads to accommodate a variety of configurations to suit mounted or remote setups.


    Battery

    The NA-C400 can accommodate either the BP-A30N or BP-A60N batteries or a combination of the BP-A30N and an FXLION NANO THREE 150Wh Micro V-Mount battery for extended runtimes.

    RESOURCES

    What’s In The Box:

    • NA-C400 Housing with vacuum valve pre-installed

    • Housing Cap

    • 2x Handles with mounting balls and 2x handle brackets

    • Panasonic CR-2450 Battery (pre-installed for moisture alarm)

    • Spare main O-ring, O-ring remover and lubricant  

    • Set of Allen Keys

    • Housing skids

    • Monitor Shade

    • Safety box

    Recommended Accessories:

    Housing Mount

    • 25221 M10 strobe mounting ball for housing

    • 25224 M10 strobe mounting ball for housing (with hole for using with lanyard)

    • 25228 M5 strobe mounting ball for housing

    • 16226 Mounting Bracket for Monitor Housing to use with Cinema Housings

    • 16701 Top Handle for E2/F/C70/BGH1/BMPCC

    • 17961 Swivel and Tilt Adjustable Monitor Mount System (To be release)

    Trim Weights

    • 16232 0.25kg Trim Weights for 16227 (4pcs)

    • 16233 0.5kg Trim Weights for 16227 (4pcs)

    Vacuum Valve

    • 25625 M16 Vacuum Valve II (Pushbutton Release)

    Handles

    • 28123 Pair of handles – size S (10mm closer to housing)

    DMI OUTPUT:

    Required accessories for HDMI 2.0 Cable System

    • 25089 M28 HDMI 2.0 Adapter

    • 25078 M28A1R225-M28A1R170 HDMI 2.0 Cable (for NA-BMPCCII/S1R/S1H to use with 17922/17909N)

    Compatible Monitor Options

    • 17922 Nauticam Atomos Ninja V Housing for Atomos Ninja V 5” 4Kp60 4:2:2 10-bit 

      Reorder/Monitor/Player (excl. HDMI 2.0 cable)

    • 17926 Nauticam NA-Ultra5 Housing for SmallHD Ultra 5 Camera Monitor

    Required accessories for HDMI 1.4 Cable System

    • 25033 Standard HDMI bulkhead with M16 thread (Mounted on the right side M16 of middle housing)

    • 25100 HDMI (D-A) 1.4 Cable in 200mm length for NA-a1 (for connection from HDMI bulkhead to camera)

    *25033 and 25100 is included in 17927 monitor housing

    Compatible Monitor Options

    • 17927 NA-Shinobi II Housing for Atomos Shinobi II 5.2″ Monitor with HDMI 1.4 input

    SDI OUTPUT:

    Required accessories for SDI Cable System

    • 17926S SDI Cable Set for use with NA-Ultra5/17922S  

    Compatible Monitor Options

    • 17922S Nauticam Atomos Ninja V-S Housing for Atomos Ninja V 5” 4Kp60 4:2:2 10-bit 

      Reorder/Monitor/Player (excl. HDMI 2.0 cable) with Atomos AtomX SDI Module

    • 17926 Nauticam NA-Ultra5 Housing for SmallHD Ultra 5 Camera Monitor

    Required accessories Surface Monitor

    • 25058 M16 SDI Bulkhead

      *Only support to be installed on the back door

    • 25060 SDI cable in 0.4m length (for connection from camera to underside of SDI Bulkhead)

    • 25064 SDI surface monitor cable in 15m length 

      (for connection from SDI Bulkhead to Surface Monitor on land)

    • 25065 SDI surface monitor cable in 45m length 

      (for connection from SDI Bulkhead to Surface Monitor on land)





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  • How to use crop modes on your full frame digital camera.


    The reality of the world is that images are almost always cropped from what they were in camera no matter how we share them. This is largely due to the constraints of mobile phones where wide aspect ratio images can be hard to view on phones when the phone is held in portrait mode.

    The weird thing is that every website or app is a little bit different. Some sites force your images into their own highly restricted crop such as Instagram, and some sites like Flickr don’t care what crop is used. The main concern for using either of those services is how people are most likely to view your images which as far as I know is still a mobile device.

    To help photographers deal with this, did you knot that most (if not all) full frame 35mm digital cameras have built in “crop modes” which apply a digital crop to your image in camera?

    For example, my camera will shoot in 4 different crop modes (also called aspect ratios). It will shoot in a 4:3 aspect ratio which is the old TV standard for HD television. It will shoot in 1:1 format which is a square format used as we all know on Instagram. It will shoot in 16:9 which is the modern standard for television screens, computer monitors, and many TV shows. Take a look at the comparisons below to get more of an idea of how these different formats relate to each other.

    When using these alternate aspect ratios the RAW image remains unaffected. After opening the RAW files in Lightroom a crop will be automatically applied to the image but you can just remove the crop and voila, you’re back to having a full frame image again. If shooting JPG the final image is cropped and the 35mm full frame image can’t be recovered.

    Since the RAW file retains the 35mm full frame image a different aspect ratio can be used as a bit of a cheat to help avoid framing mistakes. Say you’re the type who tends to shoot with a tilt or off to the right all the time, or maybe you tend to shoot with the subject low or high and cut off people’s feet. If you’re one of those types then using one of these alternate aspect ratios can force you to frame your images better.

    For instance, if you want to make sure you always have room on the sides of your images, you can use the 4:3 crop to force yourself to frame a little wider on your subject. This might be especially useful if you’re shooting fast action such as sports and you want to make sure that there is room in the image to get a nice frame around your subject for publication.

    For instance, if I was shooting baseball or basketball where there is usually a focus on what a single player is doing, I might choose to shoot in RAW with the 1:1 crop active. This would force me to put the player close to the center of the frame at all times.

    Think of it as a way of making a repetive job a little easier on yourself and you might start to see the benefits of using different crop ratios when you’re taking pictures.

    It would be really cool if the camera allowed me to create a couple custom crop ratios for all the different websites out there as well, but, I haven’t heard of a camera that can do that yet.

    The R5 can also shoot with a full APS-C crop. Below is a comparison of the full frame area vs the APS-C area.

    If you’re far away from the subject, say a bird or other kind of wildlife, then shooting with an APS-C crop not only saves some file size but it can help the photographer get better framing for their final images. It also allows the R5 to work a little more seamlessly with other APS-C cameras if other people happen to be using those.

    Despite all this, many if not most photographers will immediately ask why anyone would throw out all those pixels that they paid so much money for in a full frame camera. Well, they honestly have a good point and it’s why I rarely to never use APS-C crop on my camera. For one, while the APS-C crop does offer some logic, it’s really better to use a longer focal length to achieve precise framing. On the R5 a full APS-C crop is still 17.2 megapixels which isn’t too far off from actual crop sensor cameras that are often around 24 megapixels. But it is a far cry from the 45 megapixels of the R5’s full frame sensor. Bottom line: going to APS-C on the R5 throws out more than half the resolution and that would be true with any FF camera that offers the ability to shoot in crop mode.



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  • Photo Gallery: Sigma BF Camera & 35mm F2 DG Contemporary Lens

    Photo Gallery: Sigma BF Camera & 35mm F2 DG Contemporary Lens


    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1000s, ISO 320

    Sigma is pleased to feature a gallery of images by photographer and video producer Nagamitsu Endo. This gallery is comprised entirely of images shot with the Sigma BF camera, along with its natural street photography companion, the 35mm F2 DG | Contemporary lens.

    Naga Endo demonstrates the Sigma BF camera (in black) before heading out for an afternoon of street photography.

    When photographing in Tokyo, I’m always drawn to the nostalgic neighborhoods where the spirit of the Showa era lingers in the quiet residential streets where families and elders live side by side, and to the time-honored shopping arcades that still thrive near the train stations. With the Sigma BF, I capture the interplay of light and shadow – the vibrant, everyday scenes that define the city’s unique blend of older and charming disorder.

    Compact and easy to carry, the BF is my companion for strolls through the city. For street photographers, it becomes an essential eye, intuitively capturing the moments that matter most.

    Naga Endo, Photographer

    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1000s, ISO 1600
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F4, 1/1000s, ISO 100
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1000s, ISO 100
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F2, 1/200s, ISO 16000
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1600s, ISO 1250
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1000s, ISO 125
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1600s, ISO 400
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1000s, ISO 6400
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1000s, ISO 250
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F2, 1/1000s, ISO 200
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1600s, ISO 1000
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F4, 1/1000s, ISO 125
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F4, 1/1000s, ISO 125
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1000s, ISO 1250

    About

    Nagamitsu Endo is the founder and producer of NAGAVISION INC., specializing in visual storytelling. While his work revolves around video production, the art of still photography is an everyday part of Naga’s life. Whether exploring the streets of New York City or capturing moments behind the scenes on set, Naga is always on the lookout for captivating visuals.

    Equipment used


    BF Camera


    35mm F2 DG | C

    EXPLORE MORE

    Sigma is pleased to feature a gallery of images by professional photographer Jim Koepnick. This gallery is comprised entirely of images shot with the extremely versatile 16-300mm F3.5-6.7 DC OS | Contemporary lens, released in 2025 for APS-C format mirrorless cameras.


    Despite its simple design and interface, the Sigma BF camera is surprisingly versatile, with the power to photograph the night sky as well as the streets below.



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  • Apple Is Redesigning Its Camera App In iOS26

    Apple Is Redesigning Its Camera App In iOS26


    In the recent Worldwide Developers Conference (WWDC), Apple previewed the iOS 26 that will elevate the user experience with their iPhones. The release will be in late 2025 and it will deliver a new design, powerful Apple intelligence which many users complained about in their latest iPhones and exciting ways to stay connected to their apps while ignoring unwanted or distracting notifications.

    Image by Apple

    While there are a lot of new features that will be introduced in the iOS 26 release, the one that looks quite interesting for photographers is the update for iPhone’s camera app. There hasn’t been much in terms of design for the camera app in the recent years and many users may feel that the app is not quite straightforward or user-friendly in terms of certain features.

    Also, with the many tabs at the bottom when launching the camera app, some users may find it overwhelming or cluttered, or even accidentally tap on a tab that they do not intend to use. It looks like the new redesign will have just the basic tabs by default and one will have to access the other advanced modes by swiping on the screen.

    While the Camera app has a new look with the very simplified Photo and Video tabs layout, Apple has also brought back the Library and Collections tab on the main page of the Photos app. This will be a relief as media types and other collections will be displayed in different tabs, rather than having to scroll down the screen.

    Apple also has mentioned a “Lens Cleaning Hints” feature, which may be useful when the lenses have marks and the photographer isn’t aware. This may need to be turned on in the settings app. Some Android phones already have this feature. Besides the above, the Photos app is getting a “Liquid Glass” design. This means the controls will be displayed in a semi-transparent tab or pane.

    Apple also mentions that it will be updating its Airpods to add remote functionality, which means users can press and hold the AirPods stem to capture photos or start and stop recording videos. This feature will work with the native camera app and compatible third party camera apps. You can read more about the iOS 26 experience here in Apple’s newsroom.

    Note: Apple has changed the naming structure for their operating system updates, tying them to the year after its launch.

    We have more news for you to read if you are interested at this link here.





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  • Are LiDAR Systems on Cars Destroying Camera Sensors?

    Are LiDAR Systems on Cars Destroying Camera Sensors?


    There’s a bit of growing unrest among photographers on whether LiDAR systems that are being fitted in new cars are actually capable of destroying camera sensors.

    LiDAR systems are used by car manufacturers with self-driving cars to build 3D models of the surrounding environment so that the car knows where to steer.

    A thread on Reddit talks about how a car photographer had several cameras destroyed after doing a car photo shoot.

    What seems to be happening is that the laser from a LiDAR is too much for certain camera sensors to handle, and results in irreparable damage to those sensors.

    As you can see from the video below, it certainly seems to be the case that LiDARs are destroying sensors in some scenarios.

    But what is the nuance here?

    In the first video, it is unclear what type of camera is being used to show the damage being done.

    https://www.youtube.com/watch?v=AM6XWKTDezs

    You will notice in the second video that the gentleman has trouble trying to damage his phone camera, whereas the LiDAR does damage the older iPad camera sensor.

    https://www.youtube.com/watch?v=EyqWoMLz9Eo

    Either way, it is clear that this doesn’t happen on every camera sensor every time it’s exposed to LiDAR lasers.

    It also becomes clear from the comments that using a filter such as a UV filter will not protect your camera sensor from such damage. UV filters are designed to protect from ultraviolet light around 400nm, whereas LiDAR light at around 905nm to 1550nm will pass straight through such protective filters.

    According to the gentleman in the second video, when he contacted Volvo about their LiDAR and the potential damage to camera sensors, they responded that they were aware of the situation and that people should be cautious about using cameras around LiDAR.

    Where do you think things go from here?





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  • Sony Announces Compact Full-Frame FX2 Cinema Camera

    Sony Announces Compact Full-Frame FX2 Cinema Camera


    Sony has unveiled the latest addition to its Cinema Line—the FX2. The compact full-frame video camera has a similar body design to the four-year-old full-frame FX3 and almost three-year-old cropped-sensor FX30. But where the FX3 borrowed the a7S III’s 12MP sensor and lacked an EVF, the FX2 takes the 33MP sensor from the a7 IV while featuring a video-camera-style 3.68-M-dot EVF, which can be tilted up to 90 degrees. Like the a7 IV, the FX2 supports Dual Base ISO (800 and 4000) when using S-Log3.

    With its a7 IV DNA, the FX2 promises to be a much more useful hybrid camera, offering not just high-end video recording and powerful video-focused tools, but also high-quality still image capture. (In addition, there’s a handy movie/still lever to switch between modes.) The FX2 can record up to 4K/30p and 1080/120p using the full width of the sensor, and supports Log shooting in Cine EI, Cine EI Quick, and Flexible ISO modes. Shooting 4K/60p entails an APS-C crop factor.

    To round things off, the FX2 offers a large dedicated record button, a full-size HDMI port, and an internal cooling fan. The camera has two memory card slots compatible with SD UHS-I/II cards, with one slot also capable of accepting a CFexpress 2 Type A card.

    Available in August, the Sony FX2 will be available for a body-only price of  $2,700.

     


    PRESS RELEASE

    Sony Electronics Introduces the FX2 Compact Camera, Expanding Cinema Line’s Versatility for Creatives

    The new FX2 has the look and operability of Cinema Line cameras with the ability to shoot high-resolution photos and comes equipped with an articulating eyepiece

    Sony Electronics Inc. is proud to announce today the latest addition to its established Cinema Line family, the FX2. The FX2 will offer a seamless entry point into the broader Cinema Line range, giving greater cinematic expression to independent creators or small crews needing a versatile camera.

    “The hybrid cinema camera was created based on user feedback and is engineered with unique features to support filmmaking, a new eyepiece, and enhancements for versatile production needs. The FX2 is intended to continue the Cinema Line’s goal of preserving authentic emotion in every shot and empower creators across all areas of content production,” says Theresa Alesso, President, Imaging Products and Solutions Americas, Sony Electronics Inc.

    FX2 Features: Full-frame Photo and Video Capabilities

    The FX2 comes with a full-frame sensor that delivers stunning imagery and beautiful bokeh effects. Equipped with a 33.0 effective megapixel1 back-illuminated Exmor R™ sensor with up to 15+ stops of wide latitude using S-Log3, it captures impressive detail in both highlights and shadows.

    Designed for versatile shooting environments, the FX2 offers Dual Base ISO at 800 and 4000, ensuring optimal performance in both bright and low-light conditions. Its ISO sensitivity for video can be extended up to 102400, making it ideal for challenging lighting scenarios. The camera supports a wide range of recording formats—including 4:2:2 10-bit All-Intra—and records in high-quality options, such as XAVC S-I DCI 4K at 24.00p, providing professionals with the tools needed for flexible, high-end production workflows.

    The FX2 can also continuously record for up to 13 hours in 4K 60p2 thanks to its internal cooling fan and effective heat dissipation structure. The FX2 offers variable frame rate settings, allowing up to 60 fps in 4K (for a maximum 2.5x slow-motion effect) and up to 120 fps in Full HD (for up to 5x slow motion). It supports Log shooting in Cine EI, Cine EI Quick, and Flexible ISO modes, offering versatile workflows for different production needs. To further the cinematic expression of the camera, creators can import up to 16 user LUTs for on-camera preview, enabling precise color monitoring on set.

    Filmmakers can also easily and quickly create in-camera cinematic looks, with S-Cinetone™ set as the default, along with a range of Picture Profile and Creative Look presets. A de-squeeze display function is available, supporting both 1.3x and 2.0x anamorphic lenses for accurate framing.

    Improved Usability for Comfortable Solo Operation

    The FX2 features the same compact, flat-top design as Sony’s Cinema Line FX3 and FX30 cameras, ensuring familiarity and compatibility across setups. Built-in mounting points (UNC 1/4-20 x3) support a cageless configuration, offering greater flexibility for rigging. An optional top handle (ILME-FX2) enhances mobility and control, especially during handheld or dynamic shooting. Its lightweight, portable build—measuring approximately 5 1/8 x 3 1/8 x 4 1/8 in and weighing approximately 1 lb 8.0 oz—makes it ideal for solo operators or small crew productions.

    The camera offers advanced focus features designed for precision and creativity. Its new Real-time Recognition AF (auto focus) delivers fast and reliable performance with improved accuracy for human subjects, although its intelligent subject recognition extends to animals, birds, vehicles, and insects, with an Auto mode available for effortless detection. For even more control, tools like focus breathing compensation, AF Assist, and customizable autofocus transition speed and sensitivity give creators the flexibility to fine-tune focus for expressive, cinematic imagery. The FX2 comes with Active Mode and Dynamic active Mode, which is new to the Cinema Line, and are both designed to ensure smooth and steady handheld shooting.

    The Auto Framing feature automatically crops and tracks a subject to keep them in a prominent position when the camera is mounted on a tripod, producing footage that looks like it was shot by an experienced operator. The Framing Stabilizer function automatically keeps the subject in the same position within the frame, which can be useful, for example, when the camera operator is moving alongside the subject.

    From a still image perspective, the camera features an additional log shooting option with a newly added ‘Log shooting’ menu. This feature allows creators to shoot high-resolution 33MP stills, optimized for color grading in post-production. The FX2 also offers smooth operation with a MOVIE/STILL mode lever, allowing for a quick switchover between still and movie shooting. Depending on the selected mode, the displayed menu items will automatically adjust. Additionally, mode selection is made easy with a long press of the Fn button, which recalls and changes the shooting mode.

    FX2 Features: Improved but Familiar Hardware Inherited From Sony’s Cinema Cameras

    The FX2 is equipped with a new high-resolution 3.68-million-dot tiltable EVF3 (electronic view finder) designed specifically for video production, offering a wide viewing angle and enhanced immersion thanks to its included deep eyepiece. Complementing the EVF is a 3.0-type vari-angle touchscreen LCD, making it easy to frame shots from virtually any angle. Intuitively arranged controls on the top panel and grip, along with tally lamps for clear recording status, support efficient on-set operation. The camera also introduces a customizable “BIG6” home screen that provides quick access to essential shooting parameters, such as FPS, ISO, shutter speed (angle or speed), Look presets, white balance, iris, and neutral-density (ND) filter settings. Addressing the growing demand for vertical content creation, the FX2 supports vertical menu display during shooting—ideal for social media formats. The handle-equipped model further enhances professional usability with two XLR/TRS terminals and a 3.5mm stereo mic jack, enabling 4-channel, 24-bit digital audio capture.

    The camera offers extensive expandability and connectivity options, including an HDMI Type-A terminal capable of outputting up to 4K 60p 4:2:2 10-bit video and 16-bit RAW4 for high-end recording and monitoring. For seamless data transfer and remote control, it supports dual-band Wi-Fi (2.4 GHz and 5 GHz5) as well as wired LAN via a compatible adapter6. Additionally, the USB Type-C port enables SuperSpeed USB up to 10Gbps data transfers and supports USB Power Delivery (PD)7, while built-in USB and network streaming support enables live broadcasting and remote production workflows.

    Social Responsibility

    Aligned with Sony’s global environment plan, ‘Road to Zero’, this product supports the company’s vision for achieving a zero environmental footprint by 2050. The manufacturing process reflects this commitment through facilities powered entirely by renewable energy sources8.

    The camera system incorporates comprehensive accessibility options, including a Screen Reader function9 and Display Magnification, to support visually impaired users across an expanded range of menu items. Additional intuitive controls enhance usability for all shooters, featuring:

    • Real-time recognition autofocus that reduces manual adjustments

    • Streamlined touch interface operations for direct menu navigation

    • Tactile button design with clear differentiation

    These inclusive design elements ensure professional imaging tools remain accessible to creators of all abilities while maintaining full operational capability

    The FX2 will be available early August for a suggested retail price of $2,699.99 USD and $3,499.99 CAD body only or $3,099.99 USD and $3,999.99 CAD with XLR handle. It will be sold directly through Sony and at a variety of Sony’s authorized dealers throughout North America.

    1 For stills. Max. 27.6 megapixels for movie.

    2 Sony internal tests. USB power supply, XAVC S-I (All-I), 4K 60p 10-bit 4:2:2, 25 deg C (ambient, camera when recording started), Auto power off temperature: High, Cooling fan: Auto. The maximum continuous recording time for a single movie shooting session is approximately 13 hours (a product specification limit) Actual performance varies based on settings, environmental conditions, storage, and usage. Batteries are consumable products and their capacity degrades over time as they age. Sony does not guarantee the life span of the battery.

    3 Adjustable from 0° to +90° for flexible shooting angles.

    4 The output image will be in the APS-C size /Super 35mm equivalent angle of view.

    5 The 5 GHz band may not be available in some countries or region

    6 A commercially available USB-LAN adapter is required.

    7 A USB PD compatible external power supply device with 9V/3A or higher output capacity and a USB Type-C cable that can handle 3A or more is required

    8 Further reducing environmental impact, the product utilizes recycled packaging materials that minimize plastic content without compromising protection. These sustainable practices demonstrate our dedication to eco-conscious production while maintaining the highest quality standards.

    9 Download of compatible language file may be necessary. Please refer to the Help Guide for details.





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  • Capturing the Stars and Everything Below with the Sigma BF Camera

    Capturing the Stars and Everything Below with the Sigma BF Camera


    The Sigma BF looks stunning at night. But how are the images?

    What does it take to get out of your comfort zone? Over the last 10 years or so, I’ve very rarely shot anything outside of astrophotography. I’ve always had an appreciation for other styles, but very little desire to explore shooting them myself. While I always try to improve my work, my comfort level with astro allows me to fully enjoy being out under the stars and focus on creating.

    Hearing about some of the details around the new Sigma BF definitely had me intrigued. While it’s hard to deny the design of the camera stands out, it was really the simplified approach that grabbed me. I visited the pop-up in NYC during March 2025 to get my first look at the camera, and then returned two weeks later so I could have the chance to shoot with one.

    With the Sigma America crew and my BF camera, ready to hit the streets.

    Getting used to the minimal button system on the back of the camera didn’t take much time at all. Using the dial to make quick adjustments and my personal love for the aperture ring on the 20mm F2 DG | Contemporary lens made taking some of my first street photography images feel a lot more fun than like more of a challenge.

    The Sigma BF as a walkaround camera

    Street photography in particular is a genre I’ve had a special appreciation for when viewing someone’s work. It looks easy, but like so many things, only when it’s done well. I was a bit unsure about what to photograph, or if what I was photographing was any good, but I was having fun. And, at least personally, I was really enjoying the images I was capturing, too.

    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F8, 1/1000s, ISO 400
    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F8, 1/250s, ISO 400
    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F8, 1/500s, ISO 400

    I didn’t wait long before heading back out with the BF. This time, I made my way to Princeton, NJ, again with the all-metal 20mm F2 DG | Contemporary, hoping to take some black and white architectural images. The built-in monochrome color mode helped me do just that, although other color modes were just a flick of the wheel away. Just walking around with a wrist strap and this new minimalist camera, I found myself looking at everything to try and find the perfect frame. These new (for me) genres of photography felt fresh and exciting.

    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F9, 1/80s, ISO 100
    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F9, 1/400s, ISO 100

    I worked my way all the way around buildings, up close and from a distance, watching the back of the camera to find that perfect angle or just waiting until something felt right. That’s such a special feeling when that happens while you’re out photographing. It means you’re completely present in the moment and paying full attention to finding that perfect composition.

    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F8, 1/125s, ISO 100
    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F9, 1/30s, ISO 100

    I found myself occasionally using the screen to use the tap to focus feature and other times just getting into that zone of snapping away as everything moved through the frame. Admittedly, autofocus is not a feature I’m often concerned with for astrophotography, but it felt extremely fast and accurate on both of my outings.

    Exploring a genre outside of my comfort zone and not having to worry about things like autofocus performance or getting lost in menus, really allowed me to find that zone of being present and immerse myself in shooting.

    Trying the Sigma BF for astrophotography

    After a few days out in busy streets, I really felt like it was time to head out under the stars. With clear skies in the forecast for the entire night, I arrived a few hours before the Milky Way would be rising. I took a handful of test images as I wandered to find the compositions I would be shooting once the core of the Milky Way was sufficiently visible above the horizon.

    One of the first things I noticed was how easy dialing in that very precise infinity focus on the stars was with the LCD screen. Even more importantly, one of the things I didn’t notice were the buttons on the back of the camera. It wasn’t until well after I was shooting the Milky Way that I had even thought about them. After two outings during the day, I think easily navigating a new camera in complete darkness speaks to how thoughtfully it was designed.

    The Sigma BF only has a few physical controls and very simple menus that quickly become second nature.

    I ended up shooting far longer than I anticipated using a number of different techniques ranging from stacking to separate foreground exposures. While admiring an image of the back of the camera is one thing, the real test for those high ISO captures is viewing on a much larger screen…

    NOISE TEST IMAGE – SIGMA BF
    20mm, F2, 13s, ISO 3200 (NO NOISE REDUCTION)

    Working my way through the images and seeing how far I could push the files was probably the biggest surprise of my experience with the BF. It wasn’t that I didn’t have high expectations, it was a matter of those expectations being surpassed. Pushing astrophotography images while editing, bringing back detail in the shadows and trying to pull out detail in the sky, can often result in a very noisy final image. Shooting at these higher ISOs can also mean that your image lacks a bit of sharpness or just doesn’t have much depth to the color you captured, especially in the foreground. Not only was I able to push the files to bring out an incredible amount of detail through the image, they all felt very sharp and full of rich color.

    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F2, 156s, ISO 1600
    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F2, 156s, ISO 1600

    The Sigma BF for wildlife?

    After my night under the stars, I had one more test for the Sigma BF. Wildlife. This was also a test for myself, as aside from a few fox photos about a decade ago, this was not something I had ever given a try. I found myself near Myrtle Beach, South Carolina with the BF and the Sigma 500mm F5.6 DG DN OS | Sports. I wandered Huntington State Beach Park with the hopes of photographing alligators. As I kept my eyes on the water, I saw a variety of different birds that I figured, “why not?” and did my best to take some photos along the way. Again, while this was a new genre of photography for me, I think the simplicity of the BF allowed me to just enjoy being in nature. The autofocus was quick to lock in, and while I didn’t attempt any in-flight shots, I was pretty happy with the results!

    SIGMA BF CAMERA
    500mm F5.6 DG DN OS | Sports
    F8, 1/320s, ISO 800
    SIGMA BF CAMERA
    500mm F5.6 DG DN OS | Sports
    F13, 1/400s, ISO 400
    SIGMA BF CAMERA
    500mm F5.6 DG DN OS | Sports
    F13, 1/250s, ISO 400

    For better or worse, the only gators I saw were just peeking out of the swampy waters. Which at first, felt like a bit of a bummer, but I didn’t end the day feeling like I had checked something off a list. If anything, it felt like I was starting a new list.

    SIGMA BF CAMERA
    500mm F5.6 DG DN OS | Sports
    F8, 1/320s, ISO 800
    SIGMA BF CAMERA
    500mm F5.6 DG DN OS | Sports
    F13, 1/125s, ISO 800
    SIGMA BF CAMERA
    500mm F5.6 DG DN OS | Sports
    F8, 1/500s, ISO 800

    Maybe after a decade of shooting only astrophotography, a few days with the Sigma BF had inspired me to look at things a bit differently again. I’ve been out shooting more styles of photography in the span of a month than I ever have before. I think sometimes, whether it’s intentional or not, a bit of a reset can be a really helpful process to go through. Just taking a second to look at things differently and use that opportunity to step out of our routine.

    I’ve always felt, as a photographer, the best gear is whatever helps me focus on creating first. While the world after a photo is taken demands our constant attention with excessive beeps and notifications, it feels refreshing to have those moments where I’ve connected completely to creating art. I think the BF is a camera that does just that, by encouraging you to look at things different and without distractions.



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