Zero Zero Robotics has introduced a new drone in their HOVERAir brand, the HOVERAir Aqua which is a water-borne, self-flying drone. This drone can take off and land in water, and is built specifically for that purpose with more than 15 waterproofing adaptations. Looks like this is a drone with features that many drone users have been waiting for.
Image via HOVERAir
HOVERAir is a company that already has released a few self-flying drones with its flagship model being the HOVERAir X1. The HOVERAir Aqua weighs less than 249g making it an ultra lightweight device that may not require a registration in some countries.
The drone’s camera comes with a 1/1.3 inch CMOS sensor and can capture 4K videos at 100fps. The camera has a custom lens for use with water and can be controlled using a compact controller.
The wind resistance of the drone is up to 33 knots (approximately 61 kmph) and has a top speed of 55 kmph, making it a great choice to capture adventurous sports in both land and water. This drone will be a great equipment for anyone involved in outdoor adventures.
The drone comes in an orange colour design so it would be easier to spot it in water even when there are waves on the surface. The drone is also designed to stay afloat on water after landing or before takeoff.
More details about the drone will be available at the official launch, but you can read some interesting information here and sign up using your email address to receive updates.
We have more news for you to read if you are interested at this link here.
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.
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.
By Ian Bongso-Seldrup, July 31, 2025 @ 10:30 PM (EST) Source: BBC
Macellicephaloides grandicirra, a species of polychaete worm known for its white, spiky appearance
A Chinese-led research team has captured images of life at depths of more than 30,000 feet—over 9.5 kilometers—for the first time. During an expedition to the Kuril–Kamchatka Trench and the western Aleutian Trench in the bathyscaphe Fendouzhe, the scientists discovered fields of tube worms, beds of mollusks, and mats of bacteria. Previously, the deepest marine vertebrate life captured on film was a snailfish swimming in a trench at 27,350 feet (8,336 meters) off the Japanese coast in 2023.
“It’s exciting—especially for a deep-sea scientist—to go to a place that human beings have not explored,” one of the lead researchers, Dr Xiaotong Peng, told BBC News. “It’s a great opportunity to discover new things. And what we saw was quite amazing.” The expedition explored trenches at depths of between 19,000 feet (5,800 meters) and 31,276 feet (9,533 meters), covering a distance of around 1,500 miles. Their work has just been published in the journal Nature.
In the absence of sunlight, the “chemosynthetic” organisms surviving at such depths get their energy from hydrogen sulfide and methane seeping out of cracks in the Earth’s crust. The researchers are aiming to understand how these animals convert these chemicals into energy—and also how they adapt to life under such extreme pressure.
Beds of mollusks feeding off the chemicals seeping from the seabed
Dense colonies of tube worms up to a foot long
Composite image of the Fendouzhe submersible in a deep ocean trench created by the scientific team
The bathyscaphe Fendouzhe, or Striver, pictured being transported (upside down) aboard its mother ship. The deep-submergence vehicle is designed to reach depths of more than 10,000 meters
Insta360 which is a global company known for 360 imaging has announced the launch of Antigravity, which is a new independent drone brand developed by Insta360 in collaboration with third parties. Antigravity aims to redefine aerial imaging and is expected to launch with user-friendly controls that will help with creative aerial imaging.
Image via Insta60
Antigravity will allow users to capture images from any angle and perspective and is designed for all kinds of creators. The user will not require technical backgrounds or drone piloting skills beforehand making this drone suitable for both beginners and experienced drone operators.
With the Insta360 being a favorite camera among many creators worldwide, antigravity is built on the same design. It comes with dual-lens 360 camera that helps to record everything in the scene as a high quality 8K 360 video without the need for an external 360 camera attachment. The users can later work on the frames that are required to tell their story.
Antigravity features safety functions to prevent unsafe flights using their drones and shooting parameters can be adjusted when flying the drone. The drone will come with a lot of new features that will be the first in drone designs across the world.
The drone may also weigh less than 249g which is the minimum requirement for drone registration in many countries. Antigravity is also inviting feedback and ideas from the community, so they can implement new ideas and innovations in their future products.
More details about the product can be found here and here. The first product will be unveiled in August 2025. We have more news for you to read if you are interested at this link here.
Isotta has unveiled its new anodized aluminum housing for smartphones—a first for the Italian company. Isotta tells us that the single image on their website shows the prototype, but given the finish, it looks to be very close to the final product. We can expect full product shots in the coming weeks. According to the new phone’s spec sheet, the housing is “compatible with any phone model currently on the market” and can be fitted with “an adjustable mount for additional lenses.”
Like many smartphone housings, connection to your phone is via Bluetooth, so you won’t need a special app to make use of the housing’s hardware controls for basic operation. The picture of the prototype doesn’t reveal much about those hardware controls, but the spec sheet intriguingly states that there’s a “joystick for cursor control.” What is clearly visible is Isotta’s signature single-handed open/close knob, but the spec sheet notes that the back of the housing is “completely detachable” from the front.
Also of note is that the housing features a compartment for a rechargeable 21700 battery—which presumably explains the housing’s prominent bulge—and there’s a USB-C socket for charging. The battery is designed to keep your phone juiced for longer and it may well also power the built-in “moisture sensor with LED indicator.” The housing is also ready to receive a vacuum system, but this is an optional extra.
Shipping in mid-September, Isotta’s smartphone housing can be pre-ordered from Backscatter now. Final surprise: The housing isn’t only available in “Isotta red”—there’s a black version, too.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRODUCT DESCRIPTION
SMARTPHONE HOUSING
PRE-ORDER NOW!*
*Delivery expected in mid-September 2025.
TECHNICAL DATA
Red and Black colored anodized aluminum body;
Designed to attach up to 3 spheres;
Bluetooth connection;
Compatible with any phone model currently on the market;
Ergonomic for horizontal or vertical use; perfect for Instagram shots;
Prepared to attach an adjustable mount for additional lenses;
Joystick for cursor control;
Dedicated button for shooting, ok and back;
No app needs for basic function;
1 USB-C socket for charging the housing’s battery (charger not included);
1 USB-C socket to use the housing’s battery as powerbank for the phone (cable not included);
1 rechargeable 21700 battery (not included);
Double O-Ring seals on the removable parts;
Back housing completely detachable from the front housing;
Single-hand closing knob;
Prepared for ISOTTA vacuum system (not included);
Moisture sensor with LED indicator;
Working depth: 100 meters;
Sizes (LxHxP): 113/176 mm x 80 mm x 235 mm;
Air weight: about 1 Kg without the phone;
Water weight: about 300 gr without the phone;
WHAT IS INCLUDED
Housing;
Humidity sensor;
Replacement O-ring kit;
Silicone lubricant 15gr / 0,5 oz;
Warranty: 2 years manufacturer’s (excluding batteries);
Sales price without tax 850,00 €
Sales price, 22% VAT included*1037,00 €
*Price inclusive of VAT rate at 22%, valid for Italy and the member countries of the European Community.
Introducing the Sigma Aizu Prime line of cinema lenses – designed from the ground up to provide speed, sharpness, and subtle character.
As an ICG Local 600 Director of Photography working on everything from scripted to comedic stage shows to wildlife to true crime, I ask a lot out of the technology I film my projects with.
As a Sigma Ambassador, I have also been immersed in all things Sigma since 2017, and I’ve used dozens of different focal lengths and different types of zooms as I’ve bounced from project to project. The Full-Frame High Speed Primes in particular have been a staple for me with their consistent sharp look and gorgeous bokeh (especially that 105mm). Lately, I’ve been finding a home for Art line lenses as well, such as the 28-105mm F2.8 DG DN | Art and 28-45mm F1.8 DG DN | Art on my various Sony E-mount documentary rigs.
The new Aizu Primes are something special — the result of over two years of work by engineers in at the Sigma factory in… you guessed it… Aizu, Japan! Unlike the High Speed prime lenses, which were based on the beloved Art line of photo lenses, the Aizu Primes are entirely new — though the rugged engineering will feel comfortably familiar to fans of Sigma’s existing cine lenses.
Our factory in Aizu, Japan is the pride of the company, which is why we named our most premium line of lenses after the region.
Some quick specs: 95mm front diameter, 3.6 pounds average weight, 0.8 pitch gears (with a uniform placement from focal length to focal length) and a luminous paint job on all markings (helpful for dark sound stages) make these primes camera department approved. We can move fast when switching matte boxes and follow focuses, and that means a lot as camera teams everywhere have been asked to deliver more with less. I’m also happy that the set includes both a 27mm and a 32mm — two focal lengths that I’ve often wished more manufacturers embraced.
These twelve lenses (8 at launch, 4 more coming in 2026) are the world’s first T1.3 primes covering large-format camera sensors (especially Alexa Mini LF in Open Gate). But being first for the sake of being first means nothing if the lenses don’t perform optically. And, perform they do.
The initial 8 Aizu Primes shipping in mid-202527mm T1.3 Aizu Prime attached to ARRI ALEXA Mini LF
I was lucky enough to receive a few Aizu focal lengths for testing on a recent shoot for NBC’s Wild Kingdom as well as a commercial shoot, and I immediately threw them into the mix. There is indeed an organic feel to their look, but it is the three-dimensional nature of their look that first stood out to me. Lens nerds of all kinds call this feel different things — for example, this look could be called “pop” or “separation” too.
Utilizing the Sigma Aizu Primes (pre-production) in the field showed me how versatile this lens line can be, with a look that works in so many situations.
In short, there is a beautiful three-dimensional feel that separates the in-focus foreground subject and the background. I love it, and it’s one of my favorite things about the Aizu Primes. Pair that with a modern and flattering level of sharpness that your on-camera talent will love, and you have a look that isn’t too aggressive but sharp enough to bring out the details in any situation.
The close focus performance with this set is also extraordinary, with the 25mm close focus landing at just 1 foot (31cm), for example. That’s not measured from the front of the lens — that’s 1 foot from the sensor of the camera. This simply means you are reaching for your macro lens less.
Close focusing ranges from just 1 foot (31cm) with the 25mm lens, to 2.5 feet (73cm) with the 75mm lens.
With the Aizu Primes, there can be some subtle flare from light sources, but that too isn’t overwhelming. If you want a flare in your scene you can make it happen, but you don’t need to be afraid that every light source will lead to a flare that may distract from the performance of your subject. The flare handling is a great balance.
Flare is handled nicely, resulting in a look that is neither too sterile nor too far into “vintage” territory.
Oftentimes, we associate different looks with different genres (for better or for worse) — for example, the current in-vogue look in true crime tends to be cooler, darker and sharper. Rom Coms tend to be more warm and saturated. The Sigma Aizu Primes work in both worlds and a wide spectrum in between, and that also means, for me, they are safer choices to own. Simply put, they work in more circumstances and thus the investment makes more sense to me as an owner/op or from a rental house perspective.
The Zeiss eXtended Data port based on Cooke’s i/Technology protocol also future proofs the Aizu Prime line for owners and users. You may or may not work with post VFX teams currently, but the post team will love access to lens characteristics data to help their environments feel more real. All you need is a 4-pin LEMO cable going from the lens to your favorite camera body with a compatible port. Again, you may not need it on every project, but you’ll be surprised how quickly this functionality becomes “mandatory” for a variety of different departments.
LEMO connector port for Zeiss eXtended Data functionality
We don’t talk about this enough, but I also know that Sigma has my back from a service perspective. Having worked in military planes and even on the side of F1 tracks in Austria, I know that stuff happens and there is a level of comfort knowing that if I need a repair I can make that happen quickly and keep on filming.
The Aizu Prime line of lenses checks a lot of boxes for cinematographers, especially those who want consistency and unwavering quality. Of course, if you’re looking for more versatility, Sigma’s upcoming AF Cine Line — which includes the aforementioned 28-45mm and 28-105mm lenses, revamped for cine applications — is going to be another impressive addition. As an avid E-mount user, I’m going to keep my eyes open for more news there.
The Aizu Prime line represents the best of Sigma’s optical production capability, and we hope it finds a home in cinematographers’ kits all over the world.
It isn’t lost on me that there is a lot of choice in the cinema lens market. For me, beyond the gorgeous look of the Aizu Primes, it comes down to trust. Having worked with Sigma lenses for years now, I know I can take these new lenses into the snow, jungle and desert with confidence.
Sigma Ambassador Liam Doran with the 300-600mm F4 DG OS | Sports lens.
As outdoor photographers, there are places in the world that beckon to us to explore their photographic wonders. The pull of exotic landscapes bathed in warm light, and huge swaths of wide open areas packed with an abundance of wildlife, are draws impossible to resist for inquisitive adventurers. One of the places at the top of my to-do list was the incomparable Patagonia region of southern Chile.
A landscape to set the scene, shot with my main travel lens, the Sigma 24-70mm F2.8 DG DN II | Art.
There is so much to photograph and explore in Patagonia, so I decided to narrow my vision to Torres del Paine National Park, and more specifically, the wildlife that calls it home. Most prominent of these animals, and what truly piqued my interest, are the park’s famous pumas. With buy-in from local estancias (ranches) that border the park, the pumas have a massive area where there are free to be wild without persecution from hunting and trapping. Because of this, the puma population in Torres del Paine and the surrounding area is absolutely booming.
SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 600mm, F4.5, 1/400s, ISO 1000
The ultimate wildlife photography zoom lens
My lens of choice for pumas, and all the wildlife I encountered, was the brand new Sigma 300-600mm F4 DG OS | Sports lens. This is a de-facto professional grade lens the likes of which have never been seen before and I put it to good use. In my time there, I saw 17 individual pumas over the course of about 25 encounters. As far as I know, this is not possible anywhere else in the world. That’s what makes this place so special. Of course not every encounter would result in photos but enough did that I was able to get plenty of great photos. In addition to pumas I was able to photograph Andean condors, grey foxes, rheas, an austral pygmy owl, black chested eagles, and of course plenty of guanacos.
SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 600mm, F5, 1/1600s, ISO 1000SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 600mm, F4, 1/1000s, ISO 1250SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 395mm, F6.3, 1/500s, ISO 1250
The 300-600mm F4 DG OS | Sports was absolutely perfect for photographing wildlife in the park. The optics are stunningly sharp with nice contrast and great color. The HLA autofocus motor is ultra fast, and when using Animal Eye AF in my camera, it locked on to my subject and consistently yielded professional results. The lens is big and fairly heavy, similar to 500mm and 600mm F4 primes from other lens makers. However, in direct comparisons to other photographers’ setups, mine was usually a bit smaller and lighter. I was able to hand hold the lens for numerous images, but I also had it mounted on a tripod for many of my photos and videos.
This lens can be hand held, but a sturdy tripod makes a day in the field much more practical.
One of my favorite features of the 300-600mm F4 DG OS | Sports is the fact that it’s a zoom that shoots like a prime. There were times when the pumas would come incredibly close, and while other photographers were forced to swap lenses to get the shot, I could simply zoom out! I also love the fast F4 constant aperture. I shot it wide open while recording video clips in pre-dawn light. For still images, the F4 aperture was wonderful for isolating my subjects are rally making them “pop” from their environments. The bottom line here is that you are really getting four ultra-quality F4 prime lenses in a single lens. Oh…and did I mention it’s half the price of one prime lens? Just incredible.
SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 395mm, F4.5, 1/1600s, ISO 1000SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 561mm, F4.5, 1/2000s, ISO 1000SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 600mm, F4, 1/1000s, ISO 1000SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 600mm, F4, 1/2000s, ISO 160
Torres del Paine National Park is well known to landscape photographers for the combination of lustrous low-angle light of the southern latitudes and soaring rock spires of the Cuernos and Towers. While most of my efforts were focused on pumas, I had to get a few images of this iconic place. With the 300-600mm F4 DG OS | Sports, I had the versatility to try different compositions without moving or changing lenses, not to mention gorgeous compression for unique-looking landscape photos.
SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 300mm, F5.6, 1/500s, ISO 400SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 300mm, F6.3, 1/800s, ISO 400SIGMA 300-600mm F4 DG OS | Sports Sony a1 Camera 451mm, F5.6, 1/800s, ISO 640
My Sigma lens kit for travel and storytelling
Flying halfway around the globe to one of the most photogenic places on earth, I’d be crazy not to also shoot some landscapes and culture. To help me tell those stories I brought a few of my favorite lenses: the Sigma 16-28mm F2.8 DG DN | Contemporary, 24-70mm F2.8 DG DN II | Art, and the 70-200mm F2.8 DG DN OS | Sports. This kit has traveled with me all over the world and images from them have been used for cover shots, features length editorial stories and major commercial ad campaigns. I trust this lens trio to get the job done beautifully and once again they handled everything I threw at them.
SIGMA 16-28mm F2.8 DG DN | Contemporary Sony a1 Camera 16mm, F3.5, 1/320s, ISO 2000SIGMA 24-70mm F2.8 DG DN II | Art Sony a1 Camera 40mm, F16, 30s, ISO 250
SIGMA 70-200mm F2.8 DG DN OS | Sports Sony a1 Camera 192mm, F9, 0.6s, ISO 100
Another highlight was a visit to Estancia San Louis. This is a working sheep ranch long owned by a local family. While there, one of the gauchos was rounding up some sheep and even showed us how he sheared them. The gaucho working his dogs and sheep with the Towers in the background made for some very classic images of Patagonia and was a blast to photograph.
SIGMA 24-70mm F2.8 DG DN II | Art Sony a1 Camera 24mm, F9, 1/800s, ISO 800SIGMA 24-70mm F2.8 DG DN II | Art Sony a1 Camera 70mm, F6.3, 1/800s, ISO 400
I booked my trip to Patagonia though Chile Nativo. Their intimate knowledge of the area was evident, and the glamping (fancy camping) at Riverside Camp was incredibly cool. My guide, Santiago, was super helpful and made finding the pumas and the landscape areas very easy. The team was great to work with, and if you want to go I would highly recommend them. To get there, I flew to Punta Arenas and rented a car. You could also fly into Puerto Natales, which is closer to Torres del Paine, but is quite a bit more expensive.
Final thoughts
Whether you go for wildlife, landscapes or general travel, a trip to Patagonian Chile is something every adventure photographer should put on their list. If your itinerary includes wildlife photography, consider bringing the Sigma 300-600mm F4 DG OS | Sports lens. For me, it was critical to getting my very best images. And bring the rest of your Sigma lenses to photograph the people and the views. You won’t regret it. If you have any questions feel free to reach out. Hope to see you out there!
Sony has announced a telephoto lens with a unique focal range, the FE 50 – 150mm f/2 GM lens which is the world’s first lens to have a maximum focal length of 150mm and f/2 aperture. The lens is lighter, weighing at about 1340g. This the company’s second f/2 zoom lens in the GM series.
The zoom range of this lens, 50-150mm and the f/2 fixed aperture along the entire zoom range, makes it a great lens for wedding, portrait and event photographers where the subject can be isolated with a shallow depth of field. Unfortunately the lens does not have internal image stabilization.
Image via Sony
Similar to Sony’s range of G Master series of other lenses, the FE 50-150mm f2 GM lens produces stunning images of very high resolution and beautifully smooth bokeh. This will make this lens a great choice for professional photographers who already work with the Sony Alpha camera system. This lens will also be a great choice for professional video makers because of its stunning cinematic results and great clarity.
The lens comes with Nano anti-reflection coating, that will help to reduce flare and ghosting significantly even in backlit situations. The lens also comes with four extreme dynamic linear motors for faster and accurate focusing.
Some of the most important features of this lens are:
Focal length – 50 to 150mm, E mount lens
Maximum aperture – f/2
Aperture blades – 11, rounded aperture
Lens elements – 19 elements in 17 groups
Filter size – 95mm
Image stabilization – No
Internal focusing and zooming – Yes
Aperture, focus and zoom rings
Weather and dust sealed
Weight – 1340g
The lens seems to be quite expensive, priced at $3,899.99 and is available to pre-order now. The estimated shipping date is towards the end of May, 2025. More details about this lens can be found here.
We have more news for you to read if you are interested at this link here.
Eight years ago, I got to test a new camera that hadn’t even been announced yet. It was the Fujifilm X-T1, and with its high performance and small, rugged form factor, it was the world’s first weather-sealed, fast action capable outdoor-ready mirrorless camera.
Instantly falling in love with the X-T1, my entire photography life was transformed, and with the successive X-T2, X-T3 an X-T4, I had a front row seat as the X Series cameras came of age over the next few years.
This week, the next chapter began in my X Series life when I snagged the last X-T5 in stock at my local store. As soon as I opened the box and put the camera in my hands, my X Series love was rekindled once again with this new hot-rodded fifth generation model. And with the regular 3-way tilt LCD screen, it felt like home again.
With the radically upgraded 5th gen features and specs that were introduced earlier this fall with the X-H2 and X-H2S, the X-T5 brings almost all of that into the traditional SLR style “X-T” body that so many of us love.
Winter scenics around Anchorage, Alaska
Being “magic hoar frost” season here in Anchorage right now, I immediately slapped a lens on it, (the XF70-300mm), bundled up and took it for a short walk around my neighborhood in the clear, cold -10F degree air. Over the next 53 minutes, I shot a collection of photos that I feel perfectly show of what I’ve always loved about the X Series.
All of these are straight JPEGs, right out of the camera. Most were shot with the Velvia film simulation, although the last photo in this post was made with the new Nostalgic NEG film sim.
I’ll definitely be posting more images and doing some review posts and videos for the X-T5 after the new year. For now, enjoy these snowy photos and have a great holiday season!
If you want to grab an X-T5 for yourself and support my site, you can order one at B&H Photo.
Also, if you do get one, my bestselling Fuji guide, X SERIES UNLIMITED, has been fully updated with all the relevant X-T5 info.
Winter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, AlaskaWinter scenics around Anchorage, Alaska. Shot with Nostalgic NEG film sim
We thought the Sony a1 was an impressive camera, but the image-making company has just topped it with its latest release. The main highlight of the newly released a9 III is its global shutter, the world’s first for a full-frame mirrorless camera. The unique shutter design, along with a powerful Bionz XR processor, allows for a host of impressive specs, including 120 fps, 1/80,000 max shutter speed, and flash sync at any shutter speed. Additionally, the company also announced the FE 300mm F2.8 G Master OSS lens, which offers superb reach and performance in a relatively compact body.
Global sensor exposes and reads every pixel at the same time
120 fps blackout-free burst shooting
Improved ergonomics
1/80,000 maximum shutter speed
Flash sync at any shutter speed
759 AF points with more sizes of focus area spots
8-stops of optical in-body image stabilization
6K oversampling for 4K 60p movies
4K 120p video without cropping
Weighs 1.4 pounds
Available in spring 2024 for $5,999
What is a global shutter?
The star of the show for the a9 III is, by far, its global shutter. Global shutter technology isn’t new, with a handful of cinema cameras utilizing it over the past few years. But the Sony a9 III is the first full-frame mirrorless camera to jump on board. So, why does that even matter? What is a global shutter?
Currently, most cameras rely on a rolling shutter. With the rolling shutter design, the camera’s sensor receives and reads information line by line from top to bottom. This means that there is a delay between the first line of data and the last. That delay can cause problems when capturing fast-moving subjects in photos or videos, resulting in warping and distortion. You likely have seen this in helicopter rotor blades. In photos, those blades can appear curved or bent when in reality, they are straight.
The global shutter design solves this problem by exposing and reading every single pixel on the sensor at the exact same time. That means that the Sony a9 III will benefit from zero distortion in stills and video, which is a significant advantage for those shooting action. It also allows for a range of other benefits, including the ability to work with flash at any shutter speed, including the camera’s max shutter speed of 1/80,000 (no, that’s not an extra zero). This unlimited flash sync even works with third-party flashes. Additionally, there will be no banding from artificial lights or displays. To aid in this, Sony has also employed an Anti-Flicker mode that automatically syncs the shutter with the brightest point in the light’s cycle to keep the exposure consistent in photos and videos.
Along with the camera, Sony has released a new vertical grip that offers the same ergonomics as the new camera. Sony
Sony a9 III details
There are plenty of other things to swoon about in the a9 III beyond the global shutter, though many are dependent on that feature. Sony built the new camera around a 24.6-megapixel full-frame stacked CMOS sensor and Bionz XR processor, which results in eight times the processing power as the a9 II. the five-axis optical in-body image stabilization system allows for eight stops of compensation with the camera alone. You’ll get even more stabilization if using a stabilized lens as well.
On top of fancy guts, the a9 III features a redesigned body with better ergonomics. Sony says the grip is improved to make the camera easier to hold in the palm of the hand, even when using a telephoto lens. It says that it also moved the shutter button up slightly to be in a more natural, comfortable position. It features a four-axis multi-angle LCD touchscreen (the same as the a7R V) and 9.44 million-dot Quad XGA OLED electronic viewfinder. And as we’d expect from a pro-level Sony camera, it is dust and moisture-resistant.
To pair with the pro-level features of the a9 III, Sony is also releasing a new vertical grip—the VG-C5— that offers the same ergonomic design as the new camera. That includes the same shutter button placement and a new custom button (C5) in the same position so that it feels the exact same when switching between horizontal and vertical shooting. The new battery also pulls parallel power instead of drawing from one source and then switching to the other. Sony says that this allows for 15 percent more battery life.
Sony
Burst shooting
One of the main selling points of the a9 III is its absurd burst shooting capabilities. This alone will earn it a top spot as one of the best Sony cameras. It is able to shoot 120 fps blackout-free with real-time recognition AF and auto exposure. The fast burst shooting even works with 14-bit raw. Shooting fast bursts is only one piece of the puzzle when documenting action, though. You also have to get the timing right in the first place. To help ensure you get the shot, Sony has added a Pre-Capture function. This new setting allows the camera to continuously record (also up to 120 fps) for up to one second before the shutter is released.
Even when shooting action, you don’t always want your fastest fps setting. Sony has found a clever way to get around that with the Speed Boost function and a newly added a new custom button (C5) on the front of the camera. The new button allows you to instantly switch to a faster, preset speed at any time and then go back to a more reasonable fps just as quickly.
Image selection of 120 fps with Pre-Capture can be massively overwhelming. Sony even considered this when developing the a9 III. It has added a new playback image filter that allows you to select a large number of images at once, along with a function menu that can be used during image playback. The camera also plays back bursts as a video, so you can mark the shots you want without individually pressing through images.
Autofocus
As with other recent Sony releases, the a9 III features a dedicated AI processing unit to support its advanced phase detection autofocus system. It offers Real-time Recognition AF and Real-time Tracking and can detect a wide range of subjects, including humans, cats, dogs, planes, and more. The system can even detect an eye even when the subject is wearing goggles or helmets, is small in the frame, or moving fast. Sony also expanded the sizes of its focus areas to include XS and XL for more control over your focus points.
Sony a9 III video specs & features
Sony emphasized still photography during its announcement with a tagline of “the power of one frame.” But the company certainly didn’t leave video out of the mix in its new camera. The global shutter definitely benefits video shooters since rolling shutter has been a pain point. The a9 III is capable of 4K 60p video oversampled from 6K. It can also shoot 4K 120p without cropping, which is a first for an Alpha series camera. It offers the S-Cinetone profile, S-Log3, 10-bit 4:2:2 capture, and 16-bit raw video over HDMI.
Sony a9 III pricing & availability
Of course, with such an advanced, pro-level camera, we should expect a pro-level price. And indeed, the Sony a9 III is priced at $5,999. It is available for pre-order now and will begin shipping in the spring of 2024.
The 300mm f/2.8 GM OSS lens is an advanced, compact telephoto prime lens for pros. Sony
FE 300mm F2.8 G Master OSS lens details
In case the groundbreaking camera wasn’t enough, Sony has also announced a new lens. Like the camera, the FE 300mm F2.8 G Master OSS lens is also a pro-level piece of equipment geared towards serious sports and wildlife photographers, as is evident in its matching $5,999 price.
As a G Master lens, the new 300mm offering will provide superb resolution and edge-to-edge sharpness. The optical design includes three Super ED (Extra-low Dispersion) glass elements and one ED glass element to reduce chromatic aberration and improve contrast across the frame. The 11-blade circular aperture results in beautiful smooth bokeh. And two XD linear motors drive focus that is fast, precise, and silent. It’s also able to keep up with the fast burst shooting of the a9 III.
Beyond image quality, the best feature of the 300mm f/2.8 GM is its size. The lens weighs just 3.2 pounds, which makes it the lightest lens of its class. For context, it is 40 percent lighter than the 400mm f/2.8 GM and roughly the same weight as the original 70-200mm GM. Sony was also very intentional about how the lens balances, designing it with optimum balance for smooth panning and easier handheld shooting.
The new 300mm telephoto prime lens is compatible with Sony’s 1.4x and 2.0x teleconverters. It offers a function ring to instantly engage the APS-C crop, providing a 420mm view. It is dust and moisture-resistant with magnesium alloy inside and out for a durable, rugged build.
Sony FE 300mm F2.8 G Master OSS pricing & availability
Like the new camera, the FE 300mm F2.8 G Master OSS lens is available for pre-order now for $5,999. It will begin shipping in the spring of 2024.
