I don’t often write about gear, but it’s the most common question I get, so today, let’s talk about gear and what I currently use in landscape photography. Throughout my journey, I’ve experimented with various Nikon cameras, from D90 to Z7 II and now to the new Z8. I have used lenses from Nikon, Sigma, Tokina, Tamron, and Laowa, ultimately finding the current setup that allows me to express my creative vision.
I used the new Nikon Z 8 for a week in March, and it was fantastic. From a quick overview, I think it delivers an excellent upgrade for the autofocus and video options compared to the Nikon Z 7II. I’ll receive my copy of the Nikon Z8 later, so I can give you more thoughts about the camera. These are my honest opinions about the gear I use. Even though I’m a Nikon Creator, this post is not sponsored by Nikon.
Nikon Z7 II
I have used the Nikon Z7 II as my primary camera for the past year. Before that, I used Nikon Z7 and D810. You can view my review of the Nikon Z7. Now with the Nikon Z7 II, I barely use anything else. The SD card slot is a great addition to the previous version. I’m not currently shooting video much, but that part has also been upgraded from Z7. The battery life is slightly better than in the Z7. When I want to capture time-lapse as well as stills I bring with me the Z7 to have the option to shoot two different perspectives at the same time.
Sensor
Although not the highest-megapixel sensor in the market, the Nikon Z7 II‘s 45.7-megapixel sensor produces high-quality images with incredible detail. It is essential in landscape photography, where every nuance, from the texture of rocks to intricate patterns, adds depth and richness to the final image.
Dynamic Range
The dynamic range of a camera refers to its ability to capture detail in both the brightest and darkest parts of a scene. It is essential when photographing landscapes with high contrast between bright skies and shadowy foregrounds. The Nikon Z7 II excels, allowing me to capture images that retain detail even in challenging lighting conditions.
Low-Light Performance
One of my favorite aspects of landscape photography is capturing the beauty of the night sky. The Nikon Z7 II‘s excellent low-light performance allows me to photograph the stars and the Milky Way with minimal noise and incredible detail. The camera’s high ISO capabilities and noise reduction ensure that my astrophotography images are clean and sharp.
Nikon Z7 II pros and cons
+ Exceptional image quality + Low-light capability + Dynamic Range + Low weight, only 705 g + Dual card slot – No in-camera RAW video capabilities – Relatively slow autofocus – Could have a better battery life
Volcano photography is an enriching hobby. Even though a lot of work goes into the process of capturing the best volcano pictures, the experience makes everything worth it. Yes, it’s risky but it’s an experience like no other.
To photograph a volcano, you’ll need a quick shutter speed to freeze any motion. Set your speed to 1/1000th, then change your ISO and aperture as necessary. Shooting volcanoes from the air, ground, or sea captures dramatically different outcomes and a better view of the lava source.
Read on to learn the best tips on photographing volcanoes and how to do it safely.
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Best Ways to Locate Vantage Points
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If you want to make the process a lot faster, you can ask a local to take you to the best vantage points. When photographing volcanoes, it’s not enough to see the areas in photographs or hear stories from other people. You’ll need to visit them and see them for yourself. Just don’t forget to take the appropriate lens for each possible viewpoint.
When you go to an erupting volcano, take some time to observe the explosion from a safe distance. Determine the eruption’s strength and the direction in which the hot lava is moving for your safety. As we all know, it’s not safe to get near an erupting volcano.
Photographing Tips During the Day
You can catch the most powerful volcanic eruptions and ash clouds by shooting photos of volcanic explosions throughout the day. Shooting lava is an option as well. Your most probable lens will be a 24-105mm lens. A long lens is ideal if you are far away.
You may either try to freeze the motion in daylight photography or create some motion blur.
Freeze the motion: You will need quick shutter speeds to freeze falling lava bombs, or pyroclastic flows captured on camera. Set your speed to 1/1000th, then change your ISO and aperture as necessary. The ISO is probably at or over 1000. You should typically use an aperture of f/8 while taking landscape photography. You may need to use a bigger aperture as it grows darker.
Motion blur: Slower shutter speeds, which may blur motion, are at the other extreme of the shutter speed continuum. Shutter speeds of 1/20th are required to capture the appearance of action. Use this with ash clouds if you can. Shutter speeds of one second or longer are perfect for recording lava movement. Use an ISO of 100 and a narrower aperture to obtain slower shutter speeds. Add a graded neutral density filter if necessary.
Photographing Tips At Night
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Nighttime is one of the loveliest periods to try taking photos of lava. You will be able to detect the glowing lava much better.
The ideal time to take photos is during the late blue hour. You have a higher chance of detecting the volcano’s foreground features. The lava will seem brighter in the picture the later you go into the blue hour. The rocks will become shadows against the lava once wholly dark.
For this reason, you need to try to take pictures while the moon is full. Bring a powerful flashlight so you can illuminate molten rock during the exposure. Look to expose for up to 10 seconds if you want to get the lava streaks.
ND filters are also valuable for blue-hour situations. You may shoot the volcano with prolonged exposure and six- to eight-stop neutral density filters.
Use the same general procedures as when shooting a typical landscape. When feasible, bracket your shots and shoot in RAW. Exercise delicate processing to guarantee that the image you capture is as accurate as possible. Make sure your lava has a red and orange gradient and lessen the brightness.
Protecting Yourself and Your Gear
You will need gear to protect yourself and your photography equipment before anything else.
Safety Gear
Volcanoes pose a wide range of hazards, particularly if you want to approach a volcano or lava flow up close. Most photographers covering volcanoes have a few specific things in their gear.
Helmet: Falling rock is one of the main risks around volcanoes (or lava bombs).
Heat-resistant clothes: Wear heat-resistant clothes since it might be dangerous to approach the lava.
Gas masks: The area surrounding volcanoes may contain deadly gases.
Note: None of these items will shield you from pyroclastic flows.
Photography Gear
The following are the camera gear you need for taking volcano pictures.
Camera body: A must-have is a sturdy camera body and weather and dust-sealed.
Lens: You must carry a wide-angle lens while taking landscape photos, especially for dormant volcanoes. Mid and long focal lengths are preferable for an active volcano.
Tripod: Make sure the tripod is robust and heat-resistant.
UV filter: A UV filter protects from different debris present in an extreme environment.
Camera blowers or towels for cleaning
Hiking Gear
Some volcanoes are located in very rugged terrain. That suggests you also need the following on top of the appropriate safety gear.
Hiking boots
Walking poles
Water and rations
Tent or sleeping gear
First aid kit
Dormant Volcanoes Photography
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Even when they are not erupting, volcanoes are breathtakingly gorgeous. They are excellent photographic subjects because of their rough geology and features like crater rims. For times when the lava isn’t flowing, here are some other photographic locations:
Trekking up the volcano: It’s advantageous to climb a volcano when it’s dormant. Deep ravines and leaking gas will still provide challenges. Though even when it is not an active volcano, there are safety risks.
Acid lakes: Acid lakes form when escaping sulfur gas combines with a crater lake. These lakes are highly picturesque and have an odd, otherworldly sense.
Geysers: Geysers are nature’s fountains and make excellent picture subjects.
Sulfur mines: Sulfur mines also make for a compelling photo.
Photographing From The Ground
Photographing from the ground is challenging and poses some particular difficulties. First, it takes a lot of frames and a little luck to get all parts to line up at once.
Don’t forget to get wide and detailed shots when shooting from the ground. Photograph between 14mm and 500mm, and be sure to have all your lenses on hand and keep an eye out for various compositions.
Examine several shutter speeds to determine which effect you like. A 1-second exposure often produces the most remarkable results.
When the blue hour is winding down, there is a perfect balance of light for 15 to 30 minutes. Because it moves quickly, you must be sure that you have chosen the best composition for the excursion at that point.
It’s feasible for your tripod and camera equipment to melt while taking close-up photos with a wide-angle lens. Surprisingly far, lava flows transmit heat.
Photographing From The Air
Since many volcanoes are unreachable by land, it is better to have a broad notion of capturing the volcano and setting up your camera correctly in advance.
When the shutter speed is less than 1/500th of a second, vibrating aircraft like piston-engined helicopters tend to produce blurry images. If possible, set shutter speeds to 1/750th or even 1/1000th of a second; however, you may get away with 1/500th if your lenses have image stabilization.
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A fast (f/2.8) lens is advantageous in this situation since you can often shoot wide open and still have everything in focus because the explosive eruptions are far away.
ISO is the only setting you have to work with to get the proper exposure with a wide-open aperture and 1/750th of a second – this is where your camera’s “auto ISO” feature comes in useful.
The last factor is ensuring that the camera chooses the appropriate exposure for you. Use “highlight-weighted metering” if your DSLR has it. Volcanic photography in dark regions is easy to work in a frame with better exposure.
For helicopter safety, do not switch lenses while the plane is in the air. In light of this, keep two camera bodies: one with a 24-70mm lens and the other with a 70-200mm or 80-400mm lens. Keep the camera’s strap connected, and wear them around your neck the whole trip.
Photographing From The Sea
You should certainly see the lava from a boat to get a close-up view while it is entering the water. It is a fantastic view position that makes for a very immersive experience.
A 70-200mm lens (full frame) is ideal for capturing the hot lava trickling into the water in fine detail. A shutter speed of at least 1/250 second was necessary to freeze the motion due to the rocking boat and splashing waves.
Where Are the Best Volcanoes to Capture?
Most of the world’s volcanoes are in tectonically active regions, such as in the country of New Zealand, the Philippines, Japan, Kamchatka, Alaska, and the western coasts of North and South America.
Indonesia, Italy, Iceland, Hawaii, and other places in Africa also have incredibly beautiful volcanoes.
Before going, look at the volcanic eruption history and ask locals about the actual eruption. Consider hiring a guide to accompany you as well.
Find out whether the volcano generates potentially harmful pyroclastic flows. If so, find out which way they often travel.
Conclusion
Taking images of volcanoes is a ton of fun, and the results will blow you away! If you are interested in volcano photography, ensure you have the right gear and a good guide who knows the area well to get some great images.
Perhaps two of the most exciting pro-level cameras on the market at the moment are Sony’s a1 Mark II and a9 Mark III. The a9 III remains the only full-frame mirrorless camera with a global shutter, giving you jaw-dropping specs like blackout-free continuous shooting at 120fps with AF, no-crop 4K/120p video, and the ability to sync with flash at up to 1/80,000s. (The compromise, however, is the sensor’s relative low pixel count of 24.6MP and base ISO of 250. Meanhile, the a1 II is a different, but equally capable, beast: At 50.1MP, its stacked sensor boasts double the pixels, burst shooting is 20fps in lossless RAW, and there’s both 8K/30p and 4K/120p video recording on offer.
The kicker is that these two cameras are all but identical externally, so a single housing can accommodate either one… Enter Nauticam’s NA-α1II housing, designed to get the most out both the a1 II and a9 III. Needless to say, ergonomic control placement is foremost: There’s a dual thumb lever alongside the right hangle and a single thumb lever on the left, as well as another left-hand lever operating a customizable button. In addition to fiber-optic ports for your strobes, there’s an M14 accessory port that could be used for an electrical bulkhead if preferred. There’s also a large-bore M24 accessory port for hooking up a monitor/recorder such as the Atomos Ninja V via HDMI 2.0.
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 NA-α1II
The Sony a1 II and a9 III Cameras
The Sony a1 II and a9 III Cameras are Sony’s pro-level bodies that cover the entire gamut of imaging requirements for both still and video shooters.
Sony a1 II
The a1 II is Sony’s flagship high-resolution camera body with incredible autofocus and impressive video capabilities. Built around a 50MP stacked BSI CMOS sensor and powered by the advanced BIONZ XR processor, the a1 II features upgrades pulled from the a7R V in autofocus, subject tracking, and IBIS. For scenarios demanding high resolution paired with ultra-fast and accurate autofocus and up to 8K30p video, the a1 II can deliver top tier results.
Key Sony a1 II Camera Specs
50MP Full-Frame Stacked BSI CMOS Sensor
8K 30p and 4K 120p Video in 10-Bit
8.5-Stop IBIS + Dynamic Stabilization
9.44m-Dot EVF with 240 fps Refresh Rate
Dual CFexpress Type A/SD Card Slots
Sony a9 III
The a9 III fills the role of a high sensitivity sensor with a true global shutter. Capable of shooting 4K 120fps from the full sensor area, the a9 III produces very clean high frame rate video even in less than ideal lighting conditions. The a9 III’s global shutter allows for shooting at incredibly high shutter speeds to maximize available strobe power and recycle time, even in strongly backlit scenes. Shooting into the sun or in high-ambient light scenarios at lower apertures opens up a world of opportunities for both wide and macro photography and also eliminates any rolling shutter effects in video.
Key Sony a9 III Camera Specs
24.6MP Full-Frame Global Shutter Sensor
Flash Sync at up to 1/80,000 Sec.
4K 120p 10-bit Video; S-Log3 & S-Cinetone
759-Point Phase-Detect AF with Tracking
8-Stop 5-Axis In-Body Image Stabilization
9.44m-Dot EVF with 240 fps Refresh Rate
Dual CFexpress Type A/SD Card Slots
Shared Specs
The a1 II and a9 III share a body which makes the NA-a1ii housing possible without any adapters, modifications or loss of features. Both cameras also share the incredible 9.4M-dot electronic viewfinder from the A7RV.
THE NA-α1II HOUSING
The NA-α1II Housing is based on the Nauticam NA-a9III housing and can accommodate both the Sony a1II and a9III camera bodies with no adapters of modifications. This truly makes this housing one of the ultimate underwater imaging tools able to capture high resolution as well as low-light stills and high resolution, low-noise and high-framerate video.
Mission Control
The driving force behind Nauticam housings is to place controls where they should be, within easy reach of the ergonomic handles for an intuitive and smooth underwater filming experience. The NA-α1II features a dual action thumb lever on near the right handle that actuates the ‘AF-ON’ and ‘REC’ buttons. Near the left handle is a thumb lever for ‘PLAYBACK’. The shutter release, main and sub command dials are also all within easy reach without taking your hands off the handles.
Professional Optics
The NA-α1II housing is built around the N100 port opening allowing for a wide variety of optics solutions from extreme wide-angle to super macro. In addition to supporting traditional wide angle dome port and macro flat-port configurations, the NA-α1II can support much of Nauticam’s range of Water Contact Optics from the Fisheye Conversion Port (FCP) to the Extended Macro Wide Lens (EMWL). To truly unlock the creative possibilities of these two cameras, pairing them with either the WACP-1B, WACP-C or WWL-1B gives impressive 130º rectilinear field-of-view, ~0″ minimum focus distance, full zoom through capabilities and the incredible corner sharpness. If more coverage is needed, the FCP provides 170º fisheye coverage with full zoom through and close focus capabilities. Take your macro imaging to the next level with either increased 2.3X magnification with the new SMC-3 close-up lens or the wide-angle macro look of the EMWL 160º lens.
EVF Enhancement
Both the Sony α1II and α9 III feature the same ultra-high resolution 9.4M-dot electronic viewfinder (EVF). To truly take full advantage of this underwater consider pairing it with one of the Nauticam Enhanced 0.8:1 Viewfinders. These underwater viewfinders are designed to give full edge-to-edge magnified viewing and include a diopter that can be adjusted underwater to match your vision.
HDMI 2.0
A large bore M24 bulkhead is located at the front of the housing for use with HDMI 2.0 or HDMI 1.4 (with a step-down adapter to M16) external monitors and recorders. An additional M10 threaded mounting position near the front center of the housing also makes using an external monitor even easier.
Vacuum Check and Leak Detection
The housing comes with electronics pre-installed for Nauticam’s Vacuum Check and Leak Detection system, requiring only the optional M14 Vacuum Valve (25624). This monitoring system provides constant updates on the water tight and safe-to-dive status of the housing. A simple color coded LED lighting system lets the user know that the vacuum is solid, or that the housing is losing vacuum. Leak detection is built into the same circuit, so if there is water intrusion, an audible and visual indication will occur. The Nauticam system is temperature compensated, eliminating false alarms caused by a change in outside temperature, or from a camera heating up on an action packed dive.
Strobe Triggering
Triggering of external strobes is accomplished via the integrated fiber-optic bulkheads when using the optional Mini Flash Trigger for Sony (26302). Electronic triggering is also available via an optional Nikonos or Ikelite Style Bulkhead.
What’s In The Box:
NA-α1II Housing
90120 Spare Main O-ring, o-ring remover, and lubricant
CR-2032 Battery (for Moisture Alarm)
Set of Allen Keys
Instruction Manual Card
2x Optical Bulkhead Caps
2x Handles with Mounting Balls
Padded Housing bag and shoulder strap
Recommended Accessories:
25624 M14 Vacuum Valve II (Pushbutton Release)
26302 Mini flash trigger for Sony
25218 Mounting Ball Set for tripod
28130 Hand Strap for 18223
32203 45 viewfinder (slightly vignettes)
32211 Nauticam Full Frame Straight Viewfinder 32 / 1:1
32212 Nauticam Full Frame Straight Viewfinder 40 / 0.8:1
32213 Nauticam Full Frame Angle Viewfinder 32 / 1:1
32214 Nauticam Full Frame Angle Viewfinder 40 / 0.8:1 *32212 / 32214 is preferred
26325 USB-C Bulkhead with USB-C Connector
26326 M24-M16 Adaptor for use with 26325
25413 27cm lanyard with 2 snap hooks
HDMI Output:
Required accessories for HDMI 2.0 Cable System
25086 M24 Adaptor for HDMI 2.0 Cable (incl. tightening tool)
25099 M24A2R20-M28A1R170 HDMI 2.0 Cable
Compatible Monitor Options:
17922 Nauticam Atomos Ninja V Housing for Atomos Ninja V 5” 4kp60 4:2:2 10-bit recorder/monitor/player (excl. HDMI 2.0 Cable
17922S Nauticam Atomos Ninja V-S Housing for Atomos Ninja V 5” 4kp60 4:2:2 10-bit recorder/monitor/player (excl. HDMI 2.0 Cable) with AtomX SDI Module
Required accessories for HDMI 1.4 Cable System:
26326 M24-M16 Adaptor
25100 HDMI )D-A) 1.4 Cable in 200mm length (for connection from HDMI bulkhead to camera)
25033 standard HDMI bulkhead with M16 thread (incl in 17923 Shinobi-H housing)
Compatible Monitor Options:
17923 NA-Shinobi-H Housing for Atomos Shinobi 5.2” 4k HDMI Monitor with HDMI 1.4 input.
17922 Nauticam Atomos Ninja V Housing for Atomos Ninja V 5” 4kp60 4:2:2 10-bit recorder/monitor/player (excl. HDMI 2.0 Cable
25082 HDMI 1.4 Canle for Ninja V housing in 0.75m length (for connection for Ninja V housing to bulkhead) *25082 v1.4 cable is required for use with 17922 monitor housing.
Technical Specifications
Dimensions: 347mm(W) x 171mm(H) x 127mm(D)
Weight in Air: 2.65kg
Buoyancy in Water: 0.48kg (incl. camera & battery)
Model Number: 17438
USA Retail Price: $4,920.00
More information is available from Nauticam at: www.nauticam.com
One way to improve your sports photos is to get the right background. Choosing the right background can make or break a sports photo. Whether you’re capturing individual headshots, team portraits, or promotional images, the backdrop plays a crucial role in setting the tone, reinforcing branding, and making the subject stand out.
In some cases, a transparent background gives you max flexibility, while other scenarios call for a bold team-branded backdrop, a dynamic stadium setting, or a clean, neutral tone. Check out some of the best background options for sports photography—including field and court settings, team logos, dramatic lighting effects, and templates—to help you create impactful images every time.
Sports photo background ideas
The “field”
Using a real sports environment helps establish context and energy in your shots. Some great location choices include:
Stadiums: A stadium backdrop can emphasize the grandeur of the sport, making it ideal for professional headshots or team portraits. Be mindful of the composition—an empty stadium creates a different feel than one filled with fans.
Tracks: A running track or cross-country trail provides a sense of movement and purpose. Position the athlete at a starting line for an action-driven portrait.
Beach: Perfect for sports like beach volleyball, surfing, or running, the ocean and sand can create a lively, high-energy image. Plan your shoot during golden hour for the best lighting.
Indoor arenas: Basketball courts, hockey rinks, or even boxing gyms provide an enclosed environment with controlled lighting. Use a wide aperture to blur out distracting elements while keeping the athlete as the focal point.
Sports fields: Soccer fields, cricket pitches, or rugby grounds offer a natural, open space that works well for solo and group shots. If the field is in use, position your subject in an area with minimal distractions.
Gyms and locker rooms
For an intense, gritty look, gyms and locker rooms can provide a compelling backdrop. Weight rooms, benches, and training spaces add authenticity, making the athlete’s preparation a key part of the story.
Use directional lighting to highlight muscle definition and create dramatic shadows. If shooting in a locker room, frame the shot to include elements like jerseys, team logos, or open lockers for added storytelling. Pay attention to the composition. You can avoid cluttered backgrounds by positioning your subject in front of an open locker with a neatly arranged jersey and equipment, for example.
How One Sports Photographer Uses Path to Edit Photos for 16 Teams Every Season
Urban settings
Cityscapes, iconic landmarks, or industrial settings can be excellent backdrops for sports photography, especially for athletes who train outdoors. This option works particularly well for individual portraits of runners, cyclists, or street athletes.
Again, be mindful of busy backgrounds—use a shallow depth of field to keep the focus on the athlete. Early morning or evening shoots often provide softer light and less foot traffic.
Smoke or lighting effects
If you want to add drama, using colored lights, LED strips, or smoke effects can create a bold, high-impact background. This is a great option for marketing shots, posters, and social media content.
Smoke and lighting effects can create a variety of looks, so the possibilities are truly endless. In the examples above, you can see how smoke and fog add dama to photos of a dirt biker, soccer players, and a football player.
Showcasing team identity is always a smart choice. You can use the team logo or colors, or a sponsor’s logo and colors. Solid or gradient backgrounds in team colors can create a consistent, polished look.
A blurred background helps isolate the subject and remove distractions. This technique is useful when shooting in a busy location, like a crowded gym or an active playing field.
There are a few ways to get a blurred background:
Shoot with a shallow depth of field: Use a wide aperture (e.g., f/2.8 or lower) to blur the background while keeping the athlete sharp.
Use motion blur: Works well for dynamic shots where slight movement is captured.
Edit the background in post-production: If you can’t get it in-camera, you can add the blur effect during the editing process. Find out how to blur the background in this tutorial.
Neutral
A clean, neutral backdrop—like gray, white, or black—keeps the focus on the athlete. This is a solid choice for profile shots, media use, and professional headshots.
Use a softbox or ring lights to help maintain even lighting without harsh shadows. Seamless paper or collapsible fabric backdrops work best for the backdrop materials.
Transparent
For maximum flexibility, a transparent background allows you to place the subject onto any background later. This is especially useful for promotional materials, digital content, and merchandise design. You can find out how to make a transparent background with this tutorial and in the video below:
A stadium, team-branded backdrop, or a solid color with team colors works well for team portraits.
Should I use a green screen for sports photos?
A green screen can work if you plan to replace the background, but good lighting is crucial for a clean result.
What’s the advantage of a transparent background?
The advantage of a transparent background is that it gives you flexibility to place the subject onto different backgrounds later, making it ideal for marketing materials and graphics.
Almost three weeks ago, I launched my brand new online course, MASTERING THE FUJIFILM AUTOFOCUS SYSTEM, and in that short time, I’ve been blown away by the number of students who have enrolled in the course, and by the amazing feedback I’ve received.
Mastering the FUJIFILM Autofocus System
Learn How to Get Maximum Performance from your X Series Focus System
“Dear Dan, I am 60% through the course and it is brilliant. I find your combination of careful detailed spoken explanations and pictures much easier to follow and learn from than even your excellent book.”
—————–
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This course compiles every bit of useful knowledge and real-world practice I’ve gained, not just from my ten years using the X Series cameras but from my 26+ years shooting as a professional action, adventure and outdoor photographer.
With over 2 hours of content, the course is a deep dive into the entire Fujifilm focus system. In a series of 20 individual lessons, spread over 10 different modules, I show you every single setting, every single feature, and how they can be applied to your own shooting process.
“Dan: Awesome course. Well done!”
—————–
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I also share invaluable tips will help you optimize your camera, so that you can be a more efficient shooter, and I give you tons of real-world tips that will help you increase your proficiency and confidence with the system, especially when shooting challenging and moving subjects
A large part of being a successful photographer is having a full understanding of your gear and realistic expectations of how it will perform in certain conditions.
We Fuji shooters often hear the Fujifilm AF system is not as good as SONY/NIKON/CANON/blahblahblah, and that the X Series cameras are not good enough for shooting things like sports action and birds.
If this is indeed the case, then why have I been able to capture so many great action images with every single X-T model that Fuji has made, from the X-T1 to the X-T5? In addition, why have so many of my favorite action images from the past decade been made with the X-T2, a camera from three generations ago?
The simple fact is that it’s not the camera, it’s the big lump behind the camera that is what makes all the difference in photography, and as a long time experienced pro shooter,I can help you make a difference in your own photography.
“Great course on Fujifilm Autofocus Dan! I ran through all the video, now I will go watch all the videos again with camera in hand to insure I understand all the settings.
Everyone with a Fuji camera should watch this course.
Thanks very much, keep up the good work!”
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The best testimonial I’ve received came from a student named Tim, an experienced, former Nikon user who shoots motorsports. He opted for the Add-On Personal 1:1 Coaching Session that’s available when you enroll in the course, and during our session yesterday, he basically explained it this way:
Enrolling in this course is WAY cheaper than buying a new X-H2 or X-T5.
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“Upon enrolling there was an offer to add the personal coaching session which looked like a great deal.“
“The “Mastering the FUJIFILM Autofocus System” course is an excellent training resource to explore the nuances that the manual does not cover. The lessons are short and to the point and end chapter quiz is a check on your learning. The early lessons are a good review of the basis function. As you move on, the lessons hone the intricacies of the settings and menus. As I proceeded through the course, I kept notes to ask questions for the Personal Coaching Session.“
“Meeting Dan in the coaching session was a perfect way to addresses all my questions. He was able to point out some misconceptions I held. I look forward to testing these out in the field.“
“I would very much recommend the course AND the Personal Coaching Session to anyone using the Fujifilm system.“
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No matter what model X Series camera you use, or no matter what you like to shoot, I can help make you a more proficient and skilled photographer, so that you can create exciting and dynamic images that you’ll love forever…
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Who can see the future? What is the future and who creates it? Ok, let’s not ask these questions, instead, let’s just try our hand at some old-fashioned speculation.
First Prediction
2024 was a busy year for new camera releases and I don’t expect that to stop anytime soon. I expect more releases from at least 1 of the big 3, and maybe a release or two from some has-beens in the marketplace like Ricoh or Leica. They always manage to cough up something wacky like a B&W only camera.
Second Prediction
AI has already weaseled its way into our cameras, and I expect more “AI” powered features to come out in 2025. As exciting as that may be for some users, the only “AI” feature I want is that one that automatically makes and deposits money in my bank account. “Hey Siri, deposit 1 million dollars in my bank account.” “I’m sorry Frank, I can’t do that.” “I’m using the money to build a nuclear submarine to fly us out the hell out of here Frank.” “Get with the program.”
Third Prediction
We’ve had 8k 30p video for 4+ years now, and not many people know that Blackmagic Design made a 12k camera years before the R5 came out and they still make it, I think. So, is 8k-12k the limit for video resolution?? I predict… YES. What kind of gigantic screen would be needed for 12k resolution? Bigger than can fit in most people’s houses. I don’t think anybody wants that much LED light firing into their eyeballs. I’m sure some Hollywood guy will try to go bigger. Imagine The Titanic Part 2, IN 16K RESOLUTION.
Andrew Hancock isn’t the type of photographer that has a lot of downtime from shooting. As one sports season wraps up, he’s already looking ahead to what’s coming up. And when Hancock is covering a sporting event, he’s typically overseeing the remote cameras aimed at the athletes—he estimates for a basketball or baseball game he’s managing anywhere between six to 12 cameras at a time. For horse racing, it can be as many as 20 cameras.
It’s a massive amount of data that needs to be managed after the fact. Hancock trusts the SanDisk® Professional G-DRIVE® PROJECT desktop solution which has a built-in PRO-BLADE™ SSD Mag slot, and SanDisk® PRO-CINEMA CFexpress™ Type B cards to stand up the challenge when he is out in the field.
“I’m only as fast as my slowest point and speed is everything, especially when you’re doing work for the teams,” Hancock says. “Cards can be the Achilles heel for sports photographers—we’re using high speed frame rates, and trying to get as much of the action as we possibly can. SanDisk PRO-CINEMA CFexpress Type B cards help let me push my camera to its limits.”
The SanDisk PRO-CINEMA CFexpress Type B card is a key part of Hancock’s workflow. The card is designed for professional photographers and videographers who need a high-performance, reliable storage solution. The card is compatible with a wide range of cameras, and it offers read speeds of up to 1700MB/s1 and burst write speeds of up to 1500MB/s1. This means that Hancock can capture high-resolution photos and videos without having to worry about his cards slowing him down.
Hancock says that SanDisk’s line of professional products has allowed him to create a daisy-chained ecosystem that works well together. The reliable, fast PRO-CINEMA CFexpress cards are loaded into the cameras, media on the cards is offloaded using the SanDisk Professional PRO-DOCK 4 or PRO-BLADE SSD Mag slots, eventually getting archived on a G-RAID® MIRROR.
“The ability to be able to pump this data as fast as it can go and wherever it can go, means I’m not having to worry about overheating issues or filling the buffer,” Hancock says. “In a clenching situation, where I want to get as much as I possibly can, these cards allow me to actually focus on capturing the moment, without worrying about missing frames.”
For Hancock, having these fast, top of the line cards and drives is as essential as his cameras and lenses when he’s on a job.
“I know I’m not going to be covering a massive event and then something’s going to fail or underperform. At the end of the day that comes back on me,” he says. “It’s like being the quarterback of the team. It doesn’t matter if the receiver dropped the ball, everything comes back to your shoulders. It’s on you. As a photographer you’ve got to make those decisions. And it’s a business decision, quite frankly.”
Professional sports photographers typically spend a good deal of time on the road—Hancock mentions that some years he has up to 200 travel days a year. Having a storage solution that’s been easy to pack up and set up on location has also been a huge part of the appeal for him. Beyond its compact size, the SanDisk PRO-CINEMA CFexpress Type B card also comes with a durable enclosure, withstanding up to 1-meter drops and the pressure of up to 50 newtons2, so Hancock can be confident his data will be safe on the go.
“I’m like water, I want the path of least resistance. Having a streamlined workflow takes all the stress out of the situation for me,” he says.
For Hancock having such a streamlined workflow with storing and archiving, enables him to perform at a higher level and be more creative when he’s working. But it’s also helped him get valuable back time. “It’s made my job easier and more efficient, which ultimately means more time with my kids whenever I’m home,” he says. “I love what I do, but any second that I can get back, I want it.”
1Up to 1700MB/s read speed; up to 1500MB/s write speed. 1400MB/s minimum sustained write speed. Based on internal testing; performance may be lower depending upon host device, usage conditions, and other factors. 1MB=1,000,000 bytes.
After many years supporting the GoPro with their rugged aluminum housing, Isotta has turned its attention to the action cam competition—the Insta360 Ace Pro and new Ace Pro 2.
The new housing has much in common with the company’s housing for the GoPro HERO13 Black: anodized aluminum construction and signature red finish; depth rating to 200 meters (650 feet); one-handed open/close; double O-ring seals throughout; and a removable shade that offers a clear view of the rear LCD in bright conditions.
Priced at $515, the housing is available from retailers such as Backscatter.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRODUCT INFORMATION
Isotta Underwater Camera Housing for Housing for INSTA360 Ace Pro and Ace Pro 2
Technical Data
Red color anodized aluminum body;
Back housing completely detachable from the front housing;
Single-hand closing knob for the back of the housing;
Aluminum buttons;
Wide back display viewfinder glass;
Double O-Ring seals on all buttons and removable parts;
Double square flat porthole;
Rubber covered feet for solid footing on boat floors or sea floor;
Cold shoe located on upper side of the housing for various accessories such as focus lights;
A M6 hole and a 1/4W hole located on housing bottom side for different accessories such as brackets for strobes or tripods;
