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.
Sony electronics has announced the third generation camera in its RX1R series, the RX1R III, which is a full frame compact camera featuring a 61 megapixel sensor and a Zeiss 35mm F2 lens. With the RX1R series being a popular one among select photographers, Sony decided to release a new model.
Sony has used a back-illuminated CMOS image sensor combined with the BIONZ XR image processing engine, that produces high quality images and low noise. The sensor comes with anti-reflective coating which helps to eliminate the optical low-pass filter, resulting in better image quality.
Image via Sony
As with most of Sony’s professional cameras in the Alpha series, the RX1R III comes with an AI processing unit that can recognise movements of most subjects, making tracking subjects easy even when their face is not visible. Even though the camera comes with a fixed 35mm lens, the Step Crop shooting function will allow the user to switch between three equivalent focal lengths – 35 mm, 50 mm and 70 mm through assigned buttons/dials. The camera lens also comes with a macro ring, that enables switching to macro mode instantly.
Following Sony’s “Road to Zero” initiative, the RX1R III and other of Sony’s imaging products are manufactured at facilities that operate on 100% renewable energy. The packaging also comes in environmental friendly material.
Here are some of the most important features of the Sony RX1R III:
Sensor – 61MP full-frame Exmor R CMOS sensor
ZEISS Sonnar T 35mm F2 lens – fixed
BIONZ XR processor
Macro ring for instant macro mode switching – 20 cm minimum focus distance
Anti-reflection coating on sensor
Step Crop Shooting – 35mm, 50mm, 70mm equivalent
693 phase-detection AF points
High iso sensitivity
Advanced AI for subject recognition and AF tracking
12 creative presets and 3 film style looks
Touch LCD screen
Compact and lightweight
Battery life: 300 still images
USB Type-C port
If you wish to watch the product video, check the YouTube video below:
We all may have seen a rainbow at some point and it may have been in strange places even like a waterfall, due to sea spray or even when watering plants in the garden. The most common occurrence of rainbows is when sunlight hits raindrops or water particles when the air is moist after a rain, but even moonlight can cause rainbows.
A rainbow is actually an optical illusion and seeing a rainbow depends on where you are standing with respect to the sun and at what angle the sunlight is falling on the waterdrops. The same applies for any form of rainbow seen elsewhere.
Now capturing just rainbows can seem quite boring, for example, just a colourful arc in the sky. It is always important to compose the shots to make the final photo look interesting and meaningful. Here are 29 striking rainbow photos that have been shot well.
If you would like to master composition in any genre of photography and create brilliant photographs, then you should check out this eBook “Understanding Composition” by Photzy. This guide is packed with illustrations for visual learning, case studies, and assignments that will help to verify your knowledge.
Photo by Zoltan Tasi
Photo by Austin Schmid
Photo by NOAA
Photo by Karson
Photo by Chris Barbalis
Photo by greg_nunes
Photo by Cosmic Timetraveler
Photo by David Brooke Martin
Photo by Todd Cravens
Photo by Jared Erondu
We all know that composition is the secret to incredible photography and if you want to learn how to determine the flow of a scene so that setting up a perfect shot is effortless, then you should check out “Understanding Composition” by Photzy. This complete hands-on guide with easy to understand case studies covering the “What” and “Why” of photography composition, can make learning a breeze.
Photo by Sorasak
Photo by Dario Mueller
Photo by Zdeněk Macháček
Photo by Lucie Dawson
Photo by Jorge Fernández Salas
Photo by DIEU
Photo by Jesse Gardner
Photo by Dylan Gialanella
Photo by Marcus Woodbridge
Photo by Zoltan Tasi
If you want to learn to spot great composition in a scene quickly, so you don’t miss out on those brilliant shots again, then you should check out “Understanding Composition” by Photzy. You will no longer feel overwhelmed by not being able to get the shots you really want. The 120 pages eBook comes with step-by-step information that contains 25 key lessons, 77 example images, 23 assignments and 1 printable composition checklist, all helpful to get a perfect shot.
Analog photography is something that has been appreciated more in the recent years with many photographers looking to shoot film. Not many companies manufacture film cameras but there are a lot of trusted sites that sell used cameras. One of the companies that still sells analog cameras is Leica and they are launching their own black and white film, the Leica MONOPAN 50.
Image via Leica
Leica mentions,
With its distinctive look, our Leica MONOPAN 50 black-and-white film recalls the early days of 35 mm photography. It takes us back to 1925, when we presented the revolutionary Leica I to the world.
The Leica MONOPAN 50 film allows 36 high resolution shots, since it has ultra fine grain and super panchromatic sensitivity. The resulting images are amazingly sharp with great tonal range. The film can be processed in all developers available to develop black and white film.
As the name suggests, the iso sensitivity for the Monopan 50 film is at 50 which means it can be used to capture images in bright light conditions using a wide aperture value. It can be a perfect film to use with the fast M-lenses of Leica’s analog cameras.
Here is a summary of the film specifications:
Type of film – Black and White
Number of frames – 36
Iso sensitivity – 50
Resolution – 280 line pairs/mm
Sensitivity – super panchromatic 780nm
Price is about $12
Can be developed in all developers for black and white film
The specifications for the Monopan 50, match the ones for Adox HR-50. Leica has also mentioned that the enhanced spectral sensitivity of the Leica MONOPAN 50 film makes it a great choice for infra-red photography. The film can also be used along with Leica’s yellow, orange and green color filters, to capture high depth, contrast, tonal values and character in black and white images.
More details about the Leica Monopan 50 film can be found here and the film will be available from August 21, 2025.
We have more news for you to read if you are interested at this link here.
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.
DJI has been one of the leading manufacturers for high quality drones and they have constantly been innovative and bringing drones into the market that suits every photographer’s needs. Their drones range from beginner’s to professional models and the technologies, hardware used are constantly improved with each new model.
While a lot of drone professionals have been waiting for this new drone that has been rumoured about, DJI released a new teaser on its channels, which is a very short video clip titled “Spin Your World.” It looks like the drone’s gimbal is capable of rotating, which means it will be a great feature for filmmakers and content creators to capture dramatic aerial footage.
The video released by DJI shows how the drone is capable of capturing more dynamic videos using unique perspectives. The footage on DJI’s social media like X and YouTube, also shows a three camera system which is spherical with “Hasselblad” written on top. The spherical system may allow for more flexibility for the cameras to move sideways, up and down and may come with advanced stabilization features.
A lot of rumoured information have been flooding online sites and forums about the new drone and its specifications. Followers on social media and especially drone enthusiasts, seem to be very excited about this new technology and predict this drone could be a Mavic 4 Pro following DJI’s Mavic 3 series.
The new drone seems to have a compact foldable design like its predecessors and may be weighing less than a kilogram. This also means that the drone pilot will need a license to fly the drone in most countries. The product is expected to be launched next week on the 13th of May.
We have more news for you to read if you are interested at this link here.
My Land Rover pulled up just in time to watch the lions finish their meal. What remained had once been…what? A zebra? It’s sometimes hard to tell. Whatever it was, it’s mostly gone now.
“We’re too late,” I hear someone say. “Nothing to see here.” Maybe it was the voice in my head.
But hang on a moment. In the world of wildlife photography (which this article is not about, so keep reading if you’re into other things), I think there is a difference between a sighting and a scene.
A sighting is, “Look, a leopard!” It might be hidden behind half of the branches in Zambia, but there it is. A leopard. It’s beautiful! But with little else to offer, it’s not really a photograph. The leopard is obscured. The light is harsh. All I can see is the back of the head. A sighting, sure. But not a scene. Yet.
It is OK not to raise your camera to your eye. It’s OK to look at what’s in front of you and think, “That’s just not a photograph.” When you’re looking for a photograph that tells a story or something that really moves you—something with mood and emotion—it’s more often not a photograph. That’s what makes it so wonderful in the moments when it is. When all the pieces do come together. A good photograph is a rare thing.
As you read this, I’m on my way to Kenya for the month of February. A group of photographers will join me for the first nine nights, and we’ll all have many opportunities to figure out if something we’re looking at is a sighting or something more: a scene. If we’re not careful, the mistake we’ll make is to forget just how quickly one can become the other.
Go back to me sitting in the Land Rover with the lions and the erstwhile zebra, and imagine you’re there with me. The moment you think, “Well, nothing to see here,” you should become suspicious. And you should pay attention. Because while this is the time that the lionesses will roll over and sleep (nothing to see here), the cubs will play, and the sighting will become a scene.
The seasoned response to “nothing to see here” isn’t “let’s go!”—it’s “let’s wait.” A mere sighting can become an astonishing scene very quickly.
What often transpires in front of our lens never becomes a photograph. We wait and wait, and the pieces never quite align, the composition never materializes, the light fizzles out, and the moment never happens. Fine.
The dues we pay for the best of our images are often paid in the currency of minutes and hours. And sometimes (often, even), the dues we pay don’t see an immediate return.
You can wait for hours without seeing a wolf. You can sit on a street corner and never see anyone walk into the perfect light you’ve waited years to find. But it’s more likely that you won’t see a wolf without waiting for hours. It’s more likely you won’t see someone walk into that light if you don’t wait around in hopes they do.
There is wisdom in looking at something and saying, “There’s not a photograph here,” before moving on. There’s also wisdom in knowing there’s a chance and sticking around to see what happens.
For me, it comes down to odds. If I’ve got an incredible background, some interesting light (or the promise of it), and know there’s a chance (for example) that the lion cub will swat its sister and then climb on the fallen tree behind them in hopes of some play time, then I’ll wait. It’s harder to find a great background in nice light than it is to find a playful lion cub.
If there’s even a chance that waiting can turn the sighting (yawn) into a scene (OMG!), I’ll wait.
The difference between a sighting and a scene lies in the possibilities, or your ability to recognize them. If there’s truly nothing to work with, move along and find something else. But if what you’re looking at is an “almost” (or it feels like it could be), I’d be inclined to stick it out and wait. Doesn’t matter what you photograph. If you’re at almost, wait it out or shoot through it—because almost is rare.
A good photograph happens at the intersection of light, space, and time. You need all three: the right light, the right stuff in the right part of the frame, and the right moment. Two out of three is often worth waiting for, especially if giving up and moving on only takes you somewhere that gives you one out of three—or none at all.
“Nothing to see here.” We’re so quick to say it. Are you sure?
In a world where photographers can very quickly stand on level ground with each other in their ability to use a camera, what if it’s not upgrading to that better camera or that bigger lens, but the simple ability—or willingness—to wait it out that is the difference between making something astonishing, and making nothing at all?
The difference between a sighting and a scene is often just the word “yet,” but don’t read that lightly because getting to yet is hard. Getting to yet is a risk. Getting to yet, if it comes at all, often comes only after wrestling with the fear of missing out on whatever is happening elsewhere while you sit here. Waiting.
One more thing: what if it’s not so much that nothing’s happening yet as it is that you don’t see it yet. When you resist the urge to quickly move on, you give yourself just a moment or two more, not only for something to happen but for you to see what’s already happening. Or to see the possibility that it might. To notice the light in one direction that you didn’t see while looking in another. To see past your expectations of what you hoped was there and see what is there instead. To see something you haven’t seen. Yet.
So much of photography isn’t about what goes on inside the camera but inside the photographer; it’s how we think, feel, and do.
Have you already read Light, Space & Time? I’d love to hear what you think. You can share that with me in the comments below or by leaving a review wherever you purchased the book. Both would make my day.
For the Love of the Photograph, David
The biggest challenges for most photographers are not technical but creative.They are not so much what goes on in the camera but what goes on in the mind of the person wielding it. Light, Space & Time is a book about thinking and feeling your way through making photographs that are not only good, but truly your own. It would make an amazing gift for the photographer in your life, especially if that’s you. Find out more on Amazon.
Canon is offering up some holiday treats as we head into winter. The company has announced two new full-frame RF lenses, one APS-C RF lens, a Power Zoom Adapter, and firmware updates for the EOS C70 and EOS R5 C cameras. The three new lenses cover everything from wide-angle to ultra-telephoto, offering a bit of something for everyone. They include the RF-S10-18mm F4.5-6.3 IS STM, the RF24-105mm F2.8 L IS USM Z, and the RF200-800mm F6.3-9 IS USM. There’s lots to unpack here, so let’s get into it.
We are especially excited to see the RF24-105mm F2.8 L IS USM Z. This lens is the world’s first 24-105mm focal length lens with a consistent f/2.8 maximum aperture. Canon designed the RF24-105mm as a hybrid lens, tailoring it to high-level video content creators and video production individuals or firms. It did specify that this is not a cinema lens but does approach that category with new features.
Though it offers many video-centric features, it should also be a superb still photography lens. The 24-70mm has long been the workhorse lens for many photographers, but we could see this extended range becoming the new go-to for many. The fast and constant f/2.8 aperture will offer excellent low-light performance, adding to its versatility. It will be ideal for a vast number of applications, including portraits, weddings and events, fashion, photojournalism, sports, wildlife, and more.
RF24-105mm F2.8 L IS USM Z build & design features
Canon’s RF24-105mm offers a constant overall length when zooming and focusing, which is a big advantage for videographers. It also offers a stepless manual aperture ring for video use. Canon optimized the optical design for high-end video, with excellent focus breathing performance and superb image quality. The image stabilization results in 5.5 stops of optical IS or eight stops of coordinated IS.
The lens can focus as close as 1.5 feet at all focal lengths and offers a maximum magnification of 0.29x at 105mm. Two Nano USM focus motors drive the autofocus system, resulting in fast and accurate focusing abilities. Its 11 aperture blades provide beautifully smooth bokeh.
The RF24-105mm weighs 2.9 pounds and is 7.8 inches long. It offers an 82mm filter thread.
Power Zoom Adapters
For videographers, one of the most exciting aspects of this new lens is the option to use a newly developed Power Zoom Adapter. This new optional accessory will connect to the side of the RF24-105mm without any tools required. It enables super-smooth zoom control when recording video. Zooming will look more natural, and it will make control easier for solo creators.
Canon is making two different versions of the Power Zoom Adapter. You can opt for a standard version (PZ-E2) with only a USB port or a 20-pin port version (PZ-E2B) to support zoom and focus demands. It’s important to note that, as of now, the Power Zoom Adapter is only compatible with the RF24-105mm.
Pricing & availability
The Canon RF24-105mm F2.8 L IS USM Z will be available in December, though is available for pre-order now for $2,999.00.
Both versions of the Power Zoom Adapter won’t be available until the spring of 2024, but you can already pre-order both. The standard version (PZ-E2) is priced at $999.00, while the 20-pin port version (PZ-E2B) is $1,299.00.
Canon
Canon RF200-800mm F6.3-9 IS USM
For those who need ultimate telephoto reach, the RF200-800 F6.3-9 IS USM should fit the bill. This lens is impressive for many reasons, most notably the range it offers. There are not many zoom lenses that offer a maximum focal length of 800mm, with most topping out at 600mm. And at $1,899, it’s very reasonably priced for what it provides. For context, Nikon’s new NIKKOR Z 180-600mm f/5.6-6.3 VR lens is $1,696.95, so you’ll get 200mm more reach for roughly $200 more.
Its long reach makes it perfect for photojournalism, wildlife, outdoor sports, and dramatic landscapes. Should you need even more zoom power, it’s compatible with the Canon RF 1.4x and 2x tele extenders, which will get you up to a whopping 1600mm.
The maximum aperture varies from f/6.3 at the wide end to f/9 when zoomed in, so its low-light capabilities are slightly limited. But as we would expect on such a lens, it offers image stabilization to assist with obtaining sharp images even when handholding the lens. You’ll get 5.5 stops of correction at 800mm, and 7.5 stops at 200mm. It also offers automatic panning detection.
RF200-800mm F6.3-9 IS USM design & features
The RF200-800mm uses an extending lens design, meaning it gets longer when you zoom in. Even though this lens isn’t in Canon’s pro-level L-series, it did apply weather sealing, meaning it is still durable and protected against the elements despite the extending design. The lens is surprisingly lightweight for what it is, weighing just 4.5 pounds. It should be feasible to shoot handheld for at least short durations. A rotating tripod mount on the lens makes it easy to attach to a tripod as well.
Canon pointed out that even though the lens RF200-800m is white, it is not the IR reflective surface found on the latest L-series lenses. A single, compact Nano USM motor drives the autofocus system, which is fast and quiet. It is a varifocal lens, meaning it won’t stay in focus as you zoom in. But Canon promised superb image quality thanks to an optimized optical design.
Pricing & availability
The Canon RF200-800mm F6.3-9 IS USM will be available in December, but you can pre-order it now for $1,899.00.
Canon
Canon RF-S10-18mm F4.5-6.3 IS STM
The third lens of the new trio is a beginner-friendly APS-C lens. And at just $329, it is extremely budget-friendly as well. The RF-S10-18mm F4.5-6.3 IS STM lens offers a full-frame equivalent view of 16-29mm. Canon designed this lens for video and vlog creators as well as amateur photographers. The wide-angle perspective is ideal for selfie videos, travel videos, and landscape, travel, or architectural photography. For many, this could be the only lens they use on their camera because of its versatility and size. It would pair well with cameras like the R100, R50, or R7.
RF-S10-18mm F4.5-6.3 IS STM design & features
Canon created an entirely new optical design lens for the RF-S10-18mm, one that isn’t based on any current Canon lenses. It is absolutely tiny, weighing only 5.3 ounces. It utilizes a collapsible design to maximize its compact size for travel, meaning you’ll need to extend it out in order to start shooting. But when collapsed down, it is a measly 1.8 inches.
Surprisingly, Canon included image stabilization on the RF-S10-18mm. You’ll get four stops of optical IS and six stops of coordinated IS with your camera’s in-body image stabilization. For video users, this can also be combined with Movie Digital IS for added stability, but that will result in a crop. Canon also mentioned that the focus breathing is very well handled with this lens. There is some present, but it is minimal, and some cameras offer focus breathing correction in-camera to improve it even more.
A stepping motor drives the autofocus, and it offers close focusing abilities of 5.5 inches with autofocus at all focal lengths or 3.4 inches at 10mm with manual focus. Unsurprisingly for such a compact, budget-friendly lens, there is no focus switch on the lens, so you’ll need to change between manual focus and autofocus in your camera’s menus.
Pricing & availability
As with the other two lenses, the Canon RF-S10-18mm F4.5-6.3 IS STM lens will be available in December (just in time for you to pick it up as a Christmas gift for a photographer in your life) and is available for pre-order now for $329.00.
