One of the great things about photography is how diverse the medium is. There are countless subjects and genres to focus on, offering opportunities for everyone to create images with their unique perspective. That's no different here at DPReview. Our photographic experiences and styles vary greatly, with each of using finding photography in different ways. We've previously shared what gear we take when traveling, but today, we're giving you a look into the genres and subjects that drive each of us.
Mitchell Clark
Someone didn't read the sign.
Photo: Mitchell Clark
I'm not entirely sure what to call my favorite genre of photography, but I always love capturing things that are out of place or in some other way ironic. Think a "no graffiti" sign in front of a thoroughly tagged wall, a drinking cup precariously perched on a piece of architecture or a machine that's obviously malfunctioned.* Essentially, it's anything that makes you tilt your head and go "huh!"
Graffiti and a piece of electrical equipment? My lucky day.
Photo: Mitchell Clark
A close second: infrastructure. High-tension power lines are one of my favorite subjects for reasons unknowable even to myself, but I'm also fond of capturing pipes, wires, pumps, junction boxes and the million other often-overlooked pieces of equipment that help our world run the way it does.
* Of particular interest: public displays or checkout stands whose computers have obviously crashed.
Richard Butler
My first 'ask someone if I can take their photo' portrait.
Photo: Richard Butler
The need to constantly shoot images for galleries means it's difficult to find the time to develop any sort of specialism. I never know what sort of camera or lens I'll be using next, so it's hard to focus on one particular style, genre or technique. However, I have developed a real enthusiasm for everyday portraits. It started with a camera launch in New York, during which I had a couple of hours to shoot as varied a gallery as possible. Eventually, I plucked up the courage to ask a stranger if they'd mind me taking their photo and, amazingly, they said yes.
Photo: Richard Butler
I still have an awful lot to learn and am always looking for an opportunity to practice, but I love the fact that a lot of portraiture has nothing at all to do with gear or technical knowledge: it's about your interaction with the subject. I was first drawn to photography because it combined the technical, which I can just learn with the aesthetic, where there's always room to improve. Ad hoc portraiture is a great example of that, and there's nothing more satisfying than a subject you don't know emailing you back to say that they like the shot you took.
Matt Waller
Photo: Matt Waller
My love of photography started late in life, meaning I'm still in the phase of bouncing around and trying different genres. But the main driver for me has been black-and-white street photography. Certainly, this has taken my wandering feet to far-flung cities and even a couple of workshops (which incidentally I recommend as a great way to explore a city and meet like-minded souls).
At home in Seattle, my work for DPReview is part-time, and my second job, in a downtown skyscraper office, led me to find a weird street photography outlet of taking telephoto shots downward of roofs, streets and alleys. Is this a sub-genre? Do any other frustrated office-bound photographers do this?
Photo: Matt Waller
Speaking of my telephoto lens, I've put it to more traditional use by dabbling in bird photography. I find this a great way to get out into nature and a fun (and very challenging) form of photography.
Finally, in the last few years, I've started doing some corporate event photography. Though this obviously has "third job" potential, I think I want to keep my photography on the amateur side – so I can keep bouncing around and trying different genres!
Dale Baskin
The aurora borealis reflects off a lake in Canada's Northwest Territories.
Photo: Dale Baskin
As a photographer, I've captured nearly everything under the sun, but my favorite subject reveals itself at night: the aurora borealis. I've been photographing the aurora from northern latitudes for over a decade, and I never tire of seeing Mother Nature's own fireworks. The sheer variety of shapes, patterns and colors never ceases to amaze me. There's only one thing I love more than shooting the aurora: taking other photographers on the adventure and teaching them how to shoot it, too.
While the northern lights are a passion of mine, I've recently been drawn to photographing something entirely different: rodeo. I'll let you in on a little secret – getting good photos of riders in a rodeo arena isn't that hard. With a fast telephoto lens, a camera with a fast burst rate and a clear sightline, you're bound to get some keepers.
A cowboy tries to mount a restless bronco at a small town rodeo in western Montana.
Photo: Dale Baskin
However, I quickly discovered that the real story of rodeo isn't in the center of the arena, but in places that spectators don't usually get to see. So instead, I started using a wide-angle lens, working behind the scenes to capture the soul of the rodeo, like riders prepping for their events, rodeo clowns applying makeup or cowboys just hanging out and trading stories.
However, my favorite place to shoot is right up against the chutes, the small pens where riders saddle up for their eight seconds of insanity. Working just inches from a snorting bull or a kicking bronco, you feel a sense of raw power, and the explosion of energy as a rider bursts out of the gate can almost knock you off your feet. It's the most intense, adrenaline-pumping photography I've ever done. And I'm absolutely hooked.
Abby Ferguson
My graduate thesis involved multiple exposure images of staged still life scenes. These were then printed on transparency film and either mounted to plexiglass or suspended from the ceiling on red string.
Photo: Abby Ferguson
If you had asked me this question a few years ago, I would have been able to answer easily. Yes, like most photographers, I've shot a wide range of genres. However, for a very long time, I focused my personal work on conceptual still life imagery, either found or staged. My graduate thesis was entirely still life related, and that subject, along with light and shadow, remained important to me for a long time.
Lately, though, I've been going through a bit of a crisis with my photography, and identifying a clear genre is more difficult. I haven't been photographing many formal still life scenes, partly due to space constraints, partly due to motivation. My conceptual work has also largely fallen by the wayside (though I've had the itch to pick it back up). Instead, my photography has been a lot less focused on one specific area as of late.
Photo: Abby Ferguson
Light and shadow remain favorite subjects though. I love capturing unique natural light on small, often overlooked details no matter the genre. If those details are broken things, like shattered glass or a rundown building, even better. So while I don't necessarily find myself gravitating towards a clear, well-defined genre these days, I do still see a consistent thread throughout much of my work.
Here are some newly leaked pictures and detailed specifications of the upcoming DJI Osmo 360 camera that is expected to be officially announced on July 29 (previous coverage can be found here):
Revolutionary 8K 360° Camera
1-Inch 360° Imaging
Stunning Low-Light Performance
Camera type: 360 Camera
Definition: 8K (UHD)
Sensor: CMOS (1 inch)
MegaPixels (Sensor Resolution): 120 Million pixels
Video resolution: 4K/120 fps
Camera functionality Waterproof, Photo Mode, Image Stabilizer
Photographers are often told that they need a specialized camera bag to carry their gear. There's certainly no shortage of options these days, with a long list of brands and styles available. And while it's important to keep your expensive camera gear safe even when out and about, a dedicated camera bag isn't necessarily the only way to do that.
Can you put a camera in a backpack?
A camera insert can allow you to use any backpack as a camera bag.
Photo: Abby Ferguson
Simply put, a dedicated camera bag isn't necessary for many people and situations. They are often bulky and heavy. They typically don't work well if you need to bring a lot of things other than camera gear, making them challenging to travel with. They can also be conspicuous, raising the risk of theft. Plus, it can be hard to get the fit right, and spending a lot of money on a bag just to avoid using it because it's uncomfortable is far from ideal.
Most people already have a backpack or bag that they like carrying around, and may have occasionally even used it to carry cameras that have been carefully wrapped in a jacket or other articles of clothing. While we wouldn't recommend that too often, and would strongly advise against just tossing your camera loose inside a pack, the bag you already have could serve your camera bag needs with a simple accessory. Instead of buying a new bag that can only be used with your cameras, you could buy a much more affordable camera insert that goes inside your favorite pack.
Many companies, including Peak Design, Wandrd, Lowepro, and more, make padded inserts allowing you to safely store your camera in any bag. They are easy to move around to different bags as needed, giving you much more flexibility. Plus, you can take it out and use your backpack or bag without any camera gear. Just be sure you aren't packing the insert at the bottom of your bag with a lot of weight on top; they offer padding for protection, but aren't crushproof.
For casual outings when I'm traveling light, a small sling is plenty for my camera.
Photo: Abby Ferguson
If you only have a small compact camera, an insert is likely more than you need. As long as you carefully consider where you are packing your camera in your bag, you should be okay without a specific case. Just ensure it won't have too much weight on it and that it won't get hit when setting the bag down or moving around.
When should you use a dedicated camera bag?
For lots of gear, a dedicated camera bag or case is often a must.
Photo: Abby Ferguson
Inserts in everyday bags work well for many people, but a dedicated camera bag is a smart move for some. Wedding and event photographers who need multiple bodies and a full kit of lenses, for example, should invest in a camera bag. After all, inserts are generally smaller and not made to handle a lot of gear.
All that gear will also be heavy, and you want a pack that will allow you to distribute the weight well, saving your back over time. Camera backpacks are typically made with that weight in mind (the good ones, at least), making them more comfortable when loaded up. That is especially useful if you'll be wearing the bag for long periods, too.
If you're a professional photographer, you likely need plenty of accessories when you head to shoots as well. You need to find a home for things like extra batteries, filters, a cleaning kit, flash and, of course, snacks. Camera backpacks often have better organization options than standard packs, helping you keep all your gear organized and easy to find.
The back panel on this bag provides faster access to my camera than a typical backpack with an insert would.
Photo: Abby Ferguson
Many dedicated camera bags have another advantage over regular bags with inserts: quick access. An insert inside a bag requires you to take the bag off your back and open two things, potentially with some digging involved. Dedicated camera bags, though, typically make it easier to access your gear fast. Some even offer side access to get your camera out without even taking the pack off. So, if you need to keep your camera tucked away but still have easy access, a dedicated camera bag is the way to go.
Consider how you'll be using the bag
Whether or not you need a dedicated camera bag depends on your gear, where you'll be using it and your preferences. For travel and casual day trips, a camera insert in a normal backpack is likely a good move. However, a dedicated, well-designed camera bag will make a significant difference in comfort and organization for those carrying a lot of equipment, especially for long periods.
Additional information on the two upcoming Sony professional video cameras I reported a few days ago:
Sony will release the Z380 in August and a new 12K sensor full-frame interchangeable lens video camera during IBC 2025 in September
Sony Z380
The Sony Z380 is a newly developed 3CMOS BIONZ XR XDCAM camcorder that features internal variable ND, which supports 4K120p recording in all RGB Tricolor.
The image quality of the Z380 is significantly higher than that of the Sony Z280, thanks to the BIONZ XR, AI unit, and new high-speed, high-saturation, and high-sensitivity Exmor RS 3CMOS.
Based on test information, the image quality of the PXW-Z380 is superior to that of the PXW-Z200. It has a low base ISO and a high sensitivity mode ISO, which is consistent with the FX6.
The Z380's autofocus performance is a vast improvement over the previous generation Z280, relieving the operator of the pressure of focusing and allowing them to shift their attention entirely to composition and following the subject.
Sony FX8
The New full-frame product, named FX8, will feature a resolution of 12K, which is four times that of the FX9. It uses a 16:9 cropped 12K full-frame (3:2 aspect ratio, 96M total pixels) CMOS image sensor.
It doesn't have internal RAW or X-OCN recording capabilities. Like the FX6, it outputs full-frame crop 3.8K 16-bit RAW to a third-party recorder via SDI at a maximum of 120fps.
The only recording format available is XAVC, which offers 8K30p or 4K60p recording in full-frame and S35 modes. And the full-frame crop 3.8K mode provides 4K120p recording.
The readout specifications are not as good as the URSA Cine 12K, as the processor limits it, but it is still a reliable and easy-to-use camcorder that offers high-speed 4K (for FX6 users) and full-frame/Super35 dual-format 8K30p/4K60p (for FX9 users) for creative freedom.
Underwater photography is a challenging genre to tackle. But the complexity is significantly amplified when you add subjects that are only a few millimeters large, and pitch-black nighttime conditions. Yet that's exactly what photographer and diver Ryo Minemizu is doing with his nighttime dives, also called blackwater dives. Minemizu took the time to answer some questions while on a sailboat in the Pacific Ocean, providing insight into how he captures incredibly unique creatures in the ocean.
When Minemizu started taking photographs while diving, he simply wanted to capture beautiful underwater landscapes and life forms easily visible to the naked eye. Eventually, though, he became more interested in what wasn't obvious, seeking out things that were often overlooked and fleeting moments that didn't get attention. "I was drawn not only to their beauty, but also to the strength and skill required for survival, and the deep significance of life itself," he said.
Polka dot ribbon fish.
Photo: Ryo Minemizu
To find those fleeting moments, Minemizu has to dive in locations and times when most aren't venturing into the sea. Night dives opened up a new perspective, allowing him to capture creatures in, quite literally, new light. Minemizu also decided to focus on creatures that don't typically get attention. But that makes for tricky photographic scenarios. "Blackwater dive photography is arguably one of the most challenging and relatively new frontiers in the world of underwater macro photography," he said.
"Blackwater dive photography is arguably one of the most challenging and relatively new frontiers in the world of underwater macro photography"
The dark conditions are perhaps the most obvious challenge. Minemizu says that for blackwater dives, a rope with multiple lights attached is suspended beneath a buoy, but its main purpose is safety-related, not for photography. In fact, "lights suspended from the buoy should be as dim as possible to avoid any negative impact on the natural environment," he explains. Instead, he said that divers mainly search for subjects in complete darkness, only using handheld underwater lights as they find them.
A string of lights hangs from a buoy, but only for safety reasons.
Photo: Ryo Minemizu
When it is time to light up a subject, Minemizu relies on five lights: two Marelux Apollo III 2.0 strobes for ultra-high-speed flash photography, two RGBlue (Super Natural Color) lights with high color rendering for use as target lights and for video recording in the dark ocean, and one INON LE-250 light used to illuminate subjects that exhibit phototaxis (when an organism moves in response to light). He uses the maximum flash sync speed to freeze movement, since the tiny creatures are constantly in motion. But it's not a set it and forget it situation. "Both the exposure and flash intensity are manually adjusted on site to suit the transparency of each subject," he explains.
While light is necessary in pitch-dark conditions, it can also have negative impacts. "Each subject has its own unique characteristics and behaviors," Minemizu explained. "For example, some would close their fins and begin to swim away the moment a light is pointed at them or quickly vanish into the darkness." As a result, he has to anticipate the subject's next move, rapidly assess how it will react to light and how it might behave, and make on-the-spot decisions about lighting. "This involves choosing the right color tone, the best angle for illumination and the appropriate light intensity," he said.
The size of his subjects is another significant challenge. Minemizu is primarily focused on photographing plankton, fish larvae and other minuscule creatures that only measure a few millimeters to a few centimeters. To show them at a large enough scale, Minemizu has to get very close to them. But the water between the lens and the subject adds more complexity. "Even small currents created during movement can disturb the subject’s posture, especially when operating near the minimum focusing distance," he explained.
Zoea larva of the scarlet shrimp.
Photo: Ryo Minemizu
The constant motion also makes it difficult to find and track subjects. "One of the most important tasks is to find the subject through the viewfinder and keep track of it without losing sight," Minemizu said. To help with that, he explains that a standard macro lens with a shorter focal length (around a 50 to 60mm equiv lens) is more effective than longer lenses. Focus is also a unique challenge. Keeping an animal's eye in focus while it moves around on dry land can be difficult, but imagine keeping that critical focus on a tiny subject floating around in the dark while underwater. After all, both Minemizu and the subject are moving in the current, so he only gets a brief window to engage.
Naturally, there's the gear component to consider as well. Minemizu uses Nauticam housing and the Canon EOS R5 with the EF-EOS R converter. For lenses, he sticks with the EF-S 35mm F2.8 Macro IS STM and EF-S 60mm F2.8 Macro USM lenses. He's opted for APS-C lenses because the equivalent focal lengths are ideal for his subject matter, especially the 35mm lens. He says he's eagerly awaiting an "RF-mount standard macro lens that fully takes advantage of a full-frame sensor’s capabilities," however.
Minemizu's setup weighs 14kg (31lbs), but is perfectly balanced for working underwater.
Photo: Ryo Minemizu
Minemizu says that on land, his setup weighs 14 kilograms (about 31 pounds). To manage that heft underwater, he adjusts the balance and weight using float arms so the camera is perfectly level and neutrally buoyant, meaning it isn't sinking or floating. Those float arms are attached to the top and bottom, making it easier to rotate the camera vertically.
Beyond all the technical challenges, blackwater dives introduce physical risk. For safety reasons, Minemizu says he limits his dives to 25 meters (82') at night, though most are between 10 and 20 meters (32.8 to 65.6'). Occasionally, the subject he's photographing will begin to descend to deeper water, and he'll need to decide whether to follow or not. "Following it too far can become dangerous," he said. "In such cases, I need to maintain discipline and accept that there are moments I must let go."
Larval margined flying fish.
Photo: Ryo Minemizu
While Minemizu's images are beautiful, they also contribute to science. Some of the subjects he's photographed are entirely new scientific observations. "In order to recognize such cases on the spot, it is essential for me to have a broad knowledge of plankton, acquired through my own study," said Minemizu. He is working in collaboration with scientists from the Smithsonian Institution and conducting joint studies with universities and specialists studying jellyfish, cephalopod larvae, crustacean larvae and the larvae of various other invertebrates.
You can see more of Minemizu's incredible images on his website.
Sample gallery
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Photo: Richard Butler
Image Comparison
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With the S1II, Panasonic continues the tradition of offering "open gate" recording that uses the entire sensor area, which, like with the S5II, produces a roughly 6K 3:2 image (though the S1II's rolling shutter is substantially faster). This mode provides great levels of detail and more flexibility in post; if you're working on a 4K timeline, you have a fair amount of room to reframe a shot, and you can use the same footage for both landscape and vertical output.
The camera also has a 5.1K open gate mode with a little less resolution and detail. That cuts down on its flexibility, but allows for a first for full-frame Lumix cameras: open gate recording at 60p. The 5.1K 24p and 60p modes apparently have the same level of detail.
The camera's 4K modes are all oversampled from 6K capture, and have similar levels of detail to those of competitors like the Z6III and EOS R6 II, even at up to 60p. The S1II can't quite manage full-width 4K 120p, but the mode only requires a 1.24x crop, rather than a 1.5x crop like with the Z6III. So while there's some reduction in detail compared to the slower framerates, it does capture a tad more detail than the Nikon, and will come with a smaller change to your field of view.
If you don't prefer oversampling, the S1II also offers a 16:9 5.9K capture mode and a 1.89:1 5.8K capture mode, both of which are available at up to 60p. The extra resolution offers a bit more detail and more flexibility in post, though not quite as much as the 6K open-gate mode.
Raw video
Like the S1RII, the S1II can record ProRes Raw internally, capturing a native 5.8K region of the sensor at up to 30p, or a native DCI 4K region at up to 60p. This mode may be useful for those on professional shoots that need the utmost control over their footage, but for reasons we explained in the S1RII writeup, Raw video isn't something that most shooters will likely find useful. In short, it doesn't offer the same benefits that stills shooters expect from Raw images versus JPEG ones, and it will require a lot of post-processing work, especially if you're using modern mirrorless lenses that have geometric distortion correction as part of their optical formula, as Panasonic's implementation of ProRes Raw doesn't embed them.
The S1II is absolutely bursting with video modes, so this overview is far from comprehensive. Our chart detailing them in our initial review covers 166 different options, and it isn't even a complete list of all the configurations you can have. However, our testing shows that it's very capable of producing high-quality footage, even at fast framerates. Combine that with all the video assistance features that Panasonic includes, and it's one of the most flexible hybrid shooters we've seen.
Thephoblographer reports that OM System is still considering a Pen F camera successor:
“We have the need from the market regarding the range finder style (camera) with viewfinder…it’s great feedback for us. And now we are considering what new PEN series model we can offer as OM SYSTEM. Yeah, of course, we cannot say more…but of course, we are thinking.”
This video is part of our Intro to Photography series, where we break down some of the fundamental concepts of the image-making process. You can find a written version below.
What is shutter speed?
Shutter speed, along with aperture value, is one of the fundamental properties of exposure: ie, how much light your camera gets exposed to. A faster shutter speed helps freeze action, whereas a slower one lets in more light but can result in blurred movement.
How do I choose my shutter speed?
There are two important factors to consider when choosing a shutter speed: how fast is my subject moving? And if that's not a concern, how steadily can I hold the camera?
For sports and action, you'll need a very high shutter speed. For portraits of a subject who's posing, you can get away with something much slower, but in low light, there'll be a limit to how long you can hold the camera without shaking it, even if your camera or lens has image stabilization.
Left: a photo shot at a 30-second shutter speed. Right: a photo shot at a 1/1600 shutter speed
Working at the other extreme, long exposures can give some interesting creative effects: blurring the motion of crowds or traffic, or conveying a flowing effect with water, rather than freezing its movement.
Much of the time, you're more likely to want to set your shutter speed (or let your camera set the shutter speed) in response to your choice of aperture value and the light level in your scene.
We'll be continuing this series with more discussions on the fundamentals of exposure and photography. Check back soon for links to more entries!
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Photo: Richard Butler
With the release of the S1II, Panasonic became the second company to market a camera with a "Partially Stacked" sensor, which uses more sophisticated readout circuits to get data off the sensor faster than possible with existing BSI designs. (Though not nearly as fast as fully Stacked designs allow.) We've had the chance to put it in front of our studio test scene to see how it performs in terms of image quality and dynamic range.
Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.
Image Comparison
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The S1II performs well at shooting our test scene, providing great image quality. Looking at base ISO Raws, the S1II captures similar levels of detail as the other 24MP full-frame cameras on the market*, though Panasonic's JPEG engine doesn't seem to get rid of quite as much moiré artefacting as Nikon or Canon's.
Speaking of that JPEG engine, we've been pleased with Panasonic's colors for a while now, and the S1II is no exception; like the rest of its competition and the company's previous cameras, its colors are solid.
At mid ISOs to high ISOs the S1II's noise levels are competitive. Its JPEG engine does an admirable job of reducing noise while still retaining detail.
* The S1II's price puts it in competition with much slower, but higher-resolution cameras like the Sony a7CR and Panasonic's own S1RII; if you care more about image quality than speed, that's worth noting.
Dynamic Range
The S1II provides a good amount of dynamic range, giving you room to pull your shadows up without the detail being overwhelmed by noise. However, given the lack of chroma noise visible in our tests, it seems like there may be some noise reduction going on, either in ACR or in-camera. Either way, there's plenty to be squeezed out of the files, with no nasty surprises, though you will see the effects of a little extra read noise if you're shooting at base ISO to maximize dynamic range.
This is still a relatively new sensor, but it seems like Panasonic is getting a lot out of it. The S1II's image quality is very similar to other 24MP full-frame cameras with much slower burst rates and less capable video specs. Speaking of, be sure to stay tuned: tomorrow we'll be taking a look at video stills from the S1II.
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Image: Canon
Canon has finally announced US availability and pricing details for the RF 75-300mm F4.0-5.6, a budget full-frame lens that it introduced earlier this year. When it initially launched in April, the company shared details about its global launch, but made no mention of the US market, potentially because it was waiting to see how tariffs would shake out.
The lens will cost $219 on its own, and will also be available as part of a "Double Zoom Lens Kit" for the EOS R100, which will include the camera, the RF 75-300mm, the RF-S 18-45mm F4.5-6.3 and a camera bag for $799. Both will be available sometime this month.
While the lens is technically new, it's essentially the same as the 26-year-old EF 75-300mm F4.0-5.6 III, just with a new mount. That lens has never been renowned for its image quality, but it does offer a lot of reach at a very accessible price.
Speaking of price, it appears that US tariffs haven't made a huge impact on this lens; the EF version has been sold at $199 since well before the tariffs, and the RF version's higher price could just as easily be chalked up to the new housing as the cost to import it.
Canon registered a new camera in Asia under the code DS126936. The wireless specifications of the new model are not as good as those of the EOS R1/EOS R5 II, but are consistent with those of the EOS R50V and EOS R8 cameras - maybe the registration is for the rumored Canon EOS R6 Mark III or Canon EOS R7 Mark II?
Here is the updated list of Canon camera models:
DS126922: EOS R5 II (Dual-band Wi-Fi 6 & Bluetooth)
Connexion
