Finding the perfect camera for travel is often a Goldilocks scenario. You generally want something relatively small and lightweight so that it's easier to carry around. However, you still want flexibility and good image quality to capture your travels successfully. Some people bill GoPros and other action cameras as ideal options, but you may wonder if they are actually worth buying for travel.
Benefits of GoPro cameras for travel
GoPros are very compact and easy to use.
Photo: William Brawley
There are certainly qualities that make GoPros ideal for travel. First and foremost, they're tiny; it's easy to throw your GoPro in a small bag or even your pocket without having to worry about its size and weight. No matter how light you're traveling, you probably have room to bring a GoPro along.
Action cameras are designed for adventures, so they're built to be extremely durable. They can handle lots of falls, drops and bumps and are generally waterproof to depths of several meters without any extra protection, so you won't run into issues whether you accidentally drop it in a stream or purposefully take it snorkeling.
GoPros are also easy to use with minimal options in the settings menu. You can start taking photos or videos without thinking much about settings. They are relatively easy to use, even if you don't know anything about cameras. If you want something to simply point and shoot on your adventures, GoPros are a good option.
Downsides to using a GoPro as a travel camera
GoPros are good at capturing sweeping views, but not at highlighting specific subjects.
Photo: William Brawley
Unfortunately, there are also plenty of GoPro qualities that make them less than ideal for travel. First, action cameras use ultra-wide-angle lenses that capture broad, sweeping views. While they often offer multiple fields of view settings (how much of the scene is captured), even the narrowest options are still quite wide.
While that broad view is ideal for some situations, it isn't good for many others. It will make everything look further away from you, which isn't what you likely want for many travel photos or videos. Unless you can get close to your subject, or are simply trying to capture an entire scene, GoPros won't give you the images you're after. Plus, it's not the best choice if you want to take flattering portraits or selfies.
Partly because of the wide-angle lens, GoPros aren't good at capturing detail by default. They can only focus as close as 30cm (12"), have a fixed aperture and don't allow you to choose where the camera is focusing. They will essentially capture everything in the scene in focus, so you won't be able to highlight smaller details or clearly isolate your subject from the background. The latest models are compatible with a macro lens accessory that allows you to focus as close as 11cm (4.33"), but that involves an extra piece of equipment you need to buy and keep with you.
GoPros aren't going to give you very flattering selfies, but are useful for quick snaps.
Photo: Mitchell Clark
GoPros aren't good in low-light situations, partly because of their small sensors. Shooting in dim conditions will introduce a lot of noise, taking away from image quality. It will also limit when and where you can take photos or videos, which can be frustrating.
Despite their video focus, GoPros can take photographs, though they won't provide the greatest experience or image quality. Your phone will give you better results with more flexible options in terms of the look of the images as well as a more familiar field of view. After all, most phones offer multiple cameras with different focal lengths and specific modes for portraits, macro and more.
Finally, while the lack of settings makes them easier to use, it limits your control over the visual style of your images and videos. If you want to manage things like exposure and focus points to dictate the style of the image, a GoPro isn't for you.
Is a GoPro good for travel?
Photo: William Brawley
The short answer to whether GoPros (and other action cameras) are good for travel is: It depends. If your type of travel is highly adventurous and requires a durable, compact device, then a GoPro will be a good choice. Likewise, if you are mostly concerned with documenting your trips and don't want to think about settings or having control over the style of your images and videos, then bringing a GoPro on your trips would be smart.
However, if you want more control over your photographs and videos, want to capture more than broad views, need the flexibility of shooting in a variety of lighting conditions, or mostly take still photos, you're better off with a different travel camera.
Reçu hier — 19 mai 2025News: Digital Photography Review (dpreview.com)
The winners of the 2025 Milky Way Photographer of the Year contest have been announced, highlighting epic imagery of the Milky Way from around the world, and even from above it. The contest, hosted by travel photography blog Capture the Atlas, is in its eighth year.
This year, the contest received 6,000 entries from photographers of 16 different nationalities. Images spanned 25 locations around the globe, including Chile, the United States, Greece, Switzerland, Guatemala, New Zealand, Taiwan, Yemen, Chad, India, Namibia, Spain and more. Plus, an image taken from space was included in the collection for the first time. Some photos captured celestial events like a comet, a meteor shower and a lunar eclipse.
Dan Zafra, the editor of Capture the Atlas, curates the annual list based on image quality, the story behind the shot and the overall inspiration it provides. Zafra says the project's goal is to inspire people to connect with the night sky and "to encourage photographers to explore and photograph the Milky Way from new angles."
You can see all of the winning images at Capture the Atlas, along with tips on how and where to photograph the Milky Way.
Caption: I float in the Cupola, looking out the seven windows composing this faceted transparent jewel. While my mind is submerged in contemplation, my eyes gorge on the dim reflections from a nighttime Earth. There are over eight billion people that call this planet home. There are seven of us that can say the same for Space Station. What a privilege it is to be here. I used an orbital star tracker to take out the star streak motion from orbit.
Tololo Lunar Eclipse Sky by Petr Horálek
Photographer: Petr Horálek
Image title: Tololo Lunar Eclipse
Image location: Cerro Tololo Observatory, Chile
Camera settings: ISO 8000, 81 x 10 sec (single exposures stitched to panorama). Moon is result of HDR work.
Gear: Canon Ra, Sigma Art 35mm F1.8
Caption: On March 14, 2025, a total lunar eclipse occurred, especially visible over the Americas and the Pacific Ocean. I was fortunate to observe this particular eclipse from the NSF Cerro Tololo Inter-American Observatory in Chile. You can see how epic the sky was during totality, as the Moon darkened enough for the majestic Milky Way, the faint belt of Zodiacal Light, and prominent airglow to stand out.
Boot Arch Perseids by Mike Abramyan
Photographer: Mike Abramyan
Image title: Boot Arch Perseids
Image location: Alabama Hills, CA, USA
Camera settings: Sky: Mosaic of 9 images at 50mm, 92 sec, F2, ISO 400; Foreground: Mosaic of 4 images at 50mm, 92 sec, F2.8, ISO 400; Meteors: 14mm, 15 sec, F1.8, ISO 400
Gear: Sony A7IV Astromodified, Sony 50mm f/1.2 GM, Benro Polaris, Leofoto LS-324C, Sony A7IV, Sony 14mm 1.8 GM
Caption: The Perseid Meteor Shower occurs every August, raining down hundreds of meteors over a few nights. In 2024, I had planned to photograph it from the Canadian Rockies, but wildfires forced me to change my plans at the last minute. After checking wildfire maps, I found a safe haven in the Eastern Sierra Nevada.
After three full nights of capturing meteors, I created this image. Sitting on the rock is my friend Arne, who often joins me on these adventures, gazing up at the magnificent core of our galaxy. Each meteor is painstakingly aligned to its true location in the night sky. The final depiction shows all the meteors I captured, combined into one frame—as if the Earth hadn’t been rotating and all the meteors had fallen at once.
Bottle Tree Paradise by Benjamin Barakat
Photographer: Benjamin Barakat
Image title: Bottle Tree Paradise
Image location: Socotra, Yemen
Camera settings: Foreground (blue hour): 10 sec, F8, ISO 400; Sky: 5x 120 sec, F2.0, ISO 400
Gear: Sony A7IV, Sony 14mm F1.8, Sunwayfoto T2840CK, MSM Nomad
Caption: Socotra is one of my favorite places on Earth, but when it comes to a specific location, this one stands out. It doesn’t have an official name, as it’s not a destination for the few fortunate tourists who visit Socotra. After shooting there for the past four years and scouting the island, I’ve discovered hidden gems like this one, which I call Bottle Tree Paradise.
Bottle trees are unique to Socotra, a result of the island’s long isolation from the mainland. This separation allowed them to evolve distinctive features, such as their water-storing, bottle-shaped trunks, which help them survive Socotra’s harsh, dry climate. They are believed to have originated from ancient plant species that adapted to the island’s unique environment over millions of years.
Double Milky Way Arch Over Matterhorn by Angel Fux
Photographer: Angel Fux
Image title: Double Milky Way Arch Over Matterhorn
Image location: Zermatt, Switzerland
Camera settings: Both arches share the same Exif: 20mm, F5.6, 127 sec, ISO 2500; Foreground / Landscape: 15.5mm, F5, 1/5 sec, ISO 800
Gear: Nikon Z6 Astromodified (for the sky part), NIKKOR Z 20mm F1.8, Nikon Z8 (for the landscape part), NIKKOR Z 14-24mm F2.8, Benro Polaris Astro Kit, Peak Design travel tripod
Caption: This image captures the rare Double Arch Milky Way, where both the Winter Milky Way (with Orion rising) and the Summer Milky Way (with the Galactic Center) appear in the same night—a seamless transition between seasons.
Taken at 3,200 meters in the heart of winter, the night was brutally cold, testing both my endurance and equipment. This is a time blend, preserving the real positions of both arches by combining frames taken hours apart, with the foreground captured at dawn for the best detail.
Zermatt and the Matterhorn have been photographed countless times, but I aimed to create something truly unique—an image captured under conditions few would attempt. I’m incredibly proud of the effort and patience it took to bring this vision to life.
Valle de los Cactus by Pablo Ruiz
Photographer: Pablo Ruiz
Image title: Valle de los Cactus
Image location: San Pedro de Atacama, Chile
Camera settings: Sky: 9 x 240 sec, F2.8, ISO 800, 14mm; Foreground: 9 x 120 sec, F2.8, ISO 2500, 14mm
Gear: Nikon D810, Nikon Z6 A, Nikkor 14-24 F2.8 ,Rollei Gamma, Sky Watcher Star Adventurer
Caption: A panoramic shot of the Milky Way in a remote area of the Atacama Cactus Valley, known for its large concentration of cactus plants. I love this place with its countless possibilities. The panorama was taken just as the galactic center began to rise, with the spectacular Gum Nebula visible on the right.
It was an especially bright night with a breathtaking sky. The valley isn’t easy to navigate, but it’s always worth trying to find new compositions in such stunning locations beneath the night sky.
Caption: On the early morning of June 2, 2024, I summited Acatenango Volcano for the first time, hoping to witness the fiery beauty of the neighboring Volcan de Fuego against the Milky Way’s backdrop. That night, the volcano was incredibly active—each thunderous explosion reverberated in my chest, while glowing lava illuminated the dark slopes. Above, the Milky Way stretched diagonally across the sky, a mesmerizing band of stars contrasting with the chaos below. As the volcano erupted, the ash plume rose vertically, forming an acute angle of about 45 degrees with the galaxy’s diagonal path, creating a stunning visual contrast between Earth’s fury and the cosmos’ serenity.
Capturing this required a fast, wide-angle lens (f/2.8), an ISO of 3200, and a 10-second exposure to balance the volcanic glow with the starlight. The challenge was timing the shot during a new moon and aligning the right moment for the Milky Way to cross the frame next to the volcano. I used Lightroom as the editor. This image is special for its storytelling—the raw power of Volcan de Fuego meeting the tranquil expanse of the galaxy.
A Sea of Lupines by Max Inwood
Photographer: Max Inwood
Image title: A Sea of Lupines
Image location: Lake Tekapo, New Zealand
Camera settings: Sky: 30 sec, F2.0, ISO 3200; Foreground: 30 sec, F2.4, ISO 6400
Caption: The annual lupine bloom in New Zealand is spectacular, with fields of colorful flowers stretching across the Mackenzie Basin. This region, located in the heart of the South Island, is renowned for its dark skies, making the scene even more surreal at night.
I had to wait until the early hours of the morning for the wind to calm down, but eventually everything became still, and I was able to capture this image. Above the flowers, you can see the band of the outer Milky Way, alongside the constellations Orion, Gemini, and the Pleiades. Joining them are the bright planets Jupiter and Mars, with a strong display of green airglow visible along the horizon.
Diamond Beach Emerald Sky by Brent Martin
Photographer: Brent Martin
Image title: Diamond Beach Emerald Sky
Image location: Great Ocean Road, Australia
Camera settings: Sky: 13 frames x 3 rows, @ 20mm, F3.5, ISO 1600, 60 sec tracked exposures; Foreground: 13 frames x 2 rows, @ 20mm, F2.5, ISO 1600, 60 sec exposures.
Gear: Sony A7III Astromodified, Sony 20mm F1.8 G, Sky-watcher Star Adventurer 2i
Caption: With a clear night forecast and the Milky Way core returning for 2025, I set out to explore the Great Ocean Road. After a few setbacks—such as a failed composition and getting the car stuck on a sandy track—I almost gave up. However, I pushed on and found a great spot above the beach to capture the scene.
The night was full of color, with Comet C/2024 G3 Atlas and a pink aurora in the early hours, followed by the Milky Way rising amid intense green airglow near dawn. Despite the challenges, the reward of this stunning image and the memory of the view made it all worthwhile.
Blossom by Ethan Su
Photographer: Ethan Su
Image title: Blossom
Image location: Hehuan Mountain Dark Sky Park, Taiwan
Camera settings: Sky: 1 row tracked panorama at F2, 90sec, ISO 800; Foreground: 2 row panorama and focus stack, F2.8, 60 sec, ISO 6400; 65 images in total.
Gear:
Caption: After three years of waiting, the Yushan alpine rhododendrons are finally in bloom once again on Taiwan’s 3,000-meter-high Hehuan Mountain. On this special night, distant clouds helped block city light pollution, revealing an exceptionally clear view of the Milky Way. A solar flare from active region AR3664 reached Earth that evening, intensifying the airglow and adding an otherworldly touch to the sky.
Together, these rare natural events created a breathtaking scene—vivid blooms glowing softly beneath a star-filled sky.
The Night Guardians by Rositsa Dimitrova
Photographer: Rositsa Dimitrova
Image title: The Night Guardians
Image location: Easter Island, Chile
Camera settings: Blend of 2 shots: foreground: 88 sec, F3.5, ISO 3200; sky: 20 sec, F2.0, ISO 2000
Gear: Sony A7iii Astromodified, Sony GM 14mm F1.8
Caption: Easter Island had been on my bucket list for a long time, and it once seemed almost impossible to reach. On our first night there, the weather forecast looked promising, so we decided to go ahead with the tour our group had booked 4–5 months earlier. However, Rapa Nui sits in the middle of the Pacific Ocean, where the weather is notoriously unpredictable. When we woke up at 3 a.m. in our hotel, the sky was completely covered in clouds. Still, we decided to take the risk, knowing the forecast for the next few nights was even worse.
An hour later, we were frantically photographing the statues at Rano Raraku—the quarry where nearly all of the island’s 900 statues were carved—when the sky suddenly began to clear. By 5 a.m., it was completely clear, and we had less than two hours to capture all the shots we wanted. We felt incredibly lucky to be in the right place at the right time.
Evolution of Stars by Kavan Chay
Photographer: Kavan Chay
Image title: Evolution of Stars
Image location: Otago, New Zealand
Camera settings: Sky RGB: 4 frames x 3 rows, each shot at 40mm, F1.8, ISO 1250, 50 second exposures; Sky (Rho region): Stack of 10 frames, each shot at 40mm, F1.8, ISO 1250, 60 second exposures; Foreground: 4 frames x 3 rows, each shot at 40mm, F4, ISO 2000, 60 second exposures.
Gear: Nikon Z7 (astromodified), Sigma Art 40mm F1.4, Benro GX-35 ballhead, Sirui AM-254 tripod legs, Sky-Watcher Star Adventurer Pro 2i
Caption: The first image I captured from this spot is the one I feel truly kickstarted my astrophotography journey years ago. It was the first time I shot a tracked panorama using a “longer” focal length lens (50mm). The set of sea stacks provided a prominent foreground subject facing the right direction, and being a local spot relatively free of light pollution, it was the perfect location to capture the Milky Way core.
It felt fitting to try again with a few extra years of experience and an astro-modified camera, which allows for easier capture of hydrogen-alpha-rich regions of the sky (like the reddish nebulae around Zeta Ophiuchi, as seen in the image). The years of experience certainly made panoramic shooting and editing easier, though the shoot wasn’t without its challenges.
I managed to drop a tiny screw adapter in the dark, so I had to improvise a quick solution to make use of the star tracker. With a dying headlamp and the mysteries of wildlife lurking in the dark, all while the tide rapidly rose, it felt like enough adventure for a weekday night.
Winter Fairy Tale by Uroš Fink
Photographer: Uroš Fink
Image title: Winter Fairy Tale
Image location: Dobratsch Nature Park, Austria
Camera settings: Sky: ISO 800, F1.8, 90 sec, 8 panels, low exposure frames for brighter sky parts (30 sec) + lee soft 5 for stars (ISO 3200, F1.8, 20 sec); Foreground: ISO 1250, F2.2, 80s, 8 panels + multi exposure frames for lightning the hut (80 sec, 20 sec,10 sec,5 sec,2 sec,1 sec)
Gear: Nikon Z, Sigma 20mm 1.4 Dg Dn, Megadap tze21, Fornax Lightrack 2i, Sunwayfoto t3240ck, Lee soft 5 filter for stars, Focus on star mask
Caption: Undoubtedly my wildest location this winter: Austria’s Dobratsch mountain! If I had to describe it in two words, it would be a “Winter Fairytale”!
Despite a 5 a.m. work shift, I drove to Austria by 1 p.m., worried about my fitness and lack of sleep. After a 2-hour hike through the snow with a 22kg backpack and sled, the stunning views kept me energized.
Arriving at the cabin (where I had planned my winter panorama two years ago), I was greeted by untouched snow, completely free of footprints. I spent the evening exploring compositions, and this is my favorite: a panorama of the winter Milky Way with reddish nebulae, stretching above Dobratsch Mountain.
I captured the Zodiacal light and even the Gegenschein glow! The sky was magnificent, with Jupiter and Mars shining brightly. In the foreground is the cabin, where I spent 3 freezing hours (-12°C), waiting for the perfect shot of the Milky Way’s core. It turned out exactly as I envisioned—a true winter fairytale.
Echiwile Arch by Vikas Chander
Photographer: Vikas Chander
Image title: Echiwile Arch
Image location: Ennedi, Chad
Camera settings: Sky Exposure: 300 sec, F2.8, ISO 800, stack of 6; Foreground exposure: 480 sec, F2.8, ISO 800, LENR, LLL; Software: Pixinsight and Photoshop
Gear: Sony A7rV Ha modded, Sony 12-24 F2.8 GM, Rainbow Astro RST 135e
Caption: When one first Googles information about visiting Chad, the results aren’t very encouraging from a safety perspective. Nevertheless, the intrepid astrophotographer in me decided to take the chance and visit this landlocked country, specifically the Ennedi Massif in the north.
Sparsely populated and completely devoid of light pollution, the three-day drive from the capital, N’Djamena, was well worth the troubles and risks involved. The region is filled with numerous rock formations, shapes, and arches, offering an abundance of options for foreground elements to frame the dramatic night skies. Seen here is a small arch in the shape of a hoof in the Ennedi region.
Starlit Ocean: A Comet, the setting Venus, the Milky Way, and McWay Falls by Xingyang Cai
Photographer: Xingyang Cai
Image title: Starlit Ocean: A Comet, the setting Venus, the Milky Way, and McWay Falls
Image location: California, USA
Camera settings: Sky: Stack of 20 images, each at ISO 1600, F1.4, 4 sec; Foreground: Stack of 10 images, each at ISO 3200, F1.4, 20 sec
Gear: Sony A7 III (astro-modified), Sony 14mm F1.4
Caption: Capturing this image was a race against time, light, and distance. With Comet Tsuchinshan–ATLAS (C/2023 A3) making its approach, I knew I had a rare opportunity to see it with the naked eye before it faded into the cosmos. I embarked on a five-hour round trip to McWay Falls in Big Sur, one of the few Bortle 2 locations accessible along California’s coast. My window was narrow—just six precious minutes of true darkness before the Moon rose and washed out the night sky. But those six minutes were unforgettable.
In that brief span, the Milky Way arched high above the Pacific, Venus shimmered as it set over the ocean, and the comet streaked quietly across the sky—a celestial visitor gracing this iconic coastal cove. The soft cascade of McWay Falls and the stillness of the starlit ocean created a surreal harmony between Earth and sky. It was one of the most vivid and humbling naked-eye comet sightings I’ve ever experienced—an alignment of cosmic elements that felt both fleeting and eternal.
Cosina Voigtländer announced a new offering that gives users more control over their images. The Portrait Heliar 75mm F1.8 is the company's first lens with controllable spherical aberration, allowing photographers to adjust the look of the bokeh.
Image: Cosina Voigtländer
Cosina designed its Portrait Heliar 75mm F1.8 lens for full-frame Sony E-mount cameras. As expected of a Voigtländer lens, it relies on manual focus and features an aperture control ring. Additionally, the front of the lens features a spherical aberration control ring marked 'over' and 'under.' Turning that ring allows photographers to under- or overcorrect spherical aberration, changing the look of out-of-focus areas. Rotating to ‘under’ produces soft, rounded out-of-focus areas, while shifting it to ‘over’ creates a sharper, less rounded bokeh.
Changing from "under" to "over" adjusts the look of the out-of-focus areas along with contrast, overall sharpness and vignetting.
Image: Cosina Voigtländer
Adjusting the spherical aberration does more than just change the bokeh. Setting the ring to 'under' produces images with less sharpness and contrast across the entire image. The 'normal' position results in the greatest sharpness and contrast. Turning the ring also shifts the focus position and reduces the peripheral light intensity, resulting in vignetting. Cosina also says the spherical aberration ring changes the f-stop by 1/3 EV, so photographers will need to adjust exposure after rotating that ring.
A sample image from the Portrait Heliar 75mm F1.8.
Image: Cosina Voigtländer
At the 'normal' setting, the Portrait Heliar 75mm F1.8 functions like any other lens. It features six elements in three groups, and Cosina promises high resolution and well-controlled color shifts. It features a nine-blade aperture. While it is manual focus, the lens has electronic contacts to pass along Exif data. A built-in distance encoder supports the camera's five-axis image stabilization and allows users to see a magnified image when adjusting focus.
Cosina says the lens will be available in June of this year. The company has not provided US pricing information, though PetaPixel reports it will cost £750 in the United Kingdom before VAT.
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Panasonic Lumix S1RII | Panasonic Lumix S 24-60mm F2.8 @ 60mm | F2.8 | 1/80sec | ISO 80 Photo: Richard Butler
Last week, Panasonic announced its S 24-60mm F2.8 lens, which is meant to provide an option between the variable aperture Panasonic 20-60mm F3.5-5.6 and the higher-end S Pro 24-70mm F2.8.
We were able to take a few sample pictures with it, and run them through our standard Capture One processing flow. You can check them out below to get a feel for how it performs, especially when it comes to rendering bokeh.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
Sample gallery
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Photographing birds can be thrilling and frustrating at the same time. These creatures are fast and unpredictable, so documenting them requires more than a sharp eye. You need the right camera settings to freeze motion, capture fine detail, and handle challenging light. Whether you're tracking birds in your yard or out in the wild, photographing them perched or in flight, the right combination of shutter speed, aperture and autofocus can make all the difference when getting the shot. Here are some quick recommendations to get you started.
Camera settings for bird photography
Your camera settings will depend on the conditions, but there are some general rules of thumb. First, choose a shutter speed that, at minimum, matches your focal length to avoid camera shake. For example, if you're using a 400mm focal length, choose a shutter speed of at least 1/400s. In some scenarios, IBIS may let you get away with slower shutter speeds, but given how quickly birds move, you'll likely want to avoid those if you're trying to capture birds in flight or in action. For moving birds, something around 1/2000s or faster will typically be necessary to freeze the motion.
A relatively wide aperture, such as F5.6, will allow plenty of light through your lens while blurring the background to keep your bird the star of the image. Finally, a low ISO will help you maximize image quality. However, depending on how bright it is outside, you may need to raise your ISO to compensate for the lack of available light.
Canon EOS R5 | Canon RF 800mm F11 STM | 1/1600 sec | F11 | ISO 800 Image: Richard Butler
There are more settings to consider beyond exposure, too. Autofocus settings are especially important. Single-point autofocus is ideal for small or well-camouflaged birds, while zone or area autofocus is best for flocks. You'll also want continuous autofocus so that the camera adjusts focus as the bird moves. Finally, choose a burst or continuous drive mode so that you can take multiple shots in rapid succession, giving you better chances of documenting the perfect moment. If your camera offers a pre-burst mode, it can help you get the shot even if you're a little late to the shutter button.
Wrapping it up
In bird photography, even small tweaks to your settings can lead to big improvements. With the right shutter speed, aperture and focus mode, you'll be better equipped to capture sharp, striking images of your feathered friends. Practice, patience and the ability to improvise as conditions change will help immensely.
If you're also looking to expand your bird photography gear or learn more about how to find birds, be sure to check out our additional guide.
This photo was taken during a late-night walk through Miami Beach, where plenty of people were out walking, biking, skateboarding and more. Even though it was November, it was warm enough that plenty of people were wearing shorts and T-shirts – that's Florida for you.
Sony a1 II | Sony FE 28-70mm F2 GM @ 64mm | 1/80 sec | F2 | ISO 2500
Submissions have closed for our May editor's challenge, where we were looking for photos of human-powered travel. That means it's time to vote for your favorites submitted by the community.
You can head to the challenge page to see the entries and to vote on them. User votes don't determine which photos end up getting selected to be displayed on our homepage next week – it is the Editor's challenge, after all – but they do help show support for community members who share their photography. The voting period will end on Saturday, May 24th.
While you're there, don't forget to check out some of the other community-run contests. The "Look What I Have For You!" challenge hosted by RHES is currently open for voting, and submissions have opened for DrLex's bird-focused "A Big Year 2025" challenge and RHES' "A Bench or Table" challenge.
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Panasonic S1IIE | Lumix S Pro 16-35mm F4 @35mm | F4 | 1/100 sec | ISO 100 Photo: Mitchell Clark
This week, Panasonic announced the Lumix S1IIE, which features the same sensor found in the S5II and a host of other cameras. We've been able to spend some time shooting with it to get a feel for what kind of images it produces and to see how the updated body changes the experience of using it.
Our sample gallery also includes examples taken with the 96MP handheld high-resolution multi-shot mode.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
Sample gallery
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A promotional image for The Odyssey, which will feature Matt Damon as the titular Odysseus. Image: Universal
Here's some exciting news for film Friday: Christopher Nolan's upcoming movie, The Odyssey, will be the first commercial feature film to be shot entirely using Imax film cameras, according to The Hollywood Reporter. While many of Nolan's previous blockbusters have made extensive use of the 65mm format, they've also had a varying number of scenes shot on 35mm film, due to the practical limitations of shooting with the large, noisy Imax cameras.
Imax CEO Rich Gelfond reportedly told members of the press at Cannes that the director asked the company to improve its cameras and workflow, according to The Hollywood Reporter, and it obliged. The cameras Nolan is using to shoot The Odyssey are reportedly lighter weight, 30% quieter and, currently, exclusive. THR says the new models have been set aside for him until the movie finishes filming, after which they'll be available for other directors to rent.
The company has also apparently improved how it processes and scans the film, which should help with the dailies process where filmmakers watch back the footage they shot the day before.
A frame of Imax film from Interstellar. This scene appears to have been shot on 35mm film, as it does not fill the entire film frame and has black borders on the top and bottom. Photo: Mitchell Clark | Interstellar: Paramount Pictures
Theaters that can actually exhibit an Imax film movie in its original format are few and far between, using it for the entire movie has a benefit that pretty much all theater-goers may be able to enjoy. In previous Nolan movies, the aspect ratio has changed dramatically between shots filmed on 35mm and shots filmed on Imax. With The Odyssey, that likely won't be the case.
While Nolan's next movie may be the first feature-length commercial movie shot entirely with Imax film cameras, there is a reason the statement is so specific. Plenty of films have been shot entirely on Imax film; they've just been documentaries, the types of things that museums with Imax screens would show, rather than something general audiences would go to a theater to see. That barrier has also been crossed if you're willing to look outside of film: 2018's Avengers: Infinity Warholds the title of the first Hollywood movie shot entirely with Imax cameras, though those were of the digital variety.
Plenty of films have been shot entirely on Imax
Still, it's exciting news for fans of films shot on... well, film. Even as other directors have increasingly moved towards digital production, Nolan has been a steadfast proponent of the format, and it's nice to see that he and his team are still pushing it forward.
If you're interested in learning more about the process of shooting and distributing a movie in Imax, director Ryan Coogler recently worked with Kodak to put out a great video on the topic. YouTuber Radioactive Drew also has a fascinating behind-the-scenes look at the projection process for Oppenheimer, Nolan's previous film.
The Odyssey is scheduled to be released in theaters on July 17th, 2026.
In response to claims made in a documentary, World Press Photo has suspended its official attribution for one of the most famous photographs of the 20th century. The Stringer, which premiered at the Sundance Film Festival in January, raises questions about who took The Terror of War, an image that's become known as Napalm Girl.
The 1972 photo of a naked nine-year-old girl, Phan Thi Kim Phuc, fleeing a napalm attack has long been credited to Nick Ut of the Associated Press (AP). However, the film alleges the photo may have been taken by Nguyen Thành Nghe, a freelance driver for NBC during the Vietnam War. According to the film, Nghe sold his pictures to the AP without receiving credit.
The Stringer presents testimony from Nghe's family and former AP colleagues, as well as forensic analysis from the NGO Index, which concluded that it was "highly unlikely" that Ut captured the image. An internal review cited technical analysis indicating that either Nghe or Huỳnh Công Phúc was better positioned to capture the image, whose authenticity remains undisputed by World Press Photo.
The AP has rejected the claims. Its vice president, Derl McCrudden, said the organization conducted two in-depth reviews and found no evidence that questions Ut's authorship. "It makes no difference to us if we changed the credit, but it has to be based on facts and evidence," McCrudden said. Ut has also continued to assert that he took the photo. "This whole thing has been very difficult for me and has caused great pain," he told the AP.
World Press Photo now lists the author of The Terror of War as unknown. The organization stated that the image remains a contested piece of history and that a true photographer may never be definitively confirmed.
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Image: Leica
Like many companies, Leica is making pricing adjustments in the US due to the ever-changing tariff situation the country. After raising the price of its D-Lux 8 to $2790 earlier this month, the company tells DPReview it's lowering it by $875 to $1915: still $320 more than its original MSRP.
The company is also adjusting the price price of its Lux Grip for phones. After initially raising it from $329 to $625, it's now lowering it to $395. The new prices for the US will go into effect on Monday, May 19th.
Original Price
Early May price
May 19th price (percent change vs. MSRP)
Leica D-Lux 8
$1595
$2790
$1915 (+20%)
Leica Lux Grip
$329
$625
$395 (+20%)
The D-Lux 8 is assembled in China, unlike many other Leica cameras that are put together in Germany. President Trump's original tariff plan called for a 20% tax on products imported from the European Union, but the rates on Chinese goods may end up being much higher. After back-and-forth sparring between the US and China, the rate settled at 145%, though the countries have since negotiated a 90-day stay, during which the rate will be 30%.
Leica isn't the only camera company being impacted by the US tariffs. Canon and Sigma recently announced that they would have to raise prices in the country in response, while Tamron announced that it would be shifting its lens production. Fujifilm and Nikon have warned investors that the tariffs could eat into their profits by tens of millions of dollars.
Even at its original price, the D-Lux 8's price tag was hard to swallow – when naming the camera as his Gear of the Year, Richard Butler called it "somewhere between fanciful and absurd." Post-tariffs, the value proposition is looking even worse, especially considering how similar it is to the now nearly seven-year-old Panasonic LX100 II, which retailed for $1000 (and currently still sells for around as much on eBay). Of course, the costs brought on by tariffs aren't something the company has control over.
Leica is leaving the door open to the prices changing again as the tariffs evolve. "As the tariff situation evolves, Leica Camera North America will continue to evaluate and adjust pricing accordingly," it said in its statement to DPReview. Normally, that may be a signal to potential buyers that they should act fast before prices go up again, but both the D-Lux 8 and Lux Grip are out of stock at most retailers and have been for a while.
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Panasonic S1IIE vs S5II: what's the difference between the full-frame hybrids?
Panasonic recently announced the S1IIE, a full-frame camera that has the same sensor – and therefore similar capabilities – as the S5II and S5IIX. However, it's paired with a newer processor and a upgraded design, which bring with them some differences that make shooting with it a noticably different experience.
In this article, we'll break down what features the cameras have in common, and the differences that set them apart.
Body
The S1IIE uses the same body as the rest of the second-gen S1 cameras, which is a minor refresh of the one used for the S5II-series. The S1II models have a slightly deeper grip, which makes the camera easier to hold when paired with a big lens, as well as a higher-resolution EVF. The display also gets an upgrade: the S5II's is fully articulated, but the S1IIE adds the ability to tilt it in line with the EVF, without sacrificing the ability to view it from the front.
The S1IIE has a beefier shutter that Panasonic says should be good for up to 400,000 shots. Unlike with the S5II, you can set it to close when you turn the camera off, helping keep the sensor clean when you're changing lenses. Panasonic says the S5II is dust and splash resistant, and the S1IIE adds freeze resistance.
Controls
The S1IIE's controls are largely the same as the S5II's, but there are some key differences. Like the rest of the S1II line, the S1IIE has a lock switch, which you can customize to only lock certain controls in specific modes. The shooting and drive mode dials also have toggle locks, which lets you prevent them from accidentally switching settings while you're shooting or taking your camera in and out of a bag. The S1IIE gains a separate dial to switch the camera between stills, video and slow and quick mode; on the S5II, this was handled by the mode dial.
The S1IIE's (pictured) top plate is similar to the S5II's but with locking dials.
That gives the S1IIE room for two more custom mode settings, for a total of five. It also has an additional record button on the front left corner of the camera, which makes it easier to start shooting video if you have the camera facing you or mounted on a rig.
Battery
The two cameras use the same DMW-BLK22 batteries, though use two different battery grips: the DMW-BG1 for the S5II-series, and the DMW-BG2 for the S1II series. The later also allows you to hot-swap batteries, essentially letting you run the camera indefinitely.
The S1IIE is rated to get slightly more shots out of a single charge when using the screen than the S5II, though it will get noticeably fewer if you're mainly using the higher-resolution EVF.
Ports
The S5II and S1IIE have the same selection of ports, but they're arranged slightly differently. Compared to the S5II, the S1IIE's USB and HDMI ports have swapped places. The port doors are also different; two flaps cover the S5II's ports, while each port gets its own door on the S1IIE.
Even more different is the storage configuration. The S5II has dual UHS-II SD card slots. The S1IIE swaps one of those out for a faster CFexpress Type B slot.
Video Recording
The S5II and S1IIE have similar resolution and framerate options, but the latter gains a new 2.4:1 "Cinemascope" aspect ratio, along with a new CineLikeA2 color mode designed to give you more dynamic range, but without having such low contrast that it's not output ready; it's a midpoint between the CineLike D2 and CineLike V2, similar to Fujifilm's Eterna or Sony's S Cinetone response curves.
The S1IIE will also support a paid upgrade that adds Arri's LogC3 for anyone needing to match their footage to that of a high-end cinema camera.
S1IIE
S5II
6K open gate
Up to 30fps
UHD / C4K
Up to 30fps full-width Up to 60fps w/ APS-C crop
1080p
Up to 120fps full-width
2.4:1 'Cinemascope'
Up to 60fps 6K/4K
N/A
The S5IIX comes with All-I and ProRes codecs built-in (which also available on the S5II via a paid upgrade) and has the ability to record video to an SSD and output Raw video via HDMI. The S1IIE has those features, too, but can also internally record ProRes Raw to its CFexpress card.
The S1IIE can also record 1080p proxy video files to the SD card when you're shooting in some formats, giving you smaller files that can be easier to edit, or that don't have a LUT baked in.
Video Workflow
The S1IIE has several additional features not found on the S5II which make it a bit easier to shoot video. This includes:
Support for 32-bit Float audio via the add-on XLR2 adapter, which all but eliminates the risk of clipping
LEDs on the front and back that act as tally lamps
A false-color overlay that helps show what's clipping and where your skin tones should be.
Stabilization
The S1IIE's in-body stabilization system is rated for 8EV of stabilization at the center, which is 3EV more than the S5II's system. However, it's worth noting that the S1IIE's rating drops to 7EV at the periphery and that it's tested to a newer version of the CIPA standard, so it's not necessarily a 1:1 comparison, as the new test is a bit harsher.
It does, however, have video stabilization features the S5II doesn't, like:
Cropless e-stabilization, which is mainly meant for use with wide-angle lenses and corrects for distortion at the edges; only compatible with Panasonic S-series lenses
Improved e-stabilization performance with anamorphic lenses
Can use "High" e-stabilization mode with anamorphic lenses
Autofocus
The S1IIE's autofocus system has some upgrades from the S5II's, with the company promising improvements to human face and eye recognition. It also gains an 'Urban Sports' human detection mode, which is meant to be better at recognizing people moving their bodies in out-of-the-ordinary ways, such as when skateboarding or breakdancing.
The S1II series also includes a relatively major change to the autofocus user experience. When subject detection was turned on, the S5II would fall back to its generic tracking system if it didn't detect a subject in the scene, so your focus point would still attempt to follow whatever you had placed it over. This isn't the case with the S1IIE: if you have subject detection active and place your focus point over something the camera doesn't recognize as a subject, the camera won't track it and your focus point will stay in the same position in your frame.
HDR
Both the S5II and S1IIE have several options for recording HDR video, but the newer camera also includes support for saving 10-bit HEIF files with the HLG tone curve for stills. While HEIFs are less widely compatible than JPEGs, you can use them to produce straight-out-of-camera images that pop on displays that support HDR.
Panasonic was one of the first brands to output 10-bit images with the HLG curve, but the adoption of the HEIF format brings them into line with Sony and Nikon, increasing the chances of more widespread adoption.
Connectivity
The S5II supports live streaming via Wi-Fi for services and apps that support the RTMPS protocol. The S1IIE adds on to this with support for USB-tethering with UVC/UAC, which lets the camera show up as a webcam when you plug it into a computer, without the need for additional drivers or software.
Panasonic has also added support for some additional third-party accessories. The S1IIE is validated to work with Godox's X3 flash trigger and V10 on-camera flash, and you can use Atomos' UltraSync Blue with it to wirelessly synchronize timecode with other devices.
Extra features
The S1IIE includes an important feature for studio photographers: support for tethering with Capture One. It also gains a few other workflow-related features that could be useful for pros, such as the ability to import and export its settings to and from other S1II-series cameras via an SD card and to copy individual files from your CFexpress or SD card to an external SSD via USB-C.
It also comes with an AI-powered white balance feature, which Panasonic says can help nail white balance in tricky lighting situations. It's only available when reprocessing a Raw, not while shooting, but if you found that the camera's auto white balance didn't quite get it right, the AI white balance may do a better job, saving you from having to fix it manually.
Conclusion
While they share a lot of similarities, the S1IIE is a bit more than just the S5II in a fancier body. If you're trying to decide between the two, however, you will have to decide how much value you place on those differences. Even comparing MSRPs, the S1IIE is notably more expensive, coming in at a $500 premium over the standard S5II, and costing $300 more than the S5IIX. However, the S5II cameras are a few years old at this point, and can often be found on sale for hundreds of dollars off, which may change the calculus even further – at least until the S1IIE also starts to go on sale.
Outdoor gear brand Mammut has opened entries for its 2025 Photo Contest. It's a global competition that invites professional and amateur photographers to capture their connection to the outdoors. This time around, there's an additional worldwide scavenger hunt offering the brand's gear and Leica cameras as prizes.
Photographers can submit images in any of the six themed categories, including landscapes, wildlife, hidden natural spots and even outdoor meals. One category is limited to Instagram entries. Submissions will be judged anonymously by a panel of outdoor professionals, Mammut brand ambassadors and photographers.
Mammut's photo competition has been going for 15 years. This year introduces a new element. Alongside the contest, the brand is launching Finders/Keepers, a global scavenger hunt for high-end gear.
Athletes and creators, including Adam Indra, Kate Burrell, Lena Drapella and Jérémie Heitz, have hidden 24 packages containing Mammut equipment and Leica cameras in remote locations around the world. Mammut CEO Heiko Schäfer took lead by example to a new level and also contributed by placing one of the prize packages on the Eiger North Face. Clues to their whereabouts will be posted on the brand's social media channels.
The 2025 Photo Contest's grand prize includes a Leica SL2-S Camera Kit with a 24-70mm lens, two SWISS Economy Class tickets, a Mammut Deluxe Summer Kit and guided mountain adventure with ZERMATTERS. The total prize value exceeds €12000. Additional prizes will be awarded to category winners and finalists.
Entries must be submitted on the contest's site by 11:59 pm CEST (5:59 pm EST/2:59 pm PST) by July 15. While the gear hunt is a separate activity, Mammut encourages participants to use any equipment they find in their photo submissions.
If you're gearing up for a flight, you may be trying to figure out the best way to pack your camera gear. After all, cameras and lenses are generally expensive, and repairing or replacing them isn't easy. Plus, you don't want to arrive at your destination only to discover that something was broken in transit, leaving you without a functional system to document your travels.
While keeping your gear in your carry-on is generally best, sometimes checking it is necessary. You are allowed to keep your camera gear in checked bags, but they can have quite a tumultuous journey. You can, however, take steps to keep your cameras and lenses protected even when they have to go in your checked luggage.
How to protect your gear in your checked luggage
Pelican makes quite a few camera-specific cases for travel. Just be sure to pack it more snugly than this.
Photo: Abby Ferguson
First and foremost, a hard case is best. That way, when other bags inevitably get stacked on top, your camera and lens(es) won't be crushed beneath that weight. You could opt for something like a Pelican case, which is purpose-built for traveling with equipment and comes with various methods of interior protection and organization. Or you could choose a hard-sided suitcase, especially if you already have one on hand.
If you go for a general-purpose suitcase, you'll need to figure out how to pack your equipment. The primary consideration is ensuring everything is snug and padded so that things don't move around or crash into each other when your bag is tossed around. Instead of tossing your gear loose inside the suitcase with all your clothes and toiletries, putting it inside a small camera bag or case that fits inside the suitcase adds an important layer of protection.
Photo: Jackyenjoyphotography / Moment via Getty Images
That case within the suitcase could be a compact hard case with built-in padding, a camera-specific packing cube or even a dedicated camera bag. Of course, you won't be able to go too large since it needs to fit inside a suitcase. No matter what, though, the key is ensuring there isn't much movement once you have it all packed away. Dividers are also important, as you don't want your lenses or camera bumping into each other.
Keep in mind that things aren't packed tightly enough if you hear thumping or feel movement when moving your bag. If that's the case, you may need to use your clothes or other soft items to create a more snug fit. That's true even when using something with dedicated dividers or compartments.
Another important thing to remember is that your bag may be out on the tarmac in wet conditions during loading and unloading. If you aren't confident that your bag is waterproof, it could be worth picking up a Nylofume Liner Bag or wrapping your gear in trash bags to ensure no water makes its way to your camera or lens.
Is it okay to keep your lens attached when flying with a camera?
Don't forget to put on a body cap and rear lens cap when traveling with a camera and lens in checked luggage.
Photo: Abby Ferguson
Keeping your lens attached to your camera body is typically not recommended when putting a camera in checked luggage. Those bags get tossed around a lot, which could put pressure on the lens and camera body in ways they aren't built for, thereby bending the lens mount. Because of that, it's best to remove your lens when checking your equipment. Just be sure to put a body cap on the camera and rear lens cap on the lens to keep debris away from your sensor and glass.
Additional considerations when checking your camera gear
Photo: miodrag ignjatovic / E+ via Getty Images
As with carry-on bags, airlines typically have checked bag size restrictions. This can vary for each airline, but most require checked bags to be smaller than 158cm (62") in overall dimensions (length + width + height). Weight restrictions are also in place, with most not allowing bags heavier than 23 kg (50lbs). Budget airlines may have lower limits and be more strict about those numbers, while first and business class generally have greater allowances. Make sure to check the rules with your particular airline before flying.
Beyond packing your bag, there are some additional security-related things to consider. It's not a bad idea to lock up your checked bag to help prevent theft. Be aware, however, that you will need an airport security-approved lock. If authorities need to inspect your bag for any reason, they will simply cut the lock or damage the bag to get access. Locks approved by security agencies can be opened using a universal master key, giving agents access without destroying your lock or bag.
Small trackers like AirTags, Chipolos and Tiles are also helpful for a bit of peace of mind, allowing you to keep track of where your bag is. Finally, while gear insurance is a good idea no matter what, it's especially important if you need to check your camera equipment. That way, if something does get lost or damaged during your travels, you won't need to pay for repairs or replacements out of pocket.
Leica has rolled out a new update, version 1.7, to its LUX iPhone app. It introduces a cinematic filter developed with British photographer Greg Williams. The update marks the debut of Leica's new "Artist Looks" series, which will feature collaborations with photographers known for their distinctive visual styles.
Williams, who has captured celebrities such as Daniel Craig and Margot Robbie, helped design the new look to emulate his signature aesthetic. It resembles scans of classic Kodak Tri-X 400 film. According to Williams, the goal of developing this filter was to allow users to create an image that “feels real — not overdone, not artificial,” like many contemporary smartphone filters.
The latest version of the LUX app also introduces new customization tools, including the ability to mark favorite looks for quicker access. Leica says this feature is designed to benefit users who frequently return to specific styles in their workflow. In addition to its iPhone availability, the Greg Williams Look will soon be accessible through the Leica FOTOS app, available on iOS and Android, allowing Leica camera owners to apply the Artist Look to their images.
Image: Leica
The Greg Williams Look is included in the app’s full version, which costs $6.99 per month or $69.99 per year. You can test out the filter with up to 36 images before you must upgrade. It's included for one year if you own the Leica LUX Grip, which costs $625 post-tariffs in the US, and is currently out of stock on the company's website.
Press release:
Leica Camera launches “Artist Looks” in Leica LUX iPhone app – debuting with British star photographer Greg Williams
Update v1.7 introduces a new cinematic look and expands customization features
Wetzlar, 15 May 2025. The latest update of the Leica LUX app introduces even more personal expression opportunities and creative flexibility. Developed in close collaboration with renowned British photographer Greg Williams, the new Artist Look brings his distinctive cinematic aesthetic to mobile photography. Inspired by classic Tri-X 400 scans and finely tuned for a variety of lighting conditions, the look avoids artificial enhancements and instead emphasizes authenticity, warmth, and intimacy. It also marks the beginning of a new series of Artist Looks to be released in the future.
“I wanted to create a look that feels real – not overdone, not artificial. No extra sharpening, no effects – just the image and the moment. The Leica LUX app made it possible to bring that aesthetic to the smartphone – with a cinematic depth I previously only knew from my Leica cameras,” says Greg Williams.
About Greg Williams
Greg Williams is one of the most influential photographers of our time. Known for his cinematic visual language, he regularly photographs leading figures from the international film world – including Daniel Craig, Kate Winslet, and Margot Robbie – and has helped define the visual identity of modern-day Hollywood. A long-time Leica user, Williams was also part of the global campaign for the Leica Q2 Daniel Craig Edition. His work blends documentary precision with emotional proximity and handcrafted clarity.
New customization features
Users can now mark favourite looks within the app for faster access – a practical feature for those who work with recurring stylistic elements.
Coming soon to Leica cameras
The Greg Williams Look will also be made available in the Leica FOTOS app, enabling users to apply the same visual character when shooting with Leica cameras.
Leica LUX – Leica imagery on the iPhone
Camera AG expanded its mobile business and launched the jointly developed Leica LUX app in 2024. The app brings the visual DNA of iconic Leica lenses to the iPhone – with manual camera controls and a growing library of characteristic Leica Looks. With a current rating of 4.8 stars, Leica LUX is now the highest-rated photo app in the App Store.
Leica LUX v1.7 is available now in the App Store. The Artist Look by Greg Williams is part of the full version and included free of charge for one year with registration of a Leica LUX Grip.
Last month, Fujifilm released a brief teaser clip for a new camera with the slogan "Half the Size, Twice the Story." Earlier this morning, it followed up with another clip and an official release date of May 22, 2025, at 1:00 am EST (May 21, 10 pm PST). The brief video, clocking in at a little over 30 seconds, was posted on the company's YouTube channel. Using the same slogan fuels the speculation of it being a new half-frame model, possibly called the "X-Half."
The clip was shot on Fujifilm's GFX 100 II, drawing ire from some commenters who wanted to see footage from the actual camera being teased. Rumors surrounding the release suggest the camera will include several features inspired by analog photography. Among the most circulated guesses is a secondary display that resembles a film preview window, potentially with touch capabilities to switch between Fujifilm's signature film simulations.
The half-frame film format traditionally allowed film cameras to capture two vertical exposures on a single frame 35mm film, effectively doubling the number of photos per roll. It's unclear how Fujifilm might translate this into digital form. However speculation points to a 1-inch sensor that captures diptychs, aided by a vertically oriented LCD screen for composition.
From watching the teaser clips, a compact design, manual dials and circular viewfinder, hallmarks of Fujifilm's X-series, are hinted. While there aren't any features that have been officially confirmed, we'll have all of our answers in one week's time.
B&H Photo has picked up where the Photo Plus show left off a few years ago with its Bild Expo. Taking place next month at the Javits Center in New York City, June 17–18, this two-day photography and content creation expo is free to attend. If you’re in the area or need an excuse to visit one of the US' most vibrant cities, here’s why it may be worth checking out.
Bild Expo has lined up more than 100 speakers, including Pulitzer Prize-winning photojournalist Lynsey Addario, whose book It’s What I Do is essential reading for any photographer. Conservation photographer Cristina Mittermeier, popular YouTuber Peter McKinnon, and best-selling author Scott Kelby of KelbyOne are also on the schedule.
You'll also be able to check out some of the most sought-after gear. If you browse the exhibitor list, you’ll see that nearly every major creative brand will be represented: Sony, Nikon, Leica, Adobe, GoPro, Fujifilm and Canon are few of the many showing off their latest products. It’s a chance to get hands-on experience and see what suits your style.
Image: Bild Expo
For those who want hands-on experience, there will be interactive studios focused on lighting techniques, macro and sports photography. Photo and video editing workshops, running through workflows for both beginners and more advanced creators, are also on the agenda. Kodak is hosting an 8mm and 16mm film experience for those curious about analog filmmaking. One of the more fun and unique offerings is a retro-themed “Bild Disco” shoot.
Finally, big cities aren’t always the most comfortable places to explore – especially if you're carrying expensive-looking camera gear – but joining a group can make all the difference. Details are still emerging, but B&H says it's planning guided photo walks. It’ll be interesting to see who’s leading them and what parts of the city they’ll explore. For photographers looking for feedback, portfolio reviews will also be available.
You can register here for Bild Expo. Whether you’re coming for the speakers, the gear or the chance to meet your peers, it’s a free event that could be worth checking out if you're in the neighborhood.
For many parts of the world, now is one of the best times to pick up your camera and photograph birds. Migration season is here, which brings a wider variety of species through your area, including ones you may not see any other time of year. The trees haven't fully leafed out yet in many places, making birds easier to spot (and photograph). Plus, they are more active right now. If you're hoping to enter the world of bird photography, here are some apps and equipment suggestions to help you document these delightful creatures.
Apps for locating birds
Image: eBird
The first step to being successful with bird photography is knowing how to find and identify our avian friends. eBird is a good resource for finding birding hotspots around the world thanks to its vast user-contributed database. Its desktop version is great for exploring detailed maps and analyzing migration data. If you're looking to photograph a specific bird species, this is your first stop. Then, when you're in the field, eBird's mobile app (available for iOS and Android) is designed to log bird sightings.
If your main goal is to identify the birds you see, the Merlin Bird ID app is a helpful option. It lets you identify birds by snapping photos, answering a few questions or recording their song with your phone. The app can also provide lists of birds near you, with the ability to filter by time of year.
One thing to be aware of is that endangered species won't appear in location-specific maps on many platforms. You can see information about the birds and use the apps to identify them if you come across them, but you won't be able to see pinpoint locations or specific sightings. These restrictions aim to protect endangered or at-risk species that could be harmed by sharing their precise location.
Cameras and lenses for bird photography
If you are searching for the very best birding camera, high-resolution, full-frame mirrorless cameras with fast continuous shooting rates and responsive autofocus are ideal. Of course, these come with seriously steep price tags, so if you're just getting started, that's likely not what you'll be looking for. You don't need to spend a fortune to get started with bird photography, though. Crop sensor cameras with APS-C and Four-Thirds sensors are more affordable and have the added benefit of allowing you to get more reach from telephoto lenses.
The camera is only one part of the equation. You'll also need a long telephoto lens. While a 70-200mm can work in some conditions, a 100-400mm or 200-600mm lens, or a prime lens in that range, will make it possible to get a closer view of the birds. Unfortunately, lenses like that are generally pricey when purchased new.
An alternative is to use teleconverters to extend your reach, but they will reduce the effective maximum aperture of your lens. For example, a 1.4x teleconverter on an F2.8 lens reduces your effective maximum aperture by a stop to F4, while a 2x teleconverter drops it by two stops to F5.6. As a result, you'll need to adjust ISO or shutter speed to maintain proper exposure.
Canon EOS R5 | Canon RF 800mm F11 IS STM | 1/160 sec | F11| ISO 125 Image: Richard Butler
If interchangeable lens systems aren't your thing, superzoom bridge cameras can also be effective. These provide an integrated lens with plenty of zoom. They are more budget-friendly than the options above, and you don't need to worry about buying pricey lenses, either.
Some final thoughts
Mastering the right settings and capturing a decent shot of a bird requires time, effort, patience and a lot of practice. If you don't feel like traveling far only to be disappointed, installing a bird feeder, bird bath or placing native plants in your yard may help bring the birds to you.
Finally, as you would not appreciate someone barging into your house uninvited, understand that getting anywhere close to a bird's nest to photograph it is highly unethical. Audubon's guidelines provide more tips about photographing nesting birds. Always prioritize the safety and well-being of the animals you're trying to capture.
Panasonic Lumix DC-S1II | Panasonic S Pro 16-35mm F4 @ 35mm | F4 | 1/160 sec | ISO 100 Photo: Mitchell Clark
Earlier this week, Panasonic announced the S1II, a full-frame hybrid mirrorless camera with a 'partially stacked' sensor that gives it fast readout speeds and burst rates. We were able to spend some time shooting with it around Seattle in a variety of lighting conditions.
The gallery also includes a few examples taken with Panasonic's handheld in-camera multi-shot high-resolution mode, which puts out 96MP files.
We'll have to do a lot more testing (and Raw editing support) before we can draw conclusions about image quality, but the gallery gives us an idea of what the camera can achieve.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
Sample gallery
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Yesterday, DJI announced the release of its Mavic 4 Pro drone. Notably missing were USD prices. This is because the Shenzhen, China-based company decided to hold off on selling its latest product in the US for an undetermined period of time. Oddly, pre-orders are available on popular reseller websites (and were at the time of launch), including B&H Photo and Adorama. Adding to the confusion, DJI responded to a post on X about pre-orders at B&H, saying, "This product is not yet available in the United States."
Despite all that, some lucky drone enthusiasts were fortunate if they were in or near New York City, as reported by The Verge. On Tuesday, the brick-and-mortar flagship Adorama and B&H Photo stores sold an undisclosed number of units to savvy consumers at their NYC-based locations. DJI's New York City location jumped on the trend today and posted on its official Facebook page that it would also sell a limited number of Mavic 4 Pro packages at its Fifth Avenue store.
DJI's New York City posted today on its Facebook page that it would sell the Mavic 4 Pro, while supplies last.
While the DJI store's sales rep would not confirm with DPReview how many units were available for sale, he verified that the standard Mavic 4 Pro's price is $2699. The Mavic 4 Pro with Fly More Combo retails for $3549, while the Creator Combo will set you back $4649. As of the time of writing, it's possible that these units may be sold out.
A DJI spokesperson recently answered our request for comment. "At this time, the DJI Mavic 4 Pro is not available for sale in the U.S. market through DJI’s official e-commerce site. We cannot comment on behalf of our retail partners.” B&H Photo and Adorama have not responded to a request for comment about pre-order status.
While flying with your camera gear in your carry-on bag is allowed – and recommended – it can be tricky to figure out how to pack it all. It can easily become a bit like a game of Tetris, though one that involves pricey equipment. While your carry-on bag won't have quite the journey a checked bag would, it's still important to pack carefully so you don't arrive at your destination with damaged gear.
How to protect your gear in your carry-on
Photo: Abby Ferguson
The easiest way to protect your gear is to invest in a quality camera bag with plenty of padding. Adjustable dividers positioned to cradle your setup are also ideal for keeping everything snug and in place so they don't crash into each other. Your carry-on bag will move a lot during your travels, so you want to keep things from moving around and potentially bouncing into each other as much as possible.
If you don't want a dedicated camera bag, there are other options, especially if you only have a few pieces of photography gear (even better if they are on the compact side). You could purchase a small travel pouch or case that fits inside your normal carry-on bag. Many companies, such as Peak Design, Shimoda Designs, LowePro and Neewer, make padded bag inserts, essentially turning any bag into a camera bag.
For a more minimalist approach, there are also wraps designed for cameras and lenses. However, those don't add much protection, so you'll still want to pack your gear carefully even when using them. In a pinch, you could even use your clothes as wraps, but again, you'll want to pay extra attention to how you're packing things, and this should be used as a last resort.
No matter what, the key to protecting your gear in your carry-on is to ensure a snug fit. You want to avoid as much jostling as possible. If you hear something thump or can feel things move around when putting your backpack on your back, it's probably not packed very well. Even if you use a dedicated camera bag, you may need to use clothes or other soft items as extra padding to prevent movement.
Additional considerations for gear in carry-on
Photo: winhorse / iStock Unreleased via Getty Images
While you can have your camera gear in your carry-on, that bag must comply with carry-on sizes and weights. For flights in the US, the standard carry-on size is 55.9 x 35.6 x 22.9cm (22 x 14 x 9"). International flights differ slightly, with a standard carry-on size of 56 x 36 x 23cm (22 x 14 x 9"). Individual airlines may have their own rules, though, and budget airlines are often much more strict in what they allow. Also, if space in overhead bins runs out, you may be forced to check your carry-on bag even if it is the right size.
Perhaps more significant than dimensions, though, are weight limits. After all, camera gear can be fairly heavy, and dedicated camera bags can be hefty even when empty. Many airlines outside of the US (and some within the US) have a weight limit for carry-on bags. Those vary by airline but range from 7 to 20kg (15- 26lbs). Again, be sure to check rules for your flight before getting to the airport to prevent a stressful situation.
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