Watch the rumored Sigma 28-45mm f/1.8 DG DN ART lens announcement live here:
The post Watch the rumored Sigma 28-45mm f/1.8 DG DN ART lens announcement live here appeared first on Photo Rumors.
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The Sigma 28-45mm F1.8 DG DN is a wide-to-medium zoom lens for E-mount and L-mount cameras. According to Sigma, it's the spiritual successor to its popular 18-35mm F1.8 DC HSM lens for APS-C DSLRs and the first constant aperture F1.8 lens for full-frame mirrorless cameras.
Sigma is making big claims about the quality of this lens, stating that the image quality is comparable to prime lenses and that it exceeds the performance of its own 24mm F1.4 and 50mm F1.4 DG DN primes. We took the lens to the UK as a travel companion and captured images from the bustle of downtown London to the serene countryside. Check out our gallery, and let us know if you think this lens lives up to expectations.
Click here to see our Sigma 28-45mm F1.8 sample gallery
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| Image: Sigma |
Sigma has announced its newest optic, the 28-45mm F1.8 DG DN Art lens for E-mount and L-mount cameras. The lens covers a wide-to-standard focal range, and Sigma claims it's the first constant aperture F1.8 zoom lens for full-frame mirrorless cameras.
Sigma is setting high expectations for this lens, claiming that it achieves image quality comparable to prime lenses and that it exceeds the performance of its own 24mm F1.4 DG DN and 50mm F1.4 DG DN Art lenses.
To do this, the 28-45mm F1.8 has an optical formula that includes three aspherical and five SLD (super-low dispersion) elements in front of an 11-bladed aperture. Sigma says the lens will deliver excellent performance wide open and is specifically designed to suppress longitudinal chromatic aberration.
The tradeoff for the fast aperture is size and weight: The lens is 151mm (6") long with a diameter of 88mm (3.5") and weighs 960g (33.9 oz).
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| Image: Sigma |
Sigma is targeting video users in addition to still photographers. The lens's autofocus is driven by an HLA (high-response linear actuator) motor to provide quick and fast AF, and Sigma says the optics are designed to minimize breathing when focusing. An internal zoom design should make it easier to use on gimbals.
Other features include a lockable aperture ring, a click/de-click switch allowing for clickless aperture changes and two customizable buttons. The minimum focus distance is 30cm (11.8") across the entire zoom range, and the lens has a maximum magnification of 1:4. It uses an 82mm filter thread, and Sigma says the lens is dust and splash-resistant.
The Sigma 28-45mm F1.8 DG DN Art lens has a suggested retail price of $1349, which includes a case and lens hood. It's expected to be available for purchase on June 20.
Click to see our 28-45mm F1.8 DN DG Art sample gallery
Ronkonkoma, NY – June 3, 2024 – SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the SIGMA 28-45mm F1.8 DG DN | Art lens. This is the world's first zoom lens with a constant F1.8 aperture for full-frame mirrorless camera systems. Available for Sony E-mount and L-Mount, this new wide-to-standard zoom spans several popular focal lengths from 28mm to 45mm, with image quality comparable to prime lenses.
The SIGMA 28-45mm F1.8 DG DN | Art was developed as a full-frame successor to the SIGMA 18-35mm F1.8 DC HSM | Art (for APS-C DSLR cameras), which in 2013 became the first lens in the world to achieve F1.8 throughout the entire zoom range.
While offering the convenience of a zoom, this new lens does not compromise on optical performance. By effectively arranging 3 aspherical lens elements and 5 SLD glass elements, this lens suppresses various aberrations and achieves performance comparable to single focal length lenses, even surpassing the SIGMA 24mm F1.4 DG DN | Art and SIGMA 50mm F1.4 DG DN | Art, which have an established reputation for their optical quality.
In particular, the 28-45mm F1.8 DG DN | Art focuses on suppressing axial chromatic aberration, which is often noticeable in large-aperture lenses, to achieve images with minimal coloration on both the focus plane and bokeh, and to demonstrate high optical performance from open aperture. The minimum focusing distance is 30cm (11.8 inches) throughout the entire range, and the maximum magnification ratio of 1:4 is achieved at the 45mm focal length.
Featuring internal zoom and HLA (High-response Linear Actuator) autofocus, and an optical design that minimizes focus breathing, the SIGMA 28-45mm F1.8 DG DN | Art is well-suited for video work, including gimbal setups, thanks to its balanced design. The click/de-click switch and lockable aperture ring are designed to suit a variety of personal capture preferences, and the dust- and splash-resistant design also makes it suitable for shooting stills and video out in the elements.
The SIGMA 28-45mm F1.8 DG DN | Art lens will be available for $1,349 through authorized retailers in the US in late June 2024.
Learn more at the SIGMA America website:
| Principal specifications | |
|---|---|
| Lens type | Zoom lens |
| Max Format size | 35mm FF |
| Focal length | 28–45 mm |
| Image stabilization | No |
| Lens mount | L-Mount, Sony E, Sony FE |
| Aperture | |
| Maximum aperture | F1.8 |
| Minimum aperture | F16 |
| Aperture ring | Yes |
| Number of diaphragm blades | 11 |
| Optics | |
| Elements | 18 |
| Groups | 15 |
| Special elements / coatings | 3 aspherical, 5 SLD |
| Focus | |
| Minimum focus | 0.30 m (11.81″) |
| Maximum magnification | 0.25× |
| Motor type | Linear Motor |
| Full time manual | Yes |
| Focus method | Internal |
| Distance scale | No |
| DoF scale | No |
| Physical | |
| Weight | 960 g (2.12 lb) |
| Diameter | 88 mm (3.46″) |
| Length | 151 mm (5.96″) |
| Sealing | Yes |
| Zoom method | Rotary (internal) |
| Zoom lock | Yes |
| Filter thread | 82 mm |
| Hood supplied | Yes |
| Tripod collar | No |
Here are the first Leica M12 camera rumors - the new M12 will be 3mm shorter compared to the M11:
The ISO dial on the top left could be completely removed (first picture). A new dial could be introduced behind the shutter button that can be controlled with the thumb (first picture). A new large 3.9″ screen could be introduced (the M11 has a 2.95″ screen):
The large screen also means removing all buttons from the back of the camera – it seems that the controls will now be on the touchscreen, similar to the Leica TL:
I am still getting conflicting reports on the viewfinder: we may get a new Leica M smart hybrid vision rangefinder (classic rangefinder experience + EVF benefits, similar to the Fuji X100 camera):
We may even get a 100% electronic viewfinder (EVF):
The Leica M12 trademark has already been registered (all Leica trademarks can be found here):
The post Here are the first Leica M12 camera rumors (leaked prototype pictures) appeared first on Photo Rumors.
The Panasonic LUMIX GH6 camera is low in stock and listed as discontinued at some stores in Japan:
The GH6 is in stock in the US: at Adorama, Amazon, and B&H Photo.
Via Asobinet
The post Panasonic LUMIX GH6 camera is low in stock, listed as discontinued at some stores in Japan appeared first on Photo Rumors.
The upcoming/rumored Leica M11-D camera is now confirmed - here are a few screenshots from the leaked manual courtesy of LeicaRumors:
Here are the previously reported M11-D rumors:
Via LeicaRumors
The post The upcoming/rumored Leica M11-D camera is now confirmed appeared first on Photo Rumors.
Now that we've had some more time with the Panasonic S9, we've updated our sample gallery to include examples of Panasonic's Real Time LUTs as well as some Raw conversions, including one image designed to push the camera's dynamic range.
View the updated Panasonic S9 sample gallery
Note: 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 (in conjunction with this review); we do so in good faith, so please don't abuse it.
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| Image: Leica |
I found it interesting to see Leica launch a new D-Lux camera last week, as I'd been thinking about a previous model (or, at least, about its Panasonic sister model) just recently.
Panasonic's LX series taught me two important lessons about cameras and how to review them. The first, which I've written about before, was how much difference a larger sensor and a brighter lens can make. The other was that the value of a feature can be greatly enhanced by making it easy to access. And there's no easier way to change a setting than with a dedicated, marked control point.
The main line of LX cameras and their Leica variants have dedicated switches on the top of their lenses, which not only make it easy to switch between the different framing modes but also serve as a constant reminder that the feature is available.
This makes sense: from the LX3 onwards, the cameras have had multi-aspect sensors, i.e. sensors that are larger than the lens' coverage. This means the different crops push all the way out to the limit of the imaging circle projected by the lens so that they maintain the same diagonal angle of view. This is a big difference from most cameras, which simply crop in further and further from their sensor's native shape, meaning 16:9 isn't really as wide as you might hope.
 |
| The Panasonic LX3 was the first Panasonic model to include an aspect ratio switch on top of the lens. It not only made it easy to switch between modes, but served as a constant reminder that this feature was available. |
It's a stand-out feature (albeit one where you never get to use the full sensor size you've paid for), and it makes sense to literally put it front and center on the camera. That prominent, dedicated switch reminds you to play with image format every time you look down at the camera, meaning you're more likely to take advantage of the multi-aspect design.
This experience was front-of-mind when I unpacked the Fujifilm X-T50 and saw its dedicated Film Simulation dial. I think it's a very smart move on Fujifilm's part. Film Simulations, along with a broad selection of lenses designed for APS-C, are one of the distinctive benefits of its X-series cameras. It makes sense to draw attention to it and encourage its use.
"That prominent, dedicated switch reminds you to play with image format every time you look down at the camera"
It also sends out a strong signal about who the camera is for. The double-digit X-T models have always been aimed at people getting into photography, not existing enthusiasts. These are often people who buy a camera for an event or because they want to try their hand at photography and are perhaps most at risk of falling back to the ease of use and sharability of smartphone images, leaving their cameras to accumulate dust. Providing a constant reminder and easy access to one of the key features that sets the camera apart could be a really powerful way to maintain their engagement.
 |
| The Fujifilm X-T50 includes a dedicated dial for switching between film simulations. |
On such a small camera, each control comes at the expense of another, and to me, it makes a lot of sense to privilege Film Sims over the drive mode dial. Which control will the target user want to change most often? To me, it seems self-evident that Film Simulation is a setting you might wish to change literally every other shot, whereas drive mode is something to change each time you go out to shoot a different subject type. And every camera has drive modes: it makes sense for Fujifilm to pull its differentiating feature to the fore.
I agree with the commenters who point out that it would be better if the custom positions on the dial could be modified to have parameters such as highlights, shadows and color chrome effect baked in as recipes, and I'd love to see this in future firmware.
"On such a small camera, each control comes at the expense of another, and to me, it makes a lot of sense to privilege Film Sims over the drive mode dial."
But to those people objecting to the change, saying, "Without the mode dial, I'd be better off buying an X-T5," I'd suggest this isn't the criticism they might think it is. The X-T50 isn't supposed to be a smaller, less expensive X-T5; it's meant to be tailored to a different type of user, not enthusiasts on a tighter budget.
So, to my eye, the Film Simulation dial isn't a dumbing-down but an astute move to encourage the target user to discover and use one of its most compelling features. Other than the Film Sim dial, a lot else has changed between the X-T30 II and X-T50, including the addition of image stabilization, a higher resolution sensor and an eye-watering 55% price hike. But in terms of the Film Simulation control, I think the series has taken a turn for the better.
 |
| June is packed with multiple days celebrating Mother Nature. Get out there and touch grass; we want to see your best nature photos. Image credit: Shaminder Dulai |
June is packed with multiple days devoted to celebrating nature. We kick it off on June 5 with World Environment Day, continue on June 8 with World Oceans Day and June 22 brings us World Rainforest Day. So let's get outside. We want to see your best nature images! Take part in the official DPReview Editor's Challenges for your chance to have your work featured on our homepage, in articles and galleries. We may even reach out to interview you about your work!
You don't need to take your pictures on the world recognition days. Anytime starting today is okay. Just be sure to submit your best work by June 13.
DPReview editors will review every photo you upload to an Editors' Challenge. We'll publish our favorites in a gallery and celebrate your work with our peers.
If you miss participating in this one, please look out for our next editors' challenge.
Enter your photos and read all the rules
Processing rules:
Canon is teasing a new cinema EOS camera announcement for next week. The presentation will take place on June 5th at 3 pm EST and can be watched on YouTube.
The current Canon cinema products can be found here.
Via CanonAddict
The post Canon is teasing a new cinema EOS camera announcement for next week appeared first on Photo Rumors.
|
| Image: Leica |
I found it interesting to see Leica launch a new D-Lux camera last week, as I'd been thinking about a previous model (or, at least, about its Panasonic sister model) just recently.
Panasonic's LX series taught me two important lessons about cameras and how to review them. The first, which I've written about before, was how much difference a larger sensor and a brighter lens can make. The other was that the value of a feature can be greatly enhanced by making it easy to access. And there's no easier way to change a setting than with a dedicated, marked control point.
The main line of LX cameras and their Leica variants have dedicated switches on the top of their lenses, which not only make it easy to switch between the different framing modes but also serve as a constant reminder that the feature is available.
This makes sense: from the LX3 onwards, the cameras have had multi-aspect sensors, i.e. sensors that are larger than the lens' coverage. This means the different crops push all the way out to the limit of the imaging circle projected by the lens so that they maintain the same diagonal angle of view. This is a big difference from most cameras, which simply crop in further and further from their sensor's native shape, meaning 16:9 isn't really as wide as you might hope.
|
| The Panasonic LX3 was the first Panasonic model to include a multi aspect sensor and the dedicated switch made the most of this. It not only made it easy to switch between modes, but served as a constant reminder that this feature was available. |
It's a stand-out feature (albeit one where you never get to use the full sensor size you've paid for), and it makes sense to literally put it front and center on the camera. That prominent, dedicated switch reminds you to play with image format every time you look down at the camera, meaning you're more likely to take advantage of the multi-aspect design.
This experience was front-of-mind when I unpacked the Fujifilm X-T50 and saw its dedicated Film Simulation dial. I think it's a very smart move on Fujifilm's part. Film Simulations, along with a broad selection of lenses designed for APS-C, are one of the distinctive benefits of its X-series cameras. It makes sense to draw attention to it and encourage its use.
"That prominent, dedicated switch reminds you to play with image format every time you look down at the camera"
It also sends out a strong signal about who the camera is for. The double-digit X-T models have always been aimed at people getting into photography, not existing enthusiasts. These are often people who buy a camera for an event or because they want to try their hand at photography and are perhaps most at risk of falling back to the ease of use and sharability of smartphone images, leaving their cameras to accumulate dust. Providing a constant reminder and easy access to one of the key features that sets the camera apart could be a really powerful way to maintain their engagement.
|
| The Fujifilm X-T50 includes a dedicated dial for switching between film simulations. |
On such a small camera, each control comes at the expense of another, and to me, it makes a lot of sense to privilege Film Sims over the drive mode dial. Which control will the target user want to change most often? To me, it seems self-evident that Film Simulation is a setting you might wish to change literally every other shot, whereas drive mode is something to change each time you go out to shoot a different subject type. And every camera has drive modes: it makes sense for Fujifilm to pull its differentiating feature to the fore.
I agree with the commenters who point out that it would be better if the custom positions on the dial could be modified to have parameters such as highlights, shadows and color chrome effect baked in as recipes, and I'd love to see this in future firmware.
"On such a small camera, each control comes at the expense of another, and to me, it makes a lot of sense to privilege Film Sims over the drive mode dial."
But to those people objecting to the change, saying, "Without the mode dial, I'd be better off buying an X-T5," I'd suggest this isn't the criticism they might think it is. The X-T50 isn't supposed to be a smaller, less expensive X-T5; it's meant to be tailored to a different type of user, not enthusiasts on a tighter budget.
So, to my eye, the Film Simulation dial isn't a dumbing-down but an astute move to encourage the target user to discover and use one of its most compelling features. Other than the Film Sim dial, a lot else has changed between the X-T30 II and X-T50, including the addition of image stabilization, a higher resolution sensor and an eye-watering 55% price hike. But in terms of the Film Simulation control, I think the series has taken a turn for the better.
The Topaz Gigapixel 7 upscaling software is currently $20 off until June 14. With Gigapixel 7 you can upscale and enhance any image by up to 600%:
Gigapixel 7 has more than five years of advanced AI training and comes with a new interface:
Additional information on Topaz Gigapixel 7 can be found here:
Via Topaz Labs
The post Topaz Gigapixel 7 is now on sale for a limited time appeared first on Photo Rumors.
Finally: Nikon Z6 III announcement in two weeks (on or around June 11)
Leica Summilux 50mm f/1.4 V1 classic lens reissue rumored to be announced next
Canon released firmware update version 1.2.0 for the PowerShot V10 vlogging camera
DPR: Sigma CEO Kazuto Yamaki Interview – Innovation Can Mean Many Things
The post What else is new? appeared first on Photo Rumors.
Sigma is rumored to announce a new 28-45mm f/1.8 DG DN ART lens next week (E + L mount) on June 3rd:
The post Sigma to announce a new 28-45mm f/1.8 DG DN ART lens next week (E + L mount) appeared first on Photo Rumors.
Related posts:
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| June is packed with multiple days celebrating Mother Nature. Get out there and touch grass; we want to see your best nature photos. Image credit: Shaminder Dulai |
June is packed with multiple days devoted to celebrating nature. We kick it off on June 5 with World Environment Day, continue on June 8 with World Oceans Day and June 22 brings us World Rainforest Day. So let's get outside. We want to see your best nature images! Take part in the official DPReview Editor's Challenges for your chance to have your work featured on our homepage, in articles and galleries. We may even reach out to interview you about your work!
You don't need to take your pictures on the world recognition days. Anytime starting today is okay. Just be sure to submit your best work by June 13.
DPReview editors will review every photo you upload to an Editors' Challenge. We'll publish our favorites in a gallery and celebrate your work with our peers.
If you miss participating in this one, please look out for our next editors' challenge.
Enter your photos and read all the rules
Processing rules:
 |
Lux, the team behind the Apple Design Award-winning photography app Halide, has announced Kino, an app that it claims will bring pro-level video tools to iPhone users.
The developers state that Kino is intended to give users complete control in both automatic and manual shooting modes based on some clever built-in logic. The app includes a feature called AutoMotion, which automatically sets a 180º shutter angle in order to create cinematic motion blur. An 'Auto' label turns green when the settings are just right, letting you know you're good to go. If the camera can't achieve a 180º shutter, such as when shooting outdoors in bright light, you may need to add an ND filter to allow the shutter to lock onto the correct angle.
Another headline feature is Instant Grade, which takes advantage of Apple Log, available on the newest iPhone 15 Pro models. Apple's camera app records Log footage in ProRes format, which creates large files and requires editing to finalize color; Instant Grade will allow users to apply color presets directly to Apple Log footage as it's being captured and saves the recordings in the more efficient HEVC format, allowing for cinematic video straight out of camera. The app includes color presets from pro colorists, but users can import their own LUTs into the app as well.
The app also includes advanced features, such as the ability to save files into either Apple's Photos app or to a specific file location, composition guides, audio levels, USB-C storage compatibility, RGB waveform, manual focus with peaking, WB/AE lock, exposure compensation and a lockable user interface.
For beginners who may not be as familiar with a video-first workflow, the app will include free lessons on the basics of shooting video.
Kino is available beginning today at a promotional price of $9.99, though the company indicated that the price will increase to $19.99 "a few days after launch."
Buy now:
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Sigma CEO Kazuto Yamaki Photo: Richard Butler |
"All camera and lens manufacturers have to be innovative," says Sigma CEO Kazuto Yamaki, but "technology competition among manufacturers may not always be beneficial to customers... Easier to use interfaces, compact and lightweight bodies for enhanced portability, or some other specifications might be more important."
In the second part of a wide-ranging interview conducted at the CP+ show in Yokohama in late February, Yamaki talked about current state of the market, the need for innovation and the challenges of delivering that innovation.
"Last year was not so bad," he says, when asked about the state of the market: "It looks like the trend of the shrinking market has hit the bottom." But he suggests this may not continue: "For the time being, many photographers are now switching from DSLR to mirrorless, which will sustain the market. However, after they switch to mirrorless cameras, I worry that the market could shrink in the coming years."
"One reason for my concern is the increasing average price of cameras and lenses. I truly appreciate the passion of the customers who are still spending so much money on cameras and lenses. However, I’m afraid that not so many customers can afford such high-priced cameras and lenses, so we’re still trying hard to keep the retail price reasonable."
"I’m afraid that not so many customers can afford such high-priced cameras and lenses"
"Especially these days, the younger generation takes huge amounts of photos with smartphones. While we can expect some of them to switch from a smartphone to a camera, many may find the price gap too wide, and challenging to make the switch."
Yamaki also expresses concern about some of the tech trends he's seeing: "Investing in the development of more advanced technology is crucial. However, it’s equally important to focus on our customers."
"We've seen some cameras with very technically impressive specifications, but I worry that they're not always capabilities that many photographers really need. Moving forward, I speculate that more user-friendly specifications might mean more to customers. Easier to use interfaces, a compact and lightweight body for enhanced portability, or some other specifications might be more important."
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Sigma has launched some ambitious and unusual lenses in recent years, including the 14mm F1.4 DG DN. Yamaki describes astrophotography, for which it's designed, as the most challenging subject. Image: Sigma |
He uses the recently announced 500mm F5.6 as an example of customer-focused innovation. “Canon and Nikon had similar lenses for DSLRs. They achieved it by using diffractive lens elements," he explains: "Instead of using one powerful diffractive element, we used multiple special low-dispersion [SLD] glass. We used one SLD and three FLD elements. By using multiple special lenses, we could achieve a similar effect. That’s how we can make it so compact and lightweight."
But this approach isn't simple, he says: "It requires lots of very high manufacturing technology and skill, but because we have a very good factory and our optical designers trust the capability of our factory, we were able to go for this design.”
"In most cases, we are the first to use new types of glass, and once they see Sigma use that lens element, they start using it."
"This trust is really, really important," he explains: "Lens polishing is still a unique process that has a lower yield. Normally, in something like electronics, the yield ratio is something like 99.99996 percent, or something like that. But when it comes to lenses, for example, in our case, because our yield is so high, our yield ratio from the start of the process to the end is close to 90%. So if we plan to build 1,000 units of a specific lens, we have to start polishing 1,100 pieces, and during the process, about 10% of the lens elements will fail and have to be scrapped.”
"That’s the reason why other companies hesitate to use new glass elements. They are uncertain about the yield ratio. In most cases, we are the first to use a new type of element, and once they see Sigma use that lens element, they start using it. I’m very happy to play such a role. Sigma is kind of the guinea pig in the lens industry: they use Sigma as an experiment, and if we prove it, they use it."
This commitment to pushing the use of new glass types reflects Yamaki's wider vision of the company's role. This can be seen in the ambitious lenses it's recently introduced aimed at astrophotography, he says.
"First of all, I believe it’s one of Sigma's missions to create niche products. If we only concentrate on standard products and release lower-priced versions, it’s not good: we would not be able to contribute to the development of the photography culture. As a lens manufacturer it’s our mission to develop such niche lenses that satisfy a specific target group."
"Secondly, most lenses are so good, maybe much better than people’s expectations. But only astrophotographers are never satisfied: they’re so keen for quality! They’re looking at the shape of stars in the corners. Star images are the toughest, most challenging subject, or let’s say, the most nasty lens chart. You can see all kinds of aberrations in star images. That’s why we want to show what we can do with our capability. So lenses for astrophotography is my personal strong passion to show the capability of Sigma's technology."
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Yamaki says the audience for its I-series of full-frame lenses, such as the 17mm F4 DG DN pictured, is similar to that for the DC DN range of APS-C primes. However, it doesn't sound like there are plans for I-series-style versions of the DC lenses. Image: Sigma |
With all this talk of niches, we steered the conversation towards the DC DN primes. We wanted to know whether he sees the users of these lenses as distinct from those of the mid-priced i-Series full-frame primes, which feature metal bodies and aperture rings.
"I see they are very similar customers: those who value compactness and image quality. These customers often live in big cities and use public transportation a lot. So they cannot carry around big, heavy equipment in the car. They have to carry it around in their bags."
Despite this, it doesn't sound like there are any plans to refresh the DC DNs with more i-Series-like designs: "Those who want full-frame can use the I series lenses, while those who are happy with APS-C cameras can use the many lightweight DC DN lenses," he says.
But, while we won't expect APS-C primes with aperture rings for X-mount or the Nikon Z fc any time soon, Yamaki's comments about his commitment to APS-C bode well, given the announcement that it'll make lenses for both Nikon's Z mount and Canon's RF system:
"Our plan is to have a relatively complete range of lenses for APS-C sized sensors."
This article was based on an interview conducted by Dale Baskin and Richard Butler at the CP+ show in Yokohama, Japan.
Every week, we ask newsletter subscribers a question about gear, creativity or life. We recently asked readers: If you could go back to your 20-year-old self, what camera-related advice would you give yourself?
Subsequently, the DPReview editors also got in on the act:
Start organizing your photo and video archive and making it searchable. Make sure to save local versions of client work; websites will disappear and take your work with them. A good archival system makes it possible to earn a passive income from these photos and videos in the future and curate your work for grant applications and shows.
Don't get caught up in the gear; there will always be something better that comes along. Make things. Whatever you can get your hands on, just use it and make stuff. The more you practice and embrace the failures, the more you'll learn and improve.
There will be people who will try to discourage you; they'll tell you you don't have the right gear, the right skills, or the right name, and some will even steal your ideas and pass them off as their own. These will be hard lessons, and you'll need to learn to put yourself before others. It won't be easy.
Also, buy as much Apple stock as you can afford and spend more time with your parents. Ask them the questions you always were too afraid to ask.
I'd probably give the same advice I would give a 20-year-old today: Don’t obsess about having fancy gear or the newest camera. Buy something used in good condition and save some money, then spend the money you save on fun experiences that allow you to focus on learning the art of photography.
I'd tell myself to think more carefully about lenses. To try to work out which are the focal lengths I'd actually use. I'd recommend going back through the photos I'd taken to see what you're trying to capture (and would have found I was typically trying to shoot wider, not longer than my kit zoom would go). I'd advise myself to consider whether the discipline (and compactness) of a prime would be better in the long-run than the seemingly obvious F2.8 zoom. With this advice I'd have avoided a fair few dead-ends, avoided the cost of some under-use lenses and probably have learned more about how to shoot, sooner.
What's your take? Let us know in the comments.
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