With the year winding down and arrangements for family gatherings in the works, some advance planning for recording these moments through photographs is a worthwhile consideration. It’s no longer the era of your grandfather’s Kodak, with family members captured stiff as a rail or suffering from red-eye. There are lots of exciting imaging options out there, all of which involve slightly different approaches. In an effort to help you to make sense of the current spectrum, we’ve outlined these seven tips to walk you through the process, and to come out the other side with successful results.

1. Camera Formats: So Many Choices!

Perhaps one of the most popular formats for capturing family photos today is the ubiquitous smartphone camera. This cannot be beat for portability and ease of use, and its unobtrusiveness is ideal for capturing candid moments. Mobile phone camera technology has made tremendous advances in the past few years, so keep in mind that, generally speaking, the newer your phone, the better the quality of the resulting image files.

Mobile shooting brings with it a nearly endless supply of apps for creative effects or otherwise customized images. Yet, a few native camera functions also stand out when it comes to memorable family photos. The first of these is the HDR setting, which effectively merges exposures for highlights and shadows into a single file, offering greater detail in challenging lighting situations. Another function that’s prevalent in current model mobile phones is the panoramic setting, which can be useful in creating an overview of your loved ones in situ. Simply stand in the middle of the room with the panoramic setting ready to go, click start and slowly rotate in the direction of the arrow while holding the camera on a steady line. With a bit of practice, you can cover a full 360 degrees, to really impress your family and friends. For more information, check out our article on How to Make Panoramic Photographs.

As a step up from mobile phones, don’t forget to pack your favorite point-and-shoot before leaving for a family gathering. In addition to a larger sensor size and more versatile lens, most point-and-shoots offer more flexible exposure options through preset shooting modes, named for (but not limited to) particular activities. Sports mode can be extremely helpful in freezing the action of kids at play, for example. Portrait mode subdues tones for a smooth, pleasing appearance with closer subjects, while Nighttime mode slows the shutter and increases your exposure time, providing greater detail in low light. The names for each preset can vary between camera manufacturers, so consult your manual for full details, and then test all your presets in a neutral setting to see the effects firsthand.

If moving up to larger mirrorless cameras or DSLRs, you can expect to gain even greater flexibility in shooting control, along with the added abilities of working with different lenses for versatility and larger sensor sizes for upped image quality and improved low-light performance.

2. Camera Settings: ISO, Shutter Speed, and Aperture

Whichever camera you choose, take some time to previsualize the types of pictures you hope to come away with, and adjust your camera settings to suit your vision and address environmental requirements.

Your first setting to consider is ISO, or the camera’s sensitivity to light. Boosting the camera’s ISO is one way to reduce exposure times in low-light situations, but keep in mind that the higher the ISO value, the greater the potential that unwanted noise will affect your image quality. Newer cameras and those with larger sensor sizes tend to perform better in difficult lighting than small sensor compacts or phones but, regardless of the camera, it is still good practice to keep your ISO as low as possible for the cleanest image quality.

There’s a direct relationship between shutter speed and aperture, which is often expressed through the two priorities of automatic exposure settings. When photographing people in limited light, shutter speed should be your most crucial consideration, to avoid motion blur. Another thing to think about when setting your camera’s shutter speed is how it relates to the focal length of your lens. A common adage on how to avoid blurred results from camera shake: make sure your shutter speed is equal to or faster than the focal length. For example, if you’re shooting with a standard 50mm lens, you’ll want to shoot at 1/60-second or faster.

In terms of aperture settings, the lower your f/stop number (i.e. f/2.8) the wider the aperture, allowing more light to enter the lens. The resulting effect on your picture is more limited depth of field, with fewer elements in the background and foreground appearing in sharp focus. This can make for a very attractive effect in individual portraits, where the focus is on your subject’s face, while the surrounding environment falls away in softness.

Alternatively, if you’re shooting with a high f/stop number (i.e. f/16), the aperture is smaller, allowing less light into the lens. This will yield images with a much longer depth of field, ideal if you want everything in your picture to be in focus. The caveat, however, is that this picture will require a lot more light, or more time via a slower shutter speed. When photographing people and handholding the camera, this could result in both motion blur (from your subjects’ impatience) and camera shake (which is a very possible outcome when shooting at slower shutter speeds).

3. Lenses and Angle of View

Let’s take a look at how lenses affect your pictures. It’s likely that many people own at least one zoom lens, since this is an included element in most camera kit purchases. These types of lenses cover a variable focal-length range, which makes them extremely practical for covering a wide variety of situations. The downside to some zoom lenses is that they tend to be slower than a bright f/1.4 or f/1.8 prime, with many popular zooms having a maximum aperture range of f/3.5-5.6. This limits your ability to shoot in low-light conditions, as well as achieve dramatic selective focus effects. These points are not to dissuade you from bringing along your favorite zoom lens, but to encourage you to consider packing an additional fixed lens in your bag if you have one.

The classic prime lens for portraiture is the 85mm on a full-frame sensor (or about a 50mm for APS-C models). This is an ideal option for iconic posed headshots, yet it could be extremely limiting for group pictures in an indoor environment. If group shots and overviews are your primary goal, you’d be well advised to lean towards wide to normal focal lengths in order to get a broader view of the scene. Generally speaking, you don’t want to use a lens so wide as to distort people’s features, except for comedic or dramatic effect.

Turning  back for a second to zoom lenses, unless your family gathering is on a football field, you’ll probably want to pass on your telephoto zoom in favor of a wide-to-portrait-length zoom, such as the classic 24-70mm.

4. Lighting: Natural, Artificial Light, Mixed Lighting, Flash, and More

Light is ever elusive, so a cardinal rule for successful results is to not only trust the view that pops up on your LCD, but to dig deeper and use the histogram as your gauge to exposure and lighting. This can generally be viewed on your LCD screen, in tandem with your image or as a separate graphic. Yet, various camera manufacturers have different access methods, so it’s best to consult your owner’s manual in advance and memorize the path. Ideally, you should be able to see data curving and spiking across the entire breadth of the graph from deepest shadows to highlights, but not running over the edges. This is a complex subject, and covered at length in a past Explora article on How to Read Your Camera's Histogram.

It’s hard to beat natural light for flattering portraits of people you care about, but with daylight in limited supply during winter months, it’s useful to consider all your options. If you do have the benefit of photographing in a natural-light setting, pay close attention to the effects of the sun. Contrary to popular belief, a sunny day with bright blue skies is not always the best bet for portraits, since bright sunlight can result in squints and scowls on the face of your subjects. The harsh contrast of bright sunlight also makes for untenable dynamic range, especially at midday, yielding deep shadows and blown out highlights.

Overcast or cloudy weather can make an excellent setting for people pictures, with soft shadows that are more flattering to the face. Flat lighting also tends to make colors pop, so family members in colorful clothing can add the needed spark to a drab winter environment.

Both outdoors and in, your first consideration should be to position your subjects so they are facing (or at a slight angle) to the primary light source, in a pose that avoids unseemly shadows across the face. If you’re photographing more than one subject, look for any dark shadows cast between them or because of their interaction.

Strobe lighting, either via an on-camera flash or a separate lighting unit, can be extremely helpful for people pictures. In bright sunlight, adding a flash is often referred to as a fill, which can effectively limit harsh contrast and lighten up shadows on the subjects while keeping the ambient brightness of the background. Indoors, not only does the flash of a strobe cut the potential for motion blur in limited light, it also counteracts the often conflicting color temperatures of artificial lighting, which might otherwise yield pictures with unattractive yellow, orange, or green color casts.

To avoid blasting your subjects with too much light when using a flash, you need to be aware of the flash-to-subject distance. Without entering into the complex territory of guide numbers and such, one easy solution for minimizing the effect of your flash is to bounce it from the ceiling or a wall, or cover it with one of these flash modifiers. And to reduce the power of a small on-camera flash, covering it with a sheet or two of tissue paper often does the trick.

5. Consider Your Subjects: From Candids to Limited-Focus Details to Posed Portraits

Besides choosing the best gear for a given situation, one of the key elements to getting great shots is the ability to connect with your subjects. To that end, it’s essential to become a participant in the process. Don’t hide behind your camera; take some time at the outset to be social and warm up to people and the environment. Introduce your camera gear slowly and allow people to accustom themselves to the idea that you’ll be taking pictures.

You might choose to ease into image-making by positioning your camera on a countertop or the edge of a chair and shoot from that perspective, or otherwise make some pictures from the hip instead of with your eye to the viewfinder. A wide-angle lens is the best choice for candid situations like this, when you’ve got little to no control over the edges of the frame. Positioning a foreground element—such as a festive decoration or drink, or a detail from the person next to you in the room—out of focus at the side of the frame, can be an effective way to enhance the narrative and set up this type of scene.

As people realize you’re making pictures, they invariably start to pose. If you prefer natural-looking candids to grip-and-grin headshots but have a hard time getting your subjects to relax and ignore your lens, try waiting them out. If you keep your camera glued to your eye or otherwise at the ready for long enough, the novelty of your picture-making will wear off and your intended subjects will turn their focus away from you or drop their guard. While you’re waiting, tweak your camera settings, composition, and focus so that, when it happens, you’re able to fully capitalize on this magic moment for a photo opp.

If you’re using a flash and any of your subjects suffer from the tendency to blink for pictures, consider the following tips to coax their eyes to open during your shots. Ask them to turn their head to the side and, at the count of three, to steadily rotate back toward the camera. This motion will generally override an unconscious tendency to blink, while also having the added benefit of making them look fresh and alert. Asking your subject to relax with closed eyes and blinking them open on command is another effective variation on this theme.

6. Location, Location, Location: Figure and Ground and Other Environmental Factors

Let’s pull the focus back from your subjects a bit to consider the setting for your pictures. Since we’ve already covered outdoor locations, let’s now discuss making family pictures inside.

We’re all familiar with quaint Hallmark-style family pictures, but how do you make this happen with your rambunctious relatives in a lived-in setting? To start, think in basic terms of light and shape, and how your subjects might best fit into this framework. Figure and ground relationships are essential considerations here, and one way to get a quick read of this is with a squint. While it’s far from photogenic, narrowing your eyes and furrowing your brow will help you to better identify the lighting and basic compositional elements of a potential shot, and, just as importantly, this can help you identify what to leave out.

When setting up a shot, be on the lookout for bright lights, either immediately next to or directly behind your subjects. Not only might these be distracting in an image, the color temperature from an artificial light source could also create an unsightly color cast if you’re not using a flash. 

If you are shooting with flash, be aware of any glass, mirrors or otherwise shiny surfaces within your frame that are also parallel to your lens. While you won’t notice this effect with your naked eye, the flash can reflect from these surfaces, ending up as unsightly glare in your photos. This can be a particularly challenging issue if your subjects wear eyeglasses.

To eliminate glare or minimize issues with stray light overpowering your pictures, position yourself and your camera at an oblique angle to the problematic light source or reflective surface. This will have the added benefit of side-lighting your subject, which tends to increase contrast and boost surface detail.

Perhaps the most important tip for memorable family pictures in an environmental setting is to move around. Don’t be a couch potato, expecting your zoom do all the work. Change your position in the room and see how things look from different perspectives. When doing this, make sure to work all the angles, from capturing the kiddies eye-to-eye on the floor, to composing an overview from a sturdy piece of furniture or nearby staircase.

7. Formal Family Groups

Making everyone look their best in a group portrait is a tall order, and the dynamics of photographing family members together can further complicate this process. With this in mind, give some advance thought to the best way to pose the group, based on both the number of people and family dynamics.

Before you jump into action and corral the family just anywhere for a picture, take some time to survey the entire scene and perhaps do some arranging. A few minutes of scouting on arrival at your given location can help you identify photogenic areas for a group portrait.

When you’re ready for people to take their places, it’s important for you to take charge and communicate what you want, yet remain relaxed. If you convey the sense that you’re relaxed and having fun, the rest of the group will likely follow suit.

To ensure that everyone remains in sharp focus, position the group parallel to the camera, as tight to the same plane as possible. Now is the time for family members to get cozy and snuggle close together, to convey the feeling of a family unit. The aforementioned tip about having your subjects blink their eyes open on command can also be a handy way to keep everyone on task in a group setting.

A tripod is also a sound investment in this instance, and affords you the benefit to step back from the viewfinder to better communicate with your subjects, as well as achieve a more formal composition and, of course, avoid camera shake. This can be particularly useful if your group contains young children, who could be confused or frightened by you hiding behind the gear. We recently covered tripods at length in this dedicated buying guide on 10 Recommended Tripods for Photography.

In these situations, another invaluable addition to your tool kit is a remote shutter release. These are available in both wired and wireless versions and are generally tailored to specific cameras or manufacturers, so make sure you select the model that’s compatible with your gear. This accessory gives you much freer rein to move around and interact with your subjects or work with supplemental lights or reflectors. And if you want to be part of the picture yourself, the remote makes it easy to work from both sides of the lens.

After you have the standard group pictures in the bag, if the conditions permit, consider tightening up your composition and trying a variation of the group from a slightly higher angle than your subjects, with everyone’s face looking up toward you. You’ll probably need the help of a ladder or chair for this vantage point, but the double benefit of highlighting faces and camouflaging the dreaded double chin might earn you bonus points.

Finally, a bit of advance direction on wardrobe can go a long way in trying to get everyone on the same wavelength. A few days before the gathering, consider making a gentle suggestion that your subjects favor solid colors over prints, plaids and otherwise complicated outfits; or perhaps even request a particular color scheme to further reinforce familial bonds.

But most important of all, make sure you’re prepared with sufficient power, either external batteries or a dedicated power charger, and storage capacity in terms of memory cards (or even film) to keep your camera going and to make as many memorable photos as you can!

Flash accessories are popular add-ons, coming in right behind the camera and flash themselves in popularity, and with everyone from Kickstarters to major manufacturers releasing new items, it might be enlightening to look at a few. So, once you've mastered the on-camera flash and taken all the family pictures everyone has requested, it's time for some fun. Here are a few items that do just that.

ExpoImaging Rogue Gels Universal Lighting Filter Kit

Add creative or corrective color to your photos with the ExpoImaging Rogue Gels Universal Lighting Filter Kit. This kit includes eight color filters in the yellow /red spectrum, such as Dark Salmon and Follies Pink, along with seven colors like Deep Purple and Steel Green in the blue/green group. Use the colors to light a background, accent a product, or add a tinted hair light to a portrait. The kit also includes color-conversion and correction filters. Use one of the amber CTO filters to make outdoor photos pop and blend in seamlessly with the light balance from noon daylight to sunset. Or create your own late-afternoon look using your on-camera flash as a main light. There's also a CTB filter for a cool or neutral look and a filter to reduce the green emitted from fluorescent bulbs.

RoundFlash Magnetic Ringflash Adapter

This ringflash adapter is aneasy way turn your on-camera speedlight into a ringlight system, favored by many fashion photographers. The RoundFlash Magnetic Ringflash Adapter sets up in seconds using five magnetic rods. It works with lenses up to 100mm in diameter that fit into the center donut hole of the 17" outer diameter RoundFlash. Normal to telephoto lenses work best and a zoom lens is ideal for varying portrait details. The signature look of this kind of light is a soft glow, since the ringlight is 100% on axis, basically "wrapped" around the camera's lens. For this reason, used at reduced power, it's an ideal fill light. As a main light, it creates a soft, open-shadowed halo around the subject and exotic circular catchlights in the subject's eyes that add a creative flair. If your camera offers a wireless TTL system, you can take the flash off-camera for a more directional look that highlights facial features. But these are just two of the ways to use the RoundFlash. This quality of light is also well suited to macro work, as it will illuminate your subject from all angles and ensure that there will be no shadows cast by you or your lens being too close.

Vello Off-Camera TTL Flash Cords

If you want a simple solution for some pretty dramatic results, you need to get your flash off-camera. Vello makes it easy with off-camera cords that allow you to maintain TTL automation while using a flash bracket or simply holding it in your hand. You can add more dimensionality by changing the angle of light and shadows on products and people. It's like buying a completely different light source for 15 dollars. Coiled cords come in 1.5, 3, and 6' lengths and there's also a 33' straight cord.

Lumedyne X Flash Recycle Accelerator

There's nothing worse than a battery running dry when you're shooting a job or at a once-in-a lifetime event. But who wants to lug around a battery pack? Lumedyne has all bases covered with the X Flash Recycling Accelerator for Nikon or Canon. The rechargeable 2.7-oz lithium battery measures just 0.6 x 1.7 x 2.8", and provides hundreds of flash pops for your Nikon or Canon speedlight while simultaneously halving your recycling time. Since it plugs directly into the HV input on your flash without straps or touch-fasteners, it doesn't get in the way when rotating the camera for a vertical shot with or without a flash bracket.

Flash Brackets

Ever get a perfect shot, except for your subject's gleaming red eyes, right out of a horror movie? How about that sharp, distracting shadow tracing their form? Chances are that you're using on-camera flash and need a flash bracket. The sole purpose of this accessory is to keep the flash over your lens—not to the side or underneath—to create a flattering, natural drawing of the subject's features by keeping the flash off-axis. The relatively small change of angle also handily defeats redeye, which is particularly in evidence at night or in low light.

Flash brackets offer two solutions. In one, the camera rotates and, in the other, the flash rotates. Of course, since you're now separating the flash from its TTL command center—the camera—you'll need the off-camera cord mentioned earlier. These are dedicated to the camera and flash brand that you own.

Back to the methodology employed by bracket manufacturers: both designs have advantages and disadvantages. The camera-turning design is generally more compact, but that leaves little room for accessories like radio receivers and quick releases. There's also a great deal of variance in the smoothness of action between brands. The moving flash design is simplicity itself. The bracket is basically shaped like the letter “C,” with hard angles. The base end accepts the camera and optional quick release. The other end is hinged to the vertical portion of the bracket. As mentioned before, a TTL cable is needed, but there's plenty of room for it. The jury is still out regarding which type is faster to use, but there are a lot of proponents for the moving-camera models—and I think they have the edge.

Just a few simple flash accessories can help improve your photos and de-stress the process.

Offering unprecedented protection for your lenses, Sigma's WR Ceramic Protector Filters revolve around a new and unique type of glass—Clear Glass Ceramic. This specialized substrate is claimed to offer 10 times the strength of conventional protective filters and three times the strength of chemically hardened filters, all while measuring up to 50% thinner and 30% lighter in weight than other Sigma filters.

This strength is made possible by a heat-treatment process that precipitates micro crystals of spinel (a type of mineral/gemstone) evenly throughout the entire filter, which leads to uniform, consistent durability that is harder than chemically strengthened glass and more flexible than sapphire crystal glass. The filters are also scratch resistant and shock resistant, and feature a WR (Water-Repellent) coating that deflects moisture and oil from the surface, as well as prevents static electricity from attracting dust. The coating also minimizes ghosting and flare, and allows for 99.76% light transmission for maintained image quality.

WR Ceramic Protector Filters are available in 67, 72, 77, 82, 86, 95, and 105mm sizes, and are delivered with a unique molded acrylic hard case.

Inside current digital cameras, imaging sensors have gone beyond being the silicon and metal film analog for which they were initially conceived, and as they continue to gain capabilities at an ever faster rate, they offer a world of potential that far exceeds the black box with its lens and shutter—an enclosure whose fundamental design has not changed for nearly 200 years.

One of the highlight advancements this year came from Sony and its evolution of the back-illuminated CMOS sensor. This design moves the CMOS circuitry from in front of, and partially obscuring, the sensor’s photodiodes, onto the back of the chip. With the ability to gather more light, cameras with back-illuminated CMOS sensors have presented themselves to be a suitable option for more low-light photography, or scenes dominated by shadows where capturing shades or details within them is essential to the creative result.

Stacked, Back-Illuminated Full-Frame Sensors

Of course, the Sony Alpha a7R II is making the cut with its world-first, full-frame, back-illuminated CMOS sensor that allows users to reach up to ISO 102400 while maintaining an exceptional 42.4MP of resolution. The fast signal-processing speeds built-into CMOS designs have been further leveraged into enabling high-speed still shooting modes with corresponding high-speed autofocus, thanks to the integration of phase-detection autofocus points on the sensor. Also, the a7R II goes beyond simply capturing still photographs and features the ability record full HD video with high frame rates, as well as capture UHD 4K imagery.  

While the a7R II does have a groundbreaking full-frame sensor, it seems, for now, that photography enthusiasts continue to be among the very first consumers to benefit directly from the current advancements in imaging sensor technology. Among the most significant in 2015 has been the migration and scaling-up of the stacked back-illuminated CMOS sensor from smartphones to digital cameras with the introduction of the Sony Cyber-shot DSC-RX100 IV and the Sony Cyber-shot DSC-RX10 II. First incorporated within smartphone cameras, stacked back-illuminated CMOS sensors further solved the problem of the CMOS sensor type’s circuitry limiting the light-gathering ability of its photodiodes. By moving the CMOS’s circuitry off the sensor’s light-absorbing surface and “stacking” it underneath, sensor manufacturers could avoid blocking or taking up space from those parts of the CMOS which, collectively, serve to function as a camera’s “eye.”

Conventional back-illuminated CMOS image sensor	Newly-developed stacked     CMOS image sensor

Especially under low light, the stacked back-illuminated CMOS sensor is considered to be essential to obtaining acceptable image quality with a smartphone camera in regard to achieving shadow detail, suppressing noise, and minimizing motion blur while affording the additional features and functions derived from a CMOS sensor’s built-in processing. This is a consequence of the necessity of using small components within smartphones, including the imaging sensor, so as not to compromise the overall portability of the phone. Unfortunately, the potentially light-blocking circuitry of the CMOS sensor is not proportionally miniaturized—making its effect all the more significant and problematic if it competes with a small-sized imaging sensor’s photodiodes in any way.

With an entire sensor layer dedicated to image processing, DRAM memory can be installed as part of the CMOS sensor, leading to increases in speeds for established camera functions, as well as enabling new features that may have been previously impractical to incorporate within the larger camera design. Both the Sony Cyber-shot DSC-RX100 IV and the Sony Cyber-shot DSC-RX10 II, with stacked back-illuminated sensors, offer electronic maximum shutter speeds of up to 1/32,000 of a second and burst rates of up to 16 and 14 frames per second, respectively. In contrast, their predecessor models, which incorporate the older, photodiode and circuit surface-sharing back-illuminated sensor design, feature significantly slower maximum shutter speeds: 1/2,000 of a second for the Sony Cyber-shot DSC-RX100 III and 1/3,200 for the Sony Cyber-shot DSC-RX10. For both of those 2014 camera models, the maximum burst rate is 10 fps. With their increased signal processing speeds, the  Sony Cyber-shot DSC-RX100 IV and the Sony Cyber-shot DSC-RX10 II both contribute UHD 4K movie-clip recording to the Sony lineup, plus the ability to record slow-motion frame rates of up to 960 fps in the NTSC video standard or 1,000 fps when set to PAL.

Going forward, the modular, stacked back-illuminated CMOS design has the potential not only to enable the creation of imaging sensors that are more effective in their basic functions while offering increasingly novel features, but to speed the overall advancement of new sensor and camera development, as well. By essentially splitting photodiode and sensor circuitry into separate components that can be combined with relative ease, manufacturers can create and finalize new circuit designs at a rate independent of photodiode development. In helping to eliminate the need for sensor fabricators to produce according to rigid schedules that are dictated by designs where photodiodes and their circuits are tightly integrated on the same surface, flexibility is created that opens the door to incorporating new video and still-capture capabilities, in-camera image editing tools, and creative options yet to be imagined but closer to the time they are ready to be implemented.

You Say You Want High Resolution

This year, it has been Canon that has helped to push the resolution envelope furthest, with its release of the EOS 5DS and EOS 5DS R with the highest-resolution commercially available sensors of their size to date, providing exceptional detail-capture opportunities, as well as extensive enlarging and cropping flexibility.

The sensors in the EOS 5DS and EOS 5DS R are 35mm full frame, with the primary distinction between the two being the EOS 5DS R’s  use of a low-pass cancellation effect. While that filter can reduce the potential of distorting moiré that results when a camera is confronted with high-density patterns in a scene that are beyond the ability of its sensor’s resolution to accurately reproduce, the 50 megapixels offered by either of these cameras in and of itself can make that possibility remote for most photographers. By canceling out the anti-aliasing filter, contrast between the edges of lines down to the pixel level is better preserved, resulting in the more effective capture of small details, thereby maximizing the sensor’s resolving potential.

5DS: Sharpness	5DS R: Sharpness
5DS: Moiré	DS R: Moiré

APS-C Users, Don’t Fret

For APS-C format DSLR users, the EOS Rebel T6s and EOS Rebel T6i, with their 24.2 megapixels, raise the bar in resolution for non-full frame sensor Canon DSLRs. The EOS Rebel T6s features additional control and display options, some of which can enhance the experience of recording video, but both offer a 33% jump in effective pixels from their predecessor models, while the EOS M3 makes that same resolution available in the compact mirrorless camera category.

Something for Micro Four Thirds Shooters

Occupying the space in sensor area below that of APS-C is the Micro Four Thirds format which, for many photographers, has been effectively used to combine high resolution, sensitivity to light, as well as compact camera and lens form factors that nevertheless offer the ability to photograph with shallow depths of field. With the release of the Panasonic Lumix DMC-GX8, 20 megapixels was first made available to the Micro Four Thirds shooter, and the image processing included for its CMOS sensor enables electronic maximum shutter speeds of 10 fps for still images, as well as the ability to record 4K video.

Cutting-Edge Tech and Low-Light Photography

While each individual new digital imaging sensor released in 2015 offers new capabilities for the photographers who use them and, together, are a significant step forward for sensor manufacturing as a whole, perhaps the most significant development for digital imaging sensors in 2015 was Sony’s consolidation of digital imaging sensor development and manufacturing into a new company, Sony Semiconductor Solutions. Within the Sony conglomerate, camera manufacturers, including Sony itself, will be only one type of its many customers.

Cutting-edge technology, such as Sony’s STARVIS stacked back side illuminated sensors, offer the ability to see clearly into the borders between visible and near-infrared light, while Sony’s improved Pregius sensor architecture continues to address the issue of CMOS rolling shutter when recording high-speed movement. CMOS sensors do not capture images or video using all of their photodiodes simultaneously. Instead, they operate like a high-speed flatbed scanner, where lines of photodiodes are exposed sequentially, in an action that “rolls” from one end of the sensor to another. If movement by an object within a video is occurring faster than the total scanning rate of the sensor, that object may appear distorted or partially out of position, visually reflecting the difference in time needed by the sensor to complete one full end-to-end scan versus the shorter time limit required to realistically freeze the object inside of a single video frame.

Camera that use a rolling shutter (left) scan across the sensor line by line,
while cameras with a global shutter (right) capture all of the sensor data at once.

By creating a CMOS sensor with the capability to save a charge using all of its photodiodes simultaneously or “globally” before that charge is further “rolled” into the sensor’s processing mechanisms, it gains the ability to “see” high-speed movement without distortion. When combined with strong light-gathering ability and relatively high resolution, such CMOS devices can be used not only to accurately determine how and where a subject is moving as it travels, but also to clearly freeze that subject in place along any point during the recording. This allows details to be captured that would otherwise be difficult or impossible to obtain using footage from another sensor type, and to the unaided human eye, would register as an indiscernible blur.

Global Shutter	Rolling Shutter

Low-light imaging is a large area of concern for manufacturers, with Sony’s a7S II and Canon’s ME-20F-SH Multi-Purpose Camera as strong evidence that consumers are taking note of the advantages brought by larger pixels as opposed to more, especially when it comes to video capture. These cameras push the envelope, in terms of sensitivity, by utilizing full-frame CMOS sensors with a low megapixel count optimized for video capture. The Sony also benefits from a 1:1 readout of pixels for 4K video recording that will eliminate moiré and aliasing issues. And, the Canon ME20F-SH brings an unheard of 4 million ISO to the market for highly specialized situations, such as scientific, medical, or wildlife research.

To Infinity and Beyond!

Moving to the other end of the spectrum, Canon also succeeded in pushing digital imaging resolution well beyond the capabilities of the human eye with its September announcement of a yet-to-be-commercialized 250-megapixel APS-H CMOS sensor. Boasting the ability to render lettering on an image from an airplane from more than 11 miles away, and offering video resolution that is approximately 125 times that of full HD and 30 times that of 4K, the technology that makes this sensor possible offers the potential to create devices that together can capture an unprecedented array of visual information.

Initially applied as a film supplement for a narrow slice of the photographic market, the digital imaging sensor, through technical advancements in resolution, light-gathering ability, and processing power, has long since succeeded in replacing film for all practical purposes. As significant as that may be, digital sensor manufacturers such as Sony and Canon have no intention of stopping or even slowing the pace of their innovations, which will continue to impact photographers and filmmakers, as well as the cameras they use, but may fundamentally change many other professions and many more devices.

You’re bundled up under appropriate layers, complete with warm, waterproof boots, fingerless mittens, and disposable hand warmers for added comfort. Spare batteries are tucked under layers, close to your body, to keep them warm in an attempt to prolong their life outside. Spare lens cloths for fogged lenses and an airtight plastic bag for condensation purposes ride in your bag. Now, how does one capture the perfect shot in the snow? Here are a few tips to help you catch the untouched landscape, the serene snowfall in the city, or the epic snow fight your kids have on their highly anticipated day off from school.

Many photographers prefer a sharp, high-performance prime lens on a daily basis but, if you don’t want to be limited to just one focal length, you want to avoid the risk of condensation being trapped inside your camera body when changing your lenses outdoors. A zoom lens will give you a range of focal lengths without compromising your gear. While you’re at it, make sure a UV or clear filter is in place to protect that front element of your lens from moisture. Grab your lens hood before you head outside to avoid lens flare as a result of the highly reflective, freshly fallen snow. In addition, a polarizer can help minimize or remove the glare on snow- and ice-covered surfaces in frigid temperatures. A polarizing filter can also be used to darken a bright, cloudless sky, or aid in amping up the saturation.

Protect and Serve Your Camera

Once your camera is out,keep the lens cap on when not in use to prevent snowflakes from landing, and possibly melting, on the front element of your lens. If your lens does become fogged or smudged, avoid blowing warm air onto it, to inhibit the possibility of a thin layer of ice coating it. Rely on your microfiber lens cloths and don’t be afraid to pack extras. Holding your breath when bringing your camera up to your face to take a picture could prevent fogging on your LCD screen and viewfinder, as well. If temperatures aren’t quite cold enough and the snow is more wet than it is dry, consider some rain gear. While some cameras are fairly weather resistant, even a plastic bag and a rubber band with the opening of the bag positioned around the front of the lens barrel can be a fast alternative in sudden and severe inclement weather.

Keep the front element of your lens covered when you're not taking pictures.

Shoot in the Raw

Shoot in raw format. Capturing the correct exposure and color temperature when your scene is overwhelmed by reflective, white snow can be tricky. Setting your recording format to raw allows you to safely adjust your settings without being limited, the way you would be otherwise, with a JPEG.

Shooting raw format gives you more latitude to correct exposure and color temperature in post production.

No Gray on a Sunny Day

Consider overexposing to compensate for your camera’s metering system, which is standardized for middle gray. While this standardization is generally perfect for the diverse range of scenes you encounter and photograph, a bright, snowy day is one of the few exceptions. Matrix metering, combined with shooting in aperture-priority mode, is a reliable way to overcome your camera reading the range of light in your snow scene at an average 18% gray. If you’re not as confident shooting in aperture-priority, take advantage of your exposure-compensation dial. Adding one-third or two-thirds exposure compensation lets more light into your scene, preventing muddied gray exposures, and ensuring the snow stays white in your photos.

Overexposed to compensate for the light meter's reading of middle gray

Use the Histogram, Luke

Rely on your histogram readout instead of your LCD screen for an accurate reading of the scene. Just as it can be difficult for your camera to read and measure for the scene correctly, it can be difficult for you to judge an image on a small LCD screen under a bright sun or in the middle of a highly reflective, snow-covered landscape.

The camera's histogram function will give you an exact reading of your exposure parameters.

Keep Your Balance

Finding the correct white balance while photographing snow can be tricky. More often than not, snow reads on the blue side of the color spectrum. If you don’t plan on adjusting your white balance and prefer to get everything right in-camera, use the “flash” setting. It is intended to compensate for bluish flash lighting, and can warm up your snow-filled image. However, if you try to resolve all of the blue, your snow could suddenly have a yellow cast to it, which is obviously not ideal. A slight blue cast with neutral highlights results in a balanced image.

Correct White Balance	Incorrect White Balance (too blue)

Stay Composed

Finally, the composition of snowy scenery works best when vast white areas are brought to life by contrast and, at times, a brightly colored scarf, sled, or taxi cab. If there isn’t a bright color that you want to capture, consider shooting in black-and-white for a more pristine image. Think ahead of time about where you’re walking and make sure your footprints won’t be in the frame. If snow is falling while you’re outside photographing, and you find the snowfall distracting, set up a tripod and slow your shutter speed down to erase the falling snowflakes from your scene. On the contrary, utilize a fast shutter speed to stop the action, highlighting the snowfall over your scene. Try not to waste time, as winter lighting tends to change quickly; chances are you won’t have as much time to capture multiple images with the same light as you think you will!

Here's an example of using color and composition to heighten drama in an image made on a snowy day.

Preserve Your Memories

Once you’re satisfied with your images, or the cold has gotten the best of you, pop your memory card out of your camera and zip up your camera in a zip-top bag before heading indoors. This way, any condensation that forms upon entering a warm interior can form on the outside of your zip-top bag instead of directly on (and sometimes in) your camera body and lens.

When you bring your camera back inside after shooting, bag it to prevent condensation from forming on lens and electronics.

Whether you’re uploading your images to review, edit meticulously, and integrate into your portfolio, or directly to your favorite social media account to share with your friends, hopefully your time shooting in the snow was enjoyable and yielded successful images, inspiring warm thoughts of cold weather!

True statement: I am not perfect. *Gasp!* Not only that, but some of my imperfections have trickled into my photographic life. **Double gasp!** So, luckily for you, I will share my mistakes with you in the hopes that you can learn these lessons before you make the same mistakes. Or, maybe, if you have already made them, or still continue to make them, you will sleep better knowing that you are not alone!

1. Incorrect settings  “Wow, I am getting some amazingly fast shutter speeds today.” That is because your ISO is cranked up from the night before when you were shooting a low-light photo without your tripod. It has happened far too many times to count. Also, if you switch from RAW to JPEG for some reason, make sure you switch back. White Balance? Exposure modes? Exposure compensation? AF modes? Metering modes? Check and re-check your settings before you shoot.

2. Distracting background objects  I might classify this one as another “rookie mistake,” but I am as guilty of it as anyone else. If you are taking a photo of your friend, family members, favorite pet, etc., pay attention to what is in the background. Moving your feet just a few inches might make the difference between a great portrait and a portrait of your subject with a street lamp post growing out of his or her head. Scroll through your Instagram or Facebook feed to see how many portraits feature such undesirable visual elements.

3. Dirty optics  It honestly takes a lot of dust or smudges on a lens’s front element or filter to affect the image captured by your camera. Sometimes a small scratch might catch the light just right and cause some flaring, but your lens never has to be perfectly clean to get the perfect photo. However, once upon a time, I was out photographing an abandoned industrial site and I noticed a strange flare going on in my images when I reviewed them on my LCD. I checked the lens filter. Clean. I checked the sensor. Clean. I sent the image to friends and they were befuddled. Then, I looked at the lens’s rear element. A huge smudge. Whoops. Keep your optics clean.

4. “Accidental” memory card formatting  Before you format your memory card, feel free to listen to that little voice in the back of your head that says, “Hey, why don’t you take a minute and make sure that you uploaded the images from this card onto your computer before you format it.” I ignored that voice once and lost images. Thankfully, a data recovery application that I downloaded saved the majority of them, but it could have been a lot worse. If you format your card, the information may still be there until you overwrite it with more images, but don’t count on it! Ever. Just listen to that voice.

5. Perspective change  We all view the world from eye level. I often preach changing perspective to give your images a fresh viewpoint, but I often fail to do this on my own. This isn’t necessarily a mistake, but I am sure there are times when I could have improved my imagery by changing perspective. Not only am I confessing my sins here, I am writing this to remind myself to practice what I preach.

6. Out of power / memory  Two totally different things, but definitely showstoppers. In the olden days, you used to run out of film. Today, you run out of photo storage or battery power. A friend of mine used to tell me that when he packed for a trip he would assemble all the clothes he thought he would need, and then he would put half of it back. This does not apply to photography. A word to the wise, bring more batteries and memory cards than you think you will need; and then, add one more of each.

7. Blurry photos from a tripod  The tripod can sometimes give you a false sense of support. Just because your camera is mounted on a sturdy tripod does not mean that it cannot shake while capturing an image. Use the tripod, tighten everything down, but then make sure your DSLR is in mirror lock-up mode or set your mirrorless or point-and-shoot to timer mode, or use a remote shutter release. If you want to be extra careful, put a delay on the shutter while using a release so that you can let go of the release before the image is taken. Wind is a tripod’s enemy, as well. Weigh it down in high winds, or try to shield your gear from the wind. And, for goodness sake, don’t kick the tripod while the shutter is open! Yeah, I’ve done that plenty of times.

8. Obsessing over the misses  This could be better discussed with my therapist than you all, but try not to dwell on what you failed to capture. I love to live in the past, and mistakes haunt me. Pull up a chair to the campfire and I can tell you more stories about photos I missed than photos I captured. Note to self: Go make pictures of the now and not worry about what was missed.

Feel like you need to confess some mistakes, as well? Feel free to comment below, so that I have some company! Thanks for reading!

In this B&H Event Space video, world-renowned photographer Sam Abell answers the question: “What makes a lasting photograph?” In compelling slide-by-slide sequences, Abell discusses the ins and outs regarding how many of his famous images were made. This is not a “greatest hits” slide show, but a hands-on, step-by-step demonstration of how—through simplified technique and critical vision—lasting photographs can be made.

In this B&H Event Space video, portrait photographer and lighting designer Hanson Fong shows us some simple lighting and posing techniques to help us make good photographs great. He also talks about how to engage with your subject and get them to work with you. “I am directing people,” he says. Passion, education, and equipment are just some of the topics he discusses.

The weeks before and after New Year’s Day are great times for taking stock of the state of your photo gear, and making resolutions about improvements you’d like to make in the coming year. Thinking back on the shoots from the previous year, and focusing on gear that needs repair, replacement, or restocking is a good place to start. Are your photo umbrellas in good shape? Is your camera bag looking worn and tired? And how about the various connecting cables and accessories—are they as reliable as when they were new? These are just a few important things that require your attention. Here’s a list that can serve as a good starting point for getting your gear in tip-top shape, so it’s ready to help you tackle the challenges of the coming year.

Back Up and Expand

Back up your 2015 photos on a new hard drive. Consider using more than one hard drive, and storing the drives in multiple locations for added safety. Was the hard drive you used with Time Machine large enough? With another year of photos, documents, and new software, it may be time for a larger-capacity replacement. Perhaps now’s the time to get that Drobo 5D Professional Storage Array you’ve been eyeing. And for photographers who shoot tethered or who need to download their photos at the end of the day while on location, one of the new LaCie 500GB Solid-State Drives is an excellent choice.

Drobo 5D Professional Storage Array
 

Update your storage. How about the memory cards, readers, and card cases you’ve been using? Fresher, faster cards can improve camera write speeds and result in faster image downloads, as well. 2015 brought larger-capacity storage and reductions in price. So what you paid for that 32GB card in 2014 may be less than the cost of a 64GB card today. It’s worth considering.

Lexar Professional USB 3.0 Dual-Slot Reader (UDMA 7)
 

Clean up Your Act 

Don’t neglect mundane tasks, such as making sure your lenses and case interiors are clean. Did you remember to wipe down your camera after that trip to the beach? If not, and even if your gear is in pristine condition, stocking up on Zeiss Lens Wipes is always a wise decision. Even if you didn’t take your cameras to the beach, it’s a good idea to remove equipment and inserts so you can vacuum and wipe down case interiors.

Zeiss Lens Wipes (60-Pack)
 

I've Got the Power 

Today’s flash units and cameras require batteries, and lots of them. Over the course of 2015, your batteries have been recharged countless times. While they may function well, they are, nonetheless, older. This might be the time to get a 16-pack of Panasonic Eneloop AA Rechargeable Ni-MH Batteries. These batteries do not suffer from memory effect and will hold a charge for a long time. New batteries recycle faster, last longer, and inspire confidence. What about your battery charger? Does it charge batteries quickly? Can it charge 8 batteries at a time? If not, then consider investing in a Powerex MH-C800S 8-Cell Smart Charger. Many photographers own two of these chargers so they can charge up to 16 batteries at one time. It’s also important to have spare camera batteries, and to make sure the ones you have are not on their last legs. Some cameras indicate the life expectancy of their batteries. To ascertain the condition of your camera battery, simply navigate to the battery info menu item.

Panasonic Eneloop AA Rechargeable Ni-MH Batteries (2000mAh, Pack of 16)
 

The Expendables 

The New Year is a great time to stock up and replace expendable items, such as white, black, and gray seamless paper, gaffer tape, foam core, reflector boards, and more. Seamless paper gets dirty and wavy from moisture, foam core gets marred and bent, and reflector boards get ripped and stepped on. So before they become unusable or, worse yet, become too worn for client viewing—order a fresh supply.

Savage Bright Silver Reflect-o-Board (32 x 40")
 

Shape Your Light 

Roll into the New Year with a few new light modifiers to recharge and invigorate your creative juices. Perhaps a Vello Ringbox Ringflash Adapter for your shoe-mounted flash or an Impact Luxbanx Duo Small/Slim Strip Softbox will provide that shaping edge light you’ve envisioned. Or maybe a Mola Demi 22" Beauty Dish Soft Lite Reflector will trip your shutter finger. One way to discover what might appeal to you would be to relive some of your favorite and least favorite photo shoots from the past year, and analyze what type of light modifier might have made the shoot more successful. Sometimes looking backward is the best way to move forward.

Vello Ringbox Ringflash Adapter
 

The Software Shuffle 

Have you had any difficulties uploading raw files into your image editing program? If so, now might be the perfect time to upgrade your software to the latest versions. Check out Photoshop Lightroom 6 or consider an Adobe Creative Cloud Photography Plan. And while you’re at it, sharpen your skills with tutorial software and books, such as Adobe Photoshop CC Classroom in a Book, and Adobe Photoshop CS6: Core Training in Visual Communication: Learn by Video.

Adobe Creative Cloud Photography Kit
 

Keep on Truckin’ 

Although it’s said that time heals, I’m sure you remember the times you or your assistants struggled with moving heavy gear on location. To keep on trucking in the New Year, consider a new foldable hand truck, such as a Wesco Superlite Folding Handtruck , Norris or a Remin Super 600 Cart.

Remin Super 600 Cart
 

Put it on Display 

During the past year you worked passionately on your photography. Show the world how much your work has improved by displaying it in a new portfolio, such as a Pina Zangaro Vista Screwpost Portfolio or a Pina Zangaro Flexx Express Portfolio.

Pina Zangaro Flexx Express Portfolio Book 
 

The Sartorial Angle 

Clothes not only make the man or woman—they make the photographer, too. Now’s the time to update your wardrobe with a new photo vest and pair of cold-weather gloves for outdoor photography.

Humvee by CampCo Safari Photo Vest
 

Nothing inspires confidence more than knowing that your gear is well organized, in good condition, and varied enough to help you produce your best photographs. Here’s wishing you all the satisfaction and success you’ve worked so diligently for in the New Year.

Please feel free to share your own ideas for gearing up for next year, in the Comments section, below. We’d love to read your suggestions.

Because this was a title before it was an article, let me just start by saying the only thing you need to know about Fujifilm instax cameras is that they are a fun and easy way to enjoy instant photo prints. Instax, like the famed Polaroid cameras of an earlier generation (which still exist today, thanks to the Impossible Project), pushes out a print that self-develops within a few minutes of its emergence from the camera. In the digital era, there is little in the way of practical uses for this system, but since when does photography have to be practical? Use it to experiment, use it to enjoy good times with friends, at weddings or parties, and use it to show your kids that you can actually touch a photograph. Of course, as soon as I wrote that, I realized there might well be a few instances in business or even in film and photo production where an instant print might still be of use; however, I don’t think instax would be the choice tool for that function. But please do let me know if you use instax for practical applications.

Photographs by Juliana Gonzalez

Two possibly surprising facts about instax are that the camera line has been around since 1998, and it is currently the most profitable of all Fujifilm camera systems. Thanks to renewed interest in instant film photography (and film photography in general), Fujifilm is expanding production of the camera line, its film, and accessories in 2016. Also, as mentioned, the Impossible Project has rebranded Polaroid cameras and is producing instant film for old (and new) models, and the Polaroid brand name has made a reappearance on instant cameras, although they are actually Fujifilm-made cameras. Let’s take a look at what’s available in the instax world.

Film

Two film formats are available for instax cameras—instax mini and instax WIDE. The wide and mini cannot be mixed and matched; they are designed for specific camera models. The wide format, which measures 3.4 x 4.3" with an image size of 2.4 x 3.9", fits the current instax WIDE 300 and instax WIDE 210 models. All other instax cameras use the 2.4 x 1.8" instax mini format, as do the Polaroid 300 cameras. Size is another reason these prints are less appropriate for practical applications. The mini print, which is basically the size of a credit card with the white borders included, is too small to reveal much in the way of intricate details, and while the wide is closer in size to “standard” 3 x 5" or 4 x 6" prints, it is still not a preferred method for instant documentation. In addition to the standard white-bordered prints, instax offers prints with playfully designed borders, including the multi-colored rainbow pack. Both formats are housed in disposable black plastic cartridge that contains 10 sheets. The cartridge inserts easily into the back of the camera. 

Fujifilm instax instant film for the mini and the WIDE cameras

Integral film, the kind of instant film used by instax, works because it contains layers of emulsion dye and layers of developing dye sandwiched within its “sheet.” Developing and fixing chemicals are stored in the “sack” of white border on the bottom of the image and when the film is pushed out of the camera the developing process begins. For instax there is no need to peel off the negative image and no shaking or putting it under your arm (for proper temperature) required. Within an ambient temperature range of 41-104°F, just wait about two minutes and your image will appear, although it would be fun to experiment with different development temperatures.

Both sizes of film are daylight balanced, ISO 800 with a 10 lines/mm resolving power, and can expose indoor and outdoor shots equally well. However, if you are expecting the saturation of a Velvia film stock or the dynamic range of the X-trans sensor, you’re in the wrong article. Given the minimal amount of exposure, aperture, and flash control offered by the cameras, be prepared for (and excited about) lo-fi image quality with a glossy surface. With minimal experience, the right light on bold color and proper distance to subject, you can expect pleasing results.

The instax mini Lineup

Currently, B&H offers four distinct instax mini models, three of which are available with color choices. In order of their complexity, from very simple to quite simple, there is the instax mini 8, with a range of candy-color options, the instax mini 25, the instax mini 70 and the instax mini 90 Neo Classic.

Based on ease of use and color options, it would seem that the mini 8 is earmarked for the kiddies, although it does offer a nice black model for the “serious” shooter. There is little one needs to know about the camera, as it offers only the most basic adjustments. It features a fixed 1/60-second shutter speed, a built-in flash that always fires and, like all minis, it has a 60mm f/12.7 lens. On the side of the lens there are four aperture settings, which correspond to Indoor light, Cloudy/Shade, Partly Sunny, or Bright Sun. There is also a “high key” mode setting. Figuring out which to use is pretty straightforward, although there will be a margin of error. When I shot on a sunny but cloudy day the first time, it became clear that the proper exposure should have been Cloudy/Shade. Fortunately, you can immediately see the result of your exposure choice and adjust accordingly.

Fujifilm instax mini 8 Instant Film Camera
 

One aspect of the Fujifilm design, compared to Polaroid, is that the power source for the camera and film is in the camera and not the film pack. The mini 8 uses two AA batteries, whereas the mini 25 and mini 70 use CR2 batteries, and the mini 90 uses a rechargeable lithium-ion battery.

The instax mini 25 is slightly smaller than the mini 8, uses two CR2 lithium batteries, and features more control over exposure, including auto-variable shutter speed, exposure compensation, flash control, and a motor-driven close-up lens setting. It also has a small mirror next to the lens for easier composition of selfies.

Fujifilm instax mini 25 Instant Film Camera
 

The instax mini 70 has a fully retractable lens and is the most compact of available models, even slightly resembling familiar point-and-shoot digital camera form factors and colors. It is marketed as ideal for selfies and also provides a mirror next to the lens. It features a Selfie Mode, which automatically sets appropriate brightness and focus distance. A self-timer mode and tripod socket are also featured. Auto shutter speed varies from ½- to 1/400-second. Focusing options are more advanced on the mini 70, with three distinct modes including a “macro” mode that focuses as close as 11.8". An LCD screen displays the exposure count and shooting mode.

Fujifilm instax mini 70 Instant Film Camera
 

The instax mini 90 Neo Classic is available in black or brown and has a handsome retro design and two shutter buttons for convenient shooting in both horizontal and vertical positions. It, too, has a retractable lens design, but is the only mini to use a rechargeable lithium-ion battery. All instax minis have a 0.37x optical viewfinder, but the mini 90 has parallax adjustment for macro shooting. Six shooting modes are provided, including bulb mode for up to 10-second exposures and a double-exposure mode. Modes are changed by rotating the dial around the lens or with the button and LCD on the camera’s back. Its advanced flash enables better lighting for its various modes and its LCD and button controls are more familiar to anyone used to a digital camera. Three focusing modes, including macro, are the same as on the mini 70.

Fujifilm INSTAX Mini 90 Neo Classic Instant Camera
 

The instax WIDE Lineup

Both wide format instax models feature a 95mm f/14 lens, the 0.37x optical viewfinder, a built-in flash, a close-up lens adapter, and are powered by 4x AA batteries. The instax WIDE 210 Instant Film Camera is the more basic of the wide format instax and has a compact, stylish build. It enables exposure–compensation control to lighten or darken the image and motor-driven, two-range switching focus range with a minimum 2.9' focus distance. Using the included close-focus adapter reduces the minimum focus distance to 15".

Fujifilm instax 210 Instant Film Camera
 

The instax WIDE 300 Instant Film Camera is shaped like a DSLR with a large handgrip, and the shutter button and power lever ergonomically located on top of that grip. It also uses a ring around the lens to control its zone-focus system. The two motor-driven focus modes are 3.0-9.8' and 9.8' to infinity. Shutter speeds run from 1/64- to 1/200-seconds and exposure control can be set to automatic or adjusted with +/-2 exposure compensation control. The LCD screen displays the exposure counter (number of shots remaining), Lighten-Darken control, Fill-in Flash Mode and the WIDE 300 also comes with a close-up lens adapter.

Fujifilm INSTAX Wide 300 Instant Film Camera
 

Loading and Shooting the instax Cameras

Loading film into the instax cameras is about as easy as it gets. No sprockets or spools, no pick-ups or release buttons. Just open the camera back and place the pre-loaded black film cartridge into the camera. Well, there is one trick—make sure the yellow tab marked on the corner of the film cartridge is aligned with the yellow tab mark in the camera’s chamber. When the film cartridge is in place, not askew, close the film chamber door and shoot one exposure to remove the plastic film cover, which is ejected from the film slot the same way as the film. After the film cover is ejected, the counter will read 10 and count down after each exposure until you are out of film and need to reload. Remember, it’s best not to open the back of a camera with film in it, but with instax, even that is forgiven. I opened the back, even touched the film cartridge where it indicates, “No fingers go here” and nothing adverse happened. [Editor’s note: Professional photographer on closed circuit. Do not attempt.]

Shooting with instax is, by design, very simple. Yes, certain models give you some control over exposure, flash, and focal range, but the basic idea is point and shoot. As mentioned above, it will take you one pack of film to figure the proper exposure settings, which are controlled in broad strokes no matter the camera model. If you are only accustomed to digital photography and film is a new expense, well, unfortunately, the best way to get to know the capability of an instax is trial and error. Close focus is a welcome mode on some camera models that I encourage you to try. Keep in mind that the viewfinder is not showing exactly what the lens frames, but the difference will not ruin the experience. Focus range is different for the various models, but a good rule of thumb is that for best focus, exposure, and flash illumination, your main subject should be 2-8' from you, and bold colors work well. One caveat is that, while some of the models are a bit heartier than the others, they are all made from plastic and will break if dropped. 

Photograph by Juliana Gonzalez
 

Accessories

Perhaps the most interesting instax accessory is not even for the camera, per se, but a portable printer that creates instax prints from smartphone images. The instax SHARE Smartphone Printer SP-1 works through the free Fujifilm instax SHARE App and enables multiple copies of images, template changes, black-and-white and sepia adjustments, and social network sharing.

Fujifilm produces custom color cases to match the shape and color of your mini 8. Called the Groovy Case, this faux leather case holds your camera vertically with the lens fitting in a nifty custom-made groove. There are several bags available for carrying your Fujifilm instax cameras, including one to please the little Lebowskis—the Fujifilm Bowler bag, with its dual-zipper opening, shoulder strap, and sturdy handle. Skutr also makes a cool bag for the mini 8 with a “puffy jacket” design and separate compartment for film. The Fujifilm SNT084 Hard Case for Fujifilm instax mini 7S offers the protection of a hard plastic shell. Nifty and Skutr also offer several variations on photo album books to display your prints.

Fujifilm Groovy Case for instax mini 8 Camera
 

Both Fujifilm and Holga market a set of filters for instax. There is also the Fujifilm instax mini 7S Close-Up Lens with selfie mirror, and Holga makes fisheye, macro, and telephoto/wide adapter lens kits, as well. Check for compatibility with your instax model.

The Wrap-Up

However you choose to augment your instax, these cameras provide a nice combination of the pleasures of analog and smartphone photography, simultaneously fostering a more disciplined and a more lighthearted approach to the medium. Because you are limited by a finite number of exposures per pack and by optical capability, you need to concentrate your expertise before you just shoot away, but you are still provided with the almost immediate feedback and quench that digital photography bestows. As a bonus, you have the analog share-ability factor, better than that of a smartphone because it’s physical. And you can always scan and Photoshop your prints too!

Unlike some other instant camera options, the instax uses a relatively fast film, has few settings and no post-exposure effort; the whole process is quick and painless. As with any style of photography, one can approach it seriously or casually but, to me, the instax system is one to approach without anxiety, to embrace your mistakes, enjoy the experience and welcome a catch-and-release policy—gift the portraits to friends and family, exchange them like trading cards and display your snaps for all to see, perchance in stacks.

Photograph by John R. Harris

What makes a Rolleiflex TLR so special? Many things. To start, TLR stands for twin lens reflex. “Twin” because there are two lenses. And reflex means that the photographer looks through the lens to view the reflected image of an object or scene on the focusing screen. Photographers also look through SLRs, or single lens reflex cameras. One of the differences between the two is that the SLR is held at eye level, and the TLR is held at chest level while the photographer looks through a “waist-level” finder. Another difference is that most SLRs are oriented a horizontal format and must be rotated to shoot vertically. TLRs, however, are 6 x 6 cm square format cameras, so if a photographer wants a horizontal or vertical photo, they will shoot square and crop later. Since a 6 x 6 cm square is roughly three times larger than a 35mm film image, little is lost in terms of detail from cropping. That withstanding, most people are drawn to TLRs because they love shooting with a square format camera, and find it fun.

Photos by Dan Wagner

Rolleiflex TLRs Are Fun and Peculiar

The advantages of shooting from the waist, or more accurately, the solar plexus, is that people will look more “heroic” as the horizon line and related background areas behind a subject will be shifted higher. And for seasoned photographers, shooting from a new perspective can be liberating and inspiring.

Besides being fun to use, watching someone shoot with a Rolleiflex TLR for the first time is comical, as the mirror reverses the viewfinder image from left to right, frequently causing the photographer to point the camera the wrong way. This is because when one moves the camera to the right or left, the subject seems to move in the opposite direction. It’s also difficult, at first, to hold the camera level. Fortunately, with a little practice, both of these issues are easily overcome.

In the case of a Rolleiflex TLR, you look through the upper or “viewing” lens. The lower lens, which is referred to as the “taking” lens, is situated in front of the film plane, and is the lens that captures the image. Inside this lens are the shutter and aperture blades. Unlike an SLR camera, the TLR has a stationary mirror, not a moving one. The absence of a moving mirror has the advantage of lower vibration for slower handheld shooting and a viewfinder that doesn’t go dark during the moment of exposure. By allowing the photographer to view a subject the instant the image is recorded, the photographer will know if the desired image has been captured. It’s also quieter than the sound of an SLR firing.

Rolleiflex TLR Cameras are Built Solidly

A major appeal of Rolleiflex TLR cameras is that they are so well made. Constructed primarily of metal and glass and covered with a luxurious leather skin, Rolleiflex cameras are solid, and feel good in the hands. The precise manner in which parts fit together speaks to exacting craftsmanship. And it’s this manufacturing skill that makes a 50-year-old Rolleiflex feel relevant and demand to be picked up, appreciated, and used. The worst fate for any camera, let alone a Rolleiflex, is to become a dusty shelf queen. One example of how well-designed these cameras are would be the fit of the removable film door. On vintage cameras manufactured to less demanding tolerances, black foam inserts were used to keep film doors light-tight. But on Rolleiflexes, the film door fits so precisely that there is no need for foam liners—the metal-on-metal fabrication alone assures that the door remains light-tight.

Purchasing a Used Rolleiflex TLR

There are numerous concerns and things to look for when buying a used Rolleiflex TLR. Because the first Rolleiflex was introduced in 1929, and the popular 2.8f and 3.5f models were made more than 50 years ago, finding one in pristine condition can be difficult. The most important consideration is the condition of the lenses, especially the lower taking lens. Scratches, which some sellers will describe as cleaning marks, fungus, excessive interior dust particles sometimes described as haze, and balsam separation of lens elements from aging cement, are the main problems to look for.

Other factors, while not necessarily deal breakers, are also important. These factors include the presence of oil on the aperture blades, transport mechanism gearing problems, alignment of metal bellows, shutter speed accuracy, and more. Odds are that the camera you purchase will need a cleaning, lubrication, and adjustment (CLA). The main reason for this is that most cameras, especially vintage cameras such as the Rolleiflex TLR, were engineered with the expectation that they would be serviced at regular intervals. In addition, lubricating oils were never meant to last a lifetime, and over time will become sticky and impede camera functions. Simply leaving a camera in a hot car for too long can break down the lubricants and cause problems. Therefore, buyers should be prepared to spend an additional $300 or more to have their newly purchased camera serviced. Photography-related sites with for sale/wanted forums, eBay, and camera shops with used departments, such as the Used Department at B&H, are good places to find your Rolleiflex.

When buying a Rolleiflex TLR:

• Always weigh seller representations such as “the shutter sounds good at all speeds,” “the lenses have a few minor cleaning marks, dust, haze, separation—but they have no effect on image quality,” “my friend’s a photographer and says the camera works great,” and “I don’t know anything about cameras, but this one is nice,” with trepidation.
• Seller representations that inspire confidence are, “I will supply paperwork for CLA performed on specific date,” “please e-mail for larger photos with additional details,” and “returns may be made within 14 days.”
• If possible, run a test roll of Tri-X or other 120 film through the camera to check the transport mechanism.
• All else being equal, a camera that comes with a neck strap, case, hood, and other accessories is preferable to one that doesn’t. A neck strap, case, hood and a few filters can easily add up to an additional expenditure of $300 or more.
• Exercising a shutter at different speeds can, in some cases, help distribute lubrication where it’s needed and result in more accurate shutter speeds. And exercising the shutter from time to time between rolls, while a good practice, is only a temporary fix for a camera in need of a CLA.

Properly functioning Rolleiflex 2.8f cameras generally sell for between $900 and $1,500, with finer examples commanding a premium. 3.5f models can run about $200 less. Both lenses come in single-coated Planar and Xenotar versions and produce sharp photos with beautiful rendering. Models referred to as “white face” have serial numbers printed on the silver metal bordering the lenses to the right of the taking lens. Because white face cameras represent the final f-model run, and are 10 years or so newer, they go for the highest prices, which often exceed $2,500. When deciding between a 2.8f versus 3.5f and white face versus non-white face camera, always let the camera’s condition be the deciding factor. Telltales to how a camera was treated may be revealed by wear to the leather panels on the camera, wear to the leather case, missing paint, dents, and worst of all, damage to the optics.

Servicing a Rolleiflex TLR

When considering where to have your Rolleiflex serviced, be sure to examine the repairman’s reputation. Fortunately, there are superb Rolleiflex repairmen, such as Harry Fleenor, in California, and Krikor Maralian, whose service is called  Krimar, in New Jersey, both of whom have websites describing their services. Best of all, Fleenor and Krimar were factory trained by Rolleiflex, have a half-century of experience, use specially machined repair tools and maintain an inventory of original replacement parts.

When having a CLA performed on a Rolleiflex, it’s a good time to install a brighter focusing screen. Harry Fleenor offers this service, and while it’s easy to install a focus screen, Fleenor will check and adjust the focus to accommodate any variances introduced by the new screen and align focusing mechanisms to factory tolerances. This is important for wide-open shooting, where depth of focus is at a minimum and fractions of an inch can make or break critical focus. Another optional service is camera leather replacement. Companies such as Aki-Asahi.com and cameraleather.com sell easy-to-install leather for Rolleiflex TLRs and other cameras. And the new leather will improve both the grip and cosmetics. Finally, if a seller claims that their Rolleiflex TLR had a CLA, there should always be a sticker with the repairman’s name in one of the film spool chambers.

Viewfinder Choices

The Rolleiflex 2.8f, 3.5f, and some later 2.8e and 3.5e models have removable viewfinders. This offers the option of shooting with a chimney finder, which is hard to come by unless one is using a Baier adapter with a Hasselblad or other third-party chimney. If opting for a Baier finder, one will probably need a diopter for the finder they select. Baier’s website offers info on this. Best of all, the Baier adapter cosmetically matches the Rolleiflex aesthetic. By the way, some Hasselblad or Kiev finders have cold shoes for mounting a small flash, or even an exposure meter or other shoe-mounted accessory.

Other finders are available, such as 90-degree or 45-degree eye-level pentaprism, which are heavy but allow photographers to view subjects without the image appearing reversed horizontally. However, make sure that any vintage finder with a prism is free of balsam separation. And if there’s an eyecup, most likely the rubber will be deteriorating.

Another advantage of Rolleiflexes with removable finders is the ability to clean the mirror behind the viewing lens easily and quickly replace the focusing screen with a brighter one for improved focusing, especially under low-light conditions. Also indispensible for critical focusing is the flip-up magnifier located on the underside of a waist-level finder’s lid. Other options include:

• Magnifiers with diopter correction for photographers who wear glasses.
• Many chimney finders have adjustable eyepieces for easier focusing, as well.
• Brighter focusing screens, which generally cost more than two hundred dollars, are easily scratched, and should be handled only by the edges.
• Focusing screens are available with or without grid lines, with a horizontal or diagonal split-image center rangefinder, or plain.
• Because one of the beauties of focusing with a Fresnel lens is watching the image “pop” into focus, and because a central rangefinder can be distracting, many photographers opt for a plain focusing screen, or one with a grid. The grid is, of course, helpful for keeping horizontal lines level.

Using a Smartphone Exposure App

If you buy a Rolleiflex with a non-functioning exposure meter, the options are to use your knowledge to set exposures manually, work with a small digital camera set on manual to take readings—or even better—simply install a light meter App on your smart phone. The App will enable you to select your film sensitivity and an f/stop or shutter speed accurately. This App can function as a spot meter by dragging the cursor over different parts of the scene. As the cursor is moved, you will see the image get lighter or darker, because the meter is calculating the exposure for the area under the cursor. When the best compromise between light and dark areas is reached, the displayed settings are the ones to go with. What’s nice about this method of exposure selection is that it gives a visual representation that makes adjusting for backlit, low lit, and other tricky situations fast, reliable, and easy to visualize and understand. So, even if you’re lucky enough to score a Rolleiflex with a perfect meter, you may still prefer to work with the App.  

Leather Neck Straps

As with any handheld camera, there are numerous ways to set up and shoot with a Rolleiflex TLR. The first step is to adjust the neck strap to an ideal length that keeps the camera at a comfortable height where it may be quickly raised to take a photo. Sadly, due to age, the leather on most original Rolleiflex neck straps will be brittle, cracked, and in need of replacement. When replacing the leather, reuse the alligator clips that attach to strap lugs on either side of the camera. These clips are spring loaded, and offer a connection that is secure, yet easy to quickly disconnect.

Because the clips bend outward and away from the camera, when a photographer lifts the camera, the neck strap will fall to the sides instead of getting in the way. Thanks to details like this, Rolleiflex TLRs earned their reputation for being superbly engineered. To replace the leather on the neck strap, drill out the rivets on the alligator clips, insert a fresh piece of leather of the same width, and install new rivets. For a professional result, one can bring the alligator clips to a leather repair or saddle shop, such as Schatzlein in Minneapolis, Minnesota—ask for Gary. Leather strap options include:

• Adjustable or non-adjustable straps.
• The benefit of a non-adjustable strap is that there is no excess material. However, the downside will be that it will most likely only fit the intended wearer.
• By including the buckle hardware, straps with the same adjustability as the original can be ordered.
• For a nominal amount of money, a matching neck pad can be made, as well.
• Another option is to attach connectors to the alligator clips for use with other straps.

Pros and Cons of Rolleiflex TLR Cases

One commonly sought Rolleiflex TLR accessory is the ubiquitous Ever-Ready case. These attractive cases were made with brown leather, burgundy felt interiors, and were stitched together with thread. Like the neck straps, they are often in need of repair. However, with the cases, it is the thread that often needs replacing, not the leather. Unfortunately, it is almost impossible to find a shop willing to spend hours re-stitching a case.

This is a simple do-it-yourself task. The reason it’s simple is that the holes are already there. Just buy a roll of suitable thread, some sturdy needles, and replace the old thread with new. To make the job easier, keep the leather pieces properly aligned by only removing a small amount of the worn thread at a time.

Ironically, while Rolleiflex Ever-Ready cases are nice to look at, they’re not very practical for shooting. The problem is that with only 12 exposures per roll, too much time will be wasted removing and reinstalling the camera in the case. Therefore, for the sake of practicality, most shooters will either leave the case at home or use a small camera bag. Case options include:

• Rolleiflex manufactured an all-metal, copper colored case for use in humid, wet tropical climates, called the Tropical. This case came with a desiccant cartridge to absorb moisture and a leather strap that attached with a hole-and-slit method instead of alligator clips.
• One of the best cases for shooting in rainy weather is a locking, clear plastic bag. Simply make two slits for the neck strap and a hole for the taking lens. Attaching the bayonet lens hood after making this hole ensures a tight connection. While not waterproof, the bag takes up almost no space and can make it possible to shoot in light rain. If you go this route, be sure to bring lens-cleaning supplies and a few paper towels to wipe off your camera.

“The Wonderful World of Rolleiflex TLR Photography” is a three-part series. Please check back for Part 2,“How to Load a Rolleiflex TLR.”

Dan Wagner has been making images with Rolleiflex TLR cameras for years. His latest book is Never Seeing Nothing. Photo by Dan Wagner

Guaranteed to be the one camera that is always on you, your mobile phone’s camera may or may not be your camera of choice, but it’s better than none! Here are a few tips to help you use what you have, or whip your budding mobile photography hobby into better shape.

If you’re anything like me, throughout the day, your phone is constantly being juggled; it’s stuffed in a pocket on the way outside to walk the dog, held with a wallet upon entering the subway, slipped into a bag during your commute, and often misplaced at least once during your waking hours. Regardless of the level of protection your case offers, your mobile phone comes into direct contact with myriad dust- and bacteria-covered surfaces throughout any given day.

Keep it Clean

The first and easiest way to improve your mobile photography is to make sure the lens on your camera is free of dust, dirt, and smudges on the exterior element. Individually packaged Zeiss Moist Cleaning Wipes are safe and effective when it comes to wiping down your phone’s lens and screen. They come in packs of twenty and include a microfiber cloth that can be used after a moist cleaning wipe, or as a stand-alone method to ensure streaks and spots have been completely removed. Another option is the Nikon Micro-Fiber Lens Cleaning Cloth, which is attached to, and stuffs inside, a little pouch that can clip onto a zipper or thin strap, ensuring fast and easy access. The pouch protects the cloth from dust and debris in your bag so you can give your lens a safe and clean wipe-down.

Nikon Micro-Fiber Lens Cleaning Cloth—keep one handy to clean your smartphone camera lens.
 

Remote Triggering

For an unobtrusive approach to street photography, many headphones, such as the Apple In-Ear Headphones with Remote and Mic and Koss Porta Pro KTC On-Ear Headphones, allow iPhone and some Android users to take pictures utilizing the volume control buttons on the inline remote as a shutter release, in lieu of pressing the shutter-release button on the screen of your mobile device. Compatible headphones can also be used when your smartphone is mounted on a tripod to eliminate camera shake.

Take pictures utilizing the volume control buttons on the inline remote as a shutter release, in lieu of pressing the shutter-release button on the screen of your mobile device.
 

Angle and Stability

In addition to eliminating camera shake, long exposures are easier to set up and capture when your mobile phone is paired with the Joby GripTight Gorillapod Stand for Smartphones. The Gorillapod fits any phone (case included) 2.1-2.8" wide, enabling a portable and reliable support system for long exposures. Or, if you’re traveling with a travel- or full-sized tripod, grab a MeFOTO SideKick360 Smartphone Tripod Adapter to attach your phone for greater height and stability—also useful when composing a timed self-portrait! If composure is not your primary concern when taking a self-portrait, no mobile photography article is complete without mention of a selfie stick; the Polaroid Selfie Stick with Bluetooth Shutter is a sleek monopod-style holder that extends from 8 to 40" for an even wider shot that can be easily taken via Bluetooth, allowing you to release the shutter with the remote control built into the selfie-stick handle.

The Joby GripTight Gorillapod Stand for Smartphones stands on its own or wraps around stationary objects for taking blur-free images.
 

Auxiliary Lenses

Similar to photographers with advanced DSLR and mirrorless systems with multiple lenses; mobile photographers can now attach telephoto, fisheye, wide-angle, and even macro lenses to their smartphone. The Olloclip 4-in-1 Photo Lens for iPhone 6/6s/6 Plus/6s Plus includes four different options; a fisheye, wide-angle, a 10x macro lens, and a 15x macro lens mounted to a clip that slips over the top of your iPhone. Another option is the Manfrotto KLYP+ Wide-Angle/Macro and Telephoto 1.5x Lenses for iPhone 6/6 Plus, which includes a wide-angle lens that unscrews to reveal a macro lens and a telephoto 1.5x for portrait and long-range photography.

The olloclip 4-in-1 Photo Lens for iPhone 6/6s/6 Plus/6s Plus gives you four lenses in one: fisheye, wide angle, and two macro lenses.
 

Connect an Auxiliary Camera and Sensor

For the more advanced mobile photographer looking to capture and save bigger files, the DxO ONE Digital Camera is a 20.2MP 1" sensor that attaches to your iPhone or iPad via Lightning connector. The 32mm equivalent f/1.8 lens works with a dedicated app to offer camera control, image playback, and live view shooting. For a pretty penny, it will turn your smartphone into an advanced compact camera without losing any portability and connectivity.

The DxO ONE Digital Camera allows you to capture and save larger image files than your smartphone can handle normally.
 

Follow the Basics

Along with any and all mobile photography accessories, a number of apps may be used to capture and edit your images, and basic photography principles can always be relied upon to help guide you when you feel apprehensive about how to take the perfect picture. Make sure your subject is in focus, utilize leading lines, shoot from a different perspective, follow the rule of thirds, or ignore all of the “rules!” Regardless of what rules, apps, and accessories you choose to take advantage of or ignore, expanding your mobile photography hobby or career is just a click away.

Forrest Mankins is a 26-year-old adventure and lifestyle photographer based in Portland, Oregon, who spends most of his time traveling and doing commercial photographic work. His latest project is an upcoming documentary, “A Life Alive”, detailing a six-month, 20,000-mile road trip from the Midwestern United States to the Arctic Circle, in Alaska, and back. B&H spoke to Mankins about his approach to the freelance photography business.

What drives him?

1. Surrounded by creatives and friends. According to Mankins, “A lot of what I consider to be ‘my community’ comprises creatives, but, honestly, it's really an amalgam of great people. I've been really fortunate to have a wonderful group of friends—people who I admire not only personally, but also creatively and intellectually, as well. Not all, but many of them are photographers or creatives in other ways; people I've met online through Instagram, friends of friends, or random interactions that lead to a friendship. 

Photographs © Forrest Mankins

2. Multiple challenges.“The biggest obstacles I see are multi-tiered. Working freelance, there is always an underlying push to find work. If you don't create work, you don't eat. It's a full-time job working just to work, so there's a strong motivation to stay busy. It's really a process that I am enjoying more and more as I learn, and it's that much more of a blessing when everything comes together,” he says.

3. Finding balance. Mankins works at “balancing the time spent emailing/on phone calls with creative time. I absolutely love making photos, and I'd be doing it whether it was my job or not, but it's easy falling into a cycle of only going out when you're on a job, which can really leave one feeling stagnant. I try to spend as much time as possible out shooting for myself.”

4. Turning ideas into jobs.“Any passion can fulfill a need. The passion is the key into driving that skill into a profession. If you're passionate about something, there's a good chance that a lot of other people are too, and usually with a bit of creativity and much hard work, that avenue can become a career,” he says. “I think it is important to drive the passion for passion's sake at first and, through that, the approach to monetize something can become clearer.”

5. Getting more work. Mankins says, “Understanding that social media can mean unlimited free promotion was the first eye-opener for me and, later, in learning how people—myself included—respond to the various types of online advertising was an incredible asset. The fact is that we as people do like advertising, but we're very picky about how it's presented, and that looks different in each space. I use Instagram and Tumblr to share my work and travels, and they've really been successful platforms in terms of building an audience, and connecting with that audience as a creative. It's a valuable billboard to have for creating awareness/getting your name out there. I'm grateful to be represented by Tinker Street *, a wonderful agency that works with a variety of great brands on great projects—it's kind of like a family with them.”

6. Explore inspirations.“It might be a little early to call it yet, but right now I'm becoming more fascinated with motion. Producing photographs that communicate motion yields a fleeting feeling in my eyes, and it's really another level of depth and emotion. As we talked about at the beginning of this interview, I'm very lucky in that many of the people I look up to and admire as photographers are friends as well: Theron Humphrey, Alex Strohl, Sam Elkins, Emily Blincoe, Benjamin Heath; the list continues, but these are all folks whose work I admire as greatly as I do them.”

Photography enthusiast and successful businessperson Sonja Rasula, recently named one of Los Angeles’ 10 Most Inspiring Women, by LA Magazine, was invited to talk about her excitement, inspirations, and challenges for the New Year.

Sonja Rasula, a former television personality, is the founder and driving force behind three businesses designed to help entrepreneurs and creatives grow and become more successful while creating a “a rad, supportive community.”

Her properties are Unique Markets, a pop-up, large-scale shopping event held around the country featuring hundreds of independent designers and artisans; CAMP, a business conference that gathers 200 thought leaders, entrepreneurs, and creatives and takes them to a “summer camp” environment in the mountains of Big Bear, CA, for four days of workshops, outdoor activity, and networking (all without access to phones or email); and The Unique Space, housed in an old warehouse that she re-designed into a co-working space and private office space for small companies.

 How does she do it?

1. Foster the idea of community over competition. She collects a “passionate group of doers—people who are creative and support creativity.” She likens her friends, followers, and supporters as “pop culture vultures—they feed off of art, culture, film, dance, etc.”

2. Obstacles need not be obstacles.“I don't think I have many obstacles; I see something I want to do and I do it, I don't let anything get in the way,” says Rasula. “Some of the accomplishments I'm proud of most include being featured in Los Angeles magazine, being on the cover of Spirit magazine, and being able to watch hundreds and hundreds of people learn and grow because of our work.”

3. Write it down.“You have to actually write your goals down. Putting them on paper helps make them real, and can remind you of your goals,” she says. “Don't set anything that is too hard to accomplish. Create deadlines so you have something to keep you accountable. If you need, bring others on board to create a second check-in system,” Rasula adds.

4. Focus when it is time to focus. Rasula shares, “I really focus when I'm at work... We work a four-day workweek (Monday–Thursday) so I have to be even more efficient with my time! Going online creates too much noise and it's hard for people to focus, so I don't browse the Web, read news, or shop online while at work. When I'm on my computer I'm emailing, creating designs, or doing research. “

5. Predict trends. Rasula thinks that the world will become more creative; bold pattern and color will come to the forefront. “I think that the world has been focused on all-things-tech for so long it seems only natural for the focus to swing at some point to the Creative Class—those who are creating, influencing, and producing art and culture,” she says.

6. Inspiration surrounding you.“The desert! The ocean! The clouds! We have all the inspiration ever needed on earth, we just need to get out there and look around... As an amateur photographer I'm always inspired by the shapes and textures and light found in nature.” Those around her also serve as inspiration. “I think 2016 is the Year of the Woman. So all my fellow girlbosses, Hillary, Lena—they all inspire me!”

Mark Christy and Nives Riddles are founders of Camp Trend and Camp By Camp. A year and a half ago, the pair left jobs in the TV and photography world to pursue the lifestyle of traveling full time. They now make a living by creating photo and video content for outdoor brands. Their motto is: Camp. Style. Life.

How do they craft their brand to echo their motto?

1. Surround yourself with those who love what you love.“Our community is made up of people who love to get into the heart of nature and spend nights under the stars. You can learn a lot about yourself when faced with any of the hardships while ‘roughing it,’” says Mark.  

2. Adapt and overcome infrastructure challenges. Christy and Riddles do not have a home base. They say, “Creating, running, and growing a content-creation business from the road is both an obstacle and achievement for us. We still have a long way to go in terms of growth; overcoming the challenges of being forever mobile is hard work but, ultimately, the most rewarding part of this whole process.”

3. Adapt and overcome weather/seasonal challenges.“The hardest part about shooting content during the winter is, of course, the reduced daylight hours and colder temperatures. Both require extra-careful planning and preparation but, once that’s achieved, winter offers landscapes and color palettes not seen any other time of the year,” says Riddles.

4. Create content you believe in.“When creating content for Camp Trend, we always make sure that the imagery and writing reflects our own ideals about life outdoors. There is a ton of amazing outdoor content online and it’s important that we are true to our own style. We get obsessed with details and locations while we’re shooting, and I believe that is very important when creating content that is true to ourselves.”

5. Align and motivate from inspirations.  The partners say, “It’s always inspiring to see the photographers/cinematographers who are conquering unbelievable feats while also bringing back amazing footage. The documentary “Meru” not only was a huge accomplishment for climbing, but Jimmy Chin and Renan Ozturk also were able to shoot enough footage for an inspiring film. Thinking of those guys shooting at 20,000 feet in -20°F weather is good inspiration for getting out of the tent on cold dark mornings to go shoot.”

6. Identify trends and position yourself. Christy and Riddles predict that in the coming year more shooters will be adopting smaller camera formats for the ease of portability in the back country and solar power will continue to spike in popularity, as cameras like Sony are able to recharge via USB, and “drones will be everywhere.”

7. Go for it. Final thoughts from the pair: “Here’s a thought that we try every day—figure out what you really want out of life and go do more of that. Otherwise, what’s the point of this whole thing?”

Jacob and Alissa Hessler are a husband-and-wife creative team who run a boutique creative studio in the wilds of coastal Maine while teaching modern landscape photography around the United States. Jacob is a contemporary fine-art landscape and activist photographer and Alissa is an environmental portraitist and photojournalist. B&H recently talked to the pair to get their thoughts on building a creative community.

Jacob and Alissa recently left Seattle and New York City for small-town scenic Maine; living only a few miles from Maine Media Workshops headquarters. They both “feel incredibly lucky to have a group of working artists to collaborate and socialize with.” For the past two years, they have been touring the U.S. and shooting Alissa’s Urban Exodus project and, for the past three years, they have been actively teaching their workshops.

Their outreach has been building an evolving community of passionate collaborators. “We have built a wonderful community of first-time farmers, homesteaders, artists, and musicians, not bound by geographic constraints. Teaching photography workshops the last three years has helped build an international community of photography experts and hobbyists of all different ages and walks of life. It goes without saying—we feel incredibly fortunate to be able to work, laugh, and interact with people from all over the world.”

How do they make it all work? 

1. Keep a balance between personal projects and work.“Our biggest obstacle is staying on track and being able to make a living in this competitive industry. We are constantly hustling to create personal work and find new project work that keeps us inspired and keeps our bills paid. There is no down time for small business owners, we can’t rest on our laurels, but we also need to make sure that we allocate time to be creative for ourselves beyond the pressing needs of client work,” they say.

2. The energy of learning sustains the effort.“Teaching has been a transformative experience and we are constantly inspired by our students. We are now at a point where we have had students take our course over and over again—seeing their work evolve is so rewarding,” says Jacob.

3. Do what you love.“On a personal level, we feel lucky that we get to do what we love for work and that we get to work together. There are still long and hard days, but the satisfaction that comes with building your own business is worth every bad day.” 

4. Don’t let winter slow you down.“The winter is our most creative time. The winters in Maine are cold, dark, and long, but they also have the most incredible light and the fewest distractions. We try to spend a lot of our winter working on our personal projects.”

Last winter Alissa finished designing her Urban Exodus project and Jacob finished his show “Off Season.” This winter, Jacob is working on finishing a book collaboration with the inaugural poet Richard Blanco and two new bodies of work, one exploring industrial agriculture in America and one exploring rising sea levels. Alissa is continuing working on her Urban Exodus project and developing new curriculum for some winter exploration workshops.  

5. Stay organized.“We love lists. Each New Year we sit down and write out what we’ve accomplished that year and what we strive to accomplish in the coming year. It is a perfect time to reflect on what is working for you and what you need to change or work harder at. It is also good to look back at the previous year and see if there are things that never were completed and get to work on those immediately.”

6. Define your brand.“A brand is an interesting thing—sometimes they are fabricated and other times they are more organic. We never try to be something that we aren’t. We are two tall, goofy, kind, and compassionate people. We care about the people we work with and teach. We don’t take on project work that we don’t believe in. We get invested in our students and continue to follow and support them through their photographic journeys. Our brand aesthetic is clean, classic, and uncluttered; we don’t really follow trends and try to always maintain our singular voice in our work.”

7. Inspiration in teamwork. Alissa says, “Jacob is constantly a source of inspiration but, beyond that, the people whom I get to photograph and interview for Urban Exodus and the students who we teach at our workshops.” And Jacob says, “I’m inspired by the opportunity to work in collaboration with one of my favorite contemporary poets, Richard Blanco, and I continue to draw inspiration from the ever-changing landscape, our students, and my wife.”

In a conversation with B&H, Tom Griscom, an editorial portrait and advertising photographer and educator, talked about new beginnings. Recently, he returned to Atlanta, Georgia, and has found that coming home has been a fantastic opportunity for photography and growth.

Adding to his educational resume, Griscom has two workshops scheduled for 2016, at the School of Visual Arts, in New York City: Small Bag, Big Look: Editorial/Location Workshop and Digital Black-and-White Photography.

Photographs © Tom Griscom
 

What are some of the things Griscom has learned from his move back to the South after years in New York and San Francisco?

1. Re-exploring. Griscom says, “Right now I am exploring a whole new community in Atlanta. It is interesting because Atlanta is both new and old to me. Old in that I spent a lot of formative years here; I live down the street from where I got my first tattoo 20 years ago and where I saw concerts.”

2. Reconnecting.“Many old friends from college moved here and are doing rad things—for instance, my friend Tim Moxley of #WELOVEATL. What is new is the fact that Atlanta, and the South in general, has changed A LOT in the almost 20 years that I have been gone. There is such a vibrant art scene that is of the DIY ethos,” he says.

3. New challenges.“Biggest obstacle is definitely staying on top of the marketing. That is a full-time job unto itself. But I have recognized that and have relinquished it to an outside marketing firm. Going forward, I felt a fresh set of eyes and creative input from others was important for me to be able to keep growing as a photographer.”

4. Independence. Like many, Griscom had a day job that ended when the economy crashed. He set off on his own. “That moment [leaving his job] was pretty pivotal, as I knew that I was done working for someone else. The job was a necessary evil, or so I thought at the time; it left me realizing that I could just keep coasting on my back-up plan or go out on my own.”

5. Engage in your own projects.“I self-assign all the time. People in the arts are a never-ending source of inspiration, and great for collaboration. So when I am looking to either add to the portfolio or do something as a personal project, I usually seek out musicians and artists. But sometimes I just grab the Fuji and walk out the door with no real plan except to just go see what’s out there.”

6. Stay fresh. Griscom recommends starting “a new body of work a year. Louis CK talks about scrapping his act each year and starting a new one. George Carlin did the same thing. This is important because the fear of starting over is a great motivator. Staying fresh is hard; digital photography has made everything look so damn perfect; it is tough to not take a technically great picture. So content and the voice one brings to it is the real challenge in the digital age.”

7. You are part of every image you take. “I feel that as a portrait photographer, you see a whole lot more about you than you do about your subjects in your work. For environmental work, the location is part of the story, and choosing one that works has a lot to do [with] the picture [being] successful or not. But once you are there or in the studio, your personality is going to be reflected back by your subject. If you are wicked awkward, it will show. And you know what? That is fine as long as you own it. By nature, I am a pretty chatty guy, so I enjoy the interaction during a shoot.”

8. Plan.“I am a planner, so I like to know where I am going, have the shots planned in my head and have researched the subject prior, if I can. It makes it far easier to deviate from the plan if you actually have one,” says Griscom.

9. Aspire to inspire.“This is kind of an inspiration for all time, but Frank Ockenfels has had an immense influence on me. Beyond the work, which I love, he is an inspiration in that I would hang his work in my place. Commercial photography is a dirty word in certain circles, but I think Ockenfels creates work that walks the line between the gallery and the magazine page. I aspire to do the same thing with my own work.”

Positioned as ideal for travel, Panasonic has just introduced two new cameras featuring 4K video capabilities, versatile zoom lenses, high-sensitivity MOS sensors and, of course, sleek form factors to take the burden out of traveling with a well-specced camera. Differentiated by sensor size and zoom magnification, the two cameras share a suite of similarities, leaving you to choose between a longer-reaching lens or a larger image sensor.

Lumix DMC-ZS100

Dubbed the "premium compact travel camera" by Panasonic, the Lumix DMC-ZS100 is distinctly characterized by its large 1-inch 20.1MP High Sensitivity MOS sensor and bright 10x optical zoom lens. The image sensor is complemented by a redeveloped Venus Engine image processor that, in addition to benefitting image quality, recording either raw or JPEG files, reducing noise, and affording a top expanded sensitivity of ISO 25600, avails a versatile set of stills and video-recording capabilities. Support for 4K, 3840 x 2160 video in either 24p or 30p is available, along with a range of HD and SD recording options. In addition to just video, 4K recording is also beneficial to still photographers with 4K Photo modes, which let you shoot 8MP stills at 30 fps, and Post Focus, which combines with the Light Speed AF system and Depth from Defocus (DFD) technology to gradually shift the point of focus during 30 fps burst shooting to let you select the final image with best focus after shooting.

The second key aspect to why the ZS100 is an ideal travel companion is its wide-to-tele 10x Leica DC Vario-Elmarit zoom lens, which provides a 25-250mm equivalent focal-length range and an f/2.8-5.9 maximum aperture range. This long-reaching optic is supported by 5-axis Hybrid O.I.S., which compensates for a variety of types of camera movement to enable sharper stills and blur-free video recording. A Level Shot function is also a benefit of the image stabilization system, and automatically detects and corrects camera tilt to ensure level horizons and plumb verticals in your images.

Rounding out the ZS100’s feature set, its compact body design incorporates an electronic viewfinder, with 1, 166k-dot resolution, and a rear 3.0" 1.04m-dot touchscreen LCD for viewing versatility. Built-in Wi-Fi is also featured for wirelessly sharing images to a linked mobile device, or for remotely controlling the camera from a smartphone or tablet using the Panasonic Image app.

The Lumix DMC-ZS100 is available in black or silver.

Lumix DMC-ZS60

The little brother to the ZS100, the Lumix DMC-ZS60 shares many of the same imaging assets as the former; however, it has the distinction of a significantly longer zoom lens. Tripling the reach, the ZS60 features a 30x Leica DC Vario-Elmarit lens that offers a 24-720mm equivalent focal length range, covering wide-angle to super telephoto perspectives. 5-Axis Hybrid O.I.S. is featured again, and compensates for a variety of camera movements to realize sharper, blur-free images when working in difficult lighting conditions or at the longer end of the zoom range.

In regard to imaging, the ZS60 houses an 18.1MP 1/2.3" High Sensitivity MOS sensor, which works in concert with the Venus Engine image processor to provide clean image quality with reduced noise and a sensitivity to an expanded ISO 6400. This sensor-and-processor combination also affords a top continuous shooting rate of 40 fps with an electronic shutter, 10 fps with a mechanical shutter, or 5 fps with continuous autofocus. And, like the ZS100, 4K 3840 x 2160 recording is supported at 30p, and can also be used for stills via the 4K Photo modes for making 8MP stills at 30 fps. Post Focus is supported with this model, too, to permit selecting an image with the desired point of focus from a group of stills with differing focus points.

Also sporting a similar body shape and form factor as the ZS100, the ZS60 is marginally slimmer and about an ounce lighter in weight. It houses the same 3.0" 1.04m-dot touch-screen LCD and electronic viewfinder, and also features built-in Wi-Fi for wireless camera control and image sharing with a mobile device.

The Lumix DMC-ZS60 is available in black or silver.

Something truly unique for Micro Four Thirds shooters, Panasonic has just introduced the longest native lens available for the system: the Leica DG Vario-Elmar 100-400mm f/4-6.3 ASPH. POWER O.IS. Matched only in length by its own product name, the focal length of this lens covers an impressive 200-800mm equivalent range, making it an ideal choice for wildlife, nature, and sport photographers. And keeping with the Micro Four Thirds system’s traditions, this new optic yields a relatively compact, lightweight form factor that suits travel applications and handheld shooting.

Serving as a counterbalance to this expansive focal-length range, the lens is also imbued with a POWER O.I.S. system that compensates for camera shake to produce sharper imagery when shooting handheld. This system is also compatible with select Lumix G-series cameras’ Dual I.S. function that combines both in-body and lens-shift stabilization methods to more effectively reduce the appearance of camera shake. Also aided by the imaging capabilities of Lumix cameras, a 240 fps AF motor offers quick, precise, and quiet autofocus performance that is well-suited to multimedia applications.

In regard to the optical design, this lens was designed in collaboration with Leica and features a complex 20 elements in 13 groups, including a pair of extra-low dispersion elements, one Ultra Extra-Low Dispersion element, and one aspherical extra-low dispersion element. This combination of aspherical and low-dispersion glass helps to significantly reduce chromatic and spherical aberrations throughout the zoom range to achieve greater image sharpness, clarity, and color accuracy.

Beyond the performance attributes, this 100-400mm f/4-6.3 is also characterized by its intuitive physical design, which features an integrated quick-shift, two-part rotating tripod collar that permits fast switching between horizontal and vertical shooting orientations. A built-in lens hood is also featured, which utilizes a retractable, hide-away design, and a zoom ring lock that can be employed to prevent unwanted zoom creep or fix the lens at a specific focal length during use. Finally, gapless construction was also employed to render the lens dust- and moisture-resistant, to benefit working in inclement conditions and harsh outdoor environments.

Apparently dreams do come true, because Nikon has unleashed a torrent of high-end gear at CES 2016 with the announcement of the latest flagship D5 DSLR, equipped with a revamped AF system and 4K video, a long-awaited top-of-the-line DX-format D500 DSLR, and a radio-capable SB-5000 AF Speedlight. 

Starting with the top dog, the D5 improves upon its predecessor in almost every manner, but most notably with the use of a 20.8MP FX-format CMOS sensor, the EXPEED 5 processor, and a brand new 153-point Multi-CAM 20K phase-detect AF sensor. This combination of factors brings greater detail, enhanced processing, and fast, accurate focusing in nearly all conditions. Also, it adds the ability to record 4K UHD video at up to 30 fps, a huge plus for demanding hybrid shooters. One note about the latest flagship is that there will be two available: an XQD-type that sports dual XQD card slots and a CF-type with dual CF card slots, as opposed to the mixed card slots of the D4S.

This card-based camera selection allows users with an existing CF card workflow to upgrade without worry by choosing the CF-type model, as well as allow users desiring enhanced speed to standardize solely on the newer and faster XQD card type by picking up the XQD-type model. Dual card slots further the professional’s workflow by providing either overflow or backup depending on specific needs.

Image quality improvements are obvious across the board, but one standout feature is a native ISO range of 100 to 102400, which can be expanded from 50 to an outrageous 3280000 when set to Hi5. Also, there is a new noise-reduction system to go along with this ISO range, and the upgraded processing has an added benefit of 25% more shots on each charge, rating at 3780 images with a single battery. The sensor itself has an anti-reflection coating on certain components to further limit ghosting and flare. Accuracy is critical to this system with a new 180,000-pixel RGB sensor for matrix metering, with support for scene recognition, including face detection and user-selected watch areas. Additionally, a Keep White setting was implemented in White Balance to ensure natural colors in the final image.

All of Nikon’s top-level DSLRs have had a penchant for speed, and the D5 is no different, with a 14 fps maximum continuous frame rate with fixed focus and Mirror Lock-Up or 12 fps with full auto exposure and focusing. A larger buffer grants a total of 200 consecutive full-res frames without pause or slowdown to ensure you capture the decisive moment. Adding to this speed is the accuracy and efficiency brought by the Multi-CAM 20K phase-detect AF sensor, which offers 153 AF points, including 99 cross-type and 15 capable of functioning down to f/8. Along with this, it has a dedicated AF processor, something previous models have lacked, and the ability to work within brightness ranges of -4 to +20 EV.

During operation, the AF controls have been enhanced with focus tracking with lock now offering two parameters, subject motion (erratic/steady) and blocked shot response (quick/slow), which will ensure the camera reacts as you need for your specific subject matter. Also, 3D tracking is furthered with face detection and a new Watch Area setting of wide or narrow that will provide users with much more control than previously possible. Another advantage is auto AF fine-tuning, which simplifies a more tedious process of calibrating specific lenses to a camera body by using contrast-detection to automatically lock–in these settings. While phase-detection steals the show here, contrast detection has not been forgotten with a marked 50% improvement over the D4S.

While primarily a stills camera, the D5 marks a huge jump in video quality for Nikon by bringing 4K UHD 3840 x 2160p recording at 30 fps to its DSLR line. This high-resolution format is available using the 1.5x DX-crop setting, which provides a perfect pixel-by-pixel readout of the sensor for maximum sharpness and minimal artifacts. Full HD video is available as well in FX, DX, and a 3x crop configuration that also features a full pixel readout.

The D5 greatly benefits from Nikon’s other video improvements over the past couple of years by featuring clean HDMI output, Flat Picture Control, smooth exposure compensation, zebras, power aperture control, and more, including the ability to save a video still as an 8MP photograph. Stereo audio recording is possible via a built-in mic or the external mic jack and headphones can be plugged in for monitoring. And, time–lapse shooting is again possible with the same basic functionally as its predecessor, but with the added touch of 4K UHD output.

With all of these internal changes, the outside of the D5 has maintained the same form factor as its immediate predecessor, though with some notable upgrades. The headline physical change is a 3.2" LCD touchscreen with dense 2.36m-dot resolution, offering a dense 403 ppi for the utmost in clarity. Touch functions make operation much more intuitive, as well. Other handling additions are an extra front-facing Fn button, bringing the total to two, and a new rear facing Fn button for extra control. The optical viewfinder gets a bump to 0.72x magnification and improved visibility during continuous shooting with a shortened blackout time and reduced blur. The eyepiece adapter is fluorine coated for easy cleaning and is compatible with the optional Rain Cover. A Quick Settings feature allows for adjusting release mode and command dial while looking through the viewfinder.

Connectivity is a huge advantage of the larger D5-style bodies and that has not changed with the company's latest release. This includes an update to SuperSpeed USB 3.0 for the standard connection, as well as a 1000Base-T Ethernet port for transfers at up to 400 Mbps. Along with this, it can have wireless added via the optional WT-6A transmitter, which supports speeds of up to 130 Mbps. And, the D5 is still equipped with a hot shoe, PC terminal, HDMI output, headphone and mic jacks.

Nikon has been keeping DX-format shooters satisfied with consistent updates to the D7000 series, but many were still clamoring for a true D300s replacement. Today is the day their wish comes true with the out-of-nowhere release of the D500 DSLR, which can be purchased as a kit with the 16-80mm lens. Practically a DX-sized D5, the D500 shares many specifications and features with Nikon’s latest and greatest DSLR, including the EXPEED 5 processor, the 153-point Multi-CAM phase-detect AF sensor, and 4K UHD video recording. Where it differs is in the more condensed body design and the use of a 20.9MP DX-format CMOS sensor that omits the optical low-pass filter for maximum resolution.

While not the mind-blowing 3 million ISO of the D5, the D500 has a very respectable expanded ISO range of 50 to 1640000 and a standard range of 100 to 51200. It also takes on the speed specialty with a maximum continuous shooting rate of 10 fps with a buffer of up to 200 shots with lossless compressed RAW. We can also find the 180,000-pixel RGB sensor used for matrix metering and scene recognition, as well as the new Keep White white balance setting.

For video, it sounds very much the same as the D5 with the same exact options for 4K UHD at up to 30 fps and Full HD at up to 60 fps. One notable change is the additional 1.5x crop of the DX-format sensor when shooting 4K, ensuring maximum quality in this mode. Also, Full HD is available with either the full DX sensor or a 1.3x crop. Advanced time–lapse controls are available, as well in both Full HD and 4K UHD.

Handling is improved with a tilting 3.2" 2.36m-dot touchscreen LCD and an optical viewfinder with 100% coverage and a 1.0x magnification. Also, it has added a rear-facing Fn button for further customization during use. As with all its flagship cameras, the D500 is equipped with two card slots, one XQD and one SD, ensuring maximum speed when necessary, as well as overflow storage and backup when needed. A significant difference from the D5 is the built-in connectivity, and the D500 is being billed as the perfect partner for the smartphone era. It incorporates Wi-Fi, Bluetooth, and NFC in its body for fast, consistent pairing with Nikon’s snapbridge app on mobile devices.

And, speaking of connectivity, the D5 and D500 are the first DSLRs to be completely compatible with the just introduced radio-enabled SB-5000 AF Speedlight, the new flagship and likely the first in a series of radio-capable flash units. Designed for the demands of professionals, this Speedlight takes the Creative Lighting System with Advanced Wireless Lighting (CLS with AWL) to new dimensions with integrated radio control, in addition to the traditional optical triggering setup. The radio option supports instant non-line-of-sight triggering from up to 98' away. Additionally, it has a dedicated cooling system, a world’s first for a shoe-mounted flash, and enables the triggering of 100 consecutive shots.

This new radio-controlled system allows D500 and D5 users to utilize the WR-A10 Wirless Remote Adapter and WR-T10 Wireless Remote Controller to remotely work with up to six groups of SB-5000 AF Speedlights, all at up to 98' away. It also allows for a combination of optical and radio flashes to be used simultaneously, as long as the camera is equipped with both an optical master and the radio transceiver. This setup is compatible with the Camera Control Pro 2 software, as well, and allows for changes made with the camera, computer, or flash to all be synchronized.

As a standard Speedlight, the SB-5000 AF is at the top of its game with a powerful guide number of 113' at ISO 100 and 35mm zoom position. It also offers full tilt and rotation capabilities and a zoom head for maximum control over light placement. Along with these features, the unit has an Info button for fast access to settings and a smaller footprint than comparable models. And finally, it has a built-in wide-angle diffusion panel, a bounce card, and a plethora of your standard accessories included.