As someone who enjoys very high-quality images from my 42-megapixel full-frame Sony Alpha 7R III, I was wondering how good the pictures would be out of my new DJI Air 2S drone.

Anyone who enjoys landscape photography will know that before they realize it, they are pixel peeping and fussing over the smallest imperfection in their photos. Of course, there’s no way I’m expecting that same quality to come from this drone, but the only thing it can do that I can’t do already is fly. So, ultimately, that is the only reason I bought this drone. The interesting question to answer though, is how big or small is that gap from what I’m used to?

To put it in perspective, the 20-megapixel, one-inch sensor of the Air 2S has a surface area of 7.4 times smaller than a full frame camera. To further help give a comparison, due to equivalency, the Air 2S is the same as shooting at 22mm, f/8 at ISO 800 on the full-frame camera.

As you can see in the comparison between the Air2s at ISO100 and the Sony A7III at ISO 800 the difference in quality is very minimal. Being fussy I could say that there’s a touch more noise and slightly less sharpness on the Air2s though.

The next picture shows how ISO performs from 100 through to 12,8000. I think the noise is usable for photography up to 400, with 800 at a push. 1,600 onwards though quickly falls apart and really isn’t usable. Note that the green light as the ISO increases is due to bringing down the ambient light and the green light on the drone becoming more obvious.

In the real world, understanding the limitations of the drone’s sensor helps when it comes to working around them. The photo below is of Rossbeigh, Ireland, and was shot with a three-bracket exposure which helped increase the dynamic range and helped lessen any noise.

For anyone who is trying to decide if they should get the DJI Air 2S for photography, in a nutshell, I believe the DJI Air2s — for the price — is the best quality flying photography tool you can get. It’s super portable, quick to get flying, easy to fly, and its greatest advantage is how it gives you the ability to get photos you can’t get on the land. Essentially, It’s a great addition to anyone’s photography toolkit.

Read More: DJI Air 2S Review: Solid Performance Where It Counts Most

About the author: Jamie Gillies is an award-winning wedding photographer based in Ireland. He loves to spend his spare time exploring and photographing the stunning landscapes of Ireland and documenting them on his YouTube Channel. To learn more about Jamie, you can visit his website, YouTube, or follow him on Instagram.

Taking photos of white subjects on white backgrounds or black subjects on black backgrounds is a skill that requires photographers to skillfully bend light in various ways. Photographer Zach Sutton has shared tips on what works best in each scenario.

Also the editor for Lensrentals, Sutton specializes in commercial beauty photography and has extensive experience in studio work. In a recent article, Sutton explains how to approach these tricky lighting situations that can appear daunting for, in particular, beginners.

First of all, even for photographers who primarily use natural light, it is important to understand how that light bounces or is absorbed and thus affects the subject. A simple demonstration of both a white and a black V-flat — which consists of two large foam boards — shows the effect the positioning of each of the boards has on the subject’s face.

The ability to drastically modify the light with the use of foamboards helps photographers control unwanted light spillage, Sutton explains. For example, if shot with a white background and with two black V-flats positioned on either side of the subject, they will ensure that the backdrop light doesn’t spill onto the subject. Similarly, with a black backdrop, V-flats help control the light spill so it doesn’t light the backdrop.

When it comes to shooting white on white, the distance between the subject and the backdrop plays an important role. The farther away the subject is placed from the background, the easier it is to prevent light spill onto either of them. This also means that photographers can better control how each element is lit and avoid blown-out highlights. This is also where a histogram comes in handy as it helps monitor that outcome.

In a similar manner to how highlights are controlled in a white-on-white scenario, for black-on-black shots, photographers have to pay attention to the shadows. Sutton advises using tools that help control light spills — such as Snoots, Barndoors, and flags — as each one of them will assist in different lighting scenarios.

Sutton also recommends photographers turn on and use their modeling lights to get a visual representation of where the light goes, which can help to fine-tune the rim lights. Another technique that helps avoid light spills is to feather the light, which means that the edge of the lights is used to create a better light fall-off.

As with most techniques, the more photographers learn and experiment with complex scenarios such as white on white and black on black, the more knowledge and tools they will be able to add to their expertise in the future. To cover different variables that affect the photographic outcome, Sutton has also shared advice on how the light placement alters the subject and even how individual flash tube shape and position changes the light quality.

More of Sutton’s photography can be found on his website and Instagram and additional photography tips can be found on the LensRentals Blog.

Image credits: All images by Zach Sutton and used with permission.

Western Digital, most well known for making many types of popular hard drives including the My Book line external devices, is advising users to disconnect any My Book Live storage devices from the internet as soon as possible and until further notice to prevent files from being deleted.

The My Book line of Hard Drives is a popular series of storage devices since they are very affordable options for users. Typically the external storage devices connect to computers via USB cables, but in the case of the My Book Live series, it uses an ethernet cable to connect to a local network where users can then remotely access their files and make configuration changes using the Western Digital cloud infrastructure. When it was first announced, Western Digital billed it as a “personal cloud.”

ARS Technica is reporting the problem was first brought to light from a thread on the WD support page where users have started to discover that the data stored on these drives is being inexplicably erased. Files are being mysteriously deleted and the drive itself is being “factory reset” with no action taken by the users themselves.

Western Digital is still investigating the issue, but the data loss appears to be the result of some “malicious software” and has issued a warning to users urging them disconnect the drives from the internet as soon as possible until the company can figure out how to protect the drives and prevent any further deletions.

I have a WD mybook live connected to my home LAN and worked fine for years. I have just found that somehow all the data on it is gone today, while the directories seems there but empty. Previously the 2T volume was almost full but now it shows full capacity.
The even strange thing is when I try to log into the control UI for diagnosis I was-only able to get to this landing page with an input box for “owner password”. I have tried the default password “admin” and also what I could set for it with no luck. There seems to be no change to retrieve or reset password on this landing page either.

Users are reporting that whether it was a factory reset, a hard deletion, or an apparent hack, everything stored on the affected devices has been completely wiped clean.

At the time of publication, there were no reports that any data was restored.

There is little additional information currently available about the issue, but the community of users is speculating that based on what Western Digital has stated, it appears the devices could have been “individually compromised” in a targeted attack.

Either way, users of these networked dives are advised to disconnect them as soon as possible to prevent any potential data loss.

Wristcam, an accessory strap with two built-in cameras, has announced expanded functionality through its new Wristcam Messenger app. Users can now send and receive live video with anyone with an iPhone, even if they don’t have a Wristcam or an Apple Watch.

The launch of the Messenger app makes it what the company calls “the first and only Apple Watch experience to offer live video communication.” In addition to the new app, Wristcam is also introducing a computer vision SDK for Apple Watch app developers.

Last year, Wristcam unveiled the $300 accessory and touted it as an easier way to more seamlessly take photos while on the go. While bulkier than a typical Apple Watch strap, it packs two Sony cameras: one is an 8-megapixel “world-facing” camera designed to take photos and videos of surroundings, and the other is a 2-megapixel self-facing camera made for taking video calls.

Below are a few 4K screen captures taken with the Wristcam and provided by the company:

At the time, both cameras were touted as supporting video streaming, but with the dedicated integration of a chat app, Wristcam clearly is looking to create a community of users in addition to those who would purchase its hardware.

The Wristcam App for Apple Watch allows video communication to be sent to anyone with an Apple device, and doesn’t require the use of the Wristcam nor an Apple Watch to use. Video chats that are sent can be viewed in real-time or later. The concept is a spin on popular apps like Marco Polo, but differentiates itself by keeping messages to a fixed, short length and deleting them once they are watched. Of course, the company also differentiates itself by focusing on and targeting users of its watch-strap-based camera.

For those with an Apple watch that has a cellular plan, the Wristcam allows video communication without an iPhone, which the company touts as a lighter, freer way of communicating while on the go. That air of simplicity is echoed in some design decisions, like the ability for Wristcam users to activate the app with Siri. Commands like “Hey Siri, snap a selfie/photo, start/stop video,” allow for what the company is billing as a “completely hands-free” capture and share experience and eliminate “friction points around camera capture and communication.”

In conversations with PetaPixel, Wristcam’s founder and developers strongly believe that the Apple Watch, once outfitted with its camera system, is the future of communication, and the launch of this messaging app is a core part of making that belief a reality.

The Wristcam Messenger app is free to download and separate from the original Wristcam app that is used to customize and set up the Wristcam. Wristcam istelf is now available from both Wristcam.com and Amazon for $300.

The Federal Aviation Administration (FAA) has released its TRUST test, a free online training program to certify that pilots understand the rules of drone flight. It is required in order to fly a drone, even recreationally.

The Recreational UAS Safety Test, otherwise known as TRUST, applies to all drones that weigh more than 0.55 pounds and dictates that not only must they be registered through the FAA’s Drone Zone, but all pilots must also pass the TRUST test. Even those who just operate a drone “for fun or personal enjoyment” must take this test in order to legally fly in the United States.

The test is designed to provide education and testing for recreational flyers on important safety and regulatory information. The FAA says that even pilots who fly drones recreationally under the Exception for Recreational Flyers — which includes drone flights for educational purposes — must pass the test before they can legally fly.

Read more: Why the FAA’s Mandatory TRUST Drone Test Won’t Provide Any Safety

All pilots — even those who already possess a Part 107 certification — must complete the TRUST test and be able to show proof of passing to an agent of the FAA or law enforcement if prompted.

The FAA has listed the following entities as Approved Test Administrators for TRUST. The only way to take the TRUST test is to do so through any of the below organizations.

• The Academy of Model Aeronautics (AMA)
• The Boy Scouts of America
• Chippewa Valley Technical College
• Community College of Allegheny County – West Hills Center
• Drone U
• Embry-Riddle Aeronautical University (ERAU)
• HSU Educational Foundation
• Lake Area Technical College
• Pilot Institute
• Drone Launch Academy LLC
• Proctorio Incorporated
• Tactical Aviation
• CrossFlight Sky Solutions
• UAV Coach
• University of Arizona Global Campus
• Volatus Aerospace Corp

The FAA says that TRUST is divided into two sections: The first section provides prospective pilots with the information needed to pass the test. The second section is a series of multiple-choice questions. It is not possible to fail the test. If a question is answered incorrectly, information on why that was the incorrect answer will be provided, and the question will be asked again.

After the conclusion of the test, pilots will be provided with a certificate that never expires, however, if that certificate is lost, the test will have to be retaken to obtain a new one. The FAA says neither it nor the administrator of the test will maintain any personally identifiable information about the recreational flyer, so neither will be able to re-print or re-issue the certificate.

Image credits: Header photo by Bertrand Bouchez.

Canon has applied for a patent that would use an in-camera algorithm in tandem with the camera’s image stabilization system to intelligently determine the difference between blur caused by motion and blur caused by a moving subject, and correct it.

First spotted by Asobinet and reported by CanonWatch, the patent describes a way to suppress blur of a subject in a photo by using the image stabilization system in the camera (on sensor) and in the lens.

In the patent, Canon says that the problem is that blur correction in current cameras isn’t able to differentiate between “camera shake” and “subject shake” and correct for both at the same time. To get around this, Canon’s Subject Blur Correction would be able to correct for “subject shake” when a face is detected and “camera shake” when a face is not detected.

“‘Camera shake’ and ‘subject shake’ should be corrected depending on the intention of the user (target of interest) in the shooting scene,” the patent says. “For example, when the user pays attention to the background, it is desirable that the ‘camera shake,’ which is the shake of the entire screen, is corrected. On the other hand, when the user is paying attention to the main subject, it is desirable that the ‘subject shake’ is corrected. Therefore, it is necessary to appropriately control the shake correction target according to the user’s intention that changes with the shooting scene.”

The patent was originally applied for by Canon in September of 2020, but was published on June 24.

While technically this process does not fall into the pure definition of computational photography according to Wikipedia — that is to say, the process of using digital computation instead of the optical process — it does get close and more falls into expanded definitions of the term. For example, the idea of computational photography now expands into computer vision, graphics, and applied optics. Since the tech would need to use some kind of algorithm to intelligently determine how to use its stabilization system, it could be argued that Canon’s Subject Blur Correction is a type of computational photography.

To date, outside of some HDR and panoramic capabilities, full-size cameras have done very little as far as advancing image processing to the degree that is seen in mobile devices and have mostly relied on physical corrections in camera or in lenses to achieve quality results. It could be argued that the hesitancy from dedicated camera manufacturers to adopt computational photography techniques that have led to vast improvements to image quality on mobile devices is a detriment to the advancement of the medium overall, and Canon’s patent here shows what could be possible if camera makers begin to do so more readily.

A Rapid Ascent Drone, or RAD, is basically an electric rocket ship. For now, they can be used to make unusual drone light shows that can replace fireworks and provide unique light painting opportunities, but the creator of the concept believes they may be able to eventually replace rocket ships.

Rammaxx is a RAD manufacturer that built its concept by working with small, electric rapid ascent rockets for electronic fireworks shows. The company built its autonomous drones with the ability to work in “swarms” and create unusual visual spectacles thanks to their ability to ascend extremely quickly and stay at altitude long enough to play a light sequence before returning to base. Rammaxx says that the rapid ascent capability is achieved via powerful motors, a streamlined hull, and special guidance fins.

“Rammaxx can be configured to ascend quickly, and noisily, or to ascend more slowly and quietly,” the company explains. “The system can work with one rocket, or with a small swarm of them, creating unique and highly — via App — configurable light displays for any occasion.”

A Rammaxx RAD drone can recharge wirelessly on a dedicated launch pad that is connected to a bus system. Up to five launch pads can be connected together to create more complex aerial light displays.

The drones weigh a scant three ounces (90 grams) and can fly for one minute with full LED power that can project light at up to 3,000 lumens of brightness. While that might not seem very long, the drones can land and recharge in just 30 seconds before they are ready to fly again.

These rapid ascent drones can fly into the air at a blistering 80 miles per hour (150 kilometers per hour) in what Rammaxx calls “rapid and noisy ascent,” but are also capable of doing so slower and more quietly.

These RADs are different than traditional drones in a number of ways. While they are battery-powered, Rammaxx’s CEO and Co-Founder Dan Lubrich tells PetaPixel that, unlike other drones, these are optimized for vertical flight and the electric circuits in them are optimized for a short duration but very high power, rather than long duration and low power.

Beyond a typical aerial light display, the RADs can also allow for light painting if exposure is set for at least five seconds. The shapes can be programmed into the app the company says that it is working on showing how to do this in upcoming tutorial videos. But in short, Lubrich says a user can draw on the screen to show the pattern and that shape can be uploaded to the drone and it will fly that path accordingly.

“Once launched, the pilot is out of the loop, so they can focus on taking pictures, or just enjoying the show. We are working on putting together a more detailed video that focuses more on the light show aspect of the system,” Lubrich says.

Lubrich has greater ambitions for its technology beyond light shows and tells PetaPixel that he believes RAD technology can assist in space exploration.

He says that the large size of a first-stage rocket is the main reason that space flight is so expensive, dangerous, and environmentally unfriendly. To address this, the Rammaxx RAD concept is a large powerful drone based on the design of the current light painting RADs. Early projections show that it should be able to accelerate with a rocket to around 300 miles per hour (500 kilometers per hour) up to an altitude of around 15,000 feet (5,000 meters).

“The important aspect for space flight isn’t so much the altitude gained — although that also helps a little bit — but rather the speed gained during the ascent,” he explains. “So, much less rocket fuel is needed to get off the ground and up to a few hundred miles per hour. That allows for smaller, cheaper, safer, and cleaner space rockets.”

“When flying as a swarm with a rocket in tow, we envision the drones to act as one super drone, rather than a true swarm, meaning the flight controllers of the drones link together creating one large drone with many rotors out of lots of small ones,” Lubrich says. “This is so that the flight is 100 percent precise.”

If the drones were independent, even if they were connected to each other via the rocket, there could be small differences in the way that they fly, which could create problems due to them being physically connected, Lubrich explains. Instead, there would be one designated master drone in the swarm that would — when all of them are linked together — control all the drones and turn the swarm into one large super drone, all controlled by the same master flight controller.

“Once the rocket has launched and the physical link between drones is broken, the software link is broken too and the rapid ascent drones independently descend back to the launch pad, staying out of each other’s way as they do so,” Lubrich says.

Lubrich and Rammaxx envision a future where these RADs would allow for much smaller ground to space rockets where the current first stage of space flight could be nearly completely eliminated. The space flight-enabled RADs would feature eight rotors with 300 horsepower each for a total of a 2,400 horsepower drone that is capable of carrying 13,000 pounds of payload 15,000 feet in 90 seconds. The RAD’s four-minute battery life would give it plenty of time to safely return to Earth afterward.

Ramaxx has already completed a few small-scale tests of the concept as seen in the photos below.

What is now just a neat way to provide a firework alternative and a different light painting experience could be a revolutionary shift in how humans approach space flight. Thanks to successful small-scale tests, Lubrich believes it is only a matter of time.

Image credits: All photos courtesy of Rammaxx and used with permission.

Leica has announced the M10-R Black Paint edition in what the Leica Store Miami is calling a “limited run.” The camera is functionally identical to a standard M-10R, but the colorway is a first for any M10-generation camera, standard or otherwise.

The original M10-R was announced in July of 2020 and features a 40-megapixel color sensor. At the time, Leica said that the M10-R would deliver significantly reduced image noise as well as a wider dynamic range than the original M10 and would perform closer to what one would expect from the M10 Monocrhom but with the added benefit of color. At launch, it was listed for $8,995.

With this new edition of the M10-R, Leica has employed a high-gloss black paint finish that hasn’t been seen at all in the M10 line, as Leica has opted to use more of a matte black and chrome finish. This new edition not only brings a classy, shiny black to the camera, but it also does away with Leica’s iconic red dot. Leica describes it as an homage to the Leica MP film camera, and the shutter release button has been trimmed out in polished silver chrome and the shutter speed and ISO dials on the top of the camera have received a “classic and easy-to-grip” cross-knurled machining on the sides.

According to Leica Store Miami’s Red Dot Forum, this particular paint finish will age differently than the standard M10.

“The more matte black chrome is electrochemically bonded with the underlying nickel-plated brass, but black paint is applied on top of the bare brass top and bottom plates,” Red Dot Forum writes. “So where the black chrome takes on a slight silvering in high-use areas, the painted finish will wear over time, exposing the brass underneath and demonstrating a lovely and sought-after patina.”

A similarly colored rare black painted Leica IIIg with an Elmarit 90mm f/2.8 recently sold at auction for $484,400.

The M10-R Black Paint is supposedly available in limited quantities, but Leica did not specify how limited in its announcement. In a bit of an unusual turn, the Black Paint edition isn’t markedly more expensive than the original M10-R, and will only cost $300 more than the standard — $9,295.

Lexar has announced that it is actively developing on the thus far unused SD Express specification to create SD memory cards that use PCI Express (PCIe 4.0) and will more than triple the speeds of current UHS-II cards, but it’s not clear who these cards will work for.

Lexar says that it is actively developing both regular SD Express as well as microSD Express memory cards. Its SD Express cards will have a capacity of up to 512 gigabytes while its microSD Express will cap out at 256 gigabytes.

Lexar SD Express and microSD Express memory cards will feature write speeds of up to 410MB/s and read speeds of up to 824MB/s, respectfully. Lexar is currently working with manufacturers of relevant host devices as part of its early development.

The SD Express specification is not new but was developed by the SD association several years ago in response to the Compact Flash organization’s CFexpress specification. The idea would allow for the format to theoretically reach greater capacities and much faster speeds all while maintaining the same current SD card format with the promise of backward compatibility.

While this sounds great, the SD Express specification has not been actively developed for a reason — it’s not perfect. In 2019, PetaPixel spoke with ProGrade Digital’s Wes Brewer who explained that there were many hidden drawbacks with the SD Express specification. For starters, SD Express cards would technically be backwards compatible, but only to UHS-I speeds.

“You can put it in there, and it’ll work, but it’ll only work as a UHS-I card,” Brewer said. “So if the camera requires full SD UHS-II performance, it won’t work right. It won’t work as well as it’s supposed to like an SD UHS-II card would work.”

At the time, Brewer noted that no camera manufacturer was interested in the SD Express format and none were making any cameras that would work with it. To date, that has not changed and it’s unclear who Lexar’s cards would be for.

What’s more, those looking to keep the SD form factor have already found a solution: CFexpress type A. Sony’s latest cameras accept both standard UHS-II SD cards and CFexpress Type A cards in the same card slot. Back in 2019, Brewer predicted this.

In 2020, the specification was updated and allowed for transfer speeds for up to 3,983 megabytes per second, a huge leap in performance. It wasn’t clear though if the backward compatibility issue had been solved nor if any camera or device manufacturer was even interested in supporting cards made with the specification.

Even if all the issues with SD Express were solved by the new specification and camera makers decide to support them, SD Express is a long way from challenging CFexpress. The read and write speeds promised on Lexar’s coming SD Express cards may be up to three times better than UHS-II SD cards, but they are still well below current CFexpress speeds. Current Type B cards typically reach read speeds of 1,700 MB/s and surpass 1,400 MB/s write speeds thanks to their two lanes of PCIe. Type A cards are slower due to their single-lane design, but still promise 800 MB/s read speeds and 700 MB/s write speeds. While SD Express appears to be competitive on read speeds, Lexar’s SD Express cards will only reach about half the write speed performance.

Lexar appears undeterred, however. The company plans to launch its new line of SD Express cards in 2022, but it is not clear what devices will support them or how much they will cost. That last note will be the most important, as SD Express may only be able to compete by undercutting the currently astronomical price of CFexpress.

EarthCam, which recently made waves when it took the largest photo ever captured of New York City, has launched two additional high-resolution timelapse camera rigs that use a Sony Alpha 7R Mark IV at their core.

Following the launch of the EarthCam GigapixelCam X80 in May, the company has announced two more high-resolution timelapse camera rigs: a wide-angle 61 MegapixelCam and the 61 MegapixelCam Robotic, which adds a precision 360-degree pan and tilt base.

The non-robotic wide-angle camera features a Sony 20mm f/1.8 prime lens mounted to the Alpha 7R Mark IV to offer wide, high-resolution files. The robotic version uses the Sony 25-70mm f/3.5-5.6 OSS lens and is not user-customizable as it has been optimized and tested specifically to work with this lens.

EarthCam may use the Sony camera system at its core and therefore the image quality is well documented, but thanks to the Sony Camera Remote SDK, the company is able to build significant functionality around the camera. The EarthCam enclosure protects from the elements and comes equipped with what the company bills as a “maintenance-free” wiper, battery, and data backup. The camera can be controlled remotely and tasked with documenting ongoing progress or specific milestones.

Most of EarthCam’s clients are commercial or industrial, but because of the advanced software features, the system has several creative applications as well. EarthCam doesn’t publish how much each of its systems costs, but says that its rentals start at $680 per month for the new systems.

Both of the new 61-megapixel systems use an industrial solid-state embedded Linux OS platform with an ARM9 CPU and 64-gigabytes of onboard backup storage. It can be connected via either ethernet or a wireless 4G or 5G connection and powered by a standard wall outlet or outfitted with solar if it is placed in an area where traditional power is not available. EarthCam also provides custom software that can be used to monitor and adjust the camera from a computer or mobile device.

Earlier this month, EarthCam published a video that shows the kinds of projects that can be made with its products and why high-resolution is of particular value. Beyond timelapses like the one below, EarthCam rigs outfitted with a robotic base (like the 61 MegapixelCam Robotic) can also produce extremely high-resolution gigapixel images by stitching together a large number of photos.

These camera rigs can also be used for live streaming, which EarthCam demonstrates with a camera that is currently live over Times Square in New York and is broadcasting in 4K.

While as mentioned EarthCam doesn’t publish exact pricing, it does say that these new models are “mid-priced” and are designed to make it easier for small or midsize businesses to afford in addition to the aforementioned rentals the company makes available.

Long-term timelapse production is a niche art, but it’s still highly valuable for commercial photography businesses. While EarthCam is clearly designed for larger-scale productions, its Work Zone Cam Pro is comparable to popular affordable options like photoSentinel, with prices that start under $3,000.

Update 6/23: EarthCam specified rental pricing for its new cameras as well as a subsidiary company that offers similar products at a lower price.

Hong Kong-based LightPix Labs has launched a FlashQ system called the X20 for Sony mirrorless systems that is both an on- and off-camera strobe and LED video light.

The X20 is an updated version of its previous system and adds a bi-color LED Light for video that also functions as a modeling lamp and TTL flash with wireless radio control that uses a “Mi” shoe interface.

The FlashQ X20 leverages the same compact form as the existing GN20 flash from the company’s lineup but packs in new and improved features from the previous generation. Added to this version are the much-requested TTL functionality and new, more intuitive controls. The circular-shaped LCD display on the back of the flash unit has been updated to better display these new functions and setting options and promises to give better control over the new LED video light and adjustable brightness/color temperature settings.

While the features aren’t necessarily standout, the form factor is: the X20 is incredibly compact. It can be used as a standard on-camera-flash type system like any other speedlight on the market, however, the X20’s main body can also be easily detached from the hot-shoe (where the transmitter is located) which enables the system to be used as an off-camera flash without the need to purchase additional accessories.

The 2.4GHz flashbulb can tilt up to 90 degrees, has a guide number of 20 (at ISO 100) with a focal length coverage of 23mm on a 35mm format system, and LIghtPix claims the transmitter’s battery can last for up to 30 hours of operation (120 days in standby mode). The flash itself is powered by two AA batteries and has a promised recycling time of five to six seconds at full power.

According to the company, the X20 can fire about 2,000 flashes at minimum power and 100 at maximum power per set of batteries. The LED light is brightness and color temperature adjustable (from 3,000 to 5,500 Kelvin) and offers up to a 60 lux output at a distance of one meter and can stay on for about one continuous hour at full power. While the system can be used as an “off-camera” type setup, the range, however, is somewhat limited. According to the product page, the radio trigger uses a low-power system capable of about a 10-meter wireless range.

Currently, the FlashQ X20 is compatible with a wide selection of Sony mirrorless systems including the Sony Alpha systems ranging from the original Alpha 7 to the Alpha 7S III to the RX10 Mark IV. The company has stated that they plan to expand the support and compatibility of this flash on additional systems “soon.”

The FlashQ X20 system is available for $149 from LightPix Labs.

Sabrent has been producing high-capacity computer SSDs for some time, but its latest greatly expands the possible use cases outside of traditional PC builds. The new Rocket XTRM-Q is a 16 terabyte Thunderbolt and USB-C external SSD that promises single disk speeds of up to 1,500 MB/s.

While Sabrent has been producing external Thunderbolt drives for a while, it’s a brand that is more well known for producing high-quality internal PC parts. That may change though, as it is making quite a statement with its latest external drive.

Announced on Twitter, the Sabrent Rocket is not actually a single 16 terabyte SSD but actually uses two 8 terabyte M.2 NVe SSDs that can be configured into RAID 1 or RAID 0. So while it can get up to 1,500 MB/s per disk, if speed is a primary concern, a software RAID 0 configuration will provide up to 2,500 MB/s.

In a video highlighting the release, Sabrent shows that in RAID 0, the Rocket hits 2,752.6 MB/s write speeds and 2,178.1 MB/s read speeds. In Raid 1, that drops to 1,359.9 MB/s write speeds and 2,203.5 MB/s read speeds. That dip in performance might be worth it, however, as RAID 0 has no protection against data loss if one of the drives were to fail. In JBOD configuration (just a bunch of disks), the Rocket logged 1,347.5 MB/s write speeds and 1,421.9 MB/s read speeds.

The Rocket XTRM-Q works with both Windows and Mac computers and ships with both a Thunderbolt cable and power adapter. Physicaly, the Rocket is 4.5 x 2.56 x 0.68 inches (length by width by height), which is quite small for so much capacity. The two NVMe SSDs require more power than Sabrent appeared to be able to deliver with Thunderbolt, so it will require wall power in order to operate. The drive also needs to be toggled on and off from the exterior power button. So while the company says that it was designed with travel in mind, the need for the external power adapter and cable could be a turn-off for photographers and filmmakers who prefer to keep a compact kit.

Sabrent says that it can automatically detect USB or Thunderbolt 3 connections, offers USB transfer speeds of up to 900 MB/s, and has integrated temperature and health monitoring systems.

The drive itself is aluminum and ships with a rubberized removable exterior. The exterior material was chosen because of its ability to effeciently sink heat. There are two small LEDs on the side of the case that show the status of each SSD.

The convenience and functionality that the Sabrent Rocket XTRM-Q offers do not come cheap, however. The drive costs a whopping $2,900. That might be more than most are willing to spend on storage, but from a value perspective, it’s not bad when compared to Sabrent’s 8 terabyte version which retails for $2,000 — twice the storage space but not twice the cost is somewhat refreshing.

Update 6/23/2021: The original story used a photo of Sabrent’s 8 terabyte SSD, which does not require external power. The image has been replaced with the correct product image. We apologize for the error.

I used to view digital Leica cameras as a classic example of style over substance. Surely this is a perfect example of a company developing a luxury brand on the back of their, admittedly wonderful, history and heritage.

In a world of ever-increasing sensors, rapidly improved autofocus, and seemingly endless technical innovations to assist the photographer, to my mind Leica appeared to have fallen behind the likes of Canon, Nikon, and Sony.

That being said, I have long admired the history of the company and the pride it takes to produce beautifully crafted cameras, upholding the long-held belief that design and excellent craftsmanship are of paramount importance irrespective of the impact this will have on cost.

As a lover of mechanical watches, I fully understand why many can see no sense in spending thousands on such a watch when a mass-produced quartz watch will perform the same function, in most cases be more accurate, and usually have many more features. For me, that misses the point.

I am attracted to, and buy into, the history, precision engineering, design, and finally the knowledge that my watches will still look and perform as well as they do today in decades to come. It is this aspect of my character that kept me interested in Leica and, despite my reservations, why I could never dismiss them completely.

Having made the transition from Nikon to Fujifilm and built up a collection of prime lenses I started to look for a fixed lens “grab and go” camera for those days when I wanted to have a camera on me but wasn’t actually going out to take photographs. The obvious choice at the time was the Fujifilm X100F but Leica was still an itch that needed scratching and the Leica Q was proving hard to ignore.

Eventually, I followed my heart and made the investment in the Leica Q-P. It certainly was an investment, given that it cost more than 3 Fujifilm X100F cameras!

Within minutes of unboxing and taking a few test shots, any doubts I had were cast aside and so began my Leica journey. When I hold a Leica the quality and attention to detail are immediately apparent and there is no doubt at all that this is a premium product. This is even before appreciating the images these cameras can produce.

I have been using my Leica Q-P alongside my Fujifilm equipment for 2 years and during this time, as with all Leica fanboys, it has resulted in an ongoing fascination with all things Leica.

The Leica M range has long been a bit of an anomaly in the world of modern digital cameras. A manual focus rangefinder with limited technical specs and significantly more expensive than many of the offerings from the other leading brands. Then there is the cost of Leica lenses to add to the equation. Given the success of these cameras, I was interested to know why people happily spend thousands on a Leica M when you can get a higher resolution, feature-packed camera for less money from any other manufacturer.

I was fortunate enough to borrow an M240 and subsequently an M10. Apart from my observations above regarding the feel of a Leica, what I immediately bought into was the change in user experience. When using a manual focus rangefinder I am forced to slow down, think more about the composition and what I want to capture. I accept this is as much to do with my aging eyes as my unfamiliarity with the rangefinder!

With my Fuji X-Pro3, I can walk the streets shooting all day and know that nearly all of the images will be in focus and perfectly exposed. Later, in Lightroom I can manipulate these files to my heart’s content, changing the color grading or converting to my favorite aesthetic of black and white. This knowledge inevitably leads to me overshooting with the result that I take thousands of photos that are technically sound but the end result is a small percentage of “keepers”.

What I find when using the Leica M is my approach to capturing moments is more considered. Also, there is the feeling that I am more connected to the camera, and rather than taking photos I am making them. The end result is as much down to my input and abilities as the technical wizardry of the little box I am using. Essentially, it presents a different challenge for me as a photographer and therefore I enjoy the process even more and get greater satisfaction from the final image. I also take significantly fewer photos but the percentage of “keepers” increases significantly.

Clearly, this is not something that will appeal to everyone. If you are only interested in the final image and you prioritize a camera that will do a lot of “heavy lifting” for you over the user experience and process, I would suggest that a Leica M is not for you.

Having enjoyed using both the M240 and the M10 it was inevitable that I started thinking that a Leica M would be a welcome addition to the camera bag. Additionally, given that black and white photography is a passion of mine, the unique Monochrom came into consideration. This in itself raised the next question, does it really make sense to spend all that money on a camera that can only shoot black and white images?

My good fortune continued when I was able to borrow an M10 Monochrom for a few days. Having read countless articles and watched endless reviews on the benefits of a black and white sensor, I was curious to see if the images were significantly different and/or better than the images taken on the X-Pro 3, Leica Q-P, the Leica M240, and Leica M10 and converted into black and white in Lightroom.

From my perspective, the short answer is no. But that proved to be the wrong question for me.

I am able to create the look I want in Lightroom irrespective of the camera used. Whilst I agree there is a “Leica look” I would almost certainly be deluding myself that given a selection of images, I could say with 100% accuracy which ones have been taken on a Leica Monochrom. What I have found with the Leica Monochrome is that the images taken require little or no post-processing and therefore I can spend more time behind the camera rather than in front of the computer.

I have already mentioned the different user experience with a Leica M. To add to that, when using the Monochrom I find that knowing I can only capture black and white images has a significant impact when I am on the street. Instead of being distracted by color, my eye is drawn to subjects in the right light as well as by contrast and texture. This ultimately results in capturing more of the type of black and white images I enjoy.

The questions I realized I should have asked are; is the act of taking the photos more enjoyable; is it easier to achieve the desired look and probably most importantly, does it change the subjects I look for or notice, knowing I can only shoot in black and white? The answer to all of these is an emphatic yes.

Having returned the M10 Monochrom the decision was made to add to the camera bag, again! Budgetary constraints dictated that I opted for a used M246 Monochrom. Luckily I sourced a “like new” copy and for the last few months, this camera and the 50mm Summarit f/2.4 have been glued to my hand.

The purpose of this article is not to convince the Leica skeptics that they should swap brands and seriously diminish their bank balance by purchasing what are unquestionably very expensive cameras and lenses. It is merely to explain why as both a photographer and someone who has a weakness for beautifully designed and manufactured products I have bought into the Leica world and happily fallen for the charms of the unique Leica Monochrom.

Thanks for reading and keep on enjoying your photography irrespective of what you shoot with.

About the author: Maurice W Webster is a documentary and travel photographer based in Sussex, England. The opinions expressed in this article are solely those of the author. You can find more of Webster’s work on his website and Instagram. This article was also published here.

Police in the United Kingdom have been granted new powers that allow them to further crack down on pilots who are either flying illegally or irresponsibly with increased fines and the ability to confiscate drones.

Operation Foreverwing, which is a new campaign that is aimed at “clamping down” on drone-related crimes was launched on March 22 in response to 336 drone-related incidents that were recorded during the previous five months in the United Kingdom. It sees three organizations working together to deter drone crime.

According to the UK Civil Aviation Authority (CAA), the police launched dedicated drone teams across the country and are tasked with enforcing drone laws by handing out fines and confiscating drones.

“The use of drones has increased dramatically in recent years and as a result of that we are seeing instances of dangerous and irresponsible flying,” National Police Chiefs’ Council lead for counter Drones, Chief Constable Lucy D’Orsi, said. “If you are a drone owner it is your responsibility to make sure you are following the rules for your own safety and that of others around you.”

UK law now mandates that operators of drones that weigh more than 250 grams and all drones other than toys outfitted with a camera must be registered with the CAA. Failure to do so can result in fines up to £1,000 (about $1,400).

While there are more than 200,000 registered drone owners in the country, the CAA estimates that there are possibly tens of thousands of those still unregistered, Jonathan Nicholson of the CAA tells the BBC.

The increased power given to law enforcement is already being leveraged. The BBC reports a drone user was fined more than £5,000 (about $6,965) for flying illegally over MI6’s building in central London last week.

“Our objective is not to stop people having fun or using their drone for business, it’s to make sure that everyone can share the air safely and that means sticking to the rules outlined in the Drone Code,” Nicholson explains. “Drones can cost thousands of pounds, and with fines for breaking the rules, the costs can quickly add up for those failing to comply.”

The goal appears to be to mainly use the high fines as the key deterrent to prevent drone misuse.

“Drones can cost thousands of pounds, and with fines for breaking the rules, the costs can quickly add up for those failing to comply,” Nicholson says.

Full details on drone rules and specific UK regulations can be found on the CAA website.

Image credits: Header photo licensed via Depositphotos.

Lensbaby, a company known for making unconventional lenses and unique optics, has announced its latest lens: a three-in-one Pinhole-type optic called The Obscura.

The Obscura lens is based on the camera obscura, “a darkened room with a small hole or lens at one side through which an image is projected onto a wall or table opposite the hole” which dates back to the fourth century BCE and is one of the earliest image projection techniques currently known.

“A pinhole is not, technically, a lens but is a clear, round hole in a thin piece of material, usually metal,” the company says. “A pinhole sieve is a field of pinholes with the center pinhole being the largest and increasingly smaller pinholes radiating away from the center. A zone plate is a series of clear circular rings surrounding a center hole with each of the clear zones equaling the area of the pinhole in the center resulting in increasingly thinner zones as you move away from the center of the zone plate.”

Additionally, since the tiny pinhole only allows light to enter the camera from one direction, no focussing is needed. This also means the depth of field is quite large. Because less light is entering the camera, longer shutter speeds or higher ISO settings are needed (or some combination of the two) in order to achieve correct exposure.

“Most pinholes, unlike the Obscura’s imaging elements, are very delicate and easily damaged, typically being produced as small holes in thin sheets of metal with knife-sharp edges at the edge of the holes required to efficiently focus light,” Lensbaby says. “The Obscura’s pinhole, zone plate, and pinhole sieve are made up of three layers of chrome with a total thickness of 0.00014mm deposited on 1.5mm thick glass before an anti-reflective coating is applied. With a resolution of 128K dpi, this photolithography process not only makes true zone plates with excellent light transmission, it produces perfectly round pinholes and precision zone plate zones. Photographers can clean the Obscura’s glass as they would any camera lens, without fear of destroying and of the three imaging options.“

The new full-frame “lens” allows users to capture a creative effect with the Pinhole, Zone Sieve, and Zone Plates at either a 16mm or 50mm focal length. It is available in the optic swap mount (50mm) for every mount currently supported by Lensbaby, while the 16mm version currently supports the Canon RF, Nikon Z, Sony E, Fuji X, MFT, and L-mount mirrorless systems. Since the system captures images at such a large aperture, there is no traditional focusing available. The 16mm supports shooting at f/22, f/45, and f/90 while the 50mm supports shooting at f/32, f/64, and f/161.

Photographers will want to shoot with a tripod and have fairly long exposure times with these required f-stops. It is worth noting that with this sort of system, everything will be in relative focus, but nothing in your image will be “sharp.”

Below are a few sample images provided by the company that illustrate how the Obscura lens looks in use.

Since these images are not sharp by design, the image “quality” is entirely up to the beholder. The images will be soft, muted, and possibly even contain a fair amount of motion blur. The Obscura Lens is the type of tool for a photographer who wants to take a step back and challenge themselves to get creative.

“We created the Obscura so that you could learn and grow while using a technologically advanced pinhole lens with options. It’s the Lensbaby twist to old-world imagery,” the company says.

The series has three components that consist of a standalone 50mm lens with Pinhole/Zone Plate/Pinhole Sieve for $279.95, a 16mm pancake lens for mirrorless cameras with Pinhole/Zone Plate/Pinhole Sieve for $249.95, and the Obscura Optic for the Optic Swap System for $179.95.

The full Lensbaby Obscura set can be perused here.

Peak Design has updated its Field Pouch that it says is three bags in one: an organizer for a larger bag, a small walk-around essentials satchel, and a belt-mountable waist carry bag. The weatherproof nylon canvas shell on the outside keeps the interior — wrapped in soft felt — safe.

Peak Design says that the versatile and expandable roll-top design of its Field Pouch V2 features a large number of usability options and optimizations that make it ideal for a variety of circumstances. It includes a strap, has what the company calls an “improved” pocket layout, and dual Capture attachment points. IT also features updated patterning that integrates that functionality into what Peak Design describes as a “timeless, minimal look.”

Starting with that roll-to, Peak Design says it is a “unique hook-and-loop” design that grants easy access and allows for considerable expansion — it can double in volume — as well as quick compression to eliminate unused space and reduce the size of the bag. The interior holds a mix of both stretchable and zippable pockets that can carry and secure anything from cords, memory cards, batteries, and keys to small lenses and cameras.

The Field Pouch V2 ships with a lightweight adjustable strap that enables both cross-body or shoulder carry. Peak Design says that the company’s Capture Clips can be attached to the outside of the pouch to carry a camera yet have it easily ready and allows the interior to be used specifically for storing accessories.

All fabrics are recycled and Bluesign approved, including the soft internal felt liner and the 400D double poly-coated weatherproof nylon canvas shell. Peak Design also claims the Field Pouch V2 is 100% carbon neutral.

The main differences between the original Field Pouch and this second-generation lie in the included strap, improved pocket layout, and the two Capture Clip attachment points. The company also says that the exterior patterning is new.

The original Field Pouch is still available for $32 — likely until supplies are exhausted — and the new Field Pouch V2 is available from the Peak Design store for $45, comes in three colors (black charcoal, and midnight blue), and is shipping immediately.

A photographer is questioning Peak Design’s messaging and recommendations for servicing its products thanks to an experience he had with the Peak Design Travel Tripod. After dropping it, he took issue with Peak’s customer service. They told him he needed to replace it, but he shows it was repairable.

YouTuber Andrew Leonard, who goes by Emergent Technology, published a video where he explains how his experience with the Peak Design Travel tripod left him scratching his head at some of the decisions that the company has taken with regard to addressing damaged parts.

Leonard says that on his first trip out with the tripod, he dropped it and the head landed squarely on a rock. Later that day, he realized that it was exhibiting a terrible grinding sound and while it did not appear to affect the tripod’s ability to securely hold a camera, he wanted to deal with the problem. He figured it was a piece of dirt or sand that had gotten lodged in the head, he looked to see if he could be given instructions on how to clean it.

To his surprise, Peak Design did not provide any information on how to do this, but instead actively cautioned against taking it apart at all. Peak Design instead suggests using a compressed air can to dislodge any debris, but do not submerge the ball head or run it underwater.

Because the head is the most complex part of the entire tripod head, Leonard says it makes sense that Peak Design doesn’t want someone messing with the parts as it would be very easy to accidentally break it.

After contacting customer service and explaining what happened, a representative told Leonard that the tripod head was a sealed unit, and was therefore impossible for any dirt or sand to enter into the head. Therefore, any sound he was hearing was the result of a damaged part and the entire head would need to be replaced. Unhappy, but obliging, Leonard ordered a replacement.

Additionally, since the head was being replaced, he decided to take it apart to see what piece may have broken since aside from the grinding, it appeared to still function correctly.

What he found was that contrary to what he had been told: there were no broken parts inside the tripod head and instead, it just needed to be cleaned properly. He also believes that the instruction to use a can of compressed air actually may have made the problem worse, as it looks to have sent the debris further into the mechanics of the device.

“In short, Peak Design claims their ball head is a sealed unit, and tried to place additional blame on me as the customer when I let them know I had dropped it,” Leonard writes in a since-removed Reddit post (removed for breaking a rule of the subreddit). “I paid for a replacement ball head, and after further analyzing the ‘broken’ unit through a teardown — the results of which I shared with Peak Design — the company refunded me for my replacement ($50) ball head purchase.”

Leonard says that he has no issue with the design or the construction of the tripod and head — quite the opposite, actually — but hopes that this situation reveals some constructive criticism about the right to repair, and how companies can be more transparent with customers.

“I am thankful that Peak Design, after talking with me in more detail about their claims, has refunded me for the replacement ball head purchase,” Leonard writes. “In the future, my hope is that Peak Design better communicates with their customers about reparability, instead of making misleading or outright false claims that place additional or undue blame on the consumer.”

Calls to grant buyers more rights when it comes to repairing purchased products have been growing in volume over the last year, and a national right to repair bill has been filed in Congress. While the most vocal critics of right to repair are large tech companies like Apple and Microsoft, situations like this one would assure that not only would customers end up paying less, but fewer parts would end up in landfills. Being an environmentally conscious company is at the forefront of what Peak Design champions — and is at the core of its newly-launched used marketplace — so coming up with a solution feels like something that it would be behind.

“To reiterate, they do not want people executing repairs on the part of the tripod that is most critical to keeping their very expensive camera attached to it. On the other hand, the right to repair movement is becoming increasingly critical,” he says.

“I would like to see Peak Design put together something as a middle ground here, like an RMA program for units that they don’t want people disassembling and tearing down themselves. At the very least, Peak Design in my opinion should revise their approach towards communicating with customers about how these replacements are supposed to work.”

When reached for comment, Peak Design tells PetaPixel that it plans to do just that. After reviewing the details of this particular case, the company has changed how it will look at cases going forward.

Up until this instance, every Peak Design Travel Tripod Ball Head that has been returned for inspection due to a drop has been found to have suffered a broken part within the Ball Head. In addition, these dropped Ball Heads have all exhibited the same “gritty,” noise as described by the customer. Peak Design Customer Service does own an instructional video on Ball Head break down and reassembly but has chosen to keep this video private. First, the process of tearing down and reassembling the Travel Tripod Ball Head requires a high-level of skill and precision to properly complete. Second, the Travel Tripod Ball Head is composed of a high-volume of precision parts, making it difficult for the company to stock and fulfill for individual customer repair.

In light of this customer’s determination that grit was indeed the culprit for the noise within the Ball Head, Peak Design Customer Service will change how it handles these cases moving forward. In instances where the customer believes that dirt and sand have penetrated the inside of the ball head, Peak Design Customer Service may choose to share the instructional video that provides guidance for disassembling and reassembling the ball head. Unnecessary waste is an environmental impact that Peak Design takes very seriously. If a change in Customer Service procedure can help further mitigate waste, Peak Design is more than happy to do so.

In addition, after being alerted to the problem, Peak Design’s CEO Peter Dering noted in a reply to Leonard’s video that he was glad the issue had been brought up.

“I just want to say… I really appreciate the thorough video and explanation,” Dering writes. “When I heard our CS team said that the unit was sealed, I cringed a little bit. It is simply not sealed. As you clearly demonstrate, it is merely a slightly difficult and/or finicky reassembly process, which is precisely why we’ve discouraged its maintenance. However…I agree that we should have a middle ground, and provide an opportunity for those who want to be able to service it, to service it. We’ll get something put together in a reasonable amount of time. Thanks again for the fair video.”

Image credits: Photos of Peak Design Travel Tripod teardown by Andrew Leonard and used with permission.

Tamron recently released its longest-reaching lens for the Sony E-mount camera system with the 150-500mm f/5-6.7 Di III VXD. After two packed weeks of glorious bird photography, there’s a lot to be said for this new telephoto zoom.

This may technically be the first of its kind for Tamron, but the company does have a history of similar zoom lenses for DSLR mounts. We’ve seen the popular 150-600mm f/5-6.3 lens released in 2013 with a well-received second-generation model launched in 2016, plus the 100-400mm F/4.5-6.3 which was introduced in 2017. Now, Tamron hopes to take what it learned from those past successes and make a next-generation telephoto zoom for the most popular full-frame camera system on the market.

Design and Build Quality

My first impression of the 150-500mm is that it’s a great-looking lens. I appreciate the black semi-matte finish on the plastic exterior which blends in much better than the off-white that is not uncommon for these focal lengths. The removable tripod collar is metal and has a texture that matches extremely well with my trusty Sony a7R III camera, which I used for this review.

This lens does extend physically as it zooms. At the short end, it’s 8.3 inches (209.6 millimeters) long and all the way out its 11.1 inches (283 millimeters). In total with the tripod collar included, the lens weighs 4.1 pounds (1.86 kilograms). Overall, it has a comfortable balance and throughout my shooting time with it, it was only used handheld (aside from aperture tests). Even more modestly-sized camera backpacks should be able to fit this in with the hood reversed and camera attached.

Taking a closer look, I noted a number of interesting features in the design and functionality that are worth discussing.

Zoom Ring

Starting at the outer end of the lens, there’s a large, rubberized zoom ring that can move from 150mm to 500mm in a 75-degree twist. While there is a zoom lock switch on the side for 150mm, what is less noticeable is what Tamron calls the “Flex Zoom Lock.” By just pulling out the zoom ring, it can lock at any focal length.

This might be my favorite feature of the 150-500mm. I can’t tell you how many times I’ve inadvertently nudged the focal length out of where I intended it to be with my Sony lens. Before I know it, I’m missing out on over a hundred millimeters of zoom that I now have to recover with cropping. With my Sony lens I made a workaround where I overlap two pieces of neoprene to give the zoom ring some added friction, but what Tamron has done with the Flex Zoom Lock is very smart and extremely handy.

Another great aspect of this zoom lens is the impressive variable aperture breakdown. My testing shows that from 150mm to 237mm, the camera displays f/5, from 238mm to 386mm it’s f/5.6, from 387mm to 479mm it’s f/6.3, and only in the final 20mm of 480mm to 500mm is it f/6.7. This makes the 150-500mm some good competition to the standard 100-400mm lenses that break down similarly but only zoom so far.

Switches

Aside from the zoom lock switch I just mentioned on the righthand side, there’s a panel of switches to be found on the left. These include a focus limiter switch, focus mode switch, vibration compensation (VC) on and off toggle, and a VC mode switch. The switches on this lens are the best tactile experience I’ve had when compared to any Sony or Canon lens. Because of the perfect tension and size, even the three-stage switches easily set to the middle without accidentally skipping to the next setting.

I’ll go over vibration compensation in a more detailed section below, but right now I want to point out the focus limiter. Most focus limiters I’ve seen have three modes: One is for the full focus range, one is for infinity to a certain distance, and the last is for close focus to a certain distance. In contrast, the Tamron 150-500mm forgoes that last close focus option for a second infinity-to-distance mode, which means it offers the full range and either infinity to 15 meters or infinity to three meters.

As a bird photographer, focus limiters are a tricky matter that I don’t ever really use for a few reasons, but paramount is the fear I might miss something spontaneous. What Tamron has done here — I believe — is a nod to sports photographers who always have absolute certainty where their subjects will be. If they’re shooting from the sidelines of a game, they will likely need to be back at least three meters for safety. If they’re shooting from the stands, that’s a guaranteed 15 meters away. These are just a couple of easy examples, but taking away a close focus limiter speaks to the type of photographers the company either worked with closely while designing this or the type of shooter it envisioned using the lens.

Focus Ring

Moving toward the lens mount, there’s a focus ring that I have a couple of negative feelings about. First is its thinness. The least Tamron could have done about that was to make the ribbing on it rubberized and more pronounced, but sadly it’s even flatter than the zoom ring and plastic.

Secondly, it is not a smooth operator. It has a cheap glide like there’s sand in it, and at times in the rotation, there are high notes of crunching that make me question if there literally is debris trapped. It makes its use more finicky than it should be.

Tripod Collar

Closest to the lens mount is a removable metal tripod collar that needs to be acknowledged. Tamron has already been doing it in previous telephoto lenses, and this one too features a built-in Arca Swiss tripod plate on the foot. Nothing is more insulting than when lens manufacturers skimp on this and instead ship out a completely useless foot.

On each side of the foot, there are also loopholes for attaching a carrying strap if desired.

Image Stabilization

The Tamron 150-500mm does have an image stabilization mechanism — Tamron calls its technolgoy Vibration Compensation — and offers three different modes that are controlled by a switch on the side of the lens.

Don’t skip this part because these are not exactly the modes you might be thinking they are.

Traditionally, Mode 1 would be full compensation vertically and horizontally, Mode 2 would be for panning and compensates only for vertical movement, and then Mode 3 only activates horizontal and vertical stabilization at the moment of capture and does not compensate until only then.

With this lens, Mode 2 is unchanged and is still the mode to use for panning shots. Modes 1 and 3 are different, and a little strange. Mode 1 acts as described above, however, its strength of compensation is not very impressive, especially when shooting at 500mm. I think of it as a soft image stabilizer that allows for a lot more play with the lens and doesn’t tie you down to always making sure you’re in the right mode for the shot.

Mode 3 gets really weird. The level of compensation in both directions is extremely good. It’s much, much better than Mode 1. However, it’s active all the time. Even without half-pressing the shutter or using back-button autofocus — without touching the camera at all — it’s on. As you can imagine, this is not ideal for a long-lasting camera battery to be walking around with the lens in Mode 3, but as noted it’s also the mode to be in for the best compensation. So, generally, I used it. Ideally, I would like to see Mode 3 only active when I’m ready for it.

One last note is about the constant noise of this lens. Many stabilized lenses have some sort of hum that is produced once that image stabilization kicks in. Oddly enough, the Tamron 150-500mm is noticeably whirring away all the time and only quiets down a touch when it’s stabilizing. After two weeks of getting used to it, I’ll admit it’s a little less obnoxious now, but it was almost unbelievable when I switched over to this lens initially.

Image Quality

Inside, the lens uses 25 elements in 16 groups including one extra-low dispersion element, five low dispersion elements, and two hybrid aspherical elements. There’s also Tamron’s BBAR-G2 coating. In all, it’s a concerted effort to control aberrations, ghosting, and flaring while promoting edge-to-edge sharpness.

Upfront, I can say that the Tamron 150-500mm image quality holds up beautifully for real-world use and my proof of that is in the photos littered across this review. I did not encounter any sort of aberration or flaw that became an issue in the field or that needed any sort of labored correction in post-processing. Below are a couple of backlit shots with high contrast and there is no dramatic color fringing. The very little I see is either unnoticeable in the full photos or can be solved with a one-click fix in post-processing.

As a telephoto lens, vignetting is certainly something that exists. Personally, I embrace it, but it’s always good to know where to expect an even exposure across the frame. Shooting at the 150mm end, I find f/7.1 shows vignetting only on the edges of the frame, and then by f/9 it’s around the corners only, and at f/13 it’s largely under control. On the 500mm end, f/9 is when it encroaches the edges only, f/10 it’s just around the corners, and by f/16 it’s under control.

Sharpness

Overall, I’m very satisfied with the sharpness of this lens for my bird photography. It has the resolving power to achieve fine feather detail and allows for considerable cropping without the photo falling apart.

Peak center sharpness at both the 150mm and 500mm ends is at f/8, according to my comparative testing. It’s worth mentioning to other wildlife photographers that there is no steep falloff of sharpness shooting wide open at 500mm, and in fact, there’s not much difference at the center between 500mm f/6.7 and 500mm f/8.

At the corners, the lens does need some more room to right itself if the details there are important to you. At the 150mm end, peak corner sharpness is at f/14. At the 500mm end, peak corner sharpness is at f/11. To simplify my findings between its vignetting and sharpness, I’d just remember to shoot the lens around f/11 if I wanted the best compromise of edge-to-edge image quality for landscape photography and the like.

Autofocus

First introduced in the 70-180mm f/2.8, the 150-500mm also uses Tamron’s VXD linear autofocus motor. Throughout my review period, I found autofocusing to be snappy and largely reliable for tracking birds in flight. Due to vignetting, autofocus does become less responsive as subjects move towards the extreme edges of the frame. For typical rule-of-thirds style compositions, however, this did not become a noticeable issue.

The minimum focus distance at the wide end is 23.6 inches (0.6 meters) and all the way zoomed in its 70.9 inches (1.8 meters). Considering the lens itself is 8.3 inches, that means at 150mm the subject can be a little more than a foot away and still sharply focus.

Below you can see two full-frame shots of a skipper butterfly that was about the size of my fingernail, one at 150mm close focus and one at 500mm close focus. As you can see, both produce a subject that is very comparable in apparent size although it is slightly larger when close focusing at 150mm than close focusing at 500mm.

Thoughtful Ideas, Thorough Execution

The more I think about it, the more I realize that Tamron made something special with the 150-500mm f/5-6.7 Di III VXD. It bridges the gap between 400mm zooms and 600mm zooms and is still relatively portable and lightweight for a telephoto. There is no hiding any sort of poor light-gathering performance behind the variable aperture numbers, though it is actually only f/6.7 for the last 20mm of zoom and can do f/5.6 almost all the way to 400mm. The Flex Zoom Lock feature is a very welcome addition and I wish every telephoto zoom had it. Other little things about the lens were great to see as well — such as the built-in Arca Swiss tripod plate — that shows the company is willing to take those few extra steps to make its products stand out.

My main complaint is the stabilization mode inconsistency, with smaller quibbles with regard to the focus ring and constant noise the lens makes. In the grand scheme of things though, minor stuff.

Are There Alternatives?

Based on the features of the Tamron 150-500mm f/5-6.7, the priority on compactness in the design, and its aperture breakdown in the focal lengths, the lens is most closely related to the Sony 100-400mm f/4.5-5.6 GM OSS and Sigma 100-400mm f/5-6.3 DG DN OS Contemporary.

The Sony 100-400mm is in the premium G Master line of lenses and costs $1,000 more than the Tamron. Compared to Sony, Tamron loses 100mm at f/4.5 but gains an extra 100mm at the longer end at the cost of some more light loss. On the other end of the zoom, Sony is f/5.6 at 400mm whereas Tamron is neck-and-neck, able to do f/5.6 up to 387mm. The bonus here is that Tamron keeps going, something that users of these mid-telephoto lenses are sure to value a great deal. The $1,000 difference is going to primarily show itself in higher-quality optics and better autofocus performance.

The Sigma 100-400mm is the low-cost option of the three, and costs around $500 less than Tamron is asking. The Sigma’s benefit is that it’s a pound lighter. The Tamron blows past the Sigma in terms of light gathering, though, where the Sigma is already down to f/6.3 at 235mm when Tamron is still wide open at f/5 at that point. Once again, Tamron’s added benefit is that it keeps going after 400mm as well, which makes a big difference for photographers putting in the effort to carry larger lenses like these.

One question I initially had, which I’ve noticed is shared among those who ask online, is why Tamron cut off 100mm from the 150-600mm DSLR lenses it makes. They question why we are losing 100mm and paying more for the privilege.

I’ve found that this is a flawed comparison. I really don’t think Tamron made this as a mirrorless version of the 150-600mm, and it’s also not a direct competitor to my all-time favorite lens, the Sony 200-600mm. In fact, what Tamron has done is added 100mm to the traditional 100-400mm lenses and made the resulting optic its own thing, then understandably charged more for that. The company has made similar adjustments to traditional zoom lengths before such as the 24-70mm becoming the 28-75mm f/2.8 and 70-200mm becoming the 70-180mm f/2.8. Obviously, this is more than a tweak of a few millimeters, but Tamron has a history of thinking outside the box when it comes to zoom ranges. Heck, I believe it was Tamron that pulled off of the 150-600mm first too, years before Sigma and Sony did versions of it.

Should You Buy It?

Yes. Tamron manages to make a highly sharp and reliably fast autofocus lens in the 150-500mm f/5-6.7 Di III VXD. Overall, my experience was positive and there’s considerable attention paid to much of the lens’s design. This is one worth checking out.

The idea of a Leica camera with image stabilization, a built-in EVF, Wi-Fi, 2 card slots, and endless more features may seem like a very foreign concept for legacy Leica shooters. However, this is exactly what Leica has made in the SL2-S.

The camera is very easy to glance at and think “well, it’s just an overpriced Panasonic.” Or maybe even from the other side: “it’s just an SL2 with an outdated sensor to drop the price by a grand.” These impressions are definitely accurate. But the way I see it is: it’s a camera to bridge the gap between old style to new. For film shooters who have no need for high-resolution images and who have already had their fulfillment of M, this is another perfect option for them! Let me explain…

Build

I’ll start with the build quality. Over the years I have been fortunate enough to use and own other high-end photo equipment. I used to own a Canon 5D Mark IV as well as a Fuji X-Pro3 and have shot extensively with the flagships like the Canon 1D X line. The SL series is a different breed in terms of build. These machines are made to last.

By no means are the likes of Canon, Nikon, and Sony badly built cameras. It’s more that when you pick up an SL for the first time, you know you’re holding something special. I had the same feeling holding a 5D Mark III for the first time — that cold-to-touch feel that I’m sure a lot of photographers are familiar with. My X-Pro3 was a tank. A go anywhere, do anything type of machine.

I’ve recently played around with the awesome Canon R5 as well, and that feels great. I have no doubt that any of these cameras could withstand the same level of abuse that an SL could. However, when you hold an SL and comprehend how each part is hand-assembled, it’s hard to go back to anything else!

The body features an IP54 rating, and to save the geek talk, this will mean you can just about do anything and go anywhere with this beast. Spray it with a hose? No problem (not that I’ve tested this but the bold boys down at Leica Store Miami have certainly done it!).

My initial justification for this build was “oh, well of course it’s built like this, just look at the price”. I bought mine for £3,975 (~$5,500). We could all go back and forth with production budgets and shipment quantities from bigger companies when comparing this to the likes of the Canon R5, which sells for $3,899. Oh, and let’s not forget the Sony a1 at $6,498.

Okay, okay, not a fair example, I know. The specs are nowhere near the same. But if we ignore that for a moment and only focus on the build, the SL2-S is two-thirds of the price of the a1 and features infinitely better build quality. I’ll circle back to this when comparing some of the SL’s features later.

Design

When studying Leica’s design language, I think it’s fair to say that the general consensus is that the products are absolutely stunning. Maybe that’s just my subjective opinion coming through, but they have to have done something right to inspire design gods like Jony Ive and Steve Jobs? While most adore the design of these cameras, their functionality is a more controversial topic. I could go on and on about why I love manual focus and rangefinders, but today, we’re talking the SL line.

The SL2 introduced the 3 button layout to bring the SL series in line with the M10, Q2, and CL. Aesthetically, the SL2-S is almost identical to the SL2. The only change is that the lettering on the front of the body is now blacked out, a change that I welcome as a street photographer. I find the design is as simple as it is practical.

The joystick is a dream to use, and it’s the same one they used even on the original Typ 601. The function buttons are all within reach and for my use, have more than enough features. If you’re used to a flagship Canon/Nikon, then this may restrict you. However, I found I can access all my focusing modes, focusing areas, ISO, WB, timer, PASM, and Wi-Fi settings very easily. And if a button wasn’t set to it, the quick menu works great with the touchscreen.

I also love the deeper indented grip they introduced on the SL2. Given the weight of the body, this makes the ergonomics much better. And while I can rave all day about the build quality, it does result in a significant weight difference. The body is just under a kilo (32.8oz), which is a lot — there’s no easy way of looking at it. And if I paired this with their native SL zooms or even their primes, this would be a real problem for me. This was a big reason why I moved away from my 5D Mark IV. I want a fast, light camera for my street photography. I’ll explain how I achieve that very soon!

IQ

Image quality is in no way the biggest feature of a camera for me. There are at least a dozen aspects that come before this for me when I choose a camera. However, this is a big reason why I love and will continue to adore the SL2-S. Now, it’s easy to get confused — I’m not talking resolution here. Yes, at 24MP, it’s half the resolution of the 47MP SL2 and much lower compared to other high-end camera bodies, especially ones of this price.

What I’m more concerned about is how the sensor performs with various lenses, old and new, and how it renders images. Leica’s chief lens designer, Peter Karbe, said once that “there are two cameras in the world best to use M lenses on – M and SL”. And I think that’s what I’m getting at here. I always used to adapt my M lenses onto my Fuji’s and while I was extremely happy with the results, it just wasn’t the same. Leica fit lenses (yes, even third-party lenses) are designed for and around to work best on Leica sensors.

The sensor architecture is delicate, functional, and beautiful… and maybe a little outdated. Let me explain. My M-P Typ 240 from 2014 has a 35mm 24MP sensor, so far the same as the SL2-S right? However, the technology at the time meant that a sensor of this caliber in a body of that design results in some shortcomings — things such as poor low-light performance and slow image transfer. But I along with many others, even today in 2021, are prepared to look past this in light of the image renderings, color, and overall IQ.

The lenses, even my old Summicron 50mm Dual Range Rigid from almost 70 years ago, still work great on my SL2-S. It has character and feel, and a life to images that I just can’t obtain from any other camera system out there. And I understand how $5,000 for a 24MP camera is a lot! Especially now you can pick up a 20MP Canon R6 with far superior AF for $2,499 or a Panasonic S1 with almost identical features for $2,499 or the smaller S5 for $1,999. You could even get a Panasonic S1R, almost identical again to the SL2, for only $3,699. Or maybe even the Sigma Fp L with EVF Kit, which has 60MP (higher than any camera mentioned here!) for $2,999 — $2,000 less than the Sl2-S!

I want to preface this with, the SL2-S is not for everyone! If you want specs, reliable autofocus, and 3 million frames per second, go buy a Sony or any of these cameras mentioned prior. However, if you’re of the 0.0001% of photographers like me who, for god knows what reason, are obsessed by the feel and act of taking a photo, try the Leica SL2-S or any Leica from the past 100 years. This is a company that loves photography, the cameras they build, and better yet, the photographers who use them.

I am in an unbelievably lucky and fortunate position where I can pair the SL2-S next to my M-P or even my film M6 and bounce from feel to function while maintaining a high level of love and enjoyment for all our shared passion.

Color

I promise not to go too deeply into the topic of color and Leica as I know this is quite the notorious topic when it comes to these cameras. A topic that Leica fanboys and fangirls across the world use to justify spending (let’s be honest here) way too much money on these machines. Why do I know this? Because I am one of these so-called Leica fanboys.

So if you’re happy with the color output from your camera, be it a Canon, Sony, Nikon, Panasonic…even that other one begging with “O”, then carry on scrolling and happy shooting! But for me, unless you’re shooting 3 stops overexposed Portra, there aren’t any better colors, tones, and overall fidelity out there!

Low Light

I’ve been itching to talk about the low-light abilities of this monster. Now, while we’ve seen a lot of 24MP sensors over the years, this is in a league of its own. A first for Leica, this is their first-ever backside-illuminated sensor. So while the overall architecture is very similar to the Typ 601, the color calibration and now the BSI, make this a significant upgrade.

I’ve pushed the SL2-S way past 25,000 and onwards to 50,000 ISO while still getting very usable images. The processing power alongside this technology must be performing witchcraft somewhere between the shutter button and SD card because I’ve never seen low light like this. I remember being blown away by the 1D X Mark II and III, and equally so with the a7S III, and while these are still incredible, they’re only 20MP and 12MP — the SL2-S is 24MP.

Is this a realistic measurement? No. Can you tell a difference at 6,400 or even 10,000 ISO? No. But, is it nice to know and feel safe with leaving the camera in auto ISO and never have to worry about another grainy or blurry photo ever again? Absolutely. I set my auto ISO parameters to a max ISO of 50,000 and a minimum shutter speed of 1/250. That way I never have a blurry photo (especially with this IBIS) and I never have to worry about grain.

Aperture priority, exposure compensation set to the rear dial, that’s it. Quick, easy, and very dynamic. These are the settings I use on every camera — when I took the Sony a7R III on holiday, when I owned the X-Pro3 for travel, and even when I shot weddings on my 5D Mark IV. The only difference now is that I don’t have the stress of a photo being too blurry or too grainy. And to quote Josh from Leica Store Miami: “I’d rather have a grainy photo than a blurry photo I can’t use”.

AF

Remember when autofocus was only contrast-detect back around 2016? Brilliant, now add fancy algorisms to make it 10% better. That’s how the AF performs on the SL2-S. Don’t get me wrong: it’s better than the SL2 (marginally) and much better than the 601. So for portraiture, landscape, editorial shoots, it’s great. And coming from my Ms, it is a dream.

However, if you’re looking to do sports, compared to the likes of Sony, Canon Dual Pixel, and Fuji, in my experience – forget it. Not to say that it can’t be done, I’ve seen some extraordinary sports photos taken on SL. Specifically when paired with 9fps burst and 25fps with the electronic shutter. On paper, it looks amazing. In my experience, while I’m certainly no wildlife or sports photographer, I only found it to be adequate and usable rather than extraordinary.

A note worth taking, though: the native SL primes (with exception of the Summilux 50 SL) work much faster than their zooms. Notice on the image below how the 24-90mm just missed focus on the deer walking towards me using AF-C and Field AF method.

Usability and Compared to M?

In conclusion, I’ve always loved the SLs and I love my SL2-S. They’ve had their quirks, but I feel they’ve been getting ironed out over the years through software updates, new lenses, and alliances with Sigma and Panasonic. The price has almost halved since the 601 while competing brands have only ever gone up in price.

The AF, while still not perfect, has improved significantly. The low light went from outdated, even back in 2015, to the best I’ve ever seen. The battery life… well, there’s always room for improvement.

I started this review by saying how this is the camera to attract M shooters, and that’s exactly how I see this camera: a companion to the M. For me, I use this 99% of the time with M lenses. It makes the body smaller, lighter, and, believe it or not, faster. The lower resolution, while keeping up with that gorgeous, close-to-real-life EVF, makes for a manual focus experience I can only describe as M-Like.

For when I want the moment, I will always gravitate to my M bodies. However, now when I look for the big detail photos I know an M just couldn’t keep up with, I trust the SL2-S to be right there alongside. It takes up no extra space, weight, or time while delivering the best image quality for me at no extra expense for experience or enjoyment.

If you’re an M shooter, digital or film, I urge you to try the SL2-S. Feel the build, look through the cinema screen of a viewfinder, and try the manual focus experience.

About the author: Ben Webster is a street and travel photographer based in the south of England, where he also works as a sales assistant at Park Cameras. He regularly shoots with a variety of Leica cameras—ranging from the old M3 and M6 TTL to the digital M-P typ 240—as well as the Fuji X-Pro3. You can find more of his work on his website or by following him on Instagram. This post was also published here.

Kolari Vision — a company that makes both filters and modifications for cameras — has announced what it claims is the first commercially available after-market mod for the Canon EOS R5 that it claims will nearly double 8K recording time and cuts its overheating recovery time by a factor of three.

The company says that while initially, it was exciting to hear about the capabilities of the R5 when it was announced, like many customers of the camera its engineers and in-house photographers were disappointed by the limitations. Even after Canon software-patched the R5 to allow it to record longer in high-resolution modes, Kolari says that it was minor.

“Even with this upgrade, the performance boost was minor. For example at 20 degrees Celsius, instead of overheating after around 19 minutes, the new firmware allowed you to shoot around 25 minutes,” Kolari writes. Additionally, the extended recovery time the camera required after such tasks could take several minutes.

Kolari says that after several thermal analyses of the camera, its engineers determined that the processor on the motherboard was responsible for most of the heat inside the body.

“In the stock design, Canon places two thermal pads partially over the processor and pumps the heat into a small heatsink,” Kolari writes. “That heatsink however sits under another board and does not vent heat anywhere further.”

It was here that Kolari designed its own solution: a new heatsink that would vent the heat from the processor to the camera casing, where the company says it believed the heat would be able to dissipate faster.

“We tested aluminum initially, but eventually settled on a thick copper heatsink to transfer heat more efficiently,” Kolari says. “This design draws heat out of the processor and brings it around the motherboard and out to the rear case where it transfers heat through a high-efficiency thermal pad. This design is fully internal to the camera and maintains the weather sealing of the camera.”

While Kolari’s solution is not the first commercially available to address the camera’s overheating — Tilta released a clip-on fan in July of 2020 — it is the first that modifies the internals.

In the video test above, Kolari shows that its modification has a notable effect on performance. The team tested the camera by shooting in 8K-D IPB 30FPS at two ambient temperatures: 59 degrees Fahrenheit (15 degrees Celcius) and 69 degrees Fahrenheit (20 degrees Celcius).

At 59 degrees ambient temperature, Kolari says it was able to record indefinitely, as the camera never overheated. At 69 degrees ambient temperature, the stock R5 is able to record for 23 minutes before shutting down, while after the Kolari mod it was able to last nearly double that: 44 minutes.

“What’s even more important is that the camera recovered a lot faster after it did overheat, giving more shooting time after a short recovery,” Kolari says. “With the stock camera, we could only get about eight minutes of additional shooting after a five-minute recovery, where the mod was able to shoot 22 minutes after the same five-minute recovery which is almost a three times faster overheating recovery.”

While the modification is very likely to void Canon’s warranty for the R5 (PetaPixel reached out to Canon to confirm, but the company did not immediately respond), Kolari Vision says that it covers the camera for an additional year after performing the modification.

Update: Canon confirmed that any modifications to the camera body like Kolari’s here will void the Canon USA Warranty.

In a statement to PetaPixel, Kolari Vision says that its limited one-year warranty generally covers the entire camera for cases of errors or failure anywhere in the camera but doesn’t cover wear and tear items or external damage, though — examples of which include physical breakage of the camera, water damage, shutter failure, and sensor scratches.

Kolari says that it has a limited initial stock of that it will be offering as a modification service or already installed on Canon EOS R5 cameras that can be immediately purchased. Later this summer, the company plans to provide the heatsinks directly along with do-it-yourself instructions — for those who want to perform the modification themselves but don’t want to build a water-cooled system.

The modification service costs $400 while the modified camera can be purchased for $4,440. Additionally, Kolari is offering what it calls the “R5 Unlimited,” which is a modified sensor package that also includes the heat mod and comes with a UVIR user-removable cut sensor clip filter for $4,790.