Oblivious to his concern, my mind is locked on the math: 50 shots equals two seconds on a 25 fps timeline. When I tell him I’m shooting a hyperlapse, his bewildered look says it all: I am easily the weirdest photographer to cross his threshold.

If that sounds like technical mumbo-jumbo, watch the behind-the-scenes video below to see how this tedious process unfolds.

Example: A hyperlapse and behind-the-scenes of creating a hyperlapse 

WHAT  is a hyperlapse: A hyperlapse is a series of images of an object, building, or place, taken by a photographer and played in a sequence into a video. When capturing these images, the photographer does not stand still; they move from one place to another, one step at a time, taking a photo each time they take a step. 

WHY hyperlapses: Hyperlapses are a great way of injecting energy into your films. The dynamic movement of images around or towards your subject breaks the flow of the visuals, shifting from cinematic footage to quickly moving images your viewer can clearly recognize.   

As a solo filmmaker, I thoroughly enjoy the creative process from shooting to editing my films, but creating a hyperlapse is the single step that takes a toll on my time and energy. The result, however, is always worth it.

Today, we are going to explore what these techniques entail, the inconvenience of doing them the old-fashioned way, and why modern 360 cameras are completely revolutionizing the process.

Difference Between a Time-Lapse and a Hyperlapse

Let’s first clarify the difference between the often confused time-lapse and a hyperlapse: 

A time-lapse is a photographic technique in which the camera takes a series of images that can be played in sequence in your films, while the camera remains static. It is either fixed to a tripod or moves slightly on a slider spanning a meter or two. A time-lapse captures the passage of time, compressing slow events like storm clouds or sunset into fast-paced sequences, making it ideal for establishing shots. 

In contrast, a hyperlapse combines the passage of time with spatial movement by physically moving the camera between frames, creating energetic visuals that traverse locations quickly, like moving through city streets or toward landmarks.

Difference between a Timelapse and a Hyperlapse

The Toll Of The Traditional Hyperlapse

As a professional photographer, I frequently utilize professional camera bodies and top-tier prime lenses for my primary work. Naturally, my first instinct when learning to shoot hyperlapses was to use these same traditional, high-resolution tools. While they undeniably offer incredible image quality, the process is cumbersome for several reasons:

The Time And Storage Burden

Shooting a hyperlapse with a traditional mirrorless camera is time-consuming and requires a massive amount of storage capacity. Instead of simply pressing record, you are capturing hundreds of raw images.

The reason we capture a ton of images is that a cinematic film is played at 25 frames per second (fps). This means you have to take 25 hyperlapse images to capture 1 second of footage.

A quick overview of the traditional hyperlapse workflow

The Gruelling Post-Production Workflow

The editing process for a traditional hyperlapse is an exercise in patience. Here is what the typical pipeline looks like:

• Importing: Bringing raw image sequences into your editing suite.
• Processing and Exporting: Processing these files and exporting them into editing software like Premiere Pro.
• Stabilizing: Applying heavy software stabilization to smooth out the inevitable bumps between frames.
• The Pixel Penalty: Because software stabilization works by rotating and zooming in on the frame to hide the jitter, you inherently lose pixels and crop heavily from your original composition.

The Physical and Environmental Challenges

Executing the physical movement is arguably the hardest part. To create a smooth traditional hyperlapse, you have to lock onto a specific focal point in your environment, such as keeping the eye of a statue perfectly centered in your viewfinder while you move in a wide semi-circle around it.

• Human Mechanics: Keeping your arms raised in the exact same position frame after frame is exhausting.
• Crowded Environments: If you try to alleviate arm fatigue by using a tripod and moving it step-by-step, you run into new problems. Moving a tripod through crowded, congested places may be bumpy and uneven. I have even seen photographers using gimbals, but I guess I am getting too old to carry one paired with a heavy camera for an extended period.
• Loss of Focus: Ultimately, the hyperlapse takes so long to execute that it actively diverts your focus and energy from shooting your normal narrative video footage. I have received urgent phone calls and even been stopped by strangers while shooting, who asked me what strange photography I was doing. Talk to someone, and you forget where you were focusing the previous shots. 

Enter The 360 Camera: A Seamless Solution

The frustrations of traditional hyperlapse photography have been alleviated by a much more efficient solution: the 360 action camera. I will talk about the GoPro Max 2 because I use one, but the concepts apply to all brands. 

Built-In Convenience, Speed and Features

The primary advantage of using a 360 camera is the sheer convenience and the drastically reduced time consumption. Instead of clicking the shutter, moving a foot, realigning a grid on a screen, and clicking again, you simply mount the camera to an “invisible” selfie stick and press record.

Time Warp Options: Modern 360 cameras come with built-in hyperlapse modes that let you select specific speed ramps, such as 10x or 20x, directly in the camera.

Stabilization: Because 360 cameras capture a spherical field of view, their built-in stabilization is highly effective. The internal gyroscope keeps the horizon perfectly level, completely eliminating the bumpy, uneven look of a handheld traditional hyperlapse. Of all the hyperlapses shot with the GoPro Max 2 in this article, I applied stabilization to only one. 

Shooting your first hyperlapse with a 360 camera (GoPro Max 2 with 10x speed)

Because your 360 camera will be capturing high-resolution imagery at a high rate, I suggest using a reliable microSD card, such as a SandDisk Extreme Pro. 

Note: The Time Warp option on your GoPro Max 2 360 is the equivalent of a hyperlapse. A much fancier term that you can use to impress your friends!

Freedom From the Focal Point

Perhaps the most liberating aspect of shooting a hyperlapse with a 360 camera is that you do not need to manually aim at a certain point while you walk. Because the camera is capturing the entire 360-degree environment simultaneously, it does not matter which way the lenses are physically pointing.

You no longer need to suffer the physical fatigue of constantly raising your arm to keep a statue centered in a tiny viewfinder. You can simply hold the camera comfortably by your side, walk naturally through a congested market or around a landmark, and let the device do the heavy lifting, in all senses.

Creative Freedom with 360: Creating a hyperlapse and changing angles in post-production

The Hidden Superpower: Limitless Reframing in Post

The advantages of the 360 camera extend far beyond the moment of capture. The true magic happens in post-production.

When you shoot a hyperlapse with a traditional camera, you are permanently locked into the angle and focal point you chose on location. If you realize later that the subject would have looked better from a slightly different perspective, there is nothing you can do.

With 360 footage, you have the ultimate creative freedom to reframe your shot. Because the camera captured a full sphere of your environment, you can dynamically pan or tilt it left and right in post-production.

Hyperlapse with GoPro Max 2 at 30x speed, no stabilization applied

Color Grading Your Hyperlapse into the Final Movie 

360 cameras, such as the GoPro Max 2, allow you to shoot time warps in 10-bit log footage at either 8K or 5.6K resolution. This capability enables you to color-grade the footage to your preferences and even apply LUTs to seamlessly blend it with the rest of your film. Personally, I prefer the GoPro Max 2’s 10-bit log footage over its built-in color profiles. The log footage is rich enough that color grading does not compromise image quality. If you are serious about filmmaking, consider these options.

Final Remarks

Both options have their pros and cons. Traditional imagery offers more control over camera settings, especially aperture and shutter speed (360 cameras like the Insta 360 do allow changing shutter speed). However, 360 cameras have become serious filmmaking tools in the last decade, with not only improved image quality but also the ability to hold your camera with an invisible selfie stick at angles that might not be possible when shooting hyperlapses with a bigger camera body.

Creating films requires a balance between capturing high-quality imagery and managing your time effectively. While there is still a time and place for the deliberate, methodical art of traditional photography, the demands of video production may require a faster, more agile approach, such as that offered by this new generation of 360 cameras.

The post Mastering The Hyperlapse: Why 360 Cameras Are Changing The Game appeared first on Adorama.

I needed a backpack that also works as a camera bag, large enough to accommodate all my gear, rugged enough to withstand the Norwegian mountains, and supportive enough to let me function and maintain my workflow. My quest took me on a research journey on both how to choose the right adventure travel camera backpack and what options are available. Here is what I found out.

What to Look for When Choosing a Large-Sized Travel Backpack

When you are considering large camera bags, capacity is the most obvious feature to check, but not the most important one. What I found to be of the utmost importance was organization. Let me explain.

As a wildlife and nature photographer, I carry more than one lens at all times. I usually have a bulky telephoto lens, currently a 600mm prime lens, and a more versatile wide-angle lens, which is currently a 24-70mm zoom lens. Furthermore, I also often bring lenses to fit a specific shot I have in mind. In this case, I needed a 20mm for shooting wide fjell vistas.

Now, when I look for a camera bag, I look for space for two cameras, at least two lenses (one of which is big), and accessories. I also look for a bag able to accommodate a camera-lens combo that includes the 600mm lens. You may have a different configuration in mind; every photographer does. But make sure you pick a camera bag that fits your purpose.

Next on my list is safety. I want my gear to be protected from the elements, including water, dirt, dust, cold, and sun. I want it to be snug when I trek for 20km in the rough Norwegian Fjall. My go-to large camera bags must have those special camera inserts that store your gear individually and minimize shaking and hits.

Getting into the Fine Details of Choosing a Travel Backpack

Now that I know the bag can hold and protect my gear, I look for access modes. Adventure travel involves a lot of shooting on the move. I want to be able to take the camera out fast and without too much fuss, have the lens already attached, and be ready to take photos within seconds of spotting the subject. In wildlife photography, I want this process to be silent as well to avoid disturbing the animals.

At this point, my list of requests is half done, and I’m wondering whether I will ever find the right adventure travel camera backpack. I took care of my gear and photography workflow, but I didn’t take care of myself yet.

For a photography experience in the wilderness, I need camping gear, sustenance, and clothes. Even though I choose lightweight equipment and go for the most minimalist approach I can imagine (e.g., filtering water from streams, using trekking poles as tent poles, using my clothes as a pillow, etc.), I still end up with a heavy load for the backpack to accommodate. Therefore, it must be resistant, leave me some room after I pack the photo gear, and do everything within a backpack’s powers to help me carry the load.

For instance, I need pockets at hand to store items I use on the go, such as snacks and water, so I don’t have to put down the heavy bag each time I need a sip of water. I also need supportive, comfortable straps for long treks, a smart weight-distribution system to protect my back, and adjustability to customize the backpack to my stature, torso, and carrying style.

Summing up, I ended up exploring Shimoda and F-stop travel and adventure camera backpacks.

My Shortlist of Camera Backpacks

Shimoda and F-stop 70-80L and 40-50L Alternatives

I categorize the options by capacity because you need to get it right from the start. It also narrows your research and saves you time.

A backpack larger than you need will be uncomfortable and heavier on its own. Also, it will lure you into taking more stuff. A smaller backpack than you need is obviously useless. For comparison, a 50L F-stop adventure camera backpack weighs 1.9kg, and an 80L one weighs 2.4kg. Are you prepared to carry an extra 500 grams for nothing? I’m not. In my opinion, deciding between a 40-50L backpack and a 70-80L backpack is the first step.

Why Get One Range Instead of the Other?

The 40-50L backpacks are lighter, more compact, and cheaper. They have all the characteristics of the bigger ones, use the same quality materials, and resist just as well (i.e., comparing similar models from the same brand). The only drawback is the capacity and load limit. You will put fewer things and less weight in a 40-50L backpack than in a 70-80L one.

The 70-80L backpacks are heavier and more expensive, but can fit more of everything. If you need the extra space and can carry it (I wouldn’t recommend carrying loads over 25% of your weight on long treks and hikes), go for the larger option.

If you don’t mind the extra weight and cost, you may also choose a 70-80L backpack as a precaution against needing to buy another one in the future when you need a larger volume. But make sure it compacts to a smaller size (e.g., rollable top, removable head, compression straps, etc.).

Shimoda Action X70 HD 70L Backpack

The X70 HD is the camera backpack I decided on for my expedition. I needed the space it offers and appreciated the versatility. It was a good match for my workflow.

The backpack allows you to adjust the torso size (three options), has pockets on the back straps and on the waist belt, is durable and water-resistant (with a rain cover), and, most importantly, accommodates camera inserts of various sizes. For my camera-600mm lens combo, I opted for the XXL insert, which you can access via the back and the top. The top is rollable, which means I could use the same backpack to carry a lighter load on the days I had the camp set up.

Read Peter’s detailed review of the X70HD

Who is this bag for?

The X70 HD is a heavy-duty, versatile backpack designed for large video and photo kits and off-grid creators. It accommodates large lenses and plenty of equipment, both inside and on the exterior. For wildlife photographers like me, who go on multiday treks and shoot on the go, it’s the perfect choice.

F-stop Shinn 80L DuraDiamond Travel and Adventure Camera Backpack

The F-stop Shinn 80L was also shortlisted in my quest for the best backpack. The capacity is even larger than the X70 HD, accommodating a large photo or video kit, camping gear, and anything else you need on a multiday adventure. The backpack is compatible with Internal Camera Units and features a back panel with a variety of magnetic and zippered closures to keep your gear in order. It’s definitely rugged, ergonomic, supportive, and padded for comfort.

Who is this bag for?

The F-stop Shinn 80L is for adventurers, campers, and expedition photographers who need the large 80L capacity. If you carry a lower load, you have only the compression straps to rely on for compactness. However, with and without the camera insert, the F-stop Shinn 80L is lighter than the X70 HD. So, even if you end up carrying a larger bag, you’ll carry a lower load. It’s compactness versus weight here.

Shimoda Action X40 V2 40L Backpack

The X40 V2 40L is a rugged backpack designed for short and intense adventures. It withstands any weather and terrain, keeps your gear safe, and provides quick access. Like the X70 HD, it is compatible with Core Units and dedicated camera inserts and can accommodate DSLRs and mirrorless cameras, multiple lenses, and accessories. The tripod and water bottle can sit in the generous outside pockets. The belt is removable for easy handling as a carry-on bag.

Who is this bag for?

The X40 V2 40L would be my choice of a backpack for efficient, quick, outdoor photo sessions. Imagine the camp is set up or the hotel room is waiting for you at the end of the day, and you just hike and take photos all day long. It accommodates your photo gear and a few other items, without trying to be the only bag you bring.

F-stop Tilopa 50L DuraDiamond Travel and Adventure Camera Backpack

The Tilopa 50L is F-stop’s lighter alternative. However, 50L can be enough space for a generous camera insert, camping gear, and personal items for a multiday expedition. The backpack is robust, lightweight, ergonomic, and weather-proofed. Like the larger Shinn 80L, it features the keep-everything-organized back panel. The 3-liter hydration bladder compartment ensures you will stay hydrated even on hikes with scarce water sources.

Who is this bag for?

The Tilopa 50L is a good choice if you would like to carry more but physically can’t. In the end, you optimize your possibilities. The backpack isn’t so restrictive in terms of space as a 40L bag, can still accommodate a large photo setup and personal items, and provides plenty of places to put extra gear on the exterior.

Final Thoughts

I’m aware of how many personal considerations come into play when choosing an adventure travel camera backpack. Bag choice is not just about your photo and video gear, workflow, or photographic style. It’s also about your fitness level, constitution, and health restrictions. It’s also about the very specific characteristics of your adventures. I hope I provided a general framework for choosing the right backpack, helping you worry less, suffer less, and have more fun in the wilderness.

These bags are all great for long trips, but sometimes we just want to head out for a morning shoot. Read Peter’s advice on finding local spots in the article: The 5-mile Radius: Finding Nature In Your Own Backyard.

The post Choosing the Right Travel Backpack for Adventure and Photography appeared first on Adorama.

That camera turned out to be a defining part of how I rediscovered what made me love photography in the first place, even if it did make me look like a Dutch dad on holiday in 2001 in the process.

There are obviously downsides in choosing a budget-friendly camera, and I’ll get to those. But first, what it actually does.

It does everything, and then some

Shutter speeds from 30 seconds to 1/8000th of a second. Exposure compensation. Auto everything if you want it. Exposure lock, focus lock, double exposures. It did everything I needed and a fair bit more.

I’m not planning on shooting fighter jets any time soon, so I don’t really need an eight thousandth of a second. But it’s there if I ever change career.

The one that mattered most to me, though, was aperture priority.

I shot fully manual for a long time, and slowly realized I was missing moments because I was fumbling to get the exposure right. The shot would be happening, and I’d be looking down at a dial.

This might seem like a small thing, but in film photography I think some people believe you get extra points for exposing something manually, when really it makes almost no difference at all to the final image. In fact, my exposures are more consistently accurate now, and I’m not messing about missing those one-off moments.

I can’t wait for someone to tell me that’s just a skill issue.

The camera isn’t doing the work anyway

Anyone who shoots film for long enough will tell you the same thing. The camera doesn’t really matter. It’s the lens and the film.

What makes a body more valuable is the settings it gives you access to, not some magical jump in image quality. That’s genuinely different in digital, where the sensor does a huge amount of the work. In film, your lens is doing the heavy lifting and the body is basically a light-tight box with a good clock in it.

Once that clicked, I started looking at this budget-friendly camera differently, because the Nikon F100 can house some seriously good lenses.

The 35mm f/1.8 AF-S is an absolute unit of a lens, or at least that’s what Ken Rockwell reckons, and he’s the original camera reviewer, so I trust the OG. That lens was made in 2014. It’s multicoated, it’s sharp, and it works perfectly on a body from 1999.

That’s just not possible with the older, fully mechanical SLRs. You can’t stick a modern autofocus lens on one of those and expect it to do anything clever. On the F100 you can.

Also, sorry to be the one to tell you this, but 2014 wasn’t last week. It was twelve years ago.

Autofocus that actually helps

There’s another big thing here, and it’s decent autofocus.

I shot a Nikon FM2n for ages and loved that camera. But a real problem I had was missing photos because I was fumbling for focus. Not every photo. I’m not completely useless. Just enough that it started to bother me.

The Nikon F100 with that 35mm on the front basically eliminated the problem overnight.

And yes, I know, autofocus isn’t new. Autofocus has existed for longer than I have. That isn’t the point.

The point is that when you first get into photography, you assume the best shots come from the best or most expensive camera. That’s the story you get sold constantly. But I’ve tried most of them now, and there were real periods where my photography got worse while I was using so-called “better cameras.”

What took things to a different level was working out the small things my photography actually needed.

The mental block nobody talks about

When I started trying out expensive cameras, I noticed a problem creeping in.

I didn’t feel like I could take them everywhere. Most places, sure. But every so often something would stop me. What if I break it? What if someone nicks it? What if it rains?

There’s a mental block that comes with carrying something you’ve spent thousands of pounds on, and it goes completely against what’s important to me about photography.

Because I want a budget-friendly camera I can take absolutely anywhere. Up mountains. Into grim little pubs. Out in the rain, which is more or less constant where I live.

The F100 removed those barriers. Now I actually shoot everything I want to shoot, rather than spending half my energy worrying about the thing hanging round my neck.

You might be seeing the theme here.

Your F100 might not be an F100

The camera you use should be about the kind of photography you want to do and the kind of photographer you are. That’s the whole thing.

If you Google what’s the best camera, it’ll tell you the Nikon Z8. I haven’t got a clue why. If you Google what’s the best film camera, you’ll see the Leica M6 come up more often than not.

And look, if you’ve got money like that, go ahead, try it out. I’m not going to stop you.

But part of figuring yourself out as a photographer is working out what makes a difference to your pictures, rather than what makes a difference to how you feel in a camera shop.

Your Nikon F100 might be a Canon A-1, or a Fuji X100, or something nobody’s ever heard of. It doesn’t really matter.

What matters is that it completely complements the way you shoot, so you never miss the moment, and you’re always ready.

Because those little things add up into something big. It’s the difference between taking your camera everywhere you go and leaving it at home in case it gets damaged. It’s the difference between getting the shot and fumbling around until the moment has gone.

It’s not perfect, obviously

So while I think the Nikon F100 and cameras like it, the Canon EOS-1n or whatever Willem’s shooting lately, are genuinely great, this is a personal journey, and you’ll land somewhere different to me.

And as I said, it isn’t perfect.

It’s not very sexy. It doesn’t feel the same as shooting a classic SLR, that whole ritual of doing everything yourself, the sound of the shutter. I do miss it sometimes.

Then again, maybe I’ve shot for long enough now that I know what matters more to me, which is getting the shot I want with nothing getting in the way.

So if you think a big, expensive new camera is going to turn you into a really good photographer, you’re in for a shock. Get the camera that suits what you actually shoot, and you’ll be making your best work.

Right, that’s your lot. Take care, enjoy the summer, get outside and take some photos.

The post Skip Price Anxiety With This Budget-Friendly Camera appeared first on Adorama.

At one point, Jay watched me press the shutter. Then he “scolded” me. “You are pressing it too hard and not really paying attention,” he stated. I don’t remember if I said anything. However, I was already in awe of him and thrilled just to have him notice me.

Maisel, who died at age 95 on August 20, began his career in 1954. He studied painting and graphic design at Cooper Union and Yale. He went on to photograph everyone from Marilyn Monroe to Miles Davis. His close-up image of Miles Davis playing the trumpet on the musician’s Kind of Blue album is one of his most notable and applauded. He photographed five Sports Illustrated swimsuit covers. Additionally, he created the first two covers of New York Magazine. Maisel spent 12 years shooting ad campaigns for United Technologies. Numerous awards included lifetime achievement honors from the International Center of Photography (ICP), The Lucie Foundation, the American Society of Media Photographers, and the Art Directors Club Hall of Fame, among others. He wrote several major books, including Light, Gesture, and Color (2014), and It’s Not About the F-Stop (2014). Listing his vast accomplishments, though, only tells part of Maisel’s story.

A Photographer Who Made You Look, Really Look

Like the title of his book, Jay Maisel had an almost legendary ability to find extraordinary light, gesture, and color in everyday places. Whether it be a building, a shadow, a person walking down the street: He could see something in it that most of us would have walked right past. And he wasn’t particularly interested in making photography seem easy. He was interested in making you see.

“I remember listening to Jay tell a story about photographing a woman on the street,” recalls former Photo District News VP/Publisher and The Lucie Foundation President Lauren Wendle, who first met Jay when she was just 18. “He said she turned around and demanded, ‘Why?’ Jay replied, “Because you’re beautiful.”

Wendle continues: “That was Jay. He saw beauty in the light, the wonder, the unexpected…in everyday life. Through his camera, he had an extraordinary ability to make the ordinary extraordinary.”

From Commercial to Personal

After stepping away from commercial photography in the late 1990s, Maisel devoted himself increasingly to his personal work and to teaching. He lectured and led workshops around the country, becoming known as someone who genuinely wanted to pass on what he knew. He lived and worked for 50 years at 190 Bowery, the iconic six-story Germania Bank building he purchased in 1966 for $102,000 and sold for $55 million in 2015. In between, he turned it into a beloved home and studio. It quickly became synonymous with Maisel’s commitment to photography and photographers. 

As former Photo District News editor-in-chief Holly Hughes describes, “I think an important aspect of Jay Maisel’s legacy is his unwavering advocacy for photographers’ rights and the value of the photographic image. A mentor to many, he always taught photographers to protect their images and their copyrights like they would safeguard their children. Jay seemed tailor-made for the role: He was blunt, quick-witted, a great storyteller, and a larger-than-life figure. His career successes demonstrate the wisdom in his words. The images he shot for advertising clients and for himself are timeless, and their value endures.”

Hail and Farewell

Yes, Jay Maisel could be blunt. He had strong opinions. He was outspoken. Underneath it all was a deep belief in photography and in the photographer’s responsibility to pay attention to the world unfolding before them.

Photographer Randy Duchaine, who took a workshop with Maisel in 1986, remembers the artist as a remarkable teacher who inspired generations of photographers to challenge themselves and keep looking. “He was uniquely charming, loud, funny, quick-witted, high-energy, generous, and kind, with that unmistakable New York accent and usually a cigar in hand. Jay had a gift for transforming the ordinary into the extraordinary and opening our eyes to see the world in our own way. He was a remarkable teacher who inspired generations of photographers to challenge themselves and keep looking. Hail and farewell.”

Eugene Mopsik, executive director of ASMP from 2003 to 2014, describes Maisel as a perfect trifecta: a creative visionary, a consummate businessman who preserved and protected the rights to his work, and a sharing and considerate friend to many. “During my tenure at ASMP,” he says, “Jay was always available for consultation and was very generous with his time. He shared his knowledge and experience freely. The world of photography has lost one of its brightest lights. He will be missed.”

A Lifelong Friend

Stephen Wilkes, a lifelong friend and self-described Maisel mentee, was also the director of the 2018 documentary Jay Myself. The film gives a rare glimpse into Maisel’s home and studio, how he acquired the 30,000-square-foot building in NYC’s Bowery, and his decision to sell it almost five decades later.

“My first encounter with Jay’s images was when I was in college at Syracuse,” Wilkes wrote on his Facebook page. “I was obsessed with a Time-Life series of books on photography, and one book in particular spoke to me. It was called ‘Color.’ Inside, I saw three photographs that stopped me dead in my tracks. All three were by Jay Maisel. At the end of my junior year, in 1979, I made a phone call that would change my life. I somehow found the courage to call the man himself. He answered the phone, and the rest is history. Today, my thoughts are with LA, Amanda and Jeffrey—and with all of you who were blessed to know Jay and who share this loss. He would certainly say, ‘Okay, kid, enough with the bullsh*t. Get back to f**king work!’ I know he’s enjoying some incredible light right now.”

The post In Memoriam: The Impact of Jay Maisel appeared first on Adorama.

Prime lenses are considered more performant and higher in quality than zoom lenses, although they lack versatility in focal length range. They are also the purest choice because they force the photographer to adapt to a situation, be creative, and improve their technique and workflow instead of relying on gear to do the heavy lifting. Henri Cartier Bresson stood by his 50mm lens. But can a wildlife photographer stand by the Nikon Z 400 f/4.5 VR S? And did I come back to my generous zoom lens? Here is my 1-year field report.

Moving from a Zoom 150-600mm Lens to a Fixed 400mm Lens

Moving from the comfort of a 150-600mm focal length range to a limited 400mm has been a struggle, one that continues to haunt me even after a year has passed. I miss most the reach on the long end, as you can imagine. Wildlife is not particularly known for gladly posing from short distances, and getting close can be tricky. And sometimes, impossible. I live in Denmark, which is a hunting-happy nation, plus forests are small, which means that wildlife is more skittish and runs away at the slightest sound, scent, or sign of human presence.

However, since I had no other option but getting close enough so my Nikon Z 400 f/4.5 VR S lens could do the job, which, by the way, it does stunningly. I learned to adapt to the situation. For example, I got better at using camouflage, researching locations, and getting to know the animals’ lifestyles so I could get into position before they arrived. The learning curve took me from frustrating situations in which I would get too close and spook the animals to awkward ones in which I would wait for hours, only for the animals not to show up.

Although these bad moments still happen (they are inherent in a wildlife photographer’s life), I’ve become better at organizing and timing, and now I find myself more often in situations where everything works out, and I go home with great shots. There is no doubt that when I get close enough, the Nikon Z 400 f/4.5 VR S produces some incredible pictures.

Match You Lens to the Subject

The choice of lens depends on the subjects you intend to photograph. And I don’t mean just street life versus wildlife, but deer versus birds, too. During the past year, I have seen myself becoming a bit limited in my choice of wildlife because of the 400mm lens. I simply can’t get close enough to some animals. But that says more about the availability of subjects in my area than it says about the lens. This lovely water rail is still within my reach, but only because I was in a floating hide when I took this shot.

Due to the Nikon Z8’s resolution, I usually have enough pixels to crop without degrading image quality to the point where the photos become unusable. But there are cases like the shot below, where you can see the number of pixels I lose because I’m not close enough. I go from above 8,000 pixels to roughly around 3,300 pixels. Less than ideal.

I didn’t give up completely on the idea of having the luxury of a 600mm focal length. I bought myself a Nikon Z TC-1.4x teleconverter, which helps me get a reach of 560mm from my 400mm lens. However, the sharpness suffers quite a lot, and I wouldn’t recommend using it except in extreme conditions when nothing else works, such as photographing subjects that are impossible to get close enough to. So if you can’t live without approx. 600 mm reach, you should get a lens with this focal length natively. However, get close enough, and the lens is way sharper than my previous setup, with better background blur, and a lower ISO because of a more open aperture.

Setting Up with a Nikon Z 400 f/4.5 VR S Lens

What you first notice when picking up the Nikon Z 400 f/4.5 VR S is its weight. The lens is light as a feather, which encourages me to shoot handheld for long periods. I rarely use a tripod with it. Thanks to its weight and robust weather sealing, the Nikon Z 400 f/4.5 VR S is a portable companion.

Yet, I have another reason for avoiding using a tripod with this lens. The tripod mount on the Nikon Z 400 f/4.5 VR S is not Arca-Swiss compatible, so you must either replace the tripod mount or use an adapter, which, from time to time, can come loose.

Handholding the camera saves you a lot of fiddling in the end. Besides, the lens features 5.5 stops of built-in image stabilization, reducing my stress about camera shake and allowing me to freeze motion.

I also find the lens hood to be a bit tricky. Not my favorite thing in the world. On the other hand, you can shoot with backlighting without worrying about reflections and glares. That, I like.

The Nikon Z 400 f/4.5 VR S and the Aperture Promise

One of the main reasons for which I chose the Nikon Z 400 f/4.5 VR S was its large maximum aperture. Therefore, I don’t intend to close it down too often. My previous lens, the Tamron SP 150-600mm f/5-6.3 Di VC USD G2, was challenging at f/5.6 because it wasn’t sharp until f/8. Because of this f/8 sharpness limitation, I would wait 30 minutes longer at sunrise to shoot at the same shutter speed and ISO, and end my sunset sessions 30 minutes earlier in the evening. That’s heartbreaking because these are the periods when the animals are most active. Lack of light is the most dominant constraint in wildlife photography.

So, after a year of using the Nikon Z 400 f/4.5 VR S, I can report that my most used aperture setting is between f/4.5 and f/5.6. The photos are sharp, even at these wide apertures. The background is blurred, and the bokeh effect is beautifully smooth. I can benefit from the entire golden hour time and take great shots without stressing about aperture and sharpness.

A Sharpness Test in the Forest

A prime lens, such as the Nikon Z 400 f/4.5 VR S, should, in theory, provide the same sharpness throughout the entire aperture range. That’s one of the main drawbacks of many zoom lenses. Not only is the maximum aperture usually not maintained throughout the entire zoom range, but sharpness also varies throughout the aperture range.

So, I put the Nikon Z 400 f/4.5 VR S to the test. As a model, I booked Peter Pandi, a gift from my daughter who thought it was only right that I should have a teddy bear, too. Peter Pandi’s head is about 5 cm in diameter. His black and white fur is perfect for evaluating sharpness.

I took the model into the forest and set him up on a tree at about 8 meters from the camera. Then, I took a photo at each aperture step between f/4.5 and f/10. The minimum aperture of the Nikon Z 400 f/4.5 VR S is f/32, but I hardly ever shoot above f/10. The only exception would be a super close-up shot where I need depth of field, and that’s not something that’s going to happen when photographing wildlife unless you’re dealing with tame subjects. So, I stopped at f/10 and gave Peter Pandi the rest of the day off.

The results are evidence that the Nikon Z 400 f/4.5 VR S is sharp throughout the aperture range. It didn’t even flinch. Neither did Peter Pandi. The test was a complete success.

Final Thoughts

In conclusion, I love the Nikon Z 400 f/4.5 VR S lens…. when I am close enough. The photos are stunning once you get used to shooting with a prime lens and learn to overcome the shorter focal length by getting closer to your subject. The wide maximum aperture fills my heart with joy during low-light photo sessions, and the maintained sharpness throughout the aperture range is the security blanket I need to fully focus on composition and storytelling.

But when I’m not close enough, I get frustrated and miss a 600mm lens. As a wildlife photographer, the choices you make in terms of gear influence so much of your workflow that I truly believe you must be at peace with every single piece of equipment you use. I am still making my peace with the Nikon Z 400 f/4.5 VR S lens, because I have a mismatch between the subjects I want to capture and the focal length. And this should be a top priority to look at whenever you are considering a new lens: What focal range do you mostly shoot with, and what lens options do you have in that range?

If a 400mm prime lens is not in your budget and you want some tips on working with budget lenses, check out 5 Hacks to Get Amazing Photos with a Budget Wildlife Lens, also by Peter Dam.

The post Nikon Z 400 f/4.5 VR S: A Wildlife Photographer’s 1-Year Field Report appeared first on Adorama.

In this article, using video examples, we will learn how to edit 360-degree camera footage. I will be using Adobe Premiere Pro for this demonstration, but the fundamental editing concepts apply universally across brands and software such as DaVinci Resolve, or mobile apps like Insta360, DJI Mimo, or GoPro Quik.

This is how the article is structured:

1. Foundational concepts and the editing process applicable to any 360 footage.
2. Workflow for exporting any 360 footage for Adobe Premiere Pro and DaVinci Resolve.

Foundational Concept for 360 Editing

1. Resolution Guidelines: Why 8K and 5.6K Matter

When you shoot a standard video, for example, 4K, and want to export it in 4K as well, zooming in or out during editing will cause resolution to be lost, as pixels are stretched, making the video “soft”.

To zoom in and out while maintaining good resolution while editing, consider shooting at higher resolutions, such as 5.6K or 8K, with a 360 camera. This allows you to capture vast amounts of visual data, providing flexibility to zoom in, crop, and reframe your shots for a 4K or 1080p timeline, without losing image quality. 

Since higher resolution requires more data and faster write speeds on your microSD card, I suggest choosing a reliable card. I personally use a 256 GB SanDisk Extreme microSD card.

2. Mastering Frame Rates for 360 Video

If you are shooting a standard video, for example, walking around a city, documenting a landscape, or doing a standard vlog, I would suggest sticking to normal, cinematic frame rates like 24, 25, or 30 frames per second (fps). This gives your footage a natural motion blur that the human eye is accustomed to seeing in films.

When using 360 cameras for action sequences, I suggest shooting at a higher frame rate (60 fps, 90 fpts, 100 fps, or 120 fps) to capture more data. This will allow you to slow down footage in the editing process on a 24 fps, 25 fps, or 30 fps timeline without trading off image quality. 

The video was shot in 90 fps and slowed down in the edit on a 30 fps timeline

3. The Editing Timeline

The timeline is where you cut and edit your film. It is the sequential workspace where your video clips, audio tracks, and effects are arranged in chronological order. 

4. Pan, Tilt, Zoom, and Rotate

When editing spherical footage, you need to navigate inside the 360-degree view. This means you can select which angle of the footage the viewer sees. For that, you have controls to move the frame up, down, sideways, zoom, or rotate.

• Pan: The act of moving the camera’s view horizontally. You are panning left or right across the scene to follow a subject or reveal a new part of the landscape.
• Tilt: This refers to moving the camera’s view up or down. You tilt up to look at the sky or tall architecture, and you tilt down to look at the ground or your subject’s feet.
• Zoom: This involves bringing the subject closer (zooming in) or revealing more of the surrounding environment (zooming out). In 360 editing, zooming out often creates that famous “tiny planet” or fish-eye effect.
• Rotate: This means spinning the horizon line on its axis. Rotating is particularly useful for leveling out uneven footage captured on the go, or for creating dynamic, rolling transitions.

The concepts of Timeline, Panning, Tilting, Zooming, and Rotating apply to all 360 editing software and brands

5. The Magic of Keyframes

The use of keyframes is arguably the single most important tool in 360 video editing.

Simply speaking, a keyframe tells your editing software: “At this exact second in the timeline, I want the camera to look at this specific angle.”

For example, you might place a keyframe at the start of a clip where the camera is looking forward. Then, a few seconds later, you create another keyframe and pan the camera 180 degrees to look behind you. The software automatically calculates the distance between the two keyframes and creates a smooth, continuous panning transition between point A and point B. 

Learn how to apply keyframes to edit your 360 footage

The Step-by-Step Desktop Workflow of Exporting 360 Footage for Adobe Premiere Pro or DaVinci Resolve

Now that you understand the concepts, here is the standard desktop workflow for converting raw 360 files into a format compatible with Adobe Premiere Pro and DaVinci Resolve.

Use this workflow if you want to edit in Adobe Premiere Pro or DaVinci Resolve; we are using GoPro Player as an example 

1. Review and Export from the Player

Before importing anything into Premiere Pro/DaVinci Resolve, you must process the raw files, as these software programs cannot read them directly. Open your desktop application, such as the GoPro Player. Here, you can review your spherical files and prepare them for export.

2. Choose Your Export Settings

In the exporter, select your resolution and codec.

You have several codec options (depending on the brand of the software):

• H.264 / HEVC (H.265): These are highly compressed formats. They keep file sizes relatively small.
• CineForm / CineForm 10-bit: These are professional, visually lossless formats. While the file sizes will be massive, these codecs are highly optimized for editing software. If you are doing heavy color work, a 10-bit format will give you superior color depth.

3. Import to Premiere Pro or DaVinci Resolve

Once your footage is exported into a readable, high-quality file, import it into Adobe Premiere Pro/DaVinci Resolve and drag it onto your standard timeline (e.g., a 1080p or 4K sequence).

4. Apply the GoPro Reframe Plugin

Navigate to your Effects panel and locate the GoPro Reframe plugin (a free plugin provided by GoPro). Drag this effect directly onto your video clip in the timeline.

5. Direct Your Masterpiece  

With the plugin effect applied, open your Effect Controls panel and select the GoPro Reframe effect. You will now see the editing options we discussed: Pan, Tilt, Zoom, and Rotate. 

Mobile Editing: The App Alternative

If you are a creator on the go, a tourist, or simply someone without access to a computer, the same keyframing concepts apply to mobile apps. Applications like the GoPro Quik app allow you to load your 360 footage directly on your smartphone, edit and export it for social media. 

Color Grading 360 Footage

Finally, let’s talk about color. Modern 360 cameras can shoot in standard, vibrant color profiles or in “Log” (logarithmic) profiles.

Standard profiles bake the contrast and saturation directly into the file. If you shoot this way, my advice is simple: do not over-edit it. Heavily altering standard 360 footage often results in visual artifacts, broken skies, and unnatural skin tones.

Log footage, however, captures a very flat, desaturated image. This is designed specifically for filmmakers who want maximum dynamic range and the ability to apply creative LUTs or specific cinematic color grades. If you are willing to spend time, shooting in Log gives you significantly more control over shadows and highlights without destroying the image.

For me, GoPro Max 2’s log footage was the best quality; I prefer that to GoPro Max 2’s built-in neutral and vibrant color options. 

A 10-bit 8K resolution from a GoPro Max 2 color grade

Final Remarks

Editing 360 video is ultimately an exercise in retroactive directing. The 360 camera technology unlocks an entirely new way of filmmaking. Ensure that the transition between angles is smooth, providing a more immersive experience for the viewer than traditional two-dimensional camera angles. Once the video part is done, use music, sound effects, and graphics, which play a significant role in creating an engaging story. 

The post The Art of Reframing: A Creator’s Guide to 360 Video Editing appeared first on Adorama.