Editor Note: This post was written by Sony Influencer André Ringuette, all text and accompanying images have been used with permission.

When I first started photography, my original camera was a manual-focus SLR where you advanced the film with your thumb after every shot. When I became interested in sports photography, I bought my first motor drive, which automatically advanced the film at a blazing three frames per second. Then came autofocus, which felt incredible at the time. After that came digital cameras with four megapixels of resolution, and over the years, resolution, noise control, white balance, and overall performance improved exponentially.

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But then Sony introduced their mirrorless system.

I had heard and read many great things about what the Alpha system could do, but I’ve always preferred to see things for myself and run my own tests. From the very beginning, everything felt immediately responsive, accurate, and sharp. Working with the Sony Alpha 1 allowed me to focus on composition, timing, and creativity rather than wondering whether a sequence of images was going to be sharp or not.

In fact, I started using my Sony cameras for personal photography — traveling and documenting my children’s activities — something I had rarely done by having to lug my professional cameras before.

Now, photography is thoroughly enjoyable again.

You can find more of André Ringuette’s work on his Instagram channel or at FreestylePhotography.com

About André Ringuette

Graduated Cum Laude in Fine Arts – Photography at the University of Ottawa. Started as Official Photographer for the respective Athletics Departments at U of O and Carleton University. Selected as Team Canada’s Official Photographer for the 1995 Universiade in Fukuoka, Japan. Photos from this assignment drew the interest of TSN’s marketing department and covered NHL, CFL, NBA, MLB, PGA for them. Became house photographer for Corel Centre (now Canadian Tire Centre), eventually earning the title of Team Photographer of the Ottawa Senators. Subsequently found some of the best and hardest working photographers to include into the Freestyle Team. Trusted photographer for the NHL, Getty Images, Upper Deck, Hockey Hall of Fame, IIHF and most of Ottawa’s pro teams.

The post André Ringuette: The Sony Alpha 1 Made Photography Enjoyable Again appeared first on Vistek ProPhotoBlog.

Sports photography demands fast autofocus, the right reach for the venue, and apertures that keep shutter speeds high under stadium lights. Sony’s lens lineup delivers elite sharpness, sticky subject tracking, and rugged reliability that pros trust on sidelines worldwide. Below, we break down the top lenses for field, court, arena and outdoor action – why each one shines for sports, and the standout features that set them apart.

What are the best Sony lenses for sports photography?

1. 100-400mm f/4.5 G Master

Why It’s Great For Sports – The constant f/4.5 maximum aperture across the full zoom range keeps exposure consistent whether you’re at 100mm or fully extended – a real advantage when tracking a play from near to far without dialing in new settings. Paired with up to 3× faster AF and 50% improved tracking this lens is built for sports where subjects move fast and unpredictably: field sports, track, baseball, surf and motorsport. The internal zoom keeps the balance point stable on a monopod, which matters on long assignments.

Standout Features

• Constant f/4.5 across the full zoom range for consistent exposure as you track plays
• Up to 3× faster AF and 50% improved subject tracking
• Full compatibility with Alpha 9 III at up to 120 fps with AF/AE tracking
• Internal zoom design maintains constant length and stable center of gravity – great for monopod work
• Teleconverter-ready — 1.4× gives you 560mm, 2× stretches to 800mm (or 1,200mm in APS-C) for maximum daylight reach

Creator Review – “I compared the 400GM, the 300GM with the 1.4X attached, and the 100-400GM at 400mm f/4.5 and did a comparison. The results were shocking. The f/4.5 lens matched up really well with even the 400GM in terms of bokeh and the out of focus backgrounds of the images. Overall, the 100-400GM joins an elite club of the fastest and most accurately focusing lenses made to date along with the 70-200GMII, 300GM, 400-800G and 50-150GM.” – Patrick Murphy-Racey

2. Sony 50–150mm f/2 G Master

Why It’s Great For Sports – A fast mid‑tele zoom that’s clutch for indoor sports (basketball, volleyball, hockey), bench/celebration moments, podiums, and tighter sideline work where you can move. The constant f/2 keeps shutter speeds up, isolates subjects, and plays nicely in dimly lit gyms.

Standout Features

• Constant f/2 for speed under poor lighting
• Pro-grade AF with linear motors for fast subject acquisition
• Useful 50–150mm range for courtside flexibility and portraits
• Beautiful GM rendering for clean separation and smooth bokeh
• Great companion to a 300/400mm for dual‑body coverage

Creator Review – “Used handheld from glass level when possible, this lens allows me to photograph game action, emotional reactions, and goal celebrations with strong subject isolation.” – Jean Fruth

3. Sony 28-70mm f/2 G Master

Why It’s Great For Sports – A bright, storytelling zoom for tunnels, locker rooms, warmups, and courtside where access is tight and light is rough. The constant f/2 keeps shutter speeds high indoors and gives prime‑like separation for dramatic sports portraits and celebrations.

Standout Features

• Constant f/2 for fast shutter speeds under arena and gym lighting
• Versatile 28–70mm range for context, team huddles, and close action
• Pro‑grade AF with linear motors for quick subject acquisition
• Clean GM rendering with creamy background blur for hero frames
• De‑clickable aperture ring and minimal focus breathing for hybrid photo/video
• Compact, balanced build for all‑day sideline carry

Creator Review – “The 28-70mm f/2 G Master is the best possible choice for the end of the game to shoot what the AP calls, ‘jubo.’ Jubilation and dejection are the assignments at the buzzer when the clock hits zero. The 28-70mm f/2 G Master is great for getting into huddles during time outs and for the electric energy that happens when the winning team reacts to getting to go to the NCAA tournament. It’s a lot of fun.” – Patrick Murphy-Racey

4. Sony 300mm f/2.8 G Master

Why It’s Great For Sports – The classic field‑sports focal length for baseball, soccer, football, rugby, and track from the sideline. f/2.8 delivers speed and background separation, while 300mm gives you reach without the tight framing of a 400mm.

Standout Features

• f/2.8 for freezing action at night games
• Teleconverter‑friendly (1.4× for 420mm f/4; 2× for 600mm f/5.6) with excellent AF retention
• Balanced, handholdable design for fast pans
• GM optics: razor‑sharp with excellent contrast
• Ideal “primary” lens when paired with a 70–200mm on a second body

Creator Review – “When I want tight, compressed action – whether it’s a play in the infield or a deep outfield moment – the 300mm f/2.8 G Master is my weapon of choice. It delivers beautiful subject isolation and that professional look that makes the athlete stand out from the background.” – Jermaine Horton

5. Sony 400mm f/2.8 G Master

Why It’s Great For Sports – The pro’s staple for field sports and motorsport. The 400mm f/2.8 GM delivers elite subject isolation, reach, and speed for night games and back‑field action.

Standout Features

• Benchmark AF performance with lightning acquisition and tracking
• Stunning sharpness and creamy bokeh wide open
• Works beautifully with 1.4× (560mm f/4) for extra reach
• Balanced for monopod work and surprisingly manageable for handholding bursts
• Sideline standard for pro football, soccer, track, and baseball outfield

Creator Review – “I’m normally sitting close to the goal line of the team I’m working for and so this lens is essential for being able to capture images when the action is on the opposite end of the pitch and also to capture close up portrait style images. The f/2.8 aperture is essential for night games for keeping the shutter speed high enough to capture fast moving action and throwing the background out of focus to make the subject of the image pop. When paired the Sony Alpha 1, it really comes into its own and opens up a lot of opportunities with the cropping ability.” – David Horn

6. Sony 70-200mm f/2.8 G Master II

Why It’s Great For Sports – The utility player. From baseline tennis to bench reactions to goalmouth scrums within 30–50 yards, the 70–200mm f/2.8 GM II is fast, light for its class, and tack‑sharp.

Standout Features

• Lighter Mark II build reduces fatigue during long matches
• Class‑leading AF speed and accuracy for erratic motion
• f/2.8 for indoor arenas and evening light
• Close‑focus for detail storytelling (tape, turf, gear, hands)
• With 1.4× TC becomes ~98–280mm f/4 for more reach

Creator Review – “This lens is my essential workhorse for sports and live events.” – Travis Ellison

7. Sony 24-70mm f/2.8 G Master II

Why It’s Great For Sports – Your storytelling zoom. Perfect for pre‑game, locker rooms (access permitting), pressers, celebrations and context frames that place the athlete in the environment.

Standout Features

• Compact, lighter Mark II – easy to carry all day
• f/2.8 for indoor scenes and low‑light candids
• Fast, quiet AF for mixed photo/video capture
• Clean rendering and edge‑to‑edge sharpness for editorial output
• Pairs perfectly with any sideline super‑tele on a second body

Creator Review – “In sports portraiture, I know people love primes, but honestly, these two lenses (the 24-70mm f/2.8 G Master II and 70-200mm f/2.8 G Master II) are tack sharp and fast that I don’t see a use for any other within that focal range. For everyday portraits, these are the two best lenses I have ever seen.” – Matt Hernandez

8. Sony 100-400mm f/4.5-5.6 G Master

Why It’s Great For Sports – A flexible, travel‑friendly tele-zoom with pro‑level sharpness. Excellent for daylight field sports, baseball, track, surf from the pier, and outdoor youth sports where you want one lens to do a lot.

Standout Features

• Broad 100–400mm range covers near action to mid‑field
• Outstanding sharpness and contrast for wire‑ready files
• Fast AF tracking for lateral and toward‑camera motion
• Lighter than big primes – easier on the shoulders
• Works with 1.4× TC (140–560mm) for extra daylight reach

Creator Review – “The 100-400mm zoom lens will always come with me on any surf trip. On most surf trips we are shooting mainly from the land and we need the right lenses to reach as far as possible. The 100-400mm f/4.5-5.6 G Master gives me the reach and also doesn’t fill up my whole bag. It allows me more room in my bag and on my body to carry more when walking to and from different angles all day.” – Chris Burkard

9. Sony 135mm f/1.8 G Master

Why It’s Great For Sports – A specialty prime that’s brilliant for indoor sports from the baseline or corner, and for portraits with explosive separation. f/1.8 lets you freeze action in dark gyms without nuking ISO.

Standout Features

• f/1.8 speed for freezing action in poor light
• Incredibly sharp with creamy background blur
• Rapid AF with precise eye/face tracking for celebrations and portraits
• Great for track finish lines, boxing/MMA ringside, and basketball from the baseline
• Lightweight enough for all‑day carry as a second‑body prime

Creator Review – “One of my personal favorite lenses because of how fast it is, especially when shooting in darker high school and college gyms. This is a great lens for creating portraits during games and capturing the close detail shots.” – Jordan Jimenez

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10. Sony 600mm f/4 G Master

Why It’s Great For Sports – When you need maximum reach with top‑tier image quality. From center‑field baseball to birds‑in‑flight between assignments, the 600mm f/4 GM is the long‑line anchor.

Standout Features

• f/4 speed keeps shutter high at dusk with manageable ISO
• Elite sharpness and contrast wide open
• Teleconverter‑ready (1.4× for 840mm f/5.6) with reliable AF
• Balanced for monopod use; designed for pro durability
• A motorsport, baseball outfield, and field‑half isolator’s dream

Creator Review – “The Sony 600mm f/4 G Master and I have a relationship. We go back over 30 years together. “The 6,” as it’s often called by sports shooters, is simply an eye candy machine. If you can find the action, it will perform and produce images that are beyond stunning. Once Sony put the Sony 600mm f/4 G Master in my hands, this often low percentage lens immediately paid off. It is so sharp, fast and lightweight for what it is, it gives me a huge advantage.” – Patrick Murphy-Racey

11. Sony 200-600mm f/5.6-6.3 G

Why It’s Great For Sports – A reach‑rich, budget‑friendly workhorse for daylight field sports, aviation, motorsport, surf and outdoor action. Internal zoom keeps handling consistent for smooth tracking.

Standout Features

• 200–600mm range covers near‑to‑far without lens swaps
• Internal zoom for stable balance on monopods/gimbals
• Respectable AF and very good sharpness, especially stopped down slightly
• Excellent value for teams, clubs, and freelancers building reach
• Great companion to a 70–200mm on a second body

Creator Review – “As for lenses, the 200-600mm f/5.6-6.3 G is my primary lens for surf photography. Honestly, for the money, I think it’s the best value available.” – Brandon Kirk

As always, the Sony lens lineup is strong and this list is by no means exhaustive. What’s your favorite Sony lens for sports photography?

Note: This editorial article was originally published on AlphaUniverse.com It has been lightly edited (added links) and reprinted with permission.

The post The Best Sony Lenses For Sports Photography In 2026 appeared first on Vistek ProPhotoBlog.

Designed for both hands-on and hands-free shooting and perfect for solo creators, the new Insta360 Luna Ultra gimbal camera introduces a revolutionary detachable touchscreen with HD image transmission up to 20m.

You can use the detachable touchscreen for remote monitoring and camera control, and to capture selfies from various creative angles with greater freedom in framing.

In another industry first, the Luna Ultra packs a Triple AI Chip, combining the company’s flagship 4nm chip with a pair of dual imaging chips.

Co-engineered with Leica, the Luna Ultra also boasts a dual-lens design – including a 20mm f/1.8 Leica Summicron lens – plus an integrated set of Leica colour profiles to impart your footage with Leica’s signature aesthetics.

The second lens is a pro-grade telephoto featuring a 12× zoom range – including up to 6× lossless zoom – with an f/2 maximum aperture to deliver a natural-looking background blur.

Together, these two lenses put a total of five versatile focal lengths at your fingertips, all in one device.

View Insta360 Luna Ultra Standard Bundle Pricing and Availability at Vistek

With the Luna Ultra, you can capture stills at up to 37MP, as well as 200MP 2:1 panoramas in a single tap. It also delivers stunning low-light clarity in PureVideo Mode up to 4K 60 fps, along with support for 8K Dolby Vision.

Dolby Vision HDR ensures that details remain crystal clear in realistic colour with ample dynamic range, even when footage is cropped or enlarged. And it enables flexible dynamic optimization for each and every scene as opposed to the one-size-fits-all approach of conventional static HDR.

You’ve also got a 3-axis mechanical stabilization system at your fingertips to keep the camera steady and ready to capture every fleeting moment as it happens.

The Insta360 Luna Ultra Standard Bundle is being released in limited quantities in June 2026, with the fully accessorized Creator Bundle becoming available soon thereafter.

Features

• Leica Summicron lens, f/1.8 maximum aperture
• Pro-grade telephoto lens, f/2 aperture
• Up to 12× zoom range, up to 6× lossless zoom
• Detachable 2″ OLED touchscreen
• Built-in microphone
• 1″ 8K sensor
• 14 stops of dynamic range
• Flagship 4nm chip and dual imaging chips
• 8K 30 fps Dolby Vision, 4K 60 fps PureVideo
• 200MP panoramic photos, 37MP UltraPhoto
• 10-bit I-Log, ACES compatible
• 3-axis mechanical stabilization
• 1550-mAh battery capacity
• Four-hour runtime

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Blackmagic Design has released the latest Blackmagic Camera firmware ver. 10.2 update adding phase detect autofocus and support for Blackmagic Cloud Stream routing to Blackmagic PYXIS 6K.

What’s new in Blackmagic Camera 10.2

Blackmagic PYXIS 6K

• Adds phase detect auto focus (PDAF) support for PYXIS 6K.
• Adds continuous autofocus support.
• Adds face detect autofocus support.
• Adds object detect autofocus support.
• Adds support for autofocus transition speed settings.
• Adds support for assigning autofocus mode toggle to shortcut keys.
• Adds support for pausing continuous autofocus when holding down the focus button.
• Adds support for Blackmagic Cloud Streaming.

View Blackmagic Design PYXIS 6K Camera Pricing and Availability at Vistek

The Blackmagic PYXIS 6K is an advanced digital film camera with an incredibly versatile design that lets you build the perfect camera rig for your production.

This new model features a 6048 x 4032 full frame HDR sensor with built in optical low pass filter, dual native ISO, dual CFexpress media slots, all in a customizable body with flexible mounting options and side plates.

The Blackmagic PYXIS 6K is available in three different models with fixed L-Mount, PL or locking EF lens mounts.

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The powerful new Leica Cine Compact 1 is the latest addition to the Leica Smart Projection Portfolio and the most compact Leica cine projector to date.

Designed with portability in mind, this pint-sized projector lets you take the home-theatre experience with you wherever you go. It weighs less than 5kg and even comes with its own handy transporter case.

By comparison, the slightly heftier Leica Cine Play 1, released in November 2024, weighs in at 6.7kg and is more than an inch larger across each of its dimensions.

Despite a few comparative limitations, however, the newer model is substantially more versatile and considerably less expensive.

Enhanced flexibility comes built-in thanks to an integrated full metal swing system, enabling 360 degrees of rotation. This in turn supports multiple indoor and outdoor setups, including wall and ceiling projections, placement on a desk, on a floor stand and more.

View Leica Cine Compact 1 Pricing and Availability at Vistek

This is a Leica product and, as expected, it’s all about the visuals.

Featuring a Leica Summicron zoom lens and triple-RGB laser, the Cine Compact 1 delivers superior image quality with a stunning 1700 Lumens of brightness. The display is crisp HDR in 4K resolution projected up to 220 inches in size.

And everything is automatically aligned, including functions like autofocus, keystone correction and screen framing, eliminating the need for manual adjustments.

Equipped with advanced Dolby audio-processing technologies, the Cine Compact 1 also offers fully immersive surround sound, so you can take a totally cinematic home-theatre experience with you wherever your heart desires – just sit back and enjoy.

Features

• Stunning 4K image quality
• Premium compact design
• 4.4kg weight
• 209x226x193mm dimensions
• Summicron zoom lens
• 1.0 to 1.3x zoom
• Flexible 360° rotation system
• Immersive Dolby sound
• Smart streaming with VIDAA
• 60- to 220-inch projection size
• Up to 1700 Lumens output
• Integrated automatic focus, keystone correction and screen framing

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Capturing the high-energy thrill of sports through photography can be an exhilarating and rewarding experience. That being said, this form of photography also poses unique challenges, especially if you’re just starting out. With the right guidance and equipment, plus plenty of practice, you can learn to freeze those action-packed moments in stunning detail. Here are some essential tips to help you get started in sports photography.

1. Choose The Right Gear For Capturing Action

Your choice of camera and lens can significantly impact your sports photography. If you’re serious about the endeavor, the Alpha 9 III or Alpha 1 (link is to Alpha 1 II), offer excellent autofocus capabilities and high frame rates, making them ideal for capturing fast-moving subjects. Veteran sports photojournalist and Sony Artisan Patrick Murphy-Racey uses both of these cameras for sports photography, along with a variety of lenses.

Depending on what sport you’re shooting and the kind of access you have will determine which lenses will work best for you. You might want to pair your camera with a versatile zoom like the 70-200mm f/2.8 G Master II, or maybe a super-telephoto prime like the 300mm f/2.8 G Master.

Murphy-Racey is a big fan of the Alpha 9 II or Alpha 1 and 300mm f/2.8 G Master combination for sports, especially football. He uses the camera with a battery grip and hangs it off his shoulder with a Black Rapid Strap. “Being able to not have to use a monopod is a massive advantage when using the 300mm f/2.8 G Master,” he explains. “I carry it that way for about five hours on game days and my shoulders are never tired. The speed of the AF on the new 300mm f/2.8 G Master is crazy fast but also accurate too. The combination of the 300mm f/2.8 G Master with any Sony Alpha sports body is amazing.”

If you don’t want to go top tier right away as a beginner, try something like the Alpha 6700 – a great APS-C option for sports photography. It’s an excellent compact camera that still allows you to take advantage of Sony’s lens lineup so you can be sure to have the focal length you need for the sports you’re photographing. It also features an AI Tracking process that includes some of the most advanced auto focus tracking features available on any Alpha camera today.

2. Master Your Camera Settings

Understanding your camera settings is crucial for successful sports photography. Here are a few key settings to focus on:

• Shutter Speed: A fast shutter speed (1/1000 second or faster) is essential to freeze motion. This is particularly important in sports where the action is rapid, such as football or basketball
• Aperture: A wide aperture (low f-stop number) allows more light into the camera and creates a shallow depth of field, helping to isolate the subject from the background
• ISO: Adjust the ISO to ensure proper exposure. In well-lit conditions, keep the ISO low (100-400). In low-light scenarios, you may need to increase the ISO, but be mindful of potential noise

3. Utilize Continuous Shooting Mode

In sports photography, moments are fleeting, and you don’t want to miss the perfect shot. Activate your camera’s continuous shooting mode (burst mode) to capture a series of images in quick succession. This increases your chances of capturing that perfect split-second moment of peak action.

The Alpha 9 III specifically features a Pre-Capture function that allows the camera to continuously record up to one second before the shutter is released, making it easy to capture those sports moments that would otherwise be missed. When selected, the Continuous Shooting Speed Boost function allows you to change to a faster, preset speed at any time during shooting. The camera also has an enhanced burst stamina with a large buffer memory and increased overall system speed that allows up to approximately 390 JPEG images to be captured in one continuous 30 fps burst. (We know, it’s like a sports photography cheat code.)

4. Focus On Autofocus

Sony Alpha cameras feature advanced autofocus systems that are invaluable for sports photography. Set your camera to continuous autofocus mode (AF-C) to maintain focus on moving subjects. Use flexible spot or zone focus areas to track your subject efficiently. Sony’s Real-time Tracking and Eye AF features can also be immensely helpful for keeping athletes in sharp focus.

5. Compose Creatively

While technical settings are important, don’t forget about composition. Use the rule of thirds to create dynamic and balanced images. Anticipate the action and position yourself strategically to capture compelling angles. Shooting from a low angle can add drama and emphasize the intensity of the sport.

6. Plan & Prepare

Familiarize yourself with the sport you’re photographing. Understand key moments, player movements, and potential shooting opportunities. Arrive early to scout the location and find the best vantage points. If possible, get a press pass for closer access to the action. Professional sports photographer and Sony Artisan Jean Fruth’s images are emotive and action-packed, and she knows how to set herself up for success. “I start off by having a plan before I arrive at the venue, then I work my plan,” she explains. “I always have a checklist, written down or in my mind. Planning out when I will make each of the images I am envisioning is essential, so that I am organized and have the best chance of accomplishing my goal.”

Sports games are action-packed and full of fleeting moments, so Jean thinks through the best times to make the images she wants to create. “When is the best time to make each of these images I would like to create? If it’s the wide scene-setting image, maybe it’s during the game when there are more fans, or maybe I am waiting for pretty light. For details, I might go tight in for a change of scale and get those done pre-game so they are ‘in the can’.”

This rings true for each aspect of the game. Jean starts early with pre-game and carries through to the end of the game. Even for the images she makes that are full of emotion, Jean has thought about the best way to capture that moment. “I am even planning how I will shoot the end of the game. Is it a celebration picture I want to capture? A certain player? Where should my position be? What lens should I use? Planning, planning, planning.”

7. Practice & Patience

Sports photography requires practice and patience. The more you shoot, the better you’ll become at anticipating moments and reacting quickly. Review your images and learn from your mistakes. Pay attention to what works and what doesn’t, and continually refine your skills. Sports photographer Krystina Brown started out as a hobbyist before turning it into a career – and now women’s professional basketball and soccer being some of her favorites to capture.

8. Use The Right Accessories

Enhance your sports photography experience with the right accessories. A monopod can provide stability without sacrificing mobility, essential for following fast-moving action. A solid sports photography camera strap with padding and quick releases can also be a game-changer. Extra batteries and memory cards are a must, and consider using a lens hood to reduce glare and protect your lens.

While this certainly isn’t a beginners sports photography device, if you’re gear nerds like us you might want to know more about the Sony Portable Data Transmitter (PDT-FP1) anyway. This cutting-edge accessory allows you to transmit your images instantly from the game you’re shooting. You can connect and upload images in real-time from the field! Pretty cool stuff and something to keep in mind.

9. Edit & Crop Thoughtfully

Post-processing can elevate your images from good to great. Use software like Adobe Lightroom to adjust exposure, contrast and sharpness. Cropping can help you fine-tune your composition and remove distractions. However, aim to get the best possible shot in-camera to minimize the need for extensive editing.

10. Be Respectful

Finally, always prioritize safety and respect the athletes and other spectators. Be aware of your surroundings and avoid obstructing the view of others. Follow any guidelines or rules set by the venue or event organizers.

By following these tips and leveraging the advanced features of Sony Alpha cameras, you’ll be well on your way to capturing the exhilarating world of sports photography. Remember, practice makes perfect, so get out there and start shooting.

Note: This editorial article was originally published on AlphaUniverse.com It has been lightly edited (added links) and reprinted with permission.

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What are the best cameras for street photography this summer? Now that warmer weather and a lighter-weight wardrobe have returned, you’re probably eager to get back out onto the streets and start shooting your favourite candid subjects again.

And with so many ambitiously competitive models to choose from, you’re not alone in wondering which one to go with. We have a few suggestions.

OM System OM-3
Designed for urban creatives, OM System’s feature-packed OM-3 is a compact and highly portable mirrorless camera perfectly suited to the demands of street photography.

With its eye-catching vintage-inspired aesthetics, the classically handsome OM-3 weighs in at just 413g (body only), falling roughly between the heftier OM-1 II (at 511g) and the svelte OM-5 II (366g).

Durable full-metal build quality and IP53-certified weather sealing keep it well protected in challenging environments, while four colour profiles and four monochrome profiles put a robust array of creative options at your fingertips.

In addition, the computational photography button gives you quick access to six unique features, and a handy tactile dial makes it easy to switch between the Still, Video and Slow & Quick Motion Video modes.

Ricoh GR III and GR IV series
Since its debut more than a decade ago, Ricoh’s GR line of compact point-and-shoot cameras have earned high praise from street photographers – both hobbyists and professionals – for their streamlined pocketability and reliable performance.

Ricoh claims that with a large 24MP APS-C-sized CMOS sensor and powerful processor, these cameras can deliver DSLR-like image quality.

The GR III boasts an 18.3mm f/2.8 prime lens with a 35mm-equivalent focal length of 28mm, while the GR IIIx features a 26.1mm lens with a 40mm equivalent in the 35mm format.

While retaining the GR III’s popular 28mm focal length and large f/2.8 maximum aperture, the GR IV features a new lens design comprising seven optical elements in five groups, including glass-molded aspherical lens elements.

For obvious reasons, the latest addition – the GR IV Monochrome – represents a radical departure for the series.

Very little separates this newer model from the original GR IV, apart from its lack of a colour filter and the use of an exclusively monochrome-dedicated image sensor. But that’s a really big difference and not necessarily a welcome one for some street photographers who might find it limiting

However, for those shooters who truly appreciate monochrome photography, this model delivers stunning B&W results in spades, and it’s the only pocketable option of this type currently on the market.

Fujifilm X-T5
The mirrorless X-T5 packs a whopping 40.2 megapixels onto its APS-C sensor to deliver outstanding image quality in a relatively compact form factor – and a classic body design that looks pretty sharp too.

The tilting LCD screen makes it easy to shoot from difficult angles, and the 5-axis IBIS delivers up to seven stops of shake compensation.

As with many of its recent models, Fujifilm’s X-T5 gives you the ability to choose from a wide range of its legacy film-simulation modes, including Provia, Velvia and Astia, to give your street shots a cool retro filmic vibe.

Leica D-Lux 8
The D-Lux 8 is a premium compact digital camera featuring a versatile and envy-inducing Leica DC Vario-Summilux 24-75mm (35mm equivalent) f/1.7-2.8 zoom lens.

Paired with that fast, bright zoom, the camera’s 21MP CMOS image sensor delivers consistently excellent low-light performance and shallow depth of field well suited to street.

With a sleek minimalist design inspired by the higher-end Leica Q series – and an iconic red dot logo visible from a block away – the D-Lux 8 is bound to turn heads out in the field, but that’s one of the perks (or drawbacks, depending on your perspective) when dealing with such a recognizable luxury brand.

The post Best cameras for street photography appeared first on Vistek ProPhotoBlog.

The latest firmware update (ver. 1.3.0) for the EOS R5 Mark II is now available to download from Canon. While it is not a “major” update, it does add several new and improved features.

You can access the firmware update from Canon here.

Features and Benefits

• Adds [American Football] in [Action Priority] to optimize human subject detection for individuals wearing helmets and shoulder pads.
  • *For an overview and instructions on using [Action Priority], please refer to the Instruction Manual or the AF Settings Guide.
• Improves tracking and detection performance for [Register people priority] in challenging conditions—including profile views, blurred or partially obscured faces, small subjects in the frame, and children—even when the feature is set to [Off].
  • *Performing a firmware update will delete registered data stored in the camera. If necessary, save the data in advance using [Save/load registered data on card], and reload it after the firmware update. For details, please refer to the Instruction Manual.
• Adds the ability to set [AF for close-up demos] during movie recording in [Movie manual exp.], [Movie auto exposure], and other Creative Zone modes to allow for its use in combination with exposure and AF area settings.
• Adds [Wi‑Fi freq. band] to [Communication Settings], allowing the user to select the 5 GHz or 2.4 G Hz band when transferring from Bluetooth to Wi-Fi.
• Adds [No. of connections] to [FTP transfer settings], allowing the user to select the number of transfer threads for [FTP transfer].
• Adds the ability to store up to four [Colour temp] values in [White balance setting] and to assign [Switch colour temperature] to [Customize buttons for shooting].
• Adds the ability to set [False Colour Settings] to [On] when [HDR/C.Log View Assist] is selected.
• Adds the ability to assign [Pre‑continuous Shooting] to [Customize buttons for shooting].
• Adds the ability to transfer AF-related settings between cameras of the same model by adding [Save to card] and [Load from card] to [Register/recall AF‑related settings].
• Adds the ability to display the electronic level during movie recording.
• Adds the option for grid display during movie recording.
• Adds the ability to display playback screens and menu screens when outputting to two screens via [HDMI Display During Connection].
• Adds the ability to switch the group settings of a receiver camera from the sender camera when using the EOS Multi-Remote app.
• Adds support for DPRAW shooting.
• Adds support for the Software Development Assistance Kit (EDSDK/CCAPI).
• Fixes an issue that may cause Err49 to be displayed repeatedly during communication with an SFTP server.
• Fixes an issue that may impact the camera’s shooting ability if the auto power-off function is activated during interval timer shooting.
• Fixes an issue that may cause the camera to restart when the shutter button is pressed while deleting images.
• Fixes an issue that may cause the camera to not be recognized when connected to a smartphone via USB.
  Improves other system stability.

The post Canon EOS R5 Mark II Firmware Version 1.3.0 Available appeared first on Vistek ProPhotoBlog.

For this What’s In My Bag, Sony Artisan and conservation photographer Melissa Groo heads to Canada on assignment for Audubon Magazine. “I’ll be heading up to shoot a story on small, swift birds called Snow Buntings and the people that study them,” she says. “I’ll need to photograph the birds both in flight, and while they’re resting or feeding on the ground. I’ll also be photographing the researchers who capture them, take their measurements, and add bands on their legs to help track them. All this to better understand their movements in winter, in hopes that the reason for their dramatic declines in number – and solutions to help them – might become clear.” Keep reading as she shares what’s in her bag for a magazine assignment on birds.

Cameras

Alpha 1 II: This is my go-to workhorse. It has the best of everything I need for this job: fast focus acquisition, persistent tracking, incredible bird-eye detection, a high frame rate of 30fps, a stacked 50MP sensor, Pre-capture, and excellent performance in low light. Knowing Sony, they’ll come up with something incredibly cutting edge in the next year or two that I’m not even aware yet that I need, but for now this is the be-all and end-all for me.

Alpha 7 V: I recently added this new camera to my arsenal, and I’m super excited to put it to the test for this job. Given the relatively low price point, I was astonished to discover what a powerhouse it is. The AF speed and Bird-eye recognition is at least as good as the Alpha 1 II’s, and the high frames-per-second shooting (30) with no viewfinder blackout is terrific for wildlife. It also offers Pre-capture capability, which allows the camera to buffer images and save up to a full second of action before the shutter button is fully pressed. This, paired with a blackout-free 30 fps electronic shutter, is perfect for capturing unpredictable subjects like wild animals! And the 4-axis, fully articulating LCD monitor helps me be nimble and flexible with camera placement, especially when I need to shoot low to the ground but can’t get my body into position fast enough.

Lenses

600mm f/4 G Master: When I’m photographing birds, this is often my top choice, particularly when dealing with small birds as in this assignment. I usually have it attached to the Sony 1.4x teleconverter which yields me 840mm total. I appreciate such a long length as it enables me to keep a good distance from the birds, lessening the chance that I will disturb them. It’s pretty hard to beat the beautiful bokeh of this lens and its lightning-fast autofocus.

300mm f/2.8 G Master: Recently I purchased this lens, and have really fallen in love with it. It’s amazingly light and compact, and very sharp. I like to use it to give a greater sense of the environment around a bird. If I have to go in tight, I can easily attach teleconverters to extend the reach. I think it’s particularly noteworthy that it works very well with even the 2x teleconverter in good light situations. And being able to carry this lens, and swing it around so easily, given its compact build, makes it a great choice to take on long hikes.

70-200mm f/4 Macro G II: This will be a great lens to have along for its macro capabilities when I’m doing close-ups of birds as they’re being studied by researchers. I think it will also be helpful for taking portraits of the researchers, offering compression for flattering, close-up headshots.

50mm f/1.2 G Master: This is a lens I have recently been turning to more and more for taking people portraits. The subject isolation is stellar, and the bokeh super smooth and creamy.

24-70mm f/2.8 G Master II: This is such a great walkaround lens, enabling me to capture a variety of different kinds of scenes, whether it’s a wide view of a flock of birds in flight, an environmental scene, or researchers in the field.

16-35mm f/2.8 G Master: This lens will be useful in showing a wide view of the landscape, and for use in a remote control set-up near the capture site for the birds.

Accessories

1.4x Teleconverter and 2x Teleconverter: Both are always with me no matter what wildlife I’m photographing as I never know when I will need a bit more reach. Being prepared is everything when it comes to wildlife photography!

Multiple Sony NP-FZ100 rechargeable lithium-ion batteries, the Sony BC-ZD1 Dual-Battery Charger, and the Sony MRW-G2 CFexpress Type A/SD Memory Card Reader.

My other accessories include my trusty small binoculars to aid me in locating and identifying birds, walkie talkies to communicate with researchers in remote places if needed, head lamp, lens blower, memory card case, hand and toe warmers, microfibre cloth, screwdriver set, cold shoe light cube, and a ground pod with ball-head for shooting low and for remote control work.

See more of Melissa Groo’s work on her Alpha Universe Profile, on Instagram @melissagroo and at www.melissagroo.com.

Note: This editorial article was originally published on AlphaUniverse.com It has been lightly edited (added links) and reprinted with permission.

The post What’s In My Bag: A Pro Wildlife Photographer’s Kit For A Magazine Assignment On Birds appeared first on Vistek ProPhotoBlog.

Editor Note: This post was written by Sony Influencer Kyle Marquardt, all text and accompanying images have been used with permission.

Sticking to one style can be effective because it attracts people who appreciate that particular aesthetic. However, it often confines you to a specific category, making it difficult to explore beyond your usual approach.

Personally, I prefer to take photos in bright and sunny conditions, especially during the golden light of early morning and late evening. This lighting works well for the cheerful and dramatic images I enjoy creating.

Unfortunately, when the sun isn’t shining, I feel compelled to adopt a more subdued mood in my photography. I was reminded of this during a recent shoot, where the weather was consistently dreary, rainy, and windy, leaving me longing for that golden, crepuscular light.

I’m shooting with the Alpha 9 III, which is known for its global shutter, very good stabilization, and its incredible autofocus and tracking capabilities.

I set the camera to burst mode at 120 frames per second with a 1/500th of a second shutter speed, fast enough for action but slow enough to show movement with motion blur. With those settings, I had at least 90% of the images sharp and in focus.

I’m used to culling a lot of photos because I shoot and record more images than I need, just to be safe. But pre-shooting is a spectacular feature because I can indiscriminately start taking photos of everything that is moving, or about to move, but only save the photos that are actually worth keeping.

I likely shot a hundred times more photos than I needed, but because only the best ones got saved to my memory card, I found that when I downloaded my photos, I only had the best sequences and fewer images to cull than usual.

Another way to stay organized when shooting in burst mode is to enable display as Group. On Sony cameras, it’s in the menu at: Playback>Playback Option> Display as Group>On

If, for example, I hold down my shutter and take hundreds of photos of one bird, but after I take another group of photos that’s way better. The camera will display each shutter press as 2 photo groups. With one click, I can go back to the first series and “Delete All in This Group” to remove them, keeping only the second burst of photos, which turned out much better. With this trick, fewer photos need to be downloaded, and less time is spent on the computer.

For that reason, I would say the A9 III is the action editor’s camera of choice. Editors love having options, and if a photographer were to submit photos shot at a rate only a slow-motion camera could capture, they could pick which fraction of a second has the best action for their purposes.

You might be guessing where I’m going with this: I can take photos and slow-motion video at the same time. The short, fast bursts I take can be exported by my photo editor or imported by video software as a sequence. In the past, I always had to decide whether what I was shooting was better for photos or for video, and for the first time, I never had to make that decision. Culling my photos was a quick affair; it just felt like I was playing a slow-motion video, and once I landed on a photo that I liked, I edited it like normal. If you try this, don’t forget to star or label the best shots so you can easily delete the photos you don’t need to save space.

With this little trip out to the wetland, I was shooting in a new way, in sub-optimal conditions, but still capturing sights that were a joy to see as photos, and engaging to see as video. Maybe next time my shutter finger is calling, I’ll be less likely to stay inside just because of a few clouds.

Thank you to the American Robin, Common Goldeneye, and Yellow-headed Blackbird for modelling in this session.

You can find more of Kyle Marquardt’s work on his Instagram channel 

The post Kyle Marquardt: Bird Photography with the Sony a9 III appeared first on Vistek ProPhotoBlog.