An award-winning piece at an international photo contest will be displayed in the festival.
The highlight of the occasion will be an international photography fair held at the Ho Chi Minh City Youth’s Cultural House to showcase an array of award-winning pieces from photo contests around the globe.
On display will be a range of equipment and new technology used in photography, whilst activities of photography clubs from across the country will be introduced.
A seminar on contemporary photography, exchanges between Vietnamese and foreign artists, as well as a photo marathon and photo tour contests will also get underway.
Furthermore, an award ceremony of the second international photo contest organised by the HCM City Photography Association under the sponsorship of the International Federation of Photographic Art (FIAP), the Photographic Society of America (PSA), Image Sans Frontiere (ISF), and the Vietnam Association of Photographic Artists (VAPA) is slated for November 30.
This year’s contest has attracted 5,834 entries by 534 photographers from 36 countries and territories globally.
Photography Art Galleries around the world are dying a slow and painful death. While the empty storefronts and haunting ghosts of exhibits past may pale in comparison to the extinction of the dinosaurs, or this weeks mass exodus of employees at Twitter, there is no doubt that like many businesses, the art community has been hit hard in the past eighteen months.
Already up against the wall with the growth of e-commerce over the past decade, coronavirus-related restrictions, a general hesitancy to travel and the current state of the economy have all combined to create a deadly cocktail that many photography art galleries have been unfortunately forced to drink.
While photographers like myself who conduct the majority of their business online have not made it through unscathed by any means, the bumps and bruises we have been taking are slightly more treatable than the tourniquet and blood transfusions that photography and fine art galleries have had to endure. From the coasts of California and Islands of Hawaii, to the streets of Soho and the Sins of Las Vegas, art galleries everywhere are breathing their last breaths.
Transform your space with Aaron Reed’s luxury fine art photography print, Embers, from his Panoramic Wall Art collection. Order yours today! Fine Art Limited Edition of 50.
Mo Money, Mo Problems
The single largest problem that photography art galleries face today is simply overhead. Convincing the steady stream of travelers who walk through their doors that they want or need artwork to decorate the walls of their homes costs money. Big money. If there is one thing for certain, enlightened by the eternal wisdom of the Notorious B.I.G, we know that Mo Money Mo Problems.
Photographic Art in the gallery needs to presented in the finest way possible, with luxurious wood for your feet to walk on, high end lighting systems to bring it all to life and well dressed, silver tongued gallery directors and art consultants to help usher you towards your destiny. All of this glitz and glamour added to the cost of doing business, corporate lease agreements and the cost of producing the work itself cascades into an endless pit of cash. It has always been a balancing act, dangerously teetering between feast and famine but the events of the past two years cut straight to the bone.
As noted in this article by the New York Times, for centuries, dealers have used their own real estate to frame and enhance the experience of looking at art. “These bricks-and-mortar galleries validated the reputations of contemporary artists, and the prices asked for their works. But the coronavirus crisis, and digitalization, are forcing this generation of gallerists to rethink and adapt.”
Striking white aspen bark, backlit by the glow of the morning sun, reflects across the surface of a pond in Telluride Colorado. Fine Art Limited Edition of 50.
A Lesson In Value Direct From The Artist
A recent survey conducted by The Art Newspaper discovered that as a result of global lockdown, art galleries around the world are expected to lose an average of 72% of their annual revenue. In a recent interview with CNN, Dominique Lévy reported a near “90%” drop in business since the beginning of the pandemic.
As a photographer myself who makes his living selling the same museum quality wall art produced by photography galleries around the world, I have a deep understanding of the costs associated with producing high end artwork both from an artists standpoint and a business one. That being said, I have always felt that all the fanfare and fluff that goes along with running a gallery comes at a cost that in no way benefits the artist or the fine art collector.
The corporate machine keeps on grinding, pulling resources from the pockets of artists who in turn are forced to pass this burden on to collectors without increasing the value of their product in any way.
While artists like Peter Lik attempt to fabricate mystery and a perception of glamour around the artwork they offer, the simple truth is that all photographers today have access to the same production materials and as a result of that fact pay similar costs to produce the work.
For example, a large acrylic mounted photography print costs between $1200 – $2000 to produce. As a collector, nothing changes about the art itself whether you pay $3000 directly from an artist like myself or $15000 from a gallery. I invite you to skip the snooty gallery directors, the uncomfortable feeling of being stalked and keep $12,000 of your hard earned money in your pocket while still discovering beautiful wall art photography from the comfort of your own home.
Gentle waves roll through the hollow corridor of an old pier near La Jolla, California. Out at sea, the brilliance of the sunset is hushed by a heavy blanket of marine fog waiting at the horizon. Fine Art Limited Edition of 100.
The Only Constant Is Change
Viewing photography artwork online instead of in-person is growing in preference by the majority of people who enjoy art. While there is no substitute for viewing art in person, there are more and more reasons for consumers to look online, from the cost of investment to protecting themselves and the health of their families. No one wants to go out and stand elbow to elbow, sharing air with strangers inside an enclosed space in 2022. Unless they are drunk. Drunk people still want to do that.
While this fact does cause painful choices to be made by art galleries as a whole, the opportunity for artists themselves have never been greater. The ability to reach your potential customers through the internet means you can sell your art, without selling your soul in the process. As an artist, you have the ability to create real value for collectors of your work, provide a higher level of service and create meaningful relationships with those who appreciate your work. As a collector, you are able to achieve a deeper connection with the work you are purchasing by getting to know the artist on a personal level instead of simply being served wine, cheese and a credit card reader on some really nice wood floors.
A wildfire sunset climbs up the forgotten walkways of the emerald temple of Kirkjufellsfoss in Iceland. Shrouds of whitewater trickle past jeweled gardens of moss on their way to the frigid plain of the open ocean. Fine Art Limited Edition of 50.
Do We Even Need Art?
Art gives us immeasurable personal and social benefits. Nature photography specifically creates the same reaction in your brain as actually being in nature! Displaying art photography of nature in your home has an extensive list of benefits to your health, life and spirit! Without art and creative work, there would be no laughter, no music, no imagination, and no stories. We simply need it to survive. Do we need photography art galleries? Only time will tell.
A rush of clear water races down from the forbidden peaks of a range of misty mountains. Along the rocky banks, flashes of gold announce the arrival of autumn to the high places. Fine Art Limited Edition of 50.
Golden light from the early morning sun illuminates a forest of beautiful aspen trees at the peak of autumn in Telluride, Colorado. Fine Art Limited Edition of 50.
The phosphorescent tendrils of a mineral-rich river spray across the mottled canvas of an alluvial plain in southern Iceland. The bright flow cuts through the ancient sands, leaving behind a chaotic impression, like the whorls in a burl of wood. Fine Art Limited Edition of 50.
iPhone 14 Pro vs Google Pixel 7 Pro: Which smartphone is best for photography?
Apple is obviously a huge name in the smartphone market, but in recent years, the Google Pixel range has garnered a great reputation for photography. But which is better? In this head-to-head we’ll be aiming to find out.
Both of the phones are capable of taking excellent photos, and both are two of the best smartphones for photographers you can buy.
The latest Pixel 7 Pro model is its most advanced model yet, offering a triple lens setup which is in many ways similar to the iPhone 14 Pro. In this piece we’ll be aiming to find out which of the two shapes up the best.
iPhone 14 Pro vs Google Pixel 7 Pro: Camera specs
Both the iPhone 14 Pro and the Google Pixel 7 Pro have a triple lens setup – it’s the second time that the Pixel has included a third lens in its array, with the 6 Pro being the first Pixel with a triple lens setup.
That means you get a standard wide-angle (1x) lens for both models, joined by an ultra-wide-angle lens (0.5x) and a zoom lens (3x for the iPhone, 5x for the Pixel).
Behind the main lens for the iPhone is a 48 megapixel sensor, while the Pixel has a slightly higher resolution sensor at 50 megapixels.
The ultra-wide lenses on both models are paired with 12 megapixel sensors, with auto-focus (AF).
For the zoom lenses, you get a 48 megapixel sensor for the Pixel and a 5x telephoto reach, and just a 12MP device for the iPhone, with a 3x telephoto reach.
iPhone 14 Pro vs Google Pixel 7 Pro, photo: Amy Davies
In terms of other lens specifications, the iPhone’s wide-angle lens is f/1.78 and features optical image stabilisation (OIS), the ultra wide is f/2.2, while the zoom lens is f/2.8 and again has optical image stabilisation.
For the Pixel, the wide angle lens is f/1.85 and it has both optical image stabilisation and electronic image stabilisation (EIS). The ultra wide is f/2.2, and the zoom lens is f/3.5 and again has both OIS and EIS.
Other camera-related specifications include 4K video at up to 60fps, slow-mo shooting and shallow depth of field in video effects – across both models.
iPhone 14 Pro vs Google Pixel 7 Pro: Camera apps and shooting modes
Both the iPhone and Pixel have relatively fuss-free native camera apps. On the one hand, that’s good news if you want to concentrate on composition, but the simplicity is frustrating for advanced photographers who want to make changes to settings. Neither phone offers an “advanced” mode, though you can make settings to certain changes, and you can shoot in raw format with both models.
Low-light shooting is available through “Night Sight” mode on the Pixel, which is a selectable mode, while on the iPhone you get Night mode, but it only appears when the phone detects that the light is low. The Pixel also has an Astrophotography mode which can be used with a tripod or steady support.
As is pretty common for most smartphones, both have a Portrait mode which means you can create shallow depth-of-field effects with a range of subjects – not just humans.
iPhone 14 Pro vs Google Pixel 7 Pro, photo: Amy Davies
New for the Pixel is a macro mode, which will automatically activate if the phone detects that it is close to a subject. You can choose to switch it off if you like at this point. The iPhone 14 Pro is the second iPhone to have macro mode, following on from the 13 Pro. It works in the same way as the Pixel’s – automatically activating in the right conditions, using the ultra-wide camera and cropping into the frame.
Both phones include video recording modes, with the iPhone having a separate “Cinematic” mode for creating shallow depth of field effects. The Pixel has a similar mode, which is also called “Cinematic”.
One mode that the Pixel has that the iPhone doesn’t is “Motion”, which allows you to create long exposures and panning shots directly in camera.
iPhone 14 Pro vs Google Pixel 7 Pro: General image quality
Comparing “general” images from both phones, taken in good light and across a variety of subjects reveals that image quality between the two is very similar. Looking at images on their phone screens gives the best view, but even looking at them on a computer screen shows that the two are very well matched.
iPhone 14 Pro – General flower photo
Google Pixel 7 Pro – General flower photo
If you’re someone who takes most of their smartphone photos in these conditions – i.e. day-to-day shots, then the Pixel 7 Pro certainly offers the better value for money for more or less the same output. If we’re being really picky, the 7 Pro seems to produce images which have a slightly more “HDR”-type effect which isn’t always attractive depending on your personal preferences. The Pixel 7 Pro also seems to produce slightly warmer results – which look attractive, but the iPhone’s shots are more realistic to the scene.
iPhone 14 Pro general photo, using the standard (wide) camera on a grey day
Pixel 7 Pro general photo, using the standard (wide) camera on a grey day
With the Pixel 7 Pro, you get a more flexible zoom, with up to 5x optical zoom available. Images taken with the Pixel 7 Pro’s 5x zoom (117mm equivalent) roughly match in quality the iPhone 14 Pro’s 3x offering (77mm) albeit without the same reach. Therefore, if you’re keen to have more zoom power, the Pixel 7 Pro is probably the better option.
iPhone 14 Pro, 3x telephoto zoom
Pixel 7 Pro, 5x telephoto shot, taken from the same spot
iPhone 14 Pro vs Google Pixel 7 Pro: Low light
Both of these smartphones have a dedicated low-light / night mode. We tested it with a very low light scene, to really push the limits of each device. Both put in a good performance, doing particularly well when using the main / 1x lens.
iPhone 14 Pro – Night mode, 0.5x ultra-wide-angle camera
Pixel 7 Pro – Night mode, 0.5x ultra-wide-angle camera
If you switch to the ultra-wide lens, details become a little fuzzier, but they both put in similar performances. There’s perhaps slightly more detail visible in the iPhone shot, but there’s not a lot in it. The Pixel 7 Pro is also more susceptible to lens flare.
iPhone 14 Pro – Night mode, 1x camera
Pixel 7 Pro – Night mode, 1x camera
The “2x” lens on both devices actually uses a crop of the main sensor. Both put in a decent performance at this focal length, with the Pixel perhaps having a touch more detail.
Again, when light is very low, the telephoto night mode uses a crop of the main sensor, for both phones. The results at 3x (iPhone) or 5x (Pixel), are not particularly pleasing, and it’s probably only something you’d want to use sparingly. When light is a little better (but still low enough to use Night mode), you do get better results.
It’s worth noting that the Pixel 7 Pro (and other Pixel phones in the series) offers an Astrophotography mode designed to help you capture stars, with particularly long exposures possible when using the phone on a tripod or other stable surface.
Overall, the two are pretty evenly matched here, and it’s hard to recommend one wholly other the other.
iPhone 14 Pro vs Google Pixel 7 Pro: Macro
The macro modes for both phones automatically activate when you bring the device close to a subject.
iPhone 14 Pro – Macro shot
Pixel 7 Pro – Macro shot
Again here we can see that both phones put in a decent performance, with not an awful lot to separate out the two. If we examine very closely, we can see that there’s perhaps a tiny little bit more detail with the iPhone shot, but the Pixel’s shot is a little warmer. As this is a macro test, we’d probably prefer detail over warmth, but both are great for grabbing those close-up shots.
iPhone 14 Pro vs Google Pixel 7 Pro: Portrait
Shallow depth-of-field effects have been a common staple among smartphones for quite a while now.
iPhone 14 Pro, portrait mode, 1x
Both models put in a good performance here, creating a decent separation from the background. The iPhone lets you take portraits with a wider view, whilst the Pixel 7 Pro starts with a more cropped image, matching the 2x option on the iPhone. Results from this are similar, although the Pixel 7 Pro seems to have the edge slightly, particularly in detail on the subjects face.
Pixel 7 Pro portrait with 1x selected
iPhone 14 Pro portrait, 2x selected
However, the iPhone’s result is much more attractive when using the 3x option as it uses the telephoto camera. This appears to be about equivalent to using the Pixel’s 2x option in terms of cropping, but not quality, as the Pixel 7 Pro uses digital zoom for this.
Pixel 7 Pro portrait, 2x selected (this uses digital cropping)
iPhone 14 Pro – portrait, 3x selected (using the telephoto camera)
With the iPhone, you also get the choice between 1x, 2x and 3x, making it a more flexible option for including more of the background view, whereas the Pixel 7 Pro doesn’t let you use the 5x telephoto camera for portraits. Both work well with both human and non-human subjects.
iPhone 14 Pro vs Google Pixel 7 Pro: Video
We’ve got fairly similar video specifications between the two models here. Both offer up to 4K 60fps shooting, with no sign of the 8K found on models like the Samsung Galaxy S22 Ultra. The iPhone gives you the option to also use “ProRes” video recording, which is available in 4K – but only if you have a 256GB or above model (you can shoot in ProRes at Full HD if you have a 128GB model).
There’s also Cinematic mode for both devices, which creates shallow depth of field effects in video. The iPhone’s looks more natural than the Pixel’s (which is easily confused), and it’s likely this will improve with future updates.
Both offer stabilised video options, which are useful if you’re trying to create video will moving – such as while jogging. Both also have slow-mo video, and other functions such as Time-lapse.
iPhone 14 Pro vs Google Pixel 7 Pro: Screen and Design
With the iPhone you can opt for either the standard 14 Pro model (6.1-inch screen), or you can plump for the larger 14 Pro Max model (6.7-inch screen), which is the same size as the Pixel 7 Pro. The smaller of the two is better suited to those with smaller hands (or smaller pockets), and is also easier to use for day-to-day tasks like sending texts.
There’s no difference between the Pro and the Pro Max models when it comes to camera specifications.
iPhone 14 Pro vs Google Pixel 7 Pro, photo: Amy Davies
Meanwhile, the Pixel 7 Pro is only available in that one size (unless you go for the smaller Pixel 7, which lacks some of the features of the 7 Pro). That’s ideal if you like a bigger screen, but perhaps less good news if you want something more compact. The Pixel 7 Pro has a higher resolution (3120 x 1440) than even the larger iPhone 14 Pro Max (2790 x 1290), but, if you place the two side by side, it’s not immediately obvious – they both look very good with vibrant and bright displays.
Although the Pixel 7 Pro has the same size screen as the iPhone 14 Pro Max, the actual phone itself is slightly larger, although it is very slightly narrower. Measuring up at 162.9 x 76.6 x 8.9mm, it compares against 160.7 x 77.6 x 7.85mm for the iPhone 14 Pro Max. Just to note that the standard iPhone 14 Pro measures up at 147.5 x 71.5 x 7.85mm.
The Pixel 7 Pro has a slightly sleeker look about it, with more rounded edges than the boxier appearance of the iPhone 14 Pro. Which you prefer is likely a matter of personal taste. Both phones are IP68 rated, which means that they can withstand dust and water. Both also have “tough” features like a Corning Gorilla Glass Victus Screen (Pixel 7 Pro) or a Ceramic Shield Screen (iPhone 14 Pro).
iPhone 14 Pro vs Google Pixel 7 Pro: Battery Life and Capacity
Annoyingly, Apple does not like to disclose its official battery specifications, but we can gauge its performance by both its quoted battery life and real-world testing. Meanwhile, Google says the Pixel 7 Pro has a 5000 mAh battery. Looking at battery life quotes alone, we can see from these things that both the Pixel and the iPhone have pretty similar capabilities.
Apple says that the iPhone is good for 23 hours, or 29 hours (video playback) if you opt for the larger 14 Pro Max. Meanwhile, the Pixel 7 Pro’s battery life is quoted at 24 hours for video playback. In real-world usage, we’ve found that both the phones last a full day of “normal” usage, which includes not only taking pictures and video, but of course browsing the web, using apps and making calls etc. The Pixel 7 Pro also has the option to enable “Extreme Battery Saver”, which means your phone can last up to 72 hours, but means you lose certain features.
iPhone 14 Pro vs Google Pixel 7 Pro, photo: Amy Davies
Both of the models offer fast charging and wireless charging with compatible chargers. Neither provide a charging plug in the box, but both do come with USB cables.
Neither of these phones give you the option to expand your capacity once you’ve bought the phone. If you think you’re going to need a lot, you’ll need to pay for it at the point of purchase. The base amount of storage for both models is 128GB, which rises to 512GB for the Pixel 7 Pro, and 1TB for the iPhone 14 Pro. At the time of writing, it doesn’t seem like the 512GB version of the Pixel 7 Pro is available to buy in the UK.
iPhone 14 Pro vs Google Pixel 7 Pro: Price
One of the best things about the Pixel 7 Pro is that it’s available at a reasonable price, especially for a flagship model. UK pricing is £849 for the 128GB model, rising to £949 for the 256GB version.
If we compare that with the iPhone 14 Pro Max, which is £1,149 for the 128GB, or £1,309 for the 256GB, there’s quite a price disparity – and you don’t seem to get too much more for your money (apart from the Apple name). The smaller iPhone 14 Pro is a little cheaper, starting at £1,099 for the 128GB version, and £1,209 for the 256GB version, but it’s still a hefty chunk of change.
For those looking for a class-leading smartphone, but without the massive budget to back it up, the Pixel 7 Pro is certainly better for your finances.
iPhone 14 Pro vs Google Pixel 7 Pro, photo: Amy Davies
iPhone 14 Pro vs Google Pixel 7 Pro: Verdict
There’s plenty of excellent features with both smartphones, and both produce great pictures and video in a variety of different situations.
If we had to choose one, then the iPhone 14 Pro probably edges it just slightly, giving better Portrait results, and slightly better Night time results. Then again, the Pixel has better zooming capabilities. It’s certainly true that the iPhone isn’t better enough to warrant the extra outlay – especially if you’re on a tight budget.
Overall, the two are pretty evenly matched in almost every respect. If you prefer iOS, then you might want to consider one of the older Apple models to save cash, but if you’re not fixed to Apple, then the Pixel 7 Pro is the smart choice.
Read our Google Pixel 7 Pro review Read our iPhone 14 Pro review
iPhone 14 Pro vs Samsung Galaxy S22 Ultra iPhone 14 Pro vs iPhone 13 Pro Compared
For even more options have a look at our guide to the best smartphones for photography.
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The exhibition will continue until 3 December and be open for all from 3pm to 8pm daily
TBS Report
21 November, 2022, 11:10 am
Last modified: 21 November, 2022, 11:13 am
From Left: Iresh Zaker, Asaduzzaman Noor, Farhana Setu and Dr Rumana Dowla. Photo: Courtesy
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From Left: Iresh Zaker, Asaduzzaman Noor, Farhana Setu and Dr Rumana Dowla. Photo: Courtesy
A photo exhibition titled ‘Ankur’, organised by Mangaldeep Foundation, was inaugurated at Asiatic Centre in the capital’s Banani on Sunday.
The exhibition is being held at Asiatic Centre’s Batighar Sritite Shorone Aly Zaker auditorium, featuring 30 photographs by Farhana Setu.
On this occasion, a press conference was organised at Asiatic Centre where former culture minister and cultural personality Asaduzzaman Noor, Asiatic Managing Director Iresh Zaker, photographer Farhana Setu and others were present.
Farhana Setu said, “I have overcome many challenges to create these works. I want to create awareness through them.”
Asaduzzaman Noor said, “Aly Zaker was not only busy with business or cultural activities. He was involved in numerous endeavours. He died of cancer. He wanted to work with cancer patients. We are trying to make his wish a reality. We will continue to conduct such activities under the management of Asiatic.”
About three lakh children are affected by blood or bone marrow cancer every year in the country, out of which only 20% can recover. The exhibition has been organised to increase the sympathy of all towards the affected children and also to create awareness of the related issues.
The photographer has tried to highlight the dreams and visions of the affected children through the exhibition. The show will continue until 3 December and is open for all from 3 PM to 8 PM daily.
“Family Portrait” by Jamie Johnston of Woodland, Colo., took top honors in the Adult Fauna category of the Audubon Community Nature Center 2022 Nature Photography Contest.
Submitted photo
A panel of judges has named the winners and honorable mentions of the Audubon Community Nature Center 2022 Nature Photography Contest. Recognitions went to those from nearby to across the country, and even one in Europe.
“Family Portrait,” by Jamie Johnston of Woodland, Colorado, was the winner in the Adult – ages 19 and older – Fauna Category. Fauna included any wild animal.
The Youth – ages 8 to 18 – Fauna winner was “Spring Peeper,” by Benjamin Genter of Columbus, Indiana.
Christopher Baker of Madison, Alabama, won the Adult Landscapes category with his “Cheaha Sunset.” Landscapes/Waterscapes could be mountains, forests, fields, deserts, oceans, lakes, ponds, rivers, creeks and more.
“Nature’s Aura,” by Ethan Romer of Park City, Utah, was the Youth Landscape Winner. Romer’s “Namibian Shadows” was a Youth Landscape honorable mention.
“Namibian Shadows” also took the Youth prize in the previously announced Community Choice awards, determined by voters on the contest website. The Adult Community Choice prize went to Pat Frantz Cercone of Bradford, Pennsylvania, whose “Four Course Dinner” was in the Fauna category.
All winners received $200 cash prizes, and their photographs will be on display at the Nature Center in Jamestown.
Details of the competition are at GoGoPhotoContest.com/ACNCPhotoContest, where images of all the entries can be found under “Participate.” The Leaderboard at the bottom of the home page shows the rankings of the Community Choice votes.
The 2022 contest had four judges, whose numerical scores were averaged to determine the winners and honorable mentions. Details of their process and the backgrounds of each can be found under “About” at that same site.
Adult Fauna Honorable Mentions are “A Double Crawfish Snack” by Cami Marculescu of Charleston, South Carolina; “Cheetah with Cubs” by Johan Willems of Zonhoven, Belgium; and “Respect” by Glenn Ostle of Charlotte, North Carolina.
Youth Fauna Honorable Mentions went to “Friends, Siblings, Anything” and “Injured Coyote in Yellowstone,” both by Lauryn Socha of East Aurora, New York; and “Downy in a Magnolia,” also a finalist in the Community Choice awards, by Abigail Bullaro of Panama, N.Y..
Adult Landscape Honorable Mentions are “Imperial’s Sunrise” by Arlene Bonnett of Jamestown, New York; “Mirror Beach” by Robert Nowak of Bothell, Washington; and “First Snow, Canadian Rockies” by Jack Voelker of Dewittville, New York.
In addition to Romer, Youth Landscape Honorable Mentions are “Silent Morning” by Nicholas Bettwy of New York, New York, and “Nature Mirror” by Louis Chang of Bloomfield, Michigan.
Money raised from the contest help support the more than 1,400 nature education programs that ACNC offers annually throughout both Chautauqua and Warren counties.
We love a good 24-70mm lens and the Canon RF 24-70mm f/2.8L IS USM is a shining example. Versatile, compact, and usually quite light, they’re probably the most essential piece of glass you’ll carry in your camera bag. Canon’s premium RF version of the standard 24-70mm focal length lens has the ability to shoot wider maximum apertures at up to f/2.8. We think it’s one of the best lenses for astrophotography you can buy, and if you own a Canon mirrorless camera it’s a brilliant lens for almost all situations. While astro purists will want something a little wider and a little faster, (maybe a 20mm with f/1.8 or even f/1.4,) this well-rounded lens will perform most nighttime photo tasks perfectly.
While many 24-70mm lenses across manufacturers are of a similar standard in terms of image quality, the Canon RF 24-70mm f/2.8L IS USM actually has a slight edge over direct competitors because it’s a touch smaller. It’s slimmer than the Nikon equivalent, for example, if ever so slightly heavier. As for the cost, though? Well, a quality 24-70mm lens with a max aperture of f/2.8 is always going to cost you more than $2000. The Canon currently weighs in at $2300 with most retailers.
If you’re interested in seeing what else is out there, we’ve also put together a guide on the best zoom lenses, the best lenses for astrophotography or if you need to save some cash but still get great glass there’s always the best used lenses for digital cameras. If you want to pick up a camera to go with it, our guides to the best cameras for photos and videos and best cameras for astrophotography are your best bet.
Canon RF 24-70mm f/2.8L IS USM lens review
Canon RF 24-70mm f/2.8L IS USM: Design
(Image credit: Andy Hartup)
Compact design
Common filter thread size
Relatively light
The Canon 24-70mm f/2.8L IS USM is fairly standard in terms of layout. Once snapped into the RF flange on any compatible Canon body you have a number of things to take note of in terms of design. There’s a focusing ring, a focal length ring, and an additional control ring nearest to the tip, which offers control over features like ISO and aperture. So, when you’re using this lens, and you’ve customized it, there are few reasons to take your hand off it while shooting. We prefer having a control ring further away from the body, as it’s easier to use, so bonus points to the Canon here.
(Image credit: Andy Hartup)
Elsewhere on the lens’ black (with a narrow red highlight) barrel there are two switches that allow you to toggle between autofocus and manual focus or turn image stabilization on or off. We’d have liked to see an additional function button in this area of the lens to allow you more control over more used features, preferably a customizable one as we see on other premium lenses.
The 24-70mm f/2.8 handles all its zooming within the lens case itself, so this doesn’t change size telescopically like the 24-105mm f/4. While a very minor plus point, this means there’s no danger of over-balancing on a tripod once you’re set up. You can also use all compatible filters. The glass is flat at the far end of the lens, so there’s no issue using screw-on filters either.
Canon RF 24-70mm f/2.8L IS USM: Performance
(Image credit: Andy Hartup)
Excellent edge to edge clarity
Good in low light
Silent focusing
We tested the 24-70mm with the Canon EOS R under a variety of conditions. Given that we reviewed this lens in the fall we got plenty of wind and rain to test in but found a few clear skies in between.
As with all lenses in Canon’s premium range, you’re getting the best possible image quality here. There’s no noticeable loss of clarity from edge to edge on your images, the ASC coating means you minimize flare (unless you really want it), and overall photos come out incredibly sharp. Obviously, the camera body you use will have an impact on exactly how sharp, but this lens will happily pair with any EOS mirrorless, from the RP through to the R3. We pushed it to perform in low light, high contrast, and extreme color scenarios, and nothing managed to highlight any weaknesses here.
(Image credit: Andy Hartup)
When it comes to focusing, the lens operates efficiently and silently, so if you’re shooting somewhere that requires absolute silence, there’s no whirring or noise to worry about. At night, it’s great for shooting wide-aspect astro, thanks to that 24mm focal width and the f/2.8 max aperture. We shot a few night scenes with it and we’re pleased with the overall effect. While you won’t pick out absolutely everything at f/2.8, it’s more than enough for impressive star vistas.
(Image credit: Andy Hartup)
We tried to shoot the moon with this lens, just to test it out, but you’re never going to get a decent close-up with only a 70mm zoom. It manages to pick out the moon in wider landscapes, but that’s the extent of its lunar capabilities. We also tried it out with light trails and low-light indoor shots and it produced some good images here too.
Image 1 of 5
(Image credit: Andy Hartup)
(Image credit: Andy Hartup)
(Image credit: Andy Hartup)
(Image credit: Andy Hartup)
(Image credit: Andy Hartup)
To really push the image stabilization we attempted a few handheld light trail shots, to see if we could retain clarity around the 1-3 second exposure mark. The results were very good, and while Canon’s claims that it can stabilize up to 5-stops will likely only apply to those with the steadiest of hands, we were impressed with what we got from the lens under these conditions.
Essentially, this lens performs exactly as you’d expect for the price. While it doesn’t do anything significantly better than more specialized lenses, it’s a great all-round performer, and a super useful thing to have in your kit bag.
Canon RF 24-70mm f/2.8L IS USM: Functionality
(Image credit: Andy Hartup)
Weather-sealed and dust repellant
Easy to connect to camera body
Lacking in extras
Again, while most lenses of this caliber are fairly similar when it comes to functions, there’s a checklist of essential features they all need. Having gotten drenched on several shoots we can confirm the lens is well weather sealed and you could probably use it out in the rain for a solid 30 minutes before really needing to try and dry it off. We wouldn’t recommend it but you shouldn’t be shy about it getting damaged in wet conditions.
Similarly, we tested to see whether or not the lens picked up dust easily. After letting it rattle around in the bag without a lens or rear end cap on for a while (naughty, we know,) we were pleased that there were very few spots or imperfections on our shots, meaning it picked up very little dust. Despite being light and compact, the 24-70mm f/2.8 is tough enough to withstand a few bashes and is a sturdy-enough piece of kit. It feels a little less robust than the Nikon equivalent, but certainly more capable than the Canon RF 24-105mm f/4 L IS USM lens, which we tested at the same time.
(Image credit: Andy Hartup)
As for the rest of it — we’d like to have seen an additional function button or two on the lens itself. While we do have the additional control ring here, it would have been nice to be able to adjust a few other settings while holding the lens and shooting via the viewfinder. It’s hardly a deal-breaker, but feel it is nice to have.
If we’re nitpicking, we think the focusing rings feel a little loose, which means we got slightly less control when it comes to smaller adjustments. The torque on focusing rings really is a matter of preference, but these felt a little too loose for our liking. It’s such a minor point, though, and we quickly acclimatized to shooting with them.
Should I buy the Canon RF 24-70mm f/2.8L IS USM lens?
If you have the money, and you’re looking for the best generalist lens you can get for the Canon system then yes, you should buy this one. While it’s an expensive lens, it’s a beautiful one, and it’ll serve you so well under a variety of conditions. It isn’t a specialist lens for astro but it’s something you’ll use day-to-day andit can definitely handle itself in low light.
We love how small and light it is – you’ll have no problem shooting with this lens on all but the flimsiest of tripods (and if you’re spending $2300 on a lens, you maybe shouldn’t be shooting with a $40 tripod, right) – and it’s perfect for travel, especially with the weather sealing and dust-repellent coating. While it’s all about the performance, we’d like to have seen a few little extras for the money, but they’re far from essential.
If you’re searching for the perfect astro lens, this isn’t it. It’s a workhorse zoom that’s just as happy in bright sunlight as shimmering starlight. For something more specialized, we recommend the Canon RF 15-35mm f/2.8 lens instead.
If the Canon RF 24-70mm f/2.8L IS USM isn’t for you
The better option for pure astro and landscape shooters on Canon mirrorless cameras is the Canon RF 15-35mm f/2.8. It’s perhaps not perfect, as it ‘only’ gets as wide as f/2.8, but it’s a finely tuned piece of astro glass. If you need something EF mount for a DSLR though we’d opt for the Canon EF 16–35mm f/2.8L III USM which is just as classy.
If you’re looking to spend a little less, the Canon RF 24-105mm f/4 L IS USM is a good option. It’s more than half the price of the 24-70mm f/2.8, but lacks those crucial lower f-stops. With enhanced zoom, though, you’ll get far better shots of the moon with this one.
If you fancy even more zoom, while retaining your width, the Canon RF 24-240mm f4-6.3 IS USM is an exceptional lens. It isn’t really suitable for astro, as the variable aperture range moves from f/4 at its widest focal length to f/6.3 at its longest. It’s not quite as sturdy or well-weather sealed as the lens reviewed here either, but it’s great for moon images and it’ll handle landscapes nicely too.
Talented artist Divyansh Sikka shares his backstory of popular animal comics. Since he was a child, he has been fascinated by wildlife. “Whenever I came across a unique picture of an animal, I used to wonder how was this photograph taken,” he said.
When he said about his Doodles “So it came to me one morning, why not use my love for doodling and create a wholesome backstory to these pictures? And I have not stopped since!”
Divyansh Sikka is known as “That_DoodleGuy” on Instagram with around 45K followers.
Here you can find 30 stunning backstory comics from Divyansh. Scroll down and inspire yourself. Please check Divyansh’s Instagram for more amazing work.
Is there anything strange about the image above (other than my dodgy rushed Photoshop job)? Yes, the words ‘massive deal’ alongside Apple’s newest headphones the AirPods Pro 2. But it’s true, right now you can get the 2nd Gen AirPods pro for $249 $199 at Amazon (opens in new tab) and others (see full details below).
This is a saving of $49 – 20% on Apple’s new and improved ANC headphones, which were only released in September. Incredibly, it means that the new AirPods Pro are now cheaper than the originals at several retailers. And in fact, we only started to see the original AirPods Pro come down cheaper than this in short-lived deals over the past year. So if you’ve been waiting to treat yourself to Apple’s best inner ears, I’d say now’s the time.
Find the full details below, and make sure you’re following our Black Friday Apple deals live blog for more savings like this. We’re tracking the deals that appear minute y minute, and that’s where we first saw this stunning deal on the new AirPods Pro. We also have a roundup of all the best Apple Black Friday 2022 deals.
Top Apple AirPods Pro 2 deal in the US
Top Apple AirPods Pro 2 deal in the UK
We only published our AirPods Pro 2nd gen review two weeks ago, and we were impressed at the upgrade the new generation offers, both in audio quality and the active noise cancellation. The case has been improved too and should be harder to lose!
Not in the US? See below for the best early Black Friday AirPods deals in your region across the entire range.
Mainly clear skies overnight along with increasing gusty winds will usher in even colder air for Sunday.
Highs may not even make it out of the 30s with feels-like readings ranging from the teens and 20s. Gusty winds may exceed 30 miles per hour, especially in the mountains. Wind and wind chill advisories for far western Maryland and parts of West Virginia overnight and early Sunday.
The Thanksgiving travel week will feature a temperature uptick into the 50s.
Forecast models for the DMV are trending dry for travel Monday, Tuesday, and Wednesday.
Showers are possible late Thursday for Thanksgiving and a soaking rain is possible Friday of next week.
The Leonid Meteor Showers will continue to be active until Dec. 2 and we are seeing a peak now.
The next best viewing will be from midnight until 5 a.m. Saturday. Look to the eastern sky.
Experts are predicting anywhere from 20 to 50 per hour with the biggest burst from 1 a.m. to 3 a.m. The sky will be clear. Fingers crossed you see one! If you are into astrophotography, be sure to send any pics you get to Chime In.
Download the First Alert Weather app to stay up to date with the latest forecast.
The most anticipated mobile chip of the year, the Snapdragon 8 Gen 2 is already out with a lot new capabilities and features. It comes with many enhanced features over the previous editions. The new Qualcomm chip comes with enhancements in areas such as performance, battery endurance, artificial intelligence and camera.
With all these new enhancements, the camera capabilities will be the real game changer. Apart from the new image processing chip that powers the camera capabilities of the new Qualcomm chip. It also has a direct link with the AI chip. The end result of this collaboration will be nothing but a real eye-catching images and videos outputs.
As stated by Judd Heape, the vice president of Qualcomm product management. He said, Snapdragon phones are the new pro cameras. And that, the new chip has so many capabilities. It is up to the smartphone makers to decide which feature to use.
Below, I will talk about top five features of the Snapdragon 8 Gen 2 that will take mobile phone photography to another level in the year ahead of us.
Snapdragon 8 Gen 2 Camera Setup
The Snapdragon 8 Gen 2 now comes with a direct link between the Spectra Image Signal Processor (ISP) and the Hexagon processor in the AI engine. What this direct link does is that, it processes images with hardware capabilities instead of software.
Before this, the ISP and the AI engines were working independently. So most of the image processing were made possible with the help of software processing. Of course manufacturers will still use software processing to enhance images and videos. But this time around, hardware will handle most of the job.
Support For 200MP cameras
Yes we have seen 200MP mobile cameras this year. But the Snapdragon 8 Gen 2 comes with better enhancements to make 200MP cameras shoot like real pro cameras. The Snapdragon 8 Gen 2 brings better support for 200MP cameras. Especially in telephoto or zooming technology.
Gizchina News of the week
With the new support for 200MP lenses, you can zoom and capture images from far distant. And still get crispy image quality. The new Snapdragon chip ISP supports an in-sensor zoom support that can crop down larger images to 12.5MP or 50mp. This removes noise when you zoom in images that you shot with the phone’s camera.
Snapdragon 8 Gen 2 Semantic Segmentation
Another top feature of the Snapdragon 8 Gen 2 is the semantic segmentation. This also, is made possible by the direct link between the ISP and the AI engine. It is able to differentiate between objects in any photo and their surroundings.
While the ISP focuses on the image, the AI engine on the other hand tells it which is what. For example, if you take a photo of a person standing outdoor wearing a pair of shoes, dressed in suits and wearing a pair of sunglasses. The AI engine is able to send details of all that the person in the photo is wearing. As well as his surroundings.
The end result of this is that, the image comes out with pure details to every single object in the photo. The AI engine and the ISP works hand-in-hand to make sure this happens.
Initially, phone makers used to make this possible with software optimizations. But that will not be the case anymore, thanks to the Snapdragon 8 Gen 2 and its excellent AI capabilities.
Snapdragon 8 Gen 2 Bokeh Engine
The Bokeh engine was introduced in last years Snapdragon 8 Gen 1. But Qualcomm has done something really special to the engine in the Gen 2. With the new improvements you can make changes to the background effects of your photos.
You can adjust the depth of the background blur. You can also change the background lights from blurry dots to a different shape. For example, the new blur engine makes it possible to change blurry circles to heart shapes.
Horizontal Leveling
This new addition to the Snapdragon 8 Gen 2 Will come as a very handy feature in taking both still images and recording videos. This makes sure that all images and videos you take using your smartphone look straight and upright.
So, even if your hands are a bit tilted while taking a shot. The new horizontal leveling feature will automatically correct that for you. This works more like a gimbal, so you don’t need to be a pro photographer to the professional photos and professional videos anymore. Thanks to Qualcomm’s new Snapdragon 8 Gen 2 chip.
As Judd said, the new Snapdragon 8 Gen 2 chip comes with a lot of capabilities. As we draw closer to 2023, we wait to see which features each manufacturer makes use of and how well these features will work.
