Sony has announced the replacement for the A6600, the Sony A6700. Like the A6600, the Sony A6700 has an APS-C-sized sensor, but its resolution has been increased to 26MP, making it the highest-resolution APS-C format Sony camera.
In addition, the sensor is backside-illuminated and paired with the Bionz XR processing engine, which is joined by a chip dedicated to handling AI Subject Recognition.
Consequently, the Sony A6700 has a hybrid autofocus (AF) system, with 759 phase detection points (covering 93% of the frame) and 25 contrast detection points with Real-time tracking and Real-time Subject Recognition AF, which works in stills and video mode. It can detect humans, animals, animals and birds, insects, cars/trains, and aeroplanes in both stills and video mode with the type of subject selected via the menu.
Read our Sony A6700 review
There’s also Human Pose Estimation to help the camera track a human subject around the frame. Sony has also developed the exposure control for human faces, making it around 20% more reliable.
The A6700’s colour reproduction and white balance system have also been improved to deliver more attractive images in natural or in artificial light.
According to Sony, the A6700’s 5-axis image stabilisation system has an improved algorithm for stills. It’s claimed to deliver up to a 5-stop extension to the safe hand-holdable shutter speed.
The Sony A6700 has 10 preset Creative Looks, but they can be tailored to the user’s preferences by adjusting the 8 parameters.
For the first time in a Sony A6000-series camera, the A6700 can save images in HEIF (High-Efficiency Image File) format or Jpeg and raw format.
Like the A6600, the Sony A6700 has a maximum continuous shooting rate of 11 frames per second (fps), but it can shoot over 1000 Jpeg Fine images, 59 raw files or 44 raw and Jpeg files in one burst with AF and exposure tracking using the mechanical or the (silent) electronic shutter.
The Sony A6700 accepts the Sony NP-FZ100 rechargeable battery and has a single SD/SDHC/SDXC card slot.
Sony A6700 video features
While it’s not billed as a video or vlogging camera, the A6700 is a hybrid camera that has some attractive video features. For instance, it can produce 4K video using 6K oversampling, full-pixel readout and no pixel binning. There’s also 10-bit 4:2:2 colour and frame rates up to 120p, plus XAVC S-I and XAVC HS and S-Logs with LUTs, S-Cinetone and HLG recording.
Sony’s Auto Framing is on hand and uses the AI-based subject recognition technology to automatically crop the video frame so the subject is prominent in the footage. It’s helpful to anyone recording themselves in action.
As usual, there’s S&Q mode for creating slow-motion and fast-motion videos in-camera, plus the A6700 has in-camera Timelapse creation, AF assist and Sony’s Focus Map.
Sony A6700 screen
In a welcome upgrade from the A6600, the Sony A6700’s 3-inch 1.03-million-dot screen is mounted on a vari-angle hinge. This means it can be flipped and rotated to give a good view, whether you’re shooting in landscape or portrait orientation. It can also be rotated to face forwards for vlogging.
In addition, the screen has full touch control and Sony’s revised menu system, making it easier to find and adjust the settings you want.
Sony A6700 price and availability
The Sony A6700 is set to go on sale in September 2023. The body-only price of the Sony A6700 is £1,450 / $1,398 / €1,700. It’s also available in a kit with the 16-50mm lens for £1,800 / $1,498 / €1,550, or with the 18-135mm lens for £1,800 / $1,798 / € 2,100.
Specification
Camera type: Mirrorless
Announced: 12th July 2023
Lens mount: Sony E
Sensor: 26MP APS-C BSI CMOS (23.5 x 15.6mm) sensor
Dimensions (W x H x D): 122.0 x 69.0 x 75.1 mm, or from grip to monitor: 122.0 x 69.0 x 63.6 mm / 4 7/8 x 2 3/4 x 3 inches or or from grip to monitor: 4 7/8 x 2 3/4 x 2 5/8 inches
NORTHAMPTON, MA / ACCESSWIRE / July 12, 2023 / Wildlife Habitat Council
Originally published on wildlifehc.org
We’ve all heard the phrase “a picture is worth a thousand words.” Science has even backed up the powerful impact of imagery, with research showing that people tend to remember ideas presented in pictures better than in words.
Professionals who work in sustainability often find themselves needing to make the case for conservation. Whether that’s championing an effort like composting waste scraps from the campus cafeteria, securing funds to plant a pollinator garden on-site or informing community members about a local threatened species, convincing the stakeholders involved in these decisions requires using all the tools available – and that’s where conservation photography comes in.
Like all forms of photography, conservation photography tells a story, often about the beauty and majesty of nature as well as the factors that threaten species’ or ecosystems’ survival. When it comes to getting buy-in from key decisionmakers, educating students or just inspiring the general public, conservation photography is a powerful way to demonstrate the far-reaching impact of conservation work. This blog will explore how corporate conservation professionals (or anyone!) can use photography to support their conservation goals.
Bring wildlife close to home
Photography literally provides a close-up look at species or environments that people might not encounter otherwise. It can be easy to focus only on the animals or plants we see every day, which means it can also be easy to forget about those that exist half a world away. Conservation photography is a helpful reminder of the sheer diversity of life on earth. It also provides perspective, serving as a reminder that even the ecosystems and species found at one’s own workplace or in the backyard are just as valuable as those in exotic locales.
Tell a story
Like all artforms, conservation photography is storytelling at its core. Neuroscience confirms that stories impact the brain’s neurons, making them fire similarly to the person telling the story and creating a bond between the storyteller and the audience. This even leads to the release of dopamine, a feel-good chemical that helps people recall the story later. Using still images or video to illustrate the needs and experiences of a particular species reaches audiences on a visual, intellectual and emotional level.
Wildlife filmmaker and WHC Board member Chris Morgan is no stranger to the power of storytelling. Through his documentary projects like BEARTREK and Path of The Bear, Morgan’s own story and the stories of biologists and conservationists coincides with the bear species he is documenting. BEARTREK, for example, charts Morgan’s seven-year journey across three continents to understand the conservation efforts protecting species like the spectacled bear, polar bear and sun bear. By weaving human stories into the stories of rare species, conservation photographers and filmmakers build a strong bond with their audience.
Contribute to scientific research
Conservation photography provides visual data, especially when it comes to rare species. In addition to observing what a specific plant or animal looks like, photographers are incidentally also identifying its abundance, location, condition and behavior, which are all important data for understanding a population. Contributing to citizen or community science efforts allows anyone to be part of the study of a particular ecosystem or species. Amateur and professional photographers alike can submit photos and other data to initiatives like NestWatch, iNaturalist and other community science programs in order to contribute to the widespread understanding of a species.
Demonstrate a change over time
Nature is fluid, constantly evolving and adapting. Conservation photography illustrates both the harmful and beneficial changes that have occurred in an environment over time. Taking a photo of the same location at different times throughout the year – also called photo point monitoring – can show the effects of industrialization or habitat degradation; however, these repeat photographs can also showcase the positive effects of conservation efforts, from grassland restoration to the return of a species that had previously lost its habitat.
Get employees involved
One way to encourage conservation photography as well as employee engagement is through contests. Employee photography contests showcase the on-site biodiversity to a company’s entire employee base, explained Ann George, Senior Scientist at WHC member mining company Freeport-McMoRan (FCX), which has held an employee contest for over 10 years. “When people think of a mining company, they don’t think of wildlife,” George said, so a photography contest is a great way to educate employees and the broader community about how a company is managing and preserving biodiversity.
FCX develops a specific set of criteria for entries, including the exclusion of any invasive or ornamental species. The company’s biodiversity task force reviews the entries, of which they receive 400-500 each year, and the top choices are submitted to WHC’s annual calendar, printed and hung in the corporate office and showcased on computer lock screens across the company.
WHC member CEMEX also holds a photography contest for employees. “CEMEX’s ‘Nature Positive’ photo contest has helped us to connect with our employees around their positive experiences with nature on our sites, while demonstrating the important role that industry can play in halting and reversing biodiversity loss,” explained Jerae Carlson, Senior Vice President of Sustainability, Communications & Public Affairs at CEMEX USA. Not only does the contest raise awareness about on-site wildlife, but it also creates connections between coworkers. “Employees are often eager to share their positive experiences with nature and to see nature through the lens of their colleagues.”
For companies thinking about starting a photography contest, Carlson and George provided some tips. “Make it easy for everyone to participate,” said Carlson. CEMEX developed several submission options for employees, including a specific email address as well as a QR code that allowed employees without a company email to submit photos from their phones. Promoting the contest is also key: George recommended publicizing the contest thoroughly to employees and marketing it as an opportunity to hone photography skills while learning more about the company’s biodiversity projects.
You don’t have to be a professional photographer to have a positive impact on conservation with your photos. Armed with a smartphone, a keen sense of observation and a little bit of patience, anyone can capture moments in nature that support greater conservation goals.
View additional multimedia and more ESG storytelling from Wildlife Habitat Council on 3blmedia.com.
View source version on accesswire.com: https://www.accesswire.com/767403/A-Picture-Is-Worth-a-Thousand-Words-Supporting-Conservation-Through-Photography
A World In Common is an elegantly mind-blowing attempt to give image to Africa – its past, present and future, its diaspora, its diversity – through modern and contemporary photography. The show comes at you in great moody waves – horror at environmental catastrophe, icy fury at historic brutality and cultural erasure. Some photos evoke a bittersweet sense of elegy, others a rousing sense of purpose. There is also space here for shared joy.
The scope and variety of work is necessarily broad, but overwhelmingly the focus is the human figure. In a section on studio photography we encounter damaged and mostly anonymous Victorian portraits of Black families in South Africa commissioned half a century before the imposition of apartheid. These were discovered and mounted in a slideshow by Santu Mofokeng who asks us to imagine the lives of these people, and the cultural context in which these formal portraits were made. In one slide, Mofokeng asks: “Are these images evidence of mental colonisation or did they serve to challenge prevailing images of ‘The African’ in the Western world?”
In present day Nigeria, Ruth Ginika Ossai invites groups of friends to arrange themselves against bright cinematic backdrops. Teenage boys try to look moody, and a group of student nurses pose in their zesty green uniforms, fooling around with a receptionist’s telephone.
There’s a selection here, too, from James Barnor’s famous Ever Young studio in Accra, Ghana. His clients in the 1950s included a handsome young yogi who twists his body in immaculate contortions, and a sturdy baby pushing itself up delightedly onto all fours.
The exhibition starts with George Osodi’s magisterial portraits of kings and queens of the various peoples that make up present-day Nigeria. HRM Agbogidi Obi James Ikechukwu Anyasi II, Obi of Idumuje Unor sits in a stone niche in a high collar and red, gold and green beaded crown.
Student nurses Alfrah, Adabesi, Odah, Uzoma, Abor and Aniagolum pose for Ruth Ginika Ossai (Photo: Ruth Ginika Ossai/Tate)
As with most of the monarchs in Osodi’s portraits, his neck is strung with centuries-old ceremonial strands of coral – great fat cylindrical beads of the stuff, many kilos in weight. His voluminous robes are patterned with a repeating motif of Queen Elizabeth II – a competitive nod, perhaps. At the time of Osodi’s portrait in 2012, he was the longest reigning monarch in Africa with 66 years on the throne, a few years ahead of the British Queen.
Mário Macilau captures details of life, instead, at the social margins, working alongside young men who glean materials on the electronics dumps in Maputo in Mozambique. While Macilau is at pains to give his subjects agency in constructing these images, the reality of their lives and the implication of how they derive a living is harsh. Great ashy clouds hang in the background from burning plastics and electronic waste.
In a few photographs we see computer circuit boards being melted down in little frying pans to extract their metals. This is where our European electronic consumer goods end up – we should not fool ourselves that what little recycling happens in the disposal of our stuff is a clean or safe process, for those who carry it out or for their surrounding environment.
There is an imperative here for many artists, who work to reclaim the imagined “African” from centuries in which the people of the continent were forever the subject of the photographic image and never its author – in ethnographic studies, colonial reports, news reels and exoticising magazine features. The power dynamics of documentary photography in particular is sensitive territory to navigate.
Atong Atem’s Adut and Bigoa, The Studio Series, 2015 (Photo: MARS Gallery and Atong Atem)
Many of the celebrated documentary and conflict images composed by Euro American photographers – from prurient National Geographic photo essays to Don McCullin’s war reportage – today seem very troubling, particularly in the assumed access to exposed or injured African bodies, and the namelessness of those pictured. As with many of the subjects touched on in this show, there is grounds for a whole other exhibition to be done exploring how African photographers might re-invent the documentary tradition.
In reclaiming space behind and in front of the camera, many artists here turn to performance. Among them is the late Rotimi Fani-Kayode, in whose photographs of the late 1980s young men bedecked in flowers and beads engage in practices that hover ambiguously between Yoruba ritual and sensual exploration. Illuminated like a Baroque painting, a figure naked but for a leather fetish harness bows his head beside a carved and painted sculpture, suggesting aspects of the artist’s life – his queer identity and his Nigerian family’s traditional values – that were not easily reconciled.
In Edson Chagas’s irresistibly charged and characterful portraits, men in modern dress have their heads obscured by antique Bantu masks. Each of theportraits seems to incarnate the spirit of a long-dead ancestor. Titled Tipo Passe (2014)the portraits borrow the tightly cropped frontal format from passport photographs – an allusion to how the people and antiquities of the African continent are afforded quite different levels of care and welcome when circulating within Europe. These masks are from a private collection – they are prized objects. In giving each a name and imbuing them with personality, Chaga also suggests the kind of death suffered by artefacts when removed from their familial and ritual contexts and placed in a museum display.
Mario Macilau’s Breaking News from The Profit Corner series, 2015 (Photo: Mario Macilau/Ed Cross Fine Art/Tate)
In one of a handful of moving-image works in the show, Zina Saro-Wiwa undertakes the performance of masquerade as a healing ritual. One panel of The Invisible Man (2015) shows exhausted women, hot, sweating and weeping. At the centre, the artist appears in uneasy repose. To her left is a man holding a heavy carved mask to his face. Slowly the chanting of the women drowns out the man’s voice before the work reaches a dramatic crescendo. Having lost her father (the novelist and activist Ken Saro-Wiwa) and other men in the family, Saro-Wiwa explores how women might express their grief in ways not culturally open to them, taking up the male tradition of ritual performance involving carved wooden masks and masquerade for herself.
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While much here engages with the specific contexts of Africa, some of the most quietly powerful work simply reflects on our common human experience. In Lebohang Kganye’s series Ke Lefa Laka: Her-story (2013) the artist performs as her mother, recreating outfits, poses and compositions found in the family album. She also inserts herself positioned and dressed in homage beside her mother in old photographs. Faded and insubstantial, Kganye appears like a ghost from the future, a phantom alter ego. Made a few years after her mother’s death, the photographs are a deep engagement with the unknowable parts of another person’s life, and ask what role images play in constructing our memory.
With such a vast subject, this show could easily have become overwhelming. A World In Common has been curated with an admirably light touch – well-structured and tightly edited so that the work has space to breathe. There are big, important, heavy issues here, but also so much delight.
LUSHUI, July 12 (Xinhua) — Gaoligongshan Mountains, where about 17 percent of China’s higher plants species, 30 percent of mammal species and over 35 percent of birds species are found, are an important showcase of the country’s biodiversity protection. In 2011, the Nujiang Golden Monkey, the fifth golden monkey species in the world, was also found here.
He Guipin, a ranger of the Lushui branch of the Gaoligongshan national nature reserve, has been doing the work for 28 years, during which he patrols the forest, prevents the forest fire, and combats with illegal loggers and hunters.
In the protection of rangers like He Guipin, the ecological environment of the nature reserve has been improved gradually, and over 600 new animal and plant species have been discovered here since 1980.
“That’s the meaning of our work,” said He Guipin, “Although the work is tough, we protect these precious species. Our happiest moment is chatting with colleagues after a long patrol journey.”
He Guipin (2nd L) and his colleagues pose for a photo beside a bonfire at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Fei Maohua)
He Guipin prepares to climb a cliff during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Fei Maohua)
Rangers rest inside a shelter during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Fei Maohua)
Rangers put up a shelter during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Fei Maohua)
This aerial photo taken on July 9, 2023 shows rangers during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province. (Xinhua/Jiang Wenyao)
Rangers arrange their backpacks before a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Xu Jiayi)
Rangers weed beside an infrared camera during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 9, 2023. (Xinhua/Jiang Wenyao)
He Guipin picks a plant sample during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 9, 2023. (Xinhua/Jiang Wenyao)
He Guipin (front) leads colleagues during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Fei Maohua)
Rangers have dinner during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Jiang Wenyao)
Rangers help each other cross a river during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 9, 2023. (Xinhua/Fei Maohua)
He Guipin (front) leads colleagues during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Fei Maohua)
Rangers slide down a cliff with help of branches during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Jiang Wenyao)
Rangers help each other cross a river during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 9, 2023. (Xinhua/Fei Maohua)
Rangers have dinner during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Jiang Wenyao)
Rangers put up a shelter during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Fei Maohua)
Rangers are seen during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Fei Maohua)
Rangers put up a shelter during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Fei Maohua)
Rangers check images captured by an infrared camera during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 9, 2023. (Xinhua/Fei Maohua)
Rangers dry their socks and shoes during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Jiang Wenyao)
He Guipin (L) checks the injured eye of a colleague during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Jiang Wenyao)
Rangers set a bonfire during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Fei Maohua)
A ranger records the activity of monkeys during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Xu Jiayi)
He Guipin walks past a cable bridge during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Fei Maohua)
Rangers set an infrared camera during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 9, 2023. (Xinhua/Jiang Wenyao)
Rangers are seen during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 9, 2023. (Xinhua/Fei Maohua)
He Guipin (1st R) and his colleagues are seen during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Jiang Wenyao)
Rangers examine an infrared camera during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 9, 2023. (Xinhua/Jiang Wenyao)
Rangers help each other cross a river during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Fei Maohua)
Rangers cook and dry their clothes beside a bonfire during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Fei Maohua)
Rangers rest beside a bonfire during a patrol at the Gaoligongshan national nature reserve in southwest China’s Yunnan Province, July 8, 2023. (Xinhua/Jiang Wenyao)
The Samsung Galaxy S23 Ultra And Apple iPhone 14 Pro Max
Samsung / Apple
Through the pandemic, I became passionate about photography. Although I’ve technically been doing “professional” product photography for articles featured on-line and in print for a couple of decades, it was only in the last few years that I stepped up my game. As much as I love my pro camera gear though, it’s not something you can carry around perpetually. As the old saying goes, “the best camera is the one that’s with you”, and like most of you, my smartphone camera is the one that’s almost always within reach. So, when presented with the opportunity to test a couple of the top smartphones for photography, I jumped at the chance.
The smartphones I’m referencing are the Samsung Galaxy S23 Ultra and the Apple iPhone 14 Pro Max. Both of these devices might be the current flagships for their respective manufacturers, but they couldn’t be any more different in terms of their rear “world facing” camera configurations (both cameras feature 12MP selfie cameras). The iPhone 14 Pro Max features a 48MP main camera, with a 24mm 7-element lens (ƒ/1.78 aperture), with sensor-shift optical image stabilization. That main camera is flanked by a 12MP Ultra Wide shooter, with a 13mm 6-element lens (ƒ/2.2 aperture) and a 120° field of view, and a 12MP Telephoto shooter, with a 77mm 6-element lens (ƒ/2.8 aperture), with 3x optical zoom (digital zoom up to 15x) and optical image stabilization.
1x Zoom, 10x Zoom, and 100x Zoom With The Galaxy S23 Ultra.
Marco Chiappetta
The Samsung Galaxy S23 Ultra features a bleeding-edge 200MP main camera with a 24mm lens (ƒ/1.7 aperture) and optical image stabilization. Adjacent to the main camera, there’s also a 10 MP “periscope telephoto” shooter (ƒ/4.9 aperture), with OIS and 10x optical zoom, a 10 MP telephoto camera with a 70mm lens (ƒ/2.4 aperture), OIS and 3x optical zoom, and a 12 MP ultra-wide camera, with a 13mm lens (ƒ/2.2 aperture), 120˚ field of view, and Dual Pixel PDAF. The ultra-wide shooters on both the Galaxy S23 Ultra and iPhone 14 Pro Max also do double-duty as Macro shooters.
Those main camera specifications need some additional clarification, however. While many of today’s high-end smartphones boast ultra-high megapixel ratings, they also do something called “pixel-binning”. Pixel binning uses multiple pixels on the sensor to gather data that’s grouped, or “binned”, together to effectively act a single pixel of a certain color. For example, the iPhone’s 48MP main camera actually outputs 12MP images by default, because it is using quad-pixel binning. Users must shoot in RAW, which requires additional processing, to capture a 48MP image. The Galaxy S23 Ultra does the same thing; 200MP image captures are possible, but typical captures are 48MP. Pixel binning is one way to counter-balance the more limited light-gathering capabilities of the small pixels on densely-packed smartphone camera sensors. It results in more accurate color captures and less noise, but creates images that are only 25% of the maximum resolution of the sensor, when using quad-binning at least.
Apple iPhone 14 Pro Max Crop From Zoomed Image
Marco Chiappetta
High-End Smartphone Camera Systems Require Massive Processing Power
Smartphones designed with high-quality photography in mind usually use complex image processing techniques, high-quality optics, and a multitude of computational photography technologies to capture and intelligently process as much image data as possible. As such, today’s smartphones require powerful image processors to not only produce high-quality images, but offer a good user experience.
A16 Bionic
Apple
The iPhone 14 Pro Max is powered by Apple’s own A16 Bionic chipset, which features a 16-Core Neural Engine capable of 17 TOPS and an advanced Image Signal Processor (ISP). The Samsung Galaxy S23 Ultra is powered by the flagship Snapdragon 8 Gen 2 Mobile Platform that features Qualcomm Technologies, Inc.’s first ever Cognitive ISP.
Sensor sizes and megapixel counts may be key differentiators that play a significant role in a smartphone camera system’s quality, but they are less relevant than most people think. Smartphones simply do not have the physical space to accommodate large camera sensors and a sensor’s pixel density can only be so high before image quality is negatively impacted, particularly in challenging lighting conditions. Although there are other things to consider, in general, smaller pixels on a camera sensor gather less light than larger pixels (all other things being equal), which can degrade image quality in sub-optimal lighting. Because of this, a smartphone image processing capabilities are immensely important.
There’s isn’t much data available on Apple’s proprietary ISP. The company consistently enhances the capability of its “Axx” mobile processors with each generation, but specifics are scarce. Qualcomm has also enhanced its Snapdragon platforms over the years with leading image processing and computational photography features. Although Qualcomm’s partners, like Samsung, don’t typically enable every possible photography or videography-related feature available in the latest Snapdragon mobile platforms, those that place a strong emphasis on photography often produce devices capable of capturing excellent photos and videos. In fact, according to DxOMark, many of the best smartphone cameras are powered by Snapdragon.
Snapdragon 8 Gen 2
Qualcomm
The Spectra Image Signal Processor featured in the Snapdragon 8 Gen 2 has triple Cognitive ISPs, capable of processing 3.2 gigapixels per second. The trio of Cognitive ISPs gives devices like the Galaxy S23 Ultra the ability to leverage up to three independent cameras simultaneously and enables features like triple simultaneous image capture, seamless zooming between cameras, multi-capture HDR composites, and up to 200 Megapixel photo capture, among other things. The first of its kind Cognitive ISP in the Snapdragon 8 Gen 2, in conjunction with the chip’s Hexagon AI engine, also enables something called real-time “Semantic Segmentation”, which is enabled on the Galaxy S23’s selfie camera.
Semantic Segmentation leverages a neural network that was trained to identify many different objects, like people, faces, skies, grass, etc., and each of those objects can be segmented, and custom processing applied to them to enhance a captured image or video. If you’re familiar with image processing applications, you can think of the segments as layers, and each layer can be edited independently to produce a desired effect – bluer skies, smoother skin, greener grass – you get the idea. And since the segments can be altered independently, each segment can be properly exposed, saturated, or sharpened, without diminishing the quality of the other segments. As software support for Semantic Segmentation matures, it has the potential to be a real game changer.
Galaxy S23 Seflie
Marco Chiappetta
Both the iPhone 14 Pro Max and the Galaxy S23 Ultra use an array of computational photography techniques to produce images. Common computational photography features, like Night Mode, Portrait Mode, and HDR are available on both platforms. The Galaxy S23 Ultra also offers a feature called AI Zoom. AI Zoom is an experiential feature that gives users the ability to seamlessly zoom from the widest angle all the way to 100x zoom, spanning three different cameras, by simply pinching and zooming or using an on-screen slider. There’s no need to manually switch between the ultra-wide, standard, or telephoto camera, or to figure out which one is best to compose a particular shot.
The Mobile Photography Experience
Although I’m focusing on photography here, I should also note that both the iPhone 14 Pro Max and the Galaxy S23 Ultra are high-performance devices, which offer quality user experiences in general. Both of the phones are fast, and have myriad of photo and video-related features. Specifically as it related to photos and videos, autofocus is quick and accurate on both devices, they capture realistic tones and textures, and noise performance is also very good. For general photography, I think anyone coming from a previous-gen device is likely to be quite pleased. But there are some major advantages to the Qualcomm-powered Samsung Galaxy S23 Ultra worth pointing out.
The Galaxy S23 Ultra’s camera application features a number of customizations required to give users access to some of the device’s special photo features, like Hyperlapse, Single Take, and Expert Raw, to name but a few. Users of any skill level, however, should be able to navigate its menu system and manipulate camera settings or quickly switch between modes. Although there are many options available to tune image quality to a user’s liking, auto-mode takes phenomenal shots. The Galaxy S23 Ultra is capable of capturing excellent detail; perhaps one small criticism is that it can sometimes oversaturate images and perform a bit too much sharpening.
Galaxy S23 Ultra 200MP Image Capture
Marco Chiappetta
iPhone 14 Pro Max 48MP Image Capture
Marco Chiappetta
Without the right processing, handling wide dynamic range lighting situations can be challenging for the relatively small sensors in a smartphone, but even with strong backlighting with the sun shining brightly, the both the iPhone 14 Pro Max’s and Galaxy S23 Ultra’s cameras performed well. Colors and tones of the scene are well balanced, with crisp detail, when normally some objects would be silhouetted on lesser cameras that can’t handle this kind of lighting. That said, the Galaxy S23 Ultra better handled the exposure and was able to retain more blue in the sky.
The higher resolution 200MP sensor in the Galaxy S23 Ultra also captures more detail. When scaled and posted to social media, with minimal editing, the differences may be very difficult to suss out. But the massive resolution offered by the Galaxy S23 Ultra gives users much more flexibility to crop without sacrificing as much detail in the final image. These zoomed crops of the images captured on both phones shows just how much additional resolution is available on the Samsung device.
Cropped Comparison. 100% Zoom on iPhone, 50% Zoom on S23 Ultra
Marco Chiappetta
A 200MP capture on the Galaxy S23 Ultra is 16320×12240 pixels. A 48MP capture on the iPhone 14 Pro Max is 8064×6048 pixels. You could crop 50% from each dimension on the Galaxy S23 Ultra and still have a similar number of pixels to work with versus the full resolution on the iPhone.
iPhone Portrait Mode
Marco Chiappetta
Samsung Portrait Mode
Marco Chiappetta
Both phones handled Portrait mode well, though they offer different fields of view in this mode. The simulated blurred background bokeh is smooth, on both with surprisingly realistic looking transitions from in-focus to out-of-focus areas. Portrait Mode can often introduce unwanted artifacts in the fine details around a subject’s edges, but both phones do a pretty good job here. The Galaxy S23 Ultra does a slightly better job though, with smoother transition, and more detail in the subject.
iPhone Macro Full Image
Marco Chiappetta
Galaxy S23 Macro Full Image
Marco Chiappetta
The Galaxy S23 Ultra also stands out with close-up Macro photography. Even when its ultra-wide camera is nearly touching the subject, it is able to focus properly and capture fine detail.
Macro Images, Zoomed And Cropped
Marco Chiappetta
The iPhone 14 Pro Max does a great job too if you don’t pixel peep, but zooming in shows more fine detail in the Samsung capture – you can actually make out individual bits of pollen, whereas on the iPhone the processing makes the internal part of the flower look like it has a rough, bumpy texture.
In terms of video recording, both devices are relatively full featured, but the edge yet again goes to the Galaxy S23 Ultra. The iPhone 14 Pro Max tops out of 4K60 recording, while the Galaxy 23 Ultra can do 8K30 recording. Slow motion, normal, and time lapse recording are available on both devices as well. In practice I found the video quality on both devices to be quite good, though the Galaxy 23 Ultra seemed to handle sub-optimal, low-light conditions somewhat better.
Top camera performance continues to be paramount for flagship smartphone buyers, but whether evaluating specification or real-world results, it’s clear Qualcomm-powered Android devices like the Samsung Galaxy S23 Ultra are a step ahead of the competition. Independent bodies like DxOMark show most of the top smartphone cameras are backed by Qualcomm processors.
Enjoy the beauty and splendor of Mother Nature this summer at the Bellagio’s Conservatory & Botanical Gardens.
Visitors to the Strip can stay cool while visiting the “Majesty: The Grandeur of Nature” display through Sept. 9.
Inspired by the “Building Bridges” sculpture in Venice, Italy, the display features a 28-foot sculpture of the hands of Mother Nature presenting a bouquet made of 20,000 preserved roses. Other highlights include an 18-foot ethereal goddess, a 23-foot mythological-like figure, 11, 541 potted plants and flowers, 15,000 succulents, 11 butterflies and two hummingbirds.
Bellagio’s Conservatory & Botanical Gardens is free and open 24 hours.
The best lenses for astrophotography are ideal tools for producing vivid, striking images of the stars and the night sky. It’s easy for photographers to be intimidated away from astrophotography, but the truth is that it’s easier than it looks, as long as you have the right gear. That means a sturdy tripod, a camera with a decent-sized sensor, and critically, a sharp, wide-angle lens with a wide maximum aperture.
We’ve dealt with the other two necessities in our guides to the best tripods and the best cameras for astrophotography – here, we’re focusing on the lens. It needs to be a wide-angle, in order to capture as much of the sky as possible, and so you’re looking at 14-20mm on a full-frame camera, 1-14mm on APS-C, or 7-10mm on Micro Four Thirds.
Why a wide aperture? Well, at the risk of sounding obvious, you’re going to be working in the dark. Your sensor needs to be able to take in as much light as possible, but you also want to keep the ISO low so that the details of the night sky don’t get lost amid image noise. There’s plenty more to think about too, but to avoid going too long on this, we’ll leave it to our astrophotography tips and how-to guides, where you can find all the astro advice you could need.
So, which lens to choose? Well, the decision will already be made to an extent by the camera you’re using, which is why we’ve divided this guide into sections. First, we’ve listed our favorite astrophotography lenses that are available for multiple mounts, and then we’ve drilled down into specific sections for Canon, Nikon, Sony, Micro Four Thirds, and Fujifilm. So whatever you’re shooting with, there should be an astro lens (or three) to suit you.
Now let’s get to the best lenses for astrophotography!
Best lenses for astrophotography: our top picks
Best overall From Korean manufacturer Samyang’s XP stable of premium manual-focus prime lenses for Canon and Nikon full-frame cameras, this 14mm f/2.4 is the most ideal for astrophotography. The lens is sold as the Rokinon SP 14mm f/2.4 in North America.
2. Sigma 14-24mm f/2.8 DG HSM | A
Best Zoom Available in Canon EF and Nikon F mounts, this Sigma lens is up against own-brand legends like the Canon EF 16-35mm f/2.8L USM III and the Nikkor AF-S 14-24mm f/2.8G ED. It beats both of them for image quality and price. Build quality and handling are excellent, with a full set of weather-seals and a fluorine coating on the front element.
3. Sigma 20mm F2 DG DN | C
Best Prime This is the widest lens in Sigma’s growing range of I-series primes for Sony E-mount and Leica L-mount, and it’s a solid choice for astro work. The optical path of the lens is particularly impressive, especially considering how small the lens is – 13 elements are somehow crammed in there, including three high-precision glass-molded aspherical elements, one SLD (Special Low Dispersion) element and one FLD (Fluorite Low Dispersion) element.
Best lenses for astrophotography
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Best multi mount lenses for astrophotography
(Image credit: Future)
Best overall
Specifications
Mount: Canon EF, Nikon F
Full-frame compatible: Yes
Autofocus: No
Stabiliser: No
Diaphragm blades: 9
Max angle of view (diagonal): 114 degrees (Full-frame)
Dimensions (WxL): 87x106mm
Weight: 791g
Reasons to buy
+
Generous viewing angle
+
Superb image quality
+
Good build and handling
Reasons to avoid
–
Only for Canon and Nikon DSLRs
From Korean manufacturer Samyang’s XP stable of premium manual-focus prime lenses for Canon and Nikon full-frame cameras, this 14mm f/2.4 is the most ideal for astrophotography. The lens is sold as the Rokinon SP 14mm f/2.4 in North America.
The high-quality glass is neatly wrapped in a really solid casing. The rubberized manual focus ring gives a very assured grip and has a long rotational travel with a fluid feel. There’s no weather-seal ring on the mounting plate to guard against the ingress of dust and moisture. To be fair, though, if you’re photographing the Milky Way, you’ll need clear, dry and dust-free conditions.
In our review, we were hugely impressed by how well this lens maintained its image quality when wide open, which is hugely important for astrophotography. It’s markedly better than Irix’s rival 15mm f/2.4 Blackstone lens or a Sigma 14mm f/1.8 DG HSM Art. Sharpness is both very good and extremely consistent across the image frame. Chromatic aberrations are negligible, while coma and astigmatism are very minimal. Barrel distortion can be visible at close focus distances, but that’s not an issue for astrophotography.
Maintaining excellent image quality a lens’ widest aperture for astrophotography is a real challenge in an ultra-wide-angle optic, but this Samyang does exactly that – an admirable achievement.
(Image credit: James Artaius)
Best zoom
Specifications
Mount: Canon EF, Nikon F, Sigma
Full-frame compatible: Yes
Autofocus: Ring-type ultrasonic AF
Stabiliser: No
Diaphragm blades: 9
Max angle of view (diagonal): 114 degrees (Full-frame)
Dimensions (WxL): 95x126mm
Weight: 1,150g
Reasons to buy
+
Focal length flexibility
+
Superb all-round image quality
+
Superb, weather-sealed build
Available in Canon EF and Nikon F mounts, this Sigma lens is up against own-brand legends like the Canon EF 16-35mm f/2.8L USM III and the Nikkor AF-S 14-24mm f/2.8G ED. It beats both of them for image quality and price. Build quality and handling are excellent, with a full set of weather-seals and a fluorine coating on the front element. The lens is also compatible with Sigma’s optional USB Dock for customisation and firmware updates.
In our review, we found we could produce images with this lens that were nothing short of outstanding. Even at the shortest focal length with the widest aperture, sharpness is excellent across the entire frame, and the lens does very well to retain excellent corner sharpness at wide apertures.
Vignetting is remarkably minimal and though barrel distortion is prominent at close range, it’s negligible for astrophotography. Lateral and spherical aberrations are also very well controlled.
For full-frame Canon and Nikon DSLRs, this is simply the best ultra-wide, fast-aperture zoom lens on the market, and not just for astrophotography.
(Image credit: Matthew Richards)
Best Prime
Specifications
Mount: Sony E, Leica L
Full-frame compatible: Yes
Autofocus: Stepping motor AF
Stabiliser: No
Diaphragm blades: 9
Max angle of view (diagonal): 95.5 degrees
Dimensions (WxL): 70x72mm
Weight: 370g
Reasons to buy
+
Metal-barrel construction
+
Excellent internal quality
Reasons to avoid
–
Distortion requires correcting
–
Vignetting at wide apertures
This is the widest lens in Sigma’s growing range of I-series primes for Sony E-mount and Leica L-mount, and it’s a solid choice for astro work. The optical path of the lens is particularly impressive, especially considering how small the lens is – 13 elements are somehow crammed in there, including three high-precision glass-molded aspherical elements, one SLD (Special Low Dispersion) element and one FLD (Fluorite Low Dispersion) element. Then there’s also Sigma’s Super Multi-Layer Coating and Nano Porous Coating.
Therefore, as you might expect, the Sigma 20mm F2 DG DN | C performed very well in our testing, delivering excellent sharpness. We found that vignetting was a little severe when used at wider apertures than f/5.6, and there is some distortion that will require cleanup in software, but nothing ruinous.
The ‘C’ or ‘Contemporary’ designator means it’s a lightweight and portable lens – though this doesn’t matter as much for astrophotography as it does for other disciplines, as you’re always going to be tethered to your tripod. Still, the metal construction is pleasingly solid, and the addition of an aperture ring is welcome.
(Image credit: Sigma)
It’s a big heavy lens but it delivers exceptional image quality so we can let that slide
Specifications
Mount: Canon EF, Nikon F, Sony FE, Sigma
Full-frame compatible: Yes
Autofocus: Ring-type ultrasonic AF
Stabiliser: No
Diaphragm blades: 9
Max angle of view (diagonal): 114 degrees (Full-frame)
Dimensions (WxL): 95x109mm
Weight: 1,170g
Reasons to buy
+
Fast AF
+
Fab sharpness, contrast and colour
+
Luxury build
This recently launched full-frame compatible prime lens for Canon and Nikon DSLRs, as well as Sony E-mount cameras is a full f/stop faster than most other lenses on this list, and it includes super-speedy ring-type ultrasonic autofocus. The wide aperture comes at a price, however: the large-diameter elements required are not only more expensive to make, they also result in a comparatively big and heavy build.
At least this lens is also big on performance. When we reviewed the lens we found the image quality to be fabulous, with exceptional sharpness for such a fast-aperture lens with an ultra-wide viewing angle.
Equally impressive are contrast, colour rendition, and the absence of spherical and lateral chromatic aberrations. There is very noticeable coma and astigmatism towards the corners of the image frame, but go down one stop and these virtually disappear, making overall image quality for astrophotography altogether excellent.
See our full Sigma 14mm f/1.8 DG HSM Art review
(Image credit: Samyang)
With an effective focal length of 15/16mm this is ideal for APS-C cameras
Specifications
Mount: Canon EF-S, Canon EF-M, Nikon DX, Sony E, Sony A, Fujifilm X, MFT, Pentax K, Samsung NX
Full-frame compatible: No
Autofocus: No
Stabiliser: No
Diaphragm blades: 6
Max angle of view (diagonal): 106 degrees (APS-C)
Dimensions (WxL): 76x98mm
Weight: 590g
Reasons to buy
+
Precise manual focusing
+
Solid build quality
+
Great value
This manual-focus Samyang has an astro-friendly ‘effective’ focal length on crop-sensor cameras, ranging from 15-16mm on APS-C format bodies to 20mm on Micro Four Thirds. It’s available in many mount options, but only the Nikon fit has built-in electronics. This enables the aperture to be set from the camera. Compared with most prime lenses for crop-sensor cameras, this one is unusual in combining a wide viewing angle with a fairly fast f/2.8 aperture.
Manual focusing is precise and assured. Build quality feels solid, but there are no weather-seals. Performance is good in terms of coma, spherical aberration and vignetting, helping stars to retain their natural shape across the image frame, even when shooting wide-open at f/2.8. Sharpness isn’t fabulous, however, but it doesn’t drop off much towards the edges of frame. Colour fringing can be more noticeable than usual towards the image corners, and there’s a fairly typical amount of barrel distortion for this type of wide-angle prime.
This lens works well for Micro Four Thirds and APS-C format astrophotography, where the lack of autofocus isn’t really a drawback. It’s great value at the price. See our full Samyang 10mm f/2.8 ED AS NCS CS review.
(Image credit: Irix)
If you’re still shooting on a DSLR this Irix 15mm lens is an affordable option
Specifications
Mount: Canon EF, Nikon F, Pentax K
Full-frame compatible: Yes
Autofocus: No
Stabiliser: No
Diaphragm blades: 9
Max angle of view (diagonal): 110 degrees (Full-frame)
Dimensions (WxL): 100x114mm
Weight: 685g
Reasons to buy
+
Solid build with florescent markings
+
Well-priced
+
Excellent centre-frame sharpness
Reasons to avoid
–
Lacklustre corner sharpness
Designed in Switzerland and built in Korea, the full-frame compatible Irix 15mm is available in Firefly and Blackstone options. They’re optically identical, but the Blackstone has a magnesium alloy rather than plastic casing, four weather-seals instead of three, and fluorescent engraved markings for easy reading.
The lens is satisfying to operate, as we noted in our review. As a manual-focus lens, the focus ring has a smooth, precise operation and feels absolutely impeccable. A secondary ring enables you to lock the focus ring at any position. Another nice touch is that you can fine-tune the focus ring so that the distance scale is calibrated to your camera body.
Image quality is excellent, with minimal aberrations. Sharpness is excellent across most of the frame, even at the widest aperture. Vignetting isn’t too bad at f/2.4, but coma and astigmatism are pronounced, giving an irregular shape to stars. Both factors are improved by narrowing the aperture by an f/stop though.
This is a great wide-angle prime for general shooting, and comes at a very attractive price. Coma and astigmatism at the widest aperture are the only spoilers for astrophotography.
Best Canon lenses for astrophotography
(Image credit: Canon)
A professional, fast aperture zoom lens with fast AF
Specifications
Mount: Canon EF
Full-frame compatible: Yes
Autofocus: Ring-type ultrasonic AF
Stabiliser: No
Diaphragm blades: 9
Max angle of view (diagonal): 108 degrees (Full-frame)
Dimensions (WxL): 89x128mm
Weight: 790g
Reasons to buy
+
Top build quality
+
Fast, accurate AF
+
Weather-resistant
Reasons to avoid
–
Corner sharpness nothing special
If you own a full-frame Canon DSLR, this is Canon’s most ideal zoom lens for astrophotography. It may not be as wide-angle as the company’s EF 11-24mm f/4L USM, but it’s an all-important f-stop faster. The maximum viewing angle is admittedly slightly less than the 14mm and 15mm full-frame on this list, equating to 108 degrees compared with 114 or 110 degrees.
This lens gains a large and complex double-surface GMO (Glass Moulded) aspherical element at the front, adding to two UD (Ultra-low Dispersion) elements and a ground aspherical element at the rear. Upgraded, high-tech coatings include both SWC (SubWavelength Coating) and ASC (Air Sphere Coating) for greater resistance to ghosting and flare. Weather-resistant attributes are extended to include moisture- and grease-repellent fluorine coatings on the front and rear elements. The lens is quite long at 128mm, considering that it doesn’t have a built-in fixed hood. Unlike with some rival lenses, the separate bayonet-fit hood enables the easy attachment of filters, via an 82mm thread. Build quality is up to Canon’s usual robust L-series standards.
We tested the Canon EF 16-35mm f/2.8L USM III in our lab, and found sharpness and contrast to be exceptionally impressive across the zoom range. The Mk III has much-improved corner sharpness compared with the previous edition, but still lags behind the competing Sigma 14-24mm zoom. There’s very little spherical aberration at f/2.8, but coma and astigmatism can be quite visible near the extreme corners of the frame.
(Image credit: Future)
A pro-spec constant-aperture f/2.8 ultra-wide zoom for EOS R cameras
Specifications
Mount: Canon RF
Full-frame compatible: Yes
Autofocus: Nano USM
Stabiliser: No
Diaphragm blades: 9
Max angle of view (diagonal): 110 degrees (Full-frame)
Dimensions (WxL): 88.5x127mm
Weight: 840g
Reasons to buy
+
5-stop Image Stabilizer
+
Smaller than EF equivalent
+
No apparent distortion
If you’ve got an EOS R5 or R6 and want to do astrophotography, this is the dedicated lens for you. It’s no surprise when you look at the focal range and maximum aperture available to find out that this is a big and heavy lens. It just about balances okay on one of Canon’s mirrorless cameras, but should be less of an issue for astrophotographers. A nice touch is the separate hood that means it’s possible to attach filters if desired via an 82mm filter thread, while there’s also built-in IS.
We found the focusing performance of the Canon RF 15-35mm f/2.8L IS USM to be brilliant in testing, with the lens enjoying a Nano Ultrasonic AF system for virtually silent focusing. Oh, and did we mention that stellar image quality? A brilliant lens, but it does come with a hefty price tag.
Best Nikon lenses for astrophotography
(Image credit: Nikon)
It’s 10 years old but Nikon’s 14-24mm f/2.8 lens still outshines other Nikon lenses
Specifications
Mount: Nikon F
Full-frame compatible: Yes
Autofocus: Ring-type ultrasonic AF
Stabiliser: No
Diaphragm blades: 9
Max angle of view (diagonal): 114 degrees (Full-frame)
Dimensions (WxL): 98x132mm
Weight: 1,000g
Reasons to buy
+
Wide viewing angle and fast aperture
+
Useful zoom range
+
Great build
Reasons to avoid
–
Vignetting and distortion at 14mm
With its ultra-wide zoom range and fast, constant-aperture design, this Nikon FX-format lens was a world-first when it was launched back in 2008. It’s become something of a legend in its own lifetime, but struggles to retain its crown against new Sigma 14-24mm and Tamron 15-30mm pretenders to the throne. The Nikon matches the Sigma zoom lens for maximum viewing angle and is slightly wider than the Tamron.
Optical highlights include two ED (Extra-low Dispersion) elements and Nano Crystal Coat. A rubber weather-seal is featured on the mounting plate but the lens lacks a comprehensive set of weather-seals or a keep-clean fluorine coating on the front element, as featured on the Sigma and Tamron lenses.
Centre-sharpness is excellent but corner-sharpness at the shortest focal length and widest aperture lags behind that of the Sigma zoom, more on a par with the Tamron. Vignetting and barrel distortion are rather worse than in both other lenses. Coma and astigmatism are controlled very well, again similar to the Tamron lens but not quite equaling the performance of the Sigma.
(Image credit: Future)
A mirrorless version of the lens above perfect with the Z5, Z6, Z7 and Z9
Specifications
Mount: Z FX
Autofocus: Pulse (stepping motor)
Stabilizer: None
Min focus distance: 0.28m
Max magnification: 0.13x
Filter thread: 112mm (plus rear filter slot)
Dimensions (WxL): 88×124.5mm
Weight: 650g
Reasons to buy
+
Uncompromising optics and coatings
+
Fast constant aperture
+
Fully weather sealed
Reasons to avoid
–
Twice the price of Z 14-30mm f/4 S
–
No VR
The Nikkor Z 14-24mm f/2.8 S is Nikon’s latest effort to attract pros to the Z mount system. Completing the holy trinity of fast f/2.8 S-line zooms, it slots in neatly next to the Nikkor Z 24-70mm f/2.8 S and promises uncompromising wide-angle image quality. The 16-element optical stack includes 3 aspherical elements, along with Nikon’s Nano Crystal and ARNEO Coat for reducing ghosting and flare.
As you might expect, Nikon went all guns blazing with the design of this lens to try and sway photographers to the Z mount. As such, the build, handling and image quality of this lens are all absolutely top-tier. Copiously weather-sealed, with scintillating sharpness, this is a lens for those who demand the best (and it comes with the kind of price tag you might expect).
The front element gets a smear-resistant fluorine coating, and the lens is fully weather sealed. Add the included HB-98 lens hood and huge 112mm filters can be used – Nikon offers Neutral Color and Circular Polarizer options.
Best Sony lenses for astrophotography
(Image credit: Sony)
This stunning lens is one of the most expensive but its quality is unrivalled
Specifications
Mount: Sony FE
Full-frame compatible: Yes
Autofocus: Linear motor AF
Stabiliser: No
Diaphragm blades: 9
Max angle of view (diagonal): 122-84 degrees (Full-frame)
Dimensions (WxL): 98x137mm
Weight: 847g
Reasons to buy
+
Impressive image quality
+
Impeccable handling
+
Ultra-wide maximum viewing angle
Only until recently, the FE 12-24mm f/4 G has been Sony’s most wide-angle zoom. However, with a constant maximum aperture of f/4, it isn’t suited to astrophotography. Step forward the Sony FE 12-24mm f/2.8 G Master. We tested out this lens both in our lab and out in the field, and completely fell in love. Its impeccable image quality and ultra-wide viewing angle makes it an outstanding choice for astrophotography.
Boasting a diagonal coverage up to an incredible 122 degrees, while also delivering a fast and constant f/2.8 aperture, this combination makes it the world’s fastest lens in its class. There’s no getting away from the hefty price, but this is a lens that delivers supreme image quality, while the AF system is quick, smooth and quiet. Factor in the lovely handling and rock-solid build quality and this is a stunning lens.
(Image credit: Tokina)
An astrophotography lens exclusively for Sony E-mount cameras
Specifications
Mount: Sony FE
Full-frame compatible: Yes
Autofocus: Ring-type ultrasonic AF
Stabiliser: yes
Diaphragm blades: 9
Max angle of view (diagonal): 92 degrees (Full-frame)
Dimensions (WxL): 89x92mm
Weight: 464g
Reasons to buy
+
Fast AF useful for general shooting
+
Great centre sharpness
+
Minimal distortion
Reasons to avoid
–
Focal length relatively restrictive
Designed for full-frame Sony E-mount cameras, the Firin 20mm is available in two versions, either with or without autofocus. This ‘AF’ autofocus version looks clean, simple and in-keeping with Sony mirrorless cameras. Autofocus is reasonably quick and generally very accurate. It’s definitely worth having for general shooting. When focusing manually, the large focus ring operates with smooth precision. Compared with the other lenses on this list, the Firin has a reduced viewing angle of 92 degrees, but its f/2 aperture rating is faster than average.
Shooting wide-open, coma and astigmatism are apparent towards the corners of frame, but narrowing the aperture by an f/stop cures the problem. However there’s no cure for the disappointing corner sharpness, which is especially poor until you stop down to f/4. There’s remarkably little colour fringing, even at the extreme corners of the frame, and distortion is practically non-existent.
Overall the Firin is a fine lens, although its viewing angle can feel a little restrictive for astrophotography. See our full Tokina Firin 20mm f2 AF review.
Best Micro Four Thirds lenses for astrophotography
(Image credit: Olympus)
A bright lens that gives MFT users a solid astro option
Specifications
Mount: Micro Four Thirds
Full-frame compatible: No
Autofocus: MSC autofocus system
Stabiliser: No
Diaphragm blades: 7
Max angle of view (diagonal): 114-75 degrees
Dimensions (WxL): 79x106mm
Weight: 534g
Reasons to buy
+
Excellent image quality
+
Weather-sealed construction
Reasons to avoid
–
Quite pricey
–
Heavy for MFT
The 2x crop factor of Micro Four Thirds cameras can make it tricky to find a high-quality lens that’s wide enough for astrophotography – however, we really rate this Olympus lens, the M.ZUIKO DIGITAL ED 7-14mm 1:2.8 PRO. Mounted on an MFT body, it provides an equivalent focal range of 14-28mm, and thanks to its bright f/2.8 aperture that runs through the zoom range, is an excellent choice for astro work.
In our review, the lens achieved impressive results throughout our lab tests, delivering excellent sharpness even when used wide open. It’s well built too, with enough weather-sealing to handle the long nights it’ll spend outside while you’re busy shooting the stars. It’s on the expensive side for an MFT lens, and arguably on the heavy side too, but since you won’t be shooting handheld, the latter shouldn’t be too much of an issue.
Best Fujifilm lenses for astrophotography
(Image credit: Digital Camera World)
Fujifilm’s widest zoom lens is fully weather sealed and certainly aimed at pros
Specifications
Mount: Fujifilm X-mount
Elements/groups: 20/13
Diaphragm blades: 9
Autofocus: Linear motors
Stabilizer: No
Min focus distance: 0.25m
Max magnification: 0.1x
Filter thread: n/a
Dimensions (WxL): 88×121.5mm
Weight: 805g
Reasons to buy
+
Amazing wide field of view
+
Fully weather sealed
Reasons to avoid
–
Big and hefty
–
Can’t take screw-in filters
In 2019, Fujifilm debuted its widest lens yet, the Fujifilm 8-16mm f2.8 XF R LM WR Fujinon Lens. Its size and price tag put it firmly in the same camp as the pro optics; weighing more than 800g, when it’s paired with one of the larger cameras like the X-T3, this lens makes for a setup that calls the mirrorless reputation for lightness into question. Don’t get us wrong though, this is a fantastic lens, as we noted in our full review.
A sophisticated optical construction ensures pin-sharp image quality, while it also has an extra f-stop over its nearest comparison point in the X stable, the 10-24mm (see below). It’s worth being aware that the lens lacks optical image stabilisation of any kind, and its wide front makes it incompatible with screw-in filters. Nevertheless, this is as wide as ultra-wide zooms get, with a full frame equivalent focal length of just 12mm at its widest setting!
(Image credit: Digital Camera World)
This ultra-fast wideangle is optically brilliant
Specifications
Mount: Fujifilm X-mount
Elements/groups: 15/9
Diaphragm blades: 9
Stabilizer: No
Min focus distance: 0.2m
Max magnification: 0.15x
Filter thread: 62mm
Dimensions (WxL): 68.8×75.6mm
Weight: 370g
Reasons to buy
+
Fast f/1.4 maximum aperture
+
Physical aperture ring
+
Powerful linear AF motor
Reasons to avoid
–
Very close in spec to the XF16mmF1.4
–
Internal ‘clonking’ when powered down
This is a pretty compact and lightweight lens for a wide-angle f/1.4, and boasts a really neat design and an everyday 62mm filter mount. The optical performance is stellar, even wide open, though there is already a 16mm f/1.4 in the Fujinon lens range, so it feels as if this lens is squeezing into a gap that isn’t quite there.
There’s no image stabilization, which we wouldn’t expect in a fast prime anyway, but when we tested the lens we did find that there is an annoying ‘clonking’ sound from what we think is the AF actuator when the lens is removed from the camera and its AF system is not being powered.
How we test lenses
We test lenses using both real world sample images and lab tests. Our lab tests are carried out scientifically in controlled conditions using the Imatest testing suite, which consists of custom charts and analysis software that measures resolution in line widths/picture height, a measurement widely used in lens and camera testing. We find the combination of lab and real-word testing works best, as each reveals different qualities and characteristics.
Read more:
• How to improve your astrophotography: tips, tricks and techniques • Astrophotography tools: the best camera, lenses and gear for shooting the night sky • The best fisheye lenses • The best binoculars • The best telescopes for astrophotography • The best CCD cameras for astrophotography • The best star trackers for astrophotography • Best head torch
Traveling the world is a dream for many, but the perception that it requires a hefty budget often holds people back. Fortunately, with careful planning and a few savvy money-saving tips, exploring new destinations can be affordable and within reach.
From the luggage storage Oslo offers to cost-efficient food and transportation, you can save a surprising amount and still explore far and wide. In this article, we’ll present practical strategies to help travelers see the world on a budget, ensuring memorable experiences without breaking the bank.
1. Plan and Research in Advance
One of the keys to traveling on a budget is thorough planning and research. Start by setting a realistic budget for your trip, including costs for flights, accommodation, transportation, meals, and activities.
By booking your flights and accommodations well in advance, you can take advantage of early bird discounts and promotional offers. Use trusted travel websites and compare prices to find the best deals on flights, hotels, and vacation rentals. Additionally, research free or low-cost activities and attractions at your destination, as they can provide enriching experiences without straining your budget.
2. Travel During the Off-Season
Timing plays a crucial role in saving money while traveling. Consider visiting popular destinations during the off-season when prices for flights, accommodations, and attractions are typically lower. Off-peak periods vary depending on the location, so do some research to identify the best time to visit.
You’ll save money and avoid crowds, making it easier to explore and appreciate the beauty of your chosen destination. Remember to pack appropriate clothing and plan for any possible weather conditions during the off-season.
3. Embrace Local Cuisine and Street Food
One of the joys of travel is experiencing new cuisines. Instead of dining at expensive tourist restaurants, immerse yourself in the local culture by indulging in street food and exploring local markets. Street food is not only delicious, but it’s also often a fraction of the cost of sit-down restaurants. You can also shop at local grocery stores to stock up on nutritious and cost-efficient foods to save even more.
By trying local delicacies, you can savor authentic flavors and support local businesses. Just be sure to exercise caution and choose clean, busy food stalls to ensure hygiene and safety.
4. Utilize Public Transportation and Walk
Transportation costs can add up, but there are ways to minimize them. Opt for public transportation options such as buses, trains, or trams, which are often cheaper than taxis or rental cars. Many cities offer visitor passes or travel cards that provide unlimited access to public transportation for a fixed price, saving you money on individual fares.
Additionally, take advantage of walking as a means of exploration. Walking not only allows you to immerse yourself in the local atmosphere but also saves on transportation costs while providing a more intimate experience of the destination. For instance, when traveling in Oslo, use luggage storage kiosks to drop off your suitcase and enjoy the city on foot.
5. Stay in Budget Accommodations
Accommodation expenses can significantly impact your travel budget, but there are various affordable options available. Consider staying in budget accommodations such as hostels, guesthouses, or homestays, which offer comfortable and clean accommodations at a fraction of the cost of luxury hotels.
Another option is to explore vacation rentals through platforms like Airbnb, where you can find affordable and unique accommodation options. Before booking, read reviews from previous guests to ensure the quality and safety of the place.
6. Connect With Local Communities
Lastly, take the opportunity to connect with local communities and fellow travelers. Locals often have valuable insights and can provide recommendations for affordable and authentic experiences. Engaging with locals can also lead to unique opportunities to participate in community events or cultural activities.
Connect with other travelers through online forums or social media groups to share tips, find travel companions, and potentially split costs for transportation or accommodation. Building connections with people from different backgrounds enriches your travel experience while providing opportunities for cost-sharing
Save Cash and Enjoy Your Trip
Traveling the world on a budget is not only possible but also an incredibly rewarding experience. With careful spending and a willingness to explore affordable options, you can create lasting memories and embark on incredible adventures without breaking the bank.
Now that you can save time and cash with these travel tactics, it’s easier than ever to explore on a budget. Pack your bags, set your sights on your dream destinations, and start your budget-friendly journey to see the world. Bon voyage!
Mesmerising branches and spirals of ice — reminiscent of abstract artwork — are often one of the perks of an ice-cold morning.
With temperatures plunging across the country, many have taken to social media to share photos of the breathtaking natural displays, including Matt Worrall in Western Australia who discovered an ice pattern resembling etched silver on his car roof in Donnybrook.
“I’ve never seen anything like it,” he said. “It was amazing.”
“It was parked under the jacaranda tree and I was just wondering if it was done by the wind or the leaves of the jacaranda. I couldn’t work it out.”
So what’s behind the works of art, courtesy of Mother Nature?
The humidity, temperature and wind direction play a role in the shape of ice crystal formations.(Facebook: Weather Obsessed/Liana Reiljan)
Imperfections creating art
In its simplest form, the intricate patterns are the result of tiny imperfections on a surface, such as scratches, specks of dust, salt, or even residue from washer fluid, according to Bureau of Meteorology forecaster Jessica Lingard.
These imperfections disrupt the even pattern of the ice crystals, causing them to branch out in a variety of different directions.
Ice crystals tend to settle in an even hexagonal pattern if they are not interrupted.(Facebook: Weather Obsessed/ Melissa Hughes)
Ms Lingard said different environmental conditions also had a role to play in how the ice crystals formed, and whether they looked like plates, columns, or dendrites.
“Small changes in humidity, temperature or wind speed or direction will change how the frost, ice, looks as it freezes,” she said.
No two frost or ice patterns are the same, according to BOM forecaster Jessica Lingard.(Facebook: Weather Obsessed/Alan Andrews)
She said the clarity of the pattern, and whether it appeared clear and glass-like, or more dull in appearance, depended upon whether it was frost or ice.
“Frost occurs when water condenses out of the air directly onto a surface,” Ms Lingard said.
“Ice crystals form when liquid water freezes.”
A tree-like frost pattern on a car at Bradum Bay, Tasmania, taken on May 4.(Facebook: Weather Obsessed/Christina Jensen)
In the case of the striking, glassy display on Mr Worrall’s car roof, Ms Lingard said it was ice.
“So [to achieve this] the temperature of the air would have dropped slowly overnight, allowing moisture to condense out of air first, which subsequently froze,” she said.
She said it was likely to have frozen quickly, causing the feather-like patterns to “knit” together.
More icy mornings ahead
With a large part of Australia currently experiencing a mid-winter rain hiatus of clear skies and light winds, the chance of seeing the unique patterns over the next two days is high.
Parts of southern Queensland, including Warwick and Applethorpe, on Tuesday experienced their coldest July morning since 2019 when temperatures dropped to -5 degrees Celsius.
Parts of inland New South Wales, such as Glen Inness, fell to -6.8C.
The icy pool of air moved over the country in the wake of a cold front.
Tiny imperfections such as scratches or dust can impact the pattern of icy crystals as they settle.(Facebook: Weather Obsessed/Bradley Bradley)
While temperatures are not expected to fall quite as far, BOM was forecasting widespread frost and sub-zero temperatures to continue on Wednesday morning across parts of eastern Australia, extending from the interior of south-east Qld, through eastern NSW and into north-east Victoria, as well as WA’s Goldfields and Wheatbelt regions.
The frost is forecast to clear from WA on Thursday, remaining through the same regions of NSW, Vic, and Qld and becoming confined to NSW by Friday.
What could be better than buying one of the best cameras in the world? When you can save hundreds of dollars with an Amazon Prime Day camera deal!
We’ve named the Sony A7R IV as the best camera overall in 2023 and its astronomy variant the best mirrorless camera for astrophotography and the Sony A7R IV is now over $200 off for Prime Day.
We’ve tested hundreds of cameras over the years and as of 2023, we think the Sony A7R IV is the best overall. It offers good value for money and all-round performance so it’s equally adept at capturing portraits, landscapes and wildlife as it is shooting astrophotos of the stars, galaxies, moon and more.
When we put the camera through its paces in our Sony A7R IV review we remarked on this mirrorless’ outstanding 61-megapixel image quality, 4K 30p video footage and rock-solid in-body Optical SteadyShot image stabilization.
Astrophotographers will find the A7R IV’s high ISO noise handling very good indeed and it has a base ISO sensitivity range of 100-32,000 (expanded to 50-102,400). We didn’t struggle to capture the Milky Way when shooting with it at the coast.
This Amazon Prime Day camera deal is for the Sony A7R IV body itself. It ships with a neckstrap, manual, body cap and viewfinder cover so all you have to do is pair it with one of the best lenses to get going straight away. We’d recommend the Sony FE 12-24mm f/2.8 G Master which is a fast, sharp ultra-wide-angle lens that is perfect for astrophotography as well as landscapes and other low light scenes.
Thanks to the BIONZ X image processing engine and the Exmor-R back-illuminated CMOS image sensor inside this jaw-droppingly detailed camera, users can capture up to 15 stops of dynamic range — ideal for teasing out hidden detail shadows of astrophotographs.
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Exquisite detail captured in the Milky Way when shooting at the coast during our full review. (Image credit: Kimberley Lane)
The 15 stops of dynamic range can be seen easily here with a little editing boosting shadow detail while retaining highlights. (Image credit: Kimberley Lane)
It produces dreamy portraits when paired with one of the best lenses, letting backgrounds blur into creamy bokeh. (Image credit: Kimberley Lane)
Don’t forget, if you want to make the most of Amazon Prime Day 2023, check out our Amazon Prime Day hub for a roundup of the best discounts and deals on telescopes, binoculars, cameras, star projectors, drones, lego and much more.
We loved the A7R IV and felt the customization of all the buttons were extremely helpful for bespoke photoshoots. (Image credit: Kimberley Lane)
Key Specs: 61MP stills, 4K 30p video recording, 15 stops of dynamic range and an ISO range that boosts up to 102,400 means this Sony mirrorless is the business! Full-frame quality, shooting up to 10FPS continuously at 61MP with autoexposure and autofocus tracking, plus 567 phase-detection / 425 contrast AF points makes this the camera to beat.
Consensus: We think this is the best camera we’ve ever tested and now it’s over $200 off during Amazon Prime Day, we wouldn’t think twice about throwing this in our shopping cart.
Buy if: You want premium quality photographs and video to match, need that ultra-fine detail of 61MP and require the 5.5 stops of 5-axis in-body image stabilization paired with a blistering fast hybrid autofocusing system.
Don’t buy if: Your budget is tight. You can get nearly as good quality out of some cheaper models and there are other cameras that will perform just as well for generalist shooters.
Alternative models: For our money, the Canon EOS R5 which is currently $500 off on Amazon Prime Day is a strong contender. 45MP stills, though not quite as high as the Sony’s 61MP is still massively impressed us when reviewing, plus it can shoot 8K video as well.
Beginners will likely benefit from the Sony A7 III’s lower price and though it has slightly less impressive specs it is a bit of a cult classic. We gave it four and a half out of five stars in our review.
