Having previously spent a few months with the 24-megapixel Nikon Z 6II, today, we move to its bigger brother, and I will begin a series of essays on Nikon’s latest high-resolution entry into the mirrorless camera market, the new Nikon Z 7II.
After a string of gear-related articles extolling the benefits and/or drawbacks of buying a particular camera system, and before launching into another such series in the weeks to come, I wanted to step back for a moment and re-evaluate a question larger than whether or not any particular camera is worthy of its place in your camera bag.
In the first two parts of this three-part series, I discussed my initial impressions of the new Nikon Z 6II, a bit of casual shooting, as well as a fun trip to photograph some birds. Today, we will put the camera to a real test in a professional shooting situation to see how the camera might handle a commercial advertising campaign.
Today, we jump into part two of my three-part series on my experience shooting for the past three months with the new Nikon Z 6II mirrorless camera. In part one, we went over ergonomics and first impressions, while in today’s episode, we will take the camera out into the field to visit the wildlife.
Today, I will begin a series of three lengthy and in-depth essays discussing my experience shooting with the new Nikon Z 6II over a three-month period.
I started out today to write a specific camera review but ended up taking a broader view of a brand that I have come to depend on. I haven’t forgotten about the review, but, in today’s article, I thought I would simply share the love.
The Fuji GFX 100 is an amazing camera. But one simple fix could greatly improve its usefulness in my workflow.
As a year unlike any other slowly rolls into the history books, we near that magic time when we sweep out the old and bring in the new.
The holiday season, and the rash of sales that goes with it, always inspires a simple question: “what purchases would make an improvement to my photography business?” But, the more pertinent question, far less often asked, is: “do I really need to make any purchases at all?”
Sometimes gear grows on you. And sometimes a piece of equipment’s effectiveness is less about specs and more about combinations.
Tis the season to not only reflect on your photographic year just passed, but also to do some planning for the future.
Just got a new box in the mail with a rather awesome surprise; a loaner Nikon Z 6II. I will have the camera for a couple months to fully put through its paces, but wanted to share some initial thoughts.
The end of the year is always a time to both make one final push to close the business year strongly and to reflect on the current state of affairs. As a photographer, it’s also a good time to look back on where you stand as an artist and where you still want to go.
Today, I’ll share with you a brief review, not of a camera, but of the life of a professional photographer.
It was the best of times, it was the worst of times. Okay, not really, but choosing a camera these days when that same camera can change so much from year to year can make buying decisions all the more difficult.
Every time I think about how much 2020 has fundamentally changed my life and my profession, I am reminded that, while dramatic, this is hardly the only period of change I’ve experienced in the business. So today, I thought I’d have a look back at just some of the changes that have impacted my own career since I first started making money as a professional photographer.
Today, I’d like to review, well, reviews. Since gear and gear reviews are something all of us, including myself, spend a bit too much time obsessing over, it’s worth taking a step back to think about what they do and do not have to offer.
Most gear chatter online tends to center around the endless and ultimately useless debate about which camera bodies are the best on the market and will transform you overnight into a photographic superhero combining the skills of Ansel Adams, Annie Leibovitz, and James Nachtwey into one without ever having to practice or learn your craft. But with all the focus on sensors and capture devices, we often pay far too little attention to each image's first port of entry: the lens.
As all medium format shooters know, moving fast with larger sensor cameras can be a challenge compared to their full frame counterparts. So, I recently tried out the Fuji GFX GF 45mm-100mm f/4 R LM OIS WR to see if it would speed my workflow and unlock additional potential in my Fuji GFX system.
With the onset of the pandemic and slowdown in production, income from stock photography has become an increasingly important source of revenue for many photographers. Getty Images and iStock have recently announced a new program to provide grants to emerging photographers interested in entering the stock photography market.
