Sidste nyt

Yuji Igarashi, Divisional Manager, Professional Imaging Group and Makoto Oishi, Manager of Product Planning

Photo: Richard Butler

Yuji Igarashi cuts a relaxed figure as he prepares for the public to arrive at Fujifilm's Fujikina event in Stockholm. I caught the Divisional Manager of Fujifilm's Professional Imaging Group at Fotografiska - part of the world's largest museums dedicated solely to photography - just before the doors opened. He was joined by his colleague, manager of product planning Makoto Oishi, to discuss where the company's digital camera plans stand.

Fotografiska had hosted the launch of the GFX 100 II the day before, so neither man is in the mood to discuss which areas of the GF system are most in need of improvement.

'Yesterday we announced a new product, so basically we're done,' jokes Oishi, but Igarashi is already looking forward: 'At this moment - as of yesterday - we're done, but I'm sure we'll we'll get a load of feedback, and we'll look to improve from here.'

This talk of feedback makes me wonder whether the company's approach to continuous improvement through firmware updates is still the same as when the X series was first launched or if the mindset has changed.

'We never officially changed our direction or philosophy or anything around firmware'

'We never officially changed our direction or philosophy or anything around firmware.' says Igarashi: 'Quite simply, it's difficult to implement the changes we made with a later generation of sensors and processor combinations and then apply that to an older generation [of hardware]. You have to totally re-engineer the firmware to make certain features possible on older cameras. It's a matter of the resources we have, and of course, there are priorities in our business to consider. So, as much as we want to try to implement all the features of the latest sensor and processor, it's not always technically possible, and other times, even when it is, we have to re-do the exact same work because the base system is different. So we still try to apply what is possible, at least within the same generation of sensor and processor and where applicable.'

Oishi also points out that the kinds of updates they're making have changed as the X and G systems have matured: 'These ten years have been very busy, updating firmware in response to user feedback. At the beginning, not everything was perfect about our camera system, so sometimes the users weren't happy with the way things worked, but these days, it tends to be requests for features people would like to be added rather than things needing to be fixed.'

Yuji Igarashi, holding the Fujifilm GFX 100 II and GF 55mm F1.7R WR, announced the day before this interview took place.

Fujifilm GFX 100 II, Fujifilm GF 55mm F1.7R WR | F4 | 1/200 sec | ISO 1600
Photo: Richard Butler

Igarashi cites listening to customer feedback as one of the most important lessons learned during the past ten years: '[customer feedback] helped develop the X series and GFX system: we couldn't have done this on our own. It's very important for us to stay in communication with our end users, get feedback and try to figure out the right solutions.'

I ask how the company's focus has changed during this time, as video has become more important, and the flagship cameras have become ever higher-end, but Igarashi says it's not a question of a change in focus. 'We started the X-mount with X-Pro1, with three prime lenses. That's how we began,' he says: 'It was a rangefinder-style camera; it was shooting, for instance, much slower snaps: documentary, family photos, those kinds of subjects. But then, of course, we moved to X-T1 in 2014. That was our first weather-sealed camera, so it expanded X Series into a more versatile system: you could shoot outdoors, on-the-go type of photography. And then came X-T2, which had 4K video, which is when we first started expanding to the video side. And now we have X-H2S, which is built for speed. So gradually, we've been expanding the field of photography we can capture, so we'd probably say it's expanded rather than changing the focus of the customer.

I asked what other areas they were looking to expand into. 'We're adding focus in the sports and wildlife categories, which we're not really known for yet,' he says: 'With X-H2S, I think we have a very capable camera, and in terms of lenses, we're also introducing more longer lenses. So that's a field where I think we're very capable, but we're not as known yet, so it's an area we will continue to cultivate.'

'It’s obvious that we have a huge customer base for stills photography, so I think it’s very important to listen to ... those photographers'

I was intrigued by Igarashi's answer when I asked whether this focus on speed and wildlife might come at the expense of lower-end models that were overdue for replacement. Specifically, I questioned the future of the X-E series, to which Igarashi responded: 'We haven't lost focus on any of our existing range, so we're always thinking about what will be next for us.' Which, in a somewhat oblique way, came across as a much stronger statement about the X-E range having a future than I was expecting.

Igarashi makes the point that photography is still very important to Fujifilm: 'We're generally getting very positive feedback about X-T5,' says Igarashi: 'and so I think it's obvious that we have a huge customer base for stills photography, so I think it's very important to listen to that segment and those photographers.'

But, he said, it's not always possible to react to all feedback. 'One camera might have a specific feature, and consumers might then expect it to appear on all of the other models, and sometimes the feedback is contradictory. For example, with the X-T5, the choice between a tilt or vari-angle [rear screen], we get almost 50:50 feedback.'

Makoto Oishi with the Fujifilm GFX 100 II and GF 55mm F1.7R WR

Fujifilm GFX 100 II, Fujifilm GF 55mm F1.7R WR | F4 | 1/200 sec | ISO 1600
Photo: Richard Butler

Moving on, Oishi said he was particularly proud of the IP connectivity and new technologies the company has been working on (they used their camera-to-cloud system to upload the portraits from this article to the Frame.io platform to ensure I had them quickly). I asked why they'd chosen Frame.io over more open formats. 'Frame.io is probably one of the most sophisticated and easy-to-use [platforms],' says Igarashi: 'and there's already a customer base, which we think makes total sense. If we tried to create our own version, it might force a change of workflow on these users to adapt to the way we do it. That's one thing we always think about to make sure whatever we do, we don't create any more work for our users. So, at the moment, we think this is probably the best solution we've got to offer to customers.'

'At the moment,' he concedes: 'the main users of Frame.io are videographers. However, there's lots of potential for still photographers as well. I think it's exciting to see this expansion.

Circling back to the new camera, I asked both men what the biggest strength of the GFX system was, now that the GFX 100 II has expanded the video capability so much, and both immediately agreed it was the 44x33mm format and the image quality and tonality it allows. I point out that we sometimes see people suggesting Fujifilm should have gone with full-frame rather than pursuing one smaller and one larger format, but Igarashi seems to believe the company has the right approach: 'The whole philosophy that we have is making sure we offer value to our customers. So I think we can do that with GFX, with its bigger sensor and large format, but also with the more compact APS-C size, which is also a very capable system. We can be confident and say, for these two lines, we can offer something that other brands cannot offer.'

'We can be confident ... we can offer something that other brands cannot offer'

I also asked a little about the new GF500mm F5.6 added to the company's lens roadmap: it's going to be big, isn't it? 'Maybe not so big,' says Igarashi conspiratorially. 'It could be long, but light,' Oishi says, proudly: 'some arrangement like that.' 'But not too big, anyway.' Igarashi confirms.

Given the impossibility of buying the (now quite old) X100V, I asked about how the company has reacted to its sudden popularity. 'Of course, we've tried to increase our production capacity to meet those demands, but the demand keeps on growing, so it's hard to catch up,' says Igarashi. But he seems to recognize it as a nice problem to have: 'I think this simply proves the product itself is very good,' he says: 'because once more people knew about it, it became more popular. It shows that the concept of the product is good. Probably we should do a better job at marketing, right?' he laughs: 'so more people can know about this product.'

'It gave us confidence that the concept of the camera is correct. Of course, X100 has always been a popular camera; that's why it's in its fifth generation. If the camera wasn't popular, we wouldn't have continued evolving it. It's the first camera to reach the fifth generation - though it's not the fifth generation sensor and processor - but it's the fifth generation model. It's by far been our most popular product.'

But should we worry about the next X100 being reworked in response to TikTok feedback? 'Maybe pink or red,' Igarashi suggests: 'blue, purple, orange? No, I think we just stick to our concept and hope we'll do well.'

'...If we were to produce a next one,' he adds, with a smile.

Just as we're wrapping up and preparing to take the photos for this article, Igarashi says: 'I wanted to add that we're happy about the continuation of DPReview. I think all the manufacturers appreciate it: it's such an important platform for us to get feedback through.' I thank him for this and make clear that it's our committed and vocal audience that's responsible for our continued existence. 'I was one of the readers,' he says: 'checking the site every day, and wondering "Hey, what's going on?" You announced you were going to close, but then you kept updating us all. I knew there was something going on, but I wasn't sure. But I'm very happy with where we are and where you are today.'

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Nikon's Nikkor Z 135mm f/1.8 S 'Plena' is designed to minimize vignetting, maintain rounder bokeh edge-to-edge and produce sharp images with exceptional clarity. Nikon seems to have put a lot of thought into making a lens that maintains a high quality of light and smooth fall-off to create depth of field with gradual gradations.

The resulting lens feels tailor-made for portrait and studio photographers using Nikon's Z-series cameras. What better way to test these claims than to take it to the streets of Seattle to make portraits? In our latest sample gallery, we take a closer look at the fine detail of skin and hair, bokeh performance at the edges, and depth-of-field, and we even manage to get people in motion and freeze some rain mid-drop.

It should also be noted that this sample gallery was created using a pre-production model of the lens, so Nikon restricted our sharing of lens images to out-of-camera JPEG images in our sample gallery. As soon as we get our hands on a production version of the Plena, we expect to shoot Raw+JPEG samples, as is our standard practice. Please keep a look out for those updates.

View our Nikon Nikkor Z 135mm f/1.8 S Plena'pre-production sample gallery

Note: Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Buy now:

$2500 at B&H $2500 at Adorama

ISO 200 | 1/2500 sec | F5.6 | 23mm (35mm equiv. full-frame)

Photo: Ci Demi

Camera: Fujifilm X100F

Ci Demi has spent most of the past decade discovering how to document the life and landscapes of his home city, Istanbul, and has developed a unique pastel street style that is at once both comforting and unsettling.

He began to photograph Istanbul, taken by the 'instinct to witness' the happenings of life around him, especially the nearly endless protests of the era. It didn't take long for him to love the process and, as Demi puts it, 'recording things no matter how 'insignificant' they seemed'.

Demi picked up photography through 'a series of coincidences,' he said, after an unexpected bonus in 2015 from his advertising agency job. He had solely used an iPhone 5 to take snapshots prior, but was interested in developing his skills further. Demi told me that he was 'intimidated by DSLRs,' and mirrorless cameras seemed more approachable. He went to a Fujifilm store and bought an X-E2, and from there got serious about photography.

ISO 640 | 1/640 sec | F4 | 18mm (28mm equiv. full-frame)

Photo: Ci Demi

Camera: Fujifilm X70

Demi did, indeed, get serious. In the eight years since he bought his XE-2, his skills and his camera collection have both developed tremendously, and today, his work has been featured in exhibitions around the globe, including one recently at the Pera Museum in Istanbul. No matter what camera or subject Demi chooses, his style has stayed strongly recognizable (and consistently eerie), even when he relies on using his collection of point-and-shoots.

He has also published two photobooks: Şehir Fikri (Notion of a City) is his most recent photobook, and focuses on the unsettling nature of a city without people or language.

ISO 200 | 1/1000 sec | F5.6 | 18mm (28mm equiv. full-frame)

Photo: Ci Demi

Camera: Fujifilm X70

DPReview spoke to Demi to learn more about his unique approach to horror, color and even how to use a Sony RX0 to get a newspaper-worthy photograph. What follows is a portion of our chat (edited for brevity and clarity).

DPReview: You've produced beautiful gallery and book projects such as 2022's Notion of a City and 2019's No Offense If You Forget, where you use a very pastel color palette that still maintains its vividity. What led you to this style choice?

Demi: My distinctive color palette comes from Italian horror/thrillers of the 1970s called giallos. They were my initial inspiration to create my look because they are so unique and effective at setting a certain 'mood.'

"My distinctive color palette comes from Italian horror/thrillers of the 1970s called giallos."

While photographing in Istanbul, every detail around me adds up to a complete 'horror film set' in my mind. It's eerie, and you can feel that something's off, but you can't quite put your finger on what it is. I very much enjoy acting like a horror film director who only works during the daytime. I never stage my photographs, though, or utilize darkness/nighttime. Daytime is 'scary' enough. I am in love with photographing what I call 'quiet tension' in the city, so the colors work in my favor.

ISO 200 | 1/125 sec | F4 | 8mm (24mm equiv. full-frame)

Photo: Ci Demi

Camera: Sony RX0

In the past, you've used minuscule point-and-shoots (such as the Sony RX0) for some of your work. How did changing your camera to something so small and so wide (24mm equiv. lens) influence your style and your stories?

For the photo series that you mentioned, No Offense if You Forget, I used the Fujifilm X70, Fujifilm X100F/V, Sony RX100 V, and Sony RX0 over a span of five years.

In the entirety of 2018, I only used the Sony RX0. Well, I can't recommend that to anyone because, as you can easily guess, it's crippling. I missed more shots than I captured. But at that time, I had no desire to carry a 'larger' camera, so it somewhat worked out.

ISO 200 | 1/160 sec | F4 | 8mm (24mm equiv. full-frame)

Photo: Ci Demi

Camera: Sony RX0

The Sony RX0 is frustratingly beautiful. Carrying it for the purpose of shooting a story is simply liberating. It's the closest I have ever gotten to 'photographing without a camera.' I worked with 28mm and 35mm my entire life, but 24mm is a whole other thing; it requires you to get up properly close. It was experimental to use that camera, and it still is, but I think I enjoyed the challenge.

In the entirety of 2018, I only used the Sony RX0. Well, I can't recommend that to anyone...

Fun story: In early 2023, I went on an assignment for an international newspaper. I had the Fujifilm X100V and Sony RX0 with me. I shot the entire assignment with the Fujifilm, but for one shot, I needed a wider angle, so I snapped a picture with the Sony. Guess which picture the photo editor picked for the article? It was amusing to see a photo that came from that camera in a newspaper.

Currently, I primarily shoot with a Ricoh GR IIIx. The Sony RX0 is always in my bag as well.

Can you delve a little into the process you use to create your color palette and style?

I have been using Adobe Lightroom to edit my pictures almost exclusively on my tablet for the past five years. So, years ago, I got to work and tried to imitate giallos. I don't think I succeeded 100%, but I did end up with something special: my own color palette. In my case, negative contrast values and keeping hue saturation and lightness consistent are the keys to my approach.

ISO 200 | 1/1000 sec | F4 | 18mm (28mm equiv. full-frame)

Photo: Ci Demi

Camera: Fujifilm X70

Where do you derive your inspiration from? I know that you mentioned a while back that photography was a way to get out of the house after a serious depressive episode.

All of my stories are about Istanbul, my relationship with it (and my criticisms of it), and myself. Therefore, I would say that my life itself inspires me; it is my driving force. Ever since I was little, I have wanted to tell stories. This is what I am constantly doing now with my photography, and I am very content with a zen-like approach to life.

"I'll forever be grateful to that clueless me who got himself a camera for seemingly no reason."

At one point in my life, photography was my therapy – pretty much my excuse to live my life. I can confidently say that it saved me from the depths of depression. Its impact was massive. I'll forever be grateful to that clueless me who got himself a camera for seemingly no reason.

Do you shoot to discover new areas, or do you find new compositions in familiar places?

I think it's a little bit of both; sometimes, I feel like going far into the city, while other times, I just walk around the city center for a couple of hours, always hoping to come across something interesting. Istanbul never fails to deliver; I keep seeing these little details that make the city what it is. So, I photograph them. Discovering those moments gives me immense joy.

ISO 200 | 1/1000 sec | F4 | 18mm (28mm equiv. full-frame)

Photo: Ci Demi

Camera: Fujifilm X100F

You've shot many series featuring your home city of Istanbul. What about the city speaks to you so creatively, and how do you try to capture its spirit even without people or text (as in Notion of a City)?

There are countless layers that make up Istanbul. Peeling them off with photography and attempting to capture the essence of the city is extremely satisfying to me. Istanbul is a mysterious and crowded city with a unique sense of humor. There are so many possibilities for photographs in every moment. I keep coming back for more because I never stop discovering new layers in it.

ISO 200 | 1/400 sec | F5.6 | 18mm (28mm equiv. full-frame)

Photo: Ci Demi

Camera: Fujifilm X70

Is there any other city you'd like to photograph aside from Istanbul?

I did try photographing in New Zealand. I was faced with a complete culture shock, I think. While I was able to capture some meaningful pictures, they were nothing like what I would shoot in Istanbul. So, I guess Istanbul also defines my style to some extent. I know the ins and outs of it, and we can work together to create a narrative. In New Zealand, I felt like an outsider for the first time. Not necessarily a bad thing, as I was a tourist, but I didn't capture what I was after with my photography there.

I do, however, want to photograph Berlin and try to find traces and clues of Istanbul in that city, as it has a sizable Turkish community. But that's a story for the future.

ISO 200 | 1/1800 sec | F4 | 23mm (35mm equiv. full-frame)

Photo: Ci Demi

Camera: Fujifilm X100F

The Fujifilm GFX 100 II leans into video more than any previous medium format camera, with capabilities including full-width 4K capture for a series of lens formats, 8K capture from a cropped region, ProRes 422 capture to SSD and the inclusion of waveforms and vectorscopes. You can find out all the details in our initial review of the camera.

Pre-order now:

$7499 at B&H $7499 at Adorama

We knew it'd be a while until we could get the camera back to the studio, but couldn't resist seeing how practical it would be to document a quiet walk in Derbyshire's beautiful Peak District. The GFX can't read out its entire sensor for its 4K modes, so we wanted to see what the output looked like, using the largest region of the sensor we could: the UHD 4K mode for GF lenses.

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Meanwhile, it seemed senseless to carry the new Fujifilm GF 30mm F5.6 T/S and Fujifilm GF 55mm F1.7R WR back from the launch in Stockholm and not use them, so, during the breaks in the rain, technical editor Richard Butler used both lenses to expand the GFX 100 II sample gallery. The images are mostly towards the end of the gallery and include images using both the tilt and shift functions of the 30mm lens, and the 55mm in less-than-perfect lighting.

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View our Fujifilm GFX 100 II pre-production sample gallery

Introduction

Nikon has touted the Nikkor Z 135mm f/1.8 S 'Plena' lens as its premium mid-telephoto portrait prime for Nikon's Z-series cameras. Nikon says the lens was designed to capture fine detail hair and skin tones, reduce vignetting and produce circular bokeh with minimal cat's eye. Night photography and other scenarios with limited sources of light should also benefit thanks to a fast aperture.

The lens weighs in at 995 g (2.15 lb) thanks in part to the glass within (16 elements in 14 groups) and the 98 mm (3.86") diameter and 140 mm (5.51") length of the lens. This is large, but it's not far removed from counterparts such as the Sony FE 135mm f/1.8 GM or the Canon RF 135mm f/1.8 L IS USM.

The lens does have a large front element, taking an 82mm filter, but it's also the same 82mm filter size as the Sigma 135mm f/1.8 DG HSM Art and Sony FE 135mm f/1.8 GM, so it's not unusually large.

Buy now:

$2500 at B&H $2500 at Adorama What's in a name?

Along the barrel is an etched yellow 'Plena' logo in cursive. We previously saw the same treatment given to 2019's Nikkor Z 58mm f/0.95 S Noct.

Nikon says the lens was named for the Latin 'plenum,' which is loosely defined as a vase or space that is full. They've used it here as a reference to the lens being a space that is full of a user's creativity.

The lens is still part of Nikon's S-Line, a designation Nikon uses for its highest tier of Z-mount lenses, which are held to their own definitions of high build quality in terms of imperfections and optics.

Custom functions

Along the barrel, Nikon has included two duplicate L-Fn custom function buttons, a focus ring and a customizable control ring.

The control ring can be set to adjust the aperture, ISO or exposure compensation. The ring is clickless and feels smooth but not loose. The two custom buttons both control the same setting and are duplicated to make the button accessible when the camera is held horizontally or vertically.

The lens is also weather-sealed and Nikon says the inclusion of metal components should help make it durable in the field.

Focus system

Focus is driven by two stepping motors (STM), and Nikon says focusing is fast and quiet, making the lens a usable option for video.

During my hands-on, my experience seemed to confirm Nikon's claims and I found the focus to be quick and fairly accurate. For video, it did indeed seem quiet, but we were limited to out-of-camera JPEG images for this initial review and weren't fully able to test video clips to determine if any sound or vibration was introduced by the lens. Also in regards to video, I did notice some focus breathing, it's not egregious but regardless it is present.

Along the left side of the base is a focus selection switch, which as you'd expect allows users to manually focus with the focus ring.

The 'Plena' has a minimum focusing distance of 0.82 m (2.69 ft), which is nothing special and no different than other premium 135mm lenses on the market.

Lens design

If there's one key point Nikon has hit in the announcement of the Nikkor Z 135mm f/1.8 S 'Plena,' it's the very round bokeh, that seems to go edge-to-edge with very little cat's eye, even when wide open.

Nikon claims that 'perfectly round circles of bokeh are visible even in the furthest corners of the frame. There’s no onion-ring or cat-eye bokeh, and no discernible color fringing or vignetting.' However, in samples images we shot, there were some areas that were borderline on cat's eye bokeh.

Nikon seems to have devoted most of its efforts to delivering attractive bokeh, starting with the easy stuff like giving it 11 aperture blades to make the bokeh round but also throughout the optical design of the lens.

It has used a large rear element to try to maintain brightness to the edge of the image but also to reduce mechanical vignetting, which causes off-axis bokeh to develop the distinctive cat's eye shape that can occur.

Internally the lens has 16 elements in 14 groups, with four ED elements, one aspherical element and one SR lens element. The SR element isn't something you see in most Nikon lenses; it has a higher refractive index for blue and short-wavelength light, which should help control axial chromatic aberration. Canon has its equivalent 'BR' element for its lenses, but curiously does not use it in its RF 135mm F1.8 L IS USM lens.

The use of an SR lens element to prevent colored fringing and the company's most advanced coatings to minimize reflections (and hence maintain contrast) suggest the company has really focused on the lens' rendering and character.

Bokeh performance

Our hands-on time was during a cloudy and rainy gray Seattle day so I wasn't able to run it through the usual paces of string lights at night, Seattle neon lights on the streets or even the sun bouncing off a lake, but we did manage to shoot some portraits wide open through the tree canopy to see how the lens would react to the pin drops of highlights poking through. In our out-of-camera JPEG images I saw very little cat's eye and clean bokeh otherwise.

Depth-of-field when wide open also appears to have a smooth fall off and a background that becomes almost creamy, which helps create separation between foreground, background and subject.

I'll have to reserve final judgment until we get our hands on a production model. I'm keen to fully test out the bokeh in multiple lighting conditions to see if the final performance lives up to a lens that deserves its own name.

Lens hood

The lens comes packed with a lens hood. It snaps into place with a quick-release quarter-turn. I didn't try any drop tests, but it seems sturdy enough.

There's no tripod mount, but you also don't need it. You may hear 135mm and think it's a long lens, but since it's a prime it's fairly compact at a 98 mm (3.86") diameter and 140 mm (5.51") length.

In conclusion

The NIKKOR Z 135mm f/1.8 S 'Plena' lens arrives October 2023 for a suggested retail price of $2500.

During our day with the lens, I came away optimistic that the 'Plena' may actually live up to the hype. Using a pre-production model, the images seemed clean and detailed with a smooth fall-off of focus and even brightness. The lens felt sturdy and well-machined. I also appreciated the weathersealing during our rainy Seattle walkabout.

In addition to our hands-on time with the lens, we were able to get some out-of-camera JPEG sample images. They don't tell us everything, we'll need to make some Raw images with a production model for a better evaluation, but they give us a few clues about how the lens should behave in use.

The majesty of the 1989 Toyota Camry.

ISO 50 | f/14 | 1/30 sec | Nikon D750 + Sigma 50mm F1.4

Victoria Scott

Shooting automobiles well is deceptively challenging. A car, after all, is nothing but a series of surfaces made entirely of reflections and smoothed-over creases and glass, which are some of the hardest things to shoot well. Luckily, there are simple ways to make your life easier and make your automotive photography feel less disposable-camera and more Road & Track cover shoot. Many of these tricks, it turns out, are just general photography lessons applied in specific ways.

The first indispensable trick for automotive photography is the humble circular polarizer, whose usefulness goes well beyond just shooting cars. Often found in any landscape photographer's kit, a circular polarizer is a filter that both linearly and circularly polarizes the light passing through it. The mechanics of how this works requires a full breakdown of the polarizer's molecular structure and a decent-to-okay understanding of light-wave physics.

"The first indispensable trick for automotive photography is the humble circular polarizer."

How it works is, therefore, beyond this article's scope. The important part to know is that it is used to reduce unwanted reflections and glare. Landscape photographers use it to make the sky bluer, water clearer and foliage greener, and architecture photographers use it to make plate glass transparent instead of a mess of reflections. Its ability to virtually eliminate reflections also makes it one of the most powerful tools at your disposal for automotive photography.

The final effect of a circular polarizer is similar to that of polarized sunglasses but infinitely more customizable to the photographer's taste, thanks to the fact it can be rotated on the front of the lens. Let's look at a few examples of how it's used to make cars – and the world around them – look fantastic.

Case Study #1: My Daily Driver No polarizer. ISO 80 | 1/640 sec | F6.3 | Nikon D750 + Nikkor 35mm F1.8 Polarizer on. ISO 80 | 1/250 sec | F6.3 | Nikon D750 + Nikkor 35mm F1.8

This is my brand-new-to-me 1989 Toyota Camry. (In true photographer fashion, the car I use to transport my gear costs about 1/5th as much as the gear itself.) I took the photo on the left without a polarizer; I used a circular polarizer in the shot on the right. You can see how the polarizer virtually eradicated all the glare on the hood and windshield.

This scenario – overcast skies with large, flat glass and metal surfaces – is when a circular polarizer truly shines for automotive photography. Instead of being nearly opaque with reflections, my windshield clearly shows my vehicle's interior. The lessened reflections on the hood allow you to see the paint's extensive – ahem – texturing more clearly. Although the car is still the same weathered machine in both shots, the second shot looks more professional.

The reason for the difference in shutter speed between the two otherwise identical shots is that a polarizer, thanks to the tint of the polarizing material itself, usually causes a loss of about 1-2 stops of light, depending on the brand, strength, and positioning of the polarizer. Here, I lost about 1.5 stops, and I had to adjust my tint slightly for identical coloring between both shots, as my specific polarizer adds a slightly warm tone.

Case Study #2: Adventure Camry No polarizer. ISO 50 | f/20 | 1/30 sec | Nikon D750 + Sigma 105mm F2.8 Polarizer on. ISO 50 | f/20 | 1/13 sec | Nikon D750 + Sigma 105mm F2.8

For the next example, I went out adventuring on a day with clearer skies and found myself at an interesting cliff formation at sunset. The shot to the left has no circular polarizer, and it seems I don't need one at first. After all, the large, flat rear glass of my Camry is almost entirely transparent without the polarizer, thanks to the direct light falling at a 90-degree angle to the window.

But adding a polarizer can still help immensely here, as seen in the shot to the right. For one, the polarizer helps in the traditional landscape photography way: since I'm facing almost exactly 90 degrees from the sun, the polarizer is at its peak effectiveness for the sky. It adds immense contrast to the distant mountains and clouds.

Beyond its landscape-photography assistance, the polarizer also cuts down on the glare on my Camry's side, making the red paint look more vibrant. The side window glass is also clear, and the tires and black plastic bumpers have less glare and more contrast. The car looks overall more vivid and pops more with the polarizer on, despite the identical editing and settings to the unpolarized shot.

Case Study #3: Diffuse Light, Swooping Lines

No polarizer.

ISO 100 | f/9 | 1/160 sec | Nikon D750 + Nikkor F1.8 35mm

Here is a shot of a friend's Toyota Yaris. The overcast sky and the mid-aughts bubble-car styling combine here to make every surface of the Toyota extremely shiny (even though I definitely didn't wash it to take this photo). While it might look clean, that reflectivity greatly clutters the car's lines and washes out the contrast between the windows and the silver paint. Magazine-style automotive photography usually minimizes reflections to help emphasize the design and paint of the car and make the sheet-metal creases stand out.

Polarizer on.

ISO 100 | f/9 | 1/60 sec | Nikon D750 + Nikkor 35mm F1.8

Polarizer on, rotated 180 degrees. The side is now clean of reflections.
ISO 100 | f/9 | 1/60 sec | Nikon D750 + Nikkor 35mm F1.8

On the left is the same shot as above but with a circular polarizer. Here, the front glass is clear, and the styling creases on the hood and front fender have more contrast. Because of how diffuse the light is in this shot, the side of the car is also still cluttered with reflections of clouds.

This is where the fun and individual preference component of using a polarizer in automotive photography comes into play. When shooting landscape photography with a circular polarizer, it frequently only works best in one rotational position and is the most effective at a 90-degree angle to the sun.

"When shooting landscape photography with a circular polarizer, it frequently only works best in one rotational position, and it is only most effective at a 90 degree angle to the sun."

With a car in diffuse light – especially one as bubbly as this Yaris – the polarizer is effective through its complete rotation. The reflection-reduction effect changes as you rotate the filter. I left the polarizer on for the right shot of the Yaris, but I rotated it 180 degrees from the previous photo. This changes the reflections it blocks out; now, the side of the hatchback is devoid of reflections, but the front glass has them again. You can play with the rotation you prefer; for me, I tend to do it on a case-by-case basis for the vehicle.

With this Yaris, I would go with the shot to the right if I had to choose. It shows the crease in the sheet metal running from the taillights through the door handle more cleanly, and the side is also the surface with the most glass showing to the viewer. Eliminating reflections from as much glass as possible is usually the best bet.

Polarizer on (two-shot composite).

ISO 100 | f/9 | 1/60 sec | Nikon D750 + Nikkor 35mm F1.8

However, I don't have to choose between the two. To get the most polished, auto-advertisement-ready look, blend both images in Photoshop. In this shot, I stacked the photos taken at 0 and 180 degrees of polarizer rotation and used a layer mask to show the reduced-reflection layers of both images. I chose the shot where the reflections in the sunflower leaves were minimized to be my base layer to get the maximum effect of the polarizer throughout the image.

"Eliminating reflections from as much glass as possible is usually the best bet."

This takes the most work (and a tripod), but it is a lifesaver when working with challenging cars (such as ones with very dramatic glass or glossy black paint), and in diffuse lighting conditions, it gives studio-like results.

Clunker to Cover Story Polarizer off. ISO 100 | f/11 | 1/160 sec | Nikon D750 + Nikon E-Series 50mm F1.8 Polarizer on. ISO 100 | f/11 | 1/50 sec | Nikon D750 + Nikon E-Series 50mm F1.8

A circular polarizer isn't the be-all, end-all trick to taking interesting car photos, but it is a crucial part of an automotive photography toolkit. Even in situations where its impact is relatively minimal – such as this shot of my Camry on a reservoir beach – it still helps with some of the bright rocky ground's reflections on the lower portion of the door sills. Of course, it also makes the background water and sky significantly more dramatic, which is a welcome bonus in this case.

In this shot, I purposely spun the polarizer until the windshield faded from reflected to clear for a more dramatic effect.

ISO 800 | f/4.5 | 1/200 sec | Nikon D750 + Sigma F1.4 50mm

It's no dramatization to say that I leave my polarizer on for about 90% of my shots, and the specific effect I aim for changes based on the lighting, car, and desired style. Usually, I try to focus on getting the largest portion of glass possible clear of reflections and then tweak the specific look from there.

For example, in the shot of the Acura NSX above, I adjusted the polarizer until the windshield was clear and then intentionally spun the polarizer about 20 degrees further. This added just a bit of reflection back to the windshield (seen on the passenger side). This adds drama, and since the fog kept the reflections clean, I could achieve the look without cluttering the car's lines.

Of course, the best way to develop a style with your polarizer is to practice, and I hope I've shown you don't need an NSX to do so. Any old Camry will do.

Happy shooting!

Nikon's Nikkor Z 135mm F1.8 S 'Plena' is the company's second Z-mount lens with a unique moniker, which seems to suggest they think it's something special. Nikon has described the lens as a must-have light-gathering beast for photographers, one which minimizes vignetting with clean edge-to-edge brightness, has exceptional clarity and sharpness for fine details, hair and skin tones, as well as minimizes cat's eye bokeh to produce round specular highlights throughout the frame.

DPReview's Shaminder Dulai gets some hands-on time with a pre-production version of the new mid-telephoto portrait prime to see how those claims measure up in our latest episode of DPRTV.

After the video, learn more about the 'Plena' and peruse some out-of-camera JPEG sample images.

Subscribe to our YouTube channel to get new episodes of DPReview TV when they go live.

Buy now:

$2500 at B&H $2500 at Adorama

Hands-on with the OM System Tough TG-7

The Tough TG-7 is the first rugged camera to wear the OM System name rather than Olympus. As you might have guessed, it's the seventh camera in the TG series, which has long been one of our favorites in the rugged/underwater space.

The TG series has not evolved a whole lot over the years. There's still a 12 Megapixel BSI CMOS sensor, 25-100mm equivalent F2-4.9 lens, impressive rugged credentials, and the ability to associate location, depth, and more to your photos.

Buy now:

$550 at B＆H $550 at Adorama

When the TG-7 was announced, there was a lot of chatter in the DPReview comments about how the TG-7 needed to evolve. Why isn't there a larger, perhaps Type 1 (13.2 x 8.8mm) sensor? How about a different lens? The answer to that may be that the TG series has sold very well for Olympus/OM System, so maybe they're just giving the people what they want. If it ain't broke, don't fix it.

Before we start exploring the TG-7 in more depth, it's worth noting that the MSRP has jumped $100 compared to the TG-6, with a suggested price of $599.

Compared to the TG-6

By and large, most of the differences between the 'Olympus' TG-6 and 'OM System' TG-7 are on the outside, and we don't just mean the branding. The front grip has been redesigned with a ribbed plastic surface. It's still a bit slippery, but it's a step up from the TG-6. The screws that sat next to the grip on the TG-6 have been relocated toward the opposite end of the camera.

The LCD on the rear has a new panel, though it's not without issues (more on that in later slides). The TG-7 now sports a USB-C port that can be used for charging the battery or transferring photos. It's a bummer that you can't power the camera while it's in use, given its battery-draining GPS and tracking functions. Note that OM System only includes a USB-A to USB-C cable with the camera. There is no AC adapter or external charger, so you'll need to buy one.

Finally, the TG-7 gains support for a wireless remote (RM-WR1, $99) and has a few new shooting features, which we'll get to shortly.

Lens and sensor

The TG-7 continues to use a 12 Megapixel Type 1/2.3 (6.3 x 4.7mm) BSI CMOS sensor, which first debuted on the TG-5. The camera has sensor-shift image stabilization, which reduces shake by around 2.5 stops.

The continuing use of a small sensor, which is smaller than what you'll find on high-end smartphones, has raised questions from some camera users. Many folks want something like a Type 1 (13.2 x 8.8mm) sensor, but that would make it a chunkier camera with a larger lens. It would be nice if OM System offered such a camera without sacrificing more portable cameras like the TG-7, but the likelihood of that happening is extremely low.

Getting back to the lens, it's a 4X optical zoom, equivalent to 25-100mm, with a maximum aperture range of F2-4.9, which is quite fast for a compact camera, at least at the wide end. The camera has a semi-fixed aperture and uses an ND filter to stop the lens to its minimum setting. Thus, at any focal length, there will only be three apertures to choose from (e.g., F2, F2.8, and F8).

The built-in flash can be used to trigger compatible Olympus/OM System external flashes. Next to it is an LED lamp that can be turned into a flashlight by holding down the Info button for a few seconds.

Rugged credentials

The TG-7 is designed to get wet, dropped, smashed against rocks, and stepped on – maybe all at the same time. The camera has a nice heft to it, and the build quality is solid, aside from the plasticky dials.

Seals on the two doors, such as the one for the I/O ports above, keep out water and dust. The TG-7 can reach depths of up to 15 meters (around 50 feet). It's critical to pay attention to the instructions for keeping the seals in good shape. You need to check the seals for any sand or debris and make sure the doors are double-locked.

The TG-7 can be dropped from 2.1m (just under 7 ft), be crushed by up to 220 kg (100 lbs) of force, and operate at temperatures down to -10°C (+14°F). The lens has two panes of glass to reduce fogging when there are sudden changes in humidity.

Display

We have good news and bad news about the TG-7's new 3" TFT display. The good news is that colors are a lot more accurate compared to the screen on the TG-6 and TG-5. The bad news is that this panel does not get along with polarized sunglasses when shooting landscapes, at least with the pair I used with the camera. I had to take off my sunglasses or turn the camera vertically to see anything. This is a bummer since the TG-7 is meant to be used outdoors.

One of the other issues on the previous models was the ease of scratching the display. According to OMDS, the glass is the same, so heed our advice and buy a tempered glass screen protector.

Shooting modes

The TG-7 has a whole bunch of shooting modes, all of which are accessed via the mode dial or main menu. The first thing you may notice on the dial is the lack of shutter priority or full manual exposure modes, which is due to the camera's use of a partial aperture.

Selecting the fish on the mode dial is what you'll want to use when you're submerged. There are snapshot, wide-angle, macro, microscope and HDR modes. There are actually three underwater white balance settings: shallow, midrange, and deep. You can choose them manually or let the camera do so in the underwater mode.

The TG-7 is big on macro photography. Flip to microscope mode, and your subject can be just 1cm (0.4") from the end of the lens. Focus stacking takes a series of images and combines them into a composite with everything in focus. Focus bracketing is similar, except each image is saved separately. Microscope control uses digital zoom to get up to 4X closer, with a corresponding drop in quality.

The TG-7 has a few favorites from OM System's mirrorless cameras, as well. Live Composite creates a time-lapse photo where only changes in light are captured. (The camera can create 'regular' time-lapse stills and images, as well.) Pro Capture is another useful feature; it saves photos taken before you fully press the shutter release, great for action photography.

There's a new construction scene mode, which needs to be turned on in the main menu. It can remove dust from photos, brighten dark scenes, and take photos of blueprints or drawings.

The last item of note on the mode dial is video. The TG-7 can capture 4K/30p footage, albeit with a noticeable crop (which Movie IS increases). Vertical video can now be recorded for the TikTok crowd.

Sensors and tracking

Something that makes the Tough TG-7 stand out from virtually all digital cameras on the market is its extensive environmental sensors and tracking capabilities. Onboard are a GPS, compass, barometer, altimeter/depth gauge, and thermometer. All of this can be embedded into the metadata of a photo, which you can see in playback mode or when an image is imported into software like Lightroom. One thing to note is that the thermometer isn't entirely accurate above the surface since it's located inside the chassis.

But wait, there's more. The TG-7 can use its GPS to track your hike, drive, or any other activity and show your route and where photos were taken. To turn that on, flip the switch on the far left of the top plate to log, and off you go. When you're done, you can import the tracking data into O.I.Share, which will associate the data with photos. It's a huge battery drain, but it's a neat feature.

One of my favorite TG-7 tools is an info screen that shows all of the current sensor data, even with the camera turned off. To turn it on, just press the info button for a second or two (any longer and the flashlight will turn on.)

Endless accessories

Something that has always set the TG-series apart from its peers (and all compact cameras for that matter) is the enormous selection of accessories for both dry and underwater shooting.

By replacing the lens ring shown above, an adapter screw can mount three different conversion lenses: two fisheye and one telephoto. There's also a 'Light Guide' that uses the onboard LED to create a ring light and a flash diffuser with two brightness settings. Everything mentioned above is water-resistant, so dive away.

For deep water photography there's the PT-059 underwater case, which increases the maximum depth to 45 meters (about 150 feet). You still have access to all of the TG-7's buttons and dials, and the cold shoe on top of the case lets you attach a strobe or lamp. A monitor hood and optical fiber adapter are also included.

Wrap up

The OM System Tough TG-7 continues to be a capable underwater compact camera. Sure, it's been surpassed by smartphones in terms of image quality, but see what happens to your smartphone in 2 meters (about 7 feet) of water or if it's smashed against a rock. It would be great to see a 'Super TG' camera with a larger sensor, but given the market for such a device, the odds of that happening are slim.

Ultimately, it's the combination of ruggedness and sensors/tracking that make the TG-7 stand out. We've taken many cool photos and videos with its predecessors, and it seems the TG-7 could do the same.

The Nikkor Z 135mm f/1.8 S 'Plena' is Nikon's second named Z-mount lens, following in the footsteps of 2019's Nikkor Z 58mm f/0.95 S 'Noct.'

Photo credit: Nikon

Nikon has announced the Nikkor Z 135mm f/1.8 S 'Plena' lens, a mid-telephoto portrait prime for Nikon's Z-series cameras. This turns out to be the product teased in a video last week, showing a glimpse of what appeared to be a hefty lens with a large front element.

The lens is Nikon's second Z-mount lens with a unique moniker, joining 2019's Nikkor Z 58mm f/0.95 S Noct. Plena derives its name from the Latin 'plenum,' which is loosely defined as a vase or space that is full. Nikon has interpreted the term as a lens that is full of a user's creativity thanks to a 'superior light gathering capability.'

Buy now:

$2500 at B&H

Like the Noct, which was purpose built for low light and night photography, Nikon says the 'Plena' was built with goals for sharpness, edge-to-edge brightness, round bokeh throughout with minimal cats eye and a 'superior' light gathering quality. To aid the latter, Nikon has included two types of anti-reflection coating that promise to 'prevent' reflections and a coating that addresses ghosting and flaring.

The 'Plena' has a focus mode switch and two custom function buttons on the barrel.

Photo credit: Nikon

Nikon highlights one use for the lens as a portrait lens, which they tout as having exceptional clarity and sharpness to enable fine detail hair and skin tone capture. They also mention a 'mystical pop of three-dimensionality,' which is something we'll have to try to look for in the images. Night photography and other scenarios with limited sources of light should also benefit thanks to a fast aperture and the Z-mount's large rear element.

The 'Plena' has 16 elements in 14 groups, with 1 aspherical, 1 SR and 4 ED elements. Focus is driven by two stepping motors and Nikon says focusing is fast and quiet, making the lens a usable option for video. The SR element has a higher refractive index for blue and short wavelength light, which should help control axial chromatic aberration.

This 135mm prime is expected to be the second to last new Nikon Z lens releasing this year, according to Nikon's latest lens roadmap update from June.

Photo credit: Nikon

Pricing and availability

The NIKKOR Z 135mm f/1.8 S 'Plena' lens arrives October 2023 for a suggested retail price of $2500.

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Nikon restricted our sharing of lens images to out-of-camera JPEG images only in our sample gallery. JPEG only limits how useful the samples are, and we plan to reserve our final assessment until we get our hands on a production model to produce Raw images in multiple lighting situations and conditions.

Note: Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

The splendor of full radiance: Nikon releases the NIKKOR Z 135mm f/1.8 S Plena

With an Emphasis on Extreme Peripheral Illumination, the Plena is a New Visual Experience with Dreamy Bokeh, Fast Aperture and Beautiful Compression

Melville, New York, September 27, 2023–Today Nikon Inc. announced the release of the NIKKOR Z 135mm f/1.8 S Plena, an impressively unique lens for Nikon Z series mirrorless cameras. This new mid-telephoto prime lens bestows astonishingly high resolution, edge-to-edge brightness, incredible sharpness and spectacularly dramatic bokeh, all while elevating the threshold of what’s possible with optical technology.

The name "Plena" is derived from the Latin term plenum, which denotes the state of a space being completely full. This name was chosen to reflect the lens’ ability to fulfill the user’s creative vision with superior light gathering capability, beautiful, well-rounded bokeh and outstanding sharpness and clarity throughout the frame. Following in the footsteps of the NIKKOR Z 58mm f/0.95 S Noct, this distinctively brilliant portrait prime is only the second Nikon lens to be granted a dedicated name, with the hope that it will be highly regarded by users for many years to come.

"The Plena is a beautiful lens in every way. From the premium metal exterior to the brightness and image rendering that’s nothing short of breathtaking, this is a lens that needs to be experienced," said Jay Vannatter, Executive Vice President, Nikon Inc. "This is exactly the kind of incredible optical innovation that our engineers promised was in our future, which could only be developed with the wider diameter and shorter flange distance of the next generation Z mount."

This truly special optic is engineered with a focus on superior peripheral illumination, which is the ability to deliver the maximum amount of light to the far edges of the frame. The result is abundant brightness from edge-to-edge, with clear, bright subject distinction throughout. The combination of brightness, bokeh quality and extreme sharpness makes for vibrant images with a mystical pop of three-dimensionality. The NIKKOR Z 135mm f/1.8 S Plena is part of the S-Line[1] and takes advantage of the Z mount system’s large-diameter mount, which unlocks further possibilities of lens design, as well as the potential for light gathering.

In addition to enhanced brightness, the optical formula and larger rear element helps to realize beautiful, well-rounded bokeh throughout the entire frame, even from maximum aperture. The NIKKOR Z 135mm f/1.8 S Plena also affords users outstanding sharpness and clarity, regardless of the shooting distance with a close minimum focusing distance of only 0.82 m/2.69 ft. This enables a fantastic dreamlike expression that combines delicate textures and beautiful bokeh in portraits, landscapes and more.

The lens’ luxurious exterior design is intended to match its superior optical performance. Along with the adoption of metal components, the lens features an engraved "Plena" logo similar to the cursive font and yellow color of the Noct logo. Additional features include a fully weather sealed body for durability and the addition of two L-Fn buttons for customization.

Primary Features of the NIKKOR Z 135mm f/1.8 S Plena

• Beautiful, well-rounded bokeh is achieved throughout the entire frame, while supporting a fast f/1.8 maximum aperture.
• Eleven-blade diaphragm and larger rear element contribute to exceptionally circular bokeh for dreamlike expression that accentuates the three-dimensionality of the subject with smooth gradation.
• The large amount of peripheral light at the f/1.8 maximum aperture ensures a consistently bright image all the way to the extreme corners of the frame for a sense of transparency and brilliance in images.
• The outstanding sharpness and clarity, characteristic of S-Line lenses, enables rendering of the finest textures in hair and skin tones, while excellent point-light reproduction capabilities achieve brilliant night and urban landscape imagery.
• A multi-focusing system uses stepping motors (STMs) for fast, accurate and quiet autofocus drive for still images and video.
• In addition to Meso Amorphous Coat, the most effective anti-reflection coating in Nikon history that prevents reflections regardless of the direction from which light enters the lens, Nikon’s original ARNEO Coat is also used to effectively reduce instances of ghosting and flaring.
• Optical construction consists of 16 elements in 14 groups, with four ED elements, one aspherical element and one SR lens element.
• A design that takes video recording into consideration with quiet operation and stable exposure.
• The lens body features two lens Fn buttons, to which a wide variety of functions can be assigned. One is positioned on the top of the lens enabling smooth adjustment of settings even when shooting in vertical orientation.
• The versatile 82mm filter attachment size enables the use of various lens filters designed to satisfy users’ creative intent.
• Designed to achieve superior dust and drip-resistant performance[2].
• Well balanced with a dimension of 3.9"x 5.5", and a weight of 2.2 lbs /995 g.

Price and Availability

The new NIKKOR Z 135mm f/1.8 S Plena will be available in mid-October for a suggested retail price of $2499.95.* For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit Nikonusa.com.

[1] The S-line is a grade of NIKKOR Z lenses that demonstrate outstanding optical performance, adhering to a high standard of design principles and quality control.

[2] Thorough dust- and drip-resistance is not guaranteed in all situations or under all conditions.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

On the left: a sign outside of Grand Traverse Light in Northern Michigan. Michigan is one of the 16 US states that doesn't allow local governments and cities to make their own drone laws. On the right: a sign outside of Navy Pier, Chicago, Illinois. You cannot launch your drone inside this property, but you can fly in the airspace above it.

At the beginning of this year, I was traveling through Michigan’s Upper Peninsula when I decided to capture a bucket list image with my DJI Mavic 3 drone. Kitch-iti-kipi is this US state’s largest natural freshwater spring and since it maintains a constant temperature of 7ºC (45ºF) throughout the year, it never freezes. I thought it would be cool to get a contrast of snowy trees set against a crystal-clear blue body of water.

The shot resonated with a brand that has a large presence on Instagram and with my permission, it was shared with the account’s 100,000+ followers. While many users left compliments, one particular gentleman declared that because this was a ‘No Drone Zone,’ my image was ‘illegal.’ He continued on with his tirade, in his Instagram Stories, saying that no one was ‘above the law.’ Unfortunately, even though a sign was posted on the park grounds, his claim was incorrect. Not a single law was broken.

This image of Kitch-iti-kipi was legally captured as I launched outside the park grounds, maintained visual line of sight with my drone, and didn't fly over moving cars or people.

I thought this was an isolated incident but then something peculiar happened. Everywhere I looked for the next several months in my online browsing, from drone-related forums to general travel sites, a specific type of comment, asking why the original poster was flying in a 'No Drone Zone' would appear, without fail, when someone shared an aerial image.

‘There’s a misconception on the droning community’s side and on the general public’s side. The droning community looks at it [the ‘No Drone Zone’ sign] and says 'There’s no way a landowner, apart from stopping us from taking off and landing on their own land, could possibly want to, or try to, control the airspace,' ' says Sean Hickey of Geeksvana.

'Almost everyone agrees that a noticeable uptick became apparent around the time DJI’s sub-250g Mavic Mini drone was released in 2019.'

‘When you speak to a member of the general public who isn’t a 'drone-experienced person' in any way, they feel it’s just as absurd that a drone can fly over their property and potentially photograph or take video of them. Basically, the ‘No Drone Zone’ signs are a product of the public and drone pilots not understanding each other,’ he adds.

How it started

'Historically the false NFZ [No Fly Zone] takes root back in the original communication from the Federal Aviation Administration [FAA] in September of 2015 that called out an area of 5 miles radius around airports. 'Within 5 miles of an airport' reverberated so well as a simple and understandable phrase that elected officials, police officers, and even many drone pilots took that portion and applied it as a literal No Fly Zone,' says Ryan LaTourette.

There aren't any laws that would hold up in court that could be quoted on this sign. This means some people don't want drones flown. This sign is not legally enforceable. Photo: Ryan LaTourette

'Congress got in on the act by calling out 'Critical Infrastructure' in the FAA Extension, Safety, and Security Act of 2016. Suddenly to state and local officials and their police departments, this new phrase of “critical infrastructure” meant denying drone flights near power plants, railroad yards, police stations, manufacturing facilities, and more,' he adds.

Hickey, and a few other industry experts I consulted with for this article, aren’t quite certain of the exact date ‘No Drone Zone’ signs started to make a public appearance. However, almost everyone agrees that a noticeable uptick became apparent around the time DJI’s sub-250g Mavic Mini drone was released in 2019. It was a response to the fact that more hobbyists and people who weren't familiar with drone laws were interested in, and able to fly with no registration required.

This sign in Australia is legitimate because it has a law stated on the bottom. Photo: Fiona Lake

‘Unfortunately, the media has been playing up the narrative of 'creeps fly drones to look in your windows' and of course the public doesn’t understand how rare this is, so it’s likely that drone paranoia will increase,' says Fiona Lake, a remote pilot and instructor. Drones also tend to be portrayed as militaristic, causing some individuals to see them as both a privacy and safety threat.

The source of confusion

Misconceptions aside, another issue stems from the fact that event organizers, for example, designate their own ‘No Drone Zone’ by posting signs without any regard for airspace regulations. Chicago-based drone professional, Antoine Tissier, encounters ‘No Drone Zone’ signs in front of corporations, festivals, and parks that have no legal basis.

As it stands, the FAA controls all of the airspace in the United States. You can only be prevented from flying in airspace when the FAA deems it hazardous. If a landowner or special interest doesn't want you flying in a particular area, they can only really prevent you from physically taking off and landing on their private property.

You can only be prevented from flying in airspace when the FAA deems it hazardous.

The FAA provides a No Drone Zone sign that can be downloaded and printed out, free of charge, on its official site. The site explicitly states 'The sign is not for private landowners.' There is also a fact sheet for state, local, and tribal entities to understand where they have authority and where they can't enforce certain rules.

Notably, the downloadable sign on the FAA's website is missing the government organization’s logo – because it is trademarked. Aviation attorney Dean Greenblatt recently called out one Detroit-based organization on its overreach. It read:

'What is interesting to some of the members is that [the organization] is apparently producing the sign with the FAA's logo printed upon it and giving the impression that this is an official declaration by the FAA. I suspect that it is not the intent of the FAA or the local FSDO (Flight Standards District Office) to declare this facility as a 'NO DRONE ZONE.''

Aviation attorney Dean Greenblatt called out a Detroit-based organization for their illegal usage of the FAA's logo on a 'No Drone Zone' sign. It implies that the FAA approves of the restrictions when, in fact, it doesn't.

'My suspicions were supported by the fact that the location at issue is not listed anywhere officially as being subject to any flight restrictions,' the letter continues. 'In fact, popular drone manufacturers do not geofence this location. I am not aware of any private enterprise that is empowered to implement its own flight restrictions and invoke the seal of the FAA to lend credibility to its publications, are you?’

Greenblatt correctly asserts that people would likely notice the FAA logo, believe that the sign and its placement were approved by the agency, and either a pilot would not operate in the area or a member of the public might get upset if a drone was spotted flying around.

The FAA discourages, and for the most part prohibits, the use of its logo on websites, pamphlets, marketing or educational materials, and, yes, signs, unless approval is given by the government agency. Anyone using the FAA’s logo without permission runs the risk of legal recourse.

What the FAA actually says about 'No Drone Zones'

A No Drone Zone resource is readily available on the FAA's official site. It contains three main points remote pilots need to understand before launching. For one, as mentioned earlier, the FAA controls all airspace and has put restrictions on certain areas for valid reasons. Operating in airspace that the FAA has designated as controlled and more is illegal.

There are certain states that allow cities and territories to create their own ordinances around drone use. Others, such as Michigan, allow the state to make the final rules. Drone use is permitted in all Michigan state parks with a small set of guidelines to be obeyed. Other states, like New York use their land use jurisdiction to disallow drone operations within their state parks. This point is being highlighted once again: you may be restricted from physically launching or landing your drone in a specific place, but you can still fly in its airspace.

The FAA attempts to clarify its intentions with 'No Drone Zone' signage.

Temporary Flight Restrictions (TFRs) are established often during major sporting events (think the National Football League's Super Bowl and even a Major League baseball game) or in the event that the President or Vice President is traveling in a vicinity. Checking a UTM (unmanned traffic management) app such as the FAA’s B4UFly or AirControl is imperative. It is also highly recommended to check for late-breaking TFRs directly on the FAA’s TFR site.

Violating Temporary Flight Restrictions can lead to arrest, a hefty fine in the tens of thousands of dollars, or jail time.

A TFR notice will appear and the designated area, along with its starting and ending times, will be outlined clearly. If you are caught operating in any area with an active TFR in place, an arrest, a hefty fine in the tens of thousands of dollars, and jail time are all possible consequences. In this case, a 'No Drone Zone' sign serves its purpose.

The question is, how can you tell if a 'No Drone Zone' sign was put in place by a government agency versus a private entity acting in their own self-interest?

How can you tell if a ‘No Drone Zone’ sign is legit?

According to Sean Hickey, local governments use ‘No Drone Zone’ signs a lot, even though one isn’t distributed by an official regulator in the United Kingdom – in this case, the Civil Aviation Authority (CAA). If you want to know if a sign is legitimate, look to see if there’s a law or regulation quoted on the sign. If there isn’t, it’s basically the landowner, a corporation, or an event planner stating they don’t want drones in the area.

If there's a law or regulation quoted on a sign, chances are it's a legitimate warning. Photo: Ryan Lackey

In the case of Kitch-iti-kipi, back in the United States, launching and landing a drone on the raft (or platform) visitors use to cross the natural Spring in Palms Book State Park is prohibited. Otherwise, flying in and around the area, at or below 400 feet AGL (above ground level), is perfectly legal so long as the drone pilot follows all FAA regulations for UAS flight.

You may see a ‘No Drone Zone’ sign without any law or specific regulation printed on it and assume you can still take off outside the area and operate overhead in its airspace. Even though the sign may not be official, it doesn’t mean that you’re clear to take off anyway. The sign could be in an area with an active TFR.

This year, the Lollapalooza music festival in downtown Chicago was able to secure a TFR for all three days of the festival unlike years past. In the event of unofficial-looking 'No Drone Zone' signs hanging around the area, it would be foolish to assume they're unauthorized and not check your UTM app beforehand.

No Drone Zone signs elsewhere

We’ve covered ‘No Drone Zone’ rules in the United States and the United Kingdom. Since DPReview’s audience is global, I was curious about how these signs are implemented and received in other countries. In Australia, drone rules are similar to most Western countries but the citizens have a more relaxed and self-governing attitude.

This is a 'No Drones' sign posted outside the Lollapalooza Music Festival in Chicago. Back then, this sign was posted because event planners didn't want drones in the vicinity. Recently, they were able to secure a TFR, making any drone flight illegal. Photo: Rich Wickersty

‘In addition to controlled airspace restrictions, (airports and defense force areas) drone flying restrictions apply to conservation parks, security-related facilities, ports, and other infrastructure. A few local councils in tourism hotspots are strict also – requiring drone owners to apply for permission to fly and charging a fee,’ says Fiona Lake.

‘Random members of the public who tie a ‘no drones’ sign to their gate – the signs are meaningless – people can still fly a drone above their land (as long as they’re abiding by other CASA rules). However, "No Drone Zone" signs aren’t as common. I have never seen a private landholder "no drones" sign. That’s not to say there are none at all but the rarity of private signs would be due to having a population 15 times less than the US but in the same sized landmass.’ There are also cultural differences.

Australians tend to be self-regulating – following rules when the reasons are clear/understood, and ignoring rules if there isn’t a good reason for them. As a culture – we tend to ask ‘why’, and then weigh it up. If some random person put up a "no drones" sign without an apparent reason (aviation rules, public safety/amenity, asset or wildlife protection) – many Australians would be inclined to ignore it (albeit with care).’

To the South, however, New Zealand doesn’t have any need for private ‘No Drone Zone’ signs as their unusual rules stipulate that drone owners must obtain permission from all private landowners before flying over their property. Then there are countries and territories that don’t have many drone regulations in place yet.

A 'No Drone Zone' sign, spotted in Australia. Australians generally heed formal signs belonging to government entities managing vital infrastructure such as ports. But many Australians will ignore signs belonging to private landowners unless there's an obvious risk to people, wildlife or property, as privately erected signs have no legal foundation. Photo: Fiona Lake

In a smaller and less populous country such as Guyana, you won’t see any ‘No Drone Zone’ signs simply because you don’t even need to obtain a permit for your drone if it weighs less than 15 pounds and isn’t being used for commercial purposes. 'Fortunately, there are not many laws which restrict us because drones are relatively new here. There are constant revisions to the rules and directives which can cause worry in the operator Community,' native remote pilot and entrepreneur André Smith explains.

Try challenging 'No Drone Zone' signs at upscale resorts, however, and the outcome could be bad – even if you are in the right. 'Resorts in Bora-Bora, such as St. Regis and the Four Seasons, display "No Drone" signs as you enter and require guests to sign legal documents acknowledging the drone ban. Failure to comply with these regulations may result in expulsion from the hotel premises without any refund,' says photographer Larissa Rolley.

Regardless, if you're operating in a different country or territory, you should make sure you have the proper certification and understand both the customs and rules for your own safety.

Just because you can, should you?

This was a question posed to me by a well-meaning photographer when a public spat broke out about my Kitch-iti-kipi photo. In the United States, and many other countries, taking off in National Parks or areas of conservation is strictly prohibited – and for good reason. Several people have gotten in trouble for flying a drone over the famous Grand Prismatic Spring in Yellowstone National Park.

LiveNation does not have the authority to use the FAA's logo on their 'No Drone Zone' signage. Photo: Antoine Tissier

This practice is not only illegal, it’s also hazardous. If a drone malfunctions or collides with a bird, for example, and falls in, it could cause significant damage to the geyser’s ecosystem. A temperature of 70ºC (160º Fahrenheit) will melt the drone and its remains would be hard to locate in a pool that’s 150 feet deep. In dryer areas, the lithium ion battery of a crashed drone could spark a wildfire.

As mentioned earlier, the temperature of Kitch-iti-kipi won’t dip below 7ºC (45º Fahrenheit) and it’s 40 feet deep. Hypothetically, if a drone falls in, it’s possible to retrieve it without causing any damage to the spring. The ‘No Drone Zone' sign at this state park simply means the rangers don’t want to risk people flying drones over the lake, even if it's legally unenforceable.

Legality aside, it's always wise to ask yourself if a drone flight is appropriate given your surroundings.

Still, it helps to exercise common sense and intuitively know when a drone might cause a disturbance. A few days before, some friends were photographing snowy owls in an area with one of the highest concentrations of this species in the nation. Even though there wasn’t a ‘No Drone Zone’ sign, and we weren’t in a National Park or protected airspace, I still had enough sense to keep my drone grounded. My friends would have been incensed too. Legality aside, it's always wise to ask yourself if a drone flight is appropriate given your surroundings.

‘We have a lot of special areas of conservation in Ireland and also around heritage sites but they can’t legally be enforced unless referenced by aviation authority,’ explains Fergal McCarthy. 'The IAA has a link to the Heritage Ireland website which has a list of prohibited sites but nothing will stand up in court unless damage was caused, which has already happened. Because someone embedded a drone in an old castle and a cherrypicker was brought on site to remove it, causing damage in the process, there is now a ban on all drones in that particular area.’

What you should do when you see a ‘No Drone Zone’ sign

‘To be fair, it’s rare you’ll see many signs in public that actually have no basis in the law. So when someone unfamiliar with drone laws sees a ‘No Drone Zone’ sign, it’s easy for them to assume that there’s a reason for it to be there,’ explains Sean Hickey. ‘If I went to picnic somewhere and there was a sign saying “No Picnicking,” I would likely go somewhere else.’

This is a sign spotted in Chicago. Class G airspace is legal to fly in by the FAA's standards, making this particular sign baseless. Photo: Antoine Tissier

This is why it's important to engage in civil discourse. 'No Drone Zone' sign or not, it's critical to know everything about the area you're operating in. No matter what, a drone pilot should always use a UTM app to check the airspace ahead of time. This ensures that you're not flying during a TFR or in a National Park. It's also important to follow basic, common sense rules including not flying over crowds of people or moving vehicles.

It's also important to conduct yourself in an upstanding manner and be a good drone citizen. Many people misunderstand drone technology and the rules. Calmly explaining yourself is sometimes necessary and educating others does a service for the drone community at large.

It's important to conduct yourself in an upstanding manner and be a good drone citizen.

Finally, on the flip side, when in doubt about the legality of an image posted online, it never hurts to ask the creator before lashing out or making unsubstantiated claims in a public forum. In real life, calmly ask rather than accuse someone of operating illegally in front of a 'No Drone Zone' sign. A little civility goes a long way.

Hopefully, all this information clears up the misconception of the 'No Drone Zone' sign for both sides.

On the left: a sign outside of Grand Traverse Light in Northern Michigan. Michigan is one of the 16 US states that doesn't allow local governments and cities to make their own drone laws. On the right: a sign outside of Navy Pier, Chicago, Illinois. You cannot launch your drone inside this property, but you can fly in the airspace above it.

At the beginning of this year, I was traveling through Michigan’s Upper Peninsula when I decided to capture a bucket list image with my DJI Mavic 3 drone. Kitch-iti-kipi is this US state’s largest natural freshwater spring and since it maintains a constant temperature of 7ºC (45ºF) throughout the year, it never freezes. I thought it would be cool to get a contrast of snowy trees set against a crystal-clear blue body of water.

The shot resonated with a brand that has a large presence on Instagram and with my permission, it was shared with the account’s 100,000+ followers. While many users left compliments, one particular gentleman declared that because this was a ‘No Drone Zone,’ my image was ‘illegal.’ He continued on with his tirade, in his Instagram Stories, saying that no one was ‘above the law.’ Unfortunately, even though a sign was posted on the park grounds, his claim was incorrect. Not a single law was broken.

This image of Kitch-iti-kipi was legally captured as I launched outside the park grounds, maintained visual line of sight with my drone, and didn't fly over moving cars or people.

I thought this was an isolated incident but then something peculiar happened. Everywhere I looked for the next several months in my online browsing, from drone-related forums to general travel sites, a specific type of comment, asking why the original poster was flying in a 'No Drone Zone' would appear, without fail, when someone shared an aerial image.

‘There’s a misconception on the droning community’s side and on the general public’s side. The droning community looks at it [the ‘No Drone Zone’ sign] and says 'There’s no way a landowner, apart from stopping us from taking off and landing on their own land, could possibly want to, or try to, control the airspace,' ' says Sean Hickey of Geeksvana.

'Almost everyone agrees that a noticeable uptick became apparent around the time DJI’s sub-250g Mavic Mini drone was released in 2019.'

‘When you speak to a member of the general public who isn’t a 'drone-experienced person' in any way, they feel it’s just as absurd that a drone can fly over their property and potentially photograph or take video of them. Basically, the ‘No Drone Zone’ signs are a product of the public and drone pilots not understanding each other.’ he adds.

How it started

'Historically the false NFZ [No Fly Zone] takes root back in the original communication from the Federal Aviation Administration [FAA] in September of 2015 that called out an area of 5 miles radius around airports. 'Within 5 miles of an airport' reverberated so well as a simple and understandable phrase that elected officials, police officers, and even many drone pilots took that portion and applied it as a literal No Fly Zone,' says Ryan LaTourette.

There aren't any laws that would hold up in court that could be quoted on this sign. This means some people don't want drones flown. This sign is not legally enforceable. Photo: Ryan LaTourette.

'Congress got in on the act by calling out 'Critical Infrastructure' in the FAA Extension, Safety, and Security Act of 2016. Suddenly to state and local officials and their police departments, this new phrase of “critical infrastructure” meant denying drone flights near power plants, railroad yards, police stations, manufacturing facilities, and more,' he adds.

Hickey, and a few other industry experts I consulted with for this article, aren’t quite certain of the exact date ‘No Drone Zone’ signs started to make a public appearance. However, almost everyone agrees that a noticeable uptick became apparent around the time DJI’s sub-250g Mavic Mini drone was released in 2019. It was a response to the fact that more hobbyists and people who weren't familiar with drone laws were interested in, and able to fly with no certification required.

This sign in Australia is legitimate because it has a law stated on the bottom. Photo: Fiona Lake

‘Unfortunately, the media has been playing up the narrative of 'creeps fly drones to look in your windows' and of course the public doesn’t understand how rare this is, so it’s likely that drone paranoia will increase,' says Fiona Lake, a remote pilot and instructor. Drones also tend to be portrayed as militaristic, causing some individuals to see them as both a privacy and safety threat.

The source of confusion

Misconceptions aside, another issue stems from the fact that event organizers, for example, designate their own ‘No Drone Zone’ by posting signs without any regard for airspace regulations. Chicago-based drone professional, Antoine Tissier, encounters ‘No Drone Zone’ signs in front of corporations, festivals, and parks that have no legal basis.

As it stands, the FAA controls all of the airspace in the United States. You can only be prevented from flying in airspace when the FAA deems it hazardous. If a landowner or special interest doesn't want you flying in a particular area, they can only really prevent you from physically taking off and landing on their private property.

You can only be prevented from flying in airspace when the FAA deems it hazardous.

The FAA provides a No Drone Zone sign that can be downloaded and printed out, free of charge, on its official site. The site explicitly states 'The sign is not for private landowners.' There is also a fact sheet for state, local, and tribal entities to understand where they have authority and where they can't enforce certain rules.

Notably, the downloadable sign on the FAA's website is missing the government organization’s logo – because it is trademarked. Aviation attorney Dean Greenblatt, recently called out one Detroit-based organization on its overreach. It read:

'What is interesting to some of the members is that [the organization] is apparently producing the sign with the FAA's logo printed upon it and giving the impression that this is an official declaration by the FAA. I suspect that it is not the intent of the FAA or the local FSDO (Flight Standards District Office) to declare this facility as a 'NO DRONE ZONE.''

Aviation attorney Dean Greenblatt called out a Detroit-based organization for their illegal usage of the FAA's logo on a 'No Drone Zone' sign. It implies that the FAA approves of the restrictions when, in fact, it doesn't.

'My suspicions were supported by the fact that the location at issue is not listed anywhere officially as being subject to any flight restrictions,' the letter continues. 'In fact, popular drone manufacturers do not geofence this location. I am not aware of any private enterprise that is empowered to implement its own flight restrictions and invoke the seal of the FAA to lend credibility to its publications, are you?’

Greenblatt correctly asserts that people would likely notice the FAA logo, believe that the sign and its placement were approved by the agency, and either a pilot would not operate in the area or a member of the public might get upset if a drone was spotted flying around.

The FAA discourages, and for the most part prohibits, the use of its logo on websites, pamphlets, marketing or educational materials, and, yes, signs, unless approval is given by the government agency. Anyone using the FAA’s logo without permission runs the risk of legal recourse.

What the FAA actually says about 'No Drone Zones'

A No Drone Zone resource is readily available on the FAA's official site. It contains three main points remote pilots need to understand before launching. For one, as mentioned earlier, the FAA controls all airspace and has put restrictions on certain areas for valid reasons. Operating in airspace that the FAA has designated as controlled and more is illegal.

There are certain states that allow cities and territories to create their own ordinances around drone use. Others, such as Michigan, allow the state to make the final rules. Drone use is permitted in all Michigan state parks with a small set of guidelines to be obeyed. Other states, like New York use their land use jurisdiction to disallow drone operations within their state parks. This point is being highlighted once again: you may be restricted from physically launching or landing your drone in a specific place, but you can still fly in its airspace.

The FAA attempts to clarify its intentions with 'No Drone Zone' signage.

Temporary Flight Restrictions (TFRs) are established often during major sporting events (think the National Football League's Super Bowl and even a Major League baseball game) or in the event that the President or Vice President is traveling in a vicinity. Checking a UTM (unmanned traffic management) app such as the FAA’s B4UFly or AirControl is imperative. It is also highly recommended to check for late-breaking TFRs directly on the FAA’s TFR site.

Violating Temporary Flight Restrictions can lead to arrest, a hefty fine in the tens of thousands of dollars, or jail time.

A TFR notice will appear and the designated area, along with its starting and ending times, will be outlined clearly. If you are caught operating in any area with an active TFR in place, an arrest, a hefty fine in the tens of thousands of dollars, and jail time are all possible consequences. In this case, a 'No Drone Zone' sign serves its purpose.

The question is, how can you tell if a 'No Drone Zone' sign was put in place by a government agency versus a private entity acting in their own self-interest?

How can you tell if a ‘No Drone Zone’ sign is legit?

According to Sean Hickey, local governments use ‘No Drone Zone’ signs a lot, even though one isn’t distributed by an official regulator in the United Kingdom – in this case, the Civil Aviation Authority (CAA). If you want to know if a sign is legitimate, look to see if there’s a law or regulation quoted on the sign. If there isn’t, it’s basically the landowner, a corporation, or an event planner stating they don’t want drones in the area.

If there's a law or regulation quoted on a sign, chances are it's a legitimate warning. Photo: Ryan Lackey

In the case of Kitch-iti-kipi, back in the United States, launching and landing a drone on the raft (or platform) visitors use to cross the natural Spring in Palms Book State Park is prohibited. Otherwise, flying in and around the area, at or below 400 feet AGL (above ground level), is perfectly legal so long as the drone pilot follows all FAA regulations for UAS flight.

You may see a ‘No Drone Zone’ sign without any law or specific regulation printed on it and assume you can still take off outside the area and operate overhead in its airspace. Even though the sign may not be official, it doesn’t mean that you’re clear to take off anyway. The sign could be in an area with an active TFR.

This year, the Lollapalooza music festival in downtown Chicago was able to secure a TFR for all three days of the festival unlike years past. In the event of unofficial-looking 'No Drone Zone' signs hanging around the area, it would be foolish to assume they're unauthorized and not check your UTM app beforehand.

No Drone Zone signs elsewhere

We’ve covered ‘No Drone Zone’ rules in the United States and the United Kingdom. Since DPReview’s audience is global, I was curious about how these signs are implemented and received in other countries. In Australia, drone rules are similar to most Western countries but the citizens have a more relaxed and self-governing attitude.

This is a 'No Drones' sign posted outside the Lollapalooza Music Festival in Chicago. Back then, this sign was posted because event planners didn't want drones in the vicinity. Recently, they were able to secure a TFR, making any drone flight illegal. Photo: Antoine Tissier

‘In addition to controlled airspace restrictions, (airports and defense force areas) drone flying restrictions apply to conservation parks, security-related facilities, ports, and other infrastructure. A few local councils in tourism hotspots are strict also – requiring drone owners to apply for permission to fly and charging a fee,’ says Fiona Lake.

‘Random members of the public who tie a ‘no drones’ sign to their gate – the signs are meaningless – people can still fly a drone above their land (as long as they’re abiding by other CASA rules). However, "No Drone Zone" signs aren’t as common. I have never seen a private landholder "no drones" sign. That’s not to say there are none at all but the rarity of private signs would be due to having a population 15 times less than the US but in the same sized landmass.’ There are also cultural differences.

Australians tend to be self-regulating – following rules when the reasons are clear/understood, and ignoring rules if there isn’t a good reason for them. As a culture – we tend to ask ‘why’, and then weigh it up. If some random person put up a "no drones" sign without an apparent reason (aviation rules, public safety/amenity, asset or wildlife protection) – many Australians would be inclined to ignore it (albeit with care).’

To the South, however, New Zealand doesn’t have any need for private ‘No Drone Zone’ signs as their unusual rules stipulate that drone owners must obtain permission from all private landowners before flying over their property. Then there are countries and territories that don’t have many drone regulations in place yet.

A 'No Drone Zone' sign, spotted in Australia. If there is no legal basis, most Australians will ignore a sign like this. Photo: Fiona Lake

In a smaller and less populous country such as Guyana, you won’t see any ‘No Drone Zone’ signs simply because you don’t even need to obtain a permit for your drone if it weighs less than 15 pounds and isn’t being used for commercial purposes. 'Fortunately, there are not many laws which restrict us because drones are relatively new here. There are constant revisions to the rules and directives which can cause worry in the operator Community,' native remote pilot and entrepreneur André Smith explains.

Try challenging 'No Drone Zone' signs at upscale resorts, however, and the outcome could be bad – even if you are in the right. 'Resorts in Bora-Bora, such as St. Regis and the Four Seasons, display "No Drone" signs as you enter and require guests to sign legal documents acknowledging the drone ban. Failure to comply with these regulations may result in expulsion from the hotel premises without any refund,' says photographer Larissa Rolley.

Regardless, if you're operating in a different country or territory, you should make sure you have the proper certification and understand both the customs and rules for your own safety.

Just because you can, should you?

This was a question posed to me by a well-meaning photographer when a public spat broke out about my Kitch-iti-kipi photo. In the United States, and many other countries, taking off in National Parks or areas of conservation is strictly prohibited – and for good reason. Several people have gotten in trouble for flying a drone over the famous Grand Prismatic Spring in Yellowstone National Park.

LiveNation does not have the authority to use the FAA's logo on their 'No Drone Zone' signage. Photo: Antoine Tissier

This practice is not only illegal, it’s also hazardous. If a drone malfunctions or collides with a bird, for example, and falls in, it could cause significant damage to the geyser’s ecosystem. A temperature of 70ºC (160º Fahrenheit) will melt the drone and its remains would be hard to locate in a pool that’s 150 feet deep. In dryer areas, the lithium ion battery of a crashed drone could spark a wildfire.

As mentioned earlier, the temperature of Kitch-iti-kipi won’t dip below 7ºC (45º Fahrenheit) and it’s 40 feet deep. Hypothetically, if a drone falls in, it’s possible to retrieve it without causing any damage to the spring. The ‘No Drone Zone' sign at this state park simply means the rangers don’t want to risk people flying drones over the lake, even if it's legally unenforceable.

Legality aside, it's always wise to ask yourself if a drone flight is appropriate given your surroundings.

Still, it helps to exercise common sense and intuitively know when a drone might cause a disturbance. A few days before, some friends were photographing snowy owls in an area with one of the highest concentrations of this species in the nation. Even though there wasn’t a ‘No Drone Zone’ sign, and we weren’t in a National Park or protected airspace, I still had enough sense to keep my drone grounded. My friends would have been incensed too. Legality aside, it's always wise to ask yourself if a drone flight is appropriate given your surroundings.

‘We have a lot of special areas of conservation in Ireland and also around heritage sites but they can’t legally be enforced unless referenced by aviation authority,’ explains Fergal McCarthy. 'The IAA has a link to the Heritage Ireland website which has a list of prohibited sites but nothing will stand up in court unless damage was caused, which has already happened. Because someone embedded a drone in an old castle and a cherrypicker was brought on site to remove it, causing damage in the process, there is now a ban on all drones in that particular area.’

What you should do when you see a ‘No Drone Zone’ sign

‘To be fair, it’s rare you’ll see many signs in public that actually have no basis in the law. So when someone unfamiliar with drone laws sees a ‘No Drone Zone’ sign, it’s easy for them to assume that there’s a reason for it to be there,’ explains Sean Hickey. ‘If I went to picnic somewhere and there was a sign saying “No Picnicking,” I would likely go somewhere else.’

This is a sign spotted in Chicago. Class G airspace is legal to fly in by the FAA's standards, making this particular sign baseless. Photo: Antoine Tissier

This is why it's important to engage in civil discourse. 'No Drone Zone' sign or not, it's critical to know everything about the area you're operating in. No matter what, a drone pilot should always use a UTM app to check the airspace ahead of time. This ensures that you're not flying during a TFR or in a National Park. It's also important to follow basic, common sense rules including not flying over crowds of people or moving vehicles.

It's also important to conduct yourself in an upstanding manner and be a good drone citizen. Many people misunderstand drone technology and the rules. Calmly explaining yourself is sometimes necessary and educating others does a service for the drone community at large.

It's important to conduct yourself in an upstanding manner and be a good drone citizen.

Finally, on the flip side, when in doubt about the legality of an image posted online, it never hurts to ask the creator before lashing out or making unsubstantiated claims in a public forum. In real life, calmly ask rather than accuse someone of operating illegally in front of a 'No Drone Zone' sign. A little civility goes a long way.

Hopefully, all this information clears up the misconception of the 'No Drone Zone' sign for both sides.

Image credit: Kara Murphy

Today DJI announced the Mini 4 Pro, the latest model in its Mini series of compact and foldable sub-250g drones. The Mini 4 Pro is the first in the series with omnidirectional obstacle detection and avoidance and Waypoints. It also features True Vertical Shooting, perfect for platforms that use vertical video. On a single charge, the DJI Mini 4 Pro can remain airborne for up to 45 minutes with the right battery.

Image credit: DJI

The single camera on the Mini 4 Pro has a Type 1/1.3 CMOS sensor with dual native ISO, a 24mm (equiv.) lens, and a fixed F1.7 aperture. It can capture 48MP images and rests on a 3-axis gimbal that can tilt 60º upward. The camera is capable of cropping in up to 2X for photos and up to 4X when capturing video.

Buy now:

$759 at DJI $759 at Amazon $759 at B&H Photo

Video can be recorded at resolutions up to 4K/60p and 4K/100p for Slo-Mo shots in 10-bit D-Log M – DJI’s log profile that offers over 1 billion colors. Night Shots video mode, which allows you to increase the ISO to 12800, is also selectable.

Image credit: DJI

The Mini 4 Pro offers a variety of creative features. The ability to capture 180°, Wide Angle, and Vertical panoramas, hyperlapse clips, automated Quickshots (Dronie, Circle, Helix, Rocket, Boomerang, and Asteroid modes) plus MasterShots, which shoots a variety of automated modes and stitches the clips together, are all included.

FocusTrack, which allows you to designate a subject and track it, is available in three modes – Spotlight, Point of Interest, and ActiveTrack 360°. The Mini 4 Pro’s body is equipped with six fisheye vision sensors on the front, top, and bottom of the aircraft for omnidirectional obstacle detection and avoidance. You can either brake in front of or bypass an obstruction.

The Mini 4 Pro is the first drone in the Mini series to offer the Waypoints Flight function. This feature allows you to pre-plan flights and repeat them. Cruise Control is also available and gives you the ability to automatically operate at a consistent speed and avoid potential flight fatigue while recording footage.

An ND16/64/256 filter set is available for the Mini 4 Pro. Image credit: DJI

DJI equipped the Mini 4 Pro with its OcuSync 4 (O4) transmission system, giving it a range of up to 20km (12.4 miles). While you may never fly that far, this gives you 1080p/60p FHD video transmission while operating the drone. It can also remain airborne for 34 minutes with a standard Intelligent Flight battery and up to 45 minutes with the Intelligent Flight Plus battery. Using the latter power supply will place the drone at a takeoff weight above 250g, removing some of the benefits of flying below that threshold, like not requiring registration.

A propeller cage adds an extra layer of protection. Image credit: DJI

A super-wide 100° FOV wide-angle lens and ND16/64/256 filter set can be purchased separately for the Mini 4 Pro. DJI also created a 360º propeller guard set for comprehensive physical coverage.

Each Fly More Combo includes three batteries and an RC 2 Remote Controller.

The Mini 4 Pro with DJI RC-N2 Remote Controller and one Intelligent Flight battery starts at $759. This same package, with the RC 2 Remote Controller, is $959. The DJI Mini 4 Pro Fly More Combo, which includes the RC 2, three Intelligent Flight batteries, a two-way charging hub, and a carrying bag costs $1,099 while the Fly More Combo Plus, with Intelligent Flight Plus batteries that power the drone up to 45 minutes, comes out to $1,159.

For complete product information, and to order a Mini 4 Pro, please visit DJI’s official site.

Image credit: Kara Murphy

Today DJI announced the Mini 4 Pro, the latest model in its Mini series of compact and foldable sub-250g drones. The Mini 4 Pro is the first in the series with omnidirectional obstacle detection and avoidance and Waypoints. It also features True Vertical Shooting, perfect for platforms that use vertical video. On a single charge, the DJI Mini 4 Pro can remain airborne for up to 45 minutes with the right battery.

The single camera on the Mini 4 Pro has a Type 1/1.3 CMOS sensor with dual native ISO, a 24mm (equiv.) lens, and a fixed F1.7 aperture. It can capture 48MP images and rests on a 3-axis gimbal that can tilt 60º upward. The camera is capable of cropping in up to 2X for photos and up to 4X when capturing video.

Image credit: DJI

Video can be recorded at resolutions up to 4K/60p and 4K/100p for Slo-Mo shots in 10-bit D-Log M – DJI’s log profile that offers over 1 billion colors. Night Shots video mode, which allows you to increase the ISO to 12800, is also selectable.

Image credit: DJI

The Mini 4 Pro offers a variety of creative features. The ability to capture 180°, Wide Angle, and Vertical panoramas, hyperlapse clips, automated Quickshots (Dronie, Circle, Helix, Rocket, Boomerang, and Asteroid modes) plus MasterShots, which shoots a variety of automated modes and stitches the clips together, are all included.

FocusTrack, which allows you to designate a subject and track it, is available in three modes – Spotlight, Point of Interest, and ActiveTrack 360°. The Mini 4 Pro’s body is equipped with six fisheye vision sensors on the front, top, and bottom of the aircraft for omnidirectional obstacle detection and avoidance. You can either brake in front of or bypass an obstruction.

The Mini 4 Pro is the first drone in the Mini series to offer the Waypoints Flight function. This feature allows you to pre-plan flights and repeat them. Cruise Control is also available and gives you the ability to automatically operate at a consistent speed and avoid potential flight fatigue while recording footage.

An ND16/64/256 filter set is available for the Mini 4 Pro. Image credit: DJI

DJI equipped the Mini 4 Pro with its OcuSync 4 (O4) transmission system, giving it a range of up to 20km (12.4 miles). While you may never fly that far, this gives you 1080p/60p FHD video transmission while operating the drone. It can also remain airborne for 34 minutes with a standard Intelligent Flight battery and up to 45 minutes with the Intelligent Flight Plus battery. Using the latter power supply will place the drone at a takeoff weight above 250g, removing some of the benefits of flying below that threshold, like not requiring registration.

A propeller cage adds an extra layer of protection. Image credit: DJI

A super-wide 100° FOV wide-angle lens and ND16/64/256 filter set can be purchased separately for the Mini 4 Pro. DJI also created a 360º propeller guard set for comprehensive physical coverage.

Each Fly More Combo includes three batteries and an RC 2 Remote Controller.

The Mini 4 Pro with DJI RC-N2 Remote Controller and one Intelligent Flight battery starts at $759. This same package, with the RC 2 Remote Controller, is $959. The DJI Mini 4 Pro Fly More Combo, which includes the RC 2, three Intelligent Flight batteries, a two-way charging hub, and a carrying bag costs $1,099 while the Fly More Combo Plus, with Intelligent Flight Plus batteries that power the drone up to 45 minutes, comes out to $1,159.

For complete product information, and to order a Mini 4 Pro, please visit DJI’s official site.

Nikon Photo Contest Winners 2022-2023

Nikon recently announced the winners of its annual Nikon Photo Contest for 2022-2023. Running for over 50 years, the global photo contest sees entries from creators across the globe. In this year's competition, Nikon received over 70,000 image submissions from more than 35,000 entrants from over 180 countries.

Photo entries are split into two primary categories: 'Single Photo' and a multi-image 'Photo Story' category. The overall Grand Prize winners were selected from among the Excellence Award winners. This year, Nikon also introduced a 'General Public Award,' with the winner selected through public voting.

DPReview has compiled a gallery of the winning photos along with statements from the artists behind the photographs. Visit the Nikon Photo Contest website for more information about this year's photo category winners, as well as the winners of the Short Film, Super Short Film, and Grand Prize Winner in the video categories.

Grand Prize Winner

Photo: 'Tears in the rain' by Austin Garcia, Philippines

Artist Statement: 'During the well-known festival here in Angono called the ”Higantes Festival” I was drawn to this subject wherein a child was clinging tightly to his father, while around the child was chaos caused by the celebration of the festival. Water was splashing everywhere and in this particular scene you can see the amount of the water being thrown into the crowd.'

Excellence Award - Single Photo Category

Photo: 'She Remembers' by Michael Snyder, USA

Artist Statement: 'My wife's mother touches her daughter's face at the moment she recognized her. Diagnosed with Alzheimer's Disease, her memory had all but faded with our visits. On this night, as soon as my wife sat down next to her, she called out my wife's name, then looked at me taking the photo, then forgot who my wife was. Her mother passed away this morning at 3 a.m., October 31, 2022.'

Special Encouragement Award - Single Photo Category

Photo: 'Hot Water' by Ahmet Fatih Sönmez, Turkey

Artist Statement: 'In eastern Turkey, the winter months are quite harsh. People living in villages come to the area where the hot water comes out to comfort their animals, clean and care for them. While doing this, they show their love for them.'

Special Encouragement Award - Single Photo Category

Photo: 'Transmigration of loved ones' by Maruf Shimanto, Bangladesh

Artist Statement: 'According to Bangladeshi culture, when a girl gets married, she has to leave her home. From this infinite love and affection of the father, she is transferred to her husband's house. This migration of loved ones is a given in this culture.'

Special Encouragement Award - Single Photo Category

Photo: 'A Mother's Journey' by Fahim Mahmudur, Bangladesh

Artist Statement: 'A mother and her son traveled on a train in Bangladesh, heading towards the city for the son's medical treatment. The sound of his laughter, the feeling of his hugs and the memories of happier times flooded her mind. The reality of her son's illness was too much to bear. She whispered prayers, hoping for a miracle. The train chugged on, but her heart felt heavy as she faced an uncertain future.'

Special Encouragement Award - Single Photo Category

Photo: 'FIDELITY' by MERİÇ AKTAR, Turkey

Artist Statement: 'In Hatay Province, Turkey, Uncle Mehmet is helping his wife called Fatma having her lunch who has trouble of walking and is bedridden for 5 years. At that time, two of their grandsons are playing on the sofa. The couple, being married for 48 years, helps each other at every stage of life. Fatma, whose hands are shaking due to her illness, is having lunch by the help of her husband every noon.

Excellence Award - Photo Story Category

Photo: 'A father trapped in time' by Wang Chuan, China

Artist Statement: 'Everyone can only walk with you for a while.' The sudden death of my mother left my father somewhat at a loss. Since I have to work out of the town during the weekdays, leaving my father alone at a large and seemingly extraordinarily cold home. I sometimes take time to go home to accompany him and clearly feel my father's strength as the head of family. I also understand my father's loneliness behind his strength. In the daily routine of working, resting, eating, sleeping ...... My father calmly accepted this cyclical journey of life.'

Note: This is one selection from the awarded Photo Story. Visit the story page to view all the images.

Excellence Award - Photo Story Category

Photo: 'My Beloved Teacher' by SUMAN BALLAV, India

Artist Statement: 'School teacher affected by Poliomyelitis disease continuing his duty and struggling with health issue. Because of disabilities students help him out to reach school. Students love him so much even they help to drink water to everything whatever he needs. Students make him happy and help to forget all his disabilities he had. It is the humanitarian bond between teacher and his beloved students.'

Note: This is one selection from the awarded Photo Story. Visit the story page to view all the images.

Special Encouragement Award - Photo Story Category

Photo: 'His Invisible Presence' by Natcha Wongchanglaw, USA

Artist Statement: 'Life is far too short. Until my father unexpectedly passed away, I never understood it. From the moment he fell ill until he passed away, I was present for the entire event and observed it take place. Using my personal experience to present how my late father has passed, yet his presence is still felt everywhere—I wish to investigate the subject of my loved one's invisible presence in this work.'

Note: This is one selection from the awarded Photo Story. Visit the story page to view all the images.

Special Encouragement Award - Photo Story Category

Photo: 'The last portrait!' by Mehrdad Vahed Yousefabad, Islamic Republic of Iran

Artist Statement: 'Vadi-Rahmat cemetery of Tabriz, Blocks 65 and 57, mothers, fathers, husbands, wives and childrens are sleeping at here. They are the victims of the Covid-19 epidemic buried in these blocks. According to Iranian culture and customs, a portrait of the deceased is engraved on a tombstone. The last portrait of them … (The first and last picture are about my aunts who died by Covid-19).'

Note: This is one selection from the awarded Photo Story. Visit the story page to view all the images.

Special Encouragement Award - Photo Story Category

Photo: 'A love that doesn’t fit in bed' by Tiago Magalhães, Brazil

Artist Statement: 'Gabriel was born in November 2018 and, since then, I discovered a love that doesn’t fit in words. Maybe it fits partially in these 5 images. In the beginning, Gabriel used to sleep with me and my wife, in his baby crib; now he comes to our room when he has a nightmare or wakes up to piss. Result: I lost my place; the family album won a different way to register his growth.'

Note: This is one selection from the awarded Photo Story. Visit the story page to view all the images.

General Public Award Winner

Photo: 'Thirsty calf' by Me Ko Lay, Myanmar

Artist Statement: 'It is a picture of a child giving water to a thirsty calf in a hot, dry summer.'

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Last week's initial review of the Nikon Zf turned a few heads with its retro-inspired design, borrowing heavily from Nikons F-series film SLRs of yesteryear, but that's only half the story. We got some hands on time with a pre-production version of Nikon's 24MP mirrorless camera and took to the streets of New York City.

In this gallery, you'll find color samples as well as images created with the Zf's dedicated B&W mode. Also a note that we were limited to out-of-camera JPEG samples for this gallery, and while they can tell us some things, they don't paint a complete picture of the camera's image quality. We hope to update this gallery in the future with additional samples and Raw images as soon as DPReview secures a production model.

View our Nikon Zf pre-production sample gallery

Note: Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Nikon's upcoming 'Plena' lens features similar branding to its earlier Z 58mm F0.95 S Noct lens.

Nikon released a teaser video today for an upcoming product announcement scheduled for September 27, 2023. Simply titled ‘Plena,’ the video doesn’t reveal too much about what this upcoming product will be, although it’s safe to say it’s likely a new high-end, full-frame Z-mount lens. This would be the camera maker's second named lens, after Nikon's ultrafast 58mm F0.95, a.k.a. the Noct.

In the video, we get some brief glimpses of a photographer walking around capturing photos with a Nikon Z series camera and what looks like a pretty substantial lens with a large front lens element. We can briefly see other physical design features, such as the focus ring and the customizable control ring that many Nikon Z-mount lenses share, but not much else.

Framegrab from the Nikon 'Plena' teaser video.

For a few moments, we see the name ‘Plena’ engraved on the side of the lens in a similar typeface to that used on the NIKKOR Z 58mm f/0.95 S Noct lens. Given the branding similarities, we can speculate a bit that this is likely a high-end, premium Nikon Z-mount lens and one with a very bright aperture. Visually, this upcoming ‘Plena’ lens does not appear as massive as the Noct, however. It's also hard to tell from the video if it has autofocus, which the Noct does not.

As mentioned, the teaser video doesn’t give many concrete details as to the specs of this lens other than the name. However, when we look at Nikon’s latest Z mirrorless lens roadmap from earlier this summer, the company lists two new S-line lenses as in development, a 35mm and a 135mm.

What do you think the Nikon ‘Plena’ is? What lenses are you hoping to see next from Nikon in its growing Z-mount system? We'll learn more on September 27th.

Photo: Adam Corbett

When Adam Corbett first heard about Bikestormz he didn't realize it was a project he'd be sticking with long-term – but five years later, the photographer and filmmaker found himself headed back to document the massive group ride.

The annual freestyle ride-out brings together thousands of young people in London to raise awareness and protest knife crimes – calling for 'Knives down, bikes up!' This year's route snaked through Central London, with thousands of attendees biking past London's iconic landmarks like St. Paul's Cathedral, Tower Bridge and Big Ben.

DPReview caught up with Corbett to ask about his approach to covering Bikestormz, how it has changed over the years and his advice to working on a long term, ever-evolving photo project.

Photo: Adam Corbett What was it about the Bikestormz community that was interesting to you and made you want to keep coming back and documenting it? The ride is all about community and creating change through movement. This is something I’m really passionate about and features a lot in my personal work. In 2018 there was a lot of negative press being thrown at youth culture in London, I really wanted to change that somehow. I saw the potential and creativity within Bikestormz and wheelie culture, I loved how disruptive it was and knew it was a matter of time before it took off in a big way. It felt as though I was at the bleeding edge of a new sport – it still does. Photo: Adam Corbett How has your approach to photographing Bikestormz changed over the years? I definitely began with a documentary approach to the event, immersing myself in the crowds and trying to keep up with the action as it unfolded before my eyes. I wanted the imagery to feel immersive, to give the experience of being on the ride. To capture everything I was shooting fast, jumping between wide and long lenses a lot. As time passed and the project grew I shifted the focus more toward portraiture. I realized the story behind the bike was one of identity and expression. I wanted to capture the coming of age story and individualism within Bikestormz. For the portraits I began to select subjects that interested me, take them aside away from the crowds and spend a little more time with each of them. Each portrait became more of a conversation and I got to know people properly. Most recently I set up a studio on location at one of the rides. Photo: Adam Corbett In previous years how were you traveling once the ride started? Were you shooting from a bike? I hired a courier company called PedalMe which would come with a driver. I would often be hanging off the side with a single small belt wrapped around my waist to hold me in. I tried shooting whilst cycling once and it was too dangerous to repeat. Photo: Adam Corbett This seems like an event where there is a lot going on, what's your process like for connecting with the individuals in the pictures? Be bold, perceptive and encouraging when approaching for the first time. Be decisive in what you want and if needed take the time to explain your idea. Finally I always try be inclusive and respectful and will capture photos for anyone that asks me, not just the people I select. It only takes a moment and can mean a lot to someone to be included. Photo: Adam Corbett When you first attended and photographed Bikestormz did you realize it would become a long term project? Not exactly, but I knew after the first ride that it would become a long form project of some sort. I never put a time limit on it for a reason either; I knew from the beginning I wanted it to evolve organically and it was as much about the purpose as it was images for me. Photo: Adam Corbett What tips would you give to a photographer looking to start a long term photo project or currently in the midst of shooting one? Have a purpose, message or story you want to communicate before you start and remind yourself of this throughout. It will be your north star and provide intention. For me, the beauty of a long term project is the opportunity to reflect, learn and grow with your story. Plan the shoot, but don't lock yourself down or overcomplicate it – leave room for mistakes, improvise and embrace the imperfect image. Lastly, always focus on quality images you love, and be brutal in your edit. Always ask yourself 'why this image' and don't be afraid to cut it if your answer isn't convincing or if it strays from your original intention.

Credit: Tamron

Announced in August, Tamron's unique 17-50mm F4 lens Di III VXD lens is almost ready for prime time. Tamron has announced more of this lens's specs and says that it will be available starting October, 19, 2023 for a price of $699 for Sony E-mount cameras.

This is the first-ever 17-50mm lens for Sony E-mount mirrorless cameras and it's fairly compact at 114.4mm (4.5in) long and 460g (16.2oz). Moreover, since it's an internal zoom design, the lens doesn't get bigger as you zoom, keeping it compact.

The Tamron 17-50mm has a circular aperture with 9 blades, 15 elements in 13 groups, with three low dispersion elements and a glass molded aspherical element as well. Tamron says that the lens's bokeh characteristics are "outstanding," making it usable wide-open at F4 at all focal lengths.

TAMRON Announces World’s First[1] 17-50mm Wide-Angle Zoom Lens for Full-Frame Mirrorless Cameras



17-50mm F/4 Di III VXD (Model A068)



Zooming from 17mm ultra wide-angle to 50mm standard, unique lens offers maximum versatility for still and video creators

September 20, 2023, Commack, New York–Tamron announces the launch of the 17-50mm F/4 Di III VXD (Model A068), a wide-angle zoom lens for Sony E-mount full-frame mirrorless cameras. The lens will be available on October 19, 2023, at $699 USD / $949 CAD.

This groundbreaking lens zooms from 17mm ultra wide-angle to 50mm standard, the world’s first[1] with such a dynamic zoom range for full-frame mirrorless cameras. TAMRON’s new 17-50mm F4 for Sony mirrorless cameras is a wide-angle zoom with a constant F4 aperture covering ultra wide-angle to standard focal lengths, a zoom range ideal for both still photography and video recording. This lens achieves excellent optical performance across the entire zoom range, with crispness from edge-to-edge. The lens also incorporates VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism with superior quietness and agile performance and achieves high-speed and high-precision autofocus. Additionally, the physical length of the lens does not change while zooming. It’s the perfect lens for taking still photos and is also ideal for video shooting, in part since it’s easy to balance even when fitted to a gimbal stabilizer or other equipment. The excellent close-range shooting performance provides an MOD (Minimum Object Distance) of 0.19m (7.5in) at the wide end and 0.3m (11.8in) at the tele end. This lets users get closer to the subject to capture one-of-a-kind photos in a broad range of situations. The ideal “walk around” lens, the new 17-50mm F4 zoom offers great portability and convenience and makes it possible to shoot a variety of content, both still images and video, from sweeping landscapes to snapshots, all without switching lenses.

[1] Among the zoom lenses for full-frame Sony E-mount mirrorless cameras (As of July 2023 — TAMRON)

PRODUCT HIGHLIGHTS

1. Zoom lens that covers ultra wide-angle to standard focal length at constant F4 aperture
No need to switch lenses— users can zoom from ultra wide-angle 17mm for dynamic expressions to snapshot photography at the 50mm standard focal length end, an angle of view close to that of human vision. What’s more, the wide-open aperture of F4 is consistent across the entire zoom range and thereby maintains constant exposure when zoomed in or out. Whether shooting still images or video, the new 17-50mm F4 has you covered.

2. High optical performance and image quality throughout the entire zoom range
With the expert arrangement of 15 lens elements in 13 groups, including three LD (Low Dispersion), a GM (Glass Molded Aspherical), and two hybrid aspherical lens elements. the new 17-50mm lens efficiently suppresses chromatic and other optical aberrations, ensuring clear capture of fine details from edge-to-edge in all images. The lens also delivers outstanding bokeh at the F4 wide open aperture, creating appealing shots in which subjects such as trees and flowers that color the seasons pop out against the background in natural landscape photography.

3. Compact for easy handling with internal zoom for superlative balance
The 17-50mm F4 weighs just 460g (16.2oz) and is only 114.4mm (4.5in) long, a form factor that is well-balanced on a Sony mirrorless camera body. The lens employs an internal zoom mechanism that keeps the lens barrel at its fixed length, so it’s easy to balance when framing still or video shots or when paired with a video rig or gimbal stabilizer. Additionally, the new zoom features Moisture-Resistant Construction and Fluorine Coating. The easy handling provided by its compact size makes it a great choice for active scenarios such as mountain climbing or other outdoor activities.

4. Fast and accurate AF for still and video shooting
The 17-50mm F4’s AF drive uses VXD linear motor focus mechanism to achieve class-leading high-speed and high-precision auto-focusing. With fast and accurate focusing of moving objects, plus excellent subject-tracking performance, users can readily shift into a fast-paced shooting rhythm. Thanks to the quiet operation during AF, the lens is superb when shooting still images or video for low noise shooting in silent settings.

5. Outstanding close-range shooting performance expands versatility
The MOD of the 17-50mm F4 are 0.19m (7.5in) at the wide end and 0.30m (11.8in) at the standard 50mm end. The working distance at 17mm is only about 5.7cm (2.3in), closer even than most non-zoom lenses. Users can freely get close to the subject and can enlarge the foreground against a blurred background, or comfortably focus without needing to change their shooting position even in places with limited space.

6. Additional features for greater convenience

7. Proprietary software tool TAMRON Lens Utility™ expands the possibilities of still imaging and video capture

8. User-friendly features (Moisture-Resistant Construction and Fluorine Coating)

9. 67mm filter size, same as most other TAMRON lenses for mirrorless cameras

Nikon's new Zf blends a body and control layout from the F-series film SLRs of the past with modern Nikon Z8 and Z9 DNA to produce a 24MP Z-mount full-frame mirrorless camera. But how does this blend of past and present hold up in the real world?

DPReview’s Richard Butler got his hands on the latest Nikon and provides a first look at the Zf's BSI CMOS sensor, shooting modes, 3D Tracking autofocus, multi-shot high resolution mode and more.

Learn more about the camera in our Nikon Zf initial review, where you can browse through sample images we took and read our breakdown of what's new and how it compares to other cameras on the market.

Subscribe to our YouTube channel to get new episodes of DPReview TV when they go live.

Support DPReview, pre-order the Nikon Zf at one of these retailers:
$1,997 at B＆H $1,997 at Adorama

You’ve watched the event, learned about the camera features and perhaps ogled the new titanium body of the iPhone 15 Pro or the tasteful pastel colors of the iPhone 15. But which model and combination of features are right for you? Let’s look at what the iPhone 15 and iPhone 15 Pro have to offer, not just in photography features, but taking a few other important considerations into account. (And one of those could be that this is an iPhone gap year where you stick with your current phone.)

You say you wanted resolution

A maximum resolution of 48MP is now available across the entire line: iPhone 15, iPhone 15 Plus, iPhone 15 Pro and iPhone 15 Pro Max. That feels like a breath of fresh air after years of accepting 12MP as a good-enough resolution. However, important details need to be teased out.

On all models, 48MP can be captured in HEIF or JPEG format, which end up being an economical 5MB (HEIF) or 10MB (JPEG) in file size. The Pro models also support 48MP Apple ProRAW images, which capture more dynamic range at the cost of much larger files, around 75MB for each image.

Despite the 48MP maximum resolution, the default capture mode from the main camera creates 24MP images, which combines 12MP and 48MP output from the QuadBayer sensors. That’s still double the default resolution of last year’s iPhone 14 Pro, which also has a 48MP sensor as its main camera. When shooting in Night mode, photos are 12MP even when the 48MP setting is active.

The ultra wide and front cameras (all models) and telephoto cameras (Pro models) use 12MP sensors and produce 12MP images. The 5x (120mm equivalent) telephoto camera found only on the iPhone 15 Pro Max has a 12MP sensor that outputs 12MP images.

Camera iPhone 15 iPhone 15 Plus iPhone 15 Pro iPhone 15 Pro Max Main 48MP/24MP
26mm equiv.
8x6mm sensor 48MP/24MP
26mm equiv.
8x6mm sensor 48MP/24MP
24mm equiv.
9.8x7.3mm sensor 48MP/24MP
24mm equiv.
9.8x7.3mm sensor Ultra Wide 12MP 12MP 12MP 12MP Telephoto (3x, 77mm equiv) – – 12MP – Telephoto (5x, 120mm equiv) – – – 12MP Front 12MP 12MP 12MP 12MP

You won’t be surprised to learn that if you want the most resolution with the highest image quality, the iPhone 15 Pro and iPhone 15 Pro Max are the models to choose. However, now you can still get high-resolution images on the iPhone 15 and iPhone 15 Plus, too.

Field of view

One of the main differentiating features between the models in the past has been the dedicated telephoto camera in the Pro line. Although the ultra-wide camera is a neat creative view, people tend to zoom in by pinching in to digitally crop at the expense of image quality.

The iPhone 15 and iPhone 15 Plus still don’t have a third, telephoto, camera, but the main camera enables them to shoot at a 2x zoom, which is a 12MP crop of the 48MP sensor (though the Quad Bayer design means it's capturing less color resolution than a 12MP Bayer camera would, and having to reconstruct the result). If you find you need a little more reach, or prefer the framing of a simulated 52mm view instead of the default 26mm view, the iPhone 15 models give you that without paying more for the telephoto cameras of the Pro models.

But if you do want more reach without cropping into your photos, the latest iPhones Pro now offer two telephoto options. The iPhone 15 Pro includes the same 3x/77mm equivalent field of view as the iPhone 14 Pro’s telephoto camera. The main attraction this year, however, is the 5x/120mm equivalent lens on the iPhone 15 Pro Max, achieved using a tetraprism design that bounces light between four prisms. It's also stabilized with sensor shift, an important addition for keeping photos at long focal lengths sharp.

Apple is putting more emphasis on the millimeter equivalent measurements this time because it’s also touting the ability to set the main 24mm equiv camera to two other fields of view: 28mm (1.2x) and 35mm (1.5x) equiv. They output the same 24MP resolution images, but have been computationally reframed. Tapping the ‘1x’ button cycles between the views; you can also choose which to use as the default when shooting through the main camera.

The 35mm equiv. field of view on the iPhone 15 Pro. (Image: Apple) 4K and HD video recording

The video recording capabilities of the iPhone 15 and iPhone 15 Plus remain unchanged from previous models, capturing 4K video at 24fps, 25fps, 30fps or 60fps; 1080p HD video at 25fps, 30fps or 60fps; and HDR video with Dolby Vision (for viewing on HDR displays) up to 4K at 60fps. They also support the Cinematic mode that applies simulated shallow depth-of-field effects and the ability to change focus while recording or in editing, and Action mode for stabilizing shaky footage during capture. That said, it’s generally recognized that the built-in image stabilization is often good enough without Action mode enabled; all models include sensor-shift optical stabilization, but the Procameras feature “second-generation” sensor-shift OIS for video.

The iPhone 15 Pro models can capture 4K/60fps video directly to an attached external SSD. Camera operator suspension wires not included. (Image: Apple)

The iPhone 15 Pro and iPhone 15 Pro Max, however, take those specs and build on them. The Promodels can also record ProRes video up to 4K at 30fps to the phone’s storage, but also 4K at 60fps when recording to an external device such as a compact SSD. Further, the Pro phones can optionally record Log video for greater dynamic range (with the need to grade the footage in editing later), with support for ACES, the Academy Color Encoding System. This is an industry-standard color-matching system, designed to allow the footage from cameras to be edited from a common starting point.

USB-C

Each of the iPhone 15 and iPhone 15 Pro models replace Apple’s Lightning connector with a USB-C connector, but just because they share the same shape doesn’t make them equal.

The USB-C cable included in the box for all models is, let’s admit, primarily for charging. It supports USB 2 data transfer of up to 480 Mbps, the same rate as the Lightning connector in recent iPhones. That is, to be blunt, slow. Clearly, Apple is sticking with the least expensive option to package with the device, even for the Pro model.

The USB-C port on the iPhone 15 and iPhone 15 Pro models can be used to charge other devices. (Image: Apple)

However, when it comes to the USB-C ports themselves, the iPhone 15 Pro and Pro Max models support USB 3.2 Gen 2, with transfer speeds of up to 10 Gbps. That’s because the A17 Pro processor that powers them includes a USB 3 controller. However, you’ll also need to buy a separate USB-C cable that supports those speeds. Surprisingly, Apple’s only offering that meets that spec is a 1-meter $69 Thunderbolt 4 cable; avoid the new $29 240W USB-C Charge Cable, which transfers data at just USB 2 speeds. Instead, OWC sells affordable Thunderbolt 4 cables starting at $22.

You’ll also be able to charge other devices, such as the Apple AirPods and Apple Watch, directly from the iPhone’s USB-C port.

Action button The Action button on the iPhone 15 Pro models can launch the Camera app, run shortcuts, or perform several other tasks such as activating the flashlight. (Image: Apple)

One more differentiator between the regular and Pro models this year is the new Action model on the iPhone 15 Pro and iPhone 15 Pro Max, which replaces the physical mute switch. You can assign one of several actions to occur when the button is pressed, from toggling the mute control to turning on the flashlight or quick-launching the Camera app and using it as a physical shutter button. However, what will hopefully prove to be its real advantage is the ability to run shortcuts, which could include launching third party camera apps or running automations.

Storage sizes, screen specs, and a few odds and ends

With 48MP images and ProRes video recording capabilities, the question of storage always looms when considering models. The iPhone 15 and iPhone 15 Plus come in capacities of 128GB, 256GB, and 512GB.

The iPhone 15 Pro comes in 128GB, 256GB, 512GB, and 1TB, but the iPhone 15 Pro Max ditches the low-end tier and starts at 256 GB, moving up to 512 GB and 1 TB configurations. The higher storage makes sense given the potentially larger files the camera systems can produce, but don’t forget that you can attach an inexpensive SSD via the USB-C port for recording ProRes video.

Storage, color, Pro or no – you've got a lot of options in front of you if you're shopping for an iPhone 15. (Image: Apple)

Some differences between the regular and Pro models aren’t as dramatic, but could be important in some situations. The screens, for example, are the same physical sizes and resolutions as we’ve seen before, with 6.1-inch (diagonal) Super Retina XDR displays (2556x1179 pixels at 460ppi) on the iPhone 15 and iPhone 15 Pro, and 6.7-inch Super Retina XDR displays (2796x1290 pixels at 460 ppi) on the iPhone 15 Plus and iPhone 15 Pro Max. However, the Prodisplays feature ProMotion with adaptive refresh rates up to 120Hz and an always-on mode that lets you glance at the display when the phone's locked.

The regular models feature Wi-Fi 6 wireless networking, while the Pro models use (theoretically) faster Wi-Fi 6e.

Pricing

It sounds weird to say in an optimistic tone that the new iPhones start at the same price points as last year’s models, given we’re talking about expensive personal electronics devices; chalk that up to rumors that inflation was going to jack up the prices. However, the pricing structures of iPhones (or other smartphones) are anything but straightforward.

The iPhone 15 starts at $799 for 128GB of storage, and moves up to $899 for 256GB and $1099 for 512GB. Add $100 to each tier for the larger iPhone 15 Plus ($799 to $1199 depending on storage).

The iPhone 15 Pro begins at $999 for 128GB of storage, pushes to $1099 for 256GB, then leapfrogs to $1299 for 512GB and $1499 for 1TB. Because the base level iPhone 15 Pro Max includes 256GB of storage, its price starts at $1199 and then jumps $200 each for 512GB ($1399) and 1TB ($1599).

Those prices represent what you’d pay to own the phone outright. Apple also offers between $40 and $650 to trade-in an existing phone. The mobile carriers also offer numerous other financing and trade-in deals to entice you to move up to the latest models.

…or maybe snag an iPhone 14 Pro?

If you already own last year’s iPhone 14 Pro, you might consider sitting this year out. If features such as the titanium case, 120mm equiv camera on the iPhone 15 Pro Max don’t appeal, you’ll still get some camera benefits via iOS 17, which is now available.

The ability to retroactively change focus for Portrait mode images is available, even on older photos; on my iPhone 14 Pro, the selective focus feature appears on Portrait images starting with the iPhone 13 Pro. And the iPhone 14 Pro’s main camera can now capture at 48MP resolution and save to HEIF or JPEG images, not just Apple ProRAW format.

If you already own last year’s iPhone 14 Pro, you might consider sitting this year out.

Although Apple has retired the iPhone 14 Pro from the current lineup, it will still be available through other sales channels or sometimes through the Apple Store as a refurbished item.

Conclusion

Even though Apple releases new models each year, iPhones retain their value and usefulness for quite some time. The iPhone 15 and iPhone 15 Pro features could be just what you’ve been waiting for, or maybe you hold onto an old model for another year in anticipation of making a stellar leap to whatever next year brings.