Fujifilm X-Pro2 versus X-T2: Seven key differences

Fujifilm X-Pro2 versus X-T2: Seven key differences

In the X-T2 and X-Pro2, Fujifilm offers two flagship cameras that have a lot in common, but are designed for slightly different purposes. So which one should you buy? We’ve broken down the key differences.

Video

Let’s get probably the biggest differentiator out of the way right up front – the X-T2 offers 4K video, while the X-Pro2 makes do with standard HD. The addition of 4K to the X-T2 surprised us a little when we first saw it on the spec sheet, but it’s clear that Fujifilm sees this feature as an important ‘must have’ in a camera as versatile as the X-T2. The X-T2 can record video in clips up to 10min duration, or 30min when the optional power booster grip is attached. 

The X-Pro2, on the other hand, is meant for a different kind of photographer – one who is more stills-oriented, and more likely to shoot with prime lenses than zooms. The addition of 4K to the X-Pro2 would have certainly increased its cost – and the engineers tell us that it would also have increased its size and weight as a consequence of the necessity for a beefed-up heat sink. So if you need 4K, the X-T2 is the camera for you. 

Rear LCD screen

The X-Pro2, being the more ‘traditional’ of the two cameras, has a simple, fixed rear LCD. In contrast, and in keeping with its ultra-versatile ‘do anything’ design philosophy, the X-T2 features a complex, multi-articulating screen that enables easy framing from high and low angles in both landscape and portrait orientations. This articulating design is also more useful for video work.

The decision by Fujifilm (which actually manufactures capacitive membranes for touchscreens) not to include touch sensitivity in either camera is a little disappointing. Also a bit odd is the resolution difference between the screens on the back of the X-T2 and X-Pro2. The X-Pro2’s screen resolution is 1.6 million dots – somewhat higher than the 1.04 million-dot screen on the back of the X-T2 (it’s the difference between 900 x 600 rather than 720 x 480 pixels).

So in summary: If you want screen articulation, go for the X-T2. If you don’t mind a fixed screen, you’ll get slightly higher resolution from the X-Pro2.

Viewfinder

At a quick glance, the electronic viewfinder specifications of the X-Pro2 and X-T2 are very similar. Both are centered around the same 2.36 million-dot OLED display, and both offer a window on the world that is both sharp and detailed. But the X-T2’s electronic viewfinder is the better of the two, for a couple of important reasons.

First is the addition of ‘burst mode’ to the X-T2, which increases the refresh rate of the live view image in the camera’s viewfinder to 100fps. And second is the complex optical assembly (shown above) that focuses the viewfinder’s image into your eye. The X-T2’s EVF is one of the best electronic finder that we’ve ever used. Its unusually high magnification of 0.77X and 100% frame coverage place it a level above the 92% coverage and 0.60X of the X-Pro2.

But before we dismiss the X-Pro2 altogether…

Viewfinder

The X-Pro has one major trick up its sleeve – its viewfinder is a ‘hybrid’ type, that also offers a rangefinder-style optical view, which employs frame-lines to preview composition.

The difference between an optical and electronic viewfinder experience is hard to explain until you’ve compared them directly, but if you’re shooting with prime lenses between 28 and 50mm equivalent, the X-Pro2’s optical finder is a delight. Electronic manual focus assist in optical finder mode is an added bonus. The X-T2’s fully electronic finder is a better choice if you’re primarily a zoom lens user.

Ergonomics

While the basic control logic of the X-T2 and X-Pro2 is very similar (and more or less standard across the entire X-series) the two cameras are ergonomically quite different. The rangefinder-style X-Pro2’s viewfinder is positioned off to the left of the camera (with its back facing you) while the X-T2’s finder sits in a DSLR-style ‘hump’ in line with the lens axis. 

Which of these designs appeals more to you is a matter of personal preference (skip back to the previous slide for a better explanation of the technical differences between the two cameras’ viewfinders) but the experience of shooting with them is subtly different as a result.

The X-Pro2 (shown above) is designed with stills shooters primarily in mind, and more specifically, stills shooters who like to use prime lenses. The X-Pro2 doesn’t handle quite as well with Fujifilm’s longer, heavier zooms, whereas these are the kinds of lenses that the X-T2 is specifically designed to be paired with. With the optional power booster grip attached, the X-T2 balances nicely, even with Fujifilm’s beefiest lenses. And of course, that grip also duplicates key controls for vertical format shooting. 

Faster…

Of these two cameras, the X-T2 is the faster. Designed to cater to the needs of sports and action photographers the X-T2 boasts a maximum continuous shooting rate of 8 fps, with continuous autofocus. This can be increased to 11 fps in boost mode, with the optional grip. The fastest framerate with live view maintained is less, at 5 fps, but this is still plenty fast enough for most subjects. In fully electronic shutter mode, maximum framerate caps out at 14 fps.

The X-Pro2, in contrast, is limited to 8 fps with autofocus, and a mere 3 fps with live view maintained in the viewfinder.

These are different horses designed for different courses. The speed-oriented X-T2 also boasts a USB 3.0 interface, capable of considerably greater data transfer rates than the USB 2.0 interface of the X-Pro 2. In addition both the X-T2’s SD card slots are compatible with the latest UHS-II interface type, whereas only the #1 slot of the X-Pro2 can make full use of these cards.

…and longer

As well as increasing the X-T2’s speed and duplicating its controls for vertical format shooting, the optional power booster grip also triples the camera’s battery life. It’s not magic – the grip simply accommodates an additional two batteries, bringing the total number of available cells to three. Hence three times the endurance, to a rated ~1000 exposures.

The X-Pro2 lacks an accessory grip, and endurance caps out at around 250 exposures with the EVF, and ~350 when the optical finder is used (CIPA ratings in all cases).

Autofocus

The X-T2 incorporates Fujifilm’s most advanced autofocus system yet. It boasts 325 AF points (169 of which offer phase detection) which work in concert to offer a ‘hybrid’ autofocus system. Extensive customization of the X-T2’s continuous autofocus performance is made possible with Canon-style AF setting ‘sets’.

For now, the X-T2’s AF is superior to the very similar system found in the X-Pro2, but this is Fujifilm we’re talking about – the most firmware updatey company of them all (except perhaps Samsung – RIP). As such, we’re told that the X-Pro2’s autofocus system will be brought up to par with the X-T2’s in terms of baseline performance by way of a firmware update scheduled for autumn.

Autofocus

Note that the X-T2’s AF-C customization options (above) will remain unique to this model though, meaning that the X-T2 will remain a better choice if AF performance – or action photography in general – are your priorities. 

Which one should you buy?

If you’re in the market for a new camera and the Fujifilm X-Pro2 and X-T2 are on your list, chances are that both will keep you pretty happy. As far as image quality is concerned, we’re very pleased by the output from their 24MP APS-C sensor, and in video mode, both models are lightyears ahead of previous-generation X-series cameras. The X-T2 scores over the X-Pro2 in terms of video simply by the addition of a pretty impressive 4K specification, and both cameras produce good-looking HD footage.

Beyond the basics, the X-Pro2 is probably a better choice for prime lens photographers, thanks to its off-center hybrid viewfinder which offers both electronic and optical viewing options. If you mostly shoot candids, street portraits or non-moving subjects in general, its lower maximum shooting rate, (slightly) more basic AF system and non-articulating LCD screen might not bother you at all.

In contrast, the faster, more action-oriented X-T2 is a better all-rounder. It can take pictures more quickly, its viewfinder can refresh more quickly, the rear LCD articulates in useful ways, and with the optional power booster grip attached, it offers a vastly better battery life. It’s also much more comfortable to use with Fujifilm’s heavier zoom lenses than the boxier X-Pro2.

Did we miss anything? Let us know in the comments. 

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Setting up for Great Landscape Pictures

Photographing landscapes is one of the most pleasurable kinds of photography. Not only do you have the chance to take beautiful pictures for your friends or office, but you can produce canvases, large prints, and even presents for people. How to take good landscapes depends on a few very significant things. The light you shoot in and your lens are the two primary features that generate stunning landscape photos.

“Golden Gate” captured by PictureSocial member Jim Rector

Two Ways to Take Better Landscape Pictures

First, before I go into detail about these two techniques, let’s look at how to take photos of landscapes. You will need a digital camera that is able to be attached to a sturdy tripod. Then of course you need a tripod. A tripod is what provides you very sharp and clear images. We use a tripod for landscape scenes because we would like to be able to hold the camera free from camera movement. Having a camera that is completely at a standstill allows us to get tack sharp images in many different kinds of daylight.

A shutter release cable is one more clever tool that is often a huge part of working out your landscape photography techniques. A shutter release cable is a little cable with a button at one end. You can join the cable into your digital camera and activate the shutter, simply by pressing down a push button on the end of the remote cable. It will mean that you do not have to come into contact with your camera whatsoever. This increases your chance of getting even sharper photos.

Lenses for Photographing Landscapes

Now that you have your digital camera, sturdy tripod, and remote shutter cord remote shutter cable, what do we do now? Now we come to our lens. There are many different types of lenses for photographing landscapes. It can be hard to choose one if you have not felt skilled photographing landscapes before. One of the most excellent and sharpest lenses is called a prime lens. This means it does not zoom out and in. It isn’t able to. It remains at an unchanging focal length. As a consequence of this immobility, your panorama photos turn out to be sharper and clearer than if you used a zoom lens.

“Eyjafjallajökull Eruption” captured by PictureSocial member Ævar Guomundsson

If you want to take pictures of a big, extensive look to your landscape images, then I suggest exploring at your camera manufacturer’s wide angle and ultra wide angle lenses. A wide angle lens is a focal length of about 24mm to 40mm. An ultra wide angle lens is even wider and can be about 14mm-17mm. There are a lot of lenses to select.

Camera Settings For Landscape Photography

There is never any ideal camera setting for a landscape shot. Though there are some accepted rules to create landscapes. To begin with the aim of landscape photography is to create outstanding, clear images with beautiful light. Before we get into light, I would like to clarify that a smaller f-stop is usually what landscape photographers photograph at. A lesser f stop, such as f/22, is what is regarded as an ideal f-stop for landscapes. This is purely because it helps our camera to focus suitably into the distance. If you are shooting at a medium distance of ten to twenty meters away, f/13 or higher works absolutely fine too. You will naturally have to take your lighting into consideration.

What about shutter speed? How fast or slow does that have to be. Since you have a tripod and shutter cable, your shutter is not one of the major important factors that take precedent in your landscape photography. As long as you have your shutter on a speed that won’t blur due to wind, then chose a medium speed.

When I shoot landscapes in the morning, such as 7am when the light is breaking through, I might chose F16 and 1/125 of a second. I will chose an ISO of between 100 and 400. My ISO depends on the light of course. The higher the ISO the more your color will be affected.

“A Glimmer of the Green River BW” captured by PictureSocial member Mitch Johanson

The Perfect Lighting for Your Landscape Photography

I have to come clean. I am surprised there is not more written on lighting for landscape photography because it is incredibly central. I’ve chose to write about it last because I want to focus your awareness on it. I want it to stay with you the most. It truly is the most important aspect of landscape shooting.

The reason why a landscape photo looks so vibrant and beautiful is because of the lighting. Without excellent lighting a landscape photo can look dull and lacking in interest. And no amount of cool gear will fix this dilemma.

The greatest time of day to take pictures of your landscape scene is in the early morning or late afternoon. This gentle light is called sweet light. You will find that the light is soft and gently colorful. At these times of day the light, hues and tones give your scene a totally different look to the heart of the day. Shooting in the mid summer sunlight can create unwanted shadows, washed out colors and a general lack of depth. Shooting in a gentle light gives us back those soft colors, muted tones and gentle skies. There are generally no tough and horrible shadows ruining our landscapes.

Landscape Photography Editing Techniques

Once you have your fixed lens, camera set up on your tripod, small aperture and best lighting you can fire off a whole sequence of images to your hearts content! I know I certainly do. Once you have created your beautiful landscape shot you can then take it home for editing. Finding the right photo editing techniques for landscapes isn’t that tricky. You must first know what you are aiming to attain. Some of us adore turning a landscape photo into a monochrome, sepia, or split tone scene. Others love to keep the soft, muted colors that mornings can offer. Some of us love to create different effects altogether to add more drama and impact to produce an almost apocalyptic look to our landscape photos.

“SunriseOnMonoLake” captured by PictureSocial member Daniel Pham

The main thing is to keep your shots sharp, broad and vibrant. You may have to enhance the sharpness a little using the smart sharpen tool in Photoshop. For Lightroom fans, open up the “Detail” panel and boost the sharpening, radius and detail sliders to the right.

Increasing the color vibrancy can do wonders for your landscape photo. You will observe that nearly all landscapes hold extra ordinary color. That is as a result of increase in particular colors throughout the image. It is also due to a broad increase in color vibrancy right through the whole photo. Don’t amplify the color too much; you don’t want dark greens to look fluorescent green or pastel pinks of wildflowers to look fuchsia. It will just look out of place. Keep the colors sincere looking as possible, but just increase the presence of color.

High Dynamic Range

If you have trouble with your light then HDR is just the thing. Shadows can sometimes be too dark and highlights can be overexposed. Then try HDR. This “blending” is a professional landscape editing technique that can really rescue your photos. You take 3 different photos. The first is two stops under exposed. The second is perfectly exposed and the third is two stops over exposed. You can then create one single photo which is a blend of all three—bring out the best from all of them. This will bring about natural highlights to your shadows and reduce your highlights to a more natural looking appearance.

Landscape Photography Ideas

Depending on where you live, you may have many opportunities. In case you are stuck for ideas then I have some suggestions for you to try. A beach, a large waterfall, a freeway from a bird’s eye vision, a cityscape at dusk, a long open highway, mountain range with hanging mist, a grassland with flowers and even a paddock with livestock grazing in the background. You can see that there are many different types of landscapes to chose from. Just open your mind and your world will change. You’ll see things you never saw before. That’s what happens with photography; your life chances.

“Sunrise Tetons” captured by PictureSocial member Katie

Taking photos of landscapes relies on soft and beautiful lighting, a sharp lens and clarity. You don’t have to have a costly digital camera to take stunning landscape photos. You can use the suggestions I have given you in this article.

About the Author:
Amy Renfrey writes for DigitalPhotographySuccess.com. She is a professional photographer and photography teacher. She shows you how to take the most breathtaking, brilliant, and incredibly stunning photos every single time you press the shutter button, even if you know nothing about photography and have never used a digital camera before.

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Nikon D500 Review

I never did completely lose faith. I think in the end it was probably just myself, Thom Hogan and one or two others – the true believers. Nikon would give us a legitimate successor to the D300S. I think that the many who told us to give up and move on to FX because DX is dead, or that the D7200 was the real D300S replacement, perhaps missed the point. The D7200 is an absolutely excellent camera, but I have always thought it pretty obvious that Nikon was holding back on the D7x00 series. And as far as moving on to FX, well we were already there shooting D4s, D800s, etc., but looking back to DX for the potential advantages that a smaller format, high-performance body could bring to shooting wildlife and other action. There was room at the top of the DX model lineup for a specialist camera and now we have it – the D400 D500. Nevertheless, I was caught off-guard, along with most people I think, when the D500 was announced alongside the D5 in early 2016. We all knew the D5 was coming, but just how did Nikon manage to keep the D500 a secret?

The D500 takes its place at the top of the Nikon APS-C (“crop sensor”) format camera body lineup as a true flagship model and as the undisputed, long dreamed of replacement for the D300S (has it really been 7+ years?). There is no question that the D500 is meant to be viewed as, and perform as, a mini-D5. Consider the naming of the two, the simultaneous announcements, the new auto-focus system common to both, the use of XQD memory cards in both cameras, and even the identical resolution 21MP sensors, among many other commonalities. Quite frankly, on paper the D500 looks like a dream. And clearly, I’m not the only one thinking that. The first batch of cameras sold out rather quickly and at the time, specs on paper is all there was to go on. And at the time of writing (late June) it is once again out of stock at major online retailers. Interestingly, Nikon classifies the D500 as “enthusiast” rather than “professional”, placing it in the same camp as the D7200. Given the specifications, I think we have to conclude that it is simply the sensor size that prevents Nikon from considering it a “professional” camera. Snobbery over sensor size won’t prevent many professional and non-professional photographers from doing amazing work with this camera. Of that I have no doubt. Some have commented that the US $ 2,000 price tag is a little steep. Next to the D7200 at $ 1,200 when announced and now discounted, it does seem so. But then consider that the D300 was announced in 2007 at $ 1,800, alongside the D3 at $ 5,000. In that time we have seen an 11% increase in price for the top DX model versus a 30% price hike for the top FX model. So if the ask for the D500 seems high, just put it alongside its big brother, the D5 at $ 6,500, and the price tag on the mini-D5 starts to look somewhat mini itself.

Reddish Egret (white morph) – Nikon D500, 600mm f/4, ISO 220 1/4000s f/5.6

1) Specifications Summary

• Sensor: 20.7MP (5568 x 3712) APS-C “DX” format CMOS sensor (23.5mm x 15.7mm)
• Pixel Size: 4.2μ
• ISO range: 100 – 51,200 (50 – 1,640,000 extended range)
• Shutter: 1/8000s – 30s (flash sync. 1/250s)
• Shutter Durability: Rated to 200,000 actuations
• Continuous Capture: up to 10 fps, up to 3 fps in quiet continuous mode
• Processor: EXPEED 5
• Storage: 1 XQD and 1 SD (UHS-II)
• Viewfinder: Pentaprism with 100% frame coverage and 1.0x magnification
• LCD Screen: Tilting and touch-sensitive LCD, 3.2 inch, 2.36 million RGB dots, 1024 x 768 pixels
• Metering: 180,000-pixel RGB sensor, -3 to +20 EV range
• Autofocus System: Multi-CAM 20K with 153 focus points (55 selectable)
• AF Sensitivity Range: -4 to +20 EV
• AF modes: Single point, Dynamic 25, 72 or 153 point, 3D-tracking, Group-area, Auto-area
• Movie: 3840 x 2160 (UHD) up to 30fps, 1920 x 1080 (HD) up to 60fps, H.264/MPEG-4 encoding
• Connectivity: Wi-fi 802.11b/g, Bluetooth 4.1, USB 3.0, HDMI out, Analog stereo audio in/out
• Power: EN-EL15 Li-ion battery 14Wh, 1240 shots per charge (CIPA standard)
• Dimensions/weight: 5.8in. x 4.6in. x 3.2in. / 147mm x 115mm x 81mm (WxHxD), 26.9oz / 760g camera body only

Crested Caracara – Nikon D500, 200-500mm f/5.6 @ 360mm, ISO 250 1/2000s f/5.6

2) Nikon D500 vs D7200 vs D300S Specifications Comparison

Let’s take a quick look at how the Nikon D500 compares in terms of specifications with the D7200 and the D300S:

Camera Feature	Nikon D500	Nikon D7200	Nikon D300S
Sensor Resolution	21MP (5568 x 3712)	24MP (6000 x 4000)	12MP (4288 x 2848)
Native ISO range	100 – 51,200	100- 25,600	200 – 3,200
Expanded ISO range	50 – 1,640,000	100 – 102,400	100 – 6,400
Image Processing Engine	EXPEED 5	EXPEED 4	EXPEED
Continuous Frame Rate	up to 10 fps	up to 6 fps	up to 7 fps (8 fps with MB-D10)
Buffer Capacity (RAW)	up to 200	up to 18	up to 17
Storage Media	1 x XQD, 1 x SDXC (UHS-II)	2 x SDXC	1 x CF, 1 x SDHC
Viewfinder Magnification	1.0x	0.94x	0.94x
Shutter Durability	200,000 actuations	150,000 actuations	150,000 actuations
Metering System	180,000-pixel RGB sensor	2,016-pixel RGB sensor	1,005-pixel RGB sensor
Metering Sensitivity	-3 – 20 EV	0 – 20 EV	0 – 20 EV
Autofocus Module	Multi-CAM 20K	Multi-CAM 3500 II	Multi-CAM 3500DX
Autofocus Points	153 (55 selectable)	51	51
Autofocus Modes	Single, Dynamic 25/72/153, 3D-tracking, Auto-area, Group-area	Single, Dynamic 9/21/51, 3D-tracking, Auto-area	Single, Dynamic 9/21/51, 3D-tracking, Auto-area
Autofocus Sensitivity Range	-4 – 20 EV	-3 – 19 EV	-1 – 19 EV
Autofocus Fine-Tune	Automatic, Manual	Manual	Manual
LCD Size	3.2in.	3.2in.	3.0in.
LCD Resolution	2.36M dots 1024 x 768 RGB pixels	1.23M dots 640 x 480 RGBW pixels	922K dots 640 x 480 RGB pixels
LCD Tilt & Touch	Yes	No	No
Movie Formats	UHD 3840 x 2160 30fps, HD 1920 x 1080 60fps	HD 1920 x 1080 60fps	VGA 640 x 480 24fps
Flash (Built-in)	No	Yes	Yes
Wireless Connectivity	Wi-Fi 802.11b/g, Bluetooth 4.1	Wi-fi 802.11b/g	No
Battery Type	EN-EL15 Battery	EN-EL15 Battery	EN-EL3e Battery
Battery Life	1240 shots (CIPA)	1110 shots (CIPA)	950 shots (CIPA)
Size	5.8in. x 4.6in. x 3.2in. (147mm x 115mm x 81mm)	5.4in. x 4.2in. x 3.0in. (136mm x 107mm x 76mm)	5.8in. x 4.5in. x 2.9in. (147mm x 114mm x 74mm)
Weight	26.9oz (760g)	23.9oz (675g)	30oz (840g)

As might be expected, the D500 stands out from the D7200 and D300S in almost every way. Performance improvements include a very fast top frame rate with a huge buffer. The metering module is very high resolution compared to the older cameras and is also far more capable in low light. On paper, at least it has 3 stops greater sensitivity. Of course there is next generation auto-focus which is functional down to an incredible -4 EV. So what is that in terms of an actual exposure? 1 second at f/1.4 and ISO 3,200 – very dark! The LCD monitor has received a big spec bump with all the attention going to the tilt and touch capabilities. But note too the increase in resolution. More on that later. UHD (not quite 4K) movie recording is now possible. And with SnapBridge (Wi-Fi & Bluetooth), Nikon is making an attempt to provide wireless connectivity that is actually useful. The jury is still out on whether they have succeeded.

NIKON D500 + 300mm f/4 @ 420mm, ISO 800, 1/200, f/8.0

3) Nikon D500 vs D5 Specifications Comparison

And here is the Nikon D500 compared to its big brother, the Nikon D5:

Camera Feature	Nikon D500	Nikon D5
Sensor Size	DX 23.5mm x 15.7mm	FX 35.9mm x 23.9mm
Sensor Resolution	21MP (5568 x 3712)
Native ISO Range	100 – 51,200	100 – 102,400
Expanded ISO range	50 – 1,640,000	50 – 3,280,000
Image Processing Engine	EXPEED 5
Frame Rate	up to 10 fps	up to 12 fps (14 with mirror locked up)
Buffer Capacity (RAW)	Up to 200
Storage Media	1 x XQD, 1 x SDXC (UHS-II)	2 x XQD or 2 x CF
Shutter Life	200,000 actuations	400,000 actuations
Metering Module	180,000-pixel RGB sensor
Metering Sensitivity	-3 – 20 EV
Autofocus Module	Multi-CAM 20K
Autofocus Points	153 (55 selectable)
Autofocus Modes	Single, Dynamic 25/72/153, 3D-tracking, Auto-area, Group-area
Autofocus Sensitivity	-4 – 20 EV
Autofocus Fine-Tune	Automatic, Manual
LCD Screen Size	3.2in.
LCD Resolution	2.36M dots 1024 x 768 RGB pixels
Tilt & Touch	Tilt, Touch	Touch
Movie Formats	UHD 3840 x 2160 30 fps, HD 1920 x 1080 60 fps
Wireless connectivity	Wi-Fi 802.11b/g, Bluetooth 4.1	External module
Battery Type	EN-EL15 battery	EN-EL18a battery
Battery Life	1,240 shots (CIPA)	3,780 shots (CIPA)
Size	5.8in. x 4.6in. x 3.2in. (147mm x 115mm x 81mm)	6.3in. x 6.3in. x 3.7in. (160mm x 159mm x 92mm)
Weight	26.9oz (760g)	~49oz (1400g)

There are three very obvious factors that differentiate the D5 from the D500: sensor size, camera size and price. But looking past those, the two are remarkably alike. Notice how many of the features in the table above are common to both. It is not a comprehensive list by any means, but does pretty well illustrate the shared raison d’être of these two cameras. In recent years it has been a very frustrating fact that, as a Nikon user, the only way to get a really high speed camera was to get a D4 or D4s. There has been no affordable alternative since the D300/D300s until now.

Reddish Egret (white morph) – Nikon D500, 600mm f/4, ISO 900 1/3200s f/5.6

4) Camera Size Comparisons

Below are comparison shots with the D500 side-by-side with other Nikon DSLR cameras. The images are to scale giving an idea of the relative sizes.

Here we see the shiny new D500 next to the venerable old D300S. Overall size is very similar – the D300S with squarer shoulders and rounder hips. The old boy is noticeably heftier at 840g versus 760g. I always appreciated the weightiness and solid feel of the D300/D300S. It meant business.

The D500 is large for a DX camera. It is significantly larger and heavier than the D7200 and absolutely dwarfs the D5500. But for me the relatively large size is a good thing. The D7200 is just too small to feel really comfortable in my hand. There is not quite enough to grab onto and my little finger feels like it’s about to fall off the bottom. By contrast the D500 has a tall and deep, though slightly narrow, grip which is very comfortable. Things improve when adding a vertical grip to each camera. The MB-D15 for the D7200 transforms it into a full-size camera. Now all my fingers fit and when held vertically I actually find it slightly more comfortable than the MB-D17 on the D500.

Perhaps surprisingly, the D500 is also larger and heavier than both the D610 and D750 FX bodies. You won’t be buying this one to save space and weight. It’s not until you get to the second largest camera in the Nikon DSLR range, the D810, that you have something a little larger than the D500. The D810’s grip is fatter than, but not as deep as, the D500’s grip. Both are very good but I have a preference for the D810’s shape.

Of course the D5 towers over the D500. Big brother really is big. Heavy too, at around 1,400g or approaching double the weight of the D500. I had actually hoped the new DX flagship would have an integrated grip mirroring the D5, but that was just wishful thinking. However, once you add a vertical grip, the D500 approaches the size and weight of the D5. The MB-D17 “Multi Battery Power Pack” (Nikon speak) is a great addition to the D500. For my photography, I consider vertical grips essential and shooting the D500 vertically without one is something I find to be quite awkward to the point where I shoot less verticals, which is not a good thing. Equipment should not dictate the kind of pictures taken. So the MB-D17 goes on and stays there. As a bonus, you can load an extra battery to help with “range anxiety”. Having to remove the vertical grip to get at the in-body battery is a small annoyance that comes with using the accessory grip. I always set the camera to use the MB-D17 battery first which often means at the end of the day there is no need to remove the primary battery for charging.

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The Grand Teton as Never Seen Before in Glorious 8K and BTS of What It Took to Pull It Off

In the latest installment of the “More Than Just Parks” series, filmmakers Will Pattiz and Jim Pattiz journey through Grand Teton National Park and capture breathtaking visuals of the natural vistas and wildlife. Their video series aims to document all 59 national parks through beautiful imagery in order to promote the protection and enjoyment of these lands. After you check out the new video (it does not disappoint), the Pattiz brothers share with Fstoppers some of their experiences and challenges working on “Grand Teton” and the video series altogether.

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10 Photography Mistakes to Avoid

Here are ten common photography mistakes to avoid to take your photos to the next level.

Mistake #1: Combining Light & Shadow

photo by Chris Costello

A good example of the mistake of combining light and shadow into photographs can be seen when family photos are taken outdoors. They might be in a really nice location, but the one orchestrating the photograph fails to appreciate how the light from the sun, as it filters its way through tree branches and foliage, is going to impact the resulting image.

An example of bad lighting is where you’ve got your subject in some shade and it just ends up being a really, really bad place to take a photograph of someone. And this is what happens with typical family orchestrated portraits taken outdoors.

The ideal to aim for is something more neutral, such as placing your subject in shade and then adding light with your external flash. The key is to start with the right location (such as in the shade), so that you don’t have any shadows falling on your subject and creating a really strong and visually off-putting combination of bits of shadow and bits of light.

Mistake #2: Wrong Location

This tends to happen when the elected photographer is too shy to get their subjects to move to a location that will help result in a more appealing photograph. They’ll tend to make-do with any old location, if their subjects are suddenly all together. What then happens is they’ll end up with something in the background that totally ruins what could be a really nice photograph, such as random cars that aren’t out of focus enough to truly stop them from being a visual distraction. Or, there are rubbish bins or just something that detracts from the overall appeal of the resulting photograph. And, most of the time, all the photographer had to do was move their subjects to a spot only a few meters away, or turn them to a slightly different angle, and they would have had either a clutter-free background, or at least one that would have blended nicely behind the main subjects without being an eyesore or unwanted distraction.

photo by Mateus Lunardi Dutra

Mistake #3: Focus in the Wrong Place

Many a time, people have managed to compose a really nice photograph, but the elements you’d want to see clearly just aren’t in focus. You have to be aware that the eyes of those viewing the photos are going to go to whatever happens to be sharp and bright.

Examples are flowers, where the head of the flower is blurred and out of focus, but the leaves (nice as they are, but which most likely aren’t the main feature to show off) are the parts that are in focus. So, the focus was good on the leaves, but as it was the head of the flower that was meant to be the main subject, the focus was clearly in the wrong place.

photo by Benson Kua

When it comes to taking portraits, it’s not uncommon to see that the photographer has managed to get something either in the foreground or the background in sharp focus, but then they’ve made a total hash of the face and eyes of the subject, which is frustratingly blurred. When viewing the photos, you want to see the detail of the person and don’t want to be impeded by the facial details being blurred and out of focus; this is often what ruins an otherwise nice portrait photo.

When taking a portrait, always make sure you have tack-sharp focus on the person’s eyes. If you’ve positioned the person at a slight angle to you, using center-point focus, lock it in on the closest eye to you. The key to good portrait photos is to get the eyes in crystal clear focus—unless you’re aiming for something creative and artistic, that is!

Mistake #4: Wrong Aperture

Using a wide aperture (low f-number), to create a shallower depth of field, enables you to use selective focus to determine what is in focus and what will be blurred and out of focus. This approach helps you to dictate what those viewing your photos will look at.

For example, if you’re photographing a pilot standing in front of his or her plane, you want the pilot in focus and not the plane, because you want to draw the viewer’s attention to the pilot—the one who flies the plane—and, in this case, not so much the plane. If it were the plane you were wanting to draw the eye to, you probably wouldn’t have the pilot in foreground of the shot… he/she may be in the plane, but it’s going to be more obvious that the plane is the main subject of the photo, as you photograph the plane in its environment (such as about to taxi onto the runway); the background would be secondary to the plane, so you’d allow the background to become out of focus.

photo by DVIDSHUB

Of course, if you purposefully wanted to capture both the pilot and the plane in clear focus, with the pilot standing in front of the plane, then you’d shoot with a narrower aperture, such as f/11 or all the way down to f/22, depending on how far the pilot was standing in front of the plane.

Learn to use your DSLR in Aperture Priority mode to learn how to take photos with a low aperture number (f-numbers such as f/4, f/2.8, f/2, f/1.4, etc.), as these will allow you to explore selective focus, to get away from the “point-and-shoot look”, where everything is in clear focus.

Mistake #5: Bad Composition

Landscape photography is a good example where the average photographer tends to come away with poorly composed photographs. The problem usually stems from them not knowing what their subject actually is. If you were out at Niagara Falls, it’d be fairly obvious that your subject would be the stunning waterfall, and so that is what you would want as the star attraction in your frame. However, problems can arise when there are multiple candidates for being the main subject. Is it the autumnal colors of the leaves? Is it the flowing stream as winds its way down into the valley beyond? Is it the valley? If you know what your subject is, it will help you to craft a better photo.

You can sometimes get interesting photos by angling your camera. This is using a technique known as “Dutch angle,” “Dutch tilt,” “canted angle,” “oblique angle,” or “German angle” photography to produce a point of view that’s pretty much like what you see when you tilt your head to one side. It is a technique that can be used to add a dramatic effect to an otherwise ordinary subject matter.

Another cause of bad composition is not getting down to the level of your subject to take the photo. Photographers can get a bit lazy and shoot everything from the height that they stand, regardless of the height of the subject they’re photographing. If photographing, say, kids or animals, you’ll often be rewarded with better images if you make an effort to get down to their level—even going as far to lay on the ground, if you have to—in order to get the shot so you can portray in the photo what it’s like to be at their level. If you can get low, below your subject and shoot upwards, it has the effect of making your subject look much bigger and/or more powerful.

photo by PhotoAtelier

Another composition mistake is trying to shoot every subject from head-to-toe. This is typical of portrait photos. Images can be more interesting if you get in close, either physically closer or with a zoom lens, to photograph your subject(s), say, from the waist, upwards.

Always centering subjects in photos is a habit that can create routinely poor photos. If you don’t center subjects in the frame, you get to take your viewer on a journey through your photograph, which can help make your images a little more compelling. For instance, you photograph a monument and instead of placing that monument in the center of the frame, step back enough so that it can be positioned to either side (where you think it looks better), and then use leading lines (such as the shape of the land, or a fence, or a road, or path), to lead your viewer’s eye from the far side of the image up to the monument (or whatever your subject is), where they may spend a little while taking in the details of that subject before their eyes naturally travel back along the leading line to where they started—at which point they’ll either be done looking, or they may take another visual walk through your photo if it’s compelling enough to them.

Mistake #6: Don’t Shoot Tight Enough

If you take a photo of someone, for example, and you show the person from head-to-toe, plus a lot of what’s in the background and surrounding that person, then the photograph tends to be about the environment that your subject is in – it could be the person is wearing a football kit and is on the pitch, with the goal posts in the background. If, instead, you focused in really tight, so that you fill the frame with your footballer, as much as possible (from the waste up, for instance), then the resulting photograph will now be more about the person, than where they are.

It’s not that you shouldn’t shoot in one way versus the other (head-to-toe versus up tight), but consider shooting both types, in order to give you more options – once you get the photos printed or onto your computer, with a bit of reflection, you might find you prefer one style over the other. But, if you only shot one way, such as always trying to get everything in the frame, from head-to-toe, then you’re missing out on achieving a totally different feel or look to your images.

It doesn’t matter what the subject is; if it’s a car, for example, take one photograph showing the entire car, which will include some of the surrounding environment, and then get in really close and tight, and photograph an appealing section of the car in isolation. It could be just one side or a diagonal shot either taken from the front nose section looking toward the back or from the interesting back end of the car looking forward.

Mistake #7: The Wrong Use of Flash

First of all, a flash unit at full power can be really harsh, which can result in the loss of interesting features and details of your subjects. So, if using flash, turn down the power, such as to -1 stop. You’ll know when you’ve used too much flash, because people will be commenting on the fact you used flash to take the picture. It should be used to enhance the subject(s) in the photo, not to become the main feature or talking point of the image.

You should also take time to learn how to use your camera during the day, as much as at night. If you’re taking photographs outside on a bright sunny day, flash can help to get rid of some of the harsh shadows that may be present in the background or shining onto your subject(s).

photo by Darron Birgenheier

If photographing someone outside, in the sun, and you find a small pocket of shade, you might end up with the sun shining down on them and, while you may get the sun adding a nice portion of hair light to the top of their head, the rest of your subject may be lost in a silhouette. By adding a subtle amount of flash, you can capitalize on the hair light coming from the sun, and kiss just enough light with your flash, to illuminate your subject from the front, to take them out of the dark silhouette. The result will be a nicer portrait, overall.

It can be very effective, when outside on a sunny day, to position your subject so the sun is coming from behind, and then you use your flash to help illuminate them from the front. With the sun shining down from the side, it can tend to add really dark shadows, particularly around the eyes, giving your subject a kind of “raccoon look”. This is something you can avoid, with the use of a flash, and simply positioning them so that they are between you and the sun, with the sun directly behind them.

Another problem with photographing people looking into the sun, is they all invariably end up squinting into the camera, which is never a flattering look to have in a photo.

Mistake #8: Not Aware of the Shutter Speed

Photographs that have captured, say, a sportsman in midair as they’re about to touch down and score a try in rugby; where they’re frozen, with no image blurring, will have been shot with a fast shutter speed. Conversely, when you see a bit of motion blur in the photo, such as the movement of the arms and legs of a marathon runner, then these will typically have been taken with a slower shutter speed. The shutter stays open fractionally longer, giving enough time for the camera’s sensor to record the movement of the limbs at various different points as the athlete moves along.

1/30 of a second, photo by Dragan

It all depends on the speed of the subject, as to how fast or slow your shutter speed needs to be, in order to capture either some movement in your photo, or to ensure that there’s no motion blur and the subject is completely frozen in that moment. A person jogging along might allow you to capture motion blur at 1/40 or 1/50 of a second, as you pan with them. But, a motorbike or race car may require 1/100 of a second or so, in order to get a similar result.

Mistake #9: Trying to Shoot at Night Without a Tripod

If you know you’re going to be photographing at night, take a tripod along, as you will most likely be needing to use slower shutter speeds. You don’t want to discover a fantastic photographic opportunity, only to be prevented from capturing that moment because you didn’t have a tripod—and because you couldn’t hand-hold the camera, as the outcome would have been photo-ruining blurring, due to having to hold the camera during the slow shutter speeds.

There are some places you go where they don’t allow tripods, in which case you will need to make the best use of whatever stable platform is available. This could be a ledge or a wall, or, if you’re forward thinking, you might be able to arrange a mini tripod in a backpack, which pokes out just enough to let the camera appear like it’s just sitting very well behaved atop your bag. But, in general, if you can use a tripod, it’s often the best choice. Camera bean bags are another option; you just have to scrunch your camera down into them to get it level, but that can solve a problem of not being allowed to take a tripod somewhere and yet still manage to get your camera onto a level base to take your shot.

Mistake #10: Standing By Walls & Bushes

If people know they’re going to have their photos taken, they inevitably find a wall or a bush and reverse themselves right up to it and then wait there until you take their picture.

If you’re using flash or you’re outdoors in bright sunlight and you let them remain in front of the bush or wall, this will most likely result in them having a harsh shadow around them. The bush or wall can also merge with your subjects and you may not get sufficient separation between subject and these background objects, resulting in a rather cluttered portrait.

photo by Anna Davidson

What tends to happen when people have their photo taken up against a wall or a bush is that people viewing the photos will get somewhat distracted, as they may find their minds are caught between looking at the people and looking at that bush or wall. By all means, if the bush is attractive, you can have it in the background, but just bring them far enough away from it so that you can use a wide aperture (small f-stop number), combined with a longer focal length, to have the bush nicely defocused in the background, while letting your subjects take the starring role, as should be the case.

About the Author:
Graham Wadden created and maintains the Creative Commons photography website, WaddenCCPhotography.com, specializing in creating stock photography primarily for home educators and those in education.

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Vorticity: Time-lapse captures the drama of storm chasing

Mike Olbinski recently spent 18 days and drove some 20,000 miles to capture one of nature’s most powerful forces on camera, and in doing so has created one of the most compelling time-lapse videos we’ve seen in a long time. He shot some 60,000 time-lapse frames between April 15th and June 15th, 2016 and compiled them into a six minute long epic that concludes with the holy grail of storm chasing: capturing a tornado on camera. Definitely view this one in full screen mode and enjoy!

Articles: Digital Photography Review (dpreview.com)

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Street Photography Tips & Techniques in New York City

I often think that photography enthusiasts talk too much about photographic equipment and too little about the actual photos that they take.

Example 1. “In 25 years, he’ll be going the other way.”

It may also be relevant to talk about photographic equipment if you are going to buy something new, but in my opinion, once you have it just go out into the world and use it!

All the photos in this article are taken with a Nikon D7200 and Nikon 20 mm 1.8G prime lens (30 mm full frame), which I think is a good combination for street photography.

For a street photographer, the concept of “one camera, one lens” is a good motto and definitely if you mainly shoot candidly from the hip. “One lens” can just as well be a zoom lens, which is fixed at a certain focal length. The advantage of a constant focal length, is that with a little practice, you soon find out where to position yourself and exactly how much you get in the photo frame. You become “one” with your equipment.

For example, if you are taking a landscape photo, you usually have plenty of time and can benefit from setting the time, aperture and ISO manually. In street photography, it may be a good idea to use the “P”-setting (Programmed auto) together with auto-ISO and also limiting the minimum shutter speed.

Things do sometimes happen quickly and situations can easily change, making it difficult to use manual settings. Maybe you are focusing on a situation in the shade, but seconds later something more interesting appears on the other side of the street in the sun. You would then need to change the settings for this new situation, and the opportunity for taking the photo may be missed.

Remote Control and Spirit Level

If you are using the technique of shooting from the hip, it may be an advantage to have a wireless remote control with you. It can be used to make both you and the camera more invisible. I can easily shoot with it from my pocket or from the palm of my hand. No one seems to notice that I am taking a photo when my fingers are nowhere near the shutter button.

I usually combine it with a small spirit level in the hot shoe, and then I can see if the camera is level on both axes. I can easily correct the camera with one hand without it being noticed.

“Shooting from the Hip” Technique

The “shooting from the hip” technique basically means taking a photograph without looking through the viewfinder. You can do this in several ways, for example by hanging the camera around your neck and letting it rest on your stomach (if you have one!) or by holding the camera in your hand with your arm stretched along the side of your body.

I almost exclusively use the technique of having the camera resting on my stomach which gives me a good opportunity to use the spirit level. By consistently
using the same technique I get a better photo accuracy. This is a relatively low camera position, about the same as a camera with a waist level viewfinder. One of the most famous street photographers, Vivian Maier, was known to use a camera with one of these.

Distraction Tips

As I pretty much only use a wide angle for my street photos, I am very close to the people I photograph. Therefore, it is sometimes necessary to make a slight movement or sound to distract them from looking directly into the camera.

To distract them, you could maybe scratch your neck, correct your glasses, fix your hair, look at your watch, check your mobile phone etc. Meanwhile, you are pressing your wireless remote control and taking your photo. In this way, you can avoid eye contact with the people you are photographing and get more natural photos. It was only after I learned this technique from another street photographer at 500px in 2011 that I really got started with street photography. Since then, I have taken many thousands of photos using this technique, and as yet, I have had no questions or confrontations from anyone that I have taken a photo of.

How I Work with Street Photography

In the following paragraphs, I will show you some examples of how and why I have chosen a particular photo to display. I start by looking at all the images I took in relation to a selected photo. Although I would not normally show the other images to anyone, I keep them on my hard drive just in case. I’m not good at tidying up on my hard drive and as hard drive space is cheap to have, I actually don’t need to! The examples in this book show how important foresight is in street photography. Therefore, I usually “scan” the street or the surrounding area at all times to see what may be coming or happening further on. Once I have found an interesting person to photograph, I concentrate on finding a relevant background or maybe even another similar/contrasting person to be in the photo.

Sometimes, I find it necessary to follow or walk in front of a subject (see Example 1). To make sure you have the photo of the “decisive moment”, it is important to take multiple photos of the same situation.

This may well mean that you have to take up to 10 shots to get the right photo, but don’t worry you can always discard them. It is important to
remember:

The easiest way to achieve a reputation as a skilled photographer is by never showing your bad photos!

When working with a particular genre, such as street photography, it is easy to fall into a rut and become fixed on a particular style. I think this also
happened to me. Not consciously, but maybe because I have had success with this particular style before and therefore think it is the style that I am best at. For me, it is situation photos. I admire a lot of other photographers’ street photos, via street photography Internet groups and on the photo sharing site 500px, which is my favourite. Here I sometimes see very contrasting black and white backlit shots with long shadows or a photo of a small person, as part of a larger scene—for example, in connection with beautiful architecture. They are a pleasure to look at. I have repeatedly tried to take some street photos like this, but I haven’t succeeded. I even made an extra effort in New York, taking advantage of the sunny late afternoon hours to create some special long shadow photos, but nothing usable came out of it.

You should not expect to take a “master photo” every time. Sometimes you should be happy that you are able to just bring home one usable photo. For me, a usable photo is one that possesses a quality making it suitable for publication on one of the photo social media sites, which I participate in.

Patience, determination and a good pair of shoes is an advantage in the quest for a good street photo!

I am active on 500px and some Facebook and Google+ groups. There is usually a good community spirit in groups like these, and even if people do not know each other personally I still feel that I know a great deal about the other people through the comments which I leave for other people and the comments I receive myself.

I advise and encourage you to participate in these types of social media sites. Please remember though to participate actively – that is, comment on and “like” the photos you think are good, so that the photographers get feedback. Above is an example of one of my uploads on 500px. It is possible to “like” the photo, make it your favourite, see how many people have seen it, and also read their comments. There is also a rating based on how many likes and favourites you have received. You shouldn’t read too much into these figures, but appreciate that other people like a photo that you have taken and therefore they will “like” it.

Example 1

“In 25 years, he’ll be going the other way.” (See above.)

I saw the older gentleman with a walking frame, near the Flat Iron building. My thought was to find a suitable background, something that would relate to him or be in contrast to him—something that could provide some more elements to the photo. I took some photos with some street cleaners in the background, but this
didn’t give me the photo I was looking for. The older gentleman proceeded slowly towards 23rd Street, and I hurried to walk in front of him. Further along the street, a workman was walking towards the older man, pushing a floor stripping machine. I tried to calculate when they would pass each other, and by just using four
attempts, I managed to get the photo I wanted. Namely, when they passed each other pushing their vehicles. For me, this photo symbolizes two people, two generations, that are both at their own stages in life. The workman, should expect to be going in the other direction in 25 years, perhaps with his new vehicle, a walking frame!

Example 2

Example 2: “The dog, the woman and the security guard.”

I was on one of the streets leading down to Wall Street and The Stock Exchange. I saw the woman in the yellow dress and her dog walking towards a street corner, where a security guard was standing in front of a building. The woman was walking very slowly, as she was constantly checking something on her phone. Meanwhile, she was letting her dog stop and sniff at absolutely everything. This gave me plenty of time to get in front of her and position myself at the corner where the security guard was standing. When the woman passed, the dog stopped to sniff the security guard and it was right at this moment, that I got the photo that I was looking for. The security guard didn’t seem to be entirely comfortable with the situation and had a worried look on his face, but he didn’t move from his position outside the building he was guarding. I don’t know what might have been going through his mind, but in a city like New York, which was subjected to the terror of 11 September 2001 and with it being so close to the financial centre, I would expect any security guard to be extra wary when someone gets close to them.

In the reflection shown in the window behind, you can see some of the buildings around the financial centre. Again here, I have used the technique of shooting from the hip, and you can see that the range fits nicely until you look at the last 4 photos where I’ve cut off some of the girl’s feet. But that’s the risk you run when you are taking candid photos. However, you can almost be certain that by using this technique, people don’t realise you are taking photos.

Example 3

Example 3: “Cool down or I’ll arrest you!”

This photo of two girls who seem to be having a serious and heated discussion with the police officer in Times Square may make you wonder if the photo is telling the right story. Is the officer’s raised finger his last warning before arresting the girls? Actually, when police officers in Times Square are not undertaking police duties they are very friendly tour guides. That was the situation I captured in this photo. If you look at the other 19 photos in large-format, you would not be in any doubt that they were just having a perfectly normal conversation. I don’t know and couldn’t hear what they were talking about, but you can see both the police officer and the girls laughing in many of the photos. So the photograph is only telling the truth in the sense that the subjects have those expressions on their face and are making those gestures at the precise time that I took the photo. That is the only truth in the photo. Some people can show a funny or dramatic facial expression for just a fraction of a second, and I have often exploited this as a street photographer.

Example 4

This clip from a different photo tells a different and more actual story:

Example 4: “Hair or not.”

5th Avenue in Manhattan is a really good place to take photographs, especially the northern end towards Central Park. This part is full of expensive brand-name stores like Gucci, Chanel, and Louis Vuitton. Here you can see wealthy New Yorkers in expensive cars out shopping and also tourists, who are only “looking” at the many expensive items. You will also find beggars and homeless people waiting for handouts from the passers-by.

I noticed a shop window where there were two fashion-clad mannequins exhibited. They were both bald and didn’t have faces. I was hoping that a bald man or maybe even two bald men would walk past, creating a connection to the two bald mannequins. Instead of two bald men, a woman with bobbed hair walked past. Maybe she had just been shopping in Gucci! I thought that her hair style was a sharp contrast to the bald mannequins, and I also the liked the similarity that you could not see the woman’s face because of her hair. In total I took 4 shots and I like the first one best, as the woman isn’t directly in front of the mannequins.

Example 5

Example 5. “Woman against man.”

A good place to take photographs is on 125th Street in colourful Harlem. This is one of the busiest streets in Harlem and extends over several kilometres.

Here I came across a woman and a man arguing loudly. I took the 7 photos you can see above. The choice of which photo to choose, was pitted between no. 1, 2 or 4. The woman was gesturing strongly with her arms as if to emphasize her side of the argument in all three photos. The man however was standing in roughly the same position in all three photos and seemed to be fairly relaxed. Although the woman’s hand is stretched out in photos no. 1 and 2, I chose to use the fourth photo. Unlike in the previous photos, the woman is stepping closer to the man and is almost leaning against him. Notice her left heel is slightly lifted off the ground whilst she continues arguing.

About the Author:
Daniel Hoffman has been an amateur photographer since 1973, and has moved between many different photographic genres. He recently released an eBook called Street Photography – A week in New York City.

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