Best overall		Fujifilm X-T30 II		SEE IT	The X-T30 II provides attractive, retro styling, excellent image quality, and convenient controls.
Best full-frame		Canon EOS RP		SEE IT	It’s the most affordable full-frame camera you can buy.
Best action camera		GoPro Hero 11 Black		SEE IT	The GoPro Hero 11 results in stunning videos with award-winning image stabilization.

While flagship cameras that cost as much as a used car are fun to dream about, there are plenty of cameras under $1000 that can help you create great photographs or videos. Maybe you’re ready to upgrade from your entry-level DSLR. Or perhaps you’ve finally mastered manual mode and want a camera with a few more features. It’s time to level up, but searching for the best upgrade can feel daunting as you figure out what features you need as you attempt to balance quality, specs, and price. Mirrorless or DSLR? Compact or full-frame? Is it possible to find a full-frame camera without breaking the budget? This list of the best cameras under $1,000 offers up both mirrorless and DSLR options, with some models even including a lens for that price. 

• Best overall: Fujifilm X-T30 II
• Best mirrorless: Sony a6400
• Best full-frame: Canon EOS RP
• Best for YouTube videos: Sony ZV-E10
• Best Canon: Canon EOS R10
• Best Nikon: Nikon Zfc
• Best action camera: GoPro Hero 11 Black
• Best DSLR: Nikon D7500

How we chose the best cameras under $1,000

To compile this list, we extensively researched cameras from all major brands, evaluating them on the same criteria: image quality, autofocusing capabilities, ergonomics, video features, speed, lens selection, and value for the dollar. We also leaned on hands-on experience. The writers and editors at Pop Photo have decades of experience and have used every camera on this list in some capacity.

The best cameras under $1,000: Reviews & recommendations

While we’ve outlined some specific categories for each of these cameras, it’s worth noting that there’s absolutely some overlap here. Peruse all the options to see which one fits your specific needs before jumping into a purchase. 

Best overall: Fujifilm X-T30 II

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Specs

• Resolution: 16.1 megapixels
• Sensor size: APS-C
• Lens mount: Fujifilm X
• Image stabilization: None
• Memory card slots: Single slot: SD/SDHC/SDXC (UHS-I)
• Weight: 12.8 ounces
• Dimensions: 4.7 x 3.3 x 1.8 inches

Pros

• Excellent image quality and color
• 20 fps burst shooting
• Good quality 4K video
• Lots of controls and dials

Cons 

• Screen only tilts
• 10-minute record limit on 4K capture
• Face detect not always reliable

At 26.1 megapixels, this camera is the highest-resolution option that comes with a lens for under $1,000. The retro, DSLR-style design is a fun touch that offers plenty of tactile controls in the form of customizable buttons. It produces great jpegs and offers attractive, built-in film simulation modes for flair.

Fujifilm’s X-series lenses work seamlessly with the rest of its X-series cameras, so upgrading your camera down the line will still give you native access to all your glass. It shoots solid video and offers weather sealing and ruggedness that are both better than you might expect for a model at this price. 

If you want to save a little money, however, do note that there are no life-changing upgrades from the first generation X-T30, so that camera remains a solid option, too.

Best mirrorless: Sony a6400

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Specs

• Resolution: 24.2 megapixels
• Sensor size: APS-C
• Lens mount: Sony E
• Image stabilization: None
• Memory card slots: Single slot: SD/SDHC/SDXC (UHS-I)
• Weight:  14.22 ounces 
• Dimensions: 4.7 x 2.6 x 2.4 inches

Pros

• Best-in-class AF performance, including eye detection
• Flip up screen is ideal for vlogging
• Good 4K video quality (no crop, 30 min recording)
• 11 fps burst shooting 
• Compact, lightweight design 

Cons

• Lacks control points
• Setting up autofocus can be confusing (lots of options) 

The a6400 has the best autofocus, hands-down, at this price point and produces great photos and videos. Even though it has an APS-C sensor inside, it offers advanced real-time AF tracking modes with eye detection that can help lock onto subjects and keep them sharp as they move around the scene. It’s even responsive enough to work with fast-moving subjects. Image quality is excellent, with good noise handling at higher ISOs and up to 11 frames per second burst shooting.

The a6400 shoots 4K video at up to 30 fps without a crop, giving you more flexibility. It’s capable of 5x slow motion and 60x quick motion in Full HD quality and doesn’t require any special processing to view. If you want to upload straight to social media with no fuss, the camera can shoot in a 1:1 aspect ratio. And it has a built-in, high-resolution, eye-level viewfinder despite its compact size.

Sony has really expanded its line of E-mount lenses in recent years. And if you want to save money on lenses, third-party manufacturers like Tamron, Rokinon, and Sigma have turned out some excellent APS-C glass for Sony cameras in recent years. That makes it feasible to get an A6400 body and lens for under $1,000.

Best full-frame: Canon EOS RP

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Specs

• Resolution: 26.2 megapixels
• Sensor size: Full-frame
• Lens mount: Canon RF
• Image stabilization: Digital and 5-axis (video only)
• Memory card slots: Single slot: SD/SDHC/SDXC (UHS-II)
• Weight: 1.07 pounds
• Dimensions: 5.2 x 3.3 x 2.8 inches

Pros

• Great out-of-camera JPEGs
• Good autofocus performance 
• Lightest Canon full-frame
• Well-built, comfortable ergonomics
• Affordable as far as full-frame goes 

Cons

• Battery life is short 
• Poor 4K video quality
• Somewhat noisy raw files

The Canon EOS RP is the most affordable full-frame mirrorless camera you can buy. It offers comfortable ergonomics, an electronic viewfinder, accurate autofocus, and pleasing JPEGs. While its 4 fps burst rate isn’t anything to write home about, it’s a great camera for portraits, landscapes, and everyday shooting. 

This was part of Canon’s first wave of full-frame mirrorless cameras, so the RP can’t quite compete with higher-end, newer models like the R6. But it does offer similar ergonomics and image quality. Since it has a full-frame sensor, it can also take full advantage of Canon’s increasingly impressive line of RF mount lenses, which is has grown nicely in recent years.

If you’re planning to shoot a lot of videos, the RP may not be your best. It can shoot 4K, but only with a very heavy crop and underperforming autofocus. But for still photographers wanting an affordable full-frame, the RP is a great choice.

Best for YouTube videos: Sony ZV-E10

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Specs

• Resolution: 24.2 megapixels
• Sensor size: APS-C
• Lens mount: Sony E
• Image stabilization: Digital (video only)
• Memory card slots: Single slot: SD/SDHC/SDXC (UHS-I)
• Weight: 12.1 ounces
• Dimensions: 4.5 x 2.5 x 1.8 inches

Pros

• Excellent 4K video quality
• Good battery life
• Quality built-in mic
• Class-leading autofocus with face and eye detection
• Superb still image quality

Cons

• Digital stabilization results in significant crop
• No shooting mode dial may be annoying for some

If your primary focus is YouTube videos and vlogging, the ZV-E10 is a fantastic choice. Sony built this camera specifically for vlogging, and the result is a full suite of video-focused features. That starts with uncropped 4K video up to 30p with 6K oversampling for highly detailed videos. It’s also capable of Full HD up to 120 fps. And there are no recording limits—beyond battery life and memory card space—so you can record long single takes.

The ZV-E10 also offers a Product Showcase setting which automatically transitions focus between your face and an object for showing off products. And as with all of Sony’s cameras, it gets class-leading autofocus with real-time eye AF and AI algorithms to recognize and track moving subjects. And the Face-Priority AE keeps the camera’s exposure correct for the subject even when moving between different lighting conditions.

Unfortunately, the ZV-E10 only offers digital image stabilization, which isn’t highly effective and results in a 1.44x crop. If you want smooth video while moving, we highly suggest a gimbal.

Best Canon: Canon EOS R10

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Specs

• Resolution: 24.2 megapixels
• Sensor size: APS-C
• Lens mount: Canon RF
• Image stabilization: Digital (video only)
• Memory card slots: Single slot: SD/SDHC/SDXC (UHS-II)
• Weight: 15.1 ounces
• Dimensions: 4.8 x 3.5 x 3.3 inches

Pros

• Comfortable grip and ergonomics
• Vari-angle touchscreen is ideal for vlogging
• Autofocus outperforms the price
• Excellent jpeg quality even at high ISOs
• Up to 23 fps burst shooting

Cons

• Battery life isn’t outstanding
• Digital stabilization only

Canon’s EOS R10 is a relatively new camera and offers a lot of bang for your buck. This APS-C mirrorless camera features a 24.2-megapixel sensor with Canon’s typical attractive colors and quality jpeg files. It even performs well at higher ISOs, which is nice to see. And it supports up to 23 frames per second when using the electronic shutter, which is fast enough for documenting action.

Despite the sub $1,000 price, the R10 offers advanced autofocus abilities found in much more expensive cameras. It’s easy to use, handling most of the work for you, and does a good job of locking onto even moving subjects. It’s a really compact camera, ideal for travel and daily use. And yet it still gets a nice grip, making it more comfortable to hold.

For video use, the R10 is capable of 4K 30p video that’s oversampled from 6K footage for highly detailed results. Unfortunately, though, it only provides digital stabilization, which is a bummer, but not unexpected for the price of the camera.

Best Nikon: Nikon Zfc

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Specs

• Resolution: 20.9 megapixels
• Sensor size: APS-C
• Lens mount: Nikon Z
• Image stabilization: None
• Memory card slots: Single slot: SD/SDHC/SDXC (UHS-I)
• Weight: 13.8 ounces
• Dimensions: 5.3 x 3.7 x 1.8 inches

Pros

• Attractive retro styling
• Superb image quality with large dynamic range
• Quality 4K video
• Good autofocus performance
• Lightweight and compact

Cons

• No in-body stabilization
• Limited lens selection

We love the Nikon Zfc for lots of reasons, but the film camera-like styling is one of them. It looks like a classic SLR camera, and Nikon even made a special edition lens to match (though this will push the totally slightly over $1,000). Beyond the good looks, the camera features a 20.9-megapixel sensor that results in detailed raw files, good noise handling, and attractive jpegs.

The Zfc isn’t just for still shooting, either. It’s capable of 4K 30 p video with plenty of different capture tools. It doesn’t provide any stabilization or a headphone jack, which is a bummer. And while the autofocus isn’t quite at the same level as Canon and Sony, it is plenty quick and responsive. It’s capable of tracking subjects and easily detects faces and eyes.

This mirrorless camera is dust and weather resistant and offers BLE and Wi-Fi connectivity for easily transferring photos. And you can use it for live streaming or web conferencing with a USB Type-C cable as well, making it a versatile tool.

Best action camera: GoPro Hero 11 Black

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Specs

• Resolution: 27 megapixels
• Sensor size: Not provided
• Lens mount: N/A
• Image stabilization: HyperSmooth 5.0 digital stabilization
• Memory card slots: Single slot: microSD/microSDHC (UHS-I)
• Weight: 44.5 ounces
• Dimensions: 2.8 x 2 x 1.3 inches

Pros

• Award-winning stabilization
• Highly detailed 5.3K 60p video
• Epic slow-motion footage at 2.7K 240p
• Improved still image quality
• Lots of mounting possibilities

Cons

• Low light performance isn’t great

If you want a camera for documenting action or travel, it’s hard to beat a GoPro. The Hero 11 Black is the latest version and features the largest sensor in a GoPro yet. That larger sensor makes it possible to crop vertical videos without losing out on most of the scenes, making it easier to share on social media.

The Hero 11 also gets GoPro’s latest image stabilization for impressively smooth footage, even when recording activities like mountain biking. The horizon lock technology keeps your videos level as you move. GoPro also added new modes for star trails, light painting, and vehicle light trails, so you can get creative content at night. And the Hero 11 can record up to 240 frames per second for dramatic slow-motion footage if you lower the quality to 2.7K.

While GoPros shine best with videos, this action camera is capable of attractive still images as well. In fact, photo quality has been improved to 27 megapixels. It’s just as durable as past versions as well and is waterproof to 33 feet without an additional case.

Best DSLR: Nikon D7500

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Specs

• Resolution: 20.9 megapixels
• Sensor size: APS-C
• Lens mount: Nikon F
• Image stabilization: 
• Memory card slots: 
• Weight: 1.41 pounds
• Dimensions: 

Pros

• Reliable, accurate AF to track movement with 3D tracking feature
• Performs well in low-light conditions
• Solid build quality with plenty of controls
• Tilting LCD touchscreen makes navigation easy
• Produces accurate skin tones, excellent dynamic range 
• Large lens selection

Cons

• Poor video quality with 1.5x crop and noisy, jumpy AF
• No dual card slot
• DSLRs are getting phased out

The lone DSLR on this list, the Nikon D7500, has a few features that help it hold its own. It is the sole option here with an optical viewfinder. That translates into zero lag when looking through the viewfinder and drastically improved overall battery life compared to mirrorless. While the Z50 is a good Nikon mirrorless option, those who appreciate the feel of a DSLR will enjoy the D7500, which is also probably the toughest-built camera on this list.

This camera still offers plenty of features and excellent image quality that will make it relevant and viable for years to come. Its autofocus is accurate, reliable, and fast, with subject-tracking capabilities even in tricky lighting conditions. The D7500 is capable of 4K 30p video, though it results in a 1.5x crop, and the autofocus lags behind in video use.

Things to consider while shopping for the best cameras under $1,000

Before digging into our specific recommendations, we’ll outline some specific terms and features you’ll find out there in this space. Understanding these features will help you narrow down the picks to your specific needs. 

Mirrorless vs. DSLR

Mirrorless cameras have taken over for DSLRs atop the camera market, and it looks like it’s going to be that way for the foreseeable future. With companies dedicating their resources to developing mirrorless tech and pretty much halting DSLR development, shiny, new, and updated means mirrorless is the way to go. From the Sony a6400 to the Nikon Z50, the options are robust and produce high-quality images while also bringing other features to the table, depending on your pick. 

However, that doesn’t mean you can’t choose DSLRs. Because the systems are more established, there are a host of options on the second-hand market, meaning you could come away with a camera (and potentially a lens) comfortably under $1,000. And even if you upgrade down the road, those DSLR lenses typically adapt easily to their mirrorless counterparts.

Full-frame vs. crop sensor

At this price point, the majority of your options will be a crop sensor, which means the sensor is considerably smaller than its full-frame counterparts. That doesn’t mean these APS-C cameras won’t deliver. However, do keep in mind that crop sensors often have fewer choices in the lens department. Even if they are compatible with lenses built for full-frame cameras, there will be a crop factor that varies depending on the camera brand. You’ll need to bear that in mind when selecting new glass, as it does impact the angle of view from a lens. For example, wide-angle lenses won’t feel so wide on the APS-C sensors.

FAQs

Final thoughts on the best cameras under $1,000

• Best overall: Fujifilm X-T30 II
• Best mirrorless: Sony a6400
• Best full-frame: Canon EOS RP
• Best for YouTube videos: Sony ZV-E10
• Best Canon: Canon EOS R10
• Best Nikon: Nikon Zfc
• Best action camera: GoPro Hero 11 Black
• Best DSLR: Nikon D7500

Ultimately, the best camera under $1,000 is the one that checks all the boxes for the content you want to create. If you want to create film-inspired street photography, your camera pick will be different from the budding YouTuber looking for a camera with high-quality video.

It’s easy to have FOMO—and worse, Gear Acquisition Syndrome. Buying a camera that ticks every single box feels safe. But it will also cost you. Plus, if you’re devoting all your time to creating photos or videos that you enjoy, then you won’t miss the features that are less important, and that’s where it’s okay to compromise, saying yes to great features that’ll help you achieve amazing results, and not worrying about the lacking features that you’ll never use anyway.

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best cameras under $1000 in 2023 appeared first on Popular Photography.

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Super 8’s grainy, nostalgic look is having a moment right now, popping up everywhere from music videos to blockbuster TV shows. But even outside of pop culture, the consumer-friendly Super 8 film format is winning the hearts of amateurs and the analog community. If it’s caught your eye, too, here’s everything you need to know about getting started shooting Super 8 film.

Lead image courtesy of Noah Buscher on Unsplash.

What is Super 8 film?

This format might just be the king (or queen) of home movies. Introduced in 1965 by Kodak, it was a step up from the 8mm film that came before it, both in terms of quality—thanks to its larger frame size—and usability. This led it to be positioned as the new movie-making format of the masses.

More cost-effective than 16mm or 35mm, Super 8 film is housed in inexpensive plastic cartridges, so it’s easier to handle and load, too. These cartridges also convey to the camera important bits of information, like the film speed as well as filter information for B&W film. And in 1975, a magnetic strip was added to the cartridges to capture audio.

With its launch, Super 8 put the power of creativity in the hands of regular people. Suddenly, everyone was a movie maker.

Super 8 film today

Today, the medium is still very much alive—and by many indications—both doing well and picking up steam. Aside from the enthusiasts scooping up used cameras to record their summers, some of the biggest names in entertainment are turning to film—and Super 8 specifically—for their creative projects.

Harry Styles’ Watermelon Sugar, Katy Perry’s Daisies, Chopard’s short film with Julia Roberts, Burger King, and more have used Super 8 footage to create a grainy, vintage, old-school effect. Search for the medium on YouTube, and you’ll find there’s no lack of videos showing off the medium.

What Super 8 camera should I buy?

How much should I pay for a Super 8 camera?

Options are plentiful when it comes to used Super 8 cameras. Major brands still circulating include Canon, Nikon, and the king of Super 8, Beaulieu. Other brands like Minolta and Chinon sell for under $100, while Canon and Nikon Super 8 cameras can run as low as $300, depending on the model. But Beaulieu cameras are sure to command a heftier (over $500) price tag.

You can buy Super 8 cameras pretty much anywhere secondhand electronics are sold, including Ebay, Etsy, Facebook Marketplace, and used camera shops (like Pro8mm). But also know that an astute searcher may find luck befalls them at random garage or yard sale. The main thing you want to do when buying a Super 8 camera is make sure the motor works. If it doesn’t, you won’t be able to advance your film.

What to look for when buying any Super 8 camera

Some cameras may have a crank and are completely manual. Others will require batteries. If possible, go for a film-tested camera and always ask to see the footage and any CLA (clean, lube, adjust) certification the seller may have. It’ll be more expensive but save you the agony of wasted money on the back end. Developing Super 8 film isn’t cheap any way you slice it, so better to know you’ve got a working camera beforehand.

Best Super 8 cameras under $100

If you want to get your toes wet, there are Super 8 cameras out there under $100. The Chinon 723 XL is a good option with its autofocusing capabilities, and so is the Minolta XL 400 with its Zoom Rokkor-Macro lens, which has 13 elements. Both will shoot at 18 frames per second (fps).

If you can’t find those exact models, consider also the Bauer C series (A512 in particular), the Minolta Autopak 8 D6, and the Chinon 213 PXL. The Bauer A512 specifically may run you a little over $100.

Best Super 8 cameras under $500

The sought-after brands live here: Canon and Nikon occupy the top end of this range. Particularly, the Canon 310, 514, or 814 series are popular choices and finds. At the time of its release, the Canon 514XL had the world’s fastest lens at f/1.0. While the Auto Zoom 814, which is comprised of an all-metal mechanical design, was the first Super 8 camera to have an 8x zoom range with an f/1.4 lens.

There are also a handful of other Super 8 cameras that fall on the lower side of the spectrum, too, such as the Sankyo Sound SL-60S and Elmo 1012S-XL. The Nikon R8 and R10 would be considered the high end of this range.

Best Super 8 cameras $500+

If you’re sure Super 8 is your medium, you might find yourself fancying the fanciest of them all: The Beaulieu 4008ZM II. With beautiful design and a reputation for being the best Super 8 camera ever created, there’s a lot to its name. Thanks to its built-in rangefinder, plentiful shooting options (you can adjust the frame rate from 2fps to 50fps), and interchangeable lens design, this French-made camera gives creators plenty of control over their vision. Expect to spend at least $600, with mint kits running up to $5,000.

Also on the market are the Beaulieu S2008 and the 5008S, the latter of which is considered the professional model.

Types of Super 8 film and where to buy it 

Kodak is the main purveyor of Super 8 film, and it’s available from major retailers like Adorama, Amazon, and B&H. The options are Kodak Vision 3 (color-negative 50D, 500T, and 200T); Tri-X reversal 7266; and Ektachrome 100D color reversal.

However, you can also find B&W Fomapan R100 film, and Pro8mm packages their own, which you can buy in a bundle to include processing. Film cartridges run about $40 ($27 if you’re going for Fomapan) and can record 2.5 minutes at 24fps and 3.3 minutes at 18fps. Expect to pay at least $25 to process it.

If shooting Super 8 for the first time, we recommend grabbing the Kodak Vision 3 50D and shooting in daylight. 500T and 200T are balanced for tungsten light, and as a color-reversal film, Ektachrome is quite saturated. These might be better to experiment with once you’re more familiar with the medium.

How to use a light meter for Super 8 video 

Most cameras will often come with an internal meter, but unless you’ve confirmed it works, an external light meter is always a solid investment, whether you shoot stills or video. I personally use a Sekonic L358, but we’ve also got a list of best light meters for you to choose from. If you’re not ready to take the plunge on a real light meter, there are some apps, like Lumu, that have a video mode.

To use the light meter, you’d best take a look at the instructions, as each may differ slightly in how to operate the video mode. But, generally, you’ll want it to be in the f/s mode (frames per second), as opposed to A (aperture) or T (for shutter speed). Know that the frame rate you choose will affect how long you can film—at 24fps, you won’t shoot as much footage vs. 18fps.  

Where to get Super 8 film developed

There are still a good number of film processors that will develop (and scan) Super 8 film. A good bet is to see if there’s a local spot in your area that still processes Super 8. If not, see the list below for where to develop Super 8 film.

Pro8mm

Pro8mm has an incredibly robust lineup of offerings, from selling/renting Super 8 cameras to film development packages. They’ve processed film for Harry Styles, Drake, and Katy Perry, to name a few. Their packages include film, processing, development, and color correction. If you find yourself really bitten by the analog film bug, they’ll also do 16mm, double Super 8mm, and Super 16mm films. 

Film Photography Store

The Film Photography Store has many films on offer, from Super 8 to 35mm and 16mm, which they will also develop and digitize. 

Negativeland Film

Negativeland is a motion-picture lab that will process Super 8 and 16mm films.

Color Lab

Working with clients including National Geographic Channel, NBC, HBO, and the Academy of Motion Picture Arts and Sciences, Color Lab processes 35mm, 16mm, and Super 8 color negative film and Super 8 B&W film.  

BB Optics

BB Optics specializes in motion picture processing for Super 8, 16mm, Super 16mm, and 35mm, also offering color grading services and post-production supervision. 

How to develop Super 8 film at home 

This is a real commitment and should only be attempted if you have prior experience developing your own film. If you don’t, try 35mm first before taking on the (literally) gargantuan task of processing Super 8.

For those who want to take the plunge, any old developing tank won’t do. You’ll need a special drum that will accommodate the reel, which is typically 50 feet per cartridge. A Jobo Super 8/16mm drum kit (drum, tank, and foot pump) will run you about $880—and that’s before you’ve procured the chemicals.

After you’ve picked up the drum, you’ll want to consult the shop on the chemicals you’ll need to process the film. Then, you’ll need to make sure you have space. Practically, will you be able to hang 50 feet of film somewhere while it dries? This video delves into more specifics to consider.

How to convert Super 8 film to digital  

Digitizing film reels is usually included or an optional add-on to the development package at labs. However, if you’re going to shoot a decent volume of film and want to save a little money, you can scan it at home—with less hassle than the development process.

Scanners are available from Amazon, B&H, and other retailers, and Wolverine Data seems to be the brand of choice. The Wolverine 8mm and Super 8mm Film Reel Converter retails for $299.95 and will digitize film at a resolution of 720 pixels. For $100 more, the Wolverine Digital Movie Maker Pro scans at 1080 pixels. Simply load up the film and the scanner does the rest, compiling the footage onto an SD card (that you must provide). This video offers a detailed tutorial on how to set yours up.

Further resources for Super 8

Feeling daunted? Don’t be—at the end of the day, you only need three things: A working camera, film, and a place to develop. Should you be searching for additional resources, try the Pro8mm Super 8 Reference Library, which features tips, a film calculator, education, manuals, and more. Super8camera.com is also a wonderful compendium of the medium. Happy movie-making.

The post Everything you need to know to get started with Super 8 film appeared first on Popular Photography.

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Instant photos sure pack a nostalgic punch. Maybe it’s the tangible aspect of a real photo in your hands instead of one floating in the cloud. Maybe it’s the way the images come out just a little imperfect that adds to the charm. But whatever it is, there’s no denying that where there’s instant film, there is fun being had. And no company is more synonymous with instant photography than Polaroid. 

With the release of Polaroid Go’s two new colorways, we decided to finally give this tiny camera a whirl for ourselves. In short: it’s definitely a delight. Pocketable and extremely portable; the design should appeal as much to the younger set as to those who grew up with the original. It creates prints in miniature (though personally, I find the colors leave something to be desired), and has a fun double exposure feature for the adventurous experimentalist. 

Polaroid Go review: Keys specs

• f/12 and f/52 apertures
• Focal length of 51.1mm
• Shutter speeds ranging from 1/250 to 1 second
• Automatic flash, can be disabled 
• Viewfinder doubles as a selfie mirror
• Double exposure mode
• Self-timer, but no tripod mount
• LED frame counter window
• Compatible with Polaroid Go film, 8 shots per pack
• Pocket-sized
• Built-in battery with USB-C charging, 120 shots per charge

What’s new

In addition to the classic white, the Polaroid Go now comes in black and red models. In tandem with the release of the camera bodies, the company also debuted a set of lens filters in red, yellow, and blue, as well as a matte black-edge Go film.  

Polaroid Go handling & design

As the world’s smallest instant camera at 4.1 inches long, 3.3 inches wide, and 2.4 inches tall, the Polaroid Go makes compact efficiency its middle name. With the camera in hand, all the buttons you’d need—shutter, flash, and power—are situated together on the right side while the viewfinder is on the left.

On the front of the camera, the lens sits center, flanked by the flash on the left and the viewfinder on the right—the latter doubles as a selfie mirror thanks to a reflective coating. Because of the compact nature, I sometimes found my finger obscuring the flash, but overall, I appreciated the size of the Go, which felt manageable. However, I do have fairly small hands, so I could see how the diminutive size of this camera could be a major point of frustration. 

Related: How to digitize an instant photo in three easy steps

The camera’s shooting options are all controlled by the flash button. Press it twice in rapid succession to activate the double exposure mode. Activate or deactivate the self-timer by holding it down for two seconds. Hit it once to turn the flash on and again to turn it off. And that’s it. Everything else is automatic, so just press the shutter when you’re ready.

The entirety of the camera is basically plastic, which makes it incredibly light and easy to handle while still feeling solid. There’s nothing fragile about it, and it happily dangles from the included wrist strap for easy access. Essentially, the Go is the mini version of the Polaroid Now, but the layout and lens do allude to the extremely classic SX-70 Land Camera.

In use

Loading the film is self explanatory. Line up the arrows on the cartridge with those on the camera and drop it in, chunky end first. Unlike the larger cameras, which load from the front, the Polaroid Go has a little film hatch at the bottom. Do not peel off the tape on the cartridge; you’ll need it to pull it out after it’s empty. 

To test the Go, I took it on a spin at my local botanical garden and also to a Waffle House (as one does in the South) to see how it’d do at night. I shot a mix of flash/no flash and a handful of double exposures (plus one selfie).

I admit that I was already smitten before the first picture, purely on the basis of its size. My current obsession is the pocket camera. And while the Go is indeed a portable dream, there are other features worth discussing, for better or worse. 

Double exposure confusion

The camera has a nifty double exposure feature that’s activated by quickly hitting the flash button twice. Once in this mode, the frame counter will flash “1” indicating it’s time for the first shot. Tap the shutter and the counter will flash “2”; hit it again, and voilà, your double exposure ejects out.

While this feature is fun, it can at times be confusing, specifically when there’s a delay between the first and second exposure. For example, I wanted to do an overlay of flowers at the botanical garden with my typewriter at home. So, I put my camera in double exposure mode, took a photo of the typewriter, and turned it off. According to Polaroid, the camera will “remember” you’re in double exposure mode, so when you arrive at your next location and turn it on, you can make the second photo.

However, this is where things got tricky. After I arrived at the gardens and turned on the camera, the film counter no longer showed I was in double exposure mode. This made things confusing. Did I lose the picture of my typewriter? Did I need to put the camera back in double exposure mode for it to work? I tried that, but the counter started at “1” again, so I took it out of double exposure mode, took a picture of some roses, and waited to see what would happen. As it turns out, you don’t need to put the Go back in double exposure mode for that second shot. My final image was my typewriter/flower overlay as planned.

Remember to turn off the flash…

As far as flash is concerned, I preferred to keep it off in broad daylight. But, it perfectly delivers the harsh ‘90s candid vibe, if that is what you’re after. However, one thing that frustrated me—particularly with double exposures—is that the flash is automatically activated. This meant I had to remember to disable it each time I went to take a new shot. I’m forgetful and thus ended up firing it a few more times than I had planned.  

A flimsy film shield

Like the other Polaroid cameras, you only get eight shots per pack of film, which is fine. What I did find odd (and somewhat counterintuitive to the whole ‘instant’ promise) was the awkward film shield that rolls out on top of the photo after it’s printed, as well as the necessity to wait five seconds before pulling the print out of the slot. The film shield is just a thin sheet of dark gray plastic that rolls out with the picture to protect it from light. Though you are supposed to let the Polaroid develop in the dark, other instant cameras I’ve used do not require such a feature. You simply stuff the picture in your pocket as fast as possible. I’m not particularly fond of the shield as it felt that I might accidentally bend it.

Finally, while I love the compactness of this camera, I did have a couple of scares, including nearly wasting a precious sheet of already scarce film by accidentally pushing the shutter button. Since I’m right handed, I would always reach for the camera with that hand, but the shutter is also on the right side. It doesn’t help that I’m also notorious for forgetting to turn off any camera—I have had plenty of “what is that?” shots in the past. 

Polaroid Go Image quality

Objectively, I would describe the Polaroid Go image colors as moody ‘90s nostalgia with exuberant sepia undertones. With or without flash, there’s a hazy imperfection that lends a certain charm. Am I head-over-heels? Not exactly, but in a way that is more so personal taste than quality. 

Compared to photographs I have made with the Polaroid One Step and the Fujifilm Instax Wide, the latter two produce cleaner, brighter images. I tend to favor this in my work. However, the Polaroid Go is a vibe—I see many people shoot their film (instant or not) this way, so it’s by no means bad. 

Related: Best instant cameras

Compared to…

Polaroid’s main competitor in the instant space is Fujifilm, which offers a fine line of products, too, and at a slightly (emphasis on slightly) lower price point. Cameras like the Fujifilm SQ1 will also produce a square image, and you can snag a pack of 20 frames at a little less than $1 each on Amazon. Meanwhile, 16 Go photos will cost you about $20.

That being said, the Polaroid Go is a solid choice if you value a compact design, as the Fujifilm options are a lot bigger. It also comes down to your stylistic choice and how you want your colors to turn out. The Go flash covers up to two meters (6.56 feet), while Fujifilm claims that its flash on the SQ 1 is effective up to 7.2 feet.

Polaroid Go Review: Overall, the Go rides on a retro reputation

Overall, the Polaroid Go really appeals to those who love the brand and what it’s represented over the years. From the retro, reminiscent design to the vintage cast in the film, it’s definitely something that’ll bring back (and preserve) memories, new and old. 

However, the price of the film and hiccups in user experience design leave a little bit to be desired. And with the price of film these days, saving a few pennies never hurts. It ultimately comes down to your personal artistic preferences, which should then dictate the system you buy into. 

Pros 

• Fits easily in a small bag or pocket
• Can be operated by one (small) hand without much trouble
• Flash can be disabled
• Double exposure mode creates the potential for cool shots
• Self-timer mode is handy for more complex selfies

Cons

• Polaroid Go film is more expensive than the competition
• Double exposure mode is confusing if you turn off the camera between shots
• Colors are muddier/moodier than the competition (this is subjective taste)
• The film shield is a little awkward/flimsy, and so is waiting five seconds before pulling out the picture
• Flash cannot be permanently disabled; you must remember to turn it off for each shot

The post Polaroid Go review: Instant fun & convenience with a few small caveats appeared first on Popular Photography.

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Six years ago, photographer Jamie Beck was seemingly living the life. She was running a thriving commercial photography studio in New York City and had all the trappings of success—prestigious clients from Vogue to Nike, a beautiful apartment, designer clothes, a vintage car. However, surrounded by what seemed like a dream was anything but—Beck found that she was dealing with a wild sense of inexplicable unhappiness.

During this time, Beck was spending half the year traveling for work, when a pair of jobs took her to the region she now calls home. A visit to the French village of Lacoste and then the perfume capital of Grasse left her enchanted. After experiencing a turbulent and frightening plane ride, Beck had an epiphany. She wanted to live in France before she died. Paris wouldn’t do; it was too much like New York. And so she went to Provence. 

“It was just fascinating to me,” Beck tells PopPhoto about what compelled her to uproot her life. “The light was so beautiful. There are so many different textures, colors, senses, and essences that I’d never experienced before, that haunted me.”

An American in Provence

What was meant to be a year’s sabbatical turned into six years and counting in a small Provençal town. And now, Beck has a book to show for it. An American in Provence chronicles the landscape through the seasons via recipes, anecdotes, and, of course, photography tutorials, and Beck’s signature, painterly images that harken back to the Dutch masters. It is, in addition, a record of her own personal transformation.  

“What I thought would be very external because it’s so beautiful and rich here, was also internal too,” she shares. “It changed me. Throughout this whole process of moving to France, I studied that change in the landscape outside my window, and within myself, through my camera.”

The artworks

An American in Provence is exquisite in its deft marriage between the visual artwork and the writing. Paging through it, I wasn’t sure where to turn first—the beautiful photographs or the rich stories (and recipes) behind them. The images are a visual feast, garnering Beck a loyal following online. Though she writes that her life in New York didn’t permit her to create the type of art she wanted, she also didn’t land in Provence with a vision of still-life compositions and self-portraits. They are the result of finally finding room and time for play and experimentation, plus a pivotal interaction with her local cheesemonger. 

“I was so present because there’s also not a lot of distractions here. There’s not so much noise. There’s no entertainment, things to go do. I just had my camera to entertain myself with and to play with photography again,” she recalls. “It opened that whole level up when the guy I buy cheese from asked me to make a still life of his cheese. It lit a fire. I was like, ‘Wow, what else is around us that’s just part of our everyday life that’s insanely beautiful?’ It’s about the life that’s around us and the beauty of that life. That was definitely not something that I had anticipated, other than just wanting to explore and play. Really to just play with photography again and see where that could lead.”

The self-portrait

Over the years, the self-portrait has become another staple in the photographer’s repertoire. Allusions to Botticelli and other old masters abound in the deep shadows, rich colors, and perfectly placed hands. Beck notes that Van Gogh practiced self-portraiture in order to better understand light and color—she’s doing the same. 

“It was just a study and a play,” she shares of the beginning. “To figure out a deeper direction in my portraiture photography. In the beginning, I was just playing, even though I had an idea. But now when I go out, I’m really trying to tell a specific story about my life.

Like the day at the market with the cheesemonger was a catalyst for her still life practice, Beck’s pregnancy with her daughter, who is now three years old, was a turning point in her study of the self-portrait. 

“I became very in tune and attached to the land, into the seasons and becoming more a part of that. I wanted to express myself in that space,” the artist elaborates. “Documenting my pregnancy in a changing body was just a really fun aspect of that just because it’s just such an extraordinary experience that we go through. Now, I’m trying to do things that are even more elaborate and more painterly and more detached from what we typically see.”

The author’s favorites

For one who creates such elaborate scenes, Beck’s photography kit is surprisingly (and refreshingly) simple. She favors her Sony α7R IV with a 90mm Sony lens for her still life work; a 24-70mm for snapshots; and a 50mm and 35mm when traveling. 

An American in Provence is a dance between the poetry of words and images. One moment, you’re dreaming of the tantalizing champagne-soaked violet sorbet, the next, you’re scrambling to assemble materials for a cyanotype tutorial—all while trying to peel your eyes away from the Provençal landscape, across which is periodically scrawled a line or two from her personal journals. It’s no wonder Beck has been hailed as the next Peter Mayle. 

When quizzed about her favorite entries, Beck shares three, although as far as recipes are concerned, she prefaces that it depends on the mood. A good starter for the beginner cook, though, would be the whole roast chicken.

“We eat roast chicken all year round and the vegetables [are] the only thing that changes. It’s so delicious and it’s so French,” Beck reveals. “I just make the riser that you put the chicken on out of half lemon and a half garlic head. It’s super easy. You don’t even have to have that much equipment. It’s just butter, the secret’s butter honestly, and salt. As everything.”

She also mentions a violet sorbet made with champagne and a cyanotype tutorial, the latter of which she heavily advocated to stay in the book, as the analog process is popular in France. 

“We have so much sun and they’re so easy to make,” Beck elaborates. “And we have so much landscape to forage and make things with, and the color blue is the [same] blue of the [sky] here. It just feels so Provence to me.”

Encouraging others to step into their creativity

As for what she hopes people will take away from the book? An American in Provence might be a love letter to photography, but it’s also an ode to beauty and the life you can create, if you dare. There’s something for everyone, whether or not you consider yourself a photographer or artistically inclined. According to Beck, creativity is present even in our most mundane activities. 

“I think that we as humans enjoy creating and we are creators,” she says. “You can create a photograph obviously. You can create a painting. [But even if you’re not creative in the traditional sense] you also create dinner and you create your outfits and you create your home. There’s creativity in every aspect of what we do. It’s just part of our nature. I feel like on days in which we do create are better days for us as humans.”

An American in Provence is available for preorder now with a release date of November 8.

The post Jamie Beck’s photos from the French countryside look like Renaissance paintings appeared first on Popular Photography.

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From Cézanne and Van Gogh to the Flemish aces, still life is a genre much studied, quite revered, and difficult to master. Done right, images are rife with symbolism and filled with compositional mastery. So, for this week’s Photo of the Day challenge, we want to see your interpretation of the still life genre, whether it be a traditional take or one with a contemporary spin. 

This week’s theme

Despite the historic nature of the theme, don’t be afraid to branch out and try something new. After all, the only thing a still life requires is an inanimate subject. For a more traditional take, consider objects that relate to nature or humanity, from fruit and skulls to plants and glassware. Or simply grab some household items, try your hand at arranging them, and snap a photo. (i.e. skip the skulls).

How to enter

To submit, use #popphotooftheday on Instagram or Twitter, or submit to our Flickr pool or our Facebook group. If joining the Facebook group, please answer the membership questions and agree to the group rules.

And please limit your entries to no more than three per platform. We can’t wait to see what you’ve got!

More info

For more info on Photos of the Day, including the official rules, head here.

The post Fruit bowls and floral arrangments: Show us your best still life photos appeared first on Popular Photography.

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An aurora dances, illuminating the night sky. The Milky Way stretches across snowy mountain tops. An abstracted view of the sun and moon. These images and more make up the winning cohort for this year’s Astronomy Photographer of the Year awards, which are put on anually by the Royal Observatory Greenwich in London. 

About the Astronomy Photographer of the Year 

Related: Feast your eyes on these brilliant astronomy photos

In its 14th year, the Astronomy Photographer of the Year awards whittled down over 3,000 submissions from 67 countries to crown the winners. The competition is hosted by the Royal Observatory Greenwich, and the images are on display at the National Maritime Museum in London starting September 17. 

The goal of the awards is to present the best space photography from around the world. Photographers can enter images into the following categories: Aurorae; Galaxies; Our Moon; Our Sun; People and Space; Planets, Comets, and Asteroids; Skyscapes; Stars and Nebulae; and the Young Competition. There are also two special prizes, the Sir Patrick Moore Prize for Best Newcomer and the Annie Maunder Prize for Image Innovation.

The grand prize winner receives £10,000 (approximately $11,400), while the Young Astronomy Photographer of the Year nets £1,500 ($1,700). Runners-up and highly commended entries will see £500 ($570) and £250 ($285), respectively. All winners receive a one-year subscription to BBC Sky at Night Magazine. 

Astronomy Photographer of the Year

Related: Best telescopes

Also the winner of the “Planets, Comets, and Asteroids” category, Gerald Rhemann now bears the title of Astronomy Photographer of the Year with his image, Disconnection event. The picture shows Comet Leonard’s gas tail being swept away by solar wind. 

“Rhemann’s astonishing image of Comet Leonard, a long-period comet first identified in January 2021, was captured by the Austrian photographer in Namibia on Christmas Day. Comet Leonard was the brightest comet of the year in 2021 but won’t be seen from Earth again,” the jury writes. 

“When I first saw this image of Comet Leonard, I was blown away. This picture of a recent visitor to our Solar System has been captured beautifully. The stars in the background give the comet’s tail a magical appearance. I could stare at this image all day,” commented Melissa Brobby, judge and Social Media Officer for the Institute of Physics.

Young Astronomy Photographer of the Year

A team of plucky 14-year-olds snagged the Young Astronomy Photographer of the Year prize. Yang Hanwen and Zhou Zezhen submitted a photo of the Milky Way’s closest and largest neighbor, the Andromeda Galaxy.

“I think this photo shows how gorgeous our nearest neighbor is,” Hanwen says. “One of the main functions of astrophotography is to attract more people to fall in love with astronomy by showing the beauty of the Universe,” adds Zezhen.

The judges were impressed, too. 

“It is a superb capture by young astrophotographers, who also demonstrate their exceptional talent in processing a deep-sky photo.” writes László Francsics, judge and Chairman of the Hungarian Astrophraphers’ Association.  

Skyscapes

Zijui Hu’s winning image uses light trails to give the illusion of speed, evoking a scene reminiscent of Star Wars against the dramatic backdrop of a mountain peak rising above the fog. 

“I love the juxtaposition of the star trails against the clear peak of the mountain. The motion of the clouds adds to the drama,” Hu says.

People & Space

Andrew McCarthy puts the International Space Station into perspective as it traverses its stellar path. Mighty though it may be, the picture highlights how small we truly are. 

“The symbol of man, the tiny silhouette of the ISS, is dwarfed by the vast and detailed lunar surface, colored by mineral deposits. It shows us just how fragile we are,” notes judge Francsics.

Aurorae

Jagged chunks of ice glow softly in the gentle light of an aurora, which streaks green against a dark, starry night sky. 

“I love this photo because it really sums up aurorae for me: the green ‘swoosh’ reflected in the icy lake, the clarity of the edges of the ice blocks and the looming shadow of the mountain,” comments judge Sheila Kanani. 

Galaxies

The team of Utkarsh Mishra, Michael Petrasko, and Muir Evenden claimed the Galaxies category prize with Majestic Sombrero Galaxy. Upon closer inspection, you can see where it gets its unusual name: the faint galaxy does indeed resemble a hat.

“The Sombrero is a well-documented galaxy, yet astrophotographers still find ways to tease more majesty from it. To see the misty remnants of previous collisions surrounding the galaxy, itself floating alone in the void, is just exquisite,” notes judge Steve Marsh.

Our Moon 

Martin Lewis is the winner of the Our Moon category with a stunning detail image featuring Plato’s East Rim. The stark lighting and heavy shadow add an element of mystery to an otherwise well-known fixture of space.

“This close-up of the Plato crater has become one of my favorite photographs of the Moon. This image of the east rim being hit by the Sun’s rays is wondrously unique and proves that, no matter how often we look at the Moon, it always has many more wonderful sights for us to observe,” says judge Brobby. 

Our Sun

Here, the sun glows—not a fiery, explosive, bubbling dance, but rather projecting a powerful calm over the planets it presides. 

“The commitment and diligence (not to mention luck) needed to image the Sun every day for a year is a feat within itself. But, more than just a matter of hard work, this photographer has achieved a fascinating and unique look at the progression of sunspot bands across its disc,” judge Marsh writes.

Stars & nebulae

If a higher power is out there, Weitang Liang sure captured some convincing proof. It doesn’t look like anything you’d want to cross—but the beauty is dazzling nonetheless. 

“The colors in this photograph make for a stunning composition—from the fiery red to the defiant, moody blue at the center of the ‘eye’. It’s easy to see how the ancients used to stargaze into the heavens and imagine that the cosmos was looking back, keeping a watchful eye over us,” shares judge Imad Ahmed. 

The Annie Maunder Prize for Digital Innovation

With a little bit of abstraction, Pauline Woolley transforms the sun into a desolate maze streaked by ominous black swirls that harken back to swaying branches in the wind. 

“Dendrochronology—the scientific method of calculating dates based on tree rings—is used by art historians and conservators to date wood panel paintings, but here the technology has been utilized to create an unusual and beautiful composition. This is an innovative photograph that immediately astonished all the judges,” writes judge Hannah Lyons.

The Sir Patrick Moore Prize for Best Newcomer

Stretching high into the starry sky, the Milky Way forms a celestial bridge across snow-capped mountains, earning Lun Deng the Sir Patrick Moore Prize for Best Newcomer. 

“The icy, ragged mountaintop is contrasted beautifully with the Milky Way, the lighter pink and indigo hues of which offer us a mesmerizing, warm glow. I also have to commend the photographer’s dedication—standing in the snow in freezing conditions—to capture this picture!” judge Ahmed comments. 

How to enter the Astronomy Photographer of the Year competition

The Astronomy Photographer of the Year competition is open to all photographers worldwide. The submission period begins on January 10, with a limit of 10 photos per participant. Check the website or the Facebook group for updated information and deadlines.

The post Ephemeral auroras and playful galaxies: these are the Astronomy Photographer of the Year winners appeared first on Popular Photography.

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Graffiti and street art can be found nearly anywhere in the world—from the streets of Tahiti to the train yards of New York City. What was once a frowned upon art form now enjoys a much more popular acceptance and appreciation. And this week’s winning Photos of the Day showcase the kaleidoscopic chaos found in the streets and, in one instance, the story behind it. 

Related: Martha Cooper revisits the chaotic, gritty & enchanting world of graffiti in 1980s NYC

Want to be featured in a future gallery? Weekly themes are posted Sundays. To enter, you can upload your submissions to our Flickr pool, tag them on Instagram and Twitter, or join/upload them to our Photos of the Day Facebook group.

Lead image by Paula Gallagher Brown on Facebook. See more of Paula‘s work here. 

A balancing act

Sometimes it’s the people and the place together that make a photograph interesting, as is the case with Raymond Choo’s photo. Not only did he come across a vibrant piece of art, but he also captured an equally interesting passerby. If you look closely, the figure walks out of the frame, perfectly balancing an apple atop her head. 

New York, NY

Ted Meisel’s image of a wall in Brooklyn is equal parts whimsical and simultaneously…disturbing. But good art makes you feel something, and this definitely does stir up some emotion. 

The artist

When graffiti first emerged, artists worked in the dead of night to avoid the authorities. While still true in some cases, there’s more freedom now—including opportunities for street and graffiti artists to be commissioned for works. Here, Michael Pancier shows the creator revealed but still mysterious. 

It’s lunchtime

That dog sure does look hungry with its tongue hanging out. Bruce Bain is right, Joe the roach better be on the lookout, or else.

Hey there, Detroit

Raymon Thompson documents the spirit of a city with this colorful piece that gives off both serious ’90s vibes and a powerful message of community perseverance. Plus, who doesn’t love a groovin’ boombox?

We want it now

Donald Bilski’s image is poignant for the times. Peace now and be good to your neighbor, everyone. 

The post Reader-submitted graffiti & street art photos showcase a cacophony of color appeared first on Popular Photography.

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GoPro is back with a fresh flagship action camera—well, a trio to be exact, each aimed at different users. All three GoPro Hero11 Black models share the same guts and boast improved video quality, better image stabilization, and a greater field of view. Read on for how they differ from one another.

GoPro Hero11 Black: one camera, three designs 

The three new GoPro models include the Hero11 Black, the Hero11 Black Creator Edition; and the Hero11 Black Mini. While they’re all equally capable in the photo and video department, there are distinctions to each that appeal to different needs. 

GoPro is positioning the standard Hero11 Black as the model with the most crowd appeal. And it truly is a versatile, powerful, and convenient option for both professionals and enthusiasts. This is the adventure camera people know and love with dual LCD screens (gotta get that selfie).

Related: DJI’s Osmo Action 3 boasts better battery life, faster charging, and a more rugged design

On the other hand, the Hero11 Black Creator Edition caters to vloggers, filmmakers, and livestreamers. It offers all the benefits of the Hero11 Black, along with some additional features and accessories to help improve audio and video quality. These include a long-lasting battery grip (that doubles as a tripod) with built-in buttons for one-handed control over the camera. GoPro says that creatives will get over four hours of 4k footage on a single battery charge. There are also two cold shoe mounts, an external mic output, an HDMI port, and an optional directional microphone—everything you need to create an epic film.

Lastly, as the name suggests, the Hero11 Black Mini is the smallest and lightest option of the three but with the same performance and features as the other two models, minus the screens. GoPro notes that this camera was made to serve the minimalists with its one-button design.

And with that, let’s dive into the features all three models share.

Camera & video upgrades

GoPro’s latest generation imaging sensor is both larger and higher resolution than the sensors found in past models. The 1/1.9-inch (6.40 x 5.60mm) chip can shoot 10-bit color video at up to 5.3K resolution and 60fps. Still photos are captured at 27 megapixels. GoPro claims that with these specs—notably, the 10-bit color—the new model closely mirrors how the human eye perceives the world, with the camera recording up to 64 times more color than previous GoPro models. 

The new sensor can also capture footage in a nearly-square 8:7 aspect ratio, giving the camera the largest vertical field of view in the entire GoPro lineup. Designed for flexibility, the 8:7 ratio additionally allows users to crop for any scenario, whether your footage is destined for Tiktok, YouTube, or elsewhere. There is also the option to zoom in for a high-quality close-up.

Other notable features

The new GoPros are equipped with a slew of the brand’s signature features. A new HyperView mode allows the camera to shoot in a wide-screen, 16:9 format, ideal for filming first-person videos, like biking, skiing, and motorcycling escapades. There’s also the Emmy Award-winning HyperSmooth 5.0 technology which keeps videos stable, even when the camera is rotating 360 degrees. Additionally, the SuperView more is now available in 5.3K/60p and 4K/120p.

Night Effect mode gives creators the ability to capture breathtaking star trails, light paintings, and vehicle lights with professional results. And TimeWarp 3.0 is updated to work with 5.3K video, while Easy Controls and Pro Mode give you the ability to toggle between automatic exposure and more finessed settings.

Finally, those who are members of GoPro’s subscription service also have the ability to get highlight reels sent directly to their phones. Once the camera is connected to a charging port, your footage is uploaded to the cloud, where GoPro processes the clips into a quick, shareable video.  

Battery life & durability 

All three models make use of GoPro’s latest Enduro battery (though it’s not removable in the Mini) which the brand says extends recording time up to 38% compared to previous models. All three models are also waterproof to 33 feet without a case.

Pricing & availability 

Both the Hero11 Black and Black Creator Edition are now available. The former retails for $500 while the latter will run you $700 unless you’re a GoPro subscriber, in which case, the Hero11 Black’s price is knocked down to $400, and the Creator Editon’s $580. The Hero11 Black Mini will be released on October 25 for $400 for the public, and $300 for GoProers.

The post The new GoPro Hero11 Black comes in 3 distinct ‘flavors’ appeared first on Popular Photography.

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This article has been updated, it was originally published on July 12, 2022.

In the last several years, smartphone videos have been instrumental in exposing police misconduct and violence—in some cases, even leading to indictments. So when the Arizona state legislature recently passed House Bill 2319—making filming the police a lot harder and the consequences more severe—it drew criticism and concern.

Now, in a fresh turn of events, a federal judge has halted enforcement of the new law’s parameters. The preliminary ruling by the U.S. District Court Judge John Tuchi set a deadline of one week for any party (i.e. Arizona police agencies) to come forward defending House Bill 2319, which was originally going into effect on September 24. It was signed into law on July 6 by Governor Doug Ducey.

“We are extremely gratified that Arizonans will not have their constitutional rights infringed and their ability to record the police criminalized by this law,” KM Bell, ACLU attorney, told the Associated Press.

Ultimately, Judge Tuchi sided with First Amendment advocates and media representatives who argued the law violated constitutional guarantees.

“There wasn’t anything in the law that said the person recording has to be interfering with law enforcement or harassing officers or otherwise doing something that would create a danger or a distraction,” said attorney Matt Kelley, who represented news organizations protesting the bill. “All it prohibited was simply standing there, making a video recording. And since that’s an activity that’s protected by the First Amendment, this law was on its face unconstitutional.”

The details of Arizona’s police filming ban

Related: Grand Teton cancels wedding photo permit policy

Sponsored by State Rep. John Kavanagh, a former New York police officer, the law, signed by Governor Doug Ducey, makes it illegal to film law enforcement personnel within eight feet of their activity, whether or not a verbal warning has been issued. Punishment for violating the law is a class three misdemeanor, which could mean a fine or jail time. 

“I’m pleased that a very reasonable law that promotes the safety of police officers and those involved in police stops and bystanders has been signed into law,” Kavanagh said. “It promotes everybody’s safety yet still allows people to reasonably videotape police activity as is their right.”

Related: ‘Ansel Adams Act’ moves to restore photographers’ rights 

There are a few caveats that critics say make the bill convoluted, though. For example, the bill notes that should the encounter take place in an “enclosed structure” where the minimum distance cannot be maintained, filming is allowed as long as the law enforcement officer determines that it is safe and does not interfere with any proceedings. 

Additionally, if you’re the subject of a law enforcement encounter (including a vehicle stop), the bill allows you to film, provided that, again, it does not interfere with “lawful police actions.” 

Original concerns from First Amendment advocates

According to NPR, this bill passed just one year after the US Department of Justice launched a far-reaching investigation into the Phoenix police department’s potential use of excessive force. The National Press Photographers Association filed an official objection in February, along with an open letter signed by major media outlets and First Amendment advocates, including BuzzFeed, The Associated Press, The New York Times, The Atlantic, and the Society of Professional Journalists.

“Governor Ducey has made it a crime for someone to film law enforcement if an officer is less than eight feet from them—chilling the use of the public’s most effective tool against police wrongdoing in violation of our First Amendment rights,” American Civil Liberties Union of Arizona staff attorney K.M. Bell told Insider. “By limiting our ability to record police interactions, this law will undoubtedly make it even more difficult to hold police officers accountable for misconduct.”

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A playful, illicit urgency under a harsh camera flash. Art on the cusp of creation and the artist on the cusp of being caught. Such was the life documentary photographer Martha Cooper chased as she captured the emerging graffiti scene in 1980s New York City. 

Now, nearly 40 years after the publication of her revered Subway Art, Cooper returns with a companion photo book, Spray Nation. Action, adventure, and artistic anarchy abound, it features the photographer’s previously unpublished work, including images of fellow creatives like Patti Astor, Fab 5 Freddy, Rammellzee, DONDI, and LADY PINK.

Even today, Cooper continues to travel the world documenting graffiti culture. When asked why, the answer is just as thrilling.

“I think the illegal aspect is exciting,” she writes to PopPhoto. “As soon as you go on any kind of illegal mission, you understand the thrill because it’s an adventure. It’s an art competition that takes a lot of skill to see who can get up the most with the best style. It takes a lot of planning to pull off a great piece at a great spot and that adds to the excitement.”

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A photography trailblazer

Few were better suited to capture the birth of NYC’s underground graffiti culture than Cooper, it turns out. A trailblazer in her field, Cooper claims the distinction as the first female intern at National Geographic and followed up as the first female staff photographer at the New York Post. At the Post, Cooper covered all sorts of news: crime, stakeouts, celebrity portraits, and more. Her “weather shots”—a feature photo thrown into the paper when space was available—are compiled in another book, New York State of Mind.

Then, in 1979, she met the graffiti artist HE3, who would be her connection to a formidable introduction with the artist Donald Joseph White, aka DONDI.

Meeting DONDI

As it turned out, DONDI was already familiar with Cooper the day she and HE3 rode up to his home in Brooklyn.

“When I introduced myself, DONDI said, ‘Oh, Martha Cooper!’ He knew because he had clipped a picture from the Post that I had taken of a kid on a rope swing with a Dondi piece on the wall with my credit line and pasted it in the front of his black book,” Cooper explains. “That was a perfect connection because graffiti writers wanted fame and I had given DONDI a lot of fame with that photo—although at the time, I was surprised to learn that the writer of the graffiti could be identified. That was a revelation.”

The meeting was followed by an invitation from graffiti writer Eric Deal to interview DONDI and his friends. Cooper recalls shooting indoors on Kodachrome 64 ISO. And that was the beginning of her foray into the underground art scene. 

“DONDI was the first graffiti writer I met. He was respected and he vouched for me,” Cooper says. “DONDI introduced me to other writers at the Sam Esses studio in 1981. Relationships evolved from there.”

A subway car sparks a lifelong interest

Though her relationship with DONDI gave Cooper an “in,” the spark that really stoked her interest in graffiti occurred the day she took a hard look at the New York City subway. DONDI constantly referenced it, so Cooper decided to see what the hubbub was about.

“In 1980, I went up to 180th Street in the Bronx where the trains run above ground and started looking,” she recounts. “The first time I went, the LEE train with the poem on it was sitting there. It must have been freshly painted the night before. It was the very first day! I started going back. I had a car and I drove along the tracks looking for interesting backgrounds. The second day, a full BLADE car came by with most of the windows still painted. I shot a few of my best pictures those first few days and that really got me going.”

Dodging danger

A true journalist, Cooper didn’t settle for merely documenting the final product. She also tagged along as the graffiti artists snuck around train yards on early mornings, making their mark with the rising of the sun. 

“To me, the story wasn’t complete until I could see how graffiti was painted,” Cooper shares. “Whenever I was with them it was usually, ‘Let’s get this done.’ It was a mission and they were professionals. They know how to get in, do their thing, and get out. I was definitely an outsider and tried to make myself invisible. I wasn’t a participant observer. I didn’t help carry the paint. I just tried to quietly be a fly on the wall. That was my approach.”

Capturing these clandestine scenes took quick thinking on multiple fronts. At the time, Cooper was shooting film on a Nikon FM. So, in addition to coming up with creative exposure techniques (a flash could draw attention) and angles, reloading the camera was also a factor—all while dodging the law. 

“I was all about, ‘How am I going to capture this?’ What equipment do I need to carry while ducking under the fence and crawling in and out of the yards?” she elaborates. “I couldn’t put anything down. Sometimes a guard would come and I would have to duck under the car near the third rail and think, ‘I hope this train doesn’t move because I’m dead.’ I don’t have any stories of being chased out of the yards but I always knew it could happen and I had to be prepared to run with the camera gear.”

Graffiti culture today

Today, graffiti enjoys wider public acceptance. The medium has even found its way into the contemporary wings of museums and galleries. Back in the 1980s, however, there was a different story. 

“In the early ‘80s, the scene was primarily New York City-based and very underground with few outsiders understanding what was going on,” Cooper remembers. “Today graffiti and the related (but different) street art scene is a huge worldwide art movement.”

Aside from museums, graffiti still remains very much a public, democratic form of art. And Cooper is gratified to see the mainstream audience’s enthusiasm for the medium, from community-painted trains in South Africa to public graffiti events in Tahiti.

On Spray Nation and Subway Art

Following on the heels of Subway Art, Spray Nation is a companion book and collaboration between Cooper and her editor, Roger Gastman. To compile the images, Gastman culled through thousands (perhaps hundreds of thousands) of slides, scanning them and planning the layout. When asked how the two tomes compare to the other, Gastman is adamant: Neither is trying to outdo the other.

“They were shot at the same time but are edited very differently for content,” he shares. “For Spray Nation, we labored over thousands of the images that had not been published to find the best of the best of the photos that told a story and were just great photos. Spray Nation is also a landscape format book that is much longer than Subway Art. We would never want to compete or compare to Subway Art—just be a companion.”

A touch of humanity, however, sets Spray Nation apart from its peers. It’s not so much about just the final works proclaiming themselves on screeching trains, it’s also about the people. 

“It was important to group several artists and themes, such as sayings, characters, storefronts, and gallery works together,” Gastman finishes. “It was also important for me to make sure every so often there were people in the photos. That was easier than I thought it would be as Martha did such an amazing job always capturing the story and the scene—and not just the graffiti, as most did.”

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