DJI released the Mavic 3 back in November of 2021. This next iteration of their flagship drone brought with it a ton of upgrades users had been eagerly waiting for since its predecessor, the Mavic 2 had been released three years prior. We wrote a series of articles about this much-anticipated release, including two fantastic deep dives by my fellow APA writer György Palkó that you can find here and here.
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I know for an architectural photographer, the use of a tripod is assumed to be mandatory. It seems like we have our cameras firmly glued to our tripod heads. However, I have to confess that, especially for outdoor shots of buildings, I find the freedom of shooting handheld really liberating.
Camera Cages are just for videographers, right? In this review I am going to show you why I love a cage for my hybrid work between architectural photography and videography.
From day one I put my Canon R5 into a camera cage and only let it out of there for trips with the family, where I want to carry minimal equipment.
The first DJI Mavic Pro was announced in September 2016 and released in late 2016. The small size and the foldable design made me absolutely love it. I used the Mavic Pro for 2 years, and I was very pleased by its capabilities. I even won an architectural photography contest here in Hungary with an image created using that drone.
With all of the hubbub around DJI’s newest drone release, many folks are wondering if it’s worth upgrading their Mavic 2’s to the new, pricier, Mavic 3. Heck, even we’ve been wondering how it stacks up in a real-world performance test after comparing the stats in our Mavic 3 comparison article last week.
Unless you live under a rock, you probably have heard about the beyond full-frame Fujifilm GFX 100s. Before making the hefty purchase, you might be wondering how your TS-E lenses would perform on the GFX. I’ll be giving you a good look into how the 100s and TS-E combo works together. Plus, I have a few RAW-files at the end of the article for you to download so you can see the quality for yourself!
Tilt-shift lenses are great. However, getting two or three of them at the same time comes at a high price.This post summarizes my experience with Canon extenders and tilt-shift lenses, their performance (a 2x on a 24mm tilt-shift, you say?) and why using them has been crucial in developing my personal vision and deciding which lens to acquire next.
When it comes to geared tripod heads, the more popular options on the market are from Manfrotto. The Manfrotto 410 and 405 heads are go-to options for many architectural photographers, mostly due to them being great value for their price. Even I started with the 410 and then moved onto the 405 head, and personally love the heads I currently have.
One of the key bits of equipment an architectural photographer is pretty much required to have, is a good geared tripod head. I would say it’s pretty difficult to photograph architecture without having one of these.
For many architectural photographers, including myself, our first geared tripod heads are probably one of the two options available from Manfrotto.
Many of us architectural photographers are no strangers to a good tilt-shift lens. We probably even have a favorite that we use regularly for most of our shoots. My personal favorite is the Canon TS-E 24mm f/3.5 II. Although I don’t shoot with it as much as I do the 45mm, I still prefer the 24mm over the other tilt-shift lenses.
With countries dishing out mandatory quarantines and work grinding to a halt, most of us photographers have found ourselves with quite a bit of downtime. If you’re sick of watching Tiger King and doing puzzles, now would be a great time to kick back, turn on a tutorial or two, and pick up some new skills.
For many architectural photographers, a good filter system is an absolute must. Filters offer a great deal of flexibility when it comes to exposure times and also controlling reflections; reflections are probably the most vital issue to control when photographing architecture due to their ability to make or break an image.