In 2019, I wrote about how I would never quit full-frame DSLRs. Back then, I complained about mirrorless cameras for wonky bodies and mediocre autofocus. Today, I’m eating crow.

It creeped up on me through a few flirtations with mirrorless cameras from Olympus, Panasonic, and Fuji. Then Canon’s M system got good, and then finally the R system came into its own with the release of the R5 and R6, two cameras that melded the functionality of Canon’s DSLR controls and menus with the added usability of mirrorless autofocus, which has come a long way in the last five years. I switched to those cameras in 2022, and I haven’t looked back, especially when it comes to my sports photography.

But the other day, I found myself shooting back-to-back lacrosse games with my students, and one of them needed a camera. I loaned them my mirrorless camera and pulled my old 7D off the shelf and popped in an LP-E6N battery in, so I had something to shoot with. It has been a couple of years for me and DSLRs in any sort of serious shooting situation. So, how did the OG 7D do 15 years after it was released? Can a DSLR still be useful for sports photography in 2024, or has mirrorless technology passed it by?

The Differences and Similarities

To anyone fairly new to photography, cameras have always been able to nail focus on an eyeball and track it through a frame. There have always been several hundred autofocus points scattered across the frame, and you can touch the screen at any time to pick one. And there has always been a way to simulate your exposure in the viewfinder, which the optical viewfinders of a DSLR could never do since the view is directly through the lens.

While DSLRs are missing out on these features, the body design remains mostly the same, with big wheels all over the back and front to adjust settings and familiar-looking menus (albeit without a touchscreen on the 7D).

The 7D had 19 autofocus points spread across a large, centralized swath of the frame. It was a system befitting a flagship APS-C camera at the time. Of course, that doesn’t hold a candle to the R6’s 1,053 autofocus areas and almost 100% coverage across the frame, with eye- and face-tracking autofocus.

So I’ve been pretty spoiled lately. With the solid Canon EF 100-400mm f/4.5-5.6L IS II USM Lens and the R6, my hit rate has been damn near 100% in most field sports in even semi-decent light. If I missed a shot, it was likely due to pilot error. Focusing on a mirrorless camera is entirely off the sensor, so if it looks like it’s in focus in the viewfinder, it will actually be in focus.

Going back to the 7D was a throwback. The phase detection focus, separate from the imaging sensor, often registered something in focus in the viewfinder with its focus tracking, but things were more often than not just a hair off. In some ways, it wasn’t enough that I would have raised a fuss in 2009, but in 2024, cameras have just gotten so good that the expectations are higher. Here is one that I’d say would just be “OK” by modern standards.

Not something that I’d worry about on the web or social media but enough that it would give me pause to use in a large printed format.

That said, it could hit very sharp focus too, occasionally:

This brought back nightmares of having to microadjust lenses on DSLRs to compensate for front or back focus that body and lens combinations could develop. As a shelf piece for a couple of years and no service probably for some time before that (I bought it used a couple of years ago), it probably badly needed some tweaking in this area. Something I don’t want to do ever again, and so I didn’t.

Were There Any Other Differences?

Using a DSLR again felt surprisingly good. There’s a heft and substantial feeling to the camera body, even in something along the lower end like the 7D. While I have no desire to lug a 1D X into the field ever again, there’s something about that through-the-lens view and the reassuring slap of the mirror as the camera takes pictures.

In some ways, mirrorless cameras are akin to what Apple has often done, in that features are introduced that you didn’t even think you’d need. Back in 2009, I didn’t think I’d ever need more than the 19 points of autofocus the 7D had, let alone face- or eye-tracking. Exposure simulation was completely unnecessary, I thought, as I yelled at the kids to get off my lawn.

But time marches on, and as much fun as going back to the 7D was, the results speak for themselves. We had it good, back then, but now we have it better. Way better.

With the grand opening of Epic Universe scheduled for 2025, speculation continues to escalate on the attractions and rides which will be featured in each of the five lands at Universal Orlando‘s third major theme park.

To date, Universal has only unveiled details about one of five lands. Last month, more renderings were published to preview How to Train Your Dragon – Isle of Berk. Thanks to advancements in aerial photography, a closer glimpse was provided into construction and development of Dark Universe, which is expected to feature rides and shows based on Universal’s “classic monsters” films, including Frankenstein, Wolfman, the Mummy, and others.

Scaffolding was recently removed from several projects in the acres that will be home to Dark Universe. Photos were posted by X (Formerly known as Twitter) user “Bioreconstruct.” You can see posts featuring the photographs, below.

Aerial photo showing that scaffolding was recently removed from the windmill tower at Burning Blade Tavern in Dark Universe. pic.twitter.com/7HpQw1jUEJ

— bioreconstruct (@bioreconstruct) April 20, 2024

Aerial look at current construction in the village at Dark Universe.
📸Apr 18 pic.twitter.com/Hzrf895Ple

— bioreconstruct (@bioreconstruct) April 20, 2024

The allure of a new camera often lies in its technical specifications and the promise of enhanced capabilities. However, the true measure of a camera’s value rests in its ability to seamlessly integrate into a photographer’s individual approach and empower their creative vision. This exploration of the Fujifilm X100VI offers valuable insights into this nuanced relationship between photographer and tool.

In the video, photographer James Popsys looks into his experience with the Fujifilm X100VI, offering a candid assessment of the camera’s strengths and weaknesses. Despite initial reservations and acknowledging the camera’s near-universal praise, Popsys embarked on a journey to understand if the X100V could truly align with his needs and preferences. Popsys highlights several key features that impressed him:

• Exceptional Image Quality: The X100VI’s sensor and lens combination deliver stunning image quality, meeting the high standards of professional photographers. 
• Versatile Viewfinder: The hybrid viewfinder, offering both optical and electronic options, provides flexibility and caters to diverse shooting scenarios.
• Built-in ND Filter: The integrated ND filter expands creative possibilities, especially in bright conditions, without requiring additional accessories.

However, Popsys also identifies areas where the X100VI falls short of expectations:

• Battery Life: The camera’s battery life proves to be a limitation, particularly during extended shoots or when using power-hungry features.
• Menu Design: Popsys finds the menu system to be less intuitive than desired, potentially hindering quick adjustments and efficient operation.

Popsys’ experience with the X100V underscores a crucial point for photographers: Choosing the right gear goes beyond specifications and reviews. Aligning your equipment with your individual workflow, shooting style, and preferences is paramount. Check out the video above for the full rundown.