I’m a huge fan of minimizing the camera gear I need to pack for a video shoot. While my Sony a7siii will still have its place in my kit for the next few years, when I don’t need the highest-quality camera, I’ve been gravitating more towards the much smaller, yet very capable DJI Osmo Pocket 3.  

The Osmo Pocket 3 is DJI’s third update to the lineup that makes capturing smooth, high quality content easy and fun. It’s marketed as a pocket-sized camera with built-in stabilization that’s great for filming everything from fast moving action, vlogging, or cinematic shots without the need for a traditionally bulky setup like my mirrorless camera and DJI Ronin RS3 gimbal. 

In the past, these small all-in-one gimbal cameras have been great for more casual video content, but they’ve been held back by their smaller sensors which struggle in low light or high contrast scenes. That said, DJI really stepped it up and the Osmo Pocket 3 feels like a more professional tool that can either be a really reliable A-Camera, or more easily be used alongside your other mirrorless cameras. But is it worth your money?

It devilers some big performance upgrades, though it comes at the expense of increased size and a much higher starting price. See my reasons for whether you should buy or skip the Pocket 3 below:

Reasons to buy

Larger 1” CMOS Sensor

The first reason I think you should buy the DJI Osmo Pocket 3 is because of its larger 1-inch CMOS sensor, which is a big deal. Compared to 2020’s Pocket 2’s 1/1.7-inch CMOS sensor, the Pocket 3 is able to capture better video and photos, especially in low light where its predecessor and most of its competition continue to struggle. 

Aside from the increased brightness and detail and lower noise, the Pocket 3 can now change its focus point allowing you to get that nice blurry background depth of field look that you’d expect from higher end cameras. Whereas the previous Osmos’ video quality were on par with smartphones, the Pocket 3 is now more comparable to a small point and shoot, but of course with the added benefit of a built-in gimbal with powerful subject tracking.

Higher frame rates & support for picture profiles

The next reason you should buy the DJI Osmo Pocket 3 is its support for higher frame rates and more professional picture profiles. You can now shoot crisp slow motion in 4k 120fps while the Pocket 2 maxes out at 4k 60fps.

For a lot of creators, though, the other big advantage here comes with the D-LOG or HLG that allows for increased dynamic range and more flexibility in post-color editing. If you don’t mind the extra effort, this helps you really dial in your look. 

Battery life & faster charging speeds

A final reason you should buy the Pocket 3, and something everyone can appreciate, is its longer battery life and super fast charging speeds. It has a larger 1300mAh battery that can easily get you 2-2.5 hours on a single charge depending on what mode you’re filming in. I manage to get a full day of use when shooting a mix of shorter clips and a few 1-2 minute longer ones at 4k 24fps and some 4k 120fps. It also now supports fast charging to 80% in just 16 minutes and 100% in 32 minutes. If you don’t mind splurging even more you can extend run time by about 60% with its optional battery handle. 

Reasons to skip

It’s expensive now

The first reason you may want to skip on the DJI Osmo Pocket 3 is because it’s relatively expensive now. Considering that you can buy a renewed Pocket 2 Creator Combo for half the price at $259, which comes with the battery grip, a wireless mic and a bunch of other handy accessories, you may second guess if the newer model is worth that extra cash. 

You’ll have to cough up $669.00 to get the Pocket 3’s Creator Combo, which is putting it into a very premium category and no longer the easy affordable pick it once was. For more casual users, you can probably stick with the Pocket 2 and not miss out on much. 

Not as portable or easy to use

I also think the Osmo Pocket 3 isn’t necessarily the right choice for someone looking for a camera that prioritizes portability and simplicity. Don’t get me wrong, the Pocket 3 is still very much both of those, but it is worth mentioning that it sees a noticeable size increase and is now about 60g heavier than its predecessor. With its larger sensor, more usable rotatable screen, and bigger battery, I think this is well worth the tradeoff, but a lot of people won’t. 

Tied in with this, as great as D-Log and HLG picture profiles are, to make the most of them, they need more time to color grade in order to “look right”. Personally, this is one of my favorite parts of the edit, but for those who just want something that looks good out of camera, the advantages with the Pocket 3 are less realized when just sticking with the Standard preset. 

You don’t really need an “all-in-one” camera

Finally, if you’re someone who is either after more of a point and shoot or a dedicated action camera, the DJI Osmo Pocket 3 and similar all-in-one cameras may not be the best choice. A point and shoot will usually have the advantage of true optical zoom and higher pixels for better still images. 

Similarly, as great as the stabilization offered by its gimbal, for intense action, an “action” camera like the Osmo Action will be the way to go. Aside from their increased ruggedness and waterproof rating, they offer far more mounting options without worrying about the camera falling off. The Osmo Action 4 may not be as impressive in low light, but it has incredible stabilization and even has the same 10-bit D-Log M, but with the added benefit of a wider field of view if that’s what you’re after. 

Buy or skip?

For $519, I would buy DJI Osmo Pocket 3. The improved picture quality with better low light performance and increased dynamic range, combined with its support for creating a more “pro” image, not to mention its longer battery life, faster charging speeds, and its larger rotatable screen are all worth the premium asking price compared to its predecessor.  

That said, as great as it is, I would only recommend going for the more expensive $669 creator combo if you know for sure that you’ll use the included wireless Mic 2 and Battery Grip. While the Pocket 3 is no longer the simple recommendation I used to make to anyone looking for an affordable, fun, and capable video camera, the 3 offers so much more now. 

With its super deep discounts, the Pocket 2 is more appealing than ever, but if you see yourself needing a combo gimbal/camera with some of the best video quality you can get in this form factor, the Pocket 3 is hard to beat.

For many of us, it’s a taboo subject to shoot in auto mode. I mean, we want to surely have creative control over our images so that we can make exactly what we have in our minds. But truth be told, many of us shoot in aperture priority anyway. So why not just go to full auto? That’s the thought process that I had during my yearly staycation at the end of last month. In those two weeks, I felt creatively recharged while channeling some deep grief, sadness, and frustration. It came from my wanting to get back to basics. And one camera really helped me do that much better than any others: the Canon G1x Mk III.

I’ve talked about this camera at length before, and if you want to understand that conversation, I recommend that you check out this article that I wrote. But this isn’t the time or the place for me to do that. In fact, this isn’t a gear article. It’s an article about creative liberation that the current state of the photo industry doesn’t give us. They’re too busy catering to content creators, and not enough on photographers.

With this camera I was able to do a lot of very fun things. It gave me the scene mode, which many Canon cameras have even today. You can see more of these images on my Instagram or even on my VSCO. Specifically, I embraced the Toy Camera mode and let the camera do what it wanted to do while doing exactly what I wanted to do. In this mode, it gives a Lomo-like look along with a bit of a film simulation. The ISO doesn’t go above ISO 800 and the brightest the lens goes to is f2.8. So a lot of different things can happen. Sometimes this meant intentional camera movement. At other times, I used prisms, mirrors, and lens filters to make images that truly resonated with me. In this way, the tool became a creative collaborator of mine.

As I walked around NYC, I tapped into my own creativity to feel the moments that were happening in front of me. Not everything was a hit. But when I got a nice photograph, it was something very special. Not having to worry about all the technical features that get in the way really helped here with just making better images.

There are moments when you’re walking around a city at night where when you look at the light and the scene in front of you, you’re awestruck. It’s how people fall in love with Times Square or Christmas lights during the holidays. Sometimes the lights are installed for this reason while at other times, they’re happy accidents. But when you look at a scene, you realize that it’s all about the quality of the light. Combine this with a study of how toy camera photographs look. Then finally, top it off with your own emotional awareness of the moment. That’s how you get a photograph that can’t be made by an AI imaging algorithm at all. It can try, but it’s never going to be the same as mine.

A human being can understand the moment in time and emotions in a scene while an AI requires someone to truly be able to articulate those to get exactly what they want.

At times, I looked at the lights and due to my kerataconus-based eyesight, I was able to tell if something would look great or not when it was “smeared.” By that, I mean that when there is intentional movement with a slow shutter speed that the image would look like an impressionist painting.

The result is images that feel both familiar yet ethereal — as if they’re part of a dream that we can’t quite remember or put our fingers on.

David Johnson, a seminal figure in the history of American photography, passed away in Marin County on Friday at the age of 97, leaving behind a legacy rich with compelling portraits of the 20th century’s most influential figures and pivotal moments. A protégé of Ansel Adams, Johnson’s lens vividly captured the essence of the Fillmore District, earning him a revered spot in the annals of photographic history.

Trailblazing Journey and Artistic Influence

Born into a segregated Florida in 1926, Johnson’s ambition and talent propelled him into the nascent photography program at the San Francisco Art Institute, making history as its first Black student under the mentorship of Ansel Adams. It was Adams who advised Johnson to “photograph what you know,” leading him to document the vibrant life in San Francisco’s Fillmore District, often referred to as the “Harlem of the West.” Johnson’s unique ability to capture the human spirit endeared his work to many, with his photographs becoming a significant part of collections at the Library of Congress and the Bancroft Library at the University of California Berkeley.

Johnson’s era, spanning from 1945 to 1955, is often hailed as the “Golden Decade” of San Francisco photography. He worked alongside other luminaries such as Imogen Cunningham and Minor White, carving a niche for himself with his intimate and poignant portrayals of Black life and culture. His images of leaders and icons like W. E. B. DuBois, Langston Hughes, Thurgood Marshall, and Jackie Robinson, as well as events like the 1963 March on Washington, are enduring tributes to his subjects’ quests for freedom and equality.

Legacy and Impact

Johnson’s stepdaughter, Candace Sue, reminisced about his unparalleled skill in capturing “the poignancy of people,” highlighting the depth of emotion and aspiration evident in his subjects’ eyes. His dedication to portraying the Fillmore District not only preserved the essence of a pivotal era in American history but also offered a window into the everyday lives and struggles of its inhabitants. Johnson’s work transcends mere documentation, embodying a powerful narrative of resilience and hope that continues to inspire future generations.

Throughout his career, Johnson broke barriers and challenged societal norms, leveraging his art to shine a light on the complexities of the human condition. His legacy endures not only through his iconic images but also in his role as a trailblazer for African American artists in the field of photography. Johnson’s contributions to the arts have garnered recognition from various institutions, further solidifying his status as a pivotal figure in the documentation of American history and culture.

Reflections on a Storied Life

The passing of David Johnson marks the end of an era but also serves as a poignant reminder of the impact one individual’s vision and dedication can have on the cultural and historical tapestry of a nation. His photographs, a vivid chronicle of the Fillmore District and beyond, continue to resonate with audiences, offering a glimpse into the soul of a community and its inhabitants. As we reflect on Johnson’s remarkable journey, it becomes clear that his work was not just about capturing moments but about immortalizing the essence of an era, the dignity of its people, and the unyielding pursuit of justice and equality.

Johnson’s indelible mark on the world of photography and his role in highlighting the narratives of those often marginalized in society ensures that his legacy will be cherished for generations to come. His life and work remind us of the power of art to effect change, to challenge perceptions, and to celebrate the beauty inherent in our shared humanity. As we look back on his contributions, we are reminded of the enduring relevance of his vision and the timeless nature of his artistry.

Whether you’re a newbie or a professional photographer, you need a standard prime lens in your kit; it’s excellent for almost all types of photography, but more so for product photography. That’s because a standard lens mimics the human eye’s natural field of view. When used in product photography, the standard lens will accurately capture the item as you see it. However, the meaning of the standard prime lens may change depending on your camera — if it has a full-frame sensor, for example, this is the 50 mm lens, often called the “nifty fifty.” 

But if you attach a 50 mm lens to a camera with a smaller sensor, its field of view would look like what you’d see with an 80 mm lens on a full-frame sensor. So, if you have an affordable mirrorless camera, it probably uses a cropped sensor. That’s why I recommend getting a 30 mm or 35 mm lens instead. When used with a full-frame camera, the 35 mm captures a wider field, but most APS-C cameras will crop in to make it look like a 50 mm lens.

The Canon EF 50 mm f/1.8, which costs $125 on Amazon, is a great standard lens for Canon EF-mount cameras. If you have a mirrorless Canon RF mount camera, a Nikon, or a Sony, you’d have to spend closer to $200 to get a 50 mm. Also, consider getting a 35 mm lens like the Canon RF 35 mm f/1.8 ($499 on Amazon) for APS-C mirrorless Canon EOS R models. If you have a Sony camera, you can get the Tamron 35 mm f/2.8 from Amazon for $199 instead.