Black and white photography will always be close to my heart. It’s how I first learned and what I always find myself longing for. Being able to slow down, breathe, and make every frame count is a luxury. I always look forward to photographing with new film and I was excited to test the Lomography Fantome 8 film.

The ultra-slow black-and-white film stock will require users to carry a tripod if they don’t have steady hands. Don’t worry, it is worth it. Lomography boasts that it elevates your monochrome image with added contrast. Is it worth the moderate $8.90 price tag? Keep reading to find out more.

The Big Picture

Lomography Kino Fantome 8 film is an ultra-slow black and white negative film. The 35mm film stock produces high-contrast images that are ideal for flatly lit scenes. It is possible to capture images handheld, although carrying a tripod for slower shutter speeds that ISO 8 can require is always a good idea. 

The black and white 35mm film makes for beautiful portraits, excellent landscapes, and striking urban scenes in low light. The contrast may be too much on sunny and partly cloudy days. In these cases, it’s easy to crush the details in the highlights and shadows. 

Photographers who appreciate contrast and enjoy taking their time to compose a scene will appreciate this filmstock. It is an excellent choice for creative portraits, urbanscapes, and landscapes when you want a little extra contrast. 

We are giving the Lomography Kino Fantome ISO 8 film four out of five stars. Want to try it for yourself? You can pick up a roll for $8.90. 

Pros

• Excellent for overcast days.
• Plenty of contrast.
• Loads of character.

Cons

• It’s easy to crush the highlight and shadow details.
• You will need to pack a tripod for slow shutter speeds.

Gear Used

We reviewed the Lomography Kino Fantome ISO 8 film with a Leica M6, 35mm Contax G f2 lens, and personal Sekonic light meter. We sent the film to Blue Moon Camera for processing and scanning.

Ease Of Use

Most photographers experienced with film photography will feel comfortable working with this 35mm film stock. Newer photographers who are just learning to compose will appreciate the impactful tones to liven up their photography.

When looking at sample images, I knew I would need to adjust how I usually photograph. As such, I chose to photograph on overcast days with very little chance of full sunshine. I have embraced contrast in my work for a long time and thought that the result was too much for my liking.

The Fantome 8 reminded me of when I experimented with the most robust magenta filter for the first time in the dark room. Highlight and shadow detail are easily lost in environments with subtle contrast. Once lost, they aren’t easily retrievable as with other films I have worked with. Although, there were a few frames where the stark blacks added visual interest.

It takes a little time to adjust your style to accommodate that and photograph with intention. Patience and practice pays off. When it hits the way you wanted, it’s beautiful.

Image Quality

The Lomography Kino Fantome 8 produces low-grain images and plenty of details in the mid-tones. Images are rich with contrast, stark whites, and deep blacks. Highlight and shadow details can be lost, even in subtle light.

Extra Image Samples

From day one, The Phoblographer has been huge on transparency. Nothing from this review is sponsored. Further, lots of folks will post reviews and show lots of editing in the photos. The problem then becomes that anyone and everyone can do the same thing. They’re not showing what the product can do. These photos are completely unedited.

Who Should Buy Lomography Fantome 8 Film?

Any photographer who wants to create with black and white film and appreciates contrast would enjoy experimenting with Lomography Fantome 8 film. The punchy contrast is a fantastic choice for dreary days. Fantome 8 gives a lot of character to what would be an otherwise less exciting scene.

I would pick up another roll of the Lomography Kino Fantome 8 for a creative indoor portrait session or the next time I travel abroad. However, I probably wouldn’t choose it frequently for paying clients. The lost details matter in commercial work.

Any photographer who leans into high-contrast images will appreciate this film. It is a fun choice for creative portraits and street photography. You can pick up a roll for $8.90 if you’re ready to try it for yourself. And if you’re looking for a lab to develop it, we recommend Blue Moon Camera for processing and scanning.

Film Highlights

The film highlights are from the manufacturer.

The highlights are from the manufacturer.

Effortlessly evoke the theatre in your everyday life with this show-stopping black and white cine film.

• Take your striking high contrast shots up a notch
• Super-low light sensitivity of ISO 8
• Panchromatic emulsion with very fine grain
• Small exposure latitude and high contrast renderings 
• Great for pinhole, striking portraits and gritty street photography

Film Size: 35 mm 

Film Type: Black & White Negative 

ISO: 8 

DX Code: No 

Development Process: B&W 

Exposures per roll: 36 

SKU: f8bw35

The Phoblographer may receive affiliate compensation for products purchased using links in this blog post.

The title of Sally Svenson’s third book on history in the region, “Adirondack Photographers 1850-1950,” tells it all. She has somehow managed to compile a list of everyone who toiled behind a camera during transition from the earliest days of photography through the ubiquity of the single-lens reflex camera. Researchers will make use of the well footnoted volume forever. And there’s a lot there for the rest of us.

For one thing, the author has provided a wonderful 20-page introduction on the history of photography, from the itinerant daguerreotypist, to the collodion-coated glass plate, and well beyond George Eastman’s introduction of paper film sold by the roll. She’s shown us how even small settlements managed to support a practitioner, and how professionals began earning a living via portraiture, then selling prints of scenic vistas.

Those vistas weren’t easily captured during the early days. Photographers had to lug a backpack of equipment, coat glass plates in the field, and somehow bring everything back home without breakage. One key fad that peaked a century ago, but still hangs on at least a little, has been the postcard, a mainstay of many people spotlighted in the book. It’s instructive to compare those earlier ordeals to the ease of now just pulling a phone out of one’s pocket.

The bulk of text goes through alphabetical listing of all those photographers. Granted, one can glaze over a little while reading so many capsule biographies. Most will likely look up a few names familiar to them, then take time to skim a few more pages. Another strategy might be finding one’s community in the index and reading the entries with local interest. Once exposed (like the pun?), the casual reader will want to return multiple times.

For the purposes of a review, I read the book cover to cover, a strategy that allowed appreciation of a few trends that dabblers might overlook. I saw how some were lifetime natives of the North Country, while others were immigrants, primarily from Europe and in one case Japan. Tuberculosis brought more than a few to the region. A couple were attracted by the 1932 Olympics.

Only a minority enjoyed formal training, but cross-referencing showed how frequently one practitioner became a mentor to others. As in today’s Adirondacks, many had to cobble together several skills to make a living. Photographers at times worked as hotel managers, farmers, pharmacists, taxidermists, and even jailers. One began restoring fine paintings, and there was a tinkerer who patented a corn popper.

Tourist trade naturally became critical to many of these camera people. Hotels and railroads commissioned photos. Images became central to forest preservation debates. Seneca Ray Stoddard’s season-long tramp through the Adirondacks became the nucleus of a series of travel guides. James Pursell and his wife made their living from photos taken as they rode their tandem bicycle along mountain roads.

However, the majority spent most of their time on the expected facets of community photography. Judging from quotes attributed to advertisements, infants and young children were critical to trade. Studios emphasized their dedication to “babies, children, and old people” or “house, horse, or baby.” One man bragged “am never cross to little folks” while another promised facility with “nervous children before they can move.”

The famous and important photographers are included. If you don’t know the aforementioned Stoddard or William Henry Jackson, here’s your opportunity to catch up. I found surprises, including Elias Beaman, who accompanied John Wesley Powell’s expedition down the Colorado River, and Henry Kaiser, who operated a camera shop in Lake Placid before becoming the master shipbuilder of World War II. Alfred Stieglitz, who summered in Lake George with his wife Georgia O’Keeffe, aided the transition of photography into an art form.

Some documented particular industries — lumbering, iron mining, blueberry picking — thereby producing important historical records. Others created the records of communities, with their livelihoods, traditions, and pastimes. I regularly encountered names about which I’d like to learn more.

If the author missed anyone, I didn’t know it, and believe me, I checked on a few photographers whom I thought could be easily overlooked. The short biographies are formulaic, structured around census records, career progression, places of death and burial, yet very readable.

The author has provided a definite service in putting this volume together. She has created both a useful reference work, and also an enjoyable volume to pick up and peruse from time to time. Those with interest in regional history, not to mention photography, will enjoy having this book in their libraries.

Continuing the U of A collaboration with the University of Manouba in Tunis, professors Curtis Maughan (digital humanities) and David Fredrick (classics, game design) of the Department of World Languages, Literatures and Cultures and graduate student researchers Rachel Murray (comparative literature) and Mitchell Simpson (English) took 360-degree photographs of three historic sites in Tunisia: Dougga, Bulla Regia and Uthina.

These protected sites feature a remarkable mixture of Punic, Numidian, Roman and, in some cases, Amazigh structures, including theaters, baths, forums, temples, houses and the Uthina amphitheater.

To gain access and insight to the historic sites, the U of A team collaborated closely with faculty from the University of Manouba, including Mohamed Karim Azizi, professor of game development; Hosni Ajlani, professor of 3D animation; Ines Bouraoui, professor of architecture; and Skander Belhaj, director of the Higher Institute of Multimedia Arts.

The fieldwork in Tunisia forms part of a larger project, “Mediterranean 360,” which included 360-degree photography of sites in Sicily and exploratory visits to sites in Spain from June 16 to July 3. Captured with an Insta360 Pro 2 camera rig, the 360-degree photography will be used as the basis for producing interactive, accessible virtual tours and game-based applications to teach the cross-cultural history of the ancient and medieval Mediterranean.

Once the sites have been captured in their current condition by the 360-degree camera, spherical reconstruction drawings by a small team of artists can be layered on top of the 360-degree images to suggest how the site looked at a given historical moment. The 360-degree images and reconstruction drawings can then be imported into the game engine Unity3d, allowing the creation of interactive tours and game-based applications.

Working in collaborative teams, U of A graduate and undergraduate students will have a direct role in producing these applications, and thus “Mediterranean 360” is a significant example of HIPs (High-Impact Practices) at the U of A. The application located in Tunisia will foreground the combined expertise of students and faculty from both the U of A and the University of Manouba. Working with Ryan Calabretta-Sajder, David Fredrick has served as the creative director on similar projects in Italian that harness the Unity Game Engine to create immersive narratives with interactive mechanics set within 360-degree navigable environments.

Maughan, director of the World Languages and Digital Humanities Studio, looks forward to further growing the ongoing collaboration with the University of Manouba.

“Having worked with ISAMM since 2018, I am very excited to extend this collaboration to the University of Arkansas, where we share the vision to develop curriculum and pursue research projects that promote interdisciplinary and innovative engagement with world cultures and world languages,” Maugham said. “As the only public higher education establishment in Tunis that grants degrees in game development and 3D animation, ISAMM continues to distinguish itself in North Africa by pioneering curricula and research initiatives in virtual, augmented and mixed reality — which is a research frontier of great interest to those passionate about the (digital) humanities at UA.”

by Martin McConnell

Since she was a child, Tabatha Colombaro has been obsessed with photography. The Parma Heights resident recently opened her first brick and mortar studio, Tabatha Sue Photography, located at 7032 Mill Rd.
According to Colombaro, her passion for photography lasted into her adult years. While the urge to open a studio was strong, with minimal professional equipment she had to wait for the right opportunity to open her own place.

“When I was a kid, I, again, loved photography,” Colombaro explained. “I remember a few times being outside, taking pictures of flowers, and just loving the photography aspect. As you get older, you start to realize what you really want to do.”
Colombaro said she “dove headfirst” into the newborn photography business following the death of her mother who passed away from cancer.

“My mom and I, we were best friends. We were very, very close,” she said. “She was a single mom and I was the oldest of four kids. She was diagnosed with cancer when I was pregnant with my daughter. Three months later, she ended up passing away. The cancer moved pretty quickly.”

Weeks after she passed, Colombaro’s husband surprised her with her first professional camera. Given Colombaro’s history, her subject matter of choice was obvious, she said.
“I’ve actually been obsessed with babies since I was little,” Colombaro said. “I was one of those kids that were at the family gatherings where I’d see a little baby and I was hovering over, wanting to hold the baby. My mom (had a daycare) when I was growing up.”

After her mom passed, Colombaro said that capturing memories throughout a person’s life became an extremely important practice to her. She said that the best place for that practice to start is at the very beginning of one’s life.
“You’re only this age once,” she said. “The babies are only newborns once. You’re only pregnant with that baby one time. So, it’s important to me that they capture that. With photography, I actually went into documentary photography for a little while, because I love the lighting, and I love to be able to find the good light.”

Colombaro explained that the April move signified her first venture into a physical studio. Previously a home photographer, she felt the need to expand her business, and take on the new adventure.
“I’ve always photographed in my home and I’ve always had a home studio,” she said. “I kind of work best under pressure, so I was like, you know what, I need an actual commercial space. When (my clients) are there, they don’t do anything. I change all the diapers. I finish the session in a white onesie, so they can just put the baby in a carrier.”
The community response so far, she said, has been outstanding. Those looking to contact Colombaro for photography opportunities can reach the studio at 216-482-7969. ∞

Photo: Photographer Tabatha Colombaro has opened a new studio dedicated to newborn photography on Mill Road. Photo submitted.

Just for a moment, the James Webb Space Telescope and its dazzling images can take a seat, because it’s the Earth-based photographers’ time to shine.

In the annual Astronomy Photographer of the Year contest, skywatchers from across the world vie for the coveted title and the £10,000 ($13,000) grand prize. This year, images of gigantic solar flares, colorful glowing gas and dust and transient comets above Earth’s breathtaking terrain have impressed the judges so far.

The contest, run by the Royal Observatory Greenwich, is currently in its 15th year. Amateur and professional photographers from 64 countries submitted some 4,000 images, which entered the running for nine category prizes, two special prizes and one overall prize. Winners will be announced on September 14.

Until then, the judges have narrowed the entry pool to a shortlist of images that capture the beauty of the cosmos, as seen from our home planet. Here is a selection of ten of these stunning submissions.

Dune, by Burak Esenbey

“Dunes are the reason I love to shoot in the desert,” photographer Burak Esenbey tells Royal Museums Greenwich (RMG). Here, in Egypt’s White Desert National Park, the lines of the dunes draw the eye toward the arc of the Milky Way.

Esenbey constructed this image from a vertical panorama and used a sky tracking technique that allowed for a long exposure of the night sky that is more detailed and colorful.

The bright light at the center, just above the horizon, is Earth’s so-called sister planet, Venus.

The Great Solar Flare, by Mehmet Ergün

Solar activity fluctuates on an 11-year cycle, and right now, the sun is nearing its peak. This could lead to more solar flares over the next couple of years—and in turn, we could experience more geomagnetic storms on Earth, which occur when the sun’s bursts of radiation interact with our planet’s atmosphere. These often lead to fantastic auroras.

In this image taken with an H-alpha telescope, used to view the sun in high resolution, the solar flare is “very large,” says photographer Mehmet Ergün to RMG. “According to our calculation, this solar flare is about 700,000 kilometers long.” To put that in perspective, Earth’s diameter is about 12,700 kilometers—so this flare is roughly 55 times the length of our world.

C/2021 A1 (Leonard) in Sky of Israel, by Alex Savenok

Comet Leonard dazzled viewers in December 2021, when it came within 21 million miles of our planet. The ball of ice, rock and dust’s rare journey took it toward Earth from the outer zone of our solar system. It disappeared from sight in January 2022, and that was the last time humans could catch a glimpse of it—the comet’s orbit brought it to destruction when it neared the sun and disintegrated that same year.

Here, photographer Alex Savenok captured the comet above Israel’s Negev desert. “Against the backdrop of the vibrant sunset, the comet appears as a bright and ethereal presence, its long tail stretching outwards like a cosmic beacon,” Savenok says to RMG.

Dance of the Moons, by Damian Peach

In this spectacular view of Jupiter, two of its moons stand out against the backdrop of the gas giant. At the lower left is Io, a lava-covered moon that claims the distinction of the most volcanically active body in the solar system.

And casting a shadow atop Jupiter’s stormy Great Red Spot is the icy moon Europa, one of the most promising candidates for hosting life. The moon almost certainly hides a vast liquid ocean beneath its icy crust, and scientists are planning to explore it with upcoming and current missions, including the European Space Agency’s Juice mission and NASA’s Europa Clipper.

Photographer Damian Peach created this image from several frames taken through a 14-inch telescope in Marley Vale, Barbados.

RCW 58: Wolf-Rayet Bubble, by Mark Hanson and Mike Selby

This bubble-like nebula has formed from the material ejected by WR 40, the star seen at the center of the glowing red ring. The star is called a Wolf-Rayet because of the life stage it’s in—a short-lived, rarely seen phase of stellar death. Ultra-hot Wolf-Rayet stars shed their outer layers, which then encircle them in a colorful halo.

“This just looks like you can hear it sizzling,” Mark Hanson and Mike Selby, the photographers, say in a statement to RMG.

Pandora’s Box, by Derek Horlock

On Alyko Beach in Naxos, Greece, photographer Derek Horlock walked amid the ruins of a hotel complex at night to capture this image. The terrain “is hazardous,” Horlock says to RMG. “There are deep holes in the collapsed concrete floors to avoid.”

This likeness of Pandora, from Greek mythology, was made by a Balinese artist who goes by the name “Wild Drawing.” Placing the woman in the foreground of the Milky Way is a choice by the photographer to contrast two ideas about the world and exploration.

“The moral of Pandora’s box suggests that curiosity could be dangerous, and some things are best left alone,” Horlock says to RMG. But on the other hand, astronomers and NASA “are not going to be dissuaded by the myth.” As soon as 2025, a satellite called Pandora will launch to look at stars and their exoplanets, searching for signs of habitable worlds with Earth-like atmospheres.

Ball of Rock, by Rich Addis

To create such a high-definition view of the moon, photographer Rich Addis took several close-up shots of various parts of the satellite, then stitched them together like a mosaic to craft the full, zoomed-out picture. Getting all of these images to align is not easy, as our perspective of the moon shifts as it orbits.

In this final composite, Addis combined shots of a 78 percent illuminated waxing gibbous moon with other shots of a full moon to give “the effect of a 3D sphere,” the photographer tells RMG.

Comet 2022 E3 Above Snowy Mount Etna, by Dario Giannobile

Above the snowy landscape of Sicily’s Mount Etna, one of the world’s most active volcanoes, the famed comet C/2022 E3 (ZTF) appears as a turquoise blur in the night sky.

The rare, green comet made its closest approach to Earth on February 2, 2023, passing within 26 million miles of our world on a 50,000-year orbit around the sun. However, astronomers say the comet’s recent voyage could have altered its trajectory, raising the possibility that the icy ball may have left us behind for good.

Photographer Dario Giannobile captured the moment with a Canon EOS 6D camera, putting together 27 45-second exposures of the sky and two 180-second exposures of the land.

Jellyfish Nebula, by Peter Larkin

Located in the constellation Gemini, the Jellyfish Nebula is a supernova remnant some 5,000 light-years from Earth. The cloud of glowing gas represents the remains of a massive star, and when that star exploded, it might have created a pulsar at the nebula’s edge.

To capture this otherworldly sight, photographer Peter Larkin stacked several images taken with different filters, revealing details that can’t be seen with the human eye. “The image needed very little processing to bring out the contrast and details,” Larkin tells RMG. However, the stars have been removed from the shot to better highlight the nebula’s colors.

The Milky Way, by Kush Chandaria

From the Okavango Delta in Botswana, where no light pollution obscures the sky on moonless nights, the Milky Way appears bright, even without a telescope. But this view of our galaxy in all its glory is also a solemn reminder about the damage of brightening the night sky. With the artificial glow of floodlights, street lamps and illuminated signs blotting out the stars, “it’s easy to forget about what is above our heads every night,” photographer Kush Chandaria says to RMG.

“The night I took this image was the first time I had seen the Milky Way so clearly with the naked eye,” Chandaria adds. “I can only hope that in capturing this image I can share the same feeling of amazement that I felt when I looked up at the sky that night.”

A Michigan-based gallerist has pled guilty to defrauding more than 10 collectors out of an estimated $1.5 million, the U.S. Attorney’s Office in the Eastern District of Michigan has announced. 

The dealer, Wendy Halstead Beard, was charged with one count of wire fraud related to a multi-year scheme in which she concocted elaborate lies to con clients out of money and photographic prints. She now faces up to 20 years in federal prison. Her sentencing is set for December of this year. 

Beard “swindled numerous families out of valuable artwork and lied to them repeatedly in order to keep her fraud scheme afloat,” U.S. Attorney Dawn Ison said in a statement. “She did this for no reason other than to line her own pockets at the expense of her victims.”

“There is no place for this kind of criminal deceit in our community, and today’s conviction holds this defendant accountable for her conduct,” Ison added. 

Beard, 58, was arrested last October. Charges filed at the time alleged that the dealer, who ran the Wendy Halsted Gallery in the Detroit suburb of Birmingham, bilked collectors by accepting payment for artworks that she never delivered and taking in artworks on consignment and then selling them without notifying their owners.   

The gallerist also went to great lengths to avoid the clients she defrauded, such as by inventing fake employees and exaggerating her own health conditions, according to the U.S. Attorney’s Office.  

In 2018, for instance, an 82-year-old art collector consigned Ansel Adams’s The Tetons and the Snake River, Grand Teton National Park (1942) with Beard, who estimated the piece to be worth $625,000. She later told the owner that she couldn’t sell the print, then consigned it herself through a Wyoming-based gallery, where it sold for $440,000. 

When the collector asked for the print back, Beard claimed that she was suffering from pulmonary issues. An invented gallery employee named “Julie” later wrote that Beard had undergone lung transplant surgery. 

That same year, the dealer sold a separate Adams print to a friend for $73,000. But after the piece went undelivered, and the buyer asked about it, Beard said she had been in a months-long coma. 

In an email to Artnet News, Beard’s lawyer, Steve Fishman, said that his client “acknowledged her wrongdoing by entering a guilty plea without requiring the government to obtain an indictment. She accepted responsibility for her conduct which is the first step toward rehabilitation.” 

As part of a plea deal, Beard acknowledged that she defrauded 10 clients and agreed to forfeit any property obtained through the scheme. Fishman noted that, while the U.S. Attorney’s Office estimated that her crimes added up to $1.5 million, he contends that the amount was closer to $500,000. He said the actual amount will likely be decided upon sentencing in December. 

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An Australian Photographer Was Disqualified From a Photo Contest After Her Submission Was Mistakenly Deemed A.I.-Generated 

Artist Tara Geer Goes Through Hundreds of Pencils a Day Creating Charcoal Drawings in Her Harlem Studio, Dog by Her Side 

Famed Art Dealer Massimo de Carlo Has Revealed Plans for a Monumental Private Art Foundation in Italy. Here’s What We Know 

Artist Michael Moebius Is Suing Fast Fashion Retailer Shein in a Landmark Case for Artists Going After Multinational Companies 

He Overpaid, Bid Against Himself, and Hid a Monet in His Basement. Here’s What We Still Need to Learn From Visionary Art Dealer Joseph Duveen 

Two 10th-Century Stone Idols, Which Were Stolen From a Temple in India and Found in a Garden Shed in the U.K., Will Be Repatriated 

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Influencers Are Realizing That A.I. Might Not Be a Magic Money-Making Machine For Artists After All 

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Determining the “best” camera for photography depends heavily on what someone intends to photograph. The best camera for portraits may differ drastically from those for landscape photography, sports, wildlife, or event photography.

Effectively photographing various subjects requires different features and strengths. While a portrait photographer may need eye-detect autofocus, high resolution, and access to fast portrait prime lenses, a sports photographer might prioritize fast continuous shooting speeds, dependable and swift autofocus, and super-telephoto lenses.

With that in mind, this guide is divided by genre of photography, helping photographers determine the best camera for the types of photography they enjoy most.

Unfortunately, the “best” camera for any given type of photography is often costly, so PetaPixel has included alternatives in each section, including a “budget option.”

Finally, for photographers who do it all and do not specialize in any one type of image creation, the final section will divulge “The Best Overall Camera for Photography,” no holds barred.

Table of Contents

Best Camera for Landscape Photography: Sony a7R V

Requirements: Resolution, dynamic range, ruggedness, good wide-angle lenses

The Sony a7R V, where the “R” stands for resolution, is a fantastic landscape photography camera thanks mainly to its 61-megapixel Exmor R CMOS full-frame image sensor. While this sensor is the same one as is in the more affordable a7R IV, the a7R V has plenty of upgrades to make it worth the extra money, including an AI-powered autofocus system, best-in-class electronic viewfinder, and Pixel Shift capture mode.

While landscape photographers rarely care about sophisticated, modern autofocus technology, the improved image stabilization system and Pixel Shift modes are great inclusions for all photography. The improved articulating rear display is also useful when shooting at low angles on a tripod, a common scenario for landscape enthusiasts.

The Sony a7R V captures beautiful, detailed images with fantastic color and dynamic range. A landscape photographer cannot ask for much more. It also doesn’t hurt that Sony’s E-mount lens lineup is the best among all mirrorless camera systems, and there are plenty of fantastic lenses for landscape shots.

Read more: Sony a7R V Review: A Marriage of Performance and Power

Alternative: Fujifilm GFX 100S

For landscape photographers who place the utmost importance on resolution, even at the expense of some speed, versatility, autofocus performance, and lens selection, the Fujifilm GFX 100S is an ideal choice. The camera’s 102-megapixel medium-format image sensor delivers among the best image quality of any camera on the market at any price, and at $6,000 ($5,500 on sale at the time of writing), the GFX 100S is priced similarly to many high-end full-frame cameras.

Alternative: Nikon Z7 II

Making the case for the new Nikon Z8 here would also be easy. Still, the Nikon Z7 II is significantly more affordable — $3,000 versus $4,000 — and more compact, which can be beneficial when hiking, especially when doing so before sunrise when every gram in your backpack feels like an anchor.

Budget Option: Used Canon EOS 5DS R

While mirrorless cameras are all the rage these days, and with good reason, that does not mean that DSLR cameras are suddenly bad choices in 2023. Buying used cameras is also a good option, especially for budget-conscious consumers.

A used Canon EOS 5DS R checks many boxes for landscape photography. The camera, easily found for under $1,500, has a 53-megapixel full-frame image sensor and accepts a massive library of EF lenses, many of which can be found at fair prices on the used market as well. If a photographer decides to upgrade to a mirrorless camera down the road, adapting EF lenses to mirrorless cameras is straightforward.

Best Camera for Wildlife Photography: Sony Alpha 1

Requirements: Speed, good continuous autofocus, strong low-light performance, access to telephoto lenses, and weather sealing

The Sony Alpha 1 is an excellent camera for wildlife photography because it is fast, rugged, and offers enough resolution to enable cropping, which can be helpful when a photographer cannot get close to skittish wildlife.

The 50-megapixel Sony Alpha 1 captures full-resolution RAW files at up to 30 frames per second, which is remarkably fast. Only the Nikon Z9 and Z8 can come close to matching this blend of resolution and speed.

Sony has also significantly expanded its telephoto and super-telephoto lens options recently, which is critically important for wildlife photographers.

Read more: Sony Alpha 1 Review: Yeah, It Really Is That Good

Alternative: Nikon Z8 or Nikon Z9

Speaking of the Nikon Z9, it is an excellent alternative to the Sony Alpha 1. The Z9 is Nikon’s most expensive mirrorless camera, and it shares its 45.7-megapixel stacked image sensor with the new Nikon Z8.

The Z8 and Z9 have many features in common. However, the Z9 separates itself from its younger sibling a bit in terms of its battery life, memory cards (two CFexpress Type B slots versus one CFexpress Type B slot and one UHS-II slot), and built-in GPS. That said, the Z8 is $1,500 cheaper, almost as good in every way, and smaller and more lightweight.

There are also many exciting Nikon Z lenses for wildlife photographers, including the new Nikon Z 180-600mm f/5.6-6.3 VR S.

Alternative: OM System OM-1

Micro Four Thirds gets an undeserved reputation as somehow lacking in the image quality department, but the small-sensor format receives a ton of hype for wildlife photography — and for good reason. The 2x crop factor is highly beneficial when photographing wildlife, especially birds, and the OM System OM-1 is among the fastest cameras with the best autofocus system of any camera on the market.

The OM-1 is “The Best Micro Four Thirds Camera Ever Made” and a superb choice for wildlife photography. It also has the best weather-sealing of any camera ever, which will prove useful when waiting for animals in the snow and rain.

Budget Option: Canon EOS R7

While it took a while for Canon to announce its first APS-C EOS R system cameras, the company has been releasing a lot of them lately. The best among them is the Canon EOS R7, which is not only its best APS-C model, but one of Canon’s best cameras, period. The camera’s 32.5-megapixel sensor, AI-powered autofocus, and swift shooting speeds make it a great choice for wildlife photography. The 1.6x crop factor does not hurt, either.

Best Camera for Travel Photography: Canon EOS R6 Mark II

Requirements: Reliability and versatility, all-around performance, standard zoom lens, wireless connectivity, and lightweight design

When Canon announced the EOS R6 Mark II, it pitched the camera as ideal for travel photography. It is easy to see why. The R6 II is versatile, offers great performance, and comes in a kit with an RF 24-105mm lens.

Simply put, the Canon R6 Mark II is a very well-rounded camera. The versatile R6 II is up to the task of capturing your experiences, no matter where you explore.

Read more: Canon EOS R6 II Review: A Well-Rounded Upgrade

Alternative: Fujifilm X-T5

The Fujifilm X-T5 is a compact, stylish camera that offers much in the way of performance. While it includes some compromises, its 40-megapixel APS-C image sensor is not among them. Fujifilm’s excellent Film Simulations also ensure that photos look amazing straight from the camera and are suitable for uploading and sharing without any fuss.

Budget Option: OM System OM-5

The OM System OM-5 is a full-featured, compact, and rugged camera. It may not match the OM-1 regarding image quality, autofocus, or speed. Still, the OM-5 has a lot of interesting tricks up its sleeves, including incredible image stabilization and fancy computational photography modes. The OM-5 easily fits in a small bag and offers ample performance to capture great travel photos. Currently on sale for $1,000 (body only), the OM-5 is a relative bargain.

Best Camera for Portrait Photography: Canon EOS R5

Requirements: Resolution, eye-detect autofocus, good portrait lenses, and lovely skin tones

While “good skin tones” is subjective, save for obvious measurable color errors, which no modern camera exhibits in typical situations. That said, for many years, Canon has been a popular choice among portrait photographers for numerous reasons, including pleasing skin tones and color rendering.

For that reason, among many others, including an excellent 45-megapixel full-frame image sensor, reliable autofocus performance, and good ergonomics and usability, the Canon EOS R5 is the best camera for portrait photography right now. That is not to say that other cameras, like the Sony a7R V and Nikon Z7 II are bad, but the Canon R5 is an especially good choice because it offers excellent image quality, those famous Canon skin tones, and there are numerous incredible RF lenses for portraiture, including the RF 85mm f/1.2 L USM DS and the RF 135mm f/1.8 L IS USM, which makes a strong case to be the best 135mm lens ever made.

Alternative: Sony a7R V

The Sony a7R V makes another appearance in this guide as a portrait camera. For many of the same reasons as the a7R V makes a great landscape camera, it is similarly capable of capturing beautiful portraits. Where the a7R V lags slightly behind the Canon EOS R5 is concerning color rendering. Otherwise, the two cameras are equally suitable for portrait photographers. Sony also has some incredible glass for portraiture, including the Sony FE 85mm f/1.4 G Master. Plus, the third-party lens options for E-mount are awesome. Portrait photographers should consider the Tamron 35-150mm f/2-2.8 Di III VXD lens, perhaps the most versatile portrait lens on the market today.

Alternative: Fujifilm X-H2

APS-C image quality does not get better than with the 40.2-megapixel Fujifilm X-H2. The Fujifilm X-H2 also excels thanks to good eye-detect autofocus, a strong lineup of Fujinon XF lenses, and excellent in-body image stabilization (IBIS).

Budget Option: Used Canon 6D Mark II

Going with a used DSLR is a very good option for portrait photographers on a tighter budget. A used Canon EOS 6D Mark II can be found for well under $1,000, and its 26.2-megapixel full-frame image sensor delivers reliably good autofocus. There are more compelling EF mount lenses than one can shake a stick at, including a robust second-hand market.

Best Camera for Event and Wedding Photography: Sony Alpha 1

Requirements: Reliable autofocus, speed, silent shooting option, dual card slots, professional controls, good f/2.8 zoom lenses

Event and wedding photographers need to ensure that they do not miss the shot. While portraits can be fast-paced, it is rarely the case that there is never a second chance to get a photo. During a wedding ceremony, there are no do-overs. No camera is better suited to help photographers nail the essential shots than the Sony Alpha 1.

The Alpha 1’s 50-megapixel image sensor delivers great images, and the camera is remarkably swift. Resolution and speed are a rare combination and something the Alpha 1 delivers in spades. It is also a very competent video camera, which matters for hybrid shooters despite not being the focus of this guide.

Alternative: Fujifilm X-H2S

The Fujifilm X-H2S is an excellent camera for wedding and event photography thanks to its fast stacked APS-C image sensor. While the 26.2-megapixel camera may not match the X-H2 in terms of resolution, the X-H2S can shoot up to 40 frames per second, which is among the fastest of all interchangeable lens mirrorless cameras.

Budget Option: Used Sony a7 III

Although supplanted by the Sony a7 IV, the Sony a7 III remains a great full-frame camera. It is a good option for wedding photography thanks to impressive eye-detect autofocus, good five-axis IBIS, reasonably speedy 10fps shooting, dual memory card slots to ensure no photos are lost, silent shooting, good high ISO performance, and a lightweight design.

Best Camera for Sports Photography: Sony Alpha 1

Requirements: Reliable autofocus, speed, silent shooting option, dual card slots, professional controls

For the same reasons that the Sony Alpha 1 is great for wedding and event photography, it is also excellent for sports photography. Beyond the superb image quality, speed, and autofocus performance, it is worth noting that the Sony Alpha 1 also has a silent shooting option, which is nice for sports (and weddings).

Sports photographers require more than speed, though, they also need long lenses. Sony has many great options for sports photographers, including the Sony FE 400mm f/2.8 G Master OSS lens, FE 600mm f/4 G Master OSS, FE 200-600mm f/5.6-6.3 G OSS, and FE 100-400mm f/4.5-5.6 G Master OSS.

Alternative: Nikon Z9

The Nikon Z9 is good for many types of photography, but when specifically considering sports photography, its silent shooting, robust build quality, great autofocus, and speedy continuous shooting stand out as especially important. Thanks to recent firmware updates, the Z9 can also be used remotely using automatic shooting settings, which is a boon for sports photographers in particular.

Alternative: Canon EOS R3

Canon’s fastest mirrorless camera, the EOS R3, is a sports photographer’s dream. The camera is swift thanks to its stacked image sensor and delivers Canon’s best autofocus performance among its EOS R system cameras. The only drawback is that the 24-megapixel sensor provides fewer cropping options than the Alpha 1 or Z9’s higher-res sensors.

Budget Option: Canon EOS R10

The “tiny but mighty” Canon EOS R10 is a compact, lightweight, and affordable camera for sports photography. The R10 delivers good image quality, excellent autofocus, and all at under $1,000 for the body. When paired with Canon’s surprisingly good RF 100-400mm f/5.6-8 IS USM lens photographers have about the best sports photography setup that costs under $1,700.

Best Camera for Street Photography: Ricoh GR III(X)

Requirements: Reliable autofocus, speed, silent shooting option, dual card slots, professional controls, rugged design

This category could reasonably be filled with the best cameras for events or sports photography. However, to mix things up, here are some really interesting cameras that are stylish and great for street photography, starting with the Ricoh GR III.

Easy to tuck away in a jacket pocket, the Ricoh GR III has old-school roots and new-school image quality. The 28mm equivalent lens is great for street photography, but if photographers want more reach, the Ricoh GR IIIx is practically the same camera but with a 40mm equivalent lens.

Both the GR III and GR IIIx cost around $1,000, so they are affordable second cameras for photographers who want something compact and sleek to go alongside an interchangeable lens camera.

Alternative: Leica M11 (Monochrom)

If budget is of no concern, the Leica M11 or its “Monochrom” counterpart are incredible street photography cameras. The Leica M11 rangefinder features a superb 60.3-megapixel full-frame image sensor that is simply fantastic. Leica also makes some of the best lenses of all time.

Of course, fantastic performance and Leica quality do not come cheap. The M11 is $8,995 while the Leica M11 Monochrom is $9,195.

Best Overall Camera for Photography: Sony Alpha 1

The Sony Alpha 1 can do it all. It is the most versatile and capable camera ever made. It delivers an incredible combination of resolution, image quality, dynamic range, autofocus performance, speed, handling, and access to the most extensive range of full-frame mirrorless lenses.

While competitors, such as the Nikon Z8 and Z9, Fujifilm X-H2 and X-H2S, and Canon EOS R5, R6 Mark II, and R3, all put up an intense fight, the Sony Alpha 1 remains the best overall camera for photography.

A case could be made to include the Sony Alpha 1 in every category above, but that would have been boring. However, the fact that the case could be made for each genre of photography is evidence enough that the Sony Alpha 1 remains, at least for now, the camera to beat when it comes to photography.

Professional photographer JuneRose Futcher has won her fifth Delaware Division of the Arts grant.

A Lewes native, Futcher produced a portfolio of five photographs with an essay about inspiration and visual storytelling. Her Delaware Atmosphere collection is a showcase of surf and energy with a good measure wildlife and color impact featuring the Delaware Bay and Atlantic Ocean.

House of Coffi will display an exhibit of eight photographs by Futcher in its cafe gallery. In conjunction with the venue’s fifth-anniversary celebration, an opening reception will be held from noon to 8 p.m., Thursday, July 20, at 14 W. Loockerman St,. Dover. 

Futcher said she is honored to work with cafe/gallery owner Kristin Stonesifer on their fourth project at House of Coffi. Stonesifer said she is proud to support many artists, but is equally honored and delighted to support homegrown and talented grant-funded Delaware artists like Futcher. For more information or to arrange a private tour, call 302-645-8829. For cafe hours and events, call 302-672-0059.

On the achievements of her arts education in Delaware public schools and at Delaware Tech, Futcher earned her first opportunity grant award in 2013 that featured maritime and sailing photographs at the former Buttery restaurant in Lewes. Futcher has grown and expanded her body of work in ceremonial law enforcement and arts education. She holds multiple awards, is a popular charity art donor and is a member of the Delaware Artist Roster. Her pursuit of and achievements in grant funding have inspired Futcher to become a professional working artist, advocate for the arts and credentialed teaching artist with Delaware Institute for the Arts in Education. Her dream to be selected for a Delaware Individual Artist Fellowship, supported by the Mid-Atlantic Arts Council, will take inspiration from a lifetime of study, achievement and professional recognition.

The criteria for individual artist grants requires the artist to have a concept for presentation, development of materials, project budget and anticipated outcomes. Futcher said the grant process is elaborate and measured, drawing on her strengths in presentation and concept to tell a complete and original visual story.

Futcher has been producing her body of work over the course of many years, working closely with Rehoboth Art & Framing and Lewes Printing. With custom mattes and premium photo lustre in the giclée process, she assembles all photographs and stock frames in her home studio. Futcher said she is always grateful to the Delaware Division of the Arts for believing in the working individual artist.

Futcher’s exhibit is supported in part by a grant from the Delaware Division of the Arts, a state agency, in partnership with the National Endowment for the Arts.