Photography

10 Best Cameras for Photography and Videography in 2022

10 Best Cameras for Photography and Videography in 2022

Best cameras for photography and videography in 2024: Top 8 picks that capture every moment with precision and clarity

ByAffiliate Desk

Jul 04, 2024 09:30 AM IST

Discover the top 8 cameras for photography and videography in 2024, including mirrorless, DSLR and cameras with interchangeable lenses.

In today’s digital age, having the right camera is essential for capturing high-quality photos and videos. Whether you’re a professional photographer or a hobbyist looking to upgrade your gear, finding the best camera for your needs is crucial. With a vast array of options on the market, it can be challenging to determine which camera is the best fit. To assist you in making an informed decision, we have curated a list of the top 8 cameras for photography and videography in 2024.

Explore the latest in cameras for photography and videography, capturing every moment with clarity and creativity.(Pexels)
Explore the latest in cameras for photography and videography, capturing every moment with clarity and creativity.(Pexels)

This comprehensive list includes everything from mirrorless cameras to DSLRs and interchangeable lens cameras, covering all the essential features you need to know. Our guide aims to simplify your search, providing detailed insights into each camera’s strengths and capabilities. Whether you’re looking for superior image quality, advanced video features, or versatile lens options, our curated selection ensures you’ll find the perfect camera to meet your creative needs and elevate your photography and videography experience.

The Fujifilm Instax Mini 11 Instant Camera is a compact and stylish camera that produces high-quality instant prints. With its automatic exposure function and built-in flash, it’s perfect for capturing spontaneous moments. Its sleek design and ease of use make it an ideal choice for beginners and enthusiasts alike.

Specifications of Fujifilm Instax Mini 11 Instant Camera

  • Automatic exposure function
  • Built-in flash
  • Compact and lightweight design
  • High-quality instant prints
  • Easy to use
Reasons to buy  Reasons to avoid
Produces high-quality instant prints Limited advanced features
Compact and lightweight design  
Easy to use  

The Panasonic Lumix DMC-G7KGW-K is a versatile mirrorless camera that offers stunning 4K video and high-resolution photos. Its compact and lightweight design, along with its advanced autofocus system, makes it a top choice for both photography and videography enthusiasts. With its interchangeable lens system, you can customize the camera to suit your specific needs.

Specifications of Panasonic Lumix DMC-G7KGW-K Mirrorless Camera

  • 4K video recording
  • High-resolution photos
  • Compact and lightweight design
  • Advanced autofocus system
  • Interchangeable lens system
Reasons to buy  Reasons to avoid
Stunning 4K video Limited lens options
High-resolution photos  
Advanced autofocus system  

The Sony ZV-1 is a compact and powerful vlogging camera designed for content creators. It features a built-in microphone and advanced autofocus technology, making it ideal for capturing high-quality videos. With its flip-out screen and easy-to-use interface, it’s the perfect choice for vloggers and social media influencers.

Specifications of Sony ZV-1 Compact Vlogging Camera

  • Built-in microphone
  • Advanced autofocus technology
  • Flip-out screen
  • Compact and lightweight design
  • Easy-to-use interface
Reasons to buy Reasons to avoid
Ideal for vlogging Limited zoom capabilities
High-quality videos  
Easy-to-use interface  

Also read:Best car dash cams for daily commutes and trips: Top 7 options for better safety while driving

The Canon EOS RP is a full-frame mirrorless camera that delivers stunning image quality and performance. With its compact and lightweight design, it’s perfect for travel and everyday photography. Its advanced autofocus system and image stabilization technology make it an excellent choice for professional photographers and enthusiasts.

Specifications of Canon EOS RP Mirrorless Digital Camera

  • Full-frame sensor
  • Stunning image quality
  • Compact and lightweight design
  • Advanced autofocus system
  • Image stabilization technology
Reasons to buy Reasons to avoid
Stunning image quality Limited lens options
Compact and lightweight design  
Advanced autofocus system  

The Canon EOS 3000D is an entry-level DSLR camera that offers excellent image quality and user-friendly features. With its 18-55mm lens, it’s perfect for beginners and photography enthusiasts looking to upgrade from a smartphone or point-and-shoot camera. Its intuitive interface and built-in Wi-Fi connectivity make it a versatile and convenient choice.

Specifications of Canon EOS 3000D DSLR Camera

  • Excellent image quality
  • 18-55mm lens included
  • User-friendly features
  • Intuitive interface
  • Built-in Wi-Fi connectivity
Reasons to buy Reasons to avoid
Excellent image quality Limited advanced features
User-friendly features  
Built-in Wi-Fi connectivity  

Also read:Best 16GB RAM laptops: 8 productive and efficient options

 

The Sony Alpha ILCE-6400M is a high-performance mirrorless camera that delivers exceptional image quality and speed. Its advanced autofocus system and real-time tracking make it a top choice for capturing fast-moving subjects. With its 18-135mm lens and 4K video recording capabilities, it’s perfect for professional photographers and videographers.

Specifications of Sony Alpha ILCE-6400M Mirrorless Digital Camera

  • Exceptional image quality
  • Advanced autofocus system
  • Real-time tracking
  • 18-135mm lens included
  • 4K video recording capabilities
Reasons to buy Reasons to avoid
Exceptional image quality Higher price point
Advanced autofocus system  
4K video recording capabilities  

Also read:Best gaming laptops under 1 lakh: Top 8 picks to elevate your gaming experience and deliver unmatched performance

The Sony Alpha ILCE-7M3 is a full-frame mirrorless camera that offers outstanding image quality and performance. With its advanced image sensor and powerful processing capabilities, it’s the perfect choice for professional photographers and serious enthusiasts. Its 4K video recording and advanced autofocus system make it ideal for capturing stunning visuals.

Specifications of Sony Alpha ILCE-7M3 Full-Frame Mirrorless Camera

  • Outstanding image quality
  • Advanced image sensor
  • High-performance processing
  • 4K video recording capabilities
  • Advanced autofocus system
Reasons to buy Reasons to avoid
Outstanding image quality Higher price point
4K video recording capabilities  
Advanced autofocus system  

The Nikon Z50 is a versatile mirrorless camera that offers excellent image quality and performance. With its compact and lightweight design, it’s perfect for travel and everyday photography. Its fast autofocus system and 4K video recording capabilities make it a top choice for photography and videography enthusiasts.

Specifications of Nikon Z50 Mirrorless Camera

  • Excellent image quality
  • Compact and lightweight design
  • Fast autofocus system
  • 4K video recording capabilities
  • Versatile performance

&nbsp&nbspReasons to buy

&nbsp&nbspReasons to avoid

Excellent image quality

Limited lens options

Fast autofocus system

4K video recording capabilities

Also read:Car dash camera buying guide: Types, tips, and 5 best picks; All that you need to know before buying one

Top 3 features of best camera for photography and videography:

Best Camera for Photography and Videography 4K Video Recording Image Quality Autofocus System Price
Fujifilm Instax Mini 11 Instant Camera No High-quality Automatic Low
Panasonic Lumix DMC-G7KGW-K Mirrorless Camera Yes Stunning Advanced Medium
Sony ZV-1 Compact Vlogging Camera Yes High-quality Advanced Medium
Canon EOS RP Mirrorless Digital Camera Yes Stunning Advanced High
Canon EOS 3000D DSLR Camera No Excellent User-friendly Low
Sony Alpha ILCE-6400M Mirrorless Digital Camera Yes Exceptional Advanced High
Sony Alpha ILCE-7M3 Full-Frame Mirrorless Camera Yes Outstanding Advanced High
Nikon Z50 Mirrorless Camera Yes Excellent Fast Medium

Best value for money best camera for photography and videography:

The Canon EOS 3000D DSLR Camera offers excellent image quality and user-friendly features at an affordable price, making it the best value for money in this category.

Best overall best camera for photography and videography:

The Sony Alpha ILCE-7M3 Full-Frame Mirrorless Camera stands out as the best overall product in this category, offering outstanding image quality, 4K video recording capabilities, and advanced autofocus technology.

Factors to keep in mind while choosing the best camera for photography and videography:

Image quality: Look for cameras with high-resolution sensors and good low-light performance to ensure your photos and videos are sharp and clear.

Lens options: Consider cameras with interchangeable lenses to give you flexibility for different shooting scenarios, from wide-angle landscapes to detailed close-ups.

Video capabilities: Check the camera’s video resolution and frame rates. For professional videography, look for 4K or higher resolution and the ability to shoot at various frame rates.

Autofocus system: A reliable and fast autofocus system is crucial for both photography and videography, ensuring that your subjects are always in sharp focus.

Portability and ergonomics: Choose a camera that is comfortable to hold and easy to carry. Mirrorless cameras are generally lighter and more compact than DSLRs.

Battery life: For long shooting sessions, a camera with good battery life is essential. Look for models with removable batteries for extended use.

Budget: Determine your budget and find a camera that offers the best features within your price range. Remember to consider the cost of additional lenses and accessories.

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FAQs on best camera for photography and videography

  • What is the price range of these cameras?

    The price range of these cameras varies from low to high, depending on the features and capabilities of each model.

  • Do these cameras come with interchangeable lenses?

    Yes, most of these cameras offer interchangeable lens systems, allowing you to customize the camera to suit your specific photography and videography needs.

  • Are these cameras suitable for professional use?

    Yes, many of these cameras are suitable for professional use, offering advanced features and capabilities for professional photography and videography.

  • Do these cameras have built-in Wi-Fi connectivity?

    Some of these cameras have built-in Wi-Fi connectivity, allowing you to easily transfer and share your photos and videos wirelessly.

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Teen photographer chosen as featured artist at Harbour View Gallery – Bonita Springs Florida Weekly

Teen photographer chosen as featured artist at Harbour View Gallery – Bonita Springs Florida Weekly
Eli Atack with his tried and true Canon Rebel SL2 DSLR camera. COURTESY PHOTO

Eli Atack with his tried and true Canon Rebel SL2 DSLR camera. COURTESY PHOTO

A few years ago, Eli Atack’s aunt gave him his first camera.

@media(max-width: 600px) { .in-article-ad{ width: 300; height: 250; } }

“Right then, I used it,” he says. “I was told I had a photographer’s eye.”

He soon upgraded his camera and then upgraded again.

He now uses a Canon Rebel SL2.

Throughout the month of July, the 14-year-old, who attends The Fletcher School (on Pine Island Road), will be a highlighted artist at Harbour View Gallery in Cape Coral.

Atack, pronounced A-tack, specializes in nature photography.

“I like being out in nature and seeing the animals,” he says, “and to get a real good picture that’s clear and crisp with good lighting is really satisfying.”

Sometimes, he’ll shoot landscapes, too.

He’s taken photos locally at Six Mile Cypress Slough and at the New River Gorge National Park and Preserve in West Virginia.

He says his favorite photo is one he took of burrowing owls. (Atack lives in Cape Coral, along with countless burrowing owls.)

Female burrowing owlFemale burrowing owl

Female burrowing owl

This year, he won an honorable mention in the Cape Coral Friends of Wildlife Burrowing Owl Photo Contest.

@media(max-width: 600px) { .in-article-ad{ width: 300; height: 250; } }

He’d learned about the Harbour View Gallery, an artist co-op in Cape Coral, and inquired about joining it. (Artist co-ops are places where artists pay to belong and exhibit their work.) He applied, and a week later, the board accepted him.

“They have a new featured artist every month, and it’s very popular,” Atack says. “I had to wait for over a year to get my spot for this July.”

He plans to have about 30 to 40 pieces of his work for sale, which include stickers, posters, wall canvas and plaques.

As an artist at the co-op, “you get 60 percent of what you sell,” he says.

“It’s peaceful, getting out (to take photos). You won’t find the animals around a lot of people. You have to track them down or be very patient. You can’t get close, or they will run away or fly away.”

He uses a 300 mm ES telephoto zoom lens to capture his images of animals.

Baby alligatorBaby alligator

Baby alligator

“You can get very close-up images of the animal without getting very close to them,” he says.

He also uses a photo editor afterward to adjust the sharpness and brightness.

Atack’s also interested in sports, naming baseball, soccer, pickleball and football as his favorites.

He doesn’t have any photographers he follows or admires and doesn’t think he’ll go into it as a profession.

For now, it’s just a fun hobby. ¦

Mother duck with her babies. COURTESY PHOTOSMother duck with her babies. COURTESY PHOTOS

Mother duck with her babies. COURTESY PHOTOS

Teen photographer chosen as featured artist at Harbour View Gallery

Teen photographer chosen as featured artist at Harbour View Gallery
Eli Atack with his tried and true Cannon Rebel SL2 DSLR camera. COURTESY PHOTO

Eli Atack with his tried and true Cannon Rebel SL2 DSLR camera. COURTESY PHOTO

A few years ago, Eli Atack’s aunt gave him his first camera.

@media(max-width: 600px) { .in-article-ad{ width: 300; height: 250; } }

“Right then, I used it,” he says. “I was told I had a photographer’s eye.”

He soon upgraded his camera and then upgraded again.

He now uses a Canon Rebel SL2.

Throughout the month of July, the 14-year-old, who attends The Fletcher School (on Pine Island Road), will be a highlighted artist at Harbour View Gallery in Cape Coral.

Atack, pronounced A-tack, specializes in nature photography.

“I like being out in nature and seeing the animals,” he says, “and to get a real good picture that’s clear and crisp with good lighting is really satisfying.”

Sometimes, he’ll shoot landscapes, too.

He’s taken photos locally at Six Mile Cypress Slough and at the New River Gorge National Park and Preserve in West Virginia.

He says his favorite photo is one he took of burrowing owls. (Atack lives in Cape Coral, along with countless burrowing owls.)

TOP: Female burrowing owl • BOTTOM LEFT: Baby alligator • BOTTOM RIGHT: Mother duck with her babies. COUTESY PHOTOSTOP: Female burrowing owl • BOTTOM LEFT: Baby alligator • BOTTOM RIGHT: Mother duck with her babies. COUTESY PHOTOS

Female burrowing owl. COUTESY PHOTOS

This year, he won an honorable mention in the Cape Coral Friends of Wildlife Burrowing Owl Photo Contest.

@media(max-width: 600px) { .in-article-ad{ width: 300; height: 250; } }

He’d learned about the Harbour View Gallery, an artist co-op in Cape Coral, and inquired about joining it. (Artist co-ops are places where artists pay to belong and exhibit their work.) He applied, and a week later, the board accepted him.

“They have a new featured artist every month, and it’s very popular,” Atack says. “I had to wait for over a year to get my spot for this July.”

He plans to have about 30 to 40 pieces of his work for sale, which include stickers, posters, wall canvas and plaques.

As an artist at the co-op, “you get 60 percent of what you sell,” he says.

“It’s peaceful, getting out (to take photos). You won’t find the animals around a lot of people. You have to track them down or be very patient. You can’t get close, or they will run away or fly away.”

He uses a 300 mm ES telephoto zoom lens to capture his images of animals.

  

Baby alligator

“You can get very close-up images of the animal without getting very close to them,” he says.

He also uses a photo editor afterward to adjust the sharpness and brightness.

Atack’s also interested in sports, naming baseball, soccer, pickleball and football as his favorites.

He doesn’t have any photographers he follows or admires and doesn’t think he’ll go into it as a profession.

For now, it’s just a fun hobby. ¦

  

Mother duck with her babies.

Photographer Bonnie Coumbe joins Photoplay Photography

Photographer Bonnie Coumbe joins Photoplay Photography
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Photoplay Photography has signed young gun food and still life photographer Bonnie Coumbe to the roster.

Coumbe’s vibrant narratives capture the eye and the appetite, and her ability to bring perfection to both authentic dishes and exacting constructions is a unique calling card.

Says Alison Lydiard, EP, Photoplay Photography: “We are so happy to represent Bonnie — food photography is one of my personal favourites and I have been looking for the right photographer to sign. I was eager to find someone to evolve with, and Bonnie is disciplined and very driven — her background in creative design is evident in her body of work and we look forward to supporting her career trajectory.”

Coumbe has worked commercially and editorially, giving her experience across the gamut of food, with her recent campaign for DoorDash bringing the human element alongside eye-catching and dramatic visuals. Her growing client list includes KitchenAid and Harris Farm — see more of her work at our website, but we’d recommend having lunch first.

For more of Bonnie Coumbe work, visit https://www.photoplay.co/photographer/bonnie-coumbe or on Instagram

Photographer Bonnie Coumbe joins Photoplay Photography
Photographer Bonnie Coumbe joins Photoplay Photography

Visual Drone Productions LLC Introduces Aerial Photography Solutions to Enhance Real Estate Marketing in the Southeast

Visual Drone Productions LLC Introduces Aerial Photography Solutions to Enhance Real Estate Marketing in the Southeast

Visual Drone Productions LLC, a provider of aerial imaging services, is proud to announce the launch of its comprehensive suite of aerial photography solutions tailored to enhance the real estate sector. Established in 2023 by Roy Dudzic, the company is set to expand its bespoke services to multiple industries, helping clients gain a competitive edge, accelerate sales, and enhance profitability.
Image: https://authoritypresswire.com/wp-content/uploads/2024/07/bkf-600-x-600-px3.png

In the dynamic world of real estate marketing, where standing out is key to success, Visual Drone Productions [https://visualdroneproductions.com] offers a comprehensive suite of services, including Aerial Real Estate Photography, SceneScape 360 (Aerial & Ground Virtual Tours), Aerial Inspections, and detailed interior still photography. The company’s mission is to assist its clients in building a robust client base by significantly enhancing both the speed and profitability of real estate sales. Their services ensure properties are showcased in the best possible light, making listings hard to overlook.

Operating across the Southeast, Visual Drone Productions [https://visualdroneproductions.com] employs cutting-edge drone technology coupled with professional expertise to deliver high-quality, captivating video and photo content. These visual assets capture every nuance of a property, from sweeping aerial views to detailed interiors, providing prospective buyers with an immersive experience that traditional photography often fails to deliver.

The company’s aerial capabilities, combined with traditional real estate photography, enable them to offer an all-encompassing visual package that real estate agents can leverage. By presenting properties uniquely and engagingly, clients can differentiate themselves in a crowded market.

Looking forward, Visual Drone Productions [https://visualdroneproductions.com] plans to broaden its impact beyond real estate, eyeing opportunities in areas such as construction support and hospitality, particularly for hotels and resorts. Each new venture is underpinned by the company’s commitment to enhancing client visibility and improving sales outcomes, which are paramount in its operational ethos.

For more information about Visual Drone Productions LLC, its diverse range of services, to book a consultation, or to collaborate on a project, please visit Visual Drone Productions [https://visualdroneproductions.com].

About Visual Drone Productions LLC

Visual Drone Productions LLC specializes in aerial photography and videography services using advanced drone technology. Founded by Roy Dudzic, the company is dedicated to assisting clients across industries in increasing their sales efficacy and market presence. Based in Spartanburg, SC, Visual Drone Productions is poised for rapid expansion into diverse sectors, driving marketing innovation with high-quality, impactful visual content.
Media Contact
Company Name: Visual Drone Productions
Contact Person: Roy Dudzic
Email: Send Email [http://www.universalpressrelease.com/?pr=visual-drone-productions-llc-introduces-aerial-photography-solutions-to-enhance-real-estate-marketing-in-the-southeast]Phone: (864) 365-2505
Country: United States
Website: https://visualdroneproductions.com/

This release was published on openPR.

BC SPCA’s amateur photography contest is officially open this month

BC SPCA’s amateur photography contest is officially open this month

Looking to put your photography skills to the test?

The BC SPCA officially launched their Wildlife-in-Focus photography contest on Tuesday, July 2nd, and it runs until Monday, July 22nd!

Amateur photographers aged 14 years and older are welcome to submit any awe-inspiring images of owls, eagles, foxes, bees, whales, and other amazing creatures for the chance to win.

Plus, there is no entry fee, so you can enter as many times as you’d like!

“Wildlife-in-Focus celebrates the incredible variety of wild animals who call B.C. home,” says BC SPCA wild animal welfare specialist Nadia Xenakis. 

“It is also a great opportunity for British Columbians to showcase engaging with natural spaces in an ethical and responsible way, all while helping wild animals at Wild ARC.” 

All photos must be taken within BC and submitted digitally. As described, ‘Wildlife’ includes free-living birds, mammals, amphibians, reptiles, fish and insects. 

It does not include exotic, feral, domestic animals, or wildlife in zoos, aquariums, sanctuaries or rehabilitation facilities. 

A panel of judges will choose their top three photos in each of the two categories: Wild Settings and Backyard Habitats—prizes will be awarded to each chosen photographer.

Contest entries from previous years have been featured in BC SPCA’s AnimalSense and Bark! magazines, educational materials, local newspapers, websites and more. 

To enter your photo into the contest, visit the BC SPCA’s contest page

If taking photos isn’t really your thing but you still want to get involved, there is also a donate-to-vote option for a People’s Choice Award! 

12 photos with the most votes and the top three from each category will be featured in a limited-edition Wildlife-in-Focus pack of greeting cards, as well as get the chance to be on a limited-edition tote bag.

‘Where will I belong if I don’t see myself reflected?’: Photographer trains lens on older trans folk

‘Where will I belong if I don’t see myself reflected?’: Photographer trains lens on older trans folk

Marlo W didn’t know what a transgender or gender diverse person was until he went to uni.

“I had a couple of gay friends in high school, but I just didn’t even know what trans was. I was completely oblivious to it,” says the Naarm-based photographer.

“Being at uni, I met other trans people.”

That lack of visible role models meant it took some time for Marlo to explore his own trans identity.

“I didn’t really start thinking about my gender seriously or start the medical transition until my early to mid-20s,” he says.

Even though trans visibility has improved in recent years, Marlo says there is still a lack of representation of older transgender and gender diverse people in the media.

“As a result, their intimate lives become something of a mystery,” he says.

A young trans man in a black t-shirt smiles as he leans against a white wall with his arms crossed.

Photographer Marlo W says that photographing other queer and trans people became a way for him to “come to terms with his own transness”.(Supplied: Marlo W)

So he spent the last two years photographing and interviewing older trans people living in Victoria. The culmination of his work is Foreground: Portraits of Older Transgender and Gender Diverse People, a debut photography book that shines a light on a group of people too often overlooked.  

“It is important for people to see themselves reflected in society — it is how we experience belonging,” says Marlo.

“As a young transgender person, where will I belong if I do not see myself reflected in my elders?”

Meeting the elders

Foreground is Marlo’s first photographic series where he has actively connected with people he would not have otherwise met.

But at the beginning of his project he realised he didn’t actually know any older transgender people.

“It was just hard to kind of connect with older people and find those people,” he says.

“They may not necessarily want to be a part of photobook with their faces in it and their stories in it, and I totally understand and respect that … especially for older people, if they’ve experienced being ostracised because of their transness.”

Marlo eventually recruited 18 participants by posting call-outs on social media, placing flyers at the Victorian Pride Centre, and with the help of LGBTQIA+ support organisations Transgender Victoria and Switchboard, who connected him with older community members.

Two headshots, side by side of an older trans man in pink glasses. One image is serious, in the other he is smiling.

 Wenn B. Lawson shared his story of transitioning at the age of 62.(Supplied: Marlo W)

Psychologist, researcher and autism advocate Wenn B. Lawson, aged 72, is one of Marlo’s subjects. In Marlo’s book, Wenn shares how he came out as a transgender man later in life.

“I was 62 when I transitioned a decade ago, so I came into being trans very late,” says Wenn.

“The love of my life, my wife, has been with me for 40 years. So we would have been seen as a same sex couple, as a lesbian couple, which always felt a bit strange.

“Just coming to terms with understanding what gender is about and separating gender from sexuality has been a massive journey. 

“Working out that, actually, I’m a man, took quite a while. When that light bulb went on for me, I moved into it quickly, there was no time to hang about. But fortunately, my family was very supportive.”

Marlo says meeting a fellow trans man was significant to him on a personal level.

“Maybe for my own selfish reasons, but I loved meeting him. He talked about transitioning later in life and kind of identifying as a butch lesbian, a ‘butch dyke’ in his own words, for quite a lot of his life,” he explains

“He was more or less saying it just took him a long time to work through his transness and to come to terms with it because it is a lot to work through, it’s a massive change to your life.”

Another highlight for Marlo was photographing transgender woman Latoya Hoeg, who is an elder of the Samoan Fa’afafine community.

Head and shoulders image of an older Samoan woman in a bright red dress with islander jewelry and a hibiscus in her hair.

Latoya Hoeg is an elder of the Samoan Fa’afafine community, who shared her memories of life in the 70s with photographer Marlo W.(Supplied: Marlo W)

“She made me work hard,” he says.

“She just started dancing and moving and I had to kind of keep up with her. She was just so calm and humble and quiet.

“She talked to me about the ballroom scene and show girls and stuff like that from when she was younger.”

In the book, Latoya tells Marlo how there were few employment options for trans people in the 70s, and even up to the late 90s.

“Sex work was a way to be self-employed,” she says.

“In the sex industry, you’re not judged, you answer to no one. You don’t have to worry about the talk behind your back.”

Marlo also interviewed Meredith Lee/Derek Moo who identifies as “dual gender.” They have been out publicly for six years, and in “various semi-private spaces” for up to 20 years.

Two head and shoulders images of the same person in outwardly femme and masc presenting looks.

Meredith Lee/Derek Moo identifies as dual gender and was the first openly trans person at their workplace.(Supplied: Marlo W)

“I pretty much live openly as either presentation, and it seems to work. I go to work as either Meredith or Derek. My kids are fine, my kids are almost adults. All of my family knows, all of my relatives know,” they say.

“The software company I work for has been pretty proactive in terms of the whole diversity and inclusion thing. I was the first openly trans person in the company, to my knowledge.

“When I first presented as Merri, it was at one of the Christmas parties, which is the classic way to do it, right? Might as well wear a dress to the party!”

A woman in a blue dress stands holding her skirt fanned out at either side.

Julie Peters was the first employee at the ABC to openly transition. (Supplied: Marlo W)

Talking honestly and openly about trans life

Marlo described being drawn to photography as a way to communicate.

“When I was coming to terms with my own transness, I used photography to help me with that — sort of kind of photographing my own body, as well as other queer people,” he says.

“It really kind of helped me kind of figure things out. It’s always been a way that I’ve worked through some of my own personal things.”

He says a book platforming trans and gender diverse elders would have made a big difference in his life growing up.

“I had mental health issues when I was a teenager and I definitely got up to mischief because of it, and experienced a lot of confusion, and doubt, and depression,” Marlo explains.

“I think that if I saw this book of older people just talking honestly and openly about their life in a positive way, I hope, it would have made a really good impact on me in the sense that I would have started thinking about it, and maybe some of those hardships would have been alleviated a bit.

“And I could have started doing something about it a lot earlier in life.”

Marlo also hopes his project will benefit older trans people who have felt pressure to conceal their true selves.

“If they can see other older trans and gender diverse people being out there and being celebrated for it, then I hope it helps them as well.”

Marlo W’s work is available in his debut photography book, Foreground: Portraits of Older Transgender and Gender Diverse People.

Looking for light: A veteran photographer on the ‘Monitor lens’

Looking for light: A veteran photographer on the ‘Monitor lens’
image

Melanie Stetson Freeman knows what makes a “Monitor photo” special. She ought to – she’s been creating them for nearly four decades. 

“I think Monitor photos have light,” she says on our “Why We Wrote This” podcast, “and I mean that literally and figuratively. Of course, you need light in order to take a photograph, but we’re always looking for the good. And there’s good even in the worst situations.”

Mel’s work involves fast-shifting, real-time logistics. She jockeys with writers for precious access while collaborating with them, sometimes performing gymnastics to get the shot. Sometimes she needs to understand when not to shoot, or she needs to find a way to wring vibrant images out of a mundane setting.

“Photographers walk into a space they’ve never seen before and have to make an image that’s worth showing to our readers,” Mel says. “Usually, we’ve never been there before. Sometimes it’s a conference room, and you have to make something happen – that’s your job.”

Another day, she might be photographing a bear taking hazelnuts from a caretaker’s hand. Those days, for Mel, bring moments of bliss. 

“I’ll report as many animal stories as I can on a trip,” Mel says. “I’m just a huge animal lover.” 

Editors’ note: The number of Tutsis killed in the Rwanda genocide was misstated in the recorded interview. It was 800,000 to 1 million, a figure that included moderate Hutus. The transcript now reflects this. 

Episode transcript

Clay Collins: The July 4th holiday in the United States is one of bright, bold visuals. It’s also a time for kicking back. As we slide from the Thursday holiday into the weekend, here’s an encore episode, from late 2023, celebrating the work of one of the Monitor’s great visual journalists.

Melanie Stetson Freeman:  I admire my colleagues who have to shoot the negative side of this and the sadness, but that’s not what we do. We’re gonna show you who’s problem solving. I try to capture their essence and show them in their best light.

[MUSIC]

Clay Collins: That’s Melanie Stetson Freeman. Mel’s been a photographer at The Christian Science Monitor for 38 years. She’s captured images in more than 80 countries and from every continent. This episode of “Why We Wrote This” is more of a “why we shot this photo.” We’re about to hear lots more from a real pro who is quite literally looking at the news through a Monitor lens.

This is “Why We Wrote This.” I’m Clay Collins. Welcome to the studio, Mel.

Stetson Freeman: Thank you. Nice to be here.

Collins: Presenting news stories in any media format requires sensitivity and fairness. In photo depictions, you’re presenting the world and people in ways that can immediately confer meaning. That’s a huge responsibility, and we’ll get into that.

But first, you’ve been shooting for almost four decades, starting of course with black-and-white film. Can you talk a little about the formats and technologies you’ve seen, and how you’ve adapted to them?

Stetson Freeman: There have been a lot of changes. As you said, when I first started, it was all black-and-white.

You know, we’re shooting film, so there’s pretty much leeway in your exposures. And after I’d been here about three years, we overnight switched to full color and slides, which are not as forgiving. And I remember walking into the newsroom the day after we went color, and I got all teared up ‘cause I love black and white so much – still do. 

I finally got to where I like color, too, luckily, ‘cause we’ve been doing it ever since. But you know, I kind of miss the darkroom and the magic of the image showing up on the piece of paper. So after slides, we switched to digital, and in the beginning the cameras were not so good. The file sizes were quite small, so the images were kind of blurry.

But the first camera I had cost, I think, about $10,000. And that was in about 2000. So, I had an assignment overseas in Indonesia, and here I have this very expensive camera. I’m photographing students who are protesting at the government headquarters, and after a while the government stepped down and they were all celebrating and I had to decide: Am I gonna step into this huge reflecting pool of water with this $10,000 camera to get my photo? Or am I gonna stay safe here with my camera? Well, I did step into the pool. Luckily, I did not fall down and I got my photo.

Collins: That’s amazing. When you came back from Namibia just recently, you said at a staff meeting that you were surprised by some of what you saw; I think it was kids carrying heavy loads. You’ve been around a long time. You’ve seen a lot. How often do you still get surprised on assignment?

Stetson Freeman: I probably get surprised fairly often, especially when I’m traveling overseas. In Namibia, we were asked to help some children get back to school, and it was about 40 kilometers away. There were four of them, and they started piling all their belongings into the back of our big pickup truck.

They were super heavy suitcases and backpacks, and I couldn’t believe they were gonna walk. So that was surprising. We were also there to do a story for a climate activist project we’re working on, and we’d been with this young man for quite some time. He was super impressive, and he said, “I’d like you to see where I live.”

So we went to his home, and it turned out he lived in a one-room basement apartment with his mom. He slept on the floor. He had just a sheet he could pull down to give himself some privacy. But it was such a shock to see how people live. Sometimes you have no idea.

Collins: You used the words “we” and “us” in that answer, and I know you’re talking about the writer that you’re traveling with. You’re working with writers to jointly find the heart of a story. How do you do your work effectively when both you and the writer are essentially competing for the same time and access?

Stetson Freeman: Yeah, that can be a problem sometimes, especially if something is happening only once and I have to get it right then. The writer maybe can call back later and ask questions and fill in the blanks. So sometimes, I have to nicely yell at the writer, “get outta the way!” And it’s kind of funny to watch – some of them will dive out of the way or hide in a doorway or something.

We do discuss the story ahead of time. Often it’s the writer who’s the lead. So I’m trying to visually tell their story. So sometimes I’ll take photos while the writer is doing an interview because someone’s telling a story. They can get very emotional rather than just standing in front of me with my camera, so that sometimes can get some very nice portraits. 

But then I sometimes have to ask for more time at the end ‘cause I’ll want a different background, and it’s a balancing act, because we sometimes don’t need the same things, but a lot of the writers that I work with understand that it’ll add to their story.

Collins: Besides your interfacing with the writer you’re working with, you’re obviously interfacing with people – civilians, if you will. Your work means being conscious of the specific context in which you’re depicting someone because that can color perceptions and you need to know when not to shoot, and about how to handle shots of identifiable children, and that sort of thing.

Stetson Freeman: Right. It’s really important to know when not to shoot. It’s especially difficult for a writer or a photographer to walk up to somebody cold on the street who doesn’t know you’re gonna be asking them a question for a journalistic reason.

I often just let the writer start and ask their questions, and sometimes I can kind of get a feel if somebody’s gonna be OK having their photo taken. So I’ll slowly lift the camera, and if they duck or put their hands in front of their eyes, I know, OK, they don’t want their photo taken. But I don’t wanna scare people off before the writer gets what they need. 

The most extreme example of that: I was in Rwanda with one of our correspondents, and we were doing a story on reconciliation. It was after the massacre where the Hutus had killed millions of Tutsis. [Editors’ note: The estimated death toll of the Rwanda genocide was 800,000 to 1 million, a figure that included moderate Hutus.] We were following a Tutsi woman named Janine, and her whole family had died. But she inherited all their coffee plantations. Plantation is a highfalutin word; really they were just some small fields. But the people who worked her fields were the Hutus that had killed her family.

Collins: Oh my gosh.

Stetson Freeman: So she introduced us to one man in particular that was still there, and she knew he was one of the killers. He was in a little hut. She introduced us. She said: “These people would like to ask you some questions. Don’t be afraid.” We sat down, and we had a young man from the college as our translator. He was sitting on one end of the bench, and then the writer, and then me, and across from us was this man.

So I did not wanna scare this guy. Of course, this was a huge part of the writer’s story. After some time passed, I asked the writer, “what do you think? Can I take a photo?” So he asked the translator, he said, “not yet.”

Collins: Hmm.

Stetson Freeman: So I waited a little longer. And then I asked again, “what do you think now?” And the translator’s like, “yes, now.”

So I slowly lifted the camera. I took some photos and the guy just kinda laughed ‘cause I had taken a few and it was all fine, but he looked so ashamed about what he’d done. It came through in the photo. But again, I’m just so glad I knew how to wait for my moment to take the photo.

Collins: Mel, what, to you, is a Monitor photo? Is it just one that really humanizes a story or an individual, as in that example you just cited, or is there something more?

Stetson Freeman: Well, I think Monitor photos have light, and I mean that literally and figuratively. Of course, you need light in order to take a photograph, but we’re always looking for the good.

And there’s good, even in the worst situations, there’s always good to shine through. I mean, I admire my colleagues who have to shoot the negative side of this and the sadness, but that’s not what we do. We’re gonna show you who’s problem-solving.

Collins: Everyone in the newsroom probably has a favorite Mel shot. There’s one conference room where there’s a photo of two men in a rice field in Madagascar. On the Clearway Street side of the newsroom there’s that train station image from Mumbai in 2010. And when I was Weekly editor, I asked to hang in my workspace a Belfast shot of yours – there are two little Northern Irish kids interacting with a British soldier. I’m not gonna ask you to pick a favorite because I know that’s an impossibility, but was there an assignment on which you took a shot that you knew at once was really special?

Stetson Freeman: I can think of one fairly recently. We were doing a story on this black bear expert, Dr. Lynn Rogers. He’s up in Minnesota, and he’s been studying black bears his whole career. He’s in his eighties now, and he was giving a class to people teaching them about black bears and a lot of these folks come back year after year.

He can hand feed these wild black bears. I was able to do that, too. It’s one of the thrills of my career. 

But I had photographed the class and going out in the wilderness and people feeding these bears, but I didn’t have my cover shot of him, and I knew I wanted him with a bear.

So this bear named Gus was nearby. So he grabbed some hazelnuts, and he sat on the ground and Gus came ambling over and I just got him in the corner of the shot and Dr. Rogers looked straight at me with just the most loving expression, completely calm with this huge black bear right beside him.

And I knew. I knew right then I had that shot. You don’t always know, but I knew that time.

Collins: The hazelnuts, wow. Gus is a bear of refined taste, I’ll have to say.

Stetson Freeman: [Laughs.] Yes.

Collins: Can a spectacular photograph come out of a fairly mundane assignment?

Stetson Freeman: Photographers walk into a space they’ve never seen before and have to make an image that’s worth showing to our readers.

Usually, we’ve never been there before. Sometimes it’s a conference room and you have to make something happen — that’s your job. And that’s, to me, what separates the pros from the amateurs. So I was in a conference room in Namibia recently with this beautiful young woman and I’m thinking, okay, well I’m gonna have to take her somewhere else after. But then I noticed the sunlight was coming in the window and it was bouncing off the table and just creating this beautiful light on her face. So as I said, sometimes I shoot during an interview and I did that that time, and it turns out that’s one of my favorite photos. 

Collins: [Was there] ever a shoot that you just wanted to do over?

Stetson Freeman: There was one in particular that’s so embarrassing.

I was sent out to photograph the new Archbishop of the Boston Diocese of the Catholic Church, and there was this huge procession and they had their outfits on with the robes and the hats and everything.

And I asked one of the photographers next to me, “which one is the main guy?” And he pointed to somebody, and I thought I had the right guy. I took all these pictures of him and I got back to the newsroom. It was the wrong guy.

So my photo editor at the time was very nice. He didn’t tell anybody this, and I guess they used a wire service photo ‘cause they were there, too.

Collins: I have to ask you one more thing — something anyone who’s worked with you would want to let you talk about. Animals as subjects, whether it’s Gus or a lion on the Maasai Mara, you really see a special nobility there, don’t you?

Stetson Freeman: I do. I’m just a huge animal lover, wild and domestic. I’ll report as many animal stories as I can on a trip. As many as the editors will let me. And my photo editor often says, “not another animal story!” 

But you know, I’ll bide my time and then I’ll give them another one. So, um, as I said, one of my favorites was feeding the black bears with Doc Rogers. Um, but I’ve also seen the mountain gorillas in Rwanda and I’ve been to chimp sanctuaries in the United States and in Uganda. I’ve met the cheetah lady in South Africa, and hopefully there will be many, many more.

Collins: Mm-hmm. Mel, we could easily serialize this conversation. You’ve got so many stories to go along with a remarkable body of work. Thanks for coming on the show, for all of the assignments you’ve taken, and for the many shoots yet to come.

Stetson Freeman: Thank you.

Collins: Thanks for listening. Find our show notes with links to stories featuring Mel’s work at CSMonitor.com/WhyWeWroteThis. This episode was hosted by me, Clay Collins, and produced by Mackenzie Farkus and Jingnan Peng. Our sound engineer was Alyssa Britton. Original music is by Noel Flatt. Produced by the Christian Science Monitor. Copyright 2023.