In this section of our three-part series about traveling with film, we’ll talk about the mode of travel most fraught with peril for film photographers: Flying. Back in the pre-digital days, flying with film was a no-brainer; you could pack your camera gear and buy all the film you needed at your destination (and perhaps get it developed there as well). Today, film is harder to find and airport security is tighter (and potentially more harmful to film), so airborne analog photographers have to do a bit more planning.

(Note that the information in this article is specific to air travel in the United States. Other countries may—and likely will—have different regulations and procedures.)

The primary problem facing film fans who fly

Related: How to travel with film by land and sea

Here’s the big problem for airborne film photographers: The scanners and X-ray machines used for luggage inspection produce light energy to which film is sensitive. These machines can potentially “fog” your film, causing dark spots or waves on the negatives (or light spots on slides) as if the film had been exposed to light. So the challenge when flying is to minimize or avoid situations that could potentially damage your film.

Note that only undeveloped film is subject to damage. Developed negatives, slides, and prints are no longer light sensitive and cannot be damaged by airport security equipment. 

Can you avoid X-rays altogether?

Depending on your destination, it may be possible to avoid bringing film through the airport altogether. If you’re traveling to a big city, you might be able to buy your film locally. If you’re staying at a high-end hotel with a concierge, they may even be able to buy film for you (but beware of hefty prices and fees). You may also be able to mail-order film and have it sent directly to your lodgings; check with the property first to see if they can receive packages (and bring a couple of rolls in case your shipment is lost or delayed). Likewise, if you use mail-order film processing, consider sending the film off for development from your destination before you leave for home.

Never put film in a ‘checked’ bag

Do not put unexposed or undeveloped film in checked baggage, ever. The scanners used for checked baggage are more powerful than those used in carry-on luggage and will very likely fog your film. Film and loaded cameras should always be taken in carry-on luggage.

Related: Going back to film? Here’s what’s changed

A related side note: When booking your airline tickets, beware of “Basic Economy” tickets, which do not always allow carry-on baggage beyond a small personal item. Buyers of these tickets often board last, when carry-on storage is full, and will sometimes be forced to check their baggage (for a hefty fee), where it could be subject to harmful scanning at stopovers. If you are traveling with film, make sure your air ticket allows you to bring carry-on luggage, and pack your film (and cameras) in a bag small enough to join you in the cabin.

Film in carry-on baggage: Ask for a ‘hand inspection’

The Transportation Security Administration (TSA) says that the X-ray machines it uses for carry-on baggage are safe for photographic film up to ISO 800*. We’ve had slower film scanned with no ill effects, but we also understand that the effects are cumulative and that multiple scans may cause fogging. (We asked TSA if we could run some test scans at our local airport; they politely denied our request, citing security concerns.)

Fortunately, there is one good way to ensure your film will not be damaged: Ask for your film to be “hand inspected,” regardless of its speed.

*Note that at some airports, TSA is introducing more powerful CT scanners for carry-on luggage, which can damage even slower-speed film.

The PopPhoto guide to hand inspections

First: We recommend being patient and polite with TSA agents. Remember that their first responsibility is security, not customer service—and also that they’re subject to a lot of vented frustrations from harried passengers. There’s no need to show fealty; simple politeness and civility will get you a long way.

Film photography is popular enough that most TSA agents should be familiar with hand-scanning requests, but it does slow their workflow. When traveling with film, we always allow an extra ten to fifteen minutes to get through security (a margin we rarely need).

We recommend carrying your film in a clear plastic zip-lock-style bag, with which TSA is familiar. Leave your rolls in their plastic canisters and/or sealed packaging whenever possible. We try to keep our cameras unloaded so they can pass through the X-ray machine, but loaded cameras can also be hand-scanned. Anything you’d like hand-inspected should be kept where it’s easily accessible; a backpack is preferable to a suitcase that must be unzipped.

Before we put our luggage on the belt, we remove our film and loaded cameras, catch the eye of the nearest TSA agent, and say, “I have some film (and cameras) I’d like to have hand-inspected, please.” If asked if the film is under ISO 800 we either say no or (to avoid fibbing) tell them it’s going to be pushed and shot at a higher speed. (They may not know what this means but will generally accept it.) 

After walking through the scanners we try to stand somewhere conspicuous without blocking the flow of passengers. Film is usually checked by the same agents inspecting bags that have been pulled for secondary inspection, so there may be a wait. The inspection usually consists of swabbing the individual rolls, then putting the swab in a machine that checks for explosive residue. We’ve occasionally had requests to open boxes and always say yes (so long as they don’t pull your film out of the canister or unspool your 120 rolls, it’ll be fine). Once the machine gives the agent the green light, you’ll likely be sent on your way. 

Going home: Have all film hand inspected

Once your film has been shot, it’s still sensitive to light and can still be damaged by scanners, so be sure to have all of your film, shot or not, inspected by hand. We must reiterate: Do not put undeveloped film in checked bags. 

If you’ve had your film developed while on vacation, there’s nothing to worry about—as we mentioned earlier, developed film, negatives, prints and slides are not light-sensitive. You can safely put them through the scanners or in your checked baggage.

What about lead-lined film bags?

Several manufacturers offer lead-lined film bags that claim to protect the film from X-rays. (We do not know if these bags protect against CT scanners.) We haven’t tried one in recent years, but if the bags do block X-rays, they will likely show up as a large dark blob on the security scan, which is likely to trigger a secondary inspection. We find it easier to simply request a hand inspection and avoid the inconvenience of having TSA unpack our bags.

Advice for other countries

While we’ve never had a request for hand-scanning denied in the US, we have been refused in Europe, and we don’t know if this was down to security procedures or a language barrier. For this reason, if you do travel with analog cameras overseas, consider bringing a slower-speed film, which is most likely to survive scanning with no ill effects. That said, we understand that some European countries are also introducing CT scanners for hand luggage, which is much more likely to fog film. 

Ultimately, it’s best to check the official website for the security agency of the country to which you are traveling. If they don’t have a clear-cut policy covering film, you might want to consider traveling with a digital camera or making provisions to mail your film home before you leave.

The post How to fly with film appeared first on Popular Photography.

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Best for Beginners		DJI Mini 2		SEE IT
Best Foldable		DJI Mavic 3		SEE IT
Best Cheap		DJI MIni SE		SEE IT

DJI is one of the most well-known and sought-after brands for drones. Amateurs of aerial photography and big-budget commercial projects alike utilize the company’s diverse range of offerings. A drone is a great way to capture beautiful overhead perspectives that would be impossible without access to a hot air balloon or helicopter. They allow you to expand the possibilities of your creative projects. Read on to learn more about the best DJI drones. 

• Best overall: DJI Air 2S
• Best for beginners: DJI Mini 2
• Best foldable: DJI Mavic 3
• Best FPV: DJI FPV drone
• Best budget: DJI MIni SE

How we picked the best DJI drones 

In selecting products for this guide, we focused on price, camera quality, ease of use, and flight time when making our suggestions. In most cases, cost, quality, and usability are connected in DJI drones. An inexpensive model is often for beginner drone pilots who are not producing professional-level content, while pricier models feature better camera specs and are better for more experienced users. 

The best DJI drones: Reviews & Recommendations

Best overall: DJI Air 2S

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Why it made the cut: The DJI Air 2S has exceptional video quality packed inside a compact, foldable body.

Key features

• Video resolution: 5.4K/30fps
• Image resolution: 20 megapixels
• Flight time: 31 minutes
• Weight: 595 g

Pros: 

• Four-way obstacle avoidance detection
• 31 minute flight time
• 3-axis gimbal with a 22mm F/2.8 fixed-aperture lens

Cons: 

• Struggles in windy situations

We named the DJI Air 2S the best DJI drone overall because it pairs high-end video specs with a compact, foldable body size—a perfect combo for a high-end consumer drone. Automated flight modes such as cinematic shots and hyperlapse make it easy to create beautiful, shareable video content without pro-level flying skills. In addition, its obstacle avoidance detection system gives the pilot peace of mind while the drone is in action. It can capture video up to 5.4K/30fps, and pro-level video shooters will appreciate 10-bit D-Log and HLG capture for increased color grading functionality. The 20 megapixel 1″-type CMOS sensor and 22mm F/2.8 fixed-aperture lens offer an 88-degree field of view. On the photo side, it can shoot RAW or JPEG and stitch together a variety of panoramic shots. 

Best for beginners: DJI Mini 2

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Why it made the cut: The DJI Mini 2 is an easy-to-fly, sub-250 gram drone with 4K video capabilities. 

Key features 

• Video resolution: 4K/30fps 
• Image resolution: 12 megapixels
• Flight time: 31 minutes
• Weight: 249 g

Pros: 

• Sub-250 gram weight means no need to register with the FAA
• 4K video capabilities with zoom 
• 31 minute flight time 
• Five quick shot modes

Cons: 

• Lacks obstacle avoidance sensors
• Lacks intelligent flying modes 

A best drone for a beginner, the DJI Mini 2 is a foldable, palm-sized drone that can still shoot 4K video and capture Raw photos. Since the drone is under 250 grams, you don’t need to register it with the FAA before getting started if you are a recreational pilot. The Mini 2 features a 12 megapixel 1/2.3″ CMOS sensor, a 24mm F/2.8 fixed aperture lens, and a camera mounted on a 3-axis gimbal for smooth shots. Although it lacks intelligent flying modes, QuickShot modes like rocket and circle allow users to capture pre-programmed motions with the drone with minimal effort. Unfortunately, DJI has omitted obstacle avoidance sensors to keep the weight and price of this drone on the low end, so although it has a decent battery life, you will want to keep a close eye on it while it’s in the air. 

Best foldable: DJI Mavic 3

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Why it made the cut: The DJI Mavic 3 has a foldable body, making it great for travel, with dual lenses that will appeal to pro-level users. 

Key features 

• Video resolution: 5.1K/50fps 
• Image resolution: 20 megapixels
• Flight time: 46 minutes
• Weight: 895 g

Pros:

• Incorporates Hasselblad’s exceptional color rendering 
• Dual controller support
• 10 obstacle avoidance sensors  

Cons: 

• Disappointing sensor on the zoom camera
• High price point

The DJI Mavic 3 pairs excellent camera specs with a portable, foldable body, making it the best foldable drone and ideal for a high-level user looking for something easy to travel with. This new version of the Mavic has an extended flight time of 46 minutes, longer than many other options. In addition, the newly improved Omnidirectional Obstacle Sensing makes this thing nearly crash-proof. 

Photographers and videographers alike will appreciate the high-end specs in the Mavic 3. It has dual cameras, providing a nice range of focal lengths for different shooting situations, though they have very different specs. One is a 4/3 CMOS, 20 MP Hasselblad with a 24mm equivalent lens. It has an aperture range of f/2.8-f/11, can shoot JPG and RAW, and integrates Hasselblad’s Natural Color Solution tech, making for beautiful color accuracy when shooting. In addition, it can shoot up to 5.1K/50fps video. The tele camera has a 1/2-inch CMOS sensor and is capable of 12MP photos. The lens is 162mm, and it has an additional 4x zoom. Unfortunately, the tele camera can only take JPG files, and the video resolution is a lower 4K/30fps.

Best FPV: DJI FPV Drone

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Why it made the cut: The DJI FVP drone features intuitive flight modes that make this an acceptable tool for new users and seasoned FVP fliers. 

Key features 

• Video resolution: 4K/60fps
• Image resolution: 12 megapixels
• Flight time: 20 mins
• Weight: 795 g

Pros: 

• Three flying modes for different experience levels
• Excellent stabilization
• Emergency brake and hover feature

Cons: 

• Expensive 
• If you crash, you will need to send it in for repairs

DJI makes the intuitive FVP style of flying slightly more accessible to beginners with the DJI FVP drone. FVP flying is unique in that the drone control is from the pilot’s perspective, meaning you see what the camera on the drone sees for a more immersive flight experience. Previously only available to fliers who had knowledge of radio frequencies and the ability to build their own rig, this drone opened the style of flying up to a wider demographic. In fact, DJI helps users ease into the FVP experience with three different flying modes geared for different comfort levels. 

The DJI FVP drone features intelligent flight modes, DJI’s RockSteady EIDS gimbal, and comes with a pair of DJI Goggles V2. In addition, it has obstacle avoidance sensors on the front and bottom of the drone and an emergency brake feature on the drone’s controller—a much-appreciated feature because if you crash, you will likely be sending this drone back to DJI for repairs. 

The image and video quality of this DJI FVP drone allow you to capture video at 4K/60fps and stills as 3840×2160 JPEGs. It’s not as high as other options, but you can still capture great-looking footage.

Best budget: DJI MIni SE

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Why it made the cut: The DJI Mini SE is an inexpensive model from a trusted brand, making it a great tool for the drone-curious who aren’t looking to break the bank with a purchase. 

Key features 

• Video resolution: 2.7K/30fps 
• Image resolution: 12 megapixels
• Flight time: 30 minutes
• Weight: 249 g

Pros: 

• Sub-250 gram weight means no need to register with the FAA
• 30 minute flight time
• Great for beginners
• Affordable price

Cons: 

• No 4K video capture or RAW photos
• Lacks obstacle avoidance sensors 

This foldable, palm-sized drone is one of the best DJI drones for beginners because of its small size and its low price point. Since it weighs under 250-grams, you can use it without registration with the FAA as long as it is for recreational purposes only. It lacks obstacle avoidance sensors but does have two vision positioning sensors so that it can hover in place. The 12 megapixel 1/2.3″ CMOS sensor supports 2.7K/30fps video capabilities and JPEG photos. The drone has a flight time of 30 minutes and can travel up to 2.5 miles. Although it lacks some of the high-end controls and creative features found in other drones in this guide, you simply can’t beat the price. 

Things to consider before buying the best DJI drones

Rules and regulations

New and seasoned drone operators alike should be aware of the rules and regulations in their region for flying drones. For example, in the United States, all drones over 250 grams must have registration with the Federal Aviation Administration (FAA). Because of this, if you are buying your first drone, we’d recommend looking for something under 250 grams.

Regardless of size, all drone pilots need to be aware of no-fly zones before taking off. There are also different limits for how high you can fly your drone based on air space rules, so familiarize yourself with those. And, if you are doing anything other than just flying for fun for yourself, different restrictions apply. Any commercial activity, which the FAA defines broadly, requires you to pass a test to be an FAA-Certified Drone Pilot. 

Features

Even just DJI drones come with quite a range of features. Therefore, deciding on how you plan on using the drone and which features are most important to you is essential. For example, if you want to focus on just photography, you may want to pick something different than someone who is a videographer. 

Battery life and flight time

For almost all drone pilots, battery life and flight time will be one of the most important things to look at. This is especially true if you plan to travel with your drone or have limited access to power for charging batteries.

Tracking and flight modes

Different levels of drones will offer different types of flight modes and tracking. For example, a higher-end drone with tracking will be necessary if you want to take footage with the camera following the action. 

Camera specs

If you plan to use your drone for video or photography, the camera’s specs in the drone will be important. Looking at the resolution, exposure settings, frame rate, zoom options, video quality, and more will help you ensure the drone meets your documenting needs.

Device Range

Another important consideration is how far your drone can fly while still being within range of the transmitter. A lower range will probably be acceptable if you only fly for fun. But, if you are flying in situations where you need the drone to cover greater distances, getting a drone with a far range will be helpful.

Where you will use your drone

If you plan to travel extensively with your drone, a foldable model might be the best option to consider—especially if you plan to bring your drone along for hikes or bike rides. You can easily pack foldable drones in a backpack and still fit other items, which is important for adventures. Obstacle avoidance features may also be more important in some locations, such as cities versus wide-open fields.

Budget

When shopping for a DJI drone, your budget will play a significant role in determining what drone is suitable for you. As with most gear, the price of your drone is dependent on things like features and size. For example, a drone that shoots 4K footage, has a high-quality lens, and long-range operating distances will cost more than a drone under 250 grams without those features.

Experience level

Although drones have become more widely available for novice users, and there are even kid-friendly drones, they do come with a learning curve. Depending on your experience level and how you intend to use your drone, you should also consider the potential for accidents and losing the device. 

Finding a balance between your budget and risk will help you fly more comfortably. Spending money on the highest-end drone only to crash it right away because you are new to flying is far from ideal. However, DJI offers protection plans, which could be a good option, especially for the more expensive versions.

FAQs

Final thoughts on the best DJI drones

• Best overall: DJI Air 2S
• Best for beginners: DJI Mini 2
• Best foldable: DJI Mavic 3
• Best FPV: DJI FPV drone
• Best budget: DJI MIni SE

The best DJI drone for you will depend on your skill level, budget, and how and where you intend to fly it. A lower-cost DJI drone will likely include less advanced features and be better for amateur fliers. In contrast, more expensive drones will feature higher-end features like 4K and higher video, advanced stabilization, and longer flight times. Keep these things in mind when shopping for your DJI drone.

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

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Making the leap from candids to posed portraits of friends and family can be stressful, even for top photographers. When posing people, uncertainties abound: How should you light your model? Which lens is right? How do you draw out great facial expressions? Follow these five tips from photographer Patrick James Miller to help get you started.

1. Full-length shot: Avoid the boxy look

Posed, full-body portraits are among the hardest people pictures to nail. With face, body, and limbs to coordinate, they can present a complex set of visual elements to harmonize.

Begin with the right camera position. “For these full-body shots, I started with my camera at about Amy’s chest level,” says New York–based editorial shooter Patrick James Miller. “I work in a straightforward style, and a level, chest-high camera introduces little or no distortion.”

He adds, “Sometimes, though, I will lower the camera slightly and aim up, to make a proud, powerful statement about the subject. Other times, I lift and tilt the camera down for a more intimate, sometimes flattering look.”

Another tip: Work the planes. To add dynamic tension, experiment with aiming your subject’s face, shoulders, and hips in different directions. Place the left shoulder slightly forward and the hip slightly back, for example.

It’s also important to show space between the arms and body. Bending an elbow can help highlight the subject’s waist, while flexed elbows, wrists, and knees tend to add energy.

Asking your subject to put the weight on the back leg frees up the front leg to become an expressive element. In the larger shot here, Miller had Spector shift her weight onto her left foot, so her right leg could cross her body, giving the legs an active triangular composition. “Shifting weight allows for the subject to look less flat-footed and is a great way to add shape to the pose,” the photographer says.

Tilt and cock the head. This can suggest personality and intimacy, but don’t go too far. And watch the hands. Can’t get them to look right? Hide them as Miller did.

Finally, try adding a prop. “Having something for your subjects to lean against, like a chair, can relax them,” says Miller.

Hot Tip: When directing your subject, request that changes made in the placement of body, limbs, and head be very minor. Slight placement differences can affect a pose in big ways. Instead of simply asking that a subject “look left,” for example, ask for a very small turn to the left.

2. Gear choices: Begin with the lens

Why are wide-angle lenses anathema to portrait shooters? These two pictures tell the story. Miller made the left shot with a classic 85mm portrait lens and the right one with a standard-range zoom at 35mm. The results are like night and day. Here’s why: To fill the frame with a portrait subject using a wide-angle lens, you must move in very close. In the photo taken at 35mm, the camera was about 3 feet from our model, while for the 85mm shot, the camera was about twice as far back. The closer your camera is to the subject, the more exaggerated the parts of the face closest to the lens become. At 35mm, the nose appears much larger than the eyes because it’s significantly closer to the camera. At 85mm, the relative distance between the eyes and the nose is visually insignificant, and we see much less apparent distortion.

The correct lens isn’t the only useful piece of equipment for posed portraits. Miller mounts his camera on a sturdy support, and he brings a laptop along for shooting tethered. The former prevents camera shake, and the latter lets him share images in real-time with his portrait sitters. This collaboration gives subjects a sense of confidence and control.

Hot Tip: If all you have is a wide-angle lens, limit your posed portraits to full-body shots; don’t attempt half-lengths or tight headshots. Also, stick to environmental portraits and step back to include a lot of colorful background in your compositions. The farther back, the better!

3. Outdoor lighting: Seek shade

Taking your posed portraits outdoors can improve the variety, mood, and character of your backgrounds—certainly more easily than what you can achieve indoors. However, shooting outdoors often introduces its own problems, the most serious being unflattering light. As seen in the right-hand picture above, direct sunlight creates dark, contrasty shadows in Spector’s eye sockets and under the nose and chin. The solution is simple, though. Have your subject step into shade to even out the sun’s bright highlights and dark shadows for more flattering portrait lighting.

What if you find the perfect outdoor backdrop, but the setting has no shade? Do as Miller did and create your own. For the left-hand picture, his assistant held a 2×3-foot diffusion panel above Amy Spector. This created an oasis of soft, very effective light for a much more flattering shot.

Another way to improve portraits made in direct sunlight? Place a reflector immediately below your subject’s face and angle it up to bounce sunlight back up into the eye sockets and under the chin and nose. The face will be more evenly lit—and also brighter than what’s possible in shade. This added brightness can afford you faster shutter speeds or smaller apertures, either of which can render the unlit areas of the background darker, causing your subject to stand out more emphatically.

Hot Tip: On a partly cloudy day, your best bet is to wait for a thinly overcast sky. The light under such conditions can be bright enough for handheld exposures, as well as soft, even, and highly flattering.

4. Indoor lighting: Flash vs. softbox

Because of its convenience and low cost, on-camera flash exerts a strong allure for novice portraitists. Resist it! Your results could resemble the right-hand image above. Compared with the picture on the left, which was lit with a studio strobe and softbox, the direct-flash portrait appears flat and harshly lit, with shiny bright highlights and a distracting shadow behind the subject. The portrait lit by softbox is more flattering, with greater dimension and shaping across the face and softer highlights in the complexion. It avoids the contrasty facial sheen of direct-flash portraits.

Note that by placing his main light off-axis, away from the lens, Miller was able to aim the softbox down onto the model’s face. “I like to have my key and backlight kind of high, shooting down, because it’s directional and natural, kind of like the sun,” says Miller. This strategy also created the shadow across her neck that serves to set off and “present” the face in a flattering manner.

Conversely, the on-camera flash illuminates the neck and face equally, giving the former an unwelcome prominence. Raising his light also buried the shadow cast behind Spector. As a result, she seems to exist in her own timeless world, one without the confining walls suggested by the on-camera-flash shadows.

Hot Tip: If you must light with an on-camera flash, try bouncing its output off a nearby white wall or ceiling, turning either into a giant reflector—without aiming the flash directly at your subject.

5. Expressions: Make them count

The closer you zoom in on a portrait subject, the more weight the person’s facial expression carries. At first, it may seem difficult for novice portraitists to coax relaxed and expressive looks from their subjects. But with practice, it gets easier.

Miller says he starts by putting his subjects at ease. “Before a shoot, I do some homework,” he says. “I try to find out if there’s anything the subject and I have in common. Something we could talk about. I may also show a subject an example of the kind of portrait I want to take. If they like the example, it can build trust. Also, subjects who are parents love to talk about their kids. It can really open them up.”

The good news? The difference between a deadpan, lifeless expression (right) and one that suggests a rich, lively intelligence and vibrant inner life can be achieved through very minor tweaks to the face and head. A slightly lifted eyebrow (left) or a tipped or tilted head can be enough.

“I’m always on the lookout for unexpected moments,” says Miller. “The seconds right after a person laughs, for example, often produce unguarded and natural expressions that can be very charming.”

Hot Tip: When he zooms in to focus on a person’s facial expressions, Miller will often place a black flag beside his subject, opposite to the main light. As in this shot, it darkens the shadowed side of the face, which accentuates its shape and adds a sense of depth and dimension to the image.

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Best overall		Sony A1		SEE IT	Sony’s flagship has everything a photographer could need.
Best for beginners		Sony Cyber-Shot RX10 IV		SEE IT	A bridge camera ready for a variety of wildlife.
Best durable		Olympus OM-D E-M1X		SEE IT	Robust weather-sealing so you can stay out in the elements.

Photography subjects don’t get much more fascinating—or challenging—than wildlife. Wildlife photography can take you to some truly special places to document incredible animals in their natural habitats. It doesn’t always have to involve a full-on safari, though. There’s likely wildlife in your area right now that could make for incredible photos. Even if you’re not traveling far, however, wildlife photography can be a very challenging process. You have to put yourself in the right place and the right time, ready to capture the action at a moment’s notice. Conditions may not be the most comfortable either. But, when you get that shot at just the right time, there aren’t many things that beat it. The best cameras for wildlife photography will be ready when you and your wild subject are.

In previous camera generations, only high-end options had the features and operating speed needed to capture wildlife. These days, there are an overwhelming number of options out there, depending on your skill level, budget, and goals. And while having the most high-tech camera can be fun, the best cameras for wildlife photography for you, in particular, may be something different altogether. 

• Best overall: Sony A1
• Best for beginners: Sony Cyber-Shot RX10 IV
• Best DSLR: Nikon D500
• Best durable: Olympus OM-D E-M1X
• Best budget: Panasonic LUMIX FZ2500
• Honorable mention: Canon EOS R5
• Honorable mention: Fujifilm X-T4

How we chose the best cameras for wildlife photography

The editors and writers at Pop Photo have decades of photography experience in just about every genre and have reviewed just about every major camera on the market. When selecting the best cameras for wildlife photography, we looked at a handful of key features necessary to document animals successfully. Burst rate, buffer capacity, and autofocus abilities sat at the top of our list as these are crucial for wildlife photography. We also looked at build quality, as wildlife cameras should be able to hold up to the elements. Lastly, we tried to choose options with different sensor sizes suitable for different types of photographers and budgets.

The best cameras for wildlife photography: Reviews & Recommendations

Best overall: Sony A1

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Why it made the cut: With 30fps, an industry-leading autofocus system, and an impressive 50MP sensor, Sony’s A1 is a powerful camera for anything, but especially wildlife photography.

Key features

• Megapixels: 50 megapixels
• Frames per second: Mechanical shutter: 10 fps, Electronic shutter: 30 fps up to 155 frames (Raw)
• Autofocus points: 759 phase-detection, 425 contrast-detection
• Weight: 1.6 pounds (body only)

Pros

• Exceptional autofocus
• 8K and 4K video
• Fast burst mode

Cons

• Expensive
• Rear display could be better

As the best camera for wildlife photography, the Sony A1 is packed full of advanced technology, making it a great all-around powerhouse, but one especially suited for sports and wildlife photography. Sony built this camera around an incredibly fast 50MP stacked CMOS sensor. If you like to use flash, this sensor will be an asset, as it is fast enough to sync with flashes up to 1/400 sec. The autofocus system is also quick and precise and has autofocus points covering 92% of the image area. It can lock onto animals eyes and track them, just like it would a person.

The electronic shutter of the A1 is capable of up to 30fps for up to 155 Raw images. This high buffer capacity means you can fire off loads of shots without your camera getting bogged down. In addition, it has excellent low-light performance with an ISO range of 100 to 32,000 or extended up to 102,400, and autofocus sensitivity down to -6 EV. Finally, the weather-sealing on this camera means it can stand up to some adverse weather, so you don’t have to be as nervous about taking this expensive piece of equipment out and about. This is truly a professional piece of gear. 

Best for beginners: Sony Cyber-Shot RX10 IV

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Why it made the cut: Sony’s RX10 IV is an impressive bridge camera. It is capable of 4K video, 24 fps, and has an equivalent focal length of 24 to 600mm, making it ideal for capturing wildlife.

Key features

• Megapixels: 20.1 megapixels
• Frames per second: 24 fps up to 249 frames (JPG)
• Autofocus points: 315 phase-detection points
• Weight: 2.41 pounds (body with battery and memory)

Pros

• Dust and splash resistant
• Fast autofocus
• Good zoom range
• 4K video

Cons

• A bit pricey
• Zoom speed could be faster

If you don’t have big bucks to spend on a telephoto lens that costs more than your car, a bridge camera can provide a much more accessible solution. The Sony Cyber-Shot RX10 IV is an excellent bridge camera built around a large, 1-inch sensor, which is larger than some of its cheaper competition. The attached lens is 8.8 to 220mm, which offers the equivalent angle of view to a 24-600mm lens on a full-frame camera. That gives you 25x zoom, which will help capture animals in the distance. And it offers 4.5 stops of stabilization, so even when at the longer focal lengths, you can get sharp images. You should still plan to use a tripod or a monopod when possible, though. 

The RX10 IV is capable of 24 fps with autofocus tracking, and the phase-detect autofocus of this camera is fast and accurate, helping ensure you get the shot right. In addition, the built-in lens has a max aperture of f/2.4-f/4, giving you the ability to blur backgrounds and work in low-light situations. And, if capturing tiny wildlife like bugs is your thing, it can focus as close as 1.2 inches when zoomed out and 2.4 feet when zoomed in.

Best DSLR: Nikon D500

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Why it made the cut: Despite its age, the D500 is still one of the best DSLRs for wildlife due to its 200 Raw file buffer capacity and fast autofocus. 

Key features

• Megapixels: 20.9 megapixels
• Frames per second: 10 fps for up to 200 frames (Raw)
• Autofocus points: 153 phase-detection points
• Weight: 1.89 pounds (body with battery and memory)

Pros

• Fast and accurate autofocus
• High buffer capacity
• Rugged build quality

Cons

• Live view autofocus could be improved
• Video tools are a bit limited

Nikon released the D500 in 2016, but it remains an excellent DSLR choice if you’re looking for the best cameras for wildlife photography. The APS-C sensor has 20.9 megapixels for quality images. The camera has an expanded ISO range of up to 1,640,000, making it very capable in low-light situations. 

The D500 can shoot 10 fps for an impressive 200 Raw frames, meaning you can fire away when your subject is in motion. The autofocus system on this camera is fast and accurate, at least when looking through the viewfinder. Unfortunately, when in Live View, the autofocus switches to contrast-detection, which is not as fast as the phase-detection system. Lastly, your telephoto lenses will have even more reach with the 1.5x crop factor, meaning you can save some money and space in your camera bag.

Best rugged: Olympus OM-D E-M1X

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Why it made the cut: Olympus designed the OM-D E-M1X to thrive outdoors and in the elements. The rugged body can shoot up to 60 fps, making it a great choice for those off-the-beaten-path wildlife adventures.

Key features

• Megapixels: 20.4 megapixels
• Frames per second: 60 fps for up to 49 frames (Raw)
• Autofocus points: 121 cross-type points
• Weight: 2.19 pounds (body with battery and memory)

Pros

• Advanced weather-sealing
• Integrated vertical grip
• In-body image stabilization
• 4K video

Cons

• Noise level at higher ISOs could be better
• No tracking at highest burst rate

OM Digital Solutions corp., formerly Olympus, has long focused on outdoor enthusiasts and adventurers. The OM-D E-M1X fits the bill, as it exceeds the IPX1 weatherproofing standard and can function in harsh conditions. These cameras also offer an excellent Dust Reduction System to keep your sensor clear of debris, a plus when changing lenses in less-than-perfect situations. 

The OM-D E-M1X is capable of up to 60 fps for 49 Raw frames or a lower 10 fps for up to 287 Raw frames and unlimited JPGs. Unfortunately, there is no AF tracking when shooting at 60 fps, so one of the lower options may be better if that is important to you. The autofocus system is speedy and responsive, helpful for reacting quickly to moving wildlife. And the five-axis sensor stabilization means that you can get sharp shots with even your largest telephoto lens.

Best budget: Panasonic LUMIX FZ2500

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Why it made the cut: For those on a budget, the LUMIX FZ2500 is a bridge camera that packs in features like a 20.1MP sensor, 4K 30p video, and impressive autofocus, all at a reasonable price.

Key features

• Megapixels: 20.1 megapixels
• Frames per second: 12 fps 
• Autofocus points: 49 contrast-detection points
• Weight: 2.13 pounds (body with battery and memory)

Pros

• Built-in neutral density filter
• 4K video
• Fast autofocus
• Versatile 20x zoom

Cons

• Lens quality could be better

Panasonic designed the LUMIX FZ2500 for video enthusiasts, so those wanting to make videos of their wildlife adventures are in luck. It is capable of 4K video at up to 30fps and uncompressed 10-bit 4:2:2 HDMI output, so you are sure to get quality footage. Featuring a 1-inch sensor, the FZ2500 has a native ISO range of up to 12,800 and an expanded range of 25,600, making it good in low-light situations. The built-in lens is a 24-480mm equivalent, useful for both landscape photos and tight wildlife shots.

Though it doesn’t have as many autofocus points as others on this list, it is a fast, accurate autofocus system for its class. It is almost instant when locking on to a subject in bright conditions. The burst rate is also strong, with 12 fps and a buffer of 35 Raw or 100 JPGs. You can lower the resolution to 8MP to take advantage of a fast 30 fps if that is your focus.

Honorable mention: Canon EOS R5

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Why it made the cut: This list wouldn’t be complete without mentioning the impressive Canon EOS R5. With exceptional 8K video, a 45MP sensor, and an innovative autofocus system with 1053 autofocus points, this camera is built for performance.

Key features

• Megapixels: 45 megapixels
• Frames per second: Mechanical shutter: 12 fps for up to 180 frames (Raw) Electronic shutter: 20 fps for up to 83 frames (Raw)
• Autofocus points: 1053 phase-detection points
• Weight: 1.62 pounds (body with battery and memory)

Pros

• Excellent image quality
• Innovative autofocus
• Weather-sealed
• Quality 8K video

Cons

• Overheating issues when shooting more than 4K 30p video

Canon’s EOS R5 is an impressive camera all-around, and those talents translate to wildlife photography. It has a newly developed 45-megapixel CMOS sensor for exceptional image quality and is capable of up to 8K 30p video or 4K 120 fps in 4:2:2 10-bit with Canon Log. However, it is known to have limitations due to overheating at higher-quality video specs, maxing out at about 20 minutes when shooting 8K. If you’re planning to shoot a ton of 8K footage, you should really buy a cinema camera anyway.

The autofocus is what really makes the R5 exciting. Autofocus points cover nearly 100% of the frame, and it is said to be the best autofocus system available. For wildlife photographers, the quality of the Animal AF cannot be overstated. Canon has introduced a Deep Learning algorithm, which enables you to point the camera at an animal, and it will recognize the animal and lock on to the eyes. It is reliable across many species, even though Canon only specifies dogs, cats, and birds, and tracks even with lots of movement.

Honorable mention: Fujifilm X-T4

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Why it made the cut: With a burst mode of up to 20 fps with the electronic shutter, in-body stabilization, and excellent weatherproofing, the X-T4 is certainly one of the best cameras for wildlife photography.

Key features

• Megapixels: 26.1 megapixels
• Frames per second: Mechanical shutter: 15 fps for up to 38 frames (Raw) Electronic shutter: 20 fps for up to 36 frames (Raw)
• Autofocus points: 425 phase-detection points
• Weight: 1.16 pounds (body only)

Pros

• Compact
• Excellent weather-proofing
• Good in-body stabilization
• Autofocus system works well even in low-light

Cons

• Face/eye detection not as strong as competitors

Fujifilm’s X-T4 is the lightest option on this list–just 1.16 pounds for the camera body– making it an excellent choice for those who travel a lot for their wildlife photography. It features a back-illuminated, 26.1MP X-Trans CMOS 4 sensor that allows excellent low-light performance with a native ISO range of 160-12800. In addition, the autofocus system is quick and can provide accurate focus in low-light conditions down to  -6 EV, ideal for shooting at dusk or dawn or even in thick jungles.

One of the more exciting features of this camera is the in-body stabilization. It has 5-axis sensor-shift image stabilization that can reduce camera shake by up to 6.5 stops. This stabilization will be significantly helpful when using the long telephoto lenses necessary for wildlife photography. The APS-C format also means that the telephoto lenses will get you even closer to the action than on a full-frame. 

Things to consider before buying the best cameras for wildlife photography

Wildlife photography can look vastly different depending on the photographer and the subject involved. That variance can make choosing the best cameras for wildlife photography tricky. But, by understanding some of these critical features, you can decide which are essential and worth paying for and which you can skip out on.

Sensor size

There are three main choices for sensor size: Full-frame, APS-C (crop sensor), and Micro Four Thirds. Each of these formats will have different advantages, so it’s a matter of deciding what makes the most sense for you. 

Full-frame sensors are the size of a picture taken on 35mm film and usually offer superior noise handling and high dynamic range. Wildlife photographers often shoot in bright situations, but they also regularly require fast shutter speeds in shaded areas, which means bumping up ISO. The downside to full-frame cameras is that they are usually bigger and heavier than their smaller-sensor counterparts. Wildlife photography frequently involves travel or hiking, and you may not want to lug around a heavy camera if you are going on long expeditions for your wildlife photos.

APS-C sensors, or crop sensor cameras, often offer a similar feature set to their full-frame competition, but do so in smaller bodies. The other benefit to crop sensor cameras is that they have between 1.5-1.6x focal length magnification, meaning your telephoto lens will have even more reach. For example, on a Nikon APS-C camera like the D500, a 100mm lens will give you the angle of view equivalent to what you’d expect out of a 150mm lens. 

Like APS-C cameras, Micro Four Thirds offers a smaller size and weight. They also have even more focal length magnification, coming in at 2x. So that 100mm lens will be 200mm. That crop factor can be a big space–and money–saving benefit.

It’s also worth noting that crop-sensor camera lenses can be smaller than their full-frame alternatives. Compare the Olympus super-telephoto lenses to full-frame models from Canon or Nikon and they’re often less than half the size and weight. 

Autofocus

Autofocus is extremely important in wildlife photography. You may only have a split second to react when an animal makes an appearance, and if your autofocus isn’t fast or accurate enough to respond in that time, chances are you won’t get many usable images. 

You’ll want an autofocus system that is fast and responsive, accurate, and capable of achieving focus in low-light conditions. Good subject tracking is also a plus, as then you can follow an animal across a scene and keep focus locked on it. You want AF points across as much of the sensor as possible, which gives mirrorless cameras an edge over DSLRs. 

Most of the major manufacturers have autofocus modes specifically to track animals. Canon, Nikon, and Sony all have specific animal tracking AF modes that lock onto your wildlife subject and stick with them as they move. Olympus has a bird-specific AF tracking system that achieves a similar effect.

Frames per second and buffer capacity

Besides fast autofocus, fast continuous shooting is crucial for wildlife photos. For example, if you are photographing a bird flying, being able to fire off many frames very quickly will help make sure that you get a shot with the wings in the exact right position. While you still need to know when to start taking photos, it takes some guesswork out of the equation. So look for a camera with high frames per second, something with 8 FPS or higher, to capture those fast-action moments. Many high-end mirrorless models can go to 20 or even 30 fps without issue.

To truly take advantage of your camera’s FPS, you’ll also want to look for something with a good buffer capacity. Buffer capacity refers to how many images your camera can take continuously without stopping. If your camera locks up after taking a few shots, you’ll get stuck watching the moment pass by. Keep in mind that the buffer capacity will differ when shooting RAW versus JPG, and your memory card’s write speed will also play a role. 

Build quality

As mentioned, wildlife photography typically requires travel of some sort. It also means that you are likely to be out photographing in less than ideal conditions. Lying in wet grass, getting caught in rainstorms, or standing on windy beaches, are all common occurrences with wildlife photography. Therefore, having a camera that can stand up to whatever your travels may throw at you is important. Look for a camera that has weatherproofing and a durable build.

Lens options

The last thing to consider isn’t exactly a camera specification, but it is vital to wildlife photography. Telephoto lenses are a necessity when photographing wildlife, as you typically need to remain at a distance. Thus, choosing a camera system with a good selection of compatible telephoto lenses is a must. If you opt for a point-and-shoot or bridge camera, go with something with a large zoom range since you won’t have the option of changing out your lens. 

An additional feature to look for is telephoto lenses with weather-sealing so that they can stand up to the elements just like your camera body can.

FAQs

Final thoughts on the best cameras for wildlife photography

• Best overall: Sony A1
• Best for beginners: Sony Cyber-Shot RX10 IV
• Best DSLR: Nikon D500
• Best durable: Olympus OM-D E-M1X
• Best budget: Panasonic LUMIX FZ2500
• Honorable mention: Canon EOS R5
• Honorable mention: Fujifilm X-T4

While there is no shortage of exceptional cameras available for wildlife photography, Sony’s A1 checks all the boxes and is extremely well-rounded. The massive–and fast– 50MP sensor allows for excellent low-light performance and speed, two things essential to wildlife photographers. The burst rate and buffer capacity help ensure you won’t miss the moment, and the quality of both stills and video is excellent. 

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best cameras for wildlife photography in 2023 appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Best overall		Holy Stone HS110D FPV RC Drone with 1080P HD Camera		SEE IT	A good camera drone with plenty of features.
Best for beginners		Ryze Tech Tello Drone for Beginners		SEE IT	Fully programmable while still being straightforward to fly.
Best for video		CHUBORY WiFI FPV 1080P HD Drone		SEE IT	Two camera angles for unique perspectives and quality video recording.

Drones aren’t just for the military or incredible wildlife documentarians anymore. In the past decade, drones have become widely accessible and have mostly taken the place of toy airplanes or toy helicopters. Today, drones have become a favorite among photographers, videographers, kids, and anyone who just wants to fly a cool toy. They’re fun, sleek, and stimulating. Drones can be pretty expensive. While there are extreme cases of $300,000 drones (good lord), most higher-end drones fall around $1K-$2K. For novice flyers or those watching their budget, this can be off-putting. Luckily, there are lots of great budget options available. While they might not be as fancy and advanced as their more expensive counterparts, there are several options that are stable, easy to use, and offer a great user experience. Here are some of the best drones under $100 so you can take flight.

• Best overall: Holy Stone HS110D FPV RC Drone with 1080P HD Camera
• Best for beginners: Ryze Tech Tello Drone for Beginners
• Best for kids: Tomzon A31 Drone for Kids
• Best mini: SIMREX X500 mini Drone
• Best for video: CHUBORY WiFI FPV 1080P HD Drone

How we chose the best drones under $100

The writers and editors at Pop Photo have decades of experience in just about every genre of photography and photography-adjacent topics. When selecting the best drones for under $100, we wanted to make sure to find quality options that still had decent features and were easy to fly, despite the low price point. Stability in the air and battery life were important factors as well. Lastly, we tried to select drones that fit various use types and user preferences.

The best drones under $100: Reviews & Recommendations

Best overall: Holy Stone HS110D FPV RC Drone with 1080P HD Camera

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Why it made the cut: With a variety of features, this budget drone has a bit of everything in a perfect mid-size model with a 1080p FPV camera and lots of easy-to-use in-app controls.

Key Features:

• Dimensions: 12.6 x 12.6 x 4.70 inches
• Weight: 5.3 oz
• Recording Modes: 120° FOV 1080P

Pros:

• Excellent value
• Easy to use remote
• Great for beginners
• 1080p video capabilities

Cons:

• Not wind-proof
• Phone app asks multiple permissions; may be too intrusive for some users

The Holy Stone is the holy grail when it comes to the best drones under $100. It features a pre-set button that allows for flips in any direction and a landing feature that assists novice flyers, so you don’t crash your new toy.

It also has a 1080P FOV 120° HD FPV camera with altitude hold for great images, tons of mobile control features in the app like voice control and gravity sensor control, and multiple speeds. And it comes with two batteries for a total of 20 minutes of flight time.

The app is easy to use, and the mid-size body makes for a perfect user experience. However, some customers didn’t like how seemingly invasive the app can be; it may be too intrusive for some.

Best for beginners: Ryze Tech Tello Drone for Beginners

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Why it made the cut: This lightweight and easy-to-use drone is ideal for beginners because it’s simple, stable, lightweight, and controlled via an app. 

Key Features:

• Dimensions: 3.86 x 3.66 x 1.61 inches
• Weight: 2.82 oz
• Video Output Resolution: 1280 x 720 pixels

Pros:

• Lightweight
• Easy to maneuver
• Stable
• Takes good 5 MP photos and videos

Cons:

• Not great for dark/nighttime use
• Not suitable for windy conditions
• Limited to 99 ft altitude

With intuitive controls and an easy-to-use app, this drone for beginners is super simple to use while learning how to fly properly.

The high-capacity battery offers 13 minutes of flight time, which is excellent at this ultra-low price point. In addition, you can record 5 MP pictures and videos with EZ Shots and easily share them on social media from your smartphone. This drone is also fully programmable with Scratch, an MIT-developed coding system that teaches kids how to program.

At under 3 oz, it’s super lightweight, which is a double-edged sword. It won’t be suitable for windy conditions, and we don’t recommend using the drone in low light conditions or at nighttime. All in all, it’s a great starter drone that doesn’t offer a ton of frills but will help take good bird’s eye photos and videos and get you started with drone flight control. 

Best for kids: Tomzon A31 Drone for Kids

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Why it made the cut: Get your kids in on the drone fun with this remote-controlled quadcopter with several LED light-up features, quick and easy pairing with the included remote, and 3D flips that make flying cool.

Key Features:

• Dimensions: 5 x 6.22 x 1.65 inches
• Weight: 12 oz
• Flight time: 16-18 min

Pros:

• Automatic pairing
• Easy to control
• One key controls
• Colorful LED lights for fun night flying
• Safety guards

Cons:

• No camera

This simple drone for kids is all about the coolness factor while still teaching your kids how to fly. Unfortunately, it doesn’t have a camera, so it’s more suitable as a gift for little ones looking to dip their tiny toes into the world of drones.

Since accidents happen, it’s helpful that outside safety guards protect the propellers. In short: this thing is hard to break. The remote is kid-sized for small hands, and you won’t have to rely on an app for use. It’s stable, easy to control, and comes with four LED lights with seven color effects on the motors, making for cool lighting effects. These lights are also great for night use. 

The “push to flip” feature creates fun drone flips in the air, an exciting thing for kids and adults alike. The drones can last for up to 18 minutes of flight time with 360° rotation and feature one-key landing/taking-off with three different speed adjustments to make learning to fly super accessible for any age. 

Best mini: SIMREX X500 mini Drone

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Why it made the cut: This WiFi-enabled, foldable, palm-sized FPV drone features a 720P HD Camera, Altitude Hold, up to 12 minutes of use, and live video that stays steady without needing any assistance. 

Key Features:

• Dimensions: 6.39 x 4.59 x 3.76 inches
• Weight: 12 oz
• Video Output Resolution: 1280 x 720 Pixels

Pros:

• 720P HD Camera
• Compact and foldable
• 3D flips
• Variety of pre-programmable options
• App is clear and syncs well

Cons:

• Phone holder may not be suitable for all phones
• Could have longer battery life

A great starter drone or toy for more seasoned flyers, this mini drone fits in the palm of your hand and weighs next to nothing. The controls are extremely easy to use, no matter your experience. In addition, it has several pre-set controls, such as one-button landing, that make flying a breeze.

It can be controlled via mobile phone or remote control and includes a Headless Mode, so you never get disoriented. This mini drone also features a built-in 720P high definition FPV Wifi Camera, which takes quality aerial photos. The foldable design means it is compact and space-saving while stored, yet sizable enough for stability while in flight. The battery lasts up to 12 minutes, which isn’t long but is impressive for its size.

Best for video: CHUBORY WiFI FPV 1080P HD Drone

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Why it made the cut: Take incredible aerial videos with this 1080p HD video drone that’s tiny, easy to take on the go, and offers a whopping 40 minutes of flight time.

Key Features:

• Dimensions: 9.29 x 8.31 x 2.83 inches
• Weight: 1.48 pounds
• Video Output Resolution: 1920 x 1080 pixels

Pros:

• Up to 40 minutes of flight time
• Foldable and compact
• Protective guards
• Dual cameras / Optical flow positioning
• App supports Apple & Android

Cons:

• Included instructions are confusing
• “Follow me” function is sometimes wonky 

This HD FPV video drone with altitude hold has a little bit of everything for a budget model. It features a switchable front camera and bottom optical flow camera so you can have live images looking straightforward and simultaneously a good shot of what’s happening below. The two camera angles help capture a whole scene from different angles.

You get tons of features, including auto-hover, one-key take-off and landing, one-key flip and roll, “follow me,” and more. It’s super simple and easy to use, making it a good option for beginners and kids.

The best part? You get up to 40 minutes of flight time, which is one of the longest we’ve seen at this price point. It’s also so compact that you can easily take it in a backpack for hikes.

Things to consider before buying the best drones under $100

We’ll give it to you straight: for under $100, you can get a quality, easy-to-use drone, but don’t expect frilly features and tons of bells and whistles. Before you buy a drone, just be sure to look out for a few key features, such as the ones below. 

Video capability

Do you intend to use the drone for photography or video? Since several options under $100 include video, you might as well look for drones with that feature and practice taking photos and videos on a model you won’t be as worried about damaging.

RFT

RTF stands for Ready to Fly. That means the model comes ready to go and doesn’t require any more tools, hardware, or setup. There are lots of RTF drones under $100.

Battery charge time to flight time ratio

Look for drones that offer longer flight times with reasonable battery charge times, so you can fly often and for more extended periods without having to wait hours for just 5 minutes of flying. Many cheaper drones have shorter flight times, so one way to combat this issue is to purchase a few extra batteries.

Stability

Look for features that keep your drone stable. Since most cheap drones are made with lightweight plastic, they might not be as good at remaining stable in windier conditions. Look for language like “Altitude Hold” in the description, which means it analyzes and works with the air pressure to hold its position in flight.

FAQs

Final thoughts on the best drones under $100

• Best overall: Holy Stone HS110D FPV RC Drone with 1080P HD Camera
• Best for beginners: Ryze Tech Tello Drone for Beginners
• Best for kids: Tomzon A31 Drone for Kids
• Best mini: SIMREX X500 mini Drone
• Best for video: CHUBORY WiFI FPV 1080P HD Drone

Budget drones make quadcopter flying more accessible to novice flyers, kids, or anyone who just wants to dip their toes into the world of drones. If you’re looking for fun aerial picture taking and want to learn how to use drones without shelling out hundreds of dollars, these drones under $100 will give you a high-quality experience at a great price point.

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best drones under $100 in 2023 appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Photography has changed a ton since 1949. The DSLR came and went. Computational photography changed the way we think about creating images. Film cameras became ultra-chic fashion accessories. The really important photography stuff, however, hasn’t changed, especially when it comes to composition. I stumbled across this video in a Facebook group for film camera repair (yes, it’s exactly as nerdy as it sounds), and I was mesmerized by it. Take 10 minutes and have a watch.

The video itself is perfectly retro. The audio track is a little messed up in a very aesthetic way. The narrator’s voice sounds as if he should be describing the technological wonders found inside the home of the future. But the information is still shockingly relevant.

It covers topics like balancing the subjects, leading lines, and framing the subject with objects in the environment. This is the old-school stuff that I learned right at the beginning of my photography adventures, and I always appreciate a refresher. Some of the photo examples are also just really excellent. Look at this killer shot of a cat hanging out in some pipes.

It also covers some topics I feel get lost in a lot of photographic education today. For instance, when considering balance, higher contrast makes objects feel “heavier” and allows for smaller subjects to balance with larger, lower-contrast objects. That’s why the smaller, higher-contrast arm in this photo can balance with the larger, lower-contrast leg even though there’s a size disparity. This is the kind of photographic nerdery I truly love.

Even if you’re already feeling confident in your composition skills, this video is worth a watch if only for the nostalgia. It might also give you a little bit of old-school inspiration to get out and take some photos. If you’re eager for more old-school photography instruction, you can go check out NASA’s guide to film photography.

The post This video from 1949 offers offers photography composition tips everyone should know appeared first on Popular Photography.

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You’ve likely seen plenty of photos with soft, out-of-focus backgrounds. With the right setting, they can look rather dreamy with brightly colored circles (called bokeh) behind the subject. Perhaps most importantly, they immediately draw your attention to the subject in the image and can help hide distracting things in the background. This image style utilizes one end of the depth of field (DOF) photography spectrum, which spans from shallow to deep.

Apple’s Portrait Mode brought this look to the mainstream, putting shallow depth of field capabilities in the hands of smartphone users and not just those with expensive cameras and lenses. Unfortunately, how Apple and other smartphones accomplish this look isn’t a very accurate representation of what depth of field is or how you actually achieve it. 

Related: Outsmart your iPhone camera’s overzealous AI

What is depth of field in photography?

Shallow depth of field

Depth of field can get highly complicated (there’s even a math formula involved), but it doesn’t have to be. It is defined as the distances between the nearest and the furthest subjects that are in acceptably sharp focus. Put in even simpler terms, it’s the amount (or depth) of a scene that is is in focus.

As mentioned, depth of field can span from shallow to deep. Shallow depth of field means that there is only a small—or narrow—area of the scene in focus. This is the type of image you see with portrait modes where the person is in focus, but the background is blurry. With smartphones, this look is generated using AI and artificial background blurring. However, there are ways to control depth of field in a more technical manner via the three factors that affect it: focal length, aperture, and distance.

Deep depth of field

On the flip side, a deep depth of field generally means that most of the scene is in focus. Landscape photographers frequently employ a deep depth of field to show sweeping, dramatic views. You’ll also see the deep depth of field in many photojournalism images. 

It’s important to remember that depth of field is indeed a spectrum. You can have only the tip of someone’s nose in focus, the entire person, the entire scene, aor anything in between. We tend to just refer to the extremes when talking about depth of field in photography, but a middle ground does exist as well.

What is depth of field not?

When I was teaching introductory photography classes at a university, the concept of depth of field was a bit confusing to students. Very frequently they would focus on the background of an image, and if it was in-focus, they’d assume the photo had a deep depth of field. It is common to think that focusing deep in the back of the image means deep depth of field. But it’s incorrect.

Decoupling focus distance from depth of field

This is where Apple—and, to a certain extent, other smartphones—have made things confusing. When you point your iPhone at something, it defaults to focusing on the thing closest to the phone. So, without overriding the default, it will always have the foreground in focus and the background out of focus. That seems to have led to an assumption that all images with a shallow depth of field have a blurry background. This is not the case.

Because of this confusion, I think it’s also helpful to point out what depth of field is not. In photography, depth of field is not where you focus. Instead, it is how much is in focus. You can have a shallow depth of field with something right in front of the camera in focus and the background out of focus, but you can also have the opposite, an in-focus background, and a blurry foreground. And, of course, anything in between can have a shallow depth of field too. 

What’s the easiest way to control depth of field?

Related: The Apple iPhone 14 Pro has as many megapixels as a full-frame camera

The focal length of your lens and the camera’s distance to its subject are both factors that will affect the depth of field. In general, the longer the lens, the more a subject will appear “separated” from its background or foreground. In terms of distance, the further the subject is from the camera and/or from the background, the more isolated they will appear.

However, the easiest way to adjust DOF on the fly is to “open up” or “stop down” the aperture. Opening the aperture means using smaller F-numbers, like f/2, which results in a wider diameter opening in the lens. The more light coming into the lens, the shallower the depth of field.

Stopping the lens down involves using larger F-numbers, like f/11, for a smaller diameter opening. This leads to a deeper depth of field. For example, an aperture of f/1.4 will let more light in, with less of the frame in focus. While an aperture of f/16 will let less light in but most of the scene will likely be in focus.

Why does depth of field matter?

Since your phone can figure things out all on its own (or so it thinks), why does any of this even matter? Knowing what depth of field is and how to manipulate it can be an easy way dramatically improve your images. With the right depth of field—along with clever framing—a photograph can go from boring and straightforward to creative and interesting. On your phone, you can tap where you want to focus to bypass the default, resulting in a more unique photo. It is a simple trick that can make a big difference.

Understanding depth of field becomes even more important if you use a dedicated camera instead of your phone. Cameras do not have built-in AI to blur the background artificially as your phone does. So if you want that look, you’ll have to do it the old-school way. Good thing you’re now a whiz at it.

The post Nobody understands depth of field and it’s all Apple’s fault appeared first on Popular Photography.

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Photography has a lot of rules that are really just principles. Most of them are useful guidelines worth understanding, not edicts to be followed to the letter. In this photography fundamentals series, we’re going to look at when you should follow the rules—and when you should consider breaking them. First, though, we need to cover some of the most important fundamentals of photography composition.

Related: How to take good pictures in bright sunlight

The rule of thirds

The rule of thirds is one of the most common—and most misunderstood—fundamentals of photography composition. The idea is that you divide your frame into thirds both vertically and horizontally. The important elements of your image should then be placed on one of these third lines or better yet, at one or more of the four intersections of both vertical and horizontal third lines, like the truck in the image above. 

While not itself the secret to wonderful images, the rule of thirds is a great way to avoid some big compositional mistakes. If you follow it, you normally place the most important elements of your image nicely in the frame without them being too centered. 

If you’ve got a reason to ignore the rule of thirds, go right ahead. Otherwise, it’s a handy starting compositional principle to work from. 

The golden ratio

The golden ratio or golden spiral is similar to the rule of thirds, compositionally speaking, but with more mysticism and mathematics thrown in.

While the rule of thirds splits the frame into three equal sections, the golden ratio, also known as the Fibonacci Spiral, places a vertical frame line closer to the center of the frame, splitting it into one slightly smaller and one slightly larger quadrant. Each time the frame is split horizontally, the smaller section is then split vertically using the same ratio. This process is repeated, breaking the frame into smaller and smaller chunks, as shown above.

However, even though the ratio appears often in both great works of art and nature, we’ve yet to see an image where it creates a significantly stronger composition than the rule of thirds (they’re just so darn similar). So, while it can be fun to play around with, it’s certainly not a compositional rule that you should obsess over.

Symmetry

Symmetry can make for incredibly eye-catching images. It’s often easy to create symmetrical compositions with reflections, like from surface water, or using man-made structures, as shown below.

Symmetry is also one of the most fun compositional principles to break. Images with a mix of symmetrical and asymmetrical elements can be incredibly compelling. 

Complementary colors

Think back to your earliest art class, remember the color wheel? Well, the same principles that apply to painting and drawing also apply to photography. Colors opposite each other on the wheel, when placed side-by-side or near one another, often appear brighter. So, photos with reds and greens, yellows and blues, or purples and oranges, for instance, will look extra vibrant and punchy. Use this knowledge to your advantage.

Leading lines

Our eyes are drawn to strong lines in images. This makes things like guide rails of a bridge or even just a road through a landscape, a great way to guide (or lead) your viewers’ gaze to the most important parts of your photo. 

Leading lines isn’t so much a compositional rule you should break, as something you should be aware of if you don’t want to use it. If your image has strong lines, it will draw viewers’ attention. If you don’t want them looking where the lines lead, you will have to reframe your shot. 

Fill the frame

Filling the frame is a compositional approach that says your subject or subjects’ should take up as much of the image as possible. With a portrait, this generally means cropping in so that the subject’s face or body completely fills the frame. This removes the background and as a result, the context of the scene from the subject, often leading to some pretty dramatic results. The same approach to can be applied to a crowd, as shown above.

While a useful stylistic approach for many kinds of photography, there are plenty of times when you shouldn’t fill the frame with your subject. For example, if you are trying to show size by situating your subject in its environment, or trying to create a sense of isolation, filling the frame will undermine your intent.

Don’t cut things off

A common principle recommended in many photography books is to avoid cutting limbs, torsos, and other crucial parts of the image with the edge of your frame. It’s easy to understand why; most people look silly with half their hand chopped off. However, it can be tricky to pull off in practice, especially when you’re shooting street or travel scenes. 

At a fixed point, the photograph ends but the world continues. While it is worth thinking about what is getting cut out of the image by the frame, you will always have to make a decision that cuts something out. (Just try to keep as many limbs in the image as possible.)

Keep the action going into the frame

Especially for sports and other kinds of action photography, a good principle is to keep the action going into the frame. This means that if your subject is running to the right, then they should be positioned to the left of the image so they are running into the open space. 

This is another rule that works in a lot of situations, but can readily be broken when you have cause to do so. For example, if you are shooting a 100m sprint and want to show the gap between first and second-place runners. 

Useful rules, but not laws

Photography is a wonderful mix of science and art. While the process of capturing an image relies on the laws of physics and mathematics, composing a photograph is a pure art. Although the fundamentals of photography composition include some fantastic rules, they are best viewed as starting points that will stop you from making mistakes, rather than laws that can’t be broken. 

In the next article in the series, we’ll look at how to do just that.

The post Photography’s golden rules and when to break them appeared first on Popular Photography.

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What could be more fundamental to photography today than our smartphone cameras? They’re ever-present, ready in moments, and the technology behind them makes it easy to capture great photos in most situations. And yet, I regularly encounter people who are unaware of many of the core functions of the built-in camera app.

Smartphone camera fundamentals extend beyond just “push the big button.” Some tools help you set up the shot, and some give you more control over the exposure. A few are just plain convenient or cool. However, these features aren’t always easy to find. That’s where we come in.

iOS 16 vs. Android 13

But first, for these examples, I’m using the two phones I have at hand: an iPhone 13 Pro running iOS 16 and a Google Pixel 6 Pro running Android 13. I’m also focusing just on the built-in camera apps; for even more manual control, you can find third-party apps in the app stores. Many of the camera features overlap between iOS and Android operating systems, and it’s possible that some may not be available on older models, or are accessible in a different way. If you see something here that doesn’t match with what you see, break out the manual—I mean, search Google—and see if it’s available for yours.

How to quick-launch the camera

Most people perform the usual dance of unlocking the phone, finding the camera app, and tapping to launch it. By that time, the moment you were trying to capture might be gone. There are faster ways.

Related: Composition in the age of AI – Who’s really framing the shot?

On the iPhone’s lock screen, swipe right-to-left to jump straight to the camera app without unlocking the phone at all. You can also press the camera icon on the lock screen. On the Pixel, double-press the power button from any screen.

When the phone is unlocked, a few more options are available. On both phones, press and hold the camera app icon to bring up a menu of shooting modes, such as opening the app with the front-facing selfie camera active.

I also like the ability to double-tap the back of the phone to launch the camera. On the iPhone, go to Settings > Accessibility > Touch > Back Tap and choose Camera for the Double Tap (or Triple Tap) option. In Android, go to Settings > System > Gestures > Quick Tap > Open app and choose Camera.

Related: Outsmart your iPhone camera’s overzealous AI

How to use the volume buttons to trigger the shutter

If you miss the tactile feedback of pressing a physical shutter button, or if hitting the software button introduces too much shake, press a volume button instead.

On both phones, pressing either volume button triggers the shutter. Holding a button starts recording video, just as if you hold your finger on the virtual shutter button.

On the iPhone, you can also set the volume up button to fire off multiple shots in burst mode: go to Settings > Camera > Use Volume Up for Burst.

How to adjust the exposure & focus quickly

The camera apps do a good job of determining the proper exposure for any given scene—if you forget that “proper” is a loaded term. You do have more control, though, even if the interfaces don’t make it obvious.

On the iPhone

On the iPhone, tap anywhere in the preview to set the focus and meter the exposure level based on that point. Even better (and this is a feature I find that many people don’t know about), touch and hold a spot to lock the focus and exposure (an “AE/AF LOCK” badge appears). You can then move the phone to adjust the composition and not risk the app automatically resetting them.

Once the focus and exposure are set or locked, lift your finger from the screen and then drag the sun icon that appears to the right of the target box to manually increase or decrease the exposure. A single tap anywhere else resets the focus and exposure back to automatic.

On the Pixel

On the Pixel, tap a point to set the focus and exposure. That spot becomes a target, which stays locked even as you move the phone to recompose the scene. Tapping also displays sliders you can use to adjust white balance, exposure, and contrast. Tap the point again to remove the lock, or tap elsewhere to focus on another area.

How to zoom with confidence

We think of “the camera” on our phones, but really, on most modern phones, there are multiple cameras, each with its own image sensor behind the array of lenses. So when you’re tapping the “1x” or “3x” button to zoom in or out, you’re switching between cameras.

Whenever possible, stick to those preset zoom levels. The 1x level uses the main camera (what Apple calls the “wide” camera), the 3x level uses the telephoto camera, and so on. Those are optical values, which means you’ll get a cleaner image as the sensor records the light directly.

But wait, what about using the two-finger pinch gesture to zoom in or out? Or, you can drag left or right on the zoom selection buttons to reveal a circular control (iPhone) or slider (Android) to let you compose your scene without needing to move, or even zoom way into 15x or 20x.

It’s so convenient, but try to avoid it if possible. All those in-between values are calculated digitally: the software is interpolating what the scene would look like at that zoom level by artificially enlarging pixels. Digital zoom technology has improved dramatically over the years, but optical zoom is still the best option.

How to switch camera modes quickly

Speaking of switching, the camera apps feature many different shooting modes, such as Photo, Video, and Portrait. Instead of tapping or trying to drag the row of mode names, on both iOS and Android, simply swipe left or right in the middle of the screen to switch modes.

How to use the grid & level for stronger compositions

Whether you subscribe to the “rule of thirds” or just want some help keeping your horizons level, the built-in grid features are handy.

In iOS, go to Settings > Camera > Grid and turn the option on. In Android, you can choose from three types of grids by going to the settings in the camera app, tapping More Settings, and choosing a Grid Type (such as 3 x 3).

The grid on the iPhone, and a related setting called Framing Hints on the Pixel, also enable a horizontal level. When you’re holding the phone parallel to the ground or a table, a + icon appears in the middle of the screen on both models. As you move, the phone’s accelerometer indicates when you’re not evenly horizontal by displaying a second + icon. Maneuver the phone so that both icons line up to ensure the camera is horizontally level.

How to control the flash & ‘Night’ modes

Both camera systems are great about providing more light in dark situations, whether that’s turning on the built-in flash or activating Night mode (iOS) or Night Sight (Android). The interfaces for controlling those are pretty minimal, though.

On the iPhone, tap the flash icon (the lightning bolt) to toggle between Off and Auto. For more options tap the carat (^) icon, which replaces the camera modes beneath the preview with buttons for more features. Tap the Flash button to choose between Auto, On, and Off.

On the Pixel, tap the Settings button in the camera app and, under More Light, tap the Flash icon (another lightning bolt).

The Pixel includes its Night Sight mode in the More Light category. When it’s enabled, Night Sight automatically activates in dark situations—you’ll see a crescent moon icon on the shutter button. You can temporarily deactivate this by tapping the Night Sight Auto button that appears to the right of the camera modes.

The iPhone’s Night mode is controlled by a separate button, which looks like a crescent moon with vertical stripes indicating a dark side of the moon. Tap it to turn Night mode on or off. Or, tap the carat (^) icon and then tap the Night mode button to reveal a sliding control that lets you choose an exposure time beyond just Auto (up to 30 seconds in a dark environment when the phone is stabilized, such as on a tripod).

Put the fun in smartphone fundamentals

As with every camera—smartphone or traditional—there are plenty of features to help you get the best shot. Be sure to explore the app settings and the other buttons (such as setting self-timers or changing the default aspect ratio) so that when the time comes, you know exactly which smartphone camera feature to turn to.

The post How to unlock your smartphone camera’s best hidden features appeared first on Popular Photography.

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You pick out a roll of film and load it into your camera. You advance by a few frames. You line up your shot and…*CLICK.* The shutter opens for just an instant, light hits the film, and the moment is captured. All that’s left is to advance to the next frame…Or not?

Shooting double exposures is a classic technique that involves exposing the same section of film twice to overlay two scenes within a single frame. This can be repeated any number of times to create multiple exposures of any amount, but in the interest of keeping this article a bit simpler, I’ll be sticking to just double exposures.

Related: Best 35mm film

Why try double exposure photography

Everyone goes through periods of feeling uninspired, and shooting a roll of double exposures is a great way to get the creative juices flowing again. Personally, I shoot a lot of film and I often revisit familiar locations. There’s certainly no lack of pictures to be taken, but it can be hard to get excited about shooting somewhere you’ve been to countless times before. For me, shooting double exposures is a way to breathe new life into a place; it gets me excited to go out and shoot again.

Another great thing about shooting double exposures is that they’re super simple to try out, but very challenging to master. Double exposures can be done with any film camera and often lead to cool results even without any real planning.

Related: Everything you need to know to get started with Super 8 film

If you do decide to plan though, there are many factors that go into creating that “perfect” image. The type of film, how scenes are metered, and the framing of shots are all essential when trying to create more intentional double exposures. Experimenting is key, and even though there can be a lot of disappointments, it’s worth it when one comes out exactly as you’d hoped.

The science behind double exposures

The way this works is pretty straightforward but requires a basic understanding of how film functions. Film consists of a strip of celluloid coated with chemicals that react to light when exposed (i.e., they are photosensitive). This reaction permanently alters the film such that the specific pattern of light (the photo) can be seen once the film is developed. 

With that in mind, there’s no reason why the same strip of film can’t be exposed to light a second time to re-trigger this reaction, thereby layering two photos into a single frame. Now, this is an extremely simplified explanation, but hopefully it helps give a bit of background to what’s going on when you take double exposures.

A final thing to remember is that the shadows of the first photo will show in the second photo more prominently, and vice versa. This is because the shadows of a photo haven’t been exposed to as much light as the highlights, so they still have the ability to retain an image. For example, consider the following photo:

In this double exposure, the shadows of the first image (the road) show the statue most clearly. Simultaneously, the shadows of the second image (the statue and its base) show the cars and the power lines best.

To plan or not to plan?

Related: Film photography is driving increased silver demand

There are three approaches I like to take when creating double exposures. These are just meant to give you some ideas of where to start and to hopefully get your creativity flowing. The approaches are: Shooting completely random/unrelated images for each photo, shooting with a very loose overall goal (e.g. contrasting city and nature), and precisely planning out frames to achieve a specific vision.

Before showing you some examples, I’d like to mention that it can be easy to overexpose the film unless you have a good idea of what you’re doing. For that reason, I’d recommend starting out by underexposing each individual shot by one stop, then experimenting a bit once you see how that turns out. One easy way to do this is by setting your camera’s ISO to double the film’s ISO. That way you can just meter as you normally would without needing to remember to underexpose when shooting.

With that out of the way, here are a few examples:

Leave it to chance

This double exposure was taken with no plan in mind. I enjoy the unexpected composition here, with the right of the frame being extremely crowded and the left being fairly empty. It’s not something I would have thought to do intentionally.

Keeping in theme

For this double exposure, I shot through the entire roll at separate times with the goal of photographing city scenes on the first pass and nature scenes on the second pass.

Planning the shot

For this frame, I had a specific plan in mind. I wanted to create some ‘artificial street art’ by first taking a photo of a brick wall, then a photo of a sunflower. For metering here, I underexposed both scenes by about a stop, but ensured the sunflower was against a mostly dark background.

How to photograph a double exposure on film

Method 1: Shoot the same roll twice 

If you saw my guide on redscaling film, you’ll be happy to learn that creating double exposures is even easier. Depending on your camera, there are a few ways to achieve this effect.

The first way to take double exposures is to shoot through a roll fully, rewind it, then shoot through the whole thing again. The upside to this approach is that you can do it with any camera, but there are a number of downsides that make it a bit less desirable than the other methods. However, there are workarounds.

With this method, it can be a bit challenging to line up the frames perfectly on top of one another. Doing so involves taking a lot of notes and is very prone to error. You’re also locked into shooting a full roll of double exposures, whereas you can just shoot one here and there when using the other techniques.

 If you are taking this route, the simplest way to align the frames is by marking the film before your first pass, then moving the marking to the same position before the second pass.

Additionally, try to avoid rewinding the leader all the way into the canister after shooting through your roll the first time. Rewind slowly, and wait for a “click” that happens when the film fully separates from the take-up spool. Then you can safely open the camera and prepare for the next set of exposures. If you accidentally do wind it all the way in, there are ways to get the leader back out, but it can be a bit frustrating unless you have a special tool.

Method 2: Shoot the same frame twice

The second method is to manually prevent the film from advancing, while still pushing the advance lever to reset the shutter. This approach is definitely preferable to the first, since it allows you to just do a few double exposures, and ensures that the frames stay lined up. Unfortunately, it is only possible on certain film cameras. To know if your specific camera can do this, you’ll want to start by checking the manual for info related to double exposures (most can be found online here). If there’s nothing in the manual, you may need to search around or try it yourself to see if it’s possible.

Assuming that your camera can do this, all you’ll likely need to do is press down the “rewind button” located on the bottom of the camera before advancing the film. (Depending on your camera, you may need to fully hold the button down while advancing).

Method 3: Use your camera’s double exposure feature 

The final, most convenient method is to use a camera’s built-in “multiple exposure” mode. This essentially works the same way as method two, pressing/holding the button advances the frame count but keeps the actual frame in place. Not many older cameras have this functionality, but plenty of cameras from the 1980s and beyond offer it. If yours does, you’ll want to check the manual for info on how to use it.

Ready to try your hand? 

Shooting double exposures is probably one of the all-time classic film experiments and for good reason! It can be done by just about anyone with a camera, and really makes you see the world differently. Whether you randomly shoot through a roll twice or create extremely calculated images, the results can be spectacular! It’s truly a technique with endless possibilities.

Hopefully, this overview of double exposure on film has inspired you to try it out for yourself.

Be sure to use the hashtag #popphotofilm if you do, so we can see your results. If you’re interested in learning about other experimental film techniques, check out more of my work on Instagram and TikTok.

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