7 Steps to Improve Your Closeup Candid Street Photography

Many people want to improve their street photography or get involved with this genre for the first time. But the major aspect that holds them back is the issue of taking close candid pictures of people without their permission. While I promise that it gets much easier over time, it can very difficult to get over the hump early on.

7 Steps to Improve Your Closeup Candid Street Photography

However, there are some steps you can take that will help ease you into the world of street photography if you do it right. Here are a few important tips that I believe will make shooting candid street photography much easier for you.

1. What to do if you get caught

Before we talk about how to get closer to your subjects, the first step is knowing what to do if something happens. The toughest aspect of getting into street photography is the fact that you will feel very uncomfortable with the idea of someone catching you and asking what you are doing, at first. However, while those situations are usually rare, if you handle them the right way, they don’t have to be all that bad.

7 Steps to Improve Your Closeup Candid Street Photography

To help ease your fears, it is important to know what to say if anyone should stop you and ask you if you took their photo. Smile, own up to it and say that you are a photographer or photography student doing a photo project on the area and the people in it. Tell them you thought they looked great and wanted to add them to it. Just be honest and open about it. If they then seem uncomfortable, offer to delete the photograph. It can even help to carry a business card with your photography information and to offer to email them the photograph after. The more direct and pleasant you are, the more disarming it will be.

To further keep yourself out of trouble, pick and choose the people you photograph carefully. It can help to stay away from photographing anyone who looks like they are in a bad mood, anyone with some sort of mental disability, or anyone who is homeless.

2. Light camera and prime lens

Street photography can certainly be done well with an SLR and a zoom lens. I shot for a long time with that setup. However, using a smaller camera such as a mirrorless, micro 4/3rds, or a Leica will make you much less noticeable. In addition, it will be lighter, which will make you faster and can only help with street photography. The difference is night and day.

By using a prime lens you will get used to the fixed focal length which will make you much more spontaneous. You will be able to intuitively know what your camera can capture before you even bring it up to your eye. That, and your camera will be smaller since zoom lenses are usually very large. With a light camera and lens, you will eventually notice yourself capturing images so quickly that your subject barely even notices you. This is the type of thing that is much tougher to do with an SLR and big zoom lens.

3. Picking a spot / getting in the middle

7 Steps to Improve Your Closeup Candid Street Photography

The next tip, which is often the most important, is to go where the action is and get right in the middle. It will be important for you to eventually photograph in all types of situations, from less busy to very crowded, but particularly when you are learning, go where a lot of action is happening. Go to fairs, get out at busy times, shoot from busy corners. The more that is happening, the more invisible you will be, and the less you will be noticed by other people. This will help a lot with your comfort level.

By picking a spot and letting your subjects come to you, you change up the dynamic of the situation. Instead of you entering their personal space, they will be entering yours. You will seem less creepy and intrusive because you will already be there with a camera. It will look like you belong.

In addition, when a moment occurs, you will already be the right position. You will be able to spend more of your energy watching your surroundings for a good moment to occur. This, of course, doesn’t mean that you shouldn’t photograph while you are walking and exploring, just that you should carve out some time to linger in a specific spot.

4. Acting

7 Steps to Improve Your Closeup Candid Street Photography

There are some photographers who will run up to people and get right in their face. If that’s your thing, more power to you, but many photographers prefer to be less conspicuous about it. We want to capture an interesting moment, we love to people watch, but we want to try to make the situation as comfortable as possible for both parties, and we want to be inconspicuous enough to not ruin the moment.

This is where a little acting can come into play. The most important thing is to act like you don’t notice the person you want to photograph that much. Look at things behind them, and to the side. They just happen to be in your way. Play the role of tourist, looking around. The more you do this, the more you will be able to get away with taking the photo unnoticed.

5. The camera snap and the way you move your camera

7 Steps to Improve Your Closeup Candid Street Photography

Similar to the last point, the way you move your camera can play a big part in keeping the situation candid. There is one thing that most photographers do, called the camera snap, where they take the camera away from their eye instinctively right after they take an image. Of course, there will be shots that you take so quickly that people won’t notice. But for other moments when the people notice you, this will often give away the fact that you were taking their photograph. Instead, take the picture and keep the camera up to your eye. Then move the camera away like you were taking a picture next to them and slowly remove the camera from your eye.

Similarly, you do not always have to point your camera directly at people right away to capture the image. Instead, point the camera above or to the side of your subject as if you were taking an image of something behind them. Then at the last second, move the camera over them, take the image, and move on.

6. Hold the camera up high

7 Steps to Improve Your Closeup Candid Street Photography

Whenever possible, try to keep your camera in your hands and at attention when you are photographing. If you allow it to hang off your neck, then when an amazing moment occurs you will have to locate and grab the camera before putting it to your eye. This is the least conspicuous way to capture an image.

Instead, try to keep the camera up high as much as you can. Then, when you take an image you will stand out less. It will feel much less conspicuous.

7. Zone focusing

7 Steps to Improve Your Closeup Candid Street Photography

Zone focusing is the technique of turning your camera to manual focus mode, pre-focusing it to a distance of about 8-10 feet, and then capturing your subject once they are in the range of sharpness for your camera. This is easier to do with a wide-angle lens with a medium to small aperture such as f/8 to f/16 so that there is more area of your image in focus. Keep in mind that this is a skill that can be improved – there are many photographers who can zone focus well even at f/2.

You can read more about zone focusing here, and while it is a little difficult to learn at first, you will quickly get much better at it. The main benefit of this type of focusing is so that you no longer have to lock the autofocus in on your subject. This allows you to be a little more spontaneous with your shooting, and it will give you an added split second to take the photograph. That, in turn, will allow you to better capture those very fast moving moments.

Most importantly, it will allow you to be a little more candid than you can be using autofocus. Since you won’t have to point the camera directly at your subject to lock in the focus nor will you have to look through the viewfinder to make sure you are focusing correctly, you can be much more inconspicuous. This will allow you to shoot from the hip and still know that your shots will be sharp.


I hope these tips help you do better candid street photography, and with more confidence.

So get out there, get close, and capture some amazing and spontaneous photographs!

The post 7 Steps to Improve Your Closeup Candid Street Photography by James Maher appeared first on Digital Photography School.

5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature

Since its Version 1.0 release in 2006, Adobe Lightroom has gone from strength to strength, firmly establishing itself as the go-to software for photographers around the globe. With each new update, you’ll be relieved to find you have fewer reasons for awakening the software’s fuller-figured big brother, Photoshop CC.

That said, there are some limitations with Lightroom that have stood the test of time. Thankfully, with more signups for the Creative Cloud Photography plan, there are now few photographers without access to both solutions. But for the times you need it, here are five reasons you’ll likely find yourself firing up Photoshop CC for better results.

1 – Cloning and Healing

Lightroom is a whiz at removing simple sensor spots from that top left corner of your images (Nikon users, you know what I’m talking about!). Punching Q then A allows me to quickly visualize any distracting spots with the handy white on black overlay, and their removal is typically a swift one-click solution using the Spot Healing tool.

However, the same cannot be said when attempting to remove distractions from more complex textures such as dust spots in the grass, for example, or people, as in the image below. For those situations, I rely on the smarter algorithms and expanded capabilities of Photoshop.

Cloning before - 5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature

Want to feel like the only person at Angkor Wat? Then, you’ll need Photoshop!

To remove and replace objects that Lightroom cannot handle, start by right-clicking the image and choosing Edit in Photoshop. Then create a duplicate layer (CTRL/CMD + J) of your image in Photoshop (I generally do this every time I start processing so I can always get back to the original if I make a mistake or don’t like the result).

Next, erase the distraction with the Eraser Tool (E) so that you can see a “missing piece” where the culprit used to lie (be sure to turn off the visibility of the original background layer if nothing appears to have been erased). Select the area using the wand tool (W) and then in the menu bar at the top of your screen choose Select > Modify > Expand (choose around 5 pixels as your setting).

Next, choose Edit > Fill and select “Content-Aware” in the Contents dropdown list. Hit OK and Photoshop will attempt to replace what you’ve erased with something sensible.

Cloning demo - 5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature

A before, during, and after shot showing the simple removal of people from an image using Erase and Content-Aware Fill.

I’ve been able to seamlessly remove crowds of people from the image you see here using this technique, and the process took only around two minutes. Whereas Lightroom relies on finding a similar texture it can use to cover up distractions/blemishes, Photoshop uses its clever algorithms to create its own texture.

Cloning final - 5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature

Going, going, gone! Photoshop makes light work of the unwanted people in the image.

2 – Digital Blending

Sometimes you just can’t quite capture enough dynamic range in your image to get away with a single exposure (at least not without introducing an unacceptable amount of noise or strange artifacts). While Lightroom has attempted to cater to those who wish to combine exposures with the introduction of HDR Photo Merge, using the feature can sometimes lead to incredibly flat images that are tricky to process (and in the case of the image you see below, caused the sun to completely disappear by virtue of it not appearing in both of the photographs).

Hdr both frames - 5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature

Pulling up the shadows on the darker of these two exposures would introduce too much noise, and so HDR seemed the way to go.

Lightroom hdr attempt - 5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature

…if only it wasn’t for Lightroom’s attempt to fix global warming.

Lightroom hdr after post-production - 5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature

The plight of a freezing earth aside, even after post-production in Lightroom, the blended exposure looks flat and uninteresting.

The advanced masking abilities of Photoshop, combined with a technique called Luminosity Masking makes combining exposures much simpler. Using this technique, you choose exactly what appears from each exposure, so blending images that have uncommon elements (as in the case of the sun in the example image) is simple.

Photoshop hdr blend - 5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature

Not only is the sun retained, but the image looks punchier overall, too.

3 – Advanced Tone and Color Control

The local adjustment tools in Lightroom including the Adjustment Brush (K), Graduated Filter (M) and Radial Filter (Shift+M) give you far less need for Photoshop than was the case before they were introduced. They are excellent targeting tools, yet they all suffer a major weakness – there is no access to HSL (Hue, Saturation, and Luminosity) adjustments.

In daytime landscape images, you’ll often want to deepen the blue of the sky. While this can be done using the HSL panel, the problem is that blue is not a color found exclusively above the horizon, as is the case with the walls and clothing in the example image below. The only way I could deepen the blue here would also cause detrimental effects to the blue everywhere else. Targeting the sky with the Adjustment Brush didn’t give me access to the necessary HSL sliders.

Color control before - https://digital-photography-school.com/understanding-the-hsl-panel-in-lightroom-for-beginners/

I wanted to bring a bit of life to the sky in this image. But in Lightroom, there is no way to adequately control the blues without affecting the same tones in other areas of the image.

Color can be better controlled in Photoshop by hitting Select > Color Range, then using the eyedropper tool to select a color you want to affect in isolation. You can then create an adjustment layer of your choice to affect the selected area; most often you’ll find a Hue/Saturation adjustment is the best method.

The benefit of this last method is a dramatic one: Whereas in Lightroom you can only make wholesale adjustments, i.e. changes that affect the entirety of the image, to Hue, Saturation, and Luminosity, you aren’t subject to the same limitation in Photoshop. By selecting an appropriate color, then masking out the effect in undesirable areas, you’ll retain more control, as is the case with the image below.

Color control after - 5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature

Targeting only specific areas while retaining full access to every adjustment Photoshop offers is hugely appealing. Note the sky is darkened here but not the wall or people’s clothing.

To achieve my aim, I simply created a Hue/Saturation adjustment layer and then masked away the effect from everywhere but the sky. I’d tried all manner of adjustments in Lightroom but could only get the sky to look how I wanted at the expense of adding too much blue elsewhere.

Another great option when this happens is to simply create two virtual copies in Lightroom, one with the sky (or another problem area) as you want it, and another before you did the damage with the other edit. You can then blend the two together in Photoshop.

4 – Stitching Panoramas

When Adobe announced they’d be adding the Panorama Photo Merge feature to Lightroom, I figured that’d be yet one more thing scratched from my “Must use Edit in Photoshop” list. Alas, it wasn’t to be, predominantly because of the likelihood of “blank canvas” – the phenomenon where you’ll find blank, white space in your Lightroom panoramas. Try it for yourself. CTRL/CMD + Click to select all of the images you wish to stitch, then right-click and select Merge > Panorama. I bet there’s an area missing from the photograph.

Lr pano demo - 5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature

Here you see Lightroom’s attempt at creating a 6-frame panorama.

The effect is caused by the distortion inherent to some degree in every lens, and Photoshop will produce near identical results. Where Photoshop excels, however, is in its ability to offer a more flexible solution. In Lightroom, you are left to merely crop away the now-useless areas. But in Photoshop you can use the same Content-Aware Fill method described in #1 above to cleverly re-create a convincing replacement area of sky (although you may want to try expanding your selection by 20 or so pixels, as opposed to the 5px recommended for removing smaller items).

Left to the solutions in Lightroom, I’d have been forced to crop away more of the sky than I’d have liked in this image. With Photoshop I was even able to replicate some tricky texture in the water at the bottom of the frame. I still needed to crop away a little of the image, but nowhere near as much.

Pano in photoshop - 5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature

Pano complete - 5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature

Photoshop’s Content-Aware Fill allowed me to retain much more of the final image and forced less cropping.

5 – Chromatic Aberrations

Lightroom generally does a pretty good job of dealing with chromatic aberration, the color fringing that can appear where dark and light tones meet. You’ll often see this in daytime cityscapes where the top edges of buildings meet a bright sky, for example, usually manifesting itself as a green or purple edge straying into the brighter tone.

Chromatic aberration before - 5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature

While this nun is a holy person, the blue glow on the shoulder is a bit much.

Lightroom has a couple of ways of dealing with this. First, there’s the Remove Chromatic Aberration checkbox in the Lens Corrections panel. I’d say 90% of the time, this is enough to correct the problem. Where the fringing persists, heading into the manual tab of the same panel allows you to grab the Fringe color Selector (the eye-dropper-like icon) and click on the offending area.

This will generally fix a more complex problem, but every once in a while you’ll encounter fringing so stubborn that Lightroom can’t handle it. This happens most frequently with blue fringing, which Lightroom is pretty much powerless against. Fortunately, blue fringing is quite rare, but it does happen.

Fringe color selector - 5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature

Lightroom is powerless against the dreaded Blue Glow!

You could try to desaturate the offending edge with Lightroom’s adjustment brush but you run the risk of accidentally straying into the surrounding area. Alternatively, you could try to completely desaturate the blue and cyan in the HSL panel. In this case, I didn’t want to do either of those as it would put my blue-green background at risk, making it look far too much like color-select for my liking.

Photoshop affords so much more control in fixing this problem. It’s as simple as heading to the menu bar to hit Select > Color Range and then clicking on the color fringing with the eyedropper tool that appears automatically. This will create a selection based on that very blue causing the problem.

By altering the “Fuzziness” you’re basically setting color sensitivity. The lower the number, the more precisely Photoshop will select that color; the higher the number, the more leeway you give the software to find similar colors. Don’t worry if there’s an identical or similar color elsewhere in the image that Photoshop picks up on; it’s easy to mask that out later.

Once you see that your mask has isolated the problem area well enough, open a Hue/Saturation adjustment layer, which should have automatically applied your selection as a mask. Reduce saturation in the Blues and Cyans until the problem is gone. If you’ve accidentally desaturated some other important area of your photograph, click on your mask, grab the black brush, and mask it out. Easy.

Color range with mask - 5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature

Targeting doesn’t get any easier.

Chromatic aberration demo

The nun’s blue glow is successfully removed. I’m not quite sure how she’d feel about this.


The next time one of the few remaining weakness of Lightroom is exposed, you can try one of the above techniques so the software doesn’t have to get in the way of your vision.

Have you found any other Lightroom limitations? Please share in the comments below.

The post 5 Reasons for Lightroom Photographers to Use the Edit In Photoshop Feature by Chris Cusick appeared first on Digital Photography School.

Photo of the week: Colors of the Arctic

This image was taken while spending 2 nights in a remote island camp in Ataa Fjord, at the north of Disko Bay, Greenland. The camp was quite basic, especially compared to our luxurious hotel back in town, but the photographic opportunities were incredible. We basically had a huge island to ourselves, with a lake, kayaks, hills and huge icebergs floating all around.

In the 1-2 hours between sunset and sunrise, the colors were incredible. We set out on foot to climb a 130m hill close to camp, where we’d get a good vantage point of the icebergs, and indeed, we witnessed some incredible sights.

One of them was this beautiful iceberg, floating gracefully in the fjord’s clam, reflective waters, with an incredible colors gradient surrounding it.

The photograph was captured with my Canon 5D Mark III and Canon 70-300mm F4-5.6L IS lens.

Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez's work on Instagram, Facebook and 500px, and subscribe to his mailing list for updates. Erez offers photo workshops worldwide.

Fujifilm X-A10 sample gallery

At $500 with a kit lens, the Fujifilm X-A10 represents the least expensive entry point to the company's X-system. Like its fellow A-series siblings it uses a traditional bayer filter rather than X-Trans, and though it lacks a touch screen or option for optical viewfinder, it does provide an impressive 410-shot battery life.

While it may be overlooked by Fujifilm fans seeking a robust body or better tracking autofocus, it looks plenty tempting if you're on a budget and swayed by Fujifilm's lovely JPEGs. We brought it along on a recent trip to Jackson Hole, Wyoming – take a look at how this light and compact ILC performed.

See our Fujifilm X-A10 sample gallery

Sample photoSample photoSample photoSample photoSample photo

Weekly Photography Challenge – View From Above

If you’ve already looked at this article from earlier on tips for drone photography, you’ll already be in the mood for this challenge. But you don’t need a drone to participate – just a high vantage point, looking down. Are you “up” for it?

Weekly Photography Challenge – View from Above

This week it’s your job to get up high and look down on the world – literally. Show us the view from above with your photos for this weekly challenge.

Share your images below:

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

Share in the dPS Facebook Group

You can also share your images on the dPS Facebook group as the challenge is posted there each week as well.

The post Weekly Photography Challenge – View From Above by Darlene Hildebrandt appeared first on Digital Photography School.

Japan Camera Hunter is designing a 35mm ‘premium compact’ camera

During last week's Save Analog Cameras live broadcast, it was announced that Bellamy Hunt of Japan Camera Hunter (JCH) is working on a new 35mm compact camera project, according to Kosmo Foto. This revelation follows Hunt's recent launch of the JCH StreetPan 120 B&W film, which itself followed JCH's first film launch about a year and a half ago.

Hunt reportedly didn't reveal much about the planned 35mm camera, though he did refer to it as a 'premium compact,' indicating what potential future buyers can expect. The project aims to fill a growing void in the camera market, giving analog enthusiasts a modern compact 35mm option, although it could be many months before the camera actually launches.

Kosmo Foto reports that the camera may be ready for testing some time next year, though they didn't mention whether they got that information directly from Hunt or elsewhere. Hunt discussed the topic of compact film camera scarcity in a blog post earlier this year, saying, among other things:

I would dearly love to make a compact camera, and I know what I want too ... A simply [sic] point and shoot with a decent 28mm or 35mm lens, flash, iso selector and manual override. As simple as possible and made from metal for durability. The less electronic components the better, so that it can be easily serviceable and less prone to breaking down.

Whether the camera discussed last week will follow these design principles is yet to be seen, but we'll definitely be keeping a eye out for Hunt's creation.

Video: The difference between Saturation and Vibrance explained

You've probably heard this question once or twice from a novice, or maybe even asked it yourself: what exactly is the difference between the Vibrance and Saturation sliders? Well, fortunately, Jesus Ramirez of Photoshop Training Channel has put together a quick, simple, and thorough explanation that you can reference from here on out.

At the most basic level, both options increase color intensity—the difference lies in which colors they affect and how.

Saturation impacts all color intensity equally, which is why it's so easy to go overboard so quickly. Vibrance, on the other hand, only increases the intensity of the less saturated colors in an image while simultaneously trying to avoid skin tones and prevent the gaudy posterization that happens when you crank your saturation up to the max.

Jesus covers this difference in his video—with appropriate demos of course—but he also goes a bit further by diving into how the Saturation slider differs between the HSL panel and the Vibrance panel, and showing how the two options, Vibrance and Saturation, can be combined to achieve pleasing results that don't look like you puked a rainbow all over your image.

Check out the full 5-minute video above to see the useful rundown for yourself, and then head over to the Photoshop Training Channel for even more handy tutorials like this one.

New FAA drone rules restrict flying near 10 major US landmarks

The FAA has released a new set of drone rules that restrict UAV flight near 10 major Department of Interior landmarks in the United States, including the Statue of Liberty, Mount Rushmore, and the Hoover Dam.

According to the FAA, it has decided to exercise its authority under Code of Federal Regulations Title 14 § 99.7 to establish these new restrictions after receiving multiple requests from both law enforcement and national security agencies. Starting October 5th, when these new rules go live, drone owners will no longer be allowed to fly their drones within 400ft of the following 10 monuments:

  • Statue of Liberty National Monument, New York, NY
  • Boston National Historical Park (U.S.S. Constitution), Boston, MA
  • Independence National Historical Park, Philadelphia, PA
  • Folsom Dam; Folsom, CA
  • Glen Canyon Dam; Lake Powell, AZ
  • Grand Coulee Dam; Grand Coulee, WA
  • Hoover Dam; Boulder City, NV
  • Jefferson National Expansion Memorial; St. Louis, MO
  • Mount Rushmore National Memorial; Keystone, SD
  • Shasta Dam; Shasta Lake, CA

Anyone who violates these new rules could face criminal and/or civil penalties. The FAA says that there are "a few exceptions" to the restriction, though it doesn't specify what they are, instead saying that the drone operator has to coordinate their plan with the FAA and/or the landmark site specifically if they wish to fly within 400ft of the above landmarks.

Drone operators can view a full list of restricted airspace on the FAA's website.

Face ID sensor slowdown could lead to iPhone X shortages and shipment delays

Photo: Apple

Most iPhone launches involve some sort of shortage because demand frequently outstrips supply, but if you're excited about Apple's new flagship iPhone X and the impressive camera equipment inside, the news is worse than usual. According to both the Wall Street Journal and Fast Company, manufacturing difficulties surrounding the phone's Face ID hardware could lead to serious shortages and shipment delays come November 3rd.

Many photographers and photo enthusiasts are very excited about Apple's newest smartphones. According to Apple's keynote, both the iPhone 8/Plus and iPhone X boast bigger image sensors, and the iPhone X in particular features OIS on both the wide angle and telephoto lenses built into the back of the phone.

Add to that some image processor advances and a seriously powerful new video encoder that Apple built into the A11 chip, and there's good reason to be impressed by the performance of the iPhone 8 Plus so far, and expect even better performance out of the iPhone X.

But even if you pre-order your iPhone X on October 27th, the day the phone goes up on Apple's website, this Face ID manufacturing snafu could mean availability is severely limited for months. Similar manufacturing issues with the iPhone 7 Plus dual camera module kept that phone in short supply well into December.

Bottom line: if you're holding out on buying the iPhone 8/Plus in favor of the iPhone X, don't be surprised if your wait extends well past November 3rd.

GoPro’s 5.2K 360-degree Fusion camera officially launched, costs $700

The GoPro Hero6 was the big news to come out of GoPro's launch event yesterday, but it's not the only thing the company revealed. CEO Nick Woodman also officially launched the previously-announced and still somewhat-mysterious GoPro Fusion—the company's 360° 5.2K action camera.

The GoPro Fusion was first teased at CES in 2016 and revealed in April of this year, but other than its ability to shoot 5.2K spherical video at 30fps, we really didn't know much about it. Official release date was set for "Fall" and people mostly forgot about it... until yesterday, that is. We found out a lot more about Fusion the launch event.

In addition to that video spec, the Fusion uses its two lenses to shoot 18MP spherical photos, captures 360° sound, is waterproof to 16feet (5 meters) without any external case, and features 'gimbal-like stabilization' that is achieved using the built-in accelerometer, gyroscope, and compass. Additional features include time lapse video and photo modes, night lapse and burst modes, voice control in 10 languages, and built-in GPS, WiFi and Bluetooth.

Here are a few video breakdowns of the different features built into the camera, like that gimbal-like stabilization and something called 'OverCapture':

The GoPro Fusion is already up for pre-order on the GoPro website. It will cost you $700 and GoPro plans to ship the Fusion later this month. Click here to find out more or pre-order yours now.

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