Every year it is customary for us to feature an article that highlights the trends and predictions that will might become big in the coming year. This list usually includes a combination of photography styles, products, technology among others that we feel will be used/applied the most in the next year, and with 2022 around the corner there are things that potentially might be some of the biggest trends in 2022. In this article we’ve listed them and if you have read our previous articles then you would know that we usually get most of these things right.

– By Bhavya Desai

Weddings to come back full circle

For the large part of the past two years, we’ve spent most of our time in isolation or in smaller groups. This also meant that most of the celebrations like weddings have been more intimate or in a private setting. And while they have their own place and everyone enjoys that as an experience, it was believed that this will be the trend going forward. Infact I was also completely sold to that idea. But from what we’ve been witnessing in the past few months, weddings are for sure coming back full circle or circus (whatever you like). So get ready for some massive shor sharaba in 2022, which surely is great news for the photographer fraternity.

Short form Content

This will be one of the biggest trends for the year 2022 with more and more users consuming short form content thanks to social media platforms. Creators and photographers will use these platforms to showcase BTS, projects, etc. and if you aren’t one of those who hasn’t started using these features, now would be a good time to start. The potential of providing a sneak peek into your world and amplifying your reach via such content is going to be golden.

Content to be King

While content has always been important, the explosion of creators, social platforms, etc. have also increased the amount of content that is now available for viewing. And more often than not you find a lot of noise rather than meaningful content. But 2022 will be a time that viewers will become more selective when it comes to consuming content, whether still or video. So if you are a photographer or a creator then I would pay double attention to what you create in 2022 since it will be even more important this year.

NFTs in Photography

For certain 2022 will see more photographers/artist try out NFTs in photography. NFTs are Non-Fungible Tokens and I am not certain if they will be around for many years to come, but the sort of success that they recently got, their popularity will surely increase more in 2022. Artists will try their hands at NFTs in 2022 and if they will taste success, then it will plant the seed for the years to come.

Camera and Smartphone brand collabs

We’ve already seen a number of collaborations between camera manufacturers and phone brands. And this is only natural since cameras play such a big part in influencing the buyers’ decision today. But while the both these segments are collaborating since the past few years, the true potential of what they can achieve isn’t there yet. But in 2022, I feel these will start shaping up with great meaning. The phones will start offering superior features, better cameras, better technology, thanks to the results maturing from such collabs that’ve been initiated over the years.

Candids are the Only Thing Now

Everyone knows Candid Photography has been around for a while. It really isn’t a new concept anymore. But what is about to change is the sheer application of that style in 2022. With photography now becoming more personal, candid is the future with lesser application to commercial outlook in weddings. For instance, in wedding photography you’ll now find dedicated photographers only for the bride and only for the groom, probably one only for the families as well. These are uncommon today, but in 2022 you’ll see more of such trends where dedicated candid photographers/videographers will be used with commercial ideas thrown out of the window for a new style of services to evolve.

Drones, drones and more drones

Drones automatically have been qualifying in our list for the past few years and they’ll continue to do so may be for the next few years as well. With technology getting better and better with what drones can achieve, like newer shots, angles, scenes, photographers and creators will continue to use them extensively in 2022, especially with the norms now relaxing slightly towards their applications.

Death of the DSLRs?

I am on the fence with this point honestly. Every time I feel that DSLRs are done, some manufacturer springs in and surprises me with a new product. But honestly, I think now the time has come when DSLRs or at least new products might be done. I don’t see many launches happening for the next few years and the remaining few manufacturers that are still making them might also stick to only a product or two in every few years. But with some of the new products being launched still doing the rounds, you never know what happens.

Affordable Mirrorless Full-Frames

This as a category of cameras will grow exponentially for the next few years to come. Products with great potential have already been launched in the market and from the popularity that they are getting, it is a matter of time when products with better features at a more affordable price will start emerging from all manufacturers.

Plus Size and Dark Models

We are always shooting subjects in Fashion and Commercial Photography who for the longest time were considered to be perfect models. Unfortunately, that system and belief is severely flawed since we’re tuned to like people in a particular body shape and skin colour, but in the last two years these inhibitions are changing and more plus sized and dark skin models are used in global and mainstream campaigns. And this is a stance that is now adopted by some of the biggest brands globally and 2022 will mark an important change in this trend moving forward.

Chip Shortage

Now this really isn’t a trend but an important update on the chip shortages that plagued every industry in 2021. One of the biggest challenges for any industry in 2021 was acquiring microchips that power every smart product. And the camera industry was no different with shortage in supply of products still on-going. In 2022 also most manufacturers will face this challenge, so be ready to see some delays.

So this rounds up the trends that we feel will become big in the year 2022. Do let us know in the comments what you think of them or if there is something that we have missed.

Sony has created the world’s first 1 stacked CMOS image sensor technology with 2 Layer Transistor Pixel. Whereas photodiodes and pixel transistors in typical CMOS image sensors share the same substrate, Sony’s innovative technology divides photodiodes and pixel transistors on independent substrate layers. This innovative architecture almost doubles 2 saturation signal level 3 compared to traditional image sensors, broadens dynamic range, and decreases noise, resulting in significantly improved imaging qualities. The pixel structure of the new technology will allow pixels to preserve or improve their present qualities at not only current but also reduced pixel sizes.



Sony’s new design represents a step forward in stacked CMOS image sensor technology. Sony placed the photodiodes and pixel transistors on separate substrates stacked one on top of the other using its unique stacking process.

Furthermore, because pixel transistors other than transfer gates (TRG), such as reset transistors (RST), select transistors (SEL), and amp transistors (AMP), occupy a photodiode-free layer, the size of the amp transistors may be expanded. Sony was able to significantly reduce noise in nighttime and other dark-location photos by increasing the size of amp transistors. This new technology’s increased dynamic range and noise reduction will avoid underexposure and overexposure in situations with a mix of bright and dim lighting (e.g., backlit settings) and enable high-quality, low-noise photographs even in low-light (e.g., interior, nighttime) circumstances.

Sony’s 2-Layer Transistor Pixel technology will help to realise increasingly high-quality imagery, such as smartphone pictures.

Princeton University and the University of Washington researchers have created an imaging system the size of a coarse grain of salt. It is based on a metasurface with 1.6 million cylindrical posts and functions similarly to a camera sensor. Each post functions as an optical antenna, receiving light to form the optical wavefront, and then developing a high-quality picture in full colour using AI algorithms. Traditional cameras employ a sophisticated set of plastic and glass lenses to bend light onto a sensor, which transmits impulses electronically. The new method is based on metasurface, which is a thin layer made up of individual microscopic parts designed to refract light in any desired direction.

To honor another successful year with the SkyPixel community, DJI and SkyPixel, one of the world’s most prominent online aerial photography and videography communities, have announced the 2021 SkyPixel Creative Video Contest. The contest, which has a brand-new 15s Video category, encourages contributions from all sorts of producers, from hobbyists to professional filmmakers from all around the world. FAW-Volkswagen Audi, Canon, and DJI will give contest prizes.

The contest, which runs from October 27 through December 6, 2021, accepts films filmed on portable devices in seven categories: Sports, Travel, Party, Pets and Kids, Creative, Foods, and 15s Video. There are no age restrictions, and participants are free to submit as many pieces of work as they choose. Please see the official contest website at www.skypixel.com/contests/2021video for more information.

Professional film producers, directors, and well-known influences, like Sam Kolder, Aaron Liu, Devin Graham, and Mike Bishop, make up the 2021 judging committee.

SkyPixel and DJI will present 60 awards totaling more than USD 46,000 in cash and gifts. The Grand Prize winner will get a USD 7,500 DJI voucher to go toward any DJI product, a Canon EOS R5 mirrorless camera with an RF 24-105mm f/4 L IS USM Lens Kit, an Audi e-tron 1:18 model vehicle, and other interesting prizes. Winners in each category will win a variety of prizes, including a DJI Action 2 Dual-Screen Combo, a DJI RS 2 Pro Combo, a Canon EOS R5, and an Audi Sport Watch. Additionally, entries chosen by editors and shot on a previous-generation DJI Osmo or Ronin device will get a 5% voucher toward the purchase of a new DJI handheld product.


Submission Details
Submission Start Date: 21:00 (CST) on Oct 27 2021
Submission End Date: 14:00 (CST) on Dec 6, 2021
Award Announcement: Dec 28, 2021

Nikon yesterday introduced its latest flagship mirrorless camera, the Z9 for a whopping price of Rs 4,75,995. The camera is the first of its kind which doesn’t feature a mechanical shutter and only features an Electronic Shutter making it the fastest CMOS sensor produced and also that it will have the least amount of rolling shutter due to this feature.

The camera features a 45.7-megapixel sensor and has the capability to shoot 8K video at 30p and up to 20 fps RAW burst shooting capabilities. It’s Nikon’s first camera with a stacked sensor and built-in memory, allowing for extremely rapid readout speeds. Nikon is so confident in the electronic shutter that it has abandoned the mechanical shutter altogether, making the Z9 the first high-end professional camera to do so.

The Z9 sensor (which has the same megapixel count as the Z7 II) enables for flash sync speeds of up to 1/200th of a second, which appears to be the quickest sync speed for an electronic shutter ever. This should also make it particularly resistant to rolling shutter, which is important if the camera is going to be used for sports or action photography. The quicker sensor enables JPEG burst photography at up to 30 frames per second or RAW shots at 20 frames per second. If you’re ready to go down to 11 megapixels, you can capture photographs at 120 fps as well. The Nikon Z, like other stacked sensor cameras, features substantially better buffering, allowing you to shoot up to 1,000 frames at once with JPEG or the new HE (high efficiency) RAW compression techniques.

Nikon’s autofocus (AF) technology is likewise all new, and it makes even greater use of AI algorithms. Like the Canon’s EOS R3, can now monitor a wide range of subjects, including people’s eyes, faces, and bodies, as well as dogs, cats, and birds, aircraft, trains, motorcycles, and bicycles. And, unlike other AI cameras, there’s no need to tell it what you’re shooting – if you set it to “Auto,” the camera will figure it out (or, you can set the subject type manually). It also has a “3D tracking” feature, similar to that found in Nikon DSLRs. 

Nikon’s in-body stabilization mechanism has also been upgraded (which it calls “vibration reduction” or VR). It can now combine in-body and lens stabilization systems for more stable video and less blurry images. However, it will only be available with a few lenses at first, including the Nikkor Z 70-200mm F/2.8, Z MC 105mm F/2.8 VR, and the recently announced Z 100-400mm F/4.5-5.6 VR S.

As Nikon hinted earlier this year, video performance is similarly outstanding. The Z9 will be able to capture 8K at 30p, as well as oversampled 4K 30p from an 8K clip, which should be extremely crisp. It will also be capable of capturing 4K at up to 120 fps if you don’t mind pixel binning or line skipping. To begin, you’ll be able to capture these files at up to 10-bit resolution using H.264 or H.265 long GOP codecs. Furthermore, Nikon provides the extremely handy option of shooting video using ProRes 422 HQ compression, which is considerably easier to edit right out of the camera.

However, things will become much more fascinating later on. Nikon intends to provide a firmware upgrade in the future that will enable 12-bit 8K 60fps capture in a new, proprietary N-RAW format or Apple ProRes RAW HQ capture at 4K/60p. Nikon claims that at “average” conditions, you’ll be able to capture the oversampled 4K/30p for more than two hours. 

The camera features two CFexpress Type B slots (backward compatible with XQD) for maximum video and burst photo capabilities. The new EN-EL18d battery has a capacity of 740 shots per charge with the LCD and 700 shots with the EVF activated. It boasts a 3.69 million dot OLED viewfinder, which probably could’ve been better considering that most cameras now already have this since a longtime. The refresh rate of the EVF is just 60 fps, but Nikon claims that it always provides that speed and never downgrades it regardless of what you’re doing. It has a multi-direction back LCD rather than a completely articulating screen, although it can be tilted up to face you.

The Panasonic Lumix GH5M2 was recently released in India. The new mirrorless camera, developed as an improvement to the current Lumix GH5, is geared at videographers searching for a 4K video recording option. It can record C4K or 4K 4:2:0 movies at 60 frames per second (fps) in 10 bits while also permitting simultaneous output of C4K or 4K 4:2:0 10-bit films at 60fps. The Lumix GH5M2 has a 20.3-megapixel sensor with body image stabilisation. The camera also has Bluetooth and Wi-Fi connection.

The Panasonic Lumix GH5M2 body alone costs Rs. 1,69,990 in India, while the GH5M2 L-kit, which includes a 12-60mm lens, costs Rs. 2,14,990. The camera can be purchased in the nation from Panasonic India brand stores.

The Panasonic Lumix GH5M2 comes with the 20.3-megapixel Digital Live MOS sensor that includes an anti-reflective (AR) coating on top to minimise ghosts and flaring effects. The camera also includes an image processor along with Venus Engine that is claimed to enable 4K60p 4:2:0 10-bit internal recording and simultaneous 4:2:2 HDMI output. The Lumix GH5M2 also carries a deep learning technology that is claimed to help detect subjects such as humans, fast-moving animals, and birds.

In compared to the Lumix GH5, the Panasonic Lumix GH5M2 is said to have double the recognition cycle speed for identifying eyes and faces. The camera is also said to be capable of distinguishing between eyes, faces, and bodies in real time. The Panasonic Lumix GH5M2 also includes a 6-stop slower shutter speed, as well as body IS, which helps capture steady photos even while shooting handheld.

Panasonic has enabled wireless live streaming on the Lumix GH5M2 in addition to wired live streaming through HDMI. It is accessed via the Lumix Sync app, which is available for smartphones. The camera can transmit full-HD video at 60 frames per second using the H.264 codec in the RTMP/ RTMPS protocol. The business has also made available a specific software package called Lumix Webcam Software, which customers may download to enable wired live streaming with the Lumix GH5M2. Through a future firmware upgrade anticipated for the end of 2021, it will also offer wired IP streaming over RTP/ RTSP protocol.

The Panasonic Lumix GH5M2 includes Bluetooth v4.2 and dual-band Wi-Fi 802.11ac connectivity. The camera also has a 3.0-inch free-angle LCD panel with a 3:2 aspect ratio and a resolution of 1,840k dots. Touch controls are also available on the LCD panel. Because the Lumix GH5M2 is intended to be an update to the Lumix GH5, it is compatible with the majority of the accessories provided for the prior model. This means you can utilize the Lumix GH5’s XLR Microphone Adapter, Shutter Remote Control, and Battery Grip with the new camera.

The Lumix GH5M2 also sports a dustproof, freeze-proof, and splash-proof design with a magnesium alloy core structure and a complete die-cast front and back frame. The camera’s shutter unit is also said to be robust for up to 200,000 cycles.

On the Lumix GH5M2, Panasonic has included a 2,200mAh battery that can be charged through AC or USB. It may also be charged with USB Power Delivery (PD) chargers. In addition, the camera sports a dual SD memory card slot that supports UHS-II cards.

The third graphic shows the previously anticipated ‘Multi-Axis Tilting Monitor,’ as well as the ability to continually take Raw photos at up to 20fps. This slide has no footnotes, which is particularly fascinating given the 20fps Raw capture. The movie also shows off Nikon’s upcoming Nikkor Z 100-400mm F4.5-5.6 S lens.

As with any leak, it’s important to take it with a grain of salt. However, given that the video came from the official Nikon India YouTube account and looks to be quite on-brand for Nikon’s previous videos, it’s unlikely to be a forgery. Nikon has another teaser film scheduled for later this week, which may or may not be the finalized version of this advertising video. We’ll simply have to wait and see what happens.

The Fujifilm GFX 50S II mirrorless digital camera is the latest addition to the GFX Series. Fuji’s newest medium-format digital camera costs a whopping Rs. 3,79,999 for the body alone and features a large format sensor and a five-axis image stabilization technology. The Fujinon GF35-70mm f/4.5-5.6 WR lens was announced alongside the new high-end mirrorless camera.

When purchased combined, the GFX 50S II and the 35-70mm Kit lens would put you back Rs. 4,49,999. Let’s take a look at why the new Fujifilm mirrorless camera is so costly. The 51.4MP large format sensor on the GFX50S II is equipped with smaller light-collecting microlenses to enable more separation between adjoining pixels.

The bigger sensor and light-collecting microlenses, according to Fujifilm, boost light resolution per pixel for greater image clarity. The configuration with a larger light-receiving surface per pixel improves the camera’s ISO sensitivity and dynamic range in low-light situations. The 51.4MP sensor is rather huge, and it should result in a naturally narrow depth-of-field.

The GFX50S II weighs more than 900g and has dimensions of 104.2mm in height and 87.2mm in depth. According to Fujifilm, the camera’s handle is intended to fit securely in the hand, ensuring comfort by significantly reducing hand stresses while using a large zoom lens in scenarios such as animal and bird photography. The casing is made of a strong magnesium alloy for strength. The lens mount’s base has been reinforced to enhance the camera body’s longevity.

Importantly, the GFX50S II is weather-sealed at 60 locations, protecting it from dust and moisture and allowing it to operate in temperatures as low as -10°C. Another notable feature that contributes to the new mirrorless camera’s high price is the five-axis image stabilization system, which provides up to 6.5 stops of advantage, the highest in the GFX Series’ history.

Fujifilm achieved this by utilizing a high-performance gyro sensor and accelerometer, both of which promise to detect motions with high precision. The gyro sensor was created to increase detection accuracy for precise image stabilization. Fujifilm is betting big on the stabilization capabilities of the new medium-format digital camera. The GFX50S II, according to the company, may produce superior image quality when used hand-held and does not require a tripod for slow and thorough shooting.

Following that, the GFX50S II is touted to have a high-precision AF system thanks to a high-speed image processing engine known as “X-Processor 4” and a newly built algorithm. When compared to a previous model, the pair achieves more precise focusing in Face/Eye Detection. Better portraiture should emerge from the enhanced focusing mechanism and large-format sensor with a natural shallow depth of field.

The Alpha 7 IV, commonly known as the A7 IV, was recently unveiled by Sony. It is the successor to Sony’s successful entry-level full-frame camera, the A7 III, which debuted in 2018. The A7 IV improves on its predecessors’ photography capabilities while also greatly increasing video capabilities in a quest to become a genuine hybrid camera.

The Exmor R CMOS sensor in the A7 IV is a new 33-megapixel full-frame back-illuminated Exmor R sensor. While Sony does not market it, the new sensor features dual native ISO, with the second step kicking in at ISO 3200. The sensor, according to Sony, has a dynamic range of 15 stops.

The new sensor is paired with the newest generation BIONX XR image processor, which is also featured in Sony’s flagship Alpha 1. In comparison to its predecessor, the camera can shoot at 10 frames per second with AF/AE tracking and has a bigger buffer capacity. The autofocus technology employs 759 phase-detection AF points with real-time object tracking and real-time Eye AF for tracking humans, birds, and animals in both stills and video for the first time on a Sony camera.

The A7 IV can record 4K video utilizing the whole sensor width. For all frame rates including and below 30fps, the picture is downsampled from 7K to 4K. Unlike the A7 III, the A7 IV can shoot 4K at 60 frames per second. However, it can only do so in Super 35mm mode, which cuts the image and does not make use of the entire sensor width. In addition, unlike the A7 III, the A7 IV can now capture movies in full 10-bit depth, 4:2:2 color sampling, and XAVC S-I intra-frame recording. It also supports the S-Cinetone image profile, which is often seen in Sony cinema cameras.

Sony has also included a few additional capabilities that are now only available on the A7 IV and function when used with a suitable Sony E-mount lens. When utilizing autofocus, the AF Assist mode allows focus transitions, and the Focus Map mode visualizes depth of field with colors on the screen. There is also a new Breathing Compensation function, which compresses the image somewhat on Sony lenses with focus breathing issues, ensuring that the field of vision stays consistent even when moving focus from end to end.

For fast operation, the physical design has been altered to include a new top layer mode dial for Auto/P/A/S/M and MR modes, as well as a lower-layer dial for Still/Movie/S&Q modes. The display has been updated and now has a fully articulating design that can be rotated. The resolution of the 3.68-million-dot EVF has been increased by 1.6x. The dual card slots have been upgraded to accommodate SD cards and either SD or CFexpress Type A cards. On the side, a full-size HDMI connection has been added for external recording and monitoring. The recording button has been relocated to the top for easier access, and the magnesium alloy weather-resistant housing has been enlarged for better grip.

Canon has recently introduced the EOS VR System, a new virtual reality (VR) video production system. The system will be available in late December 2021, and it will contain one specialised lens and two computer software programs. VR is becoming increasingly popular in a variety of areas, including entertainment, tourism, and education. With the growing market demand for virtual reality (VR), Canon is leveraging its optical technologies developed through the development and production of the EOS interchangeable lens camera system to establish a new VR video production system that produces high-quality images while maintaining an efficient production workflow.

The new EOS VR System is made up of two mirrorless cameras, a specialised lens, and computer software. Users may shoot VR films by adding the specialised lens to the camera, then using computer software to convert the resultant picture files to a common VR file format, making post-production simple.

Commenting on this launch, Mr. Manabu Yamazaki, President and CEO, Canon India said, “We are constantly pushing technological boundaries by anticipating both current and future needs. With the launch of Canon EOS VR System, we are bringing the power to create incredible 180°VR content in up-to 8K size output. This is a game changing product for the imaging industry where professional content creators can create high quality VR content using our easy-to-use workflows.”

Mr. C Sukumaran, Director – Consumer Systems Products and Imaging Communication Business, Canon India further added, “The EOS VR System has been developed by nurturing Canon’s optical technologies and EOS interchangeable lens camera system. It promises high- quality images coupled with an efficient production workflow. When attached to the EOS R5, the new RF5.2mm f/2.8L Dual Fisheye lens will enable users to harness the camera’s ultra- high definition 8K recording capabilities and produce an immersive feel like never experienced before.”

The new RF5.2mm f/2.8L Dual Fisheye lens is a specialized RF lens with two fisheye lenses designed to provide a parallax effect that may be utilized to create 3D 180-degree VR pictures. When coupled to the EOS R5 mirrorless camera, the lens allows users to take use of the camera’s 8K recording capabilities to generate ultra-high quality footage.

The Canon RF 5.2mm f/2.8 Dual Fisheye lens is priced at Rs. 1,79,995, while the EOS VR Utility Software and EOS VR Plugin for Adobe Premiere Pro is priced on a subscription basis, and both will be available in December 2021.