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The New DJI Mavic 4 Pro - A Closer Look

DJI has announced the Mavic 4 Pro, their newest high-end drone aimed at professional photographers and filmmakers. It comes with a major camera upgrade: a new 100-megapixel Hasselblad sensor, plus dual telephoto cameras and a redesigned gimbal that can rotate a full 360 degrees.

The Mavic 4 Pro features a triple-camera system with 28mm, 70mm, and 168mm equivalent focal lengths. That gives creators a lot of flexibility, from wide shots to tighter details, without needing to land and change anything. The main 28mm camera uses a Micro Four Thirds sensor, and while DJI is calling it 100MP, it’s a quad Bayer sensor, so the resolution is more about flexibility than true 100MP capture. Still, it’s a clear step up in image quality.

The lens has an adjustable aperture from f/2 to f/11 and a five-blade diaphragm, which can produce clean 10-point starbursts when shooting into light. The medium telephoto camera (70mm) uses a 48MP sensor, and the 168mm long telephoto has a 50MP sensor. Both benefit from updated image processing.

All three cameras support 4K/60 HDR video, while the main camera also offers 6K/60 HDR. You also get high-frame-rate recording—up to 120fps—depending on the lens. There’s full support for 10-bit color profiles including D-Log and HLG.

One of the most interesting new features is the Infinity Gimbal. It allows for full 360° rotation and can tilt upwards by 70 degrees, which opens up some creative shooting possibilities. It also makes vertical video and portrait-style photography much easier.

Flight performance has improved, too. The drone has six low-light fisheye sensors for obstacle avoidance and dual onboard processors to help with real-time mapping and positioning. It can remember flight paths and return home without GPS if needed.

Battery life is also better, up to 51 minutes per charge. The drone can hit speeds up to 90 km/h (about 56 mph), and the updated transmission system (O4+) can send HDR video from up to 30 kilometers away.

There’s a new subject-tracking system as well, called ActiveTrack 360°, designed to work better in low light and with partially obscured subjects. It can recognize vehicles from 200 meters away, which could be useful for car shoots and action work.

DJI is also launching a new remote: the RC Pro 2. It features a bright 7-inch Mini-LED screen, supports vertical shooting, has an HDMI port, and offers 128GB of internal storage for recording footage. Battery life is around four hours.

A few sample images:

As for pricing: The standard Mavic 4 Pro is available in Canada, the UK, and Europe for $2,049 CAD / £1,879 / €2,099. The Fly More Combo is $2,799 CAD / £2,459 / €2,699. The Creator Combo—with 512GB of storage and the new controller—is $3,459 CAD / £3,209 / €3,539. There’s no word yet on U.S. availability, but it’s available to order now in other markets.

Image credits: DJI

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Interview with Tim Benz

This week’s Interview Tim Benz an incredible Landscape and Nature photographer.

You can find him on Instagram as: @timbenzzz

Enjoy the amazing Interview ;)

Can you tell us about yourself?

I'm Tim Benz, a landscape photographer with a deep love for nature and wild places. What really drives me is chasing beautiful light in dramatic environments—mountains, coastlines, forests, anywhere that feels raw and real. I want to capture the feeling of being out there, completely immersed in the landscape. For me, photography is more than just taking a nice image—it's a way of experiencing the world on a deeper level and sharing that experience with others. If someone looks at one of my photos and feels like they’re standing in the same place I was, I’ve done my job.

What drew you to landscape photography in the first place?

The outdoors has always been my place of peace, even before photography came into the picture. But once I started bringing a camera with me, everything changed. Suddenly, I had a way to freeze those incredible moments—whether it was a sunrise lighting up the clouds or mist weaving through a valley. Landscape photography became my way of holding onto those fleeting experiences, and sharing them with others in a way that felt meaningful.

Do you remember the first landscape shot that made you think, “Wow, I love this”?

Absolutely. There was this one morning, super early, and I’d hiked up to catch the sunrise over a misty valley. I wasn’t expecting much, but then the light broke through just perfectly, and the whole scene came alive. The fog, the colors, the calm—it all felt surreal. That moment really stayed with me. It was the first time I looked at a shot I’d taken and thought, “Okay, I want to keep doing this for a long time.”

What’s your favorite time of day to shoot—sunrise, sunset, or something else?

Sunrise, without a doubt. There’s something really special about being up before the world wakes—everything’s quieter, more peaceful. The light is softer and more delicate, and you often get those subtle tones that just don’t appear later in the day. It’s also more unpredictable, which I like. Plus, fewer people around means I can really focus and be present with the landscape.

How do you scout locations for your shoots? Do you plan ahead or go with the flow?

It’s a bit of both. I definitely do a fair amount of research beforehand—looking at maps, checking weather forecasts, figuring out the best angles. But once I’m on location, I try to stay open to what’s actually happening. Some of my favorite images came from unexpected detours or just wandering around until something caught my eye. Preparation is important, but spontaneity is where the magic often happens.

Is there a dream location you haven’t photographed yet but really want to?

Patagonia, for sure. The terrain is incredibly dramatic, with jagged peaks, massive glaciers, and wild weather that constantly changes. It feels like one of the last truly untamed places on earth. I’d love to spend a couple of weeks there, exploring the backcountry and capturing that raw, powerful energy the landscape has.

What’s the most stunning natural scene you’ve ever captured?

One that stands out is sunrise at Durdle Door. I got there before dawn to avoid the crowds, and it was completely silent. The light that morning was incredible—golden tones hitting the rock arch just right, and the waves gently rolling in. Everything aligned in that moment. I’ve been back since, but that one morning still feels like it had a little extra magic.

Do you prefer shooting in dramatic weather or when it’s calm and clear?

I lean toward dramatic conditions. Stormy skies, low-hanging fog, unpredictable light—they all add emotion and depth to an image. Clear skies have their place too, especially for clean, minimalist shots. But if I had to choose, I’d always go for the atmosphere and energy that come with more dynamic weather.

How do you keep your gear safe when you’re out in tough environments?

Staying organized is key. I use a waterproof backpack, keep my lenses protected with covers, and always bring microfiber cloths to keep things clean. You learn pretty quickly how important it is to prepare for the worst. I’d rather carry a bit of extra weight and know my gear is safe than risk damaging something mid-shoot.

Have you ever had a moment in nature that was too amazing to capture with a camera?

Yes, more than once. Sometimes the scale or feeling of a place is just too overwhelming to translate into a single frame. There are moments when the light, the wind, and the atmosphere all combine in a way that feels beyond photography. In those times, I usually just put the camera down and take it in. It’s important to remember that not everything has to be captured.

What’s the biggest challenge you face as a landscape photographer?

Weather is probably the biggest variable—and the biggest challenge. You can plan everything perfectly, but nature has its own agenda. A cloud can roll in at the wrong moment, or conditions can shift in seconds. But that’s also what makes it exciting. It forces you to adapt and stay creative even when things don’t go to plan.

How do you approach editing your landscape shots? Do you aim for realism or go for a more artistic vibe?

I try to keep the edits grounded in reality, but I’m also interested in emphasizing mood and emotion. I’ll adjust colors, contrast, and exposure to reflect how it felt to be there, but I avoid going too far or making it look artificial. It’s a balancing act—enhancing the scene while still staying true to it.

What role does patience play in your process? Do you ever wait hours (or days) for the perfect shot?

Patience is everything in landscape photography. I’ve waited in the same spot for hours, or returned to a location multiple times, just hoping for the right conditions. It can be frustrating, especially when nothing happens—but when it finally comes together, it’s incredibly rewarding. Being willing to wait is often the difference between a good shot and a great one.

Do you have a favorite lens or piece of gear that you can’t shoot without?

My 70-200mm lens is essential. It’s great for compressing landscapes and isolating elements in a scene. A lot of people think wide-angle is the go-to for landscapes, but I actually find that the longer focal lengths let me get more creative with composition and layering.

How do you manage to make a familiar spot look fresh and unique in your photos?

It’s all about perspective—both literally and creatively. I try shooting from different angles, at different times of day, or in completely different weather. I’ve revisited the same location multiple times and ended up with entirely new images each time. The light and the mood of a place are constantly shifting.

What’s your approach to capturing the scale of a landscape?

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The New Voigtlander Portrait Heliar 75mm f/1.8 Lens

Cosina Voigtlander has just announced a new lens for Sony E-mount users—the Portrait Heliar 75mm f/1.8. What makes this one stand out is a pretty unique feature: it’s their first lens that lets you manually control spherical aberration. In plain terms, that means you can dial in the exact look of your bokeh, giving you more creative control over how your backgrounds render.

Like other Voigtlander lenses, this one is fully manual, with separate rings for focus and aperture. But there’s a third ring up front—a silver one—that’s dedicated to tweaking spherical aberration. It’s labeled “over” and “under,” and turning it adjusts how soft or sharp your out-of-focus areas look. If you set it to “under,” you’ll get creamier, more dreamlike bokeh with less contrast and sharpness. Push it toward “over,” and the image gets sharper, more contrasty, and tighter overall.

This adjustment doesn’t just affect bokeh—it also shifts the focus plane slightly and can change the effective aperture by about a third of a stop. You’ll also get a bit more vignetting when you lean into the “under” setting, which some might actually find desirable for portraits.

In its neutral position, the 75mm behaves just like you’d expect from a classic f/1.8 portrait lens: sharp, clean, and well-controlled. Inside, the optical design is simple—just six elements in three groups—but that’s typical for this kind of lens. It also uses a nine-bladed aperture and has a 62mm filter thread. It weighs in at 560g and measures about 88mm long, so it’s fairly compact but feels solid in the hand.

For now, the Portrait Heliar is only coming to Sony E-mount, though Voigtlander has a history of releasing lenses for other mounts like Nikon Z a bit later—so we’ll see.

The lens is expected to hit shelves next month. Pricing hasn’t been confirmed for the U.S. yet, but in the UK it’s going for around £750 before tax, which roughly translates to about $1,000 USD. As always, final prices may vary a bit depending on region.

Image credits: Cosina

Photo Analysis

Welcome to the new part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;)

Photo by: @k319w

Let’s Analyse this Image

Composition

What works well:

• The conductor walking right down the middle of the frame instantly grabs your attention. It feels like a strong, cinematic moment.

• The way the platform narrows into the distance pulls your eye straight into the image and creates nice depth. Everything else—from the ceiling to the floor tiles and the train itself—is guiding the viewers eye through the image, onto the conductor and then into the distance. Great use of leading lines.

• There’s a nice balance between all the structure (lines, symmetry, reflections) and the ‘‘human elements’’ like the crowd and that conductor.

What could be better:

• The left side feels just a bit crowded/’’unreadable’’. If the photographer had stepped slightly to the right, it might’ve spaced people out more and made it easier to read individual faces.

Lighting

What works well:

• The warm, golden light is doing all the heavy lifting here and it is what makes this shot. It’s rich, emotional, instantly sets the mood and grabs your attention.

• That golden glow bouncing off the train and the floor is gorgeous. It turns the scene into a stage, and the conductor and the conductor is standing right in the spotlight.

• The backlighting gives the silhouette real clarity. There’s no confusion about who the main subject is here.

What could be better:

• The far end of the platform is a bit blown out, toning down those brightest highlights might help keep more detail up top.

• Lifting the shadows just a bit on the left side could reveal more of the crowd without losing that moody atmosphere.

Framing & Perspective

What works well:

• Shooting slightly from below (chest level) makes the conductor feel a bit more important and present in the frame.

• The straight-down-the-platform perspective really works here. It makes the whole scene feel immersive, like you’re standing right there with everyone.

• Repeating shapes in the ceiling, lights, and train windows add a nice rhythm to the image.

What could be better:

• Taking a step or two back might’ve brought in more of the foreground reflections, it could’ve made that glow trail even stronger.

Storytelling

What works well:

• This feels like a moment of calm after a long work day. There’s something quiet and reflective about it, like a pause before the train pulls away.

• The conductor in silhouette feels symbolic: someone doing their job with calm precision while everything else is standing still.

• The platform sign adds a sense of location which is always good.

What could be better:

• If someone on the platform were waving, clearly looking at the conductor, or even just standing a little apart from the crowd, it might have made the story a bit more personal. But thats more or less out of your control —> the only thing you can do (as I always say) is to scout out situations before they even happen and then be there to take the shot.

Photography Tip of the Week

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Photographer of the Week

Photographer of the week goes to: Lisa Waddell

You can find her on Instagram as: @lisa_marie_waddell

A few of her images:

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The Rest of this Issue is for Premium Subscribers

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