Don’t forget about the other Tamron lenses for Mother’s Day too!

This Mother’s Day, Tamron is having some fantastic sales. If you’ve had a new lens in your Amazon cart for a while, this may be the one! This sale is pretty fantastic all around with instant rebates on premium zoom lenses. As an owner of the Tamron 17-28mm f2.8 Di III RXD, I can attest. In fact, I can’t recommend that lens enough. But if you’re into birding, their 70-300mm option is a great all-around choice. Searching for a solid, affordable, weather-sealed, and high-quality telephoto zoom for your Sony camera? This is it! Take a look at our list of great Tamron Lenses down below!

Editor’s Note: This post is presented by Tamron. Mother’s Day sales start April 26th and end on May 9th!

Special Instant Savings on Tamron Lenses

Typically, lots of us on the site aren’t a fan of zoom lenses. They tend to be big and heavy. But Tamron has been changing our mind about that for a few years now. They’ve proven that premium zoom lenses don’t need to be super large or heavy. And these Tamron Lenses help to solidify that. We’ve rated them all pretty highly. You should check out our reviews before purchasing to make sure that you’re getting the right one. At the same time, these are pretty much impulse buys at these prices!

Tamron 17-28mm f2.8 Di III RXD (read our review): $799 after $100 Instant savings

Tamron 28-75 F2.8 Di III RXD (read our review): $799 after $80 Instant savings

Tamron 70-180 F2.8 Di III VXD (read our review): $1,099 after $100 Instant savings

Tamron 28-200 F2.8-5.6 Di III RXD (read our review): $649 after $80 Instant Savings

These are a Great Price Too!

You can’t really forget about some of Tamron’s other lenses. The 70-300mm is great for birding. And their small primes are excellent for being walkaround lenses. Be sure to visit the Tamron Store to see the full selection!

Tamron 70-300mm Di III RXD (read our review): $499

Tamron 20mm f2.8 Di III OSD (read our review): $249

Tamron 24mm f2.8 Di III OSD (read our review): $199

Tamron 35mm f2.8 Di III OSD (read our review): $199

Editor’s Note: This is a piece presented by Tamron.

The Canon EOS M50 II doesn’t put the EF-M mount in good light.

Canon saw a great deal of success with the original EOS M50. The camera was snapped up by camera newbies and vloggers who wanted a light camera to tote around. It never wowed us with its image quality, but its versatility was delightful. The APS-C Canon EOS M50 II looks to build on that success, but will a few upgrades here and there make it a worthwhile buy in 2021? Can it compete in this market space? Find out in our full review.

Pros and Cons

Pros

Small and lightweight

Good images at lower ISO settings

Good autofocus in good light

Eye detect autofocus

Good battery life

Works well as a webcam

Very nice full articulating LCD and EVF for this price point

Nice menu system

Cons

Tiny buffer (7 RAW – 18 JPEGS)

RAW files aren’t very pliable

No stabilization for stills mode, only digital stabilization for video

Images show noise at low levels

Above ISO 3200 images are a mess

Only micro USB and micro HDMI

Not enough upgrades over the original M50

$699 with a kit lens is a little high

Too Long, Didn’t Read

The Canon EOS M50 II is a small APS-C camera that has no real stand-out features. You’ll get decent autofocus and okay image and video quality, but ultimately it lacks features that separate it from the competition. There are better options on the market to choose from for the price ($599 body, $699 with a kit lens). Canon could have made this a killer content-creators’ camera, but they missed the mark and released a mediocre product.

Gear Used

We used the Canon M50 II with the EF-M 15-45mm f3.5-6.3 IS, and the 55-200mm f4.5-6.3 IS.

Technical Specs

All of the technical specs have been taken directly from the official Canon website:

Recording Media – SD/SDHC/SDXC memory cards

UHS-I compatible

Image Format – Approx. 22.3 x 14.9mm (APS-C)

Compatible Lenses – Canon EF-M lens group

Image Sensor – CMOS sensor (supporting Dual Pixel CMOS AF) Pixels 24.1 megapixels

AF Points – Still photo shooting: Up to 143 zones (Maximum)- Video shooting: Up to 117 zones (Maximum)

7.4 frames per second in burst mode

4K 24p video, 1080p 60, 30 and 24 frames per second

LCD Monitor – 3-inch touchscreen 1.04 million dots

EVF – 2.36 million dots

Dimensions – Approx. 4.58 x 3.47 x 2.31 in

Weight – 13.65 oz or 0.8lbs with battery and sd card inserted

Canon EOS M50 II – Innovations

Unfortunately, the Canon EOS M50 II doesn’t possess any major innovations. Canon took the M50, updated the autofocus slightly, gave it a clean HDMI out, and stuck a bigger pricetag on it. It can live stream to YouTube via Wi-Fi (I’ll leave it up to you to decide if that’s innovation).

Canon EOS M50 II – Ergonomics

Right off the bat, you’ll see that the Canon EOS M50 II looks almost identical to its predecessor. The controls and dials are in the exact same place, and that’s okay. In the image above, you can see the front of the camera. It’s a nice, clean looking camera. The only thing you’ll notice is the white EOS moniker which stands out against the matte black body. At the top right, there is a focus assist light. The light doesn’t function as a tally light, which is odd as this camera is aimed at vloggers. Next to the lens mount, you’ll find the lens release.

Top Panel

The top of the camera is nicely laid out. The lefthand side of the top panel is completely bare. To the right of the EVF, you’ll find the main mode dial, a function button, a record button, and the dial, which controls shutter speed. Here you can see the size and shape of the grip too. It’s not the deepest grip, but I could hold the camera well, even with my big hands.

Rear Panel

The rear of the camera is dominated by the 3-inch touchscreen. It’s not the biggest screen we’ve seen, but it looks huge as it takes up most of the back. To the right of the screen, you’ll find a d-pad with options to control exposure compensation, manual and autofocus modes, a delete button, and flash control. Beneath that, you’ll see the playback and menu buttons. You’ll see ...

Backyard birding is more popular than ever, and the Tamron 70-300mm f4.5-6.3 Di III RXD makes it easy to get started.

Backyard birding has become incredibly popular over the last 12 months, thanks to the pandemic. What makes birding so great, though? It’s very relaxing, and it teaches that there’s beauty all around you. You just have to look for it. It’s no surprise that photographers have been clamoring for longer lenses that could help them catch birds in action. Tamron, fortunately, released a lens that everyone could afford just in the nick of time. The Tamron 70-300mm f4.5-6.3 Di III RXD is the world’s smallest and lightest 300mm Sony E mount zoom. When paired with a Sony APS-C camera, it can easily create magic. Find out how this lens can help you capture stunning bird images after the break.

The Tamron 70-300mm f4.5-6.3 Di III RXD Is the World’s Smallest and Lightest 300mm E Mount Zoom

When it comes to backyard birding, you’re going to need a lens that gives as much reach as possible. In days gone by, telephoto zooms used to be incredibly expensive. However, Tamron has been making high-quality lenses at affordable prices for a while now. The Tamron 70-300mm f4.5-6.3 Di III RXD is no exception. This lens is small, light, well built, and has high-quality optics that will help you create sharp images. The best part is it costs just $499! Let’s take a look at the specs:

Optical Construction: 15 elements in 10 groups

Aperture Blades: 7 (circular diaphragm)

Minimum Object Distance: 0.8m: (31.5 in) (WIDE) 1.5m (59.1 in) (TELE)

Maximum Magnification Ratio: 1:9.4 (WIDE) / 1:5.1 (TELE)

Filter Size: 67mm

Length: 148mm (5.8 in)

Weight: 545g (19.2 oz)

Moisture Resistant Construction: Seals throughout the whole barrel and at the mount

BBAR: Broad-Band Anti-Reflection Coating

You’re getting a lot for just $499. So, whether you want to use this lens for birding, wildlife, landscape, or more, it will have you covered.

The Tamron 70-300mm f4.5-6.3 Di III RXD Makes Backyard Birding Easy

When paired with a Sony APS-C camera, the Tamron 70-300mm f4.5-6.3 Di III RXD is the perfect setup for backyard birding. This setup is light: I mean, it’s really light. On top of that, Sony’s cameras are excellent when it comes to autofocus performance. The Tamron 70-300mm f4.5-6.3 Di III RXD easily keeps up with all fast focusing modes.

I always recommend that birders use APS-C cameras. Why? Because you gain so much in reach thanks to the crop factor. The Tamron 70-300mm f4.5-6.3 Di III RXD effectively becomes a 105-450mm zoom on Sony crop cameras. It makes capturing small, fast subjects much easier.

How to Capture Birds with the Tamron 70-300mm f4.5-6.3 Di III RXD

The first thing you need to do is find where the birds like to hide and play. You can scout out trees and bushes, or you can draw them out of hiding with some simple bird feeders. Your backyard setup doesn’t have to be anything fancy. Really, all you have to do is fill your birdfeeders with food, and the birds will come.

Once you have that setup, you need to find a place to hide. Sit down on your porch, or stay inside and look through an open window to start out. Then each day, move a little closer to the action. Eventually, the birds will get used to you being around.

Camera Settings for Backyard Birding

Camera settings for backyard birding can vary depending on ambient light. I usually like to have my shutter between 1/1600 and 1/2000th of a second. In great light, this means an ISO of around 800 to 1000 and an aperture of roughly f6.3 to f8. F6.3 is the fastest the Tamron 70-300mm f4.5-6.3 Di III RXD can be at 300mm, so this is perfect.

However, in low light, you’ll have to crank up the ISO. Don’t worry though; modern cameras perform wonders in low light. Have your camera set to continuous focus and either wide or tracking mode. Choose a medium burst mode. High burst modes tend to be less accurate. Use the easy-to-turn zoom ring on the lens to zoom in to 70mm. This will make finding your ...

Members of the Reddit community have spoken, and these are their least favorite buzz words and phrases from the photography industry.

Like any walk of life, the photography industry has its own language. There’s nothing wrong with that. It makes communication more fun and interesting. But let’s be honest, some of the phrases can be slightly cringy and cheesy. In this piece, we look what which “code words” grind the gears of the Reddit community. And we’ll also explore the importance of inclusive language.

Photography Industry Jargon

Below are some of the more memorable comments left by Redditors.

One user wrote:

”purist’. I’m fairly confident anyone who uses that term is just a photo snob.”

While another said:

“”mini sessions”. My local Facebook group is overrun with women wearing sunhats in wheat fields who advertise $50 mini sessions for families, kids, and seniors.”

This Redditor made his thoughts known in regard to those who choose to do little to no editing:

“‘Straight out of camera’ and/or ‘unedited’ being used as a badge of legitimacy.”

And in a more humorous addition, a Reddit user had this to say:

“A natural light photographer. (Hasn’t figured out lighting yet.)”

Of course, every photographer has their own terms and phrases that bug them. For me, I’m tired of reading “the deep relationship between” and “artistic visual storyteller” in almost every PR pitch I receive – which brings me on to my next point.

Language Should Never Be Exclusionary

I read press releases on a daily basis from photographers and PR reps. And, of course, the job of the PR rep is to sell the brand and quality of the photographer they represent. But many of them use language which I find to be exclusionary. It’s the type of language the common man and woman never use. I get it; they’re trying to make the work seem more intellectual, which in their world means it can hold more value and importance. This kind of elitist approach is often linked to documentary work that the artist hopes will drive change. But the problem is, by using language and tone that appeals to a smaller group of people – those who describe themselves as intellects – others may feel turned off by the work.

Another thing I’ve noticed is that the deeper and more complex the language is, the more basic the photos. You can pull any amount of words out, but none of them will hide average photographs. That’s where the real complexity and brilliance should be: the photos, not the language that accompanies them.

Include Everybody

I’ve been in and around the art world my whole life. I know of all the little cliques and ego-driven nonsense that comes with it. But art (and that includes photography), is a beautiful form of communication. It’s not only for the “holier than thou’s” and the university-trained individual; it’s for everybody.

And it’s my opinion that we should use inclusive language to appeal to everybody. We should use language that allows everybody to understand the message the photographer is sending. “Code words” are cool, but they shouldn’t alienate. And affluent language on a press release won’t make photographs any better.

It’s funny where a simple Reddit thread can take you. But I’m happy I was able to get that off my chest! Now, back to making photographs!

We dove into the Amazon search pages to find some of the best deals on lenses right now.

If you’re a Sony, Canon, Fuji or Nikon user, we’ve got something for you. We found a bunch of lenses at under $500 for you to check out right here. Specifically, we found a bunch of prime lenses because we know you love them. Some of these savings won’t last long. And if you’re curious about how these lenses perform, try our Reviews Index or our Search bar on the right.

Canon RF Mount

Canon RF 50mm f1.8 STM: $199

Sony E Mount

Sigma 16mm f1.4 for Sony APS-C E Mount: $364

Rokinon 24mm f2.8: $218.81

Meike 35mm f1.7: $69.99

Samyang 35mm f2.8: $205

Tamron 35mm f2.8: $199

Tamron 24mm f2.8: $199

Sony 50mm f1.8: $198

Samyang 35mm f1.8: $379

Sony 28mm f2: $448

Tamron 20mm f2.8: $249

Samyang 45mm f1.8: $299

Vilitrox 85mm f1.8 II: $399

Samyang 50mm f1.4: $399

Fujifilm X Mount

Fujifilm 35mm f2 R WR: $399

Fujifilm 23mm f2 R WR: $449.95

Fujifilm 27mm f2.8 R WR: $399.95

Fujifilm 16mm f2.8 R WR: $379.99

Vilitrox 23mm f14: $300

Nikon Z Mount

Vilitrox 85mm f1.8: $399

Why update the XF56mm f1.2 so soon after the XF50mm f1.0 was launched?

It’s no secret that some of Fujifilm’s XF-Series lenses are getting rather long in the tooth. There is certainly no shortage of people who’d like to see some updates. As the Fuji cameras get better and better, some of the older focus motors struggle to keep up. These older lenses particularly struggle with video autofocus. The XF18mm f1.4 was a great place for Fuji to start: it’s a versatile focal length many photographers and videographers will love. But now, we’re possibly getting the Fujifilm 56mm f1.2 MK II. Should Fuji have prioritized other lenses instead? Read on after the break.

The Fujifilm 56mm f1.2 MK II Will Probably Be Great

According to FujiRumors, their next update may be the XF56mm f1.2. That’s a bit surprising so soon after the release of the new 50mm f1.0 lens.

The original XF 56mm f1.2 is a well-loved lens in the Fuji community. There’s also little doubt as to why; it’s sharp, the bokeh is gorgeous, and it fills the 85mm equivalent portrait lens slot perfectly. It is getting a bit on in age, however. This lens was announced in January of 2014. As a result, I’m sure many people wouldn’t mind a facelift of this lens. Its autofocus has been criticized in terms of speed and video performance. It’s not a weather-resistant lens. And there are a couple of places it could use improvement.

It really doesn’t need a lot, though. Perhaps some more capable autofocus motors would be nice. Maybe Fuji can improve on the build with weather-sealing. It’s also possible that Fuji is just looking to update its lenses to resolve higher resolution sensors. But overall, the XF 56mm f1.2 is in a pretty good spot, even being as aged as it is. As a result, it would be a big surprise if the XF 56mm f1.2 MK II was anything but great.

The 50mm Elephant in the XF 56mm Room

It will be a little shocking if the Fujifilm 56mm f1.2 MK II actually shows up so soon after the new 50mm f1.0. Fuji wowed a lot of us with that lens recently. There isn’t much else like it in the native APS-C world. Sure, there are a few third-party manual lenses with f0.95 apertures, but no other native choices. The XF50mm f1.0 really made people think twice about the XF56mm. What’s a bit confusing is, why update the 56mm when we already have three great choices in that range? We now have the 50mm f1.0, the regular 56mm f1.2, and the 56mm APD. Should the 56mm f1.2 really take priority over other lenses in the XF lineup?

Fuji Has Other Lenses in Need of a Refresh

Strangely, Fuji didn’t focus on updating all of the wide and standard lenses first. If the Fujifilm 56mm f1.2 MK II is to be the next lens release for Fuji, anyway. There are a ton of people who would love to see the 16mm f1.4 updated. In fact, the 23mm f1.4 and 35mm f1.4 lenses are also screaming for an update. Not only would action photographers benefit from that, but videographers would rejoice as well. The whole line of f1.4 primes has a reputation for comparatively poor autofocus in video. A couple of these lenses also desperately need to be weather-sealed. It would be nice to see all three of those lenses updated before the 56mm.

Videographers and action photographers certainly can, and do, use portrait-length lenses. However, the three wide to normal length primes are more versatile and frequently used in general. Therefore, we’ve got to wonder if updating the 56mm first is the right move.

Maybe Fuji Will Surprise Us

The optimist in me wants to think the order of Fujinon lens updates for X-mount isn’t important. Hopefully, 2021 will be the year of updated Fujinon lenses. The Fujifilm 56mm f1.2 MK II won’t be as confusing if Fuji announces they are also updating the other fast primes. The order in which updated lenses rollout won’t be as important if they update them all. Because then, in the end, most of our needs would be met by at least one of the lenses. My hope is that will be the case.

Fuji has come such a long way in a short...

These Mirrorless cameras are better than many people would have you believe, and they’re competitively priced too.

Visit any site on the web or any mainstream YouTube channel, and you’ll see that most will sing the praises of any flagship camera. You’ll also find that unless a camera is a flagship, they’re often written off and aren’t given a fair chance. We don’t do that here at The Phoblographer. We give every camera a fair shake. If it’s worthy of praise, it will get it. If the camera has shortcomings, we’ll address them. We will never write them off just because. In this roundup, we’ll focus on five cameras that were considered “dead on arrival” to many. We, however, see the value in them and gave them honest reviews. These Mirrorless cameras have seriously flown under the radar, and we think they deserve more attention. Find out what cameras we’re talking about after the break.

Canon EOS M6 Mk II

“The Canon EOS M6 Mk II is a camera that delivers fantastic image quality. I adore it. At the moment, Capture One doesn’t support the RAW files, and so we didn’t test those out. However, these JPEGs are images that I’m more than happy with. If you’re the type of photographer to simply just be satisfied with what you get out of the camera because YOU KNOW HOW TO SHOOT IN THE FIRST PLACE, then you’ll really like the Canon M6 Mk II.”

Buy now: $849

Panasonic S5

“The same 24MP sensor is in nearly every full-frame camera. They’re all made by Sony. Photographers know and love this sensor. It’s incredibly capable and balanced in many ways. The high ISO output is solid while delivering decent details.”

Buy now: $1,697.99

Canon EOS RP

“There is a lot to like the Canon EOS RP. It’s a simple and fun camera if you’re more inclined to the world of automation. But even so, with the right settings and a bit of patience it can be a great camera in the hands of someone who has a creative vision. You’ll just need to take your time with it. The Canon EOS RP is also really, stupidly affordable.”

Buy now: $999

Pro Tip: These Mirrorless cameras might be underdogs, but that doesn’t mean they have to be treated as such. Keep these Mirrorless cameras nice and clean, and not only will they perform at high levels, but they’ll also do so for a long time. Wipe them down whenever you use them. Every couple of weeks, give them a deeper clean.

Leica TL2

“At the price point, I feel it’s a very fair purchase. Is it above all the other cameras in pricing, like those from Fujifilm and Sony? Yes. But there are features about it that make it justifiable.”

Buy now: $2,295 with lens

Olympus OMD EM1 III

In our review, we said:

Chris Gampat – Editor In Chief

“We took the Olympus OMD EM1 III into the sand, saltwater, and this product shoot. It survived and kept clicking. We’re very impressed with the build quality of the camera. It’s also rated to IPx1. If you’re curious about what an IP rating is, then know that this camera can take dripping water vertically, and it’s protected from impact with objects more substantial than 50mm.”

Buy now: $1,599

All images by Larissa Honsek. Used with permission.

“I have always liked carrying cameras around and taking pictures of my world,” explains Larissa Honsek. While working as a graphic designer, Honsek became immersed in the world of pinhole photography. She was able to take the simplicity of the art form and add a splash of creativity. Covering a series of images that are sure to amaze, we spoke with Honesk to learn more about her journey so far.

The Phoblographer: Talk to us about how you got into photography.

Larissa Honsek: After years of working as a graphic designer, I had the impulse to develop myself further and to take a closer look at another discipline, so I started [studying] part-time. I spent one year learning the theory and practice of photography and also [discovered] the pinhole camera.

The Phoblographer: Please tell us what draws you to pinhole photography.

Larissa Honsek: A friend in my photography class brought in a pinhole camera one day. I was very inspired. And, after finishing my first film, also very much in love with this box. Shooting with intuition instead of the eye triggers other creative thoughts in me that a normal camera would not.

The Phoblographer: Can you walk us through a list of gear and equipment you use for this type of portrait?

Larissa: In my bag, I always have my pinhole camera – a small wooden box – a light, flexible tripod and a light meter. A converter for the pinhole camera aperture is integrated directly in the camera.

In my pinhole pictures, I work a lot with light painting in the broadest sense, also in the portraits. I always take a small selection of LED or pyrotechnic toys with me. For pyrotechnics, a lighter is standard equipment. I also take my sketchbook with me, where all my ideas are written down.

The Phoblographer: What film or paper format do you use?

Larissa Honsek: I vary [between] Kodak 160/400/1600 and Ilford 400/3200, medium-format film.

The Phoblographer: What influences might we see in your work?

Larissa Honsek: I think my work as a graphic designer and illustrator also strongly influences my work… I think a lot in graphic forms when I plan or experiment with pinhole images.

The Phoblographer: Can you help to explain to our readers how pinhole photography works and the type of image you get? What happens when you widen the size of the pinhole?

Larissa Honsek: The old masters already worked with a kind of pinhole camera, also called camera obscura, to project landscapes or portraits onto canvases and then paint them. Basically, it is a box with a hole. The light falls through the hole onto film or light-sensitive paper at the other end of the box. Depending on the light situation, the size of the hole and the sensitivity of the film or paper, there are basically long exposure times. Producing sharp images out of hand is not possible even on very bright and sunny days… [Pinhole] pictures look very diffused, inaccurate and dreamlike.

The Phoblographer: Does most of your work involve film or printing by hand? Are you against digital manipulation or specifically trying to achieve a ‘pure’ and authentic result?

Larissa Honsek: I work mainly with digital photography. I am also a (children’s book) illustrator and have developed a style where I photograph clay figures and later process them in post-production, all digitally. I also work as a freelance creative director… For me, manipulating and changing images is part of a creative process and a form of expression and definitely has its justification.

However, the beautification of faces and body parts in Photoshop for social media or magazines, which create a certain ideal of beauty and make girls sick, is a sad development in our society.

The Phoblographer: What is your favorite aspect or step in the process?

Larissa Honsek: I also sometimes manipulate my pinhole pictures. In certain series, I take the pictures and change them digitally, work with symmetries, for example, or [add] graphic elements. For an exhibition,...

Beautiful looks and all the tech you could ever need – these Mirrorless cameras have both.

There’s just something special about retro-inspired Mirrorless cameras. On the one hand, they give us all the feels from the glory days of photography. On the other hand, they give us everything we need in a modern tool: great autofocus, fast burst rates, touchscreens, great EVF’s, and more. If you want your camera to make a statement and get you through any shoot you can imagine, check out these five retro-inspired Mirrorless cameras.

Sony a7c

“We finally have a small, rangefinder-style camera with a full-frame sensor. There is also a bit of a grip that I don’t mind. It has autofocus, and it pairs well with equally small lenses.”

Buy now: $1,798

Olympus Pen F

“The Olympus Pen f has a heck of a lot going for it. Amongst the good things: stellar autofocus in most situations, great high ISO output, pretty versatile RAW files, incredibly almost perfect ergonomics, a great EVF and LCD screen, and the list goes on. In many ways, it’s the almost perfect camera for many photographers.”

Buy now: $999

Fujifilm X Pro 3

“Event and portrait photographers will appreciate the looks they can get in addition to the gorgeous image quality overall. Couple this with the quiet mechanical shutter or the silent electronic shutter and you’ve got a great camera. Then, when photojournalists need to bring it into the rain or rough environments, they’ll be able to trust that the gear works.”

Buy now: $1,799.95

Pro Tip: These retro-inspired cameras look beautiful. To keep them looking this way, you’re going to need to clean them often. Wipe them down whenever you use them. Then, once every couple of weeks, give them a deeper clean. This will ensure that they look good and perform at their peak for many years. This camera cleaning kit is all you need.

Leica M10P

“Generally speaking though, the camera is also a tank. It’s all-metal, well made, and feels truly like an M camera. I can’t really fault it. Even staffers who don’t like the feel of rangefinders enjoy it.”

Buy now: $7,794.99

Fujifilm X100V

In our review, we said:

Chris Gampat – Editor In Chief

“The Fujifilm X100v is the closest thing we have to a perfect point and shoot on the market. It’s got great autofocus capabilities, wonderful image quality, weather sealing, a revamped lens, and a simple interface. What more could you need?”

Buy now: $1,349.99

Facial recognition tech may be useful in the future, but it needs to come a long way before we put it in the hands of law enforcement.

Last week, The Verge reported on an incident involving a man from Detroit who was wrongly arrested for shoplifting in 2019. The article said that the Detroit police department had used facial recognition technology to help catch the “offender.” Charges were dropped, but the man is now suing the police department. It’s a terrible situation for all involved, but it does bring up an important topic to debate.

The World Is Changing Rapidly

The world is moving deeper and deeper into automation—automated design, automated labor, automated cars, and even automated photography. Machines are doing things that were once reserved for the human hand and mind.

Society was always going to use technology like facial recognition for more than allowing us to unlock our smartphones. So, when law enforcement became aware of the tech’s potential capabilities, it’s no surprise they thought it may help them catch potential criminals.

How Does Facial Recognition Tech Work?

In the case of the authorities, the process of using facial recognition tech goes like this.

They take an image, for example, from CCTV. They upload the image to a system containing thousands of images taken from documents like I.D. and drivers licenses. Then the system matches the face from the original image (CCTV) with an image in the system. From there, it provides a match, name, and identity of the individual. But there’s a major problem: the software isn’t accurate 100% of the time.

In 2021, CCTV cameras are still atrocious. My Commodore 64 offered more pixel density than today’s CCTV cameras.

In my book, this immediately renders it useless in regards to using it as part of an investigation. I have no problem with utilizing technology, but the technology has to be ready to be utilized. At this stage, it’s clearly not ready.

Being arrested can be an intimidating experience, especially when you’re innocent and haven’t committed a crime. The police should know better than to use something they’re aware isn’t robust enough to do the job properly.

And, yes, even humans make mistakes when identifying someone they think committed a crime. But at least police can cross-question humans, and sense doubt and uncertainty. With technology, it’s too easy to trust it.

…to me, this is just another sign of the arrogance of certain police departments who think they can do what they want when they want.

A Different Problem

And before facial recognition tech improves, there’s another problem that needs solving: CCTV. In 2021, CCTV cameras are still atrocious. My Commodore 64 offered more pixel density than today’s CCTV cameras. Look at any gas station, train station, or airport, and you’ll struggle to identify a person by looking at the CCTV footage. The whole technology needs a complete overhaul before considering using technology, systems, and databases to catch criminals.

Honestly, we’re decades away from even being close to being ready to use this kind of approach in law enforcement. And to me, this is just another sign of the arrogance of certain police departments who think they can do what they want when they want. They can’t, and we need to remind them of that.

What do you think? Is the world ready for this kind of technology to be in the hands of police? Or should law enforcement stay away from altogether?