Cameras

On the other side of the race course

What is it like to be a race photographer?

Published

November 9, 2023

MJ Jucutan

I’ve always wondered what being on the other side of the race course is like. As an athlete competing in endurance races, I would get giddy whenever I heard the shutter clicking as I ran.

Stumbling upon a sports photographer on the race course gives me enough boost whenever my legs are tired from running. I always imagine what my photos would look like after it gets published.

Would I look exhausted? Is it going to be an epic action shot? The possibilities are endless.

I haven’t covered sports and events in a while, since I’ve been a product photographer for over half a decade. I try to shoot during community workouts at Bridgetowne Obstacle Park, ensuring my skills don’t get rusty.

After my Elite race at Spartan Stadion, I applied to be a photographer for Spartan Race Philippines. I’ve been wanting to satiate my curiosity on what is it like to become a race photographer. A month later, I got accepted and I didn’t realize my life would turn around after that opportunity.

Going back to my first love

When I got accepted by Spartan Race Philippines’ media team, I felt puzzled that everyone was using Canon for their gear and equipment. This prompted me to reach out to Canon Philippines, having them lend me the Canon EOS R8 along with a telephoto lens (RF 70-200mm) and a wide lens (RF 15-30mm).

I’ve been using a mirrorless Sony camera for almost a decade, but my first love was a Canon DSLR. It helped me ace my photography class back in my uni days and paved the road for my current career.

Going back to Canon coincided with the desire to go back to my roots. I’ve been yearning to cover sports and events, and I finally got the opportunity to do it again.

My familiarity with Canon helped in navigating the camera. It’s like going back to an ex-lover where too much time has passed and you just got a chance to see each other again. But this time, you’re both better.

Alexa, play “Maybe This Time” by Michael Murphy.

Time to gear up

My first assignment was the biggest Spartan Trail event for the year. Dubbed the Trailfecta Weekend, Spartan Race Philippines hosted three races in one weekend: 50 km, 21 km, and 10 km.

The event was mounted in the mountains of Bacnotan, La Union — a 30-minute drive from the San Juan, La Union which is also known as the Surfing Capital of the North.

During our orientation, we were briefed that celebrities and high-profile individuals would also grace and partake in the competition.

To make sure I wouldn’t miss out on any shots, I brought out two more SD cards and four more battery packs. I was nervous yet excited at the same time to be part of the race I used to compete in.

Under the hellish heat

On the first day, I was deployed at the 42nd mark of the 50-kilometer trail. I was the last photographer before the participants reached the finish line.

The media team used a buddy system but I insisted on moving further to find an enthralling background for the subjects I’ll be taking photographs with.

I ended up sitting at the 43rd-kilometer mark. Nevertheless, I found a good spot. I was sitting in a corner side of a paved road, snuggled under an umbrella while braving the hellish heat. I brought the Canon EOS R8 and the RF 70-200mm to capture every racer from a distance.

My goal at that time was to make sure I took the best shot of every athlete passing through me. Being situated at the near-end part of the race course meant athletes wouldn’t be crowded and I’d get a single shot of everyone.

Thankfully, it turned out excellent even if I was burnt from the scorching heat of the sun. Here are some of the best photos.

Elizabeth Dangadang

Andy Borras

Roy Dela Fuente

Aries Atienza

Keziah Loreto

Simon Adriano

In slopes

After the 50-kilometer race, we went back to our hostel to rest, recover, and prepare ourselves for the second day. The 21-kilometer and 10-kilometer races were more grueling than the 50-kilometer due to the sheer volume of racers attending.

An estimated 300 racers attempted the 21-kilometer race while around 600 racers ran through the 10-kilometer trail.

I was deployed early in the morning for the 21-kilometer race. My co-photographer Rox and I rode and stood at a pick-up truck, anxiously wanting to find a spot early.

One of the Philippines’ best trail runners was competing and we knew right away he’d be the first person to cross the finish line.

Deployed at the 10th-kilometer mark, we still went down on a slope to find a good spot. Our exploration at around the 9-kilometer mark was halted when we saw Randolf Gonzales, Merrell’s Ambassador, and the country’s elite trail runner, running easily on an uphill. Behind him were athletes from the Philippine Military Academy (PMA).

We had no choice but to stop and position ourselves as the athletes passed through us. Right then and there, we decided to station on the slope since the racers were coming.

Here are some of the photos I took on the half-marathon race.

Randolf Gonzales

Melissa Campos

Imman Villapando

Rufino Herrera

Jara Pallana

Ceddrick Moreno

Joj Agpangan

Up to shoot for more

The cut-off time for the half-marathon was too early, based on my experience. At 8 in the morning, we were asked to come back to the aid station. Seeing that it was still early in the day, we asked to be deployed for the 10-kilometer race.

We arrived at the last aid station around the 9-kilometer mark. Around twenty minutes later, the podium contenders for the 10-kilometer race were running on the trail we were stationed on.

I was positioned in the bush to sneakily take their photos. Some were surprised after passing through me. In this race, I felt being toasted by the sun. I was wearing my Straw Hat from Netflix’s One Piece, but it wasn’t enough to cool my head while on the trail.

Nevertheless, here are some of the photos from the 10-kilometer race.

Fjay Awa

Wellington “Beef” Co

Christian Tiu

Tinoy Borromeo

Jaco Benin

At the Workout Tour

Two weeks later after the race in Bacnotan, La Union, I also got an assignment to shoot for the second leg of the Spartan Workout Tour. It happened in Arca South in Taguig City, after the Spartan Kids race in the morning.

Though it was only a half-day event, the weather was erratic and bizarre, I almost feared for my gear. It was insanely, scorching hot, and then a heavy downpour came in during the start of the program. After half an hour, it stopped raining and it was insanely hot again. I had to use an umbrella to cover the Canon EOS R8 and the RF 15-30mm from the weather.

I forgot to use the telephoto lens since I used the RF 15-30mm to take photos of the Next-Gen Ford Ranger Wildtrak 4×4 at Poro Point in La Union, prior to the race. Luckily, the race course inside Arca South was cramped, and opting for the wide lens was more appropriate for the setting.

I stationed myself in the obstacles that would be best captured wide: Beater, Monkey Bars, Multi-Rig, and Rope Climb.

The Spartan Workout Tour photos I took are as follows:

Welcome back, my first love

Being a race photographer brought me back to my roots. I remember how I loved being the one behind the cameras, directing people on what to do and making them comfortable as I took their photos. I enjoyed the thrill of capturing an athlete’s performance in fleeting moments. The rapid anticipation of my heart racing from nervousness if I can even do a good job.

I’d say I did fine, seeing how I’m still part of Spartan Race Philippines’ official photographers team. Having the Canon EOS R8 allowed me to unleash my potential as a sports photographer.

It can shoot with a swift burst rate so I don’t miss any moments on the race course. It’s also responsive whenever I need to switch modes to find the more appropriate setting while shooting.

It certainly kept up with me at all times, regardless of the shooting conditions. It’s just versatile enough to bring along on the race course.

I’m still mulling over completely switching to the other side, both on the race course and using Canon as my main camera. I still enjoy being an athlete and competing in the Spartan Race, and jumping over from Sony to Canon is a big leap. But who knows? Maybe, just maybe, we find ourselves coming back to the brand we first loved.

For now, I’m just elated to be with fellow race photographers. It’s a pivotal experience that I’m going to treasure for the rest of my life.

Related Topics:Canon Canon EOS R8 Canon RF 15-30mm Canon RF 70-200mm specials

Accessories

OBSBOT’s Meet Flip is your next best pocketable 4K webcam

Fold the Flip for further protection

Published

July 29, 2026

Vincenz

Graphics by Vincenz Lee | GadgetMatch

Several months ago, you might remember that OBSBOT revealed the Tiny 3 series of web cameras.

Six months after, they also unveil the all-new Meet Flip. From the name itself, it’s the company’s latest foldable 4K webcam that puts hardware privacy front and center.

Foldable and pocketable

Despite weighing just 37.7 grams, the Meet Flip aims to deliver premium webcam features for all types of users. Be it remote workers, professionals, or content creators.

Graphics by Vincenz Lee | GadgetMatch

Undoubtedly, the biggest highlight has got to be the webcam’s folding design. Not only it’s portable, it protects your privacy too.

Closing the device physically blocks the lens, giving users a visual confirmation that the camera is no longer active. When it’s time for a meeting, simply unfold it and it’s ready to go.

That lightweight body also features a built-in mounting clip that works with laptops, monitors, and tripods. Users can mount it in landscape, portrait, or even upside-down orientations depending on their setup.

Despite that absurd amount of lightweightness, the OBSBOT Meet Flip is still able to house a 1/2-inch Exmor RS stacked CMOS sensor with Quad Bayer technology. That’s something more commonly found among bigger and higher-end web cameras.

Other camera features include:

4K video recording / 30fps
1080p recording / up to 60fps
HDR support for challenging lighting
Phase Detection Autofocus (PDAF)
4x digital zoom
f/1.8 aperture with ISO 100-6400 support for low-light environments

Beyond just video calls

The OBSBOT Meet Flip isn’t just packed with serious camera hardware, it’s seriously intelligent as well.

The Meet Flip supports AI Auto Framing. This automatically keeps users centered during meetings — regardless if they are presenting alone or with a group. Gesture controls also let users activate framing or adjust zoom without touching the keyboard or mouse.

Another standout feature is AI Magic Notes which provides real-time meeting transcription and automatically generates summaries, action items, and key discussion points.

The feature works with Google Meet, Zoom, and Microsoft Teams through OBSBOT Center. Every webcam includes complimentary transcription of 120 minutes.

With that being mentioned, OBSBOT Center also makes users gain access to software features such as background blur, virtual backgrounds, beauty mode, and picture-in-picture overlays for presentations.

Those who want more advanced controls can enable Smart Eye Tracking, teleprompter support, and manual image adjustments.

Audio also gets an upgrade through an intelligent dual-microphone system that offers four recording modes:

Directional Mode / solo calls
Dual-Directional Mode / interviews
Smart Omni Mode / group meetings
Pure Audio Mode / unprocessed stereo recording

AI Noise Reduction and Automatic Gain Control are also available across most modes to help improve voice clarity.

OBSBOT’s Meet Flip is also compatible with mobile devices through the OBSBOT Live app and supports integrations with accessories including Elgato Stream Deck, Nintendo Switch 2, and UVC-to-NDI/HDMI adapters.

Pricing and Availability

The OBSBOT Meet Flip is available starting today for US$119 through OBSBOT’s online store, Amazon US, and select retailers worldwide. Regional pricing may vary.

Cameras

Sony announces new FX5 full-frame camera

Newly-developed sensor, Open Gate recording, more enhanced capabilities

Published

July 23, 2026

GadgetMatch

Sony has launched the new FX5 full-frame camera in its Cinema Line series with enhanced capabilities.

The camera is equipped with a newly-developed fully stacked Exmor RS CMOS sensor and the latest high-speed BIONZ XR2 image processing engine, which includes a dedicated AI processing unit.

When shooting in S-Log3, the camera achieves 15+ stops of dynamic range. The broad latitude and low-noise performance enable seamless roll-off from highlights to shadows and natural texture reproduction, even in high-contrast scenes.

Three Base ISOs of ISO 800, ISO 4000, and ISO 12800 enable low-noise image expression under a wide range of conditions.

Moreover, Dual Gain Shooting function, supported for the first time in the FX series, maximizes the performance of the image sensor to enable smooth gradation reproduction with even wider latitude, while effectively reducing noise without compromising shadow detail.

For the first time in the Cinema Line FX series, the FX5 supports Open Gate shooting, as well as in-camera recording in X-OCN, Sony’s proprietary RAW format.

This includes a variety of scan modes like 17:9, 16:9, and super 35mm. This allows for flexible angle-of-view selection for the user’s creative intent.

The camera is capable of shooting in 5K at up to 60 frames per second, in 4K up to 120 frames per second and in FHD up to 240 frames per second.

These features bring together the Cinema Line look and operability designed to meet the needs of production environments in a compact, highly portable body.

The Sony FX5 will also include two new optional accessories: a detachable OLED viewfinder and an XLR Handle that enables recording in-camera at up to 96 kHz, 32-bit float.

The camera system incorporates expertise that Sony has cultivated through the development of Cinema Line cameras, which have earned high praise from cinematographers and video creators around the world.

Price, availability

The ILME-FX5 with XLR Handle Unit (SG$ 7,199) and ILME-FX5B Body Only (SG$ 6,399) will be available for pre-order until August 9.

The DVF-EL1 OLED Detachable Viewfinder (SG$ 899) and VMC-BNCU1 Timecode Adapter Cable (SG$ 129) will be available after Mid-August.

Meanwhile, the XLR-H2 XLR Handle (SG$ 1,099) will be available by special order.

On July 28, the FX5 will also be on display atThe Arts House At The Old Parliament from 6:00 P.M. to 8:00 P.M., giving creators the chance to experience it for the first time.

Cameras

DJI Osmo Pocket 4P launches with dual lenses and a 1-inch sensor

The biggest upgrade yet to DJI’s compact gimbal camera

Published

June 29, 2026

MJ Jucutan

The original Osmo Pocket launched in 2018 as a pocket-sized gimbal camera for people who wanted smooth footage without carrying a full rig. DJI has been building on that idea ever since, and today, with the Osmo Pocket 4P, they made the biggest jump yet.

A significant change

The most significant change in the Osmo Pocket 4P is the introduction of a dual-lens system. While previous Osmo Pocket models limited creators to a single, fixed field of view, the 4P provides two distinct options.

The camera features a wide-angle lens backed by a new 1-inch CMOS sensor alongside a 60mm medium-telephoto portrait lens boasting an f/1.8 aperture and 3x optical zoom. This second lens fundamentally changes how creators shoot on the ground.

At the 60mm focal length, backgrounds compress naturally to separate the subject from the environment without relying on artificial software rendering, offering an invaluable tool for capturing people at events, during travel, or throughout daily life.

The wide lens captures 17 stops of dynamic range through what DJI calls LOFIC technology, which handles high-contrast scenes like backlit windows or golden hour without blowing out the sky or burying the shadows.

Advanced sensor tech, color latitude

For high-contrast environments, the wide-angle lens captures an impressive 17 stops of dynamic range utilizing DJI’s new LOFIC technology.

This hardware addition allows the camera to effortlessly manage difficult lighting scenarios, like backlit windows or golden hour horizons, keeping the sky intact while preventing shadows from turning muddy.

On the color processing side, DJI has introduced a 10-bit D-Log 2 profile capable of recording over a billion colors. This shift provides editors with significantly more latitude to grade footage in post-production, avoiding the limitations of a baked-in, in-camera look.

High-speed motion, smart framing

In terms of capturing motion, the 4P supports 4K slow motion at 240fps, making it ideal for fast-moving subjects that benefit from a stylized, slowed-down perspective.

A slow shutter video mode is also included, allowing users to organically capture light trails in low-light environments. Physical stabilization continues to rely on a mechanical 3-axis gimbal, drawing directly from the heritage of DJI’s professional Ronin systems.

Weighing just 230 grams, the compact unit incorporates ActiveTrack 8.0 to handle automated subject tracking, maintaining precise focus through the entire 12x digital zoom range — a feature that proves essential for solo creators who need the hardware to handle framing duties.

Practical updates for daily use

DJI has also focused heavily on the realities of on-the-go shooting. The 4P introduces gesture controls, letting users trigger subject tracking or start recording without physically touching the device.

A new 4K Live Photo mode automatically captures a 1.5-second clip alongside every still image, while the main sensor allows for high-resolution 37-megapixel photos that offer plenty of room for cropping in post-production.