Posts Tagged ‘Camera’

The Samsung 360 Round camera can capture 360° 4K 3D video at 30fps

20 Oct

Samsung has just unveiled an interesting new gadget at their annual Samsung Developer Conference. Meet the Samsung 360 Round: a 3D VR camera.

The new device uses 17 total lenses—eight horizontally positioned stereo pairs and one upwards pointing single lens—to capture and livestream 4K 3D panoramic video at 30 frames per second. Each camera module features a 1/2.8’’ 2MP sensor and F1.8 aperture. All of this is housed in a compact and rugged (IP65 water and dust resistance) uni-body that Samsung claims can handle all weather conditions.

PC software for controlling the camera and stitching is included, and the camera features a range of interfaces for connecting external microphones, storage devices and more.

“The Samsung 360 Round is a testament to our leadership in the VR market. We have developed a product that contains innovative VR features, allowing video producers and broadcast professionals to easily produce high quality 3D content,” said Suk-Jea Hahn, Executive Vice President of Samsung Electronics’ Global Mobile B2B Team. “The combination of livestreaming capabilities, IP65 water and dust resistance and 17 lenses makes this camera ideal for a broad range of use cases our customers want—from livestreaming major events to filming at training facilities across various industries.”

The Samsung 360 Round will be available in October in the United States, and should be introduced to other markets over time. Samsung says the camera is aimed at VR professionals and enthusiasts, and will be ‘reasonably priced’… although the company hasn’t yet specified exactly what that ‘reasonable’ price will be. For more information, visit the Samsung website.

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DxO offers Android model, adds Facebook Live support and battery grip to One camera

16 Oct

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DxO has announced version 3.0 of the iOS app for its ‘One’ connected camera as well as a beta USB-C Android version of the device. This significant upgrade adds support for Facebook Live broadcasting, with the ability to utilize the iPhone’s built-in camera(s), as well as the one on the One (no pun intended). The new software allows users to monitor each camera separately, adjust settings as needed and then effortlessly switch from one to another.

The update also brings with it support for video and still time-lapses. The One uses ‘Auto Ramping’ to maintain white balance and exposure throughout the sequence in order to avoid ‘flicker.’ Still images can be saved in Raw format and can also be combined to create a 4K video.

New accessories include a battery pack, which holds up two batteries (each adding 1 hour of ‘life’), a tilt stand and a ‘cable back door’ that allows for extended shooting when using the outdoor housing.

Android users who have been waiting for a One of their own, take note. DxO has developed a One for tablets and smartphones and will be starting an ‘Early Access’ program in the next several weeks. The Android version uses a USB-C connector that may limit compatibility to those with the newest smartphones, though we’ve reached out to DxO to see if a microUSB adapter will work.

The new firmware for iOS is available immediately from the App Store. The battery pack is $ 50 while the tilt-stand and cable back door are available at no charge.

The DxO ONE now supports Multi-Camera Facebook Live and Time-Lapse features as well as new accessories and an Early Access Program for Android

The latest free iOS app update, available free of charge, opens up a number of new opportunities for using the DxO ONE remotely and autonomously, transforming the camera into the perfect photo and video accessory for your iPhone

PARIS – October 16, 2017 – DxO, a key player in digital image technologies, announced a major update to the DxO ONE, its miniaturized and connected professional-quality camera for smartphones and tablets. Available immediately and free of charge, version 3.0 of the DxO ONE iOS app offers the first pro-quality multi-camera solution for Facebook Live and a new time-lapse option featuring exclusive Auto Ramping technology. The DxO ONE ecosystem of accessories now includes an external Battery Pack that doubles the camera’s battery life as well as a Cable Back Door for the device’s waterproof case, allowing you to use the DxO ONE outside or even underwater for extended periods.

“While smartphones have made significant progress in terms of image quality, they don’t come close to the photos and videos a real camera like the DxO ONE can offer. Most importantly, you have to hold them in your hand, and you constantly need them for other things, like making calls, sending messages, or checking your social networks,” explains Jérôme Ménière, DxO’s CEO and founder. “The DxO ONE is the first photo and video camera designed to operate as both a handheld and remote device. It’s even able to function remotely over a long period of time — for example, you can use it outside to record a time-lapse or Facebook Live video. Because it works in perfect harmony with your smartphone, it is the ideal photo and video assistant for this device.”

Multi-Camera Facebook Live capabilities: the ultimate solution for broadcasting professional-quality videos

With its iOS application update to version 3.0, the DxO ONE revolutionizes video publication using Facebook Live by allowing users to instantly and easily create a live video stream. Its revolutionary Multi-Camera mode, which leverages the DxO ONE and both iPhone cameras, gives users the ability to experiment with shots that can’t be captured with the iPhone’s cameras alone, making it easy to create professional-quality video streams.

DxO ONE’s Live Facebook solution offers a set of advanced controls, including a mini-control panel that allows the user to preview all three views to compose shots, adjust lighting, or prepare the subject before shooting and streaming live from different angles. Just like filmmakers, users can switch from one camera to another at the touch of a fingertip, as well as record sound from the DxO ONE’s or the iPhone’s built-in microphone, and switch the sound source during playback.

Wi-Fi control also allows users to control the camera remotely while also sending videos over Wi-Fi or 4G, making it easy to experiment with new compositions. And with its large sensor and ultra-bright optics, the DxO ONE offers a natural bokeh that allows users to capture high-quality video.

Stunning, ready-to-share time-lapse videos

Version 3.0 of the DxO ONE iOS application’s Time-Lapse feature lets you capture stunning videos and share them without going through a complex post-processing process. The easy-to-use interface guides users through the appropriate settings — duration, interval, and time of shooting — and warns them if their selected settings are incompatible. DxO ONE’s unique Auto Ramping technology avoids flicker effects by providing consistent exposure and white balance across all images. Once the settings are established, the phone can be used normally while the camera continues to take pictures. The videos it produces can then be shared immediately.

In addition, the DxO ONE iOS 3.0 application’s Time-Lapse feature uses an intervalometer, transforming the camera into an automatic camera that periodically takes professional-quality images in RAW format at a user-defined rate. Advanced users can also create 4K videos in post-processing.

For long-term use no matter the weather and even underwater, the Cable Back Door connects the DxO ONE to an external battery when the camera is used with the Outdoor Shell — a must-have combination for superb outdoor video and time-lapse imaging.

New accessories for optimizing the DxO ONE experience

The new Battery Pack extends the DxO ONE’s battery life. It includes a Cradle, two rechargeable batteries, and a USB adapter. The Cradle attaches to the bottom of the DxO ONE once the back door has been removed so you can connect either one of the two batteries or the USB adapter. Each battery adds up to one hour of battery life, and the USB adapter allows the DxO ONE to be recharged directly from an external battery.

The new Tilt Stand lets you hold the camera on any surface and choose between five different tilt directions as well as different angles of view, greatly facilitating use of the DxO ONE in standalone mode, or for hands-free remote use when controlled by Wi-Fi.

DxO seeks out Android users

Building on the success of its DxO ONE for iOS, DxO has developed a DxO ONE for Android equipped with a type-C USB connector, making it compatible with recent Android smartphones and tablets.

The DxO ONE Android will be offered in the coming weeks via an “Early Access” program that is open to all. It will allow users to preview the DxO ONE Android and receiving regular updates with the latest application features. The Early Access program will be an opportunity for participants to share their feedback and help improve the DxO ONE experience on Android.

“Since its launch, we have added dozens of features to the DxO ONE, thanks to feedback from users,” said Jean-Marc Alexia, Vice President of Product Strategy. “Today, DxO is responding directly to one of the most frequent requests by launching the Android version, and we will continue to listen to market needs. “

Price & availability

Version 3.0 of the DxO ONE iOS application, along with the application for the Apple Watch, are immediately available for free via the iTunes App Store.

Version 1.0 of the DxO ONE Android will be available for free in the coming weeks via the Google Play Store, as part of the “DxO ONE Android Early Access program”.

The Battery Pack ($ 59,99 | £49.99 | 59,90 €) will be available at

The Cable Back Door will come with any purchase of a waterproof Outdoor Shell from DxO’s online store.

The Tilt Stand will be provided with the DxO ONE free of charge.

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DJI is now a camera company, and we should probably pay attention

14 Oct

When most people think of DJI, they think of drones – Phantoms, Mavics, and Sparks. Some may also know DJI for camera stabilization systems and gimbals, but it’s fair to say that most people probably think of DJI as a drone company.

Starting this week, DJI is also a camera company.

At an event in Hollywood, the company introduced its new Zenmuse X7 cinema camera, which includes some very impressive features including 6K Raw video. (You can find the full rundown of specs in our news story.) It’s a camera aimed primarily at the high-end motion picture market, but it sheds some light on DJI’s approach to the camera industry.

Part of what makes this interesting is the astounding rate at which DJI has been innovating over the past few years. I’m not suggesting that other companies haven’t innovated, but let’s be honest – at times the camera market can feel a little bit predictable.

“Starting this week, DJI is also a camera company.”

What sets DJI apart is that it seems to consistently push boundaries to create inventive products, which sometimes even surprise us a bit, as well as the rate at which they appear to be doing it. In fact, at the launch event for the X7 I felt a genuine sense of excitement about the new camera, not just from DJI employees but from those in attendance.

Although the X7 is undeniably aimed at cinematographers, it presents opportunities for photographers as well. It also illustrates that DJI is prepared to make its own imaging products if the company thinks it can build a better mousetrap than what’s currently out there.

A new system

DJI has built aerial systems with cameras for years, such as the Phantom series, and more recently, the Inspire series. Those models historically relied on either small sensor cameras with fixed gimbals, or adopted standards not originally developed for aerial use, such as Micro Four Thirds. (The original Phantom even used a GoPro camera.)

At the very high end of the market, however, photographers and filmmakers have largely been on their own to figure out how to rig pro-level cameras, such as DSLRs or cinema cams, on much larger drones like the S900 or Matrice 600, something that requires long set up times, provides less stability, and results in short flight times.

The Zenmuse X7 camera was designed specifically for aerial use, with a focus on small size and light weight. The short 16.84mm flange distance of the DL-mount allows lenses to remain small.

The X7 is primarily designed for this latter group, as well as users of the Inspire 2. By building its own camera, DJI had the freedom to engineer both camera and aircraft as a single, integrated system. The result is a very small Super 35 cinema camera that fits easily on an Inspire 2 drone without compromising the flight characteristics, and which can deliver professional cinema quality output. And, at a price point of $ 2699, it almost feels like a bargain.

Further, it’s not just a camera that DJI has introduced, but a full system that includes a new lens mount and lenses. The DL-mount has an extremely short 16.84mm flange distance, allowing for impressively small lenses that keep weight to a minimum. The four lenses available at launch are built from lightweight carbon fiber and have no external moving parts for improved durability. It’s a system that DJI can build on for the future.

In a sense, DJI designed the system because it needed to do so in order to continue innovating in other areas.

“In a sense, DJI designed the system because it needed to do so in order to continue innovating in other areas.”

In my brief hands-on time with the X7 and the new lenses I was impressed with the hardware. It’s remarkably small for what it is. The one thing that caught me off guard was the weight of the lenses; they’re so light that they feel like inexpensive kit lenses. But then you remember that they’re built from carbon fiber in order to be as light as possible and it all makes sense. If the camera and lenses can deliver the level of quality that DJI claims (and indications are that it probably can), the company has a real winner of a product. It’s a strong start for a new system.

The Zenmuse X7 is the first camera in DJI’s new system.

Why should photographers care?

Although the X7 is clearly aimed at the motion picture community, there’s reason for photographers to be excited about DJI’s new camera system as well.

All the press coverage describes the camera as having a Super 35 video sensor, which is a standard in the motion picture industry. That’s true, to a degree. It turns out that the X7’s sensor is actually a full APS-C sensor. When shooting video, the camera uses the full width of the sensor but not the full height, resulting in a cinematic aspect ratio.

When shooting photos, however, the camera uses the full area of its 24MP sensor, supports Raw capture in DNG format, and can even shoot continuously at 20fps. The result is that the X7 may be one of the most compelling options for aerial photographers available today. It’s a bit pricey once you include an Inspire 2 drone and a lens or two, but no more so than a Nikon D5 and a couple good lenses. If you’re serious about aerial work it’s inexpensive compared to helicopter time, and much easier to use than a homebrew system assembled from scratch.

The X7’s Super 35 sensor is really an APS-C sized sensor (23.5mm x 15.7mm). When shooting photos the camera captures the sensor’s full 24MP resolution and supports Raw image capture.

What’s probably more important than the X7 camera, however, is that DJI now has its own camera platform, complete with lens mount, around which it can develop additional imaging products, lenses, and accessories. This could include non-aerial tools, such as gimbal-mounted cameras, and maybe even other products the company has up its sleeve. Additionally, users will be able to buy lenses knowing that they won’t be obsolete when the next camera is introduced, just as with any other system.

“…the X7 may be one of the most compelling options for aerial photographers available today.”

I’m not suggesting that DJI is going to radically shift focus and suddenly start making still cameras, but the company has shown an interest in the photography market, as demonstrated by its stake in Hasselblad. It’s not entirely clear where DJI is headed with this, but I suspect it goes beyond hanging a 100MP Hasselblad H6D off a M600 hexacopter with a Ronin gimbal. However, DJI does have the potential to be a disruptor in the imaging market, and now they have a camera platform with which to do it.

The wrap

It’s not often that we see the introduction of a completely new camera system, so DJI’s announcement this week is notable. What I find particularly exciting is that DJI has a tendency to introduce and iterate products quickly. It’s also in a unique position of not having a legacy system to support. DJI doesn’t have to worry about ‘the way it’s always been done’, or making sure its lenses work with decades-old products. That won’t be true forever, but for now it gives them the freedom to be very creative in their product design.

If you’re going to launch a new cinema camera, you might as well do it in Hollywood. The Inspire 2 and Zenmuse X7 camera.

I don’t imagine DJI is going to shift away from its core strength of aerial imaging, but if the company can keep up its current rate of innovation I believe we’re likely to see some very impressive imaging products coming our way, particularly now that it has committed to a full camera system with room to grow. If DJI can disrupt the market in the process, all the power to them.

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Video: Meet the world’s fastest camera slider

12 Oct

Photographer, filmmaker, and ultra-creative YouTuber Daniel DeArco recently put together something really interesting: the world’s fastest camera slider. At least, he *thinks* it’s the world’s fastest camera slider. But even if it isn’t, the practical effects he’s able to get by shooting with this slider are really interesting.

In the two videos embedded here, he (above) shows off some of his experiments with his new toy—including regular motion shots and some interesting slow motion panning and zooming movements—before diving into a behind the scenes look and outtakes (below).

According to DeArco, one of his main goals is to create a faux bullet time or ‘Matrix’ effect by shooting slow motion while moving the camera at high speed.

I shoot a lot of movement and action, and wanted to shoot high speed, WITH the camera in high speed––since you can’t fake gravity. My goal was to achieve a similar effect to what you see in, “The Matrix”, when Neo is dodging bullets.

Check out the results for yourself in the two videos embedded here, and then head over to DeArco’s YouTube channel or Instagram account to see more of his creative work.


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The camera I almost bought (again and again): The Canon PowerShot G5

12 Oct

At this point in my life, I could probably write a series of articles on cameras that I considered buying, almost bought, or actually did buy before reconsidering and returning them. Of all of the cameras that would make that list, the Canon PowerShot G5 is probably the model that I almost bought more times than any other.

Released in 2003, the PowerShot G5 was in that respect a companion model to the EOS 10D – my first personal DSLR. The G-series was traditionally marketed at enthusiasts and semi-pros, with the idea being that while most photographers couldn’t afford or quite justify a DSLR, cameras like the G5 could deliver a similar user experience, with comparatively good image quality and limited system cross-compatibility, for less money.

The thinking was that photographers making the expensive transition away from film and towards digital, might use the G-series as an affordable halfway point before investing fully in a DSLR. Conversely, professionals or well-heeled amateurs that owned a 10D or EOS-1D-series DSLR might consider a camera like the G5 as a second body, for backup and travel.

To court both sets of customers, Canon made sure that the G5 looked and worked broadly like the EOS-series DSLRs that it was marketed alongside. It was black, for one thing, which immediately made it look more ‘professional’ than the silvery G2 and G3 that proceeded it. It offered Raw mode, and was powered by the same ubiquitous BP-511 battery as the 10D and 300D. The G5 also featured the familiar EOS exposure mode dial and front control dial of the EOS-series, and it even had a hot shoe, for full E-TTL compatibility with Canon’s range of Speedlites.

And like a DSLR it had an optical viewfinder. A blurry, low-accuracy tunnel-type viewfinder, sure, and nowhere near a match even for the dim finder in the EOS 300D, but it was better than nothing, and handy in some situations. More useful was the fully-articulating rear LCD screen on the back, which no DSLR could match.

As far as image quality was concerned, the G5 was a solid performer by the standards of its time, but not spectacular. Its lens range of 35-140mm equivalent and reasonably fast maximum aperture of F2-3 were decent for 2003, but the zoom was limited at the long end, and while adapters were available to extend the range, they were clumsy and heavy (because they were lens adapters).

There was even a general feeling, amusing to recall now, that 5MP represented a degree of ‘maturity’ when it came to digital imaging.

I remember the G5 being more desirable to me than the G3 simply by virtue of being matte black, and (mostly) metal-bodied, but looking at it now, it seems blocky and inelegant. In my opinion the more-rounded G1, G2 and G3 have actually aged a little better, despite being physically a little larger. Opinion in the DPReview office on this point is divided (by which I mean Dan disagrees with me).

Apart from its color, the biggest differentiator between the G5 and the earlier G3 was the bump in pixel count from 4 to 5 megapixels. In practical terms, the increase in effective resolution was very modest (“not worth it” as we opined in our review at the time) but 5MP came to be regarded as something of a benchmark among enthusiasts and within the photo press. From 1-4MP, each megapixel jump had brought noticeably improved resolution, but from 4/5MP onwards, generational increases in image quality became more subtle.

There was even a general feeling, amusing to recall now, that 5MP represented a degree of ‘maturity’ when it came to digital imaging. Perhaps this was more of a psychological benchmark than anything, but it was real nonetheless.

One of the reasons I nearly bought the PowerShot G5 so often is that my EOS 10D spent so much of the first year of its life being sent repeatedly back to Canon to have its autofocus system adjusted. In the end though, I just couldn’t afford it (the G5 retailed for $ 799 in the US when it was new, which from memory worked out at about £600). After a frustrating few months, my 10D was (finally) fixed, and at that point I didn’t have any need for a backup. The following year I ended up buying an IXUS 50 (SD400 Digital ELPH) for social photography and low-profile shots at concerts, which was a good deal more pocketable than the G5. The PowerShot G6, which replaced the G5 in 2004, offered greater resolution and a more refined user experience in a more stylish body, but the tacky silver chrome finish turned me off.

I did buy a PowerShot G5 eventually though, after fifteen years of thinking about it. This past weekend, for $ 9 at my local thrift shop. As you can see from the images in this article, it’s cleaned up pretty nicely. Another itch scratched off the list.

Do you have any cameras in your past that ‘got away’ at the time? Let me know.

Read our PowerShot G5 review

Canon PowerShot G5 samples gallery (2003)

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Nokia pulls the plug on the Ozo VR camera, will lay off up to 310 employees

12 Oct

Nokia Technologies has announced that it will be reducing its investments in VR due to “slower-than-expected development of the VR market,” and this means putting an end to its Ozo VR camera. While Nokia will fulfill its commitments to customers who have already purchased the camera, the company explains that it will not develop future versions of Ozo.

Nokia revealed the change of plans in a statement yesterday, in which the company also detailed a business restructuring plan that includes laying off up to 310 employees—a significant percentage of Nokia Technologies’ 1,090 worker base. These layoffs will primarily happen in the US, UK and Finland, and are part of a shift towards “digital health and brand and technology licensing.”

Presently, the Ozo+ camera is still listed as available in Nokia’s online store for $ 25,000 USD.

Press Release

Nokia focuses on patent, brand and technology licensing and targets faster growth in digital health with sharpened strategy for Nokia Technologies

Press Release

  • Increased focus on digital health and brand and technology licensing balanced with optimized investments in virtual reality
  • Planned changes expected to impact Nokia Technologies employees mainly in Finland, the US and the UK
  • Nokia’s successful patent licensing business is not in scope of planned changes

October 10, 2017

Espoo, Finland – Nokia today announced plans to sharpen the focus of Nokia Technologies on digital health, and accelerate growth in that market, while optimizing investments in virtual reality (VR). Nokia Technologies will also focus on growing brand and technology licensing while leaving its successful patent licensing business untouched.

The shift deepens Nokia’s commitment to fully leverage its digital health portfolio acquired through the purchase of Withings in 2016. Through a more focused, more agile digital health business, Nokia aims to have larger impact with consumers and the medical community.

In digital media, the slower-than-expected development of the VR market means that Nokia Technologies plans to reduce investments and focus more on technology licensing opportunities. The unit aims to halt development of further versions of the OZO VR camera and hardware, while maintaining commitments to existing customers.

The potential reductions are expected to affect up to 310 of the roughly 1090 employees in Nokia Technologies, mainly in Finland, the US and the UK. To start the process, Nokia today has invited employee representatives of Nokia Technologies in Finland to cooperation negotiations.

“Nokia Technologies is at a point where, with the right focus and investments, we can meaningfully grow our footprint in the digital health market, and we must seize that opportunity,” said Gregory Lee, president of Nokia Technologies. “While necessary, the changes will also affect our employees, and as a responsible company we are committed to providing the needed support to those affected.”

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DJI launches Zenmuse X7 Super 35mm camera module with Raw video capture

12 Oct

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DJI has launched the Zenmuse X7, a Raw video capable Super 35 camera module. The camera/gimbal system which mounts to the company’s drones features a new, proprietary lens mount.

The camera can shoot 6K CinemaDNG Raw or 5.2K Apple ProRes footage at up to 30p or 3.9K CinemaDNG and 2.7K ProRes at up to 59.94p. The company claims 14 stops of dynamic range but, like all video manufacturers, doesn’t specify how this is assessed.

It uses the new “DJI Cinema Color System” based around a D-Log Curve and D-Gamut RGB color space.

The camera includes two exposure modes, one that varies amplification gain and an “EI” mode that always uses minimal amplification (~base ISO) with metadata tags to denote the intended final brightness, to preserve DR. This is increasingly common practice in the video sphere but has yet to make its way across to stills photography.

The previous model (the Zenmuse X5) was based around a Micro Four Thirds mount and came with a distinctly Panasonic-like 15mm F1.7 lens. Instead the Zenmuse X7 is based around the company’s own ‘DL’ mount.

Alongside the camera, the company is releasing 16mm, 24mm, 35mm and 50mm F2.8 lenses, the longest three of which will include mechanical shutters. The carbon fiber bodied lenses will cost $ 1,299 each, with the exception of the 50mm, which is $ 100 cheaper, though a camera bundled with all four lenses will cost just $ 4,299.

The camera on its own will cost around $ 2699 and will be available from November.

Press Release:

DJI Reveals Zenmuse X7, The World’s First Super 35 Digital Film Camera Optimized for Professional Aerial Cinematography

October 11, 2017 – DJI, the world’s leader in civilian drones and aerial imaging technology, today introduced the Zenmuse X7, the world’s first Super 35 digital film camera optimized for professional aerial cinematography. Designed to work seamlessly with the DJI Inspire 2 drone, the Zenmuse X7 delivers superior image quality, interchangeable lenses, and a new DJI Cinema Color System for post-production to give film and video professionals more creative freedom.

“The Zenmuse X7 offers everything professional content creators need to make their aerial footage as stunning and vivid as they demand,” said Paul Pan, Senior Product Manager at DJI. “From the large Super 35 sensor to a new mount, lenses, and color system, the Zenmuse X7 gives cinematographers and professional photographers an unmatched set of tools that work seamlessly with the DJI Inspire 2 drone to capture high-quality footage that is easily integrated into projects shot with industry-leading handheld cameras.”

Greater Expressive Freedom

The Zenmuse X7 is equipped with a Super 35 video sensor featuring 14 stops of dynamic range for more detail in low-light conditions. Its low-noise image capture enhances grading flexibility by preserving details in both highlight and dark areas while enabling a shallow cinematic depth of field.

To meet the rigorous requirements of filmmakers and television production professionals, the Zenmuse X7 captures the highest image resolutions ever for an integrated drone camera. It is capable of shooting 6K CinemaDNG RAW or 5.2K Apple ProRes at up to 30 FPS, as well as 3.9K CinemaDNG RAW or 2.7K ProRes at up to 59.94 FPS to integrate seamlessly into industry-standard post-production workflows.

Enhanced Imaging Potential

The Zenmuse X7 uses a dedicated aerial mount system, the DJI DL-Mount, featuring an ultra-short flange focal distance to carry prime lenses optimally. Available with focal lengths of 16 mm, 24 mm, 35 mm, and 50 mm, each lens has a maximum aperture of F/2.8 and is crafted out of carbon fiber, making them durable and lightweight for high-performance aerial cinematography with the DJI Inspire 2 drone.

To allow for advanced setting adjustment and fine-tuning, the 16mm lens is equipped with a built-in ND 4 filter, and the 24 mm, 35 mm, and 50 mm lenses feature a mechanical shutter.

Higher Flexibility in Post-Production

DJI has also introduced a new DJI Cinema Color System (DCCS) making the Zenmuse X7 an asset on every film set for movies, TV series, commercials, documentaries, and more.

“For the Zenmuse X7, we took our color science to the next level,” continued Pan. “We consulted the world leading authorities in color science, Technicolor. With their guidance, our engineers developed an optimized gamma curve for the X7 allowing more latitude without sacrificing image quality.”

DCCS features a new D-Log Curve and D-Gamut RGB color space to give more flexibility and color options during the post-production process. The D-Log further extends the dynamic range, while the D-Gamut RGB color space preserves more color information to support the most demanding filmmaking scenarios, providing accurate color for quick and easy post-processing.

The new EI Mode mimics the way a film camera works to help cinematographers capture as much information as possible in every scene while balancing the dynamic range and noise with different log curves for more flexibility during the post-production process.

The Zenmuse X7 gimbal system weighs just 631 grams with the 16 mm lens. The DJI Inspire 2 has a flight time of up to 23 minutes with the Zenmuse X7. For more info about the Zenmuse X7, visit

Price and Availability

The Zenmuse X7 camera is priced at $ 2,699 USD. The 16 mm, 24 mm and 35 mm lenses will be available for $ 1,299 each, and the 50 mm for $ 1,199. Customers can purchase the Zenmuse X7 prime lens combo including all 4 lenses for $ 4,299. The Zenmuse X7 will start shipping in early November 2017 from, in DJI Flagship Stores and through DJI Authorized Dealers worldwide.

DJI Care Refresh will be available for the Zenmuse X7 camera gimbal system as well as for the Inspire 2 drone. For more info, visit

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Yashica launches Y35 digiFilm camera that uses digital ‘film’ cartriges

11 Oct

After a number of teasers over the past few weeks, Yashica has finally launched its ‘unprecedented camera’ on Kickstarter: meet the Y35 digiFilm camera. The description page does not offer an awful lot of technical detail, but it looks like the Y35 is relatively simple digital camera in a retro-style body that comes with a unique feature: interchangeable digital ‘film’ cartridges that Yashica calls digiFilm.

The camera doesn’t actually save any images on the digiFilm (it has an SD-card slot for that) but instead ISO, color and digital filter settings are controlled by inserting a digiFilm cartridges. How’s that for a gimmick?

To start with, Y35 users will be able to choose from an ISO1600 High Speed digiFilm for grainy images and shooting fast moving subjects, an ISO 400 Black & White digiFilm, an ISO 200 Ultra Fine digiFilm, and a ISO 200 “6 x 6” cartridge that makes the camera capture square images.

Given most settings are adjusted by inserting a digiFilm cartridge, the camera body itself doesn’t offer a great deal of control. There’s only a “winder” to set the camera up for the next capture, and a shutter speed dial. The rest of the specifications are in line with quite basic digital cameras: images are captured on a 1/3.2-inch 14MP sensor and the lens comes with a 35mm equivalent focal length and F2.8 aperture.

You can reserve an early bird Yashica Y35 digiFilm special for $ 124 on the Kickstarter page. This will get you the Yashica Y35 camera and the ISO 200 Ultra Fine digiFilm, plus a Yashica digiFilm post card. The package for $ 142 includes an additional digiFilm of your choice. Delivery is planned for April 2018, assuming the camera gets funded.

Yashica Y35 Specifications:

  • 1/3.2-inch 14MP CMOS sensor
  • Built-in viewfinder
  • F2.8 aperture
  • 35mm equivalent focal length
  • 1m minimum focusing distance
  • 5 selectable steps shutter speeds 1s, 1/30s, 1/60s, 1/250s, 1/500s
  • SD card storage (wifi card compatible)
  • Micro USB connectivity for data transfers
  • Tripod mount
  • Power supply via 2 x AA batteries

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How to Make Your Photos More Creative Using Camera Angles

10 Oct

A creative use of camera angles is one of the quickest ways to add interest and variety to your photos.

Even if you don’t know how to use your camera very well, angles are easy! All you have to do is move your camera higher or lower to dramatically change the angle of your photo. It doesn’t matter what camera or what lens you’re using (even your smartphone), you can always make more creative photos by changing the camera or shooting angle.

Five Different Camera Angles

You have five main camera angles to choose from. Each one will add a different perspective, giving your photo the mood or feeling that you want it to have.

#1 – Bird’s Eye View

The highest camera angle is “bird’s eye view.” This is when you get up above the scene and look straight down. This angle is great for looking down and seeing all the details of a scene from above.

A bird’s eye view is an unusual angle because you’re not normally up high looking down on a scene. Any angle that is beyond your usual daily experience will make your photo more interesting to look at.

Bird Eye View How to Make Your Photos More Creative With Angles

I chose a bird’s eye view for this photo of our sleeping baby. By choosing this angle, I was able to look down and frame him with blueberry branches.

Bird Eye View - How to Make Your Photos More Creative With Angles

A bird’s eye view is great for food photography, allowing you to see everything on the dish.

#2 – High Angle

A “high angle” is not quite as extreme as the bird’s eye view. You just need to be a little bit higher than the person or thing that you are photographing.

Think of a high angle as a very normal view of the world for most adults. This is especially true for parents who are always looking down toward their kids.

Even though you experience this angle or perspective a lot throughout the day, it can still be perfect for some of your photos. A high angle is useful for making your subject look smaller or more vulnerable and perhaps making the viewer seem more dominant.

High Angle How to Make Your Photos More Creative With Angles

This high angle allowed me to look down at my son and also work in some interesting background elements.

How to Make Your Photos More Creative With Angles

Since this is a photo of “little sister,” a high angle gives her a smaller more vulnerable appearance.

#3 – Face-to-Face

A face-to-face angle is taken at eye level to your subject. This is a very engaging angle and helps to establish a personal connection between the person in your photo and the person viewing it.

This is a great angle for portraits, though a slightly higher than eye level angle is great for portraits too.

Face to Face How to Make Your Photos More Creative With Angles

When she came in from playtime covered in mud, I knew I had to use an engaging face to face angle.

Face to Face How to Make Your Photos More Creative With Angles

I love this captivating perspective.

#4 – Low Angle

For a low angle, you need to be below eye level. As you get down lower, you make the subject of your photo appear a larger. This may add a larger than life feeling to your photos and is great for emphasizing toughn s, or making things look scary or epic.

Low Angle How to Make Your Photos More Creative With Angles

A low angle is absolutely necessary when photographing sharks. It’s the only way to see their most frightening feature; teeth!

Low Angle 2

This moment was exploding with energy as the kids ran from the bus stop. Dropping down to a lower angle helps to emphasize the energy of the moment as well as bring the buses in the background in line with the kids.

#5 – Bug’s Eye View

Also known as “worm’s eye view,” this angle is just like it sounds. You get down as low as you can and look straight up toward your subject.

Again, this is a very unusual angle. You rarely experience this point of view, so it will add an interesting or creative perspective to your photo.

Bug Eye View How to Make Your Photos More Creative With Angles

I had to lay down on the ground and look up for this photo. It seemed like the perfect angle to capture my son’s first major climb!

Bug Eye View How to Make Your Photos More Creative With Angles

It’s easy to get a bug’s eye view at a playground. Just wait for your kids to start climbing and then look straight up at them.

One Scene – Three Angles

It’s a great idea to capture more than one angle every time you take photos of a moment. It will push your creativity, help you to explore new perspectives and provide you with more views to tell the story.

These next photos demonstrate how I captured one scene from three different angles.

How to Make Your Photos More Creative With Angles

In this first photo a higher angle was used to look down on the scene and see the puddle.

Three 2

A face to face angle is perfect for a muddy faced portrait.

Three How to Make Your Photos More Creative With Angles

This lower angle perspective makes the moment feel a little bigger and emphasizes the excitement she felt after having fun in the mud puddle.

Beyond Everyday Perspectives

Knowing these five camera angles, and practicing them will help you get unstuck anytime you’re uninspired or find that your photos are turning out boring or predictable. To spice up your photos, simply choose the most unusual angle. Once you’ve done that try at least two more angles and figure out which one has best captured the moment.

As you experiment with angles you’ll boost your creativity by breaking out of everyday perspectives. Try capturing a few different angles right now. I would love to see your photos in the comment section below.

The post How to Make Your Photos More Creative Using Camera Angles by Mat Coker appeared first on Digital Photography School.

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DxOMark: Samsung Galaxy Note 8 ties iPhone 8 Plus as best ever smartphone camera

07 Oct

News that Apple’s new iPhone 8 Plus had suddenly taken the top spot on DxOMark’s smartphone camera rankings was met with the expected range of praise and critique—everything from “of course, iPhone’s are awesome cameras” to “how much did Apple pay DxOMark for this result!?” But it turns out the iPhone 8 Plus’ ranking as the best smartphone camera DxOMark had ever tested didn’t last very long.

As of today, the iPhone 8 Plus has been tied by the Samsung Galaxy Note 8, which significantly bested its Photo score and only tied the iPhone 8 Plus overall because Apple’s smartphone does so much better in the video category.

The full breakdown of the results can be found on DxOMark, but this comparison between the two phones’ scores speaks volumes:

The Photo categories where the Note 8 really outperformed the iPhone include Autofocus (94 vs 74) and Zoom, where the Note 8 got a score of 66 to the iPhone’s 51. DxOMark’s conclusion is appropriately praiseworthy:

When all the tests are verified, the scores calculated, and the perceptual analyses discussed, the Samsung Galaxy Note 8 comes out as an outstanding choice for the smartphone photography enthusiast, matching the top overall score of 94 points of the iPhone 8 Plus. Dual-cam setups offering a second telephoto zoom for portraits are a real step forward for high-end smartphone photography, and the implementation on the Note 8 is exceptional, making it the best smartphone for zoom shots we’ve tested.

Read DxO’s full thoughts and see all of their sample and test photos at this link. And if you’re an Android user in need of some serious photography power from you smartphone, the Galaxy Note 8 should definitely make it to the top of your list.

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