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Archive for April, 2020

ON1 announces 360° cross-device sync service for editing and managing images remotely

29 Apr

Software developer ON1 has released details of a new service it claims will allow photographers to synchronize the editing and organizing of images across computers and mobile devices no matter where they are stored. The ON1 360° application will connect up to five computers and five mobile devices so that images stored on any one of them, or on attached external hard drives and NAS systems, can be accessed and edited from any of them – with changes synced across them all.

The software relies on a cloud storage service and a newly developed compressed RAW file format. Photographers select which files, folders or albums they would like to have access to and compressed versions are sent to the cloud. Connected devices, including smartphones, can then access those compressed files so they can be edited locally and the changes saved to all synchronized versions of that picture. A new free mobile app will be available for Android and iOS devices that will have the same RAW processing engine as its ON1 Photo RAW 2020 application so adjustments can match those made in the full desktop version of the software.

ON1 says the compressed RAW files that will pass between the devices will be 75% smaller than the original files, but we are told they will retain the same tonal and color range as the originals. Users also have the choice to store their full-sized originals in the cloud so they can be shared between devices as well.

ON1 claims its new program will offer ten times the amount of storage as competitors, but its application will cost 20% less. The high compression of the new RAW file format all also mean that more pictures will be able to be stored in the same space.

The company says it will retain its perpetual license options alongside subscription services with monthly or annual payment plans. The ON1 Photo RAW 2020.1 desktop application costs a one-off $ 49.99 at the moment, while the ON1 360° starts at $ 59.99 per year with 200GB of storage, or $ 109.99 per year with 1TB if you already own Photo RAW. If you want to buy Photo RAW and the 360° service together it will cost $ 89.99 for 200GB and $ 179.99 1TB per year. The monthly prices will be $ 5.99 and $ 9.99 for those who own Photo RAW, and $ 7.99 and $ 15.99 for those who don’t. Pre-ordering the 360° plan will also get you a training course and a pack of extra pre-sets.

For more information on ON1 360° go to the ON1 website.

Press release:

ON1, creators of ON1 Photo RAW, announces ON1 360° will be available in late June.

ON1 360° is a new end-to-end photography workflow solution for capturing, editing, and accessing photos seamlessly between multiple computers and mobile devices. ON1 360° connects ON1 Photo RAW 2020 on macOS and Windows computers with the new free ON1 Photo Mobile on iOS and Android devices. ON1 360° is the complete photography ecosystem that photographers have been waiting for; giving them more choice and more control. Multiple options for syncing files, control in file storage methods, and new capabilities for managing and editing across devices no matter where files are stored are available in ON1 360°.

At the core of ON1 360° is ON1’s new cloud storage service and sync technology, which allows photographers to sync photos, metadata, and edits, as well as albums, cataloged folders, and more between all their computers and devices, external hard drives, or even network drives. Unlike other cloud service offerings, ON1 360° will allow customers to choose which files or folders to sync, where the files live, as well as their preferred storage format.

“Our focus is on giving photographers control. Control of where they store their photos, what they want to sync and how they want to edit. There isn’t another solution out there providing this flexibility or functionality. We are still going to offer customers perpetual license options where they keep the software, even if they choose not to continue with this service. Of course, the subscription plan will be a good option as well and is ultra-competitive when it comes to price and features. The ON1 360° subscription plan includes 10x the storage at 20% less cost compared to other plans. Plus, the optional ON1 compressed-raw file format requires significantly less storage to have access to all your photos from all devices,” says Dan Harlacher, VP of Product.

With ON1 360°, customers can choose between syncing their original raw files or syncing their photos using ON1’s compressed-raw file format, which is 75% smaller than the original RAW file while maintaining the same tonal and color range. They are perfect for remote editing, sharing, and even printing common sizes, without noticeable loss in quality, saving the customer additional storage costs.

“Some people like using external drives, and some people like storing photos in the cloud. And some like both. The great part about ON1 360° is that you get to choose where photos get stored while still having access to them on all of your devices so you can share from anywhere,” add Matt Kloskowski, ON1 Educator and Guru.

“These all-new technologies that are the foundation of ON1 360° have been under development for some time and we are very excited to deliver them in June. This complete photography solution allows our customers to incorporate ON1 in every stage of their photography. With the technical foundation in place, we will start integrating new AI tools and features into all our products. There has never been a more exciting time at ON1.,” President and CEO, Craig Keudell adds.

Key Features
One Workflow — A complete end-to-end workflow between desktop and mobile with just one desktop application in ON1 Photo RAW 2020. No bouncing between organizers, raw processors, and layered pixel-editors. ON1 Photo RAW 2020 is a modern photo organizer, raw processor, layered editor, and effects app, all-in-one well thought out and affordable application.

Value — ON1 360° plan options start out at 10x the storage amount for 20% less cost compared to competitive plans available today.

Complete Control of Photos — Photographers can organize how they choose, where they store photos, and how they back up their photos. Whether photos are on local drives, upload some or all of them to the ON1 360° cloud storage, it’s their choice. All metadata and edits will back up automatically with ON1 360°.

High Quality with Less Space — ON1’s unique compressed-raw file format will also allow photographers to store more photos in the same amount of space without noticeable loss in image quality when processing. The new file format will also let photographers view, edit, and share their photos without having to store the original photo in the cloud.

ON1 Photo Mobile — The new free ON1 Photo Mobile will be a single app for capturing, editing, and syncing photos back to desktop computers, where each photo will also be re-editable. More than a basic raw processor, ON1 Photo Mobile uses the same RAW processing engine developed for ON1 Photo RAW. Adjustments will include Exposure, Contrast, Shadows, Mid-tones, Highlights, Whites, Blacks, White Balance, Noise, and Sharpening. Built-in filters will start with, black and white, adding film grain, darkening the edges with a vignette, and enhancing local contrast. ON1 Photo Mobile will be available for both iOS and Android devices and is free for anyone.

Capture and Create Anywhere — The new free ON1 Photo Mobile’s camera mode works like your device’s camera app but with many more advanced features. Capture raw photos on your smartphone with all the tonal range and details you expect from an interchangeable lens camera. The pro-level manual controls include the ability to adjust exposure, shutter speed, depth, and white balance.

Photos Stay in Sync — Automatically or selectively sync photos and edits from ON1 Photo RAW 2020 on desktop or laptop computers back to the free ON1 Photo Mobile using ON1 360°, providing a complete, photo editing and organizing system. ON1 360° will allow photographers to wirelessly send photos between desktop and mobile devices. Photos can be viewed, edited or downloaded directly to ON1 Photo RAW 2020 on both desktop or laptop computers with the non-destructive editing settings intact. You can also push edits from ON1 Photo RAW 2020 on desktop or laptop computers and automatically or selectively sync them back to ON1 Photo Mobile.

Privacy — Privacy is most important, and with ON1 360°, all photos will be kept private. ON1 will never analyze any photos using ON1 360° to build ways to market to photographers.

Availability and Pricing
ON1 360° subscription plans will be rolled out gradually starting today and continuing to the full release in late June 2020 when the ON1 360° service officially begins and all purchasing options become available. Today, owners of Photo RAW 2020 can take advantage of special introductory pricing on a 1-year prepaid subscription for ON1 360° (service only edition) with reduced pricing and pre-order bonuses including a new ON1 Pro pack with 360 custom presets ($ 100 value) delivered today, and a new ON1 360° Training Course delivered in June when the ON1 360° service begins. New customers can purchase a perpetual license for ON1 Photo RAW 2020 at a reduced price and the ON1 360° Service Add-on or the ON1 360° Software & Service subscription which includes everything. For a limited time, ON1 is cutting the price of ON1 Photo RAW 2020 by 50% during the lead up to ON1 360° availability in late June.

In June 2020, ON1 will roll out all ON1 360° plans including monthly subscription plans which include ON1 Photo RAW 2020, the ON1 Photo Mobile connectivity, and the 360° syncing service. As always, ON1 will continue offering Photo RAW as a perpetual-license product separate from ON1 360°, for those who prefer to own their software. This allows customers to upgrade to future versions at a time of their choosing, and it allows them to add or cancel any ON1 360° subscription without losing access to ON1 Photo RAW or their photos.

Articles: Digital Photography Review (dpreview.com)

 
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Video: How one photographer turned his backyard shed into a camera and darkroom

29 Apr

Photographer and DIY camera extraordinaire Brendan Barry has used his time in lockdown to create a camera and darkroom out of a shed in his yard.

Throughout the above 22-minute video, Barry summarizes the build process, showing what was required to turn his compact shed into an all-in-one photo room and the process required to capture the image and make the resulting prints. As you might expect from such an ambitious project, it took a good bit of time to get everything sorted out and even more time to dial in the capture and printing process.

A close-up screenshot from the video showing off the massive 1016mm (40″) F5.4 aerial reconnaissance lens used in the build.

‘In [the video] I talk through the build and operation of the shed camera, bring together a number of the processes I experiment with and shares some of the materials and approaches I use in my practice,’ says Barry in an email to DPReview. Barry specifically notes he used ‘RA4 colour reversal, B&W paper negs contacted to positives and shooting with direct positive paper, both with normal chemistry and with caffenol’ to capture and make prints of the images captured with the ridiculous rig.

While this is technically possible to do at home, it will require plenty of power tools, spare wood you might have sitting around, a generous amount of gaff tape and an insanely large lens (a 1016mm [40”] F5.4 aerial reconnaissance lens in Barry’s case).

We’ve featured Barry’s previous projects before, including his 101 Park Avenue skyscraper camera, his shipping container camera and his guide to turning any room in your home into a camera. This shed project might not be his most grandiose project to date, but it certainly required a healthy dose of elbow grease and equal amounts of patience.

You can find more of Barry’s work on his website and keep up with his latest endeavors on his Instagram profile.

Articles: Digital Photography Review (dpreview.com)

 
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Canon’s new software will turn select EOS, PowerShot cameras into webcams for Windows 10 PCs

29 Apr

As more and more people desire higher-quality video communication over internet while working from home due to the COVID-19 pandemic, the demand for webcams has increased dramatically, triggering incredibly high prices, sometimes three to four times over MSRP. And that’s if you can find one at all.

To help bridge a growing gap, Canon has announced the release of the EOS Webcam Utility Beta, a program for that will, with a single USB cable, turn compatible Canon EOS interchangeable lens cameras (ILCs) and PowerShot cameras into dedicated webcams on PCs running the 64-bit version of Windows 10.

‘In unprecedented times, it’s imperative for Canon to provide our customers with useful, simple and accessible solutions to assist them in whatever imaging needs they have,’ says Tatsuro ‘Tony’ Kano, executive vice president of the Canon U.S.A., Inc. Imaging Technologies & Communications Group in the press release. ‘Our goal is that the EOS Webcam Utility Beta software can help reduce some of the remote workday stress for employees who are tasked with video conferencing and virtual meetings.’

A list of the EOS and PowerShot cameras currently supported.

Downloading the EOS Webcam Utility Beta must be done from the downloads page of your supported camera’s product page on Canon’s website. Thankfully, Canon has created a library on its dedicated EOS Webcam Utility Beta page linking out to the appropriate page for each supported camera. Once to the camera’s download page, simply click the download button to start downloading the installation file.

Being it’s a beta program, Canon is asking for feedback pertaining to the application, which can be left on Canon’s dedicated forum.

Articles: Digital Photography Review (dpreview.com)

 
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When Was Photography Invented?

29 Apr

Its hard to imagine a time without photography. With access to small but powerful cameras that will fit in your pocket a normal occurrence in the world today, not being able to capture a moment seems like such an alien concept. There are over 95 million photos and videos shared on Instagram every single day but not too long ago Continue Reading

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OmniVision launches the OV64B, a 64MP smartphone sensor with 0.7 micron pixels

28 Apr

Mobile sensor manufacturer OmniVision has announced the OV64B, a 1/2” sensor it claims is the ‘world’s first 0.7-micron 64-megapixel image sensor’ that’s destined for ultra-thin flagship smartphones.

The 1/2” sensor is built on OmniVision’s PureCel Plus-S stacked die technology and a four-cell color filter array (CFA) with on-chip hardware for re-mosaic. In addition to 64MP (9248 x 6944 pixel) stills, the sensor can also output 16MP images with what OmniVision claims is 4x the sensitivity thanks to near-pixel binning that yields images with a sensitivity equivalent to sensors with 1.4-micron pixels. Omnivision also notes 2X digital crop zoom modes are also supported at 16MP.

In terms of video, the OV64B is capable of recording 8K video at up to 30 frames per second (fps) 4K video at up to 60 fps and 4K video with electronic image stabilization (EIS) at up to 30 fps. It can achieve slow-mo capture at up to 240 fps at 1080p and 480 fps at 720p as well, with other output options including 64MP still capture at up to 15 fps and 16MP still capture at up to 30 fps with four-cell pixel binning.

The last notable feature is the sensor’s 2×2 microlens phase detection autofocus (ML-PDAF) that OmniVision claims improves autofocus accuracy, particularly in low-light situations.

No specific information is given in regards to what smartphone manufacturers may use this sensor in their devices, but OmniVision says the first smaple units should ship out to prospective clients in May 2020. It’s also no coincidence that the OV64B has specifications that align almost perfectly with the capabilities of Qualcomm’s Snapdragon 865 chipset, which is being used in flagship Android devices around the world.

You can find out more information on the OV64B on OmniVision’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Full-frame mirrorless compared: Z6 vs. S1 vs. EOS R vs. a7 III

28 Apr

The end of 2018 saw Canon and Nikon introduce their first full-frame mirrorless cameras, with Panasonic on the verge of joining the party. This brought an end to Sony’s five-year term as sole purveyor of this type of camera and set out each company’s post-DSLR ambitions.

In July of 2019, we looked at three of those cameras and concluded the a7 III was the strongest all-rounder: the model that was pretty good at everything. However, despite the five-year head start, it was a far from universal or emphatic victory.

Now that the lens lineups have been better fleshed-out and firmware updates have provided some additional polish, we thought it was time to take another look at the circa $ 2000 full-frame mirrorless cameras, their lens options and how they now stack up.

More than just a body

Perhaps more than at any time in the industry’s history, we’re seeing the big camera makers adopt new lens mounts for some of their leading products.

This is likely to present the lowest-barrier opportunity for most users to consider a change of system since most DSLR lenses can be adapted to some degree onto any of the new systems. DSLR users should think seriously about whether the benefits of persisting with thier current camera brand is worth a short-term retention of potentially better lens compatibility, or if this would be outweighed by taking this opportunity to switch horses.

This could be the best moment for most users to consider a change of system

The temptation, of course, is to stick with what you know, and put the emphasis on the money already sunk into your lens collection. But it’s worth looking hard at whether your favorite brand’s new system is really the one best suited to your needs.

All of this makes a decision between different camera bodies more significant than in the past. In this roundup we’ll look at which of the cameras (with most current firmware) stand out for a series of common types of photography:

  • Family and moments
  • Lifestyle and people
  • Weddings and events
  • Portraits
  • Landscape
  • Sports and action
  • Travel photography
  • Video – Controlled shooting
  • Video – Run & gun

In a soon-to-follow article, we’ll look at where each of the lens systems has got to and where it’s going.

Specifications compared

Perhaps the most striking detail here is how few boxes can be marked in red or green. Aside from a few outliers (in-body stabilization and viewfinder resolution for example), there’s just not a lot to choose between them in terms of pure specification.

There’s not a lot to choose between them in terms of Raw performance, either. The Canon has higher nominal resolution and a smidge less processing flexibility, as a consequence of lower dynamic range. The other three cameras are almost certainly built around the same sensor, though, so the differences between them are even slighter.

This is where actually using the cameras comes in, as the reality is that they’re all significantly different in terms of ergonomics, user interface design, and AF performance. It’s these factors that end up making the cameras a good fit for different types of shooting.

Canon EOS R Nikon Z6 Panasonic S1 Sony a7 III
MSRP (body) $ 2299 $ 1999 $ 2499 $ 1999
Pixel count 30MP 24MP 24MP 24MP
Sensor tech CMOS BSI-CMOS CMOS BSI-CMOS
AF system

Dual Pixel
(On-sensor PDAF)

 On-sensor PDAF Depth from Defocus
(Contrast Detection-based)		 On-sensor PDAF
Image stabilization Lens only 5-axis 5-axis in-body + lens 5-axis
Maximum frame rate 8 fps (AF-S)
5 fps (AF-C)		 12 fps
(12-bit Raw)		 9 fps (AF-S)
6 fps (AF-C and live view)		 10 fps
Flash Sync speed 1/200 sec 1/200 sec 1/320 sec 1/250 sec
High Res mode No No Yes No
Viewfinder
res / mag		 3.68M dots
/ 0.76x		 3.68M dots
/ 0.80x		 5.76M dots
/ 0.78x		 2.36M dots / 0.78x
Rear screen 2.1M-dot fully articulated touchscreen 2.1M-dot tilting touchscreen 2.1M-dot two-way tilting touchscreen 921k-dot tilting touchscreen
AF joystick No Yes Yes Yes
Top-plate settings display Yes Yes Yes No
Backlit buttons No No Yes No
Video capture UHD 4K 30p
(1.83x crop)		 UHD 4K 30p
(full sensor)		 UHD 4K 30p
(full sensor)
UHD 4K 60p (1.5x crop)		 UHD 4K 24p
(full sensor)
UHD 4K 30p
(1.2x Crop)
Log modes C-Log
8-bit (internal)
10-bit (HDMI)		 N-Log
10-bit (HDMI)		 HLG
10-bit		 S-Log2 / 3 / HLG
8-bit
Paid video upgrade — Raw HDMI to Atomos Ninja V V-Log + tools
10-bit 4:2:2 30p (internal)
10-bit 4:2:2 60p (HDMI)		 —
Memory cards Single SD Single XQD 1 XQD + 1 SD Dual SD
Battery life (CIPA) LCD/EVF 370 (LCD) 380 / 310 400 / 380* 710 / 610
USB-charging Yes Yes Yes Yes
Shutter life rating 200k cycles 200k cycles 400k cycles 200k cycles
Dimensions 136 x 98 x 84 mm 134 x 101 x 68 mm 149 x 110 x 97 mm 127 x 96 x 74 mm
Weight (CIPA) 660 g 675 g 1017 g** 650 g

* With SD card: battery life rated at 380/360 shots with XQD card
** With SD card: 4g more with XQD

Articles: Digital Photography Review (dpreview.com)

 
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9 Solutions for Common Camera Mistakes Beginners Make

28 Apr

The post 9 Solutions for Common Camera Mistakes Beginners Make appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

dps-common-camera-mistakes featured image

One of the most common camera mistakes beginner photographers make is to not learn to use their new camera well. Photography is about the only art-form you don’t need to practice to get a half-decent result.

Woman with a DSLR camera illustrating common camera mistakes
© Kevin Landwer-Johan Nikon D800, 50mm f/1.4, 1/320 sec, f/2.8, ISO 500, Manual Mode, Pattern Metering.

You can pop a battery in your brand new camera, turn it on and set it to one of the scene modes and take a picture. Most often, the photo will be reasonably well exposed – not too light or too dark. You might be pretty happy with the results and initially think you don’t need to learn much to be able to take photos.

Buying your first musical instrument or learning to paint will be much more challenging. Most people can’t pick up a guitar and play a tune without having some understanding of music theory. Most people certainly couldn’t play a recognizable tune without practicing. To learn to use your camera well, you must also practice with it.

1. Out of focus

One of the most common camera mistakes is poor focusing. Out-of-focus photos can’t be fixed during post-production. The only solution is to make sure you get your main subject sharp when you are taking your photos. Check that your auto-focus indicator is precisely where you want it to be before you press your shutter button.

I prefer to use single-point focus rather than multi-point focus. This allows me to choose exactly what part of my composition will be the sharpest. This is particularly important when you use very wide aperture settings, as the depth of field is so shallow.

Rooster isolated by DOF for common camera mistakes
© Kevin Landwer-Johan. Nikon D800, 85mm f/1.4, 1/400 sec, f/1.4, ISO 100, Manual Mode, Spot Metering.

2. Poor exposure

Underexposed and overexposed photographs are disappointing. Pay careful attention to your exposure as you are setting your camera up to take a photo. Make sure your main subject is being well exposed. This can be challenging in certain lighting conditions.

Backlighting your subject can often mean the camera will underexpose it. You need to adjust your exposure settings so your main subject looks the way you want it to. This may be different than how the camera’s exposure meter determines it to look.

novice monks meditating - common camera mistakes
© Kevin Landwer-Johan. Nikon D800, 35mm f/1.4, 1/125 sec, f/3.2, ISO 1000, Manual Mode, Pattern Metering.

3. Wrong white balance

Getting the wrong white balance means your photos will have an unnatural-looking color cast to them. The most practical fix for this is to use the auto white balance setting on your camera. This is the only auto setting I use most of the time because it’s most often correct.

Using manual white balance it’s very easy to forget to alter it. Even when you do, the setting you choose may not be the best when the light changes slightly. Using auto white balance can help you overcome one of the most common camera mistakes.

Mountain sunrise for common camera mistakes
© Kevin Landwer-Johan. Nikon D800, 105mm f/2.8, 1/250 sec, f/8, ISO 400, Manual Mode, Pattern Metering.

4. Motion blur

Using a faster shutter speed is the solution to unwanted motion blur in your photos.

Learning what shutter speed to use when photographing moving subjects is important. A person walking will not require such a fast shutter speed as a person running fast will.

Be aware of the relationship between your shutter speed and the speed of movement you want to capture. This will help you alleviate this problem.

Asian woman on a city walkway with motion blur - common camera mistakes
© Kevin Landwer-Johan. Nikon D700, 50mm f/1.4, 1/6 sec, f/16, ISO 100, Manual Mode, Pattern Metering.

5. Camera shake

Some people can handhold a camera at slower shutter speeds than others. Once the shutter speed is so slow you are experiencing blurring in your images, you need to make some choices. Either adjust your exposure controls so your shutter speed is faster, or use a tripod.

Male photographer
© Kevin Landwer-Johan. Nikon D7100, 35mm f/1.4, 1/80 sec, f/5, ISO 200, Manual Mode, Pattern Metering.

6. ISO is too high

One of the other common camera mistakes I see people making is using an ISO setting that is too high. Using a very high ISO, you will see digital noise, lack of contrast, and flatter colors in your photos.

The solution is to keep your ISO as low as possible. This will mean you get the best technical quality photos with the best color, contrast, and the least noise.

7. Dead battery

Always make sure you charge your batteries before you head out with your camera. Carrying fully-charged camera batteries is always a good idea. You never know when you might come across some fabulous event or happening that you want to photograph. Save yourself the disappointment of a dead battery by having some extra ones in your camera bag.

Woman at an out door shopping mall taking a photograph.
© Kevin Landwer-Johan. Nikon D800, 35mm f/1.4, 1/400 sec, f/2, ISO 100, Manual Mode, Spot Metering.

8. Card full

Being busy taking photos and all of a sudden not being able to is very frustrating. This is what can happen when your card is full. Make sure to off-load images on your card and format it after each photo session. This will mean you always have the maximum amount of space on your card.

Having some extra cards with you is a good backup strategy too. Finding your card full half-way through the day is so disappointing when you don’t have a spare.

You can always start deleting photos from your card. This is slow and you might make a mistake and delete a good image. Doing this in-camera, the process is irreversible and your images will be lost.

Thai drama action - common camera mistakes
© Kevin Landwer-Johan. Nikon D800, 105mm f/2.8, 1/250 sec, f/4, ISO 6400, Manual Mode, Pattern Metering.

9. Always on Auto

Always having your camera on one of the auto or scene settings is another of the most common camera mistakes I come across.

Most people who take our photography workshops come with their cameras on Aperture Priority because it’s easy. This is not a good reason to use this setting, and they are not happy with their photos. They know they are not getting the most from their camera.

The solution I encourage them to use is switching to manual mode and sticking with it. There’s no point in using manual mode only occasionally. If you do, you are unlikely to ever master it. If you commit to it, you will pick it up in no time. You will also begin to think differently about your photography in regards to light, exposure, and composition.

people in an old passage
© Kevin Landwer-Johan. Nikon D700, 20mm f/2.8, 1/100 sec, f/2.8, ISO 2000, Manual Mode, Pattern Metering.

Conclusion

Not all common camera mistakes result in ruined photos, but they can. Being aware of how you are setting your camera and the choices you make will help you overcome these problems.

Slow down and be mindful of what you are doing. Plan your photo session, and make sure you are well prepared for anything that might come up. Know your camera well, like a best friend.

The post 9 Solutions for Common Camera Mistakes Beginners Make appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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How to Make Money With Photography and How Much Can You Expect

28 Apr

Live your passion. That’s what you’d like to do, right? Spend your days doing what you enjoy? Unfortunately, you gotta eat and do adulting things like paying bills. For that, you need money and your passion might not be good enough. Or is it? There are many ways to turn your passion for photography into an income stream. None of Continue Reading

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DJI announces the Mavic Air 2 with 4K/60p capture, ActiveTrack 3.0 and more

28 Apr

DJI has announced the Mavic Air 2, the newest compact, folding drone in DJI’s growing lineup. In addition to new hardware, both inside and out, the drone also features new fly modes for simplifying the flight process.

At the heart of the Mavic Air 2 is a 48MP 1/2” Quad Bayer CMOS sensor that’s capable of recording 4K video at up to 60 frames per second (fps) with a 120Mbps data rate. When dropped down to 4K/30p, the Mavic Air 2 can record HDR video while a slow-motion mode can max out at 240 fps when shooting at 1080p. DJI has also included a new Hyperlapse feature that will result in 8K video using one of four flight modes: Free Movement, Circle, CourseLock and WayPoints. This isn’t the true 8K capture the Autel EVO II drone has promised, but it is 8K and we’re still yet to see the EVO II hit the market.

On the stills front, the Mavic Air 2 can capture 12MP stills with a special 48MP supersampling option that uses the drone’s three-axis gimbal to help compensate for movement in-between frames. A new ‘SmartPhoto’ capture mode will also snap 12MP stills using one of three image capture options that DJI says uses ‘advanced scene analysis and deep learning to automatically choose one of [the shooting modes].’

The first of the three shooting modes is HDR, which will snap seven photos at various exposures and merge them together to optimize the dynamic range in an image; the second mode is Hyperlight, which is a low-light mode that will take multiple photos and merge them together to create a single image with less noise than would be possible with a single image; the third and final mode is the ‘Scene Recognition’ mode that will automatically analyze the scene and select from one of five presets (sunsets, blue skies, grass, snow, and trees) to apply to the image to bring out the best of the scenery.

DJI is using new motors and electronic speed controllers (ESCs) in combination with improved battery technology to offer up a maximum flight time of 34 minutes on a single charge. This benchmark is also helped by a more aerodynamic design and lighter weight, with the device weighing just 570g (1.26lbs).

Transmitting live video from the drone to a mobile device is done with DJI’s OcuSync 2.0 protocol, which has been updated to support both 2.4GHz and 5.8GHz frequency bands, as well as an auto-switching feature, to offer a maximum range of 10km (6.21 miles) when unobstructed. Also included in the Mavic Air 2 is Advanced Pilot Assistance System (APAS) 3.0, which is a new obstacle avoidance technology that will recognize when an object is in the drone’s flight path and reroute the drone accordingly. DJI says this new version uses 3D mapping to ‘[aid] in smooth transitions and more fluid movements around objects even in highly complex environments.’

A sample photo captured with the Mavic Air 2, provided by DJI.

AirSense technology has also been included, which uses ADS-B aviation technology to help warn drone pilots of other nearby aircraft by displaying messages on the pilot’s screen, making sounds and vibrating with compatible mobile devices. DJI does note though that due to supply chain shortages caused by the COVID-19 pandemic, only Mavic Air 2 units sold in North America will feature the ADS-B transponder; units sold in other regions will be identical in every other regard. No timeframe is given as to when this discrepancy between units could change.

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The Mavic Air 2 also features a number of AI-powered features, including ActiveTrack 3.0, Point of Interest 3.0 and Spotlight 2.0. Below is a breakdown from DJI explaining each of the three modes:

  • ActiveTrack 3.0: Select a subject for Mavic Air 2 to automatically follow. The third iteration of ActiveTrack uses state-of-the-art mapping technology and new flight path algorithms to offer improved subject tracking and obstacle avoidance, along with the ability to quickly re-engage the subject if it temporarily moves behind an object.
  • Point of Interest 3.0: Set an automated flight path around a specific subject. The updated iteration improves surface recognition to better dynamically track subjects.
  • Spotlight 2.0: Found in professional DJI drones, Spotlight locks a subject in the frame while the user has free operation of the drone’s movement.

The Mavic Air 2 will be made available in China starting today, while other regions should see the first units hitting store shelves in mid-May for $ 799. This ‘standard’ kit will include the Mavic Air 2, one battery, the remote controller and all necessary cables. A new Fly More option, which will include everything in the standard version as well as a shoulder bag, ND filters, a charging hub and three additional batteries, will retail for $ 988. Other optional accessories include propeller guards, protective cases and a tablet holder. You can find out more information about the Mavic Air 2 on DJI’s product page.

Articles: Digital Photography Review (dpreview.com)

 
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Kinefinity’s new MAVO Edge cinema camera can shoot 8K ProRes Raw internally at up to 75 fps

28 Apr

Cinema camera manufacturer Kinefinity has announced the MAVO Edge, an 8K cinema camera with the ability to record ProRes RAW internally.

At the heart of the MAVO Edge is a newly-designed 44.7-megapixel 36mm x 24mm full-frame CMOS sensor that can record 8K ProRes RAW at up to 75 frames per second (fps) and features dual native ISO of 800/3200. It can also record 8K Open Gate (8192 x 5460 pixels) at up to 48 fps, 6K up to 100fps (in Super 35 mode) and 5K up to 120 fps (in Super 35 mode). Powering all of this data is a new processing engine, which helps to pull up to 14 stops of dynamic range from the sensor and minimizes rolling shutter to just 12ms when shooting 8K full-frame (9ms in Super 35 mode).

Illustration showing what section of the MAVO Edge’s full-frame sensor is used depending on the capture mode.

All of the data is recorded to KineMAG Nano cards, which are now built on NVMe M.2 SSD. The MAVO EDGE uses two KineMAG Nano slots, which can record at up to 10Gb per second thanks to its PCIe 3.0 protocol. The two card slots can record identical footage for redundancy or record separately for times when you need to shoot original footage and proxy footage. Kinefinity isn’t keeping its KineMAG Nano drives exclusive either; the company will also be selling KineMAG Nano enclosures so you can use any third-party NVMe M.2 SSD with the camera.

Kinefinity has also included a motorized electronic neutral density (ND) filter, which lets you steplessly dial in the strength between 0.6 and 2.1 ND (2–7 stops of light) in 0.01 stop increments. As for inputs, the camera features two 3G/1.5G SDI ports, Timecode IN/OUT (5-pin), BNC Genlock, 12V RS Output (three-pin), a seven-pin sync port, an R45 Ethernet port, a 12V D-Tap Out a 3.5mm headphone jack a USB-C port and more.

The MAVO Edge uses Kinefinity’s KineMOUNT, which uses adapters to offer compatibility with PL, LPL, Active EF and passive Sony E-mount lenses. Kinfinity has also included an internal three-axis gyroscope for recording the camera’s positioning during filming, but it’s not clear how this information will be used at this time. GPS and Bluetooth 5.0 support is also included.

All of this is housed inside an aluminum alloy frame wrapped in a carbon fiber case . It measures in at 10.5 x 12.1 x 11.9 cm (4.1 x 4.8 x 4.7?) and weighs 1.2kg (2.6lbs). Powering the camera can be done via its two-pin DC input or via batteries via the hybrid battery plate, which can power the camera with either V-mount or Sony BP-U batteries.

The MAVO Edge will retail for $ 11,999 with an expected release in September 2020. The camera is currently available to pre-order through Kinefinity’s website, with a $ 149 deposit. Newsshooter has written up a thorough post diving into the specs and comparing it with similar cinema cameras on the market.

Articles: Digital Photography Review (dpreview.com)

 
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