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Slideshow: Winners of the 1st annual Paris Aerial Photography Awards

21 Oct

Winners of the 1st annual Paris Aerial Photography Awards

Several thousand photos from 65 countries were submitted to the 1st annual Paris Aerial Photography Awards – a competition open to artists using drones, kites, balloons, helicopters, and planes to capture imagery. The jury, including From Where I Drone’s Dirk Dallas, Costas Spathis, Women Who Drone’s Elena Buenrostro, the Abstract Aerial Art team, and Florian Ledoux awarded 106 photos in 22 categories and 11 photographers in 6 master categories.

‘When I submitted my images to the Aerial Photography Awards I knew the competition was going to be fierce. The number of aerial photographers has grown exponentially in the past few years. The advent of high quality, inexpensive and easy to fly drones is the obvious cause. But it takes more than just good gear. The incredible images submitted to the competition shows the dedicated and talented artists that the Aerial Photography Awards attracts,’ Jamie Malcolm-Brown, who received a nod in the Special Mentions section, tells DPReview.

A few of the Master category winners include these photos, from left to right, in the Abandoned, Travel, and Cityscapes categories.

Sebastian Nagy was awarded overall Aerial Photographer of the Year. He got his start in aerial photography on city rooftops. Six of the images he submitted were category winners. Make sure you check out the Awarded Photographers, Aerial Photos of the Year, and Special Mentions.

Aerial Photographer of the Year 2020, 1st Place, Daily Life: ‘The Lady of the Sea’ by Duy Sinh (Vietnam)

Artist Statement: A fishing boat is dropping a net and accidentally the waves pull the edges of the net into a lady on the blue sea. An accident of creation.

Aerial Photography Technique: Drone

Aerial Photographer of the Year 2020, 2nd Place, Daily Life: ‘Anchovy Catching’ by Thien Nguyen (Vietnam)

Artist Statement: Soft light of new day illuminating the long smoke from fishing boat engine & the shape of green nets moving underneath the water surface when local fishermen pulling their nets.

Many local fisherman families along the coastline of Phu Yen province will follow the near-shore currents to catch the anchovy during peak season. Salted anchovy is the most important raw material to create traditional sh sauce – the spirit of Vietnamese cuisine.

Aerial Photography Technique: Drone

Aerial Photographer of the Year 2020, 1st Place, Patterns: ‘Umbrella Crossing’ by Daniel Bonte (Japan)

Artist Statement: Crossing of umbrellas bring colors on a gray rainy canvas.

Aerial Photography Technique: Drone

Aerial Photographer of the Year 2020, 2nd Place, Editorial: ‘Eid Congregation’ by Azim Khan Ronnie (Bangladesh)

Artist Statement: South Asia’s largest Eid-ul-Fitr Congregation held in Gor-e-Shahid Boro Math, Dinajpur, Bangladesh. According to the organizers’ claim, over 600,000 devotees participated in this Eid congregation. The prayers began at 8:30 am with devotees coming from different parts of the region. Eid-ul-Fitr is a Muslim festival of happiness celebrated all over the world.

Aerial Photography Technique: Drone

Single Category Winner, Digitally Enhanced: ‘Airplanes’ by Cassio Vasconcellos (Brazil)

Artist Statement: These aerial images are all constructed after many different photos that I did flying by helicopter. All images presented here are done after 2015 but is impossible to determine just a one-day shooting since I use sometimes hundreds of photos.

Aerial Photography Technique: Helicopter

Aerial Photographer of the Year 2020, 1st Place, Documentary: ‘Fire Attack’ by Marc LeCornu (Jersey)

Artist Statement: Firefighters from the Jersey Airport Rescue & Firefighting Service work as a team to attack a simulated aircraft response. These live response scenarios are designed to ensure the crews are fully skilled and ready should a real incident occur.

Aerial Photography Technique: Drone

Aerial Photographer of the Year 2020, 1st Place, Waterscapes: ‘Arctic Paradise’ by Kyle Vollaers (United Kingdom)

Artist Statement: This image was taken o the coast of Qeqertarsuaq in -25° celsius. One of the most beautiful yet abstract places I’ve ever seen.

Aerial Photography Technique: Drone

Aerial Photographer of the Year 2020, 1st Place, Landscapes: ‘Skyggnisvatn’ by Sebastian Müller (Switzerland)

Artist Statement: The Highlands of Iceland.

Aerial Photography Technique: Drone

Aerial Photographer of the Year 2020, 1st Place, Trees & Forests: ‘Forest Path’ by Mehmet Aslan (Turkey)

Artist Statement: Herd of sheep uses forest road to return home.

Aerial Photography Technique: Drone

Aerial Photographer of the Year 2020, 1st Place, Abstract: ‘Tatacoa Desert’ by Johan Van Den Hecke (Belgium)

Artist Statement: A topdown view of the rock formations of the Tatacoa desert at sunset.

Aerial Photography Technique: Drone

Aerial Photographer of the Year 2020, 1st Place, Accommodations: ‘Colors of Dubai’ by Kevin Krautgartner (Germany)

Artist Statement: Real estate shooting for accommodations in the Burj Khalifa.

Aerial Photography Technique: High point of view.

Special Mention: ‘Love Island’ by Jamie Malcolm-Brown (United States)

Artist Statement: The fog dissipated as the sun rose behind some storm clouds over this heart-shaped island.

Aerial Photography Technique: Drone

Articles: Digital Photography Review (dpreview.com)

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Top Tips for Capturing Better Aerial Photos

11 Jun

The post Top Tips for Capturing Better Aerial Photos appeared first on Digital Photography School. It was authored by Matt Murray.

Up, up and away! For most people, taking a scenic flight is not an everyday occurrence. In fact, for most of us, it’s a once-in-a-lifetime thrill. If you plan on taking to the skies to capture some aerial shots, what gear should you take and how should you prepare for the experience so that you capture better aerial photos?

Better aerial photos — The northern Gold Coast photographed from a seaplane.

In the space of six weeks in 2017, I was lucky enough to take aerial photos from three different modes of transport: a hot air balloon, a seaplane, and a helicopter. Below is my guide to taking better aerial photos.

What gear should I take?

This is probably the first question you’ll ask yourself. The
answer largely depends on a few factors: what kind of flight you’re taking, how
much room you’ll have, and what kind of shots you want to take.

The gear you have available to you may also depend when and
where you’re taking the flight. For example, if you’re doing a scenic flight as
part of an overseas trip, you will probably have a smaller number of lenses to
choose from than if you were at home.

A good starting point for aerial photography is taking one camera body with a zoom lens, for example, an 18-55mm or 24-70mm. My go-to zoom lens is the Fujifilm XF 18-55mm F2.8-4 R LM OIS, which has a full-frame equivalent focal range of 27-82mm.

Lenses like this are quite compact and suited to even the tightest of spaces. It also has optical image stabilization, which helps to keep images nice and sharp. I took almost all of the images in this article with that lens.

This focal length is also very handy if you wish to take photos of your companions, or images of the aircraft before, during, and after the flight.

Depending on the circumstances, a longer lens might be your preference – just make sure you have enough room to maneuver. In a hot air balloon? No problem. In a small plane? Maybe not.

Top Tips for Capturing Better Aerial Photos — Don’t forget to take photos of your companions on the flight!

If I was going on a flight where I knew I would have more room to maneuver, such as a doors-off helicopter ride, I would take a longer telephoto lens with the same maximum aperture (f2.8 or f4) throughout the range, such as the Fujifilm XF 50-140mmF2.8 R LM OIS WR lens.

If you want the best of both worlds, consider taking two bodies with two zoom lenses – I wouldn’t recommend trying to change lenses while airborne.

Have your gear ready

One thing you must do to take better aerial photos is prepare. Check and double-check your gear the night before your flight. Halfway through a once-in-a-lifetime balloon ride is not the time to discover you’ve run out of space on your memory card or you’ve had the ISO set to 6400.

Mistakes happen, we’ve all made them. However, you can minimize your risk by having a list of things to double-check before your flight. Here’s what I check:

Check image format: JPG+RAW.
Check film simulation: especially if you’re shooting JPG only.
Check your ISO settings. If you’re using Auto ISO, check to make sure the settings are suitable for your flight.
Format your SD cards ready for use beforehand. Take a couple of test shots to make sure everything is working okay.
If you have a second SD card slot, use it. Consider writing RAW images to one SD and JPGs to the other.
Choose a fast SD card. If you’re taking continuous shots on a slower card, there can sometimes be a delay before you can take more shots as the camera tries to catch up writing images to the slow SD card. You want to avoid this on a scenic flight.
Use a 64gb or 128gb memory card if possible. You don’t want to find out halfway through your flight that you’ve run out of space, and you need to delete shots or find another memory card.
Make sure your batteries are charged.
Have spare batteries and SD cards just in case.

Visualize your shots beforehand

Look at the images posted on your flight operator’s website and social media – this will give you a rough idea of the types of shots that are possible. Have these types of images in mind before you take your flight. You can also contact the flight operator if there’s a particular landmark you wish to photograph, or if you’d like advice on the best place to position yourself in the aircraft.

There are many variables with flying, though, so perhaps on the day the flight, the shot you have in mind won’t be possible. Keep an open mind, and don’t be upset if you don’t nail it. I always look upon a flight as a fun thing to do, and if I get some good photos out of it, that’s a bonus.

Shooting mode

I’ve taken photos in the air in both shutter priority and aperture priority modes. In shutter priority mode, I’d start off by setting my shutter speed to a minimum of 1/500 second. This should keep your images sharp if you’re in a fast-moving aircraft on a bright, sunny day. Your ISO will depend on how bright the conditions are.

As always, check and review your images and change your settings as the conditions dictate.

Balloons on the Gold Coast — Hot air balloons inflating.

In aperture priority mode, I’d start off by having my aperture at f/4 and my ISO to 400. I’d then take a test shot to see what shutter speed the camera is choosing. Again, these settings depend on the conditions, but you’ll want to aim for a fast shutter speed, above 1/500 second. If the shutter speed is as high as 1/4000 second, you could lower your ISO to 200 or change your aperture to f/5.6 or f/8. If your shutter speed is under 1/500 second, you’ll need to bump up your ISO and experiment.

The advice above is for fast-moving aircraft. If you’re
floating along in a hot air balloon, you don’t need to worry about shutter
speeds as much.

Look for other opportunities

A helicopter on a landing pad, hot air balloons being inflated or deflated, seaplanes on the water – taking better aerial photos is also about looking for shots you can take before and after the flight.

Case study 1: Hot air balloon

There’s nothing better than floating high above the landscape in a hot air balloon, and nothing worse than setting your alarm for 3.45 am to get up for it! Although you may not be feeling it so early in the morning, a hot air adventure is worth getting up early for. It’s one of the most magical things I’ve ever done.

A balloon ride is the easiest aerial adventure to undertake with a camera. For it to take place, you need good weather. You also have a guaranteed space at the edge of the basket with clear uninterrupted views – and no window glass. Best of all, the balloon moves at a relatively slow pace, so it’s not as much of a challenge as a plane or helicopter.

Tips for better aerial photos — Hot air balloon floating above rural Queensland.

My balloon ride took place inland from the Gold Coast in Australia. I mostly shot with my Fujifilm XF 18-55mm F2.8-4 R LM OIS lens, but also took the wider 10-24mm lens for some shots of the balloons inflating.

Make sure you have a secure strap on every camera you take
with you – the last thing you want to do is drop your camera overboard.

Case study 2: Seaplane

A few days after my balloon ride, I was joined by my family for a seaplane ride. We flew from the northern Gold Coast to nearby South Stradbroke Island, where we spent two nights glamping. The flight left Southport, headed south over Surfers Paradise and Broadbeach, then we turned inland and headed north towards our destination.

Space was quite restricted inside the aircraft. I didn’t have a perfect angle of view in every direction, but I still managed to get some shots I liked. As it was so bright, shutter speeds were very high.

A couple of issues I had to deal with when shooting were the reflections off the windows and ensuring the wings of the aircraft weren’t in my images. I also got a little airsick, which wasn’t fun.

Some photographers swear by circular polarizing filters to cut reflections from windows – this is certainly something I will try in the future. Just be aware that it does cut the amount of light that reaches your sensor, but on the seaplane flight, it wouldn’t have been an issue.

Case study 3: Helicopter

A few weeks later, I took a magical trip to the Faroe Islands.

The highlight was taking an Atlantic Airways helicopter from the main international airport to the remote island of Mykines, where there are spectacular colonies of puffins and other birds.

A village in the Faroe Islands taken from a helicopter. — A village in the Faroe Islands, shortly after take-off.

In the terminal, you’re given a safety briefing before heading out to the tarmac by bus. I made sure I was the last person getting on the bus, so I was the first person out. I then managed to secure a window seat in the helicopter. I didn’t mind which side of the helicopter I was on, as there were great views on either side.

The flight lasts just 11 minutes, so opportunities for taking images are limited. On this flight, I had window reflections again, but this time I also had the added problem of heat coming off the helicopter into the cold European air marring my view occasionally.

I still managed to get some photos I was happy with. However, as I’ve said before, think of any photos as a bonus, rather than the reason you take the flight. As always, look for other photographic opportunities – I took some photos of the helicopter on the landing pad at Mykines.

Your guide to better aerial photos — The stunning coastline of the Faroe Islands in the North Atlantic.

Conclusion

An aerial adventure is a lot of fun, but make sure you’re prepared before you take off. A zoom lens with a wide-to-mid focal range should be perfect, but make sure you use a large capacity, fast SD card. Also, make sure you prepare the night before your flight and ensure all your equipment and settings are ready to go.

The most important piece of advice is to have fun and enjoy your time in the air. Don’t spend the entire flight looking through your viewfinder.

I hope this helps you capture better aerial photos on your next flight. Remember to think of them as a bonus, rather than the main reason you took the flight.

Feel free to share any of your aerial photography stories or photos with us in the comments.

The post Top Tips for Capturing Better Aerial Photos appeared first on Digital Photography School. It was authored by Matt Murray.

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Phase One Industrial launches 280MP dual-lens aerial system with four-band capture

30 Mar

This isn’t your everyday camera setup

Phase One Industrial has announced the release of the iXM-RS 280F, a new 280-megapixel large-format aerial photogrammetric system.

The dual-lens metric camera system is mounted onto Phase One Industrial’s DSM400 gyro mount and uses a pair of 90mm lenses to capture incredibly detailed images for commercial purposes. In addition to capturing RGB images, Phase One is also offering an additional configuration that will simultaneously capture both RGB and near-infrared (NIR) images at the same time. This simultaneous capture requires yet another camera that will use a 50mm lens for capturing the four-band (R, G, B, NIR) imagery, which can be output distortion-free and color corrected in JPEG or TIFF formats.

Sales are currently live, but the ‘full solution’ pricing, which includes the iXM-RS 280F large format camera, Applanix GNSS/IMU receiver (POS AV series), Somag gyro-stabilized mount (DSM 400), Phase One iX Controller and iX Flight Management software, starts at $ 455,000.

Press release:

Phase One Industrial Redefines Large Format Aerial Imaging Launches 280MP Aerial Solution

Challenges Status Quo with Imaging Precision, Flexibility and Affordability

COPENHAGEN – Phase One Industrial, a pioneer in digital imaging excellence, today launched the 280MP Aerial Solution – a large format aerial photogrammetric system, with an image coverage width of more than 20,000 pixels – enabling unprecedented high quality aerial survey productivity. Compact and lightweight, this new aerial mapping solution can reduce operating costs and produce better returns on investment than today’s traditional large format systems.

The Phase One Industrial 280MP Aerial Solution is a large format camera system that easily integrates with DSM400 gyro-stabilized mount creating a compact and lightweight system for use in a wide range of aircraft. At its heart, the iXM-RS 280F is a dual lens metric camera, with 90mm lenses for capturing RGB information, providing precision imaging. Adding a near infrared (NIR) camera generates a 4-band configuration, most useful in agriculture & forestry and pipeline monitoring missions.

The iXM-RS280F camera generates a central projection image from two 150MP nadir images with equal ground resolution. The cameras’ backside illuminated (BSI) CMOS sensor supports very high dynamic range at 83dB. Its high light sensitivity provides superb image quality in challenging low light conditions, enabling operators to take advantage of more flight hours per day and more flight days per year.

Dov Kalinski, General Manager of Phase One Industrial said, “Our 280MP Aerial Solution is a bold and innovative approach to solving customers’ demands for affordable and reliable aerial mapping performance. Previously, opportunities in the aerial mapping business were restricted due to high cost of equipment and limited aircraft options. While pioneering superior image quality, Phase One Industrial is creating more profitable possibilities in this exciting and important market.”

The Phase One Industrial 280MP Aerial Solution

The Phase One Industrial 280MP Aerial Solution consists of an iXM-RS 280F large format camera, Applanix GNSS/IMU receiver (POS AV series), Somag gyro-stabilized mount (DSM 400), Phase One iX Controller and iX Flight Management software. It is unprecedented in its image quality, operational flexibility, reliability and affordability.

Availability and Pricing

The iXM-RS 280F camera and 280MP Aerial Solution may be ordered from Phase One Industrial partners worldwide starting now.

Full Solution pricing (with Applanix POS AV 310 and Somag DSM 400) starts at USD 455,000.

For more information, please visit: https://industrial.phaseone.com/Aerial_System_280MP_System.aspx

Articles: Digital Photography Review (dpreview.com)

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Photos: SkyPixel 5th anniversary aerial imagery contest winners

23 Mar

SkyPixel 5th anniversary contest winners

SkyPixel, in partnership with DJI, Nikon, SanDisk, and Western Digital Corp, launched its 5th Anniversary Aerial Photo & Video contest on December 3rd. Entries closed on February 3rd and the results were announced earlier this week. The 56 category winners and finalists were awarded prize packages worth over $ 117,000. Since launching in 2014, the SkyPixel platform has attracted over 18 million aerial photographers and content creators from 140 countries.

‘I feel really grateful to be chosen as part of the winning crew of talented people who entered the SkyPixel contest. Taking first place in Sport was totally unexpected. I knew I had a good image but also understood I was going up against thousands of talented people in the community,’ Andy Leclerc, First Prize winner, tells DPReview.

‘The emotion and drama captured in this image (is) very powerful. Fantastic composition and post production,’ says judge Chris McLennan about the Grand Prize-winning image from Tony Wang.

Nominees are currently featured on the recommended photographers section, an area that receives over one million page views according to SkyPixel. They’ll also be considered for the role of DJI Creator. Winning photographs and videos will be showcased at DJI Flagship stores around the globe this Spring. To view all selected photos and videos, visit the SkyPixel 5th Anniversary Aerial Photo & Video Contest page.

Grand Prize: ‘Top of Java’ by Tony Wang (China)

About this photo: ‘Indonesia has the reputation of a volcanic country. Among the more than 400 volcanoes, 129 are active volcanoes. At 2 am, my team and I drove to the most unique viewing platform of Mount Bromo National Park. After shooting the Milky Way volcano, the sky gradually brightened. I decided to use the perspective of a DJI drone to overlook the sunrise of this volcanic park.

When the first rays of sunrise hit the volcano, there was nothing more beautiful than this moment. In the future, Mount Bromo in the foreground has been active for a long time, while the prospect of Mount Semeru is not always in an eruption state, and this picture of the eruption was fortunately captured by DJI.’

Gear and specs: Not available

First Prize: ‘EdgeRider’ by Andy Leclerc (US)

About this photo: ‘I captured my image “Edge Rider” with a Mavic 2 Pro. This particular photo was tricky to plan and execute, I had to get the sun position just right and have his shadow cast the perfect riding position. I used the PhotoPills app to plan for the sun’s position and the burst mode in my camera settings to be able to capture the “WOW” moment. It took 256 attempts to get it right but the results paid off,’ Leclerc reveals to DPReview.

Gear and specs: DJI Mavic 2 Pro, F5.7, 1/500s, ISO 100

First Prize: ‘The Epic Moment’ by Vincent Chen (Zambia)

About this photo: ‘I took this special selfie with Mavic 2 pro in Dolomites National Park, Italy. The setting sun hit at the peaks and clouds at sunset, it was really epic moment, I then used the pano mode to take the amazing whole scene.’

Gear and specs: DJI Mavic 2 Pro, F5, 1/500s, ISO 100

Second Prize: ‘Xiyun Buyun Pavilion’ by Yisan Xiao (China)

About this photo: ‘This is an aerial perspective of Xiyun Wetland Buyun Pavilion in the morning mist.’

Gear and specs: DJI Mavic 2 Pro, F5, 1/400s, ISO 100

Second Prize: ‘Family’ by Ben Mack (Australia)

About this photo: ‘A sight to see on Australia’s East coast. A mother whale with her newborn enjoying their migration South.’

Gear and specs: DJI Mavic 2 Pro, F3.6, 1/200s, ISO 100

Third Prize: ‘Aiken Spring’s Undead’ by Dreamland (China)

About this photo: ‘Aiken Spring is located on the vast ground at the foot of the Snow Mountain, with a wide horizon. Viewed from the air, various beautiful pictures have been formed around the eyes of the spring due to the long-term sulfur precipitation. Because there is no comprehensive detailed and reliable survey of Aiken Springs to date, this geological wonder has been cast a mystery.’

Gear and specs: DJI Mavic 2 Pro, F6, 1/240s, ISO 100

Third Prize: ‘Margaret River Surfing’ by Shaneri (Australia)

About this photo: ‘Margaret River, in Australia, is renowned for wine and the big winter swells that hit the coastline. This shot was captured last Winter.’

Gear and specs: DJI Phantom 4 Advanced, F5, 1/1000s, ISO 100

5th Anniversary Prize: ‘The Beauty of Greenland from Above’ by Albert (Netherlands)

About this photo: ‘Greenland is a truly magical place. We explored this place with our little red sail boats that made great contrast with the white and blue ice chunks everywhere. By using a drone I am able to show the immense size of of these ice bergs compared to our boats. At some point you forget that they’re pieces of ice. I used to just call them mountains.

It’s incredible to fly your drone above these giants. But Greenland’s atmosphere is incredible in general. The midnight sun colors lasting all night and casting their beautiful light on the ice and water. And not to mention the whales that I saw everyday. I enjoyed watching them play right from the coastline of Ilulissat.

You only realize how beautiful this place is when you’re actually there. There’s something magic about the whole atmosphere. It’s a place we should really cherish in the future and that will hopefully not lose its magic because of global warming.’

Gear and specs: DJI Mavic 2 Pro, F3.4, 1/100s, ISO 100

5th Anniversary Prize: ‘Populus Euphratica’ by Wang Hanbing (China)

About this photo: ‘In Western China, there is an ancient tree that condenses the heavens and the earth, crosses the ancient floods, stands proudly in the desert Gobi, and interprets the meaning of survival in a brilliant way. With the body of the cricket, it forms an eternal landscape and an eternal statue. It is Populus euphratica in the desert!

Populus euphratica, a hero tree in the desert, is not afraid of the sand and the heat with a tenacious character, a tenacious body, a stubborn destiny, a persistent spirit, and guarding his homeland, he has constructed the eternal theme of Populus euphratica and life; it With tenacious life and indomitable will, compose a song of life.’

Gear and specs: DJI Mavic 2 Pro, F6, 1/60s, ISO 100

Nominated Entry: ‘Coexistence’ by Dipanjan Pal (India)

About this photo: Captured in Iceland, ’it’s wonderful to see how nature and human can coexist together to create beauty, if we change our perspective a little.’

Gear and specs: Not available

Nominated Entry: ‘Autumn Memories’ by Yamaguchi

About this photo: ‘Located in the “Red Steel City” of Qingshan District, Wuhan, there are a number of staff quarters built by WISCO Group in the 50th century. They are all brick-concrete red roof tiles. The layout is regular and the floors are the same. “Double Happiness” has become a permanent memory of the older generation of WISCO.’

Gear and specs: Phantom 4 Pro, F5, 1/60s, ISO 100

Nominated Entry: ‘Boat Carrying Flowers’ by Tu?n Nguy?n (Vietnam)

About this photo: ‘The monk carried a flower boat in the river, flower pots are transported to the temple to decorate for Tet holidays, the shadow of the cloud shining on the river feels like a boat going in the clouds. I took this picture in Thap Muoi wetland, Vietnam.’

Gear and specs: Mavic 2 Pro, F5, 1/30s, ISO 100

People’s Choice Prize: ‘”Circle” Dream Guangzhou’ by Garrett Liu (China)

About this photo: ‘A night shot of the Guangzhou Yuan Building in China.’

Gear and specs: Mavic 2 Pro, F5, 1/8s, ISO 100

People’s Choice Prize: ‘Walls of Gold’ by Joe Orsi (US)

About this photo: ‘Here is Hohenzollern Castle during the golden hour.’

Gear and specs: Mavic 2 Pro, F4, 1/120s, ISO 100

Articles: Digital Photography Review (dpreview.com)

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Interview: How the brother duo at Abstract Aerial Art create masterpieces from above

21 Feb

Interview: How brothers at Abstract Aerial Art creates masterpieces from above

Photoshop wasn’t involved here. This image of a real-life puzzle piece was captured with a drone in the Netherlands.

JP and Mike Andrews, brothers from the United Kingdom, have gained international recognition for their compelling images taken from an aerial perspective. There’s a good chance you may have already encountered their work in some capacity; they’ve been featured in major publications including The Guardian and National Geographic.

The duo, who refer to themselves professionally as Abstract Aerial Art, had an epiphany back in 2016. While they didn’t have a concrete plan, one thing was clear: they were fed up with their day-to-day lives and needed to change their circumstances. Without a concrete plan in place, they embarked on a journey through the Australian outback, with the intention of taking a hiatus, and unexpectedly found their true calling.

All the images in this slideshow, and on their popular Instagram feed, are taken from real, un-staged locations around the world. Besides slight color and contrast enhancements, the images are not manipulated. ‘The point is not to work out what it is, but to show how weird and wonderful the world can look from above.’ What really sets their work apart is the composition, something the duo has mastered. That last component has transformed their images from mere photographs to works of art.

How do they do it? I’m lucky to call these two friends and they were gracious enough to answer my questions about their background, initial attraction to the drone world and how they monetize their work so they can continue to live the type of adventurous life that most photographers wish they had. All images in this article are published with permission from Abstract Aerial Art.

The Congregation

What is your background?

Mike had been working as a commercial photographer, predominately focused on the product side of things. The technical knowledge he built up over the years was certainly a contributing factor in our decision to buy a drone in the first place. JP was working as a music producer and sound designer and had absolutely no experience in photography.

In early 2016, heartbroken and fed up with day-to-day life in the UK, we made the joint decision to leave everything we knew back home, purchase a one-way ticket to Australia and, with no plan whatsoever, fly to the other side of the world. It was during this life-changing adventure around the Australian continent that we were inspired to get into aerial photography.

The Vault

What was your initial attraction to the drone world?

The idea first came about during the year we spent traveling around Australia, specifically the time we spent in the outback. With the intention of filming some of the incredible sights we had seen whilst we were out there, we decided to purchase a drone after an evening in the pub… we will let you draw your own conclusions from that! At the time, we knew nothing about drones. We had never even seen one, let alone flown one.

Heading back out into the Australian wilderness, we started to take some shots of the landscapes surrounding us. Looking back at the images we had captured, we realized we had a number of extremely unusual photographs that loosely reminded us of abstract artworks. As a result, Abstract Aerial Art was born.

The Zipper

What gear and accessories are you currently using?

We have two drones, a DJI Phantom 4 Pro and a DJI Mavic 2 Pro. The Phantom 4 Pro is the drone responsible for the majority of our work and in our opinion, the best drone currently available for a balance between quality and practicality. We initially brought the Mavic 2 Pro as a backup drone to the Phantom 4 Pro. However, we have found ourselves using it more and more in recent times, primarily for its practicality.

Each has their benefits but they are both capable of shooting extremely high-quality stills and videos. We also carry a Canon 5D MK4 and a GoPro Hero 7 for ground-based shots and behind-the-scenes video stuff.

Accessory-wise, we have very little other than the PolarPro Cinema Series filters for both drones. We consider them a must-have for anyone serious about shooting quality content from a drone (disclaimer: they are brand ambassadors).

Aqua Phone

Some of your shots are incredibly unique, whether they’re close up or display an entire landscape. How do you find these places?

We dedicate a huge amount of our time to meticulously researching the planet for things that interest us. Almost every single image we have ever taken has been found during these research sessions. Only on very few occasions have we stumbled across something by accident out in the field.

When we say research, what we are referring to is using satellite applications to search for things that we want to photograph. We then screenshot these finds and save the coordinates of the location with the intention of shooting it for real at some point in the future. The process can be frustrating, even mind-numbing at times, but, in our opinion, it is absolutely essential to finding interesting places to photograph.

Thanks to apps such as Google Earth, the whole world is visible from an aerial perspective. As a drone photographer, you can imagine how useful that is! Using this method to find unique places to photograph is something that we cannot recommend highly enough if you are interested in getting into aerial photography. We have written a blog post on our website that includes some photo examples of how we go about this research process if you’d like to find out some more information.

Riding Solo

From what I’ve noticed, you’re always traveling around the world for your art. How do you monetize your work so you can keep shooting in new locations?

Whilst we are always exploring new avenues for potential income from our work, we currently have two main sources of income. Both are online.

Print sales – We have an online shop on our website where prints of our images can be purchased on different materials at a variety of price points.
Image licensing – We sell licensed, digital content to brands and businesses for commercial usage. Our images have been purchased by customers for a wide range of purposes including advertising, printed media, and website design.

Burnout

Your work has a distinct style. When and why did you decide to focus on abstract art?

As we touched on earlier, the initial shots that we took in Australia loosely reminded us of abstract artworks and it was purely that which inspired us to explore how bizarre the world could look from an aerial perspective. To this day, we are blown away how surreal even the most mundane objects, structures, and landscapes can look from above.

All we have ever wanted to do since taking those first shots is focus on trying to shoot something different. As beautiful as the more well-known locations are, there is still a whole world out there still waiting to be discovered and the more we find, the more we realize we are yet to scratch the surface.

Skyline

What image or series are you the proudest of?

The image we are most proud of is entitled ‘Skyline.’ The planning behind the shot took over 6 months. It all started on a completely unrelated shoot during which we had seen the shadows cast by these enormous ships under the right conditions. On our return home, we immediately set about working out how, when, and where we could best perfect the shot we had in mind.

There were so many variables that all had to be exactly right for it to work. These included sun positioning, tidal depths, wind speeds, and extremely precise angles. After a huge amount of research, we set off from the UK and drove into Europe arriving at our destination just before sunrise. Waiting until the ship we had chosen was in the correct position and the morning sun had risen high enough to cast the defining shadows, we sent out the drone to start taking pictures. After all the previous months’ planning, the actual shot was done within 15 minutes.

Fire and Fury

What is the craziest situation you’ve been in while shooting?

Whilst driving through the Australian outback during one of the many wet season storms, we encountered a bolt of lightning strike the bushland surrounding us and set it alight. In an instant, we found ourselves at the centre of a raging wildfire. With very little consideration to the incredible danger we were in, we couldn’t resist the chance to jump out and capture Mother Nature at her ferocious best. Setting up the camera in what must be the quickest amount of time we ever have managed to achieve, we began photographing the scene.

Five terrifying minutes later, we had a shot of the wildfire and a lightning bolt in the same frame. We managed to get out of there just before our car was completely engulfed by flames. In hindsight, it was probably the most stupid thing we have ever done. That being said, it was a unique opportunity to capture something that few people will ever witness and despite the very obvious dangers, at the time, we thought it was well worth the risk.

Another Planet

I’m not going to use the clichéd phrase ‘bucket list,’ but I’m curious to know where you have not been yet or what you consider a dream shoot?

We would love to photograph volcanic activity, especially lava. It has always been something we have just wanted to see, let alone have the opportunity to photograph. We are currently in the process of working out what we could do creatively with it, and how and where we are going to do it. There are obviously many challenges involved but these challenges are one of the many reasons we enjoy what we do so much.

The Maze

What advice would you give to aspiring photographers, whether it’s aerial or ground-based?

The best piece of advice we can give any budding photographer is simply ‘love what you do.’ With the modern-day pressures of social media recognition, it’s very easy to forget those four simple words. We cannot express how grateful we are for the continued love and support we receive on social media and truthfully, it’s unlikely we’d even be in the position we are today without it.

That being said, from day one, we have never let that dictate what we wanted to shoot. That will never change. We photograph the things we do because we love it. Expressing yourself through any creative process is meant to be fun. Never let what you think others might find popular take your work in a direction that does not reflect you and your happiness.

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Aerial Time Lapse Basics with DJI Mavic Pro 2 Drone Specific Examples

17 Apr

The post Aerial Time Lapse Basics with DJI Mavic Pro 2 Drone Specific Examples appeared first on Digital Photography School. It was authored by Peter West Carey.

Drones can capture images and footage you might have only dreamed of in the past. Now that ability is easily extended to time lapse photography.

I prefer to refer to my drone as a flying camera. While there is certainly some fun to be had in the simple joy of flying around and looking at stuff from high up, I use my drone primarily to create images and footage with an eye toward cinematic appeal. Time lapse imagery can convey a sense of place that still images and videos lack.

The Basics

This post is written based on experience with the latest model DJI Mavic 2 Pro. While manufacturers differ how they handle time-lapse creation, the tips below are meant to introduce you to what’s available. Some tips will be specific for this model but I will also offer more tips for aerial time-lapse creation in general.

Some drone manufacturers will compile the time lapse video for you while others simply record each individual photo, allowing you to compile the video yourself.

It’s important to note that all experimentation and practice should be done in an open space, away from people, buildings, pets and in accordance with all laws and regulations for your location. I practiced over land many, many times before I felt confident using the automatic modes for time lapses over water.

Tips Before Getting Started

Check exposure and anticipate

Changing exposure during a timelapse shoot, be it on land or in the air, is often a tricky endeavor. I suggest, when getting started, to anticipate your lighting situation and not attempt to change exposure during a timelapse shoot if your drone allows it.

It can be difficult to make exposure adjustments depending on your brand of drone (and some don’t allow it at all) – it’s hard enough to safely fly a drone while shooting. Try not to add too much complexity on top of that.

Try different interval timings and drone speed, 2 seconds is a lot different than 10 seconds

The speed of your drone, distance to objects and the length of your interval will have a large impact on your time lapse. There’s a reason DJI limits the speed of the drone in certain modes (explained below) to 4.5MPH. Anything faster than that and the video shows way too much motion to be palatable.

But if you’re flying slow, a 10-second interval might be ideal for helping show the movement of slow-moving clouds or shadows.

Let me show you the difference between a 2-second interval (at 1.6MPH) and a 5-second interval (at 4.5MPH) while a drone circles me.

It’s going to take some experimenting to get it right.

Look at your total time to create

DPS writer, Ryan Chylinski, explains the importance of shoot length in this helpful post. When flying a drone, it’s even more important to make sure you don’t run out of card space and that you judge the movement of your drone compared to the total time it will take to shoot your time lapse.

Will you cover too much ground? Will your drone still be in line-of-sight (which most countries require as part of drone flying regulations)? What obstacles might your drone encounter when flying that long?

Plan ahead to avoid simple mistakes.

Point one way, film another

Facing one direction while flying another can offer a dynamic look to your video, rather than simply flying straight ahead. You can use a backward facing drone to get a typical pull-back shot or point slightly off of perpendicular for a dolly shot, such as the sunrise below.

Leave yourself time to return home

Do you have enough battery to shoot and return?

This is one of the most important question to ask. Some drones will warn you, but some won’t.

I had a frightening experience when I misjudged distance and return time while shooting a time lapse over water and nearly lost my drone (and polluted the environment). Midway through the flight I aborted the shoot and returned with a safe margin of battery, but I lost the shot.

Work altitude shifts into your scene

Altitude shifts are a like using a typical slider, but on steroids. You’re not limited to the four or 10 feet of a ground-based slider so the changes can be over a much larger distance. You also don’t need to stay moving parallel to the ground the whole time.

Here’s a simple example of a pullback that covered about 1000ft over land/water while steadily climbing 140ft in altitude.

Fly smooth

Using a pre-built, computer-controlled mode, like the ones mentioned below, help ensure smooth flight and operation. If you are controlling your drone manually while shooting a time lapse, ensure that your movements are slow and steady, allowing for your camera to shoot enough photos for a smooth video.

Here’s an example of what happens when I panned down then up too fast while shooting.

Result: Ruined video. Also, to my liking, the pan left and right are too fast.

DJI’s different methods – What do they mean?

DJI fits all of their time lapse modes into a section it calls Hyperlapse. Hyperlapse is just a cool sounding phrase meaning a moving time lapse. The Hyperlapse modes will all shoot and compile the video for you, typically in 1080p and 25 frames per second. You can also choose to save the individual RAW files if you wish to use your own time lapse software.

Safety Note: While the drone uses its side, front, rear, top and bottom sensors to detect objects, it still requires your attention at all times. If it finds an object in its path, it will stop shooting. It is very important to remain in control of the drone and ready to intervene. In Course Lock and Waypoints modes, if you make any adjustment to the controls of the drone, it will exit those modes and stop shooting.

Course lock

Course lock is the mode I use most often and it’s the one I’m going to start with. It allows you to aim the drone in one direction for flight and then either point the camera any way you like, or choose a subject to be tracked.

You start by setting course and then the interval, video length and speed. Each item is set by first tapping it and then moving the slider accordingly.

Setting the course is as simple as pointing the drone in the direction you wish to go and tapping the lock icon next to interval, video length and speed. In this case, I pointed the drone directly at the sun. The little image of a lock means my course is locked.

Next, you’ll want to point the drone’s camera in the direction you want to film. Then adjust the shooting settings.

In this example, I left the interval at 2 seconds but then set the video length to 15 seconds.

With that change to video length and interval, the app shows me how many photos it will take and the length of shooting.

After that I set the speed to 3.4MPH.

All that is left is to hit GO and watch the scene unfold! (Notice the course lock section still shows the drone’s intended direction toward the sun.)

Free/Manual

Free Mode is straight forward and gives you the most control. After setting the shooting interval and video length as you would in Course Lock Mode, you are free to fly any which way you please. Up, down, backward, forward, left and right.

But be warned: fast course changes or high speeds will cause your video to be anything less than smooth.

At any time you can press the C1 button (on the underside of the controller) to lock course and speed.

As Free Mode can be used while the drone is on the ground, you can actually use it as a still camera for time lapse.

Circle

As you saw in the videos up top, choosing your speed and interval is important for Circle Mode.

Start by setting the distance from your subject for your drone. Ensure the circle your drone will subscribe in the sky does not encounter any obstacles. If need be, adjust your drone’s height or distance from your subject to achieve the framing you desire.

Next, select Circle Mode from the Hyperlapse options.

Now set your interval, video length and speed as described in the Course Lock Mode. Then select the direction your drone will fly; either clockwise or counterclockwise.

Above these settings, the program will tell you how long the shoot will take and how many frames will be shot. In the example, that will be 5 minutes and 48 seconds to take 175 frames.

Most importantly, choose your subject! You do this by drawing a box on the screen by pressing and dragging until it highlights your subject.

Press GO and your drone will start snapping and moving. When it is finished, you will see a screen as the drone creates (synthesizes in DJI speak) the video.

In the example above, you will notice the path the drone took, which is a very pretty circle (with my initial flight path to get the drone in place mixed in). All Hyperlapse modes require this video synthesizing and the length of time depends on the number of shots. Until video creation is complete, you cannot take any photos or video, but you can fly the drone as normal.

Waypoints

Waypoints Mode is a bit trickier to work than the others, but offers a lot of control and unique results.

After selecting Waypoints Mode you will set your interval and video length as the other modes. You will then set the waypoints your drone will fly. You can set up to five waypoints and a minimum of two.

To do this, fly to the first waypoint, orient your view as you like and press the + symbol in the Hyperlapse tray at the bottom of the screen to lock that waypoint. Continue this method, flying to each waypoint and pressing +.

In this example, I have set two of my five waypoints and will continue adding until all five are set. The map on the left side shows each waypoint with a number and the direction the camera will face.

When you are finished plotting each waypoint, you have the choice to fly the waypoints in order marked or in reverse. If you choose “In Order”, the drone will fly itself to the first waypoint and begin. Otherwise, the drone will begin at the last waypoint selected and fly backwards (but will pay attention to your selected camera orientation for each waypoint).

While the drone flies, you will see the waypoints on the map along with a timer showing how long the drone has been flying and the total time it will fly the route. Next to that is the number of images taken followed by the total images to be shot.

More Examples

Course Lock while facing perpendicular to flight path

Course Lock while flying backward

Course Lock while flying backward with an upward pan for clouds

Conclusion

Time Lapse videos from a drone offer a unique and sometimes challenging option. They take planning not only to consider the subject matter and lighting, but also for the safe operation of your drone while it is taking photos.

Each mode offers different options and it’s best to play with them in a safe environment to get the hang of what you can accomplish.

Have fun and post some examples as you try out this technique. I’d love to see them!

The post Aerial Time Lapse Basics with DJI Mavic Pro 2 Drone Specific Examples appeared first on Digital Photography School. It was authored by Peter West Carey.

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California wildfire devastation revealed in series of aerial images

11 Aug

Aerial photos reveal California wildfire devastation

Image via city of Redding

The City of Redding’s Geographic Information Systems (GIS) Division has published a series of aerial images showing the devastation caused by the ongoing Carr Fire in Shasta County, California. Located approximately 100 miles north of the Mendocino Complex fire, the Carr Fire has destroyed approximately 176,000 acres of land, more than 1,000 homes, and claimed eight lives.

The aerial images, which are available publicly on Redding’s GIS website, reveal burned homes, vehicles and wilderness. The images were captured in part using UAVs equipped with cameras. According to ABC News, the fire was 48% contained as of Thursday morning, but experts expect it to continue into September. More than 13,000 firefighters are working to control the blaze.

Aerial photos were collected as part of a multi-agency collaboration. Licensed UAV pilots from Menlo Park Fire District, Alameda County Sheriff, Contra Costa Sheriff, and other agencies assisted the City in capturing the aerial photos. The City would also like to acknowledge CAL FIRE for permitting the use of UAV technology to assist in damage assessment.

Aerial photos reveal California wildfire devastation

Lake Keswick Estates. Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

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Phase One iXM 100MP aerial camera uses world’s first BSI medium format sensor

05 May

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The Industrial arm of Danish camera manufacturer Phase One has launched an aerial camera that uses the world’s first backlit medium format sensor. It’s called the iXM 100MP, and it’s almost certainly the first camera to use this sensor from Sony that we told you about back in November.

The iXM 100MP is part of a new iXM system of cameras and lenses designed to be used attached to drones or manned aircraft. A 50-megapixel version, the iXM 50MP, has also been launched, but the iXM 100MP uses backside illumination to boost the light sensitivity of the sensor and to improve its dynamic range.

The two cameras use 4:3 ratio sensors measuring 33x44mm, and both offer XQD storage as well as HDMI-out to allow realtime preview. USB-C and 10G Ethernet ports provide the means to connect directly to on-board storage and control in larger craft, to synchronize an array of cameras for 3D capture, and to speed up mapping work.

The system incorporates four new lenses designed specifically to work with these sensors. The RSM range use leaf-shutters with a shortest opening of 1/2500sec, and which can work at a rate of three frames per second. The shutters are guaranteed for 500,000 actuations, and the lenses have been designed to operate at a wide range of temperatures and altitudes without loss of quality.

Two of the news lenses—a 35mm and an 80mm—have fixed focus, while a further 80mm and a 150mm use motorized focus with focusing determined either before the flight or in the air using a remote control. The focusing versions are aimed at those carrying out structural inspections at different distances rather than those mapping from a constant height.

Here’s a quick first look at the iXM Camera Series:

The iXM cameras and their RSM lenses are expected to ship in June 2018, with lenses costing $ 10,000/€8000 and the cameras priced at $ 40,000/€32,000 (iXM 100MP) and $ 21,000/€17,000 (iXM 50MP). While the price of these models might put them beyond the range of most photographers, it is worth getting excited about the prospect of a 100MP BSI sensor entering the regular still photography market sometime soon. Fingers crossed.

For more information on the iXM range see the Phase One Industrial website.

Press release

Phase One Industrial Innovates UAV-based Aerial Imagery – Launches iXM Metric Cameras and Motorized Lenses

Phase One Industrial today launched the iXM series: a breakthrough aerial camera platform driven by the world’s fastest medium-format imaging sensor. Engineered for UAV-imaging missions, the iXM 100MP is a high-productivity metric camera with a range of high-resolution lenses. The iXM is ready for integration with a wide
range of UAV platforms, including Phase One’s DJI Matrice 600 Pro solution.

The iXM 100MP metric camera incorporates the first medium-format sensor with backside-illumination technology, enabling high light sensitivity and extended dynamic range. Fast, highly responsive, robust, and weatherproof (IP53 compliant), the iXM 100MP delivers superior quality aerial imaging and flexible operation to satisfy diverse mapping, surveying, and inspection applications.

Also today, Phase One announced four new specially developed RSM lenses – with focal lengths ranging from 35mm to 150mm – to seamlessly fit the new sensor’s 3.76?m pixel size and 33×44 mm frame size, ensuring image sharpness across the entire FOV. The lenses are available with either fixed-focus or motorized-focus functionality.

The fixed-focus 35mm and 80mm lenses provide superior image radiometric quality, high ground resolution, and large coverage – perfect for surveying applications.

The motorized-focus 80mm and 150mm lenses are ideal for a wide range of inspection applications, including electricity poles, wind turbines, bridges, and other private-sector or government structures.

Motorized-focused lenses, having no external moving parts, enable a number of new uses for inspection applications where the focusing distance can be predefined based on flight planning, or by the operator, using a wireless remote control. With the motorized lens, the camera captures sharp and highly detailed images of multi-distance or 3D objects.

The cameras’ RSM lenses incorporate a new leaf-shutter technology, which supports 3 fps capture – with a speed of 1/2500 sec – while guaranteeing 500,000 actuations. The lenses are thermally stable to ensure consistent focus over a wide range of temperatures and flight altitudes. With optics designed to exploit the full benefits of the new sensor technology, the lenses provide with greater productivity, flexibility, and reliability, offering superb image quality.

The new iXM platform adds XQD high-speed storage technology to handle the sensor’s extremely fast frame rate. Also on all cameras, HDMI output from actual exposure provides UAV operators simple and outage-free feedback of actual view, exposures, and camera status in overlays. In addition, the new platform includes USB-C and 10G Ethernet for versatility of connectivity to large UAVs and aircraft.

For complete technical specifications, please see http://industrial.phaseone.com/landing/The_New_iXM_Series.aspx

“Working with our UAV partners, we see a fast-growing market driven by great potential for time and cost savings over traditional inspection and surveying methods,” said Dov Kalinski, General Manager of Phase One Industrial. “With its new technology, design, and capabilities, the iXM 100MP promises to help start a new era in inspection missions with UAVs. Phase One Industrial continues to push technical boundaries to equip drones and larger UAVs with superior imaging technology – engineering advanced systems, cameras, and software – to help achieve that potential.”

Availability and Pricing

The iXM 100MP and iXM 50MP metric cameras are available today for advance order – from Phase One Industrial partners worldwide – with delivery in June 2018.

Pricing for the:

iXM 100 MP camera: 32,000 Euro/40,000 USD
iXM 50 MP camera: 17,000 Euro/21,000 USD
Lenses: 8,000 Euro/10,000 USD

For more information regarding purchase options and partner locations, please contact us at: https://industrial.phaseone.com/Contact.aspx

About Phase One Industrial

Phase One Industrial is a division of Phase One A/S that researches, develops, and manufactures specialized industrial camera systems and imaging software solutions. The company focuses on specific applications such as aerial mapping and surveying, ground and aerial inspection, agriculture, machine vision and homeland security.

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NASA is working on an aerial ‘Fluid Cam’ that can see through ocean waves

27 Apr

We know more about the surface of the moon and Mars combined than we do about our own ocean floor, according to NASA Ames scientist Ved Chirayath, which is why he is developing a camera that can remove the water from our seas to reveal 3D images of what’s below the waves. Using a grant from Earth Science Technology Office, Chirayath is working on a project that uses both hardware and software to see and map the floors below great bodies of water as though the water isn’t there at all.

In the video above, Chirayath explains that it is hard to see the ocean floor due to the waves on the surface, but his Fluid Cam uses software called Fluid Lensing to image objects in up to 10 meters of water.

While he doesn’t explain exactly how this technique works, he does say it requires a camera with a lot of processing power, as the software runs on-board. The camera he shows in the video uses a Leica Elmarit-M 28mm F2.8 lens on front of what is described as a ‘high performance’ camera. We are told it uses a 16-core processor and has 1TB of RAM, and that it outputs data at a rate of 550MB per second.

At the moment, the camera is in the test stage and has been used attached to a drone, but NASA hopes that the technology will be housed in airplanes and satellites in the near future, so wider areas can be mapped and explored.

The project was unveiled on the NASA website as part of the agency’s program to mark Earth Day. For more information, visit this link.

Press Release

New Camera Tech Reveals Underwater Ecosystems from Above

Scuba divers and snorkelers spend vacations visiting exotic coastal locations to see vibrant coral ecosystems. Researchers also don their gear to dive beneath the surface, not for the stunning views, but to study the health of the reefs that are so critical to fisheries, tourism and thriving ocean ecosystems.

But one person can only see so much coral in a dive. What if you wanted to assess coral over an entire region or see how reefs are faring on a global scale?

Enter Ved Chirayath of NASA Ames Research Center in Silicon Valley, California. He has developed a new hardware and software technique called fluid lensing that can see clearly through the moving water to image reefs. Imagine you’re looking at something sitting at the bottom of a swimming pool. If no swimmers are around and the water is still, you can easily see it. But if someone dives in the water and makes waves, that object becomes distorted. You can’t easily distinguish its size or shape.

Ocean waves do the same thing, even in the clearest of tropical waters. Fluid lensing software strips away that distortion so that researchers can easily see corals at centimeter resolution. These image data can be used to discern branching from mounding coral types and healthy coral from those that are sick or dying. They can also be used to identify sandy or rocky material.

So far Fluid Cam, the imaging instrument that carries the fluid lensing software, has flown only on a drone. Someday, this technique could be flown on an orbiting spacecraft to gather image data on the world’s reefs.

That amount of data would be painstaking to sort through to look for specific coral attributes. So Chirayath’s team is cataloging the data they’ve collected and are adding it to a database to train a supercomputer to rapidly sort the data into known types – a process called machine learning. Because of the technology developments in both the tools to collect the data and the machine learning techniques to rapidly assess the data, coral researchers are a step closer to having more Earth observations to help them understand our planet’s reefs.

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Pond5 and DJI to offer licensable collection of aerial footage

31 Mar

A new partnership between DJI and stock video library Pond5 might make it easier for Part 107 certified drone operators to connect with potential stock footage customers – and vice versa.

Anyone with a DJI drone and an FAA Part 107 Remote Pilot certification can apply to participate as a video creator. Accepted applicants’ videos will be included in a Pond5 + DJI collection. Prospective customers will also be assured that the videos in the collection were shot by FAA certified drone operators, and can therefore be used for commercial purposes.

Applications can be submitted at Pond5’s website.

Press release

Pond5 and DJI Join Forces to Create an Online Marketplace for Aerial Footage from FAA Certified Pilots and Filmmakers

Program will curate and promote collections of aerial footage captured by licensed pilots using DJI drones to Pond5’s millions of users searching for professional video

NEW YORK MARCH 28, 2018 – Global content marketplace Pond5 and DJI, the world’s leading manufacturer of civilian drones and aerial imaging technology, today launched an innovative collaboration to develop a premium collection of licensable aerial footage.

By applying to join this program, pilots operating with a Part 107 Remote Pilot Certificate issued by the Federal Aviation Administration (FAA), which is required for commercial use, will be eligible to have their footage included in a series of collections shot exclusively with DJI drones.

Pond5 will showcase these collections to its millions of users, while denoting video clips shot by licensed pilots in searches for customers who need to ensure their video assets comply with Part 107. Pilots will also be able to leverage Pond5’s industry knowledge to identify their most in-demand shots and obtain assistance in preparing their footage for licensing in the Pond5 marketplace.

DJI will be working closely with the team of video experts and curators at Pond5 to ensure that the most compelling and award-worthy aerial footage shot with DJI products is made easily accessible to customers searching for studio-quality shots to use in their productions.

“Drones have become powerful tools for storytellers, providing a cost-effective alternative for gathering aerial footage. They’re able to capture rapidly unfolding events and reach locations that would be otherwise inaccessible, costly, or dangerous,” said Pond5 CEO Jason Teichman. “As the world leader in their space, DJI is the ideal partner to bring the best in contemporary aerial footage to our marketplace.”

Select participants will also have access to Pond5’s premium clipping and tagging services, allowing them to save time by simply submitting raw footage, rather than having to do the work of editing, formatting, titling, and keywording the footage themselves. Footage receiving these services will then be made available exclusively through Pond5 for a limited time.

“Drone imagery creates exciting new possibilities for video creators and producers around the world, and DJI’s collaboration with Pond5’s industry-leading content marketplace helps establish a new standard for professional video that is safe, legal, and cleared for use,” said Michael Perry, Managing Director of DJI, North America. “We’re excited to elevate the presence of DJI-captured imagery in Pond5’s marketplace, and we can’t wait to see the projects that will incorporate this footage.”

Pilots with a Part 107 certificate who use DJI drones can apply to this program at http://www.pond5.com/dji, with selected DJI aerial footage being showcased on the Pond5 content marketplace in the coming months. Pond5 and DJI will both be onsite at the 2018 NAB Show to provide additional information for interested participants, as well as producers and editors who want to license professional aerial drone footage. For a look at the full collection of aerial footage from across the globe currently available on Pond5, visit http://www.pond5.com.

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