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Review: The DJI Pocket 2 is a vlogging machine you can take anywhere (even in your pocket)

09 Nov

DJI Pocket 2
$ 349 | DJI.com

The DJI Pocket 2 is a second-generation all-in-one camera with a built-in three-axis stabilizer. A follow up to the Osmo Pocket, the camera remains roughly the same size as the original but features a larger sensor, a wider lens, an improved autofocus system, more microphones, and the ability to shoot higher-quality photos and videos.

The camera remains incredibly easy to use and is a great option for vloggers and content-creators who need to capture stabilized video and don’t want to be weighed down with lots of gear.

Sample Photos | Specifications & Design | Video | Photos | Conclusion

Sample photos

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View our DJI Pocket 2 sample gallery

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Key Specifications:

  • 1/1.7” CMOS sensor
  • 20mm (equiv.) F1.8 lens
  • 64MP and 16MP photo modes
  • Video: 4K/60p, 2.7K/60p, 1080/60p
  • 8x zoom (64MP mode), 4x lossless zoom in 1080p or 16MP mode
  • Panorama modes in 3×3 and 180°
  • 4 microphones with directional audio and sound tracking
  • Micro SD slot up to 256 GB
  • 140 min. battery life (1080/24p)
  • Weight: 117 g
  • Dimensions: 124.7×38.1×30 mm
  • HDR Video: 2.7K/30p (arriving in a future firmware update)

Body and design

The exterior design of the Pocket 2 is similar to the original but now includes a Mini Control Stick that slides into the area previously reserved for a smartphone connection. If you’re using the Mini Control Stick, the buttons to control the Pocket increase to five from the original two. Although there are some changes with the button layout, the operation remains familiar to the original.

The Mini Control Stick (just below the screen at left) makes the Pocket 2 easier to operate than the original.

The Pocket’s power button sits on the right side of the camera, and the micro SD card slides into a slot on the left. The bottom left record button records video or shoots stills, and the button next to it allows you to swap between the two modes easily. The Pocket 2 now has the ability to pause recording while shooting video by pressing and holding the record button.

If you’ve slid the Mini Control Stick into position, you will be able to customize the joystick to Zoom or Tilt and switch between Tilt Lock, FPV, and Follow using the button on the top right. Touchscreen controls allow you to access additional shooting modes (slow-mo, timelapse, pano, HDR Video), customize the Mini Control Stick settings, select recording resolution, review files, and access Pro Mode.

Some Pocket 2 accessories: Do-It-All handle (attached to the base of camera), a wireless mic with windscreen, tripod mount and smartphone connectors.

The Pocket 2 has been redesigned so that the wrist strap can attach to the camera instead of just the carrying case. It’s a subtle upgrade but a useful one. The Pocket now has a detachable base that can be swapped out for a base with a tripod mount or an accessory called the Do-It-All handle ($ 99), which turns the Pocket into a live streaming tool and allows you to use it with the DJI Mimo app without attaching your phone to the camera. The Do-It-All handle increases the total size a bit, but the benefits that come with this tool make that extra bulk worth it.

The Pocket still comes with accessories to connect to your smartphone without that Do-It-All handle, but doing so requires that you remove your phone case to make the connection, and the setup feels unbalanced. You’ll also have to control zoom and tilt through the app, which isn’t as intuitive as that new Mini Control Stick. The Do-It-All handle is really the way to go if you want to use your phone as a monitor or use the Pocket for live streaming. You’ll need to use the Mimo app and the Do-It-All handle if you intend to go live with the Pocket.

ISO 100 | 1/120 sec | F1.8

The majority of the time, I used the Pocket as a standalone product. The Pocket’s real genius is its simplicity and small size, and if you’re shooting with a smartphone connected, it makes things a bit more complicated. Having the Do-It-All handle attached to the Pocket and reviewing images and videos through the Mimo app was quite helpful, though.

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Video

When the original Pocket launched last year, it was clearly aimed at vloggers who needed stabilized footage while they walked-and-talked. Still, the original lens was a 25.7mm F2, resulting in shots that featured a whole lot of face and required relatively bright conditions. The new version has a wider 20mm F1.8 lens and a larger sensor, making it a much better option for those who need stabilized footage of themselves.

The Pocket 2 adds two additional mics, bringing the total to four, and features directional audio. With a future update, a new feature called SoundTrack will allow those microphones to follow whatever is making noise in a scene. The SoundTrack feature wasn’t available during our time with the Pocket, so we haven’t evaluated it, but DJI says it will arrive by way of a firmware update.

This Pocket 2 sample reel includes 4K/60p footage shot in New York City.

The audio quality on the original Pocket left something to be desired. The additional mics and new audio features make for recordings that sound better than what you might be able to get with a smartphone. The new Pocket also comes with an optional wireless mic accessory that communicates with the Do-It-All handle for even cleaner audio—a great choice for interviews done on the fly or capturing voices in noisy locations.

The Pocket 2 features hybrid AF, which uses both phase-detect autofocus and contrast-detect autofocus. We found that it did a nice job grabbing onto subjects and moving with them, like the kids dancing at a hardcore show and the band’s lead singer moving around the street. The Pocket 2 can now record 4K video up to 60fps at a 100Mbps bitrate.

The Pocket’s stabilization remains one of its most impressive features.

The Pocket’s stabilization remains one of its most impressive features. The Pocket 2 is much easier to use than larger gimbals but just as reliable. I’d never be able to ride my bike while holding a stabilizer and a traditional camera. With the Pocket, it’s possible, and it delivered footage that was remarkably smooth as I cruised around, although it did struggle as I rolled over some New York City potholes.

The camera is drop-aware, and although I didn’t intentionally drop the Pocket, it does seem sensitive. It will shut itself off if it thinks the gimbal is in danger. I tried and failed to record footage while biking over the Williamsburg bridge with the Pocket zipped into the front pocket of my jacket with the lens sticking out and the gimbal locked, but apparently, that ride was just a bit too bumpy for the Pocket 2 to feel safe and secure.

ISO 100 | 1/60 sec | F1.8

Eventually, the Pocket 2 will also shoot HDR video similar to the Mavic 2 Air drone, but according to DJI, the firmware to enable this feature won’t ship until later in 2020.

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Photos

Still image quality is noticeably improved compared to the original Osmo Pocket, partly due to the larger 1/1.7” sensor and faster F1.8 lens. Regular JPEGs top out at 16MP, but if you’re shooting in high-resolution mode, you can get 64MP files. If you swap the camera into PRO mode, you can capture Raw DNG files that clock in around 127.7 MB each. It’s a big leap in quality from the 12MP files on the original Pocket.

One interesting quirk we discovered is that the Pocket 2 won’t let you record Raw+JPEG images simultaneously—it’s an either/or decision.

The RAW files have a lot of flexibility in editing, although we noticed some chromatic aberration when zoomed in. According to DJI, the Pocket offers 8x zoom and 4x lossless zoom. In our experience, photos look crisp when the camera is at its widest vantage point, but as you zoom in, it becomes harder to nail sharp focus and the loss of quality becomes noticeable.

Boo!
ISO 100 | 1/40 sec | F1.8

The Pocket 2 has the ability to shoot 3×3 panoramas in addition to the 180º panoramas. The 180º panorama shoots four photos and stitches them into one long image, while the 3×3 panorama mode shoots 9 images and then stitches them into a 5×7 image. The process is fast, and stitching is all done within the Mimo app. A tripod comes in handy with 3×3 panoramas to limit camera shake.

The second-generation Pocket does a slightly better job capturing action, but this probably isn’t the tool you want to shoot sports photos. It does a decent job grabbing and holding focus on musicians and wiggly pets, though.

Thankfully, the ergonomic changes to the buttons on the second-generation Pocket make it nearly impossible to accidentally swap between shooting modes, which was an issue with the original.

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Conclusion:

The Pocket 2 addresses many of the original Osmo Pocket’s shortcomings, which was a great tool to capture stabilized video footage quickly, but which had notable limitations. The larger sensor, faster and wider lens, improved autofocus capabilities, and additional mics make this a more robust tool for content creators, vloggers, and possibly even professional shooters looking to capture supplementary footage for big jobs.

The controls have gotten more intuitive, and it’s no longer easy to swap between shooting modes accidentally. The zooming capabilities and the Mini Control Stick accessory are incredibly useful—the same goes for the interchangeable grips. Although the Do-It-All handle is an accessory that needs to be purchased at an additional cost, we really think it’s worth paying extra. It performs well and makes it easy to use your smartphone to monitor, review, and download footage on the go and use the Pocket as a tool for live streams—something that we only see becoming more common as large in-person events are on hold.

It’s possible to control the Pocket 2 through your smartphone, but it feels unbalanced and requires you to adjust tilt and zoom from your phone’s screen. We much prefer using the Do-It-All handle ($ 99) with the Mini Control Stick.

The ability to shoot 64MP Raw images with the Pocket is a massive leap from the original, but the loss in quality at 8x zoom is noticeable, and at the end of the day, we think the Pocket is best suited as a video tool. The Pocket is nice for capturing candid moments and unique perspectives, but realistically we think people are more likely to use their smartphone to capture those. The Panorama modes do offer something unique. Unlike smartphones, the Pocket doesn’t necessarily have to rely on steady human hands to move in a straight line to create a perfectly stitched together image.

The Pocket remains small and simple to operate and isn’t nearly as intimidating to use as larger gimbals on the market—for us, that’s a win.

What we like:

  • Stabilized 4K video footage
  • Mini Control Stick with zoom capabilities
  • Optional Do-It-All handle
  • Live streaming capability (requires Do-It-All handle)
  • Improved audio quality
  • Improved autofocus
  • Redesigned control buttons
  • Responsive touchscreen controls

What we don’t:

  • Image quality drops when zoomed
  • Still feels unbalanced when a smartphone is attached

Articles: Digital Photography Review (dpreview.com)

 
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It’s great, but the Max should be even better: iPhone 12 Pro camera review round-up

21 Oct

Today is the day a number of reviewers are allowed to share their first thoughts on Apple’s new iPhone 12 Pro, the smaller of the company’s two latest flagship mobile devices announced last week. While we haven’t had the chance to take one for a spin yet, we’ve rounded up a few reviews from across the web to see what others’ opinions on the photographic capabilities of the new iPhone devices are.

From more general tech-centric reviews, such as The Verge’s Nilay Patel’s, to photo-specific reviews such as Austin Mann’s in-depth dive, we’ve tried to gather a nice spread of opinions. Overall, the consensus seems to be that while the iPhone 12 Pro is at the top of its game in the photography department, the iPhone 12 Pro Max will likely pack even more punch with its better camera specifications—so long as you don’t mind the extra bulk.

Over the coming days, as more reviewers get units in their hands, we’ll add those to this round-up. If there’s a review (or two) you think we missed, leave it a link the comments below.

Austin Mann

You can’t talk about annual iPhone camera reviews without mentioning Mann’s thorough deep dives. He’s spent some time with Apple’s latest iOS devices while camping out of an Airstream in Glacier National Park, Montana and has wrapped up his thoughts on the photographic capabilities of the iPhone 12 Pro in a very comprehensive guide on his website.

He puts the new ultra-wide-angle lens to the test, pushes Night Mode to its limits and overall provides a comprehensive overview with plenty of sample images to look through. He concludesd by saying, under the headline ‘Buying advice for photographers:’

’The iPhone 12 Pro is a solid camera, and thanks to a bunch of new digital tech I found it to be slightly stronger than the already great iPhone 11 Pro — but if you are serious about photography with your iPhone, wait for the iPhone 12 Pro Max. It looks to be the most significant jump in iPhone camera hardware we’ve experienced in years, and it’s only three weeks away.’

Nilay Patel, ft Becca Farsace (The Verge)

Being a more general technology website, The Verge’s review doesn’t only focus on photography, but author Nilay Patel does have a thorough section dedicated to the imaging capabilities of the iPhone 12 Pro. He also gets the thoughts of The Verge video director Becca Farsace, whose work we’ve featured here on DPReview in the past.

There’s also a video review from The Verge:

Aundre Larrow (via PetaPixel)

Photographer and former Adobe Creative Resident Andre Larrow has teamed up with PetaPixel to share his thoughts on the new iPhone 12 Pro camera system. Taking a departure from the usual type of imagery you expect to see in reviews, Larrow opted to put it to the test by taking a series of intimate portraits with friends and acquaintances who have been quarantining together, as to minimize any health risks with the outdoor portrait sessions.

The series is somehow both serious and lighthearted with an editorial feel you don’t often associate with smartphone photography. It’s a welcomed change of pace and well worth the read.

Raymond Wong (Input)

Despite ‘taking [his] phone photography quite seriously,’ Raymond Wong of Input takes a more casual approach to reviewing the camera technology inside the iPhone 12 Pro. Despite the more casual approach, he does a great job comparing the new iPhone 12 Pro to the iPhone 12, iPhone 11 Pro and Pixel 5 in a number of areas, with sample images for comparison. Head on over to the review to see for yourself.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe gives Photoshop 2021 even more Sensei AI power, brings livestreaming to Photoshop for iPad

20 Oct

As part of Adobe MAX 2020, which is virtual (and free to attend) this year, Adobe has announced the latest updates to the Adobe Photoshop family. Artificial intelligence and Adobe Sensei play a major role in today’s updates, which are now available for all subscribers.

Adobe Photoshop 2021

Adobe calls Photoshop 2021, also known as version 22.0, the ‘world’s most advanced AI application for creatives,’ so let’s see what’s new. The primary new features are Neural Filters, Sky Replacement, improved Refine Edge Selections and the all-new Discover panel.

The Neural Filters workspace is a ‘complete reimagination of filters and image manipulation inside Photoshop.’ The first version includes a large set of filters, some of which are still in a beta state. Adobe wants to get as many of them into the hands of users for testing. The Neural Filters workspace offers users access to non-destructive filters including Skin Smoothing, Smart Portrait and more. Smart Portrait allows you to transform a portrait subject along parameters such as age, expression, pose and more. AI analyzes the portrait to allow you to change aspects of your subject’s features, such as changing the direction of the subject’s head, gaze and the intensity of their smile. As you can see below, you can even adjust the direction of light in an image.

In this image, the light direction slider within Adobe’s new Neural Filters was moved from left to right. As Adobe’s Pam Clark notes, finishing touches can be easily applied within Photoshop. Image credit: Adobe

In addition to making AI-powered adjustments to portraits, Neural Filters also includes features to help repair damaged images, including Photo Restoration, Dust and Scratches, Noise Reduction, Face Cleanup, JPEG Artifacts Restoration and even a Neural Filter for colorizing a black and white image, a task which takes a considerable amount of skill and time to perform manually. You can learn more about how Neural Filters works and how they can be used in your workflow by visiting Adobe’s dedicated webpage.

Adobe’s new Sky Replacement feature includes numerous user controls when changing the sky, such as brightness and temperature. You can see the new workspace by enlarging this image. Image credit: Adobe

Moving on to Sky Replacement. Using the power of AI, Photoshop can analyze your image to detect what areas of your image are foreground versus sky and then perform masking and blending in order to realistically change the sky in your image. You can select from Photoshop’s database of skies or add your own. There are creative controls as well, including the ability to zoom in and select a portion of the sky and move the sky around the scene. Today’s Photoshop release includes around 25 sky presets. You can learn more about Sky Replacement in this article and by watching the video below.

It seems every major release of Photoshop includes substantive improvements to making selections in your images and the latest release is no different. Adobe Sensei is powering a pair of new features in the Select and Mask workspace: Refine Hair and Object Aware Refine Mode.

Making selections of hair has long been challenging, but Sensei now allows you to leverage its power to refine a selection incorporating hair in a single click. Similarly, Object Aware Refine Mode uses the power of AI to make even more precise, informed selections of portions of your image. Consider the example image below of a selection of the hair in the lion’s mane. It’s an impressive selection that was performed in only a few seconds.

Image credit: Adobe

Photoshop’s new Discover panel includes a brand-new learn and search experience. Within Photoshop, you can quickly access an expanded library of educational content, new step-by-step tutorials, and a vastly improved search functionality. AI makes context-aware recommendations based on your work, including tips and tutorials. There are new one-click Quick Actions that allow you to instantly perform certain tasks when you’re in a rush or teach you how to do the task for yourself step by step.

Photoshop 2021 includes an all-new Discover panel. Image credit: Adobe

Photoshop also includes Pattern Preview and shape creation features. Pattern Preview is a special view mode that allows you to view how your document would look as a pattern. Creating and adjusting shapes on the fly is now easier. There’s a new tool to create triangles and on-canvas controls to resize and adjust shapes.

Pattern preview is new to Photoshop 2021. Image credit: Adobe

Further improvements include enhancements to the Properties Panels and major revisions to how you access plug-ins within Photoshop. There’s a new plugins marketplace within the application where you’ll find curated collections in addition to the wide array of plugins and integrations on offer for Photoshop. Adobe has also integrated UXP to Photoshop. UXP is its new extensibility platform for building plugins.

This plugin architecture results in improved reliability and performance for plugins. There are already plugins built on UXP available in Photoshop. These include plugins to connect Photoshop with apps and services such as Dropbox, Trello and Slack. Plus, there are image editing plugins from photographers such as Tony Kuyper, Greg Benz and Davide Barranca.

It’s now easier to find plugins in Photoshop. Plus, plugins built on the UXP platform will be even more stable and faster. Image credit: Adobe

On the topic of connectedness, when working on a cloud document inside Photoshop, versions are now automatically created, allowing you to look back or revert to prior states. Within Photoshop, it’s now possible to view, revert, open, save as and rename save states within the version history. Cloud documents are also now available offline.

When working on cloud documents, you can now access a file’s version history. Image credit: Adobe

For the full breakdown of everything new in version 22.0 of Photoshop on desktop, click here. Now, there have also been specific new functions added to Photoshop on iPad.

Photoshop for iPad

When using Photoshop on iPad, you can now change the dimensions, resolution and sampling of a PSD file, matching what you can do with a PSD file on the desktop version of Photoshop. You can learn more about this function by clicking here.

It’s now possible to live stream from within Photoshop on iPad. You can use the tablet’s built-in camera and mic to communicate with viewers as well. Image credit: Adobe

Within Photoshop on iPad, users can now start a live stream via the Export menu. You can use the iPad’s built-in camera to interact with members of Adobe Behance. Live streams are sent to Behance automatically and Adobe will be moderating and posting selected recordings in the gallery on Behance and within the Photoshop on iPad app directly. There is also a new Behance Gallery within the app. This lets you view the work of others, watch live streams (including recordings), browse through Behance projects and share your own work. You can learn more by clicking here: Live streaming and gallery.

As you can see, there’s a lot new in Photoshop. You can learn more about all the new features and find links to additional information by reading this Adobe blog post.

This Friday, October 23, Terry White will be hosting a live stream at 11:00 AM ET in which he discusses all the new features of Adobe Lightroom and Photoshop for photographers. You can learn more about this live stream and set a reminder by clicking here. If you’d like to take part in Adobe MAX 2020, alongside more than 500,000 other registrants, you can sign up for different live events right here. There are a ton of great guests scheduled to appear this week, including celebrities such as Conan O’Brien, Chelsea Handler and Zendaya. Over the next three days, there are over 350 sessions, labs and creativity workshops, so be sure to check them out, it’s completely free to attend.

Articles: Digital Photography Review (dpreview.com)

 
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These copper-plated Leica cameras manage to make even broken rangefinders expensive

13 Aug

Leica specialist store, Meister Camera, has found a way to make non-working Leica cameras into expensive one-of-a-kind pieces of art by copper-plating the camera, lens and all.

Meister Camera currently has eight of these one-off pieces for sale on its website. According to the product descriptions, the shop partners with a third party to copper-plate the cameras using what it calls a ‘galvanic process.’ The precise details of how the entire camera is effectively embalmed in a coat of copper, including the glass lens and non-metal components, remains unknown, but the end result speaks for itself.

Most of the copper-plated cameras are various versions of the Leica I, II and III cameras, but Meister Camera also has a copper-plated M3 up for sale. Prices start at 995€ (~$ 1,170) for the Leica IIf and go up to 1,450€ (~$ 1,705) for the Leica M3. You can see more information for each of the cameras on Meister Cameras’ online shop.

Articles: Digital Photography Review (dpreview.com)

 
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A mysterious firmware update turns the Viltrox 85mm F1.8 lens into an even faster F1.6 prime

07 Aug

The $ 400 Viltrox 85mm F1.8 lens is a popular choice for Sony E and Fujifilm X users due to its compelling blend of performance and value. Owners have remarked that the lens delivers sharp image quality even when shot wide open. It now appears that wide open can be made even wider with a firmware update allowing the lens to become an F1.6 prime.

Photographer Stefan Malloch has published a video tutorial, seen below, which shows how to use the USB port on the lens to update the lens. This update allows the lens to open its aperture wider, changing the maximum aperture from F1.8 to F1.6. With a simple firmware update, you can get an extra one-third of a stop of light gathering capability.

As PetaPixel notes, there are conflicting reports as to the origin of the firmware. Sony Addict reported that the firmware was released officially in China. FujiRumors, on the other hand, reached out to Viltrox and was told that firmware to turn the F1.8 lens into an F1.6 lens had not been released. All this is to say that installing (possibly unofficial) firmware into your lens is a risk with unknown consequences.

Supposing you still want to update your lens using Malloch’s video above, what can you expect from the Viltrox 85mm F1.6 lens? Malloch also published an overview video of the lens, including sample images.

As mentioned earlier, the Viltrox 85mm F1.8 (or F1.6) lens is available as a full-frame lens for Sony E mount or for the APS-C Fujifilm X system. The fast, autofocus-capable prime lens can focus as closely as 2.62′ (0.8m). The lens includes 10 elements across 7 groups, including 1 ED lens element and 4 ‘short-wavelength and high-transparency’ lens elements. The lens has a 72mm filter thread and weighs 636g (1.4 lbs.). You can learn more about the lens on Viltrox’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Instagram starts demoting ‘inappropriate’ content, even if it doesn’t violate its rules

12 Apr

In a meeting with journalists yesterday, Facebook detailed changes it is making to its family of products aimed at dealing with what it calls ‘problematic content.’ For Instagram, this change means a demotion of content Facebook refers to as ‘inappropriate,’ though the posts don’t violate the platform’s Community Guidelines.

Demoted content will not appear in Instagram’s Explore or hashtag pages, according to a new page on the platform’s Help Center. The demotion applies to posts that ‘might not be appropriate for our global community,’ even if those posts aren’t in violation of the Community Guidelines, the company explains.

Instagram’s Help Center page, seen in the screenshot below, doesn’t offer any visual examples of ‘inappropriate’ content, only providing ‘sexually suggestive’ as one category that will be demoted. This change doesn’t apply to the user Feed at this time, but there’s no word on whether Facebook will lower the Feed ranking of these posts in the future.

TechCrunch has published multiple images from Facebook’s press event that include visual examples of ‘non-recommendable’ content set for demotion on Instagram. Though dealing with certain posts, such as ‘likes’ spam and fake news, would obviously be a good thing for users, other categories encompass large, vague content segments with no clear definition of what is and isn’t ‘appropriate.’

Based on the images from Facebook’s press event, Instagram will demote posts that feature sexually suggestive, ‘graphic/shocking,’ and violent content. Examples include, among other things, images of someone being sprayed with pepper spray, a woman in a bikini and a skull.

The vague nature of Facebook’s sweeping ‘non-recommendable’ categories leaves many users in a state of uncertainty and may reduce the platform’s overall usefulness for certain creatives and brands. Though a user’s existing followers will still see the ‘inappropriate’ posts in their respective Feeds, being filtered from Explore and hashtag pages greatly limits the user’s ability to gain new followers.

Though Facebook didn’t go into details in its press release about the changes, TechCrunch reports that the company will use AI algorithms to determine which posts are demoted. Human content moderators have been tasked with labelling ‘non-recommendable’ content; Instagram will use those labels to train machine learning algorithms on identifying borderline content.

Instagram’s content demotion effort is now underway.

Articles: Digital Photography Review (dpreview.com)

 
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How to Make Your Location Portraits Even Better

25 Sep

In photography, portraits are an art form to themselves. There are many ways to make portraits, but one of the main divisions is between portraits made in a studio and on location portraits. The end results look very different, so it’s good to choose between them depending on what you’re going for.

Do you have a preference between them, either as a photographer and/or as a viewer?

Portrait in a greenhouse. location portraits

Studio photography is a lot of fun, but when I’m working on a portrait job I usually prefer to photograph on location. Why? Portraits taken in a favorite location – outdoors or at home – are a great opportunity to really bring out the subject’s personality and to enjoy the beauty of natural light.

That’s why I thought I’d share what I’ve learned about location portraits with you. I hope you enjoy the ride!

Sports portrait on location. location portraits

The advantages of stepping out of the studio

There are both pros and cons to on-location portrait photography. The main differences between this kind of photography and studio photography are the light and the environment.

Light

In a studio setting, you’re in complete control of the light. On location, you very likely won’t be, but the advantage is that you’ll have a much richer palette of light and color. So it’s a challenge but also an opportunity.

Instead of creating the lighting setup, you can focus on creating a very unique, natural portrait. Another difference is that natural light feels less artificial, just like a natural setting. Depending on what kind of atmosphere you’re going for, this can be very important.

Portrait of child outdoors. - location portraits

Environment

Depending on the surroundings, a natural setting might not create a portrait with that timeless feel that a studio portrait often has. Again, this is neither good nor bad – it all depends on what kind of feeling you’re going for.

Including the environment in your portraits can add a lot of character and help bring out the subject’s personality.

Wedding portrait in forest. location portraits

The environment can also be a distraction, both in the final photograph and during the session. This can be a boon or a burden when you’re taking photos.

Too much going on might lead to a chaotic photo or the subjects looking (or being!) distracted, but it can also help the subjects relax and be themselves. All you have in a studio setting is the subject, the slightly intimidating lights, and the photographer; outdoors or at home, the setting might feel less oppressive.

Using the Surroundings to Your Advantage

So you’ve decided that you’re going to do a portrait session on location. What are the most important things to remember, and how can you make the session memorable?

Wedding portrait in winter.

Prepare!

You can’t ever be in complete control of a situation, but preparing is always worth the effort. It will help both you and your subject get the most out of the session and the final product. It will also let your creativity flow more freely since you won’t have to worry about all the details you will have dealt with beforehand.

Several choices need to be made before you can start making a portrait, and this can be done days and even weeks beforehand. These are: where, when, what, and what if.

First, you’ll have to find and agree on a location that’s convenient for you and works for the kind of portrait you and the client want. Unless it’s your backyard, it’s important to familiarize yourself with the place before the session.

Wedding portrait with greenery. location portraits

The time for the shoot is at least as important as the location. Both season and time of day have a huge impact on the quality of light you’ll have to work with, so keep that in mind as you plan your photo session.

In general, the hour before sunset until just after sunset is when you’ll find the really beautiful light. Overcast days are also surprisingly good for portraits. Of course, you also have to find a time that’s convenient for your subject so the timing of the photo session is often a compromise between practical considerations and optimal lighting conditions.

Graduation portrait with flowers.

Other preparations you can make are planning the types of photos you and your subject want and the clothing they’ll be wearing. Sometimes these are given – for instance, if you’re making wedding or graduation portraits.

Looking up inspiration for poses and compositions online is a good way to get ready, as is using yourself as a practice subject.

Outdoor portrait with fruit.

By “what if”, I mean you should have a backup plan. When planning a portrait session with a customer, I always make sure to have a reserve day in case the weather doesn’t cooperate, someone gets sick, or any of a million other unexpected things happen.

It can also mean having a reserve place to make the portraits, one that will still work if the original one doesn’t for some reason.

Outdoor portrait in the rain.

Do Your Best and Enjoy the Moment

The time has arrived and so has your subject. You’re in the right place at the right time, and now all you have to do is make some great portraits. There are a lot of great articles that cover the main things that will help you make the best of it, so I’ll only mention them:

  • Always be aware of the background: what kind of patterns are there, what colors, what is the light like?
  • Don’t be afraid to pose your subjects.
  • Make your subjects feel comfortable and calm – this way you can both enjoy both the session and the final portraits.

Portrait of child in the grass.

A Practical Example

Lastly, I want to share a strategy that I sometimes use for location portraits with customers. It’s not always possible or sensible to do this, but when it is, it’s an easy way to have a comfortable and fun photo session.

This is what I do…

After I know when and where the portraits will be made, I visit the place and familiarize myself with it. Then I explore the area, find a nice route to walk along, and choose several places where the portraits can be made along that route. When it’s time for the photo session, I take the subjects on a short walk along the route that I found. I also tell them about the plan, so they know what’s going to happen.

On-location family portrait.

I took this lovely family on a walk with some beautiful backdrops.

This approach offers many advantages. If you don’t know your subjects, taking a little walk is a nice way to relax and chat a bit before you start making the photos. It often also makes the subjects feel less awkward and on the spot, since they get to take in the surroundings a bit rather than immediately being put in front of a lens.

For you, as a photographer, it’s a good way to structure the session, to have a beginning and an end but leave plenty of room for spontaneity. It also lets you use several different settings within the same area so you can offer your subject a range of different portraits afterward.

Conclusion

Knowing how to make location portraits is a very useful skill in many situations: weddings, birthdays, graduations, for families, bands, teams, pets, etc. The list goes on and on.

What is your favorite part about making portraits on location? Are there some specific challenges you’ve encountered? I’d love to see your photos and your thoughts in the comments section!

Goodbye!

Sadly, this is my last article here at Digital Photography School. I’ve learned a lot and really enjoyed it, both writing the articles and taking part in all the discussions we’ve had. Thank you! You can find all my articles here.

Keep learning about and enjoying photography – I sure will!

The post How to Make Your Location Portraits Even Better appeared first on Digital Photography School.


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SiOnyx Aurora camera shoots color video even by moonlight

27 Jul

US-based night vision tech company SiOnyx has introduced an action cam that it claims can shoot color footage and stills in the dark as well as in normal daylight conditions. The Aurora uses infrared technology and a specially developed sensor with large pixels to shoot in conditions as dim as 0.001lux.

SiOnxy says the camera’s performance compares to night vision optics that cost ‘tens of thousands of dollars’ and that this is the first time such night-vision capabilities have been available to the consumer.

The Aurora uses a 1in sensor with 0.9 million large pixels that are created using what the company describes as a proprietary laser process. The process creates ‘the ultimate light-trapping pixels’ that have increased quantum efficiency and so avoid excessive noise and restricted dynamic range while producing images 10x brighter than a standard CMOS sensor. The sensor design is based on military-grade IR sensors that the company usually makes only for the defence market.

The Aurora can produce viewable images even in what would appear to the human eye to be darkness

The pixels have extended sensitivity to light between 850 and 940nm in the near-infrared area of the spectrum, and a maximum ANSI of 820,000 – and so can produce viewable images even in what would appear to the human eye to be darkness. The camera can also shoot still images (albeit it obviously at a very low resolution), as well as timelapse sequences and 720p video.

The camera is also fitted with GPS, an accelerometer and a compass for adventurers, and can be used underwater for 30 minutes to a depth of 3ft.

The Aurora will cost $ 799. For more information see the SiOnxy website.

Press release

SiOnyx Announces World’s First Day/Night Action Camera For Consumer Market, Turns Night Into Full-Color Daylight

Aurora Features OLED Display, Ip67-Grade Waterproofing and AR-Compatibility; Compass, GPS & WiFi Built-In With iOS and Android Apps, Retails at $ 799

SiOnyxTM (Beverly, MA), a leader in infrared imaging technology – today announced the official launch for the SiOnyx AuroraTM, the only HD action video camera with true day and night color imaging. SiOnyx Aurora is just under 8 ounces and sized to fit comfortably in one hand for easy operation.

Available in August direct from SiOnyx at sionyx.com at a retail price of $ 799, Aurora is based on the SiOnyx Ultra Low Light technology that is protected by more than 40 patents and until now was only available in the highest-end night vision optics costing tens of thousands of dollars. This identical technology has now been cost-reduced for use in Aurora and other upcoming devices from SiOnyx and its partners.

SiOnyx has developed a new semiconductor process that dramatically enhances the infrared sensitivity of silicon-based imaging. Its ultra low-light technology enables richly-defined color images and video during the day and twilight, combined with unmatched high-resolution viewing in near total darkness. Sample videos as well as images may be found at www.sionyx.com

Through the free companion apps on iOSTM and Android®, you can review your experiences in real-time or control the Aurora directly from your phone. Designed for an active outdoor lifestyle, Aurora is also fully certified with an IP67 waterproof rating.

Aurora offers transformative night video for a wide range of uses including boating, hunting, fishing, nature watching, emergency response and other activities where clear night-vision is of importance. A removable neck strap allows you to keep it accessible on any adventure. Aurora uses GPS combined with an accelerometer and compass to accurately guide your way, day or night.

“Outdoor enthusiasts play day and night; capturing those adventures doesn’t need to stop when the sun goes down,” said Stephen Saylor, President and CEO of SiOnyx. “Aurora’s unique Ultra Low Light technology enables night video that people will swear was taken in full daylight.”

About SiOnyx:

Founded in 2006 by Professor Eric Mazur and Dr. James Carey of Harvard University, SiOnyxTM has commercialized a patented semiconductor process that dramatically enhances the sensitivity of silicon-based photonics. SiOnyx’s platform represents a significant breakthrough in the development of smaller, lower cost, high-performing photonic devices in applications ranging from simple light detection to advanced digital imaging and more. The company markets its low-light technology under the XQETM family of CMOS images sensors and has also entered the consumer electronics market with the launch of the Aurora day/night action camera.

Articles: Digital Photography Review (dpreview.com)

 
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GoPro will now accept almost any digital camera for trade-in, even ‘destroyed’

19 Apr

GoPro has relaunched its Trade-Up program, this time as a permanent option for customers located in the United States. The program first launched last year, but only as a temporary promotion limited to previous-generation GoPro cameras exchanged for discounts on current-generation models. This time around, GoPro is accepting nearly any digital camera in any condition.

The company says it will accept any GoPro or non-GoPro digital camera under the program, and that any condition is acceptable, including “destroyed.” To participate, customers must use the Trade-Up website to purchase either a Fusion or HERO6 Black, where they’ll receive a $ 50 discount on the HERO6 Black (bringing the price down to $ 350) and/or a $ 100 discount on the Fusion (bringing the price down to $ 600).

GoPro provides the customer with a prepaid shipping label to send the company their trade-in camera; once the trade-in is verified, GoPro ships the newly purchased camera to the customer.

According to the program’s FAQ, the trade-in camera must have a new value of at least $ 100 USD, and while multiple cameras can be traded-in, only one discount can be applied per camera purchase. Customers have 45 days to ship the trade-in to GoPro; once received, the company will charge their payment card for the new device.

Explaining why it decided to expand the program to cover any digital camera, GoPro says, “It’s not so much that we want your old camera. We just want to make it easy for you to get your hands on the latest and greatest GoPro.”

Press Release

GoPro Launches Camera Trade-Up Program for HERO6 Black and Fusion Cameras

Send in Any Older-Generation GoPro – or Any Other Digital Camera – and Receive $ 50 off HERO6 Black and $ 100 off Fusion at GoPro.com

SAN MATEO, Calif., April 18, 2018 – GoPro, Inc. today announced the launch of its camera Trade-Up program, offering users in the United States the ability to trade up from any previous-generation GoPro, or any other digital camera, to experience its latest and greatest products. Starting today, anyone in the U.S. can receive $ 50 off a new HERO6 Black or $ 100 off Fusion by participating in the program at GoPro.com.

GoPro first introduced its Trade-Up program for a limited time in 2017, which only accepted previous-generation GoPro models in exchange for a discounted upgrade to a current model. Nearly 12,000 customers participated in the 60-day promotion. The new and improved Trade-Up program brings back the initiative with major enhancements, including the acceptance of any digital camera and making it an everyday offer.

“The Trade-Up program is a great way for our fans and customers to upgrade to our newest products and experience how fun and convenient GoPro has become,” said Meghan Laffey, senior vice president of product at GoPro.

To participate in GoPro’s Trade-Up Program, customers should visit the Trade-Up website, select the new camera of their choice, and follow the instructions to return their old GoPro or digital camera. Upon receiving the returned camera, GoPro will process the discounted order and ship the new HERO6 Black or Fusion to the customer. Returned cameras will be recycled responsibly via zero landfill and recycling methods appropriate to material type.

To learn more about GoPro’s Trade-Up Program, visit https://shop.gopro.com/tradeup.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic announces Lumix DC-GH5S, an even more video-focused GH5

09 Jan

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Panasonic has unveiled the Lumix DC-GH5S, an even more video-centric variant of the company’s GH5 hybrid stills/video camera. Aside from some minor cosmetic differences the two cameras are identical, however the GH5S has been designed to maximize low-light sensitivity and provides a deep feature set tailored to video shooters’ needs.

The GH5S uses a slightly larger, but lower resolution 12.5MP sensor whose ‘multi-aspect’ design offers a series of ~10.2MP crops with the same angle of view. It gains the ability to shoot the wider-angle DCI 4K format at up to 60p, whereas the GH5 tops out at 24p. Both cameras can shoot UHD 4K at up to 60p.

The sensor features a “dual gain” design that Panasonic calls “Dual Native ISO.” This uses two separate sensor read-out circuits – one that maximizes dynamic range at lower sensitivities, and one that prioritizes noise reduction at a dynamic range cost. Unusually, Panasonic lets you limit its camera to one of these modes.

Despite the outward similarities, the GH5S’ list of changes compared to the GH5 is a long one. Image stabilization has been removed to avoid unwanted interactions between a floating sensor and the dollies and gimbals pro shooters tend to favor. VLog-L, offered as an paid upgrade on the GH5, is included as standard. Autofocus is rated down to –5 EV compared to –4EV in the GH5.

The list of differences also includes up to 240fps framerate in 1080p “Variable Frame Rate” mode, a 120fps refresh rate in the electronic viewfinder, 14-bit Raw stills shooting, time code in/out functionality, and LUT-corrected display in playback as well as capture. For a detailed look at the GH5S’ additional capabilities, head to our first impressions review.

The Panasonic Lumix DC-GH5S will be available February 2nd for $ 2499 body-only.

Panasonic Announces the Ultimate Hybrid DSLM with a newly developed 10.2MP High Sensitivity MOS sensor

Introducing the LUMIX GH5S: Exceptional Mirrorless Videography and Photography, designed and developed for professional filmmakers

  • Introducing a newly developed 10.2MP High Sensitivity MOS sensor for enhanced image quality in low light: Allowing up to 51,200 ISO recording without extended ISO.
  • Time Code IN/OUT for easy synchronization of multiple cameras and Dual Native ISO, providing low range (400) and high range (2,500) ISO environments.
  • True “Multi-Aspect Ratio” Function in Both Photo and Video

Las Vegas, NV (January 8, 2018) – Panasonic is proud to introduce the new hybrid Digital Single Lens Mirrorless Camera LUMIX GH5S with expanded video recording capability and enhanced image quality. Designed and developed for professional filmmakers, the LUMIX GH5S achieves highest-ever image sensitivity and video image quality in the history of LUMIX cameras, especially in low-light situations.

Packed with big features to satisfy demanding photographers and videographers alike
The new 10.2-megapixel Digital MOS Sensor with Dual Native ISO Technology and Venus Engine 10 faithfully reproduce even dark parts of the image, allowing high ISO capture when the use of supplemental lighting may not be possible. This sensor is a multi-aspect type with a sufficient margin for realizing the same angle of view in 4:3,17:9,16:9 and 3:2 aspect ratios. The sensor also enables photo shooting in 14-bit RAW format, providing higher flexibility for professional RAW stills development workflows. When shooting in dark environments, videographers can now focus on filming that perfect shot as they no longer need to worry about noise which often results from having to use higher ISOs. The Dual Native ISO Technology suppresses noise to produce cleaner footage when taken in all light. Both videographers and photographers can now enjoy the same diagonal field of view across all aspect ratios with the True “Multi-Aspect Ratio” Function. This feature means you can easily swap between difference aspect ratios giving you the accuracy you want from your lenses, and making the process easier while producing and editing in post-production. The LUMIX GH5S is compatible with Time Code IN and OUT, like the professional camcorders, which is easy to set using the flash sync terminal and bundled conversion cable for a standard BNC terminal. This is especially important for “lip synchronization” when using multiple cameras. The LUMIX GH5S can be used as Time Code generator for other GH5S cameras and professional camcorders. The Time Code IN/OUT functionality makes a production teams job pain-free as it provides synchronization for both video and audio devices used on multi-cam productions.

The LUMIX GH5 achieved 4KUHD 60p video recording for the first time as a digital mirrorless camera in 2017.2 The new LUMIX GH5S establishes a new milestone by realizing the world’s first 4K 60p video recording in Cinema 4K (4096×2160), 3 capable of internal 4:2:2 10-bit video recording up to Cinema 4K30p and internal 4:2:0 8-bit Cinema 4K60p. subsampling commonly used for film production, for even more faithful color reproduction.4 The LUMIX GH5S also records 4:2:2 10-bit 400-Mbps All-Intra in 4K 30p/25p/24p and 200- Mbps All-Intra in Full-HD.

Continuing the LUMIX GH tradition, there is no time limit for both Full-HD and 4K video recording. The LUMIX GH5S complies with 4K HDR video with Hybrid Log Gamma (HLG) mode in Photo Style. A low-bit-rate recording mode, 4K HEVC for HLG, is available. This enables playback on AV equipment compatible with the HLG Display format, such as Panasonic 4K HDR TVs.

The VFR (Variable Frame Rate) function lets users record overcranked (time-lapse) and undercranked (slo-mo) video in C4K/4K (60 fps, maximum 2.5x slower) and FHD (240 fps, maximum 10x slower). A V-LogL and Rec.709 LUT (Look Up Table) are pre-installed in the camera, so users can play videos recorded in V-LogL without having to separately purchase a Software Upgrade Key. Four additional LUTs can be installed using the Panasonic Varicam (.VLT) file format.

DFD (Depth From Defocus) technology and ultra-high-speed digital signal processing achieve fast auto focusing of approximately 0.07 sec 6 with 12 fps (AFS) / 8 fps (AFC) in 12- bit RAW and 10 (AFS) / 7 (AFC) fps in 14-bit RAW high-speed burst shooting. In addition to a total of 225 focus areas, The options for Face/Eye Recognition, Tracking AF, 1-area AF and Pinpoint AF are available for precise focusing. The 4K PHOTO enables 60 fps high-speed capture in approximately 8-megapixel equivalent resolution.

Achieve outstanding footage in any environment, especially in low light
As a camera that excels in shooting in low light, the LUMIX GH5S boasts -5EV luminance detection performance with Low Light AF thanks to the higher sensitivity and optimized tuning of the sensor. Live Boost is another practical feature that makes it possible to check the composition even in total darkness, by boosting the sensitivity just for Live View. The magnification ratio in MF assist is increased from conventional 10x to 20x, which is convenient especially for astronomical photography. An AF Point Scope function, first introduced in the Lumix G9 and Night mode are also integrated.

In order to make the GH5S tough enough to withstand even heavy field use, it is composed of a magnesium alloy full die-cast front, rear and top frame that is not only splashproof7 and dustproof but also freezeproof down to -10 degrees Celsius. The GH5S is equipped with a double SD Memory Card slot, compatible with the high-speed, high-capacity UHS-II and Video Speed Class 90. Users can flexibly choose the recording method from Relay Recording, Backup Recording or Allocation Recording. The HDMI Type A terminal is provided, along with the USB-C Gen1 interface.

Exceptional image capture without concern
The GH5S has a large LVF (Live View Finder) with a stunningly high magnification ratio of approximately 1.52x/0.76x (35mm camera equivalent) providing smooth display at 120 fps. A high-precision, high-speed OLED (Organic Light-Emitting Diode) display features 3,680K-dot resolution and 100% field of view. In addition to dual dials, an omni-directional joystick enables more intuitive and flexible operation.

The GH5S includes Bluetooth and Wi-Fi® connectivity to offer a more flexible shooting experience and instant image sharing with easy operation. Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. For Wi-Fi, 5 GHz (IEEE802.11ac)8 can be selected in addition to the conventional 2.4 GHz (IEEE 802.11b/g/n) for an even more secure and stable connection.

For extended battery life and a more stable hold, the new Battery Grip DMW-BGGH5 (sold separately) is available. The XLR Microphone Adaptor DMW-XLR1 (sold separately) allows high-res sound recording with an external XLR microphone.9

The Panasonic LUMIX GH5s will be available from end of February 2 and will retail for $ 2499 (body only).

*1 RAW files are in 14-bit even when 12-bit is selected.
*2 4K 60p/50p(for a Digital Single Lens Mirrorless Camera), 4:2:2 10-bit (for a digital interchangeable lens camera) as of 4 January, 2017
*3 As of January 8, 2018 as a Digital Single Lens Mirrorless camera that complies with 4K (4096×2160) resolution defined by Digital Cinema Initiatives(DCI). According to a Panasonic study.
*4 4:2:0 8-bit in C4K 60p and 4K 60p recording on an SD Memory Card.
*5 Contrast AF with DFD Technology works only with Panasonic Micro Four Thirds lenses. *6 In AFS, at wide-end with H-ES12060 (CIPA) when LVF display speed is set to 120fps.
*7 Splash Proof is a term used to describe an extra level of protection this camera offers against exposure to a minimal amount of moisture, water or dust. Splash Proof does not guarantee that damage will not occur if this camera is subjected to direct contact with water.
*8 5GHz Wi-Fi is not available in some countries.
*9 In MOV only

Panasonic Lumix DC-GH5S specifications

Price
MSRP $ 2499
Body type
Body type SLR-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 3680 x 2760
Other resolutions 3:2 (3840 x 2560), 16:9 (4016 x 2256), 1:1 (2752 x 2752)
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 10 megapixels
Sensor photo detectors 12 megapixels
Sensor size Four Thirds (17.3 x 13 mm)
Sensor type CMOS
Processor Venus Engine 10
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 160-51200 (expands to 80-204800)
Boosted ISO (minimum) 80
Boosted ISO (maximum) 204800
White balance presets 5
Custom white balance Yes (4 slots)
Image stabilization No
Uncompressed format RAW
JPEG quality levels Fine, standard
File format
  • JPEG (Exif v2.31)
  • Raw (Panasonic ARW, 12/14-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (2x-4x)
Manual focus Yes
Number of focus points 225
Lens mount Micro Four Thirds
Focal length multiplier 2×
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3.2″
Screen dots 1,620,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 1.52× (0.76× 35mm equiv.)
Viewfinder resolution 3,680,000
Photography features
Minimum shutter speed 60 sec
Maximum shutter speed 1/8000 sec
Maximum shutter speed (electronic) 1/16000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe or flash sync port)
Flash modes Auto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off
Flash X sync speed 1/250 sec
Drive modes
  • Single
  • Continuous
  • 4K Photo
  • Focus Stacking
  • Self-timer
Continuous drive 12.0 fps
Self-timer Yes (2 or 10 secs, 10 secs w/3 images)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV steps)
AE Bracketing ±3 (3, 5, 7 frames at 1/3 EV, 2/3 EV, 1 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, H.264, H.265
Modes
  • 4096 x 2060 @ 60p / 150 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 50p / 150 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 30p / 150 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 30p / 100 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 25p / 150 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 24p / 400 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 24p / 150 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 24p / 100 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 23.98p / 400 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 23.98p / 150 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 60p / 150 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 50p / 150 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 150 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 100 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 400 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 150 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 100 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 400 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 150 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 100 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p / 150 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 60p / 150 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 50p / 150 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 30p / 150 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 30p / 100 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 25p / 150 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 25p / 100 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 24p / 400 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 24p / 150 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 24p / 100 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 23.98p / 400 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 23.98p / 150 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 60p / 150 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 50p / 150 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 400 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 150 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 100 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 72 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 400 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 150 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 100 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 72 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 400 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 150 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 100 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p / 400 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p / 150 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p / 72 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 200 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 100 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 50p / 200 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 100 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 28 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 30p / 200 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 100 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 20 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 25p / 200 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 100 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 20 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 24p / 200 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 100 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 24 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 23.98p / 200 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p / 24 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 60p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 60i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 50p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 50i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 50i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 23.98p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
Microphone Stereo
Speaker Mono
Storage
Storage types Dual SD/SDHC/SDXC cards (UHS-II V60 cards supported)
Connectivity
USB USB 3.1 Gen 1(5 GBit/sec)
USB charging No
HDMI Yes (Up to 4:2:2 10-bit output)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth 4.2 LE
Remote control Yes (wired or smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description DMW-BLF19 lithium-ion battery & charger
Battery Life (CIPA) 440
Weight (inc. batteries) 660 g (1.46 lb / 23.28 oz)
Dimensions 139 x 98 x 87 mm (5.47 x 3.86 x 3.43″)
Other features
Orientation sensor Yes
Timelapse recording No
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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