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Posts Tagged ‘Modes’

Aperture and Shutter Priority Modes

22 Dec

The post Aperture and Shutter Priority Modes appeared first on Digital Photography School. It was authored by Darren Rowse.

aperture priority mode and shutter priority mode explained

What is Aperture Priority mode, what is Shutter Priority mode, and why do they matter?

Over the last few months, we’ve been looking at different elements of exposure and how to move off “Auto” mode on your digital camera. We’ve looked at aperture, shutter speed, and ISO. We’ve discovered what each setting is and what impact changing it will have on your images.

But now that we’ve looked at the theory of how changing these elements impacts an image, I’d like to discuss how to use them by examining two key shooting modes that many digital cameras offer. These should help you take a step away from the automatic settings that you might be spending a lot of time with.

So if you’re ready to learn all about Aperture Priority mode and Shutter Priority mode, then let’s get started.

The elements of exposure: A quick recap

In other articles, I’ve discussed how the three elements of the exposure triangle impact one another. This is particularly important when it comes to aperture and shutter speed.

Remember:

As you increase the size of your aperture (i.e., make the hole that you shoot through bigger), you let more light onto your image sensor.

As a result, you’ll need a shorter shutter speed to get a well-exposed image.

Conversely, if you increase the length of time your shutter is open, you decrease the aperture size that you need to get a well-exposed shot.

Make sense?

Priority modes

Aperture and Shutter Priority modes are really semi-manual (or semi-automatic) modes.

They give you some control over your settings, but also ensure you have a well-exposed image.

You see, semi-automatic modes such as Aperture Priority and Shutter Priority work by letting you select some of the settings. Your camera then chooses the remaining settings (in order to create a nice exposure).

Let’s take a look at each mode separately:

Aperture Priority mode

Often, Aperture Priority mode is represented on your camera Mode dial with an “A” or an “Av.”

In this mode, you set the aperture you wish to use, and the camera sets the shutter speed based on its evaluation of the light.

When would you use Aperture Priority mode?

Aperture impacts the depth of field of your images.

(In other words: By adjusting the aperture, you change how much of your scene is in focus. A narrow aperture results in focus from foreground to background, whereas a wide aperture results in a small sliver of focus surrounded by blur.)

As a result, most people use Aperture Priority mode when they want control over the depth of field.

aperture priority mode and shutter priority mode dandelion seed head

If you want a shallow depth of field (for example, in the shot above, the depth of field is very shallow, keeping the front dandelion seed in focus but blurring out the background), you’ll select a large aperture (f/2.8, for example, as in the dandelion photo) and let the camera choose an appropriate shutter speed.

But if you want an image with everything in focus, you must pick a smaller aperture (for example, f/16) and let the camera choose an appropriate shutter speed.

When choosing an aperture in Aperture Priority mode, keep in mind that the camera will be selecting the shutter speed.

And there comes a point where shutter speeds get too long to handhold your camera (usually around 1/60s).

Once you go below 1/60s or so, you’ll need to consider using a tripod.

(Also, if you’re photographing a moving subject, your shutter speed will impact how it’s captured; a slow shutter speed will mean your subject will be blurred.)

Shutter Priority mode

Shutter Priority mode often has a symbol of “Tv” or “S” on your camera Mode dial.

In Shutter Priority, you choose the shutter speed you wish to shoot at, and you let the camera decide on the best aperture for a well-exposed shot.

When would you use Shutter Priority mode?

In our tutorial on shutter speed, we talked about how the main impact of different shutter speeds is how movement is captured in your images.

As a result, most people switch to Shutter Priority mode when they want more control over the sharpness of a moving subject.

For example, if you want to photograph a bird in motion, and you want to freeze it so there’s no motion blur, you’d choose a fast shutter speed (e.g., 1/1000s, like in the photo below). Your camera would then take into consideration how much light is available in the scene and set an appropriate aperture.

aperture priority mode and shutter priority mode tricolored heron

But if you instead want to photograph a subject with some motion blur to illustrate its movement, you might choose a slower shutter speed, such as 1/25s. And your camera will select a smaller aperture as a result.

The photo below was taken at 0.4s as the flower waved in the wind. Do you see the motion blur that the slow shutter speed created?

aperture priority mode and shutter priority mode blurry flower

But don’t forget:

As the camera chooses different apertures, the depth of field in your image will change. If you choose a fast shutter speed to freeze your fast-moving object, your camera will choose a wider aperture – and your photo will have a narrower depth of field.

My final recommendation: Practice!

As you can see, Shutter Priority and Aperture Priority do give you more control over your images – but getting used to them can take some practice.

So as you use these semi-automatic shooting modes, don’t just think about the setting that you select; also keep an eye on the settings that the camera selects for you.

I find that, when shooting in “Av” or “Tv” modes, it’s often best to bracket your shots and shoot a number of images of the same subject (when you have time) at different settings. This will ensure you’re likely to get at least one shot that meets your needs.

The best way to learn about Shutter Priority and Aperture Priority modes is to grab your camera, head out with it, and experiment. Switch to “Av” or “Tv” and start playing with the different settings (taking lots of shots as you go). Particularly pay attention to how the camera makes changes to compensate for your selections and what impact it has on the shots you take.

In Aperture Priority mode, take some shots at the largest aperture you can (i.e., use small f-numbers) and see how this blurs the background (and also increases the shutter speed). Then head to the other end of the spectrum to take some shots at the smallest aperture you can (i.e., use high f-numbers) and see how this keeps more of your image in focus.

In Shutter Priority mode, play with fast and slow shutter speeds to see how they impact your photo’s depth of field.

Don’t be frustrated if your initial shots are not what you expect; it takes practice to wrap your head around these modes. But keep in mind that, when you do master both Aperture Priority and Shutter Priority, you’ll have a lot more creative control over your shots!

aperture priority mode and shutter priority mode shallow depth of field dahlia

The post Aperture and Shutter Priority Modes appeared first on Digital Photography School. It was authored by Darren Rowse.


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DJI updates Ronin line: RS 2, RSC 2 3-axis gimbals with higher payloads, new shooting modes and more

17 Oct

DJI has revealed a new pair of gimbals that are successors to the company’s popular Ronin-S and Ronin-SC stabilization systems. The new DJI RS 2 and RSC 2 are ‘redesigned and reimagined’ three-axis handheld gimbals for filmmakers of all types.

DJI RS 2

The DJI RS 2 is the successor to the Ronin-S and is made to be used with DSLR and compact cinema camera setups up to 4.5kg (10lbs). Despite the heavy payload, DJI claims the new RS 2 features up to 12 hours of battery life, as well as a new quick-charge function built into the handle for quickly adding two hours of use with just 15 minutes of charging.

DJI is using its ‘newly optimized’ Titan Stabilization Algorithm for driving the onboard brushless motors, which it claims ‘reduces the need for manual user input while compensating for user movement and optimizing the gimbal tilt and angle.’ Also new is a SuperSmooth mode that’s specifically tuned to compensate for movement when using longer focal lengths up to 100mm.

Like its predecessor, the RS 2 features axis locks for secure transport and a new dual-layer mounting plate that’s compatible with both Arca-Swiss and Manfrotto standards.

A new 1.4” color touchscreen on the rear of the RS 2 serves as a way to cycle through settings, camera data or even a live feed from the camera. Two onboard RSA ports can double as NATO ports, enabling the RS 2 to be used in conjunction with other DJI and third-party accessories, including jibs, car attachments, sliders, grips and remote controllers.

DJI RSC 2

Just as the the DJI RS 2 is a successor to the Ronin-S, the RSC 2 is a successor to DJI’s Ronin-SC. The updated gimbal is constructed of steel and aluminum, which work to increase rigidity while reducing the overall weight of the unit compared to the Ronin-SC by 35%. It also has a smaller physical footprint with a folded size of 180mm x 190mm (7” x 7.5”) — roughly the size of an A5 sheet of paper.

Despite the reduction in both size and weight, the RSC 2 features an increased maximum payload of 3kg (6.6lbs) over the Ronin-SC. DJI notes this makes it more than strong enough to carry a combination such as the Panasonic S1H with a 24–70mm lens attached.

It too features DJI’s improved Titan Stabilization Algorithm, dual-plate mount system and OLED screen, albeit slightly smaller at just 1”.

Other features and accessories

In addition to new hardware, both the RS 2 and RSC 2 have received a new pre-programmed movement mode — Time Tunnel. This new option is an inception-esque mode that performs a 360º roll while capturing a hyperlapse. This mode is in addition to other pre-programmed modes such as Flashlight, One-Tap Portrait Mode, Panorama, Roll 360, Timelapse and more.

Ronin RSC 2

The two gimbals also include an array of accessories for building out the gimbals to fit your needs. Optional accessories include a cheese plate, Focus Wheel, 3D Focus System, Twist Grip Dual Handle, RavenEye Image Transmission System, Tethered Control Handle, counterweight systems and more.

The DJI RS 2 is available starting today for $ 849 USD as a standalone unit and $ 999 in its Pro Combo configuration. The DJI RSC 2 is available starting today for $ 499 USD as a standalone unit and $ 739 in its Pro Combo configuration. Units are available through DJI’s online store and authorized DJI retailers.

Press release:

DJI’s Ronin Series Grows Stronger, Lighter, and Smarter with New DJI RS 2 and RSC 2 Gimbals

Two Stabilization Systems Offer Reworked Designs and New Creative Functions to Become Workhorses for Filmmakers and Content Creators

October 14, 2020 – DJI, the global leader in civilian drones and creative camera technology, today expands the legacy of the highly popular and prestigious DJI Ronin series, by introducing the rebranded DJI RS 2 and DJI RSC 2. Redesigned and reimagined, both systems offer the filmmaking and content creation community an extremely robust, versatile, and professional 3-axis camera gimbal for their various needs. DJI RS 2 brings added strength and agility to creators using heavier camera systems such as DSLR and compact cinema cameras. At the same time, DJI RSC 2 was created to be more portable, meeting the needs of mirrorless and more compact camera operators.

“DJI’s first Ronin-S and the original Ronin-SC created so much excitement when they launched that we immediately went back to the drawing board to figure out how to make our products even better,” said Paul Pan, Senior Product Line Manager. “Just like with the first version, we took time to research how our professional customers use their Ronin products and what new features they wanted in the next generation of a handheld gimbal. Yet again, the result is the culmination of user feedback, years of design and development, and significant advancements in stabilization technology. Now we are excited to showcase two new filmmaking tools designed to meet the needs of a wide array of filmmakers. From cinema cameras to mirrorless systems, we have a solution for you.”

DJI RS 2: Masterfully Crafted

Considering a tremendous amount of feedback from professional operators, DJI RS 2 incorporates carbon fiber in vital structural components, reducing weight down to 1.3 kg (2.86 lbs) while remaining highly durable. Pushing the innovation of single-handed gimbal technology even further, DJI RS 2 now supports a tested dynamic payload of 4.5 kg (10 lbs) for creators to use heavier camera and lens combinations while still achieving up to 12 hours of battery life. A new quick-charge function directly to the battery handle has been added for urgent situations, providing an extra two hours of battery life with just a 15-minute charge.

DJI RS 2 continues pushing gimbal technology forward with the ability to support heavier payloads while capturing ultra-smooth cinematic footage. Based on years of experience developing predictive technology, a newly optimized Titan Stabilization Algorithm reduces the need for manual user input while compensating for user movement and optimizing the gimbal tilt and angle. Additionally, a new SuperSmooth mode provides another level of camera stability, especially for compensating longer focal length lenses of up to 100mm.

Simple to set up, easy to operate, and highly customizable, DJI RS 2 was created to allow filmmakers to adapt their system to their filming needs while feeling confident it will easily integrate into their workflow. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A fine-tune balancing knob allows for even more precise balancing of the camera payload. The built-in 1.4” color touchscreen can display camera data, gimbal settings, or a live feed from the camera. Supporting 11 different languages, the ultra-bright screen can also initiate key functions such as ActiveTrack and intelligent shooting modes. The built-in front dial above the trigger allows for precise focus control and complements a DJI Focus Wheel mounted on the RSA port to create two-channel focus and zoom.[] DJI RS 2 also turns into a versatile tool that can be attached and used with other systems such as jibs, car attachments, and sliders. Two RSA ports double as NATO ports so that users can mount accessories and attachments such as grips and a remote controller.

DJI RSC 2: Filmmaking Unfolds

A completely new and portable folding design makes DJI RSC 2 easy for creators to carry everywhere without adding additional weight to the gear list. Additionally, the folding design provides creative ways to use the gimbal such as vertical filming without additional accessories, as well as a new Briefcase mode, where the main gimbal arm can be loosened and slung forward to provide unique shooting angles. Durable materials like steel are used on vital and frequently used components, while lightweight materials such as aluminum reduce overall weight. DJI RSC 2 weighs in at 1.2 kg (2.65 lbs), nearly 35% less than the original Ronin-S, and has a folding footprint of 180×190 mm, the same size as a sheet of A5 paper. The built-in battery offers an impressive 12 hours of battery life and – like DJI RS 2 – the new quick-charge function directly to the battery handle has been added for urgent situations.

DJI RSC 2 remains lightweight and portable, featuring stronger motors to support a tested payload of up to 3 kg (6.6 lbs). This increased dynamic payload supports popular mirrorless cameras along with heavier combinations like the Panasonic S1H and a 24-70mm lens. Using the same advanced technology as DJI RS 2, the newly optimized Titan Stabilization Algorithm generates a new level of stability – smoothing out fine details in conjunction with the motorized gimbal for some of the most advanced stabilization on the market. DJI RSC 2 is compatible with a wide array of camera models so users can get the most out of the system. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A 1” built-in OLED screen displays camera data with the ability to adjust settings directly.

Multifaceted Gimbals Supported by an Advanced App and Accessories
DJI RS 2 and RSC 2 were designed to expand beyond single-handed stabilization into tools that can be customized with additional accessories to achieve the desired shot. These accessories include a cheese plate, Focus Wheel, 3D Focus System, Twist Grip Dual Handle, RavenEye Image Transmission System, Tethered Control Handle, counterweight systems, and more.[] For remote operation, both DJI RS 2 and DJI RSC 2 can use ActiveTrack 3.0 when the RavenEye Image Transmission System is connected, sending a 1080p/30fps low-latency feed to a mobile device using the Ronin app from up to 200 meters away.

Vital features and functions can now be controlled and adjusted over long distances with the Ronin app such as gimbal movement using the virtual joystick and Force Mobile, where the gimbal mimics the mobile device’s movement. For solo operators using manual-focus lenses, the 3D Focus System uses state-of-the-art TOF sensors mounted above the camera to provide autofocus. This enables a single shooter to capture smooth and cinematic footage using a manual lens, without relying on a second camera operator or focus puller.

Pre-Programmed Movements and Features That Make Stories Come to Life

DJI RS 2 and RSC 2 expand on their predecessors’ suite of creative modes, movements, and features with tools to help capture content that stands out, including:

  • *New* Time Tunnel: The system performs a 360-degree roll while capturing a hyperlapse, adding a level of creativity to footage.[]
  • Flashlight: The system tilts the camera all the way forward so users can grip the base like a flashlight.
  • One-Tap Portrait Mode: The gimbal quickly orients the camera into vertical shooting for professional-level social media content.
  • Panorama: After configuring sensor and focal length, choose a start and stop point for panoramas up to gigapixel size.
  • Roll 360: The gimbal enters into the Flashlight position and rolls the camera system 360 degrees.
  • Timelapse: This classic feature shows subtle changes over durations of your choosing.

DJI Care Refresh
DJI Care Refresh is now available for both DJI RSC 2 and RS 2. For an additional charge, DJI Care Refresh offers comprehensive coverage as well as up to two replacement units within one year. Receive your replacement even sooner with DJI Care Refresh Express. DJI Care Refresh also includes VIP after-sales support and free two-way shipping. For a full list of details, please visit https://www.dji.com/service/djicare-refresh.

Price and Availability

DJI RS 2 and DJI RS 2 are available for purchase today from authorized retailers and on www.store.dji.com. Each product offers purchase options for a standalone gimbal and a combination pack that includes additional accessories. The standalone DJI RS 2 is available for the retail price of $ 849 USD, and the standalone DJI RSC 2 is available at the retail price of $ 499 USD. The Pro Combo includes additional accessories such as a phone holder, Focus Motor, RavenEye Image Transmitter, dedicated carrying case, and more. The DJI RS 2 Pro Combo is priced at $ 999 USD, and the DJI RSC 2 Pro Combo is priced at $ 739 USD. Full details on this can be found below.

Articles: Digital Photography Review (dpreview.com)

 
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DJI releases RS 2, RSC 2 3-axis gimbals with higher payloads, new shooting modes and more

15 Oct

DJI has revealed a new pair of gimbals that are successors to the company’s popular Ronin-S and Ronin-SC stabilization systems. The new DJI RS 2 and RSC 2 are ‘redesigned and reimagined’ three-axis handheld gimbals for filmmakers of all types.

DJI RS 2

The DJI RS 2 is the successor to the Ronin-S and is made to be used with DSLR and compact cinema camera setups up to 4.5kg (10lbs). Despite the heavy payload, DJI claims the new RS 2 features up to 12 hours of battery life, as well as a new quick-charge function built into the handle for quickly adding two hours of use with just 15 minutes of charging.

DJI is using its ‘newly optimized’ Titan Stabilization Algorithm for driving the onboard brushless motors, which it claims ‘reduces the need for manual user input while compensating for user movement and optimizing the gimbal tilt and angle.’ Also new is a SuperSmooth mode that’s specifically tuned to compensate for movement when using longer focal lengths up to 100mm.

Like its predecessor, the RS 2 features axis locks for secure transport and a new dual-layer mounting plate that’s compatible with both Arca-Swiss and Manfrotto standards.

A new 1.4” color touchscreen on the rear of the RS 2 serves as a way to cycle through settings, camera data or even a live feed from the camera. Two onboard RSA ports can double as NATO ports, enabling the RS 2 to be used in conjunction with other DJI and third-party accessories, including jibs, car attachments, sliders, grips and remote controllers.

DJI RSC 2

Just as the the DJI RS 2 is a successor to the Ronin-S, the RSC 2 is a successor to DJI’s Ronin-SC. The updated gimbal is constructed of steel and aluminum, which work to increase rigidity while reducing the overall weight of the unit compared to the Ronin-SC by 35%. It also has a smaller physical footprint with a folded size of 180mm x 190mm (7” x 7.5”) — roughly the size of an A5 sheet of paper.

Despite the reduction in both size and weight, the RSC 2 features an increased maximum payload of 3kg (6.6lbs) over the Ronin-SC. DJI notes this makes it more than strong enough to carry a combination such as the Panasonic S1H with a 24–70mm lens attached.

It too features DJI’s improved Titan Stabilization Algorithm, dual-plate mount system and OLED screen, albeit slightly smaller at just 1”.

Other features and accessories

In addition to new hardware, both the RS 2 and RSC 2 have received a new pre-programmed movement mode — Time Tunnel. This new option is an inception-esque mode that performs a 360º roll while capturing a hyperlapse. This mode is in addition to other pre-programmed modes such as Flashlight, One-Tap Portrait Mode, Panorama, Roll 360, Timelapse and more.

Ronin RSC 2

The two gimbals also include an array of accessories for building out the gimbals to fit your needs. Optional accessories include a cheese plate, Focus Wheel, 3D Focus System, Twist Grip Dual Handle, RavenEye Image Transmission System, Tethered Control Handle, counterweight systems and more.

The DJI RS 2 is available starting today for $ 849 USD as a standalone unit and $ 999 in its Pro Combo configuration. The DJI RSC 2 is available starting today for $ 849 USD as a standalone unit and $ 999 in its Pro Combo configuration. Units are available through DJI’s online store and authorized DJI retailers.

Press release:

DJI’s Ronin Series Grows Stronger, Lighter, and Smarter with New DJI RS 2 and RSC 2 Gimbals

Two Stabilization Systems Offer Reworked Designs and New Creative Functions to Become Workhorses for Filmmakers and Content Creators

October 14, 2020 – DJI, the global leader in civilian drones and creative camera technology, today expands the legacy of the highly popular and prestigious DJI Ronin series, by introducing the rebranded DJI RS 2 and DJI RSC 2. Redesigned and reimagined, both systems offer the filmmaking and content creation community an extremely robust, versatile, and professional 3-axis camera gimbal for their various needs. DJI RS 2 brings added strength and agility to creators using heavier camera systems such as DSLR and compact cinema cameras. At the same time, DJI RSC 2 was created to be more portable, meeting the needs of mirrorless and more compact camera operators.

“DJI’s first Ronin-S and the original Ronin-SC created so much excitement when they launched that we immediately went back to the drawing board to figure out how to make our products even better,” said Paul Pan, Senior Product Line Manager. “Just like with the first version, we took time to research how our professional customers use their Ronin products and what new features they wanted in the next generation of a handheld gimbal. Yet again, the result is the culmination of user feedback, years of design and development, and significant advancements in stabilization technology. Now we are excited to showcase two new filmmaking tools designed to meet the needs of a wide array of filmmakers. From cinema cameras to mirrorless systems, we have a solution for you.”

DJI RS 2: Masterfully Crafted

Considering a tremendous amount of feedback from professional operators, DJI RS 2 incorporates carbon fiber in vital structural components, reducing weight down to 1.3 kg (2.86 lbs) while remaining highly durable. Pushing the innovation of single-handed gimbal technology even further, DJI RS 2 now supports a tested dynamic payload of 4.5 kg (10 lbs) for creators to use heavier camera and lens combinations while still achieving up to 12 hours of battery life. A new quick-charge function directly to the battery handle has been added for urgent situations, providing an extra two hours of battery life with just a 15-minute charge.

DJI RS 2 continues pushing gimbal technology forward with the ability to support heavier payloads while capturing ultra-smooth cinematic footage. Based on years of experience developing predictive technology, a newly optimized Titan Stabilization Algorithm reduces the need for manual user input while compensating for user movement and optimizing the gimbal tilt and angle. Additionally, a new SuperSmooth mode provides another level of camera stability, especially for compensating longer focal length lenses of up to 100mm.

Simple to set up, easy to operate, and highly customizable, DJI RS 2 was created to allow filmmakers to adapt their system to their filming needs while feeling confident it will easily integrate into their workflow. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A fine-tune balancing knob allows for even more precise balancing of the camera payload. The built-in 1.4” color touchscreen can display camera data, gimbal settings, or a live feed from the camera. Supporting 11 different languages, the ultra-bright screen can also initiate key functions such as ActiveTrack and intelligent shooting modes. The built-in front dial above the trigger allows for precise focus control and complements a DJI Focus Wheel mounted on the RSA port to create two-channel focus and zoom.[] DJI RS 2 also turns into a versatile tool that can be attached and used with other systems such as jibs, car attachments, and sliders. Two RSA ports double as NATO ports so that users can mount accessories and attachments such as grips and a remote controller.

DJI RSC 2: Filmmaking Unfolds

A completely new and portable folding design makes DJI RSC 2 easy for creators to carry everywhere without adding additional weight to the gear list. Additionally, the folding design provides creative ways to use the gimbal such as vertical filming without additional accessories, as well as a new Briefcase mode, where the main gimbal arm can be loosened and slung forward to provide unique shooting angles. Durable materials like steel are used on vital and frequently used components, while lightweight materials such as aluminum reduce overall weight. DJI RSC 2 weighs in at 1.2 kg (2.65 lbs), nearly 35% less than the original Ronin-S, and has a folding footprint of 180×190 mm, the same size as a sheet of A5 paper. The built-in battery offers an impressive 12 hours of battery life and – like DJI RS 2 – the new quick-charge function directly to the battery handle has been added for urgent situations.

DJI RSC 2 remains lightweight and portable, featuring stronger motors to support a tested payload of up to 3 kg (6.6 lbs). This increased dynamic payload supports popular mirrorless cameras along with heavier combinations like the Panasonic S1H and a 24-70mm lens. Using the same advanced technology as DJI RS 2, the newly optimized Titan Stabilization Algorithm generates a new level of stability – smoothing out fine details in conjunction with the motorized gimbal for some of the most advanced stabilization on the market. DJI RSC 2 is compatible with a wide array of camera models so users can get the most out of the system. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A 1” built-in OLED screen displays camera data with the ability to adjust settings directly.

Multifaceted Gimbals Supported by an Advanced App and Accessories
DJI RS 2 and RSC 2 were designed to expand beyond single-handed stabilization into tools that can be customized with additional accessories to achieve the desired shot. These accessories include a cheese plate, Focus Wheel, 3D Focus System, Twist Grip Dual Handle, RavenEye Image Transmission System, Tethered Control Handle, counterweight systems, and more.[] For remote operation, both DJI RS 2 and DJI RSC 2 can use ActiveTrack 3.0 when the RavenEye Image Transmission System is connected, sending a 1080p/30fps low-latency feed to a mobile device using the Ronin app from up to 200 meters away.

Vital features and functions can now be controlled and adjusted over long distances with the Ronin app such as gimbal movement using the virtual joystick and Force Mobile, where the gimbal mimics the mobile device’s movement. For solo operators using manual-focus lenses, the 3D Focus System uses state-of-the-art TOF sensors mounted above the camera to provide autofocus. This enables a single shooter to capture smooth and cinematic footage using a manual lens, without relying on a second camera operator or focus puller.

Pre-Programmed Movements and Features That Make Stories Come to Life

DJI RS 2 and RSC 2 expand on their predecessors’ suite of creative modes, movements, and features with tools to help capture content that stands out, including:

  • *New* Time Tunnel: The system performs a 360-degree roll while capturing a hyperlapse, adding a level of creativity to footage.[]
  • Flashlight: The system tilts the camera all the way forward so users can grip the base like a flashlight.
  • One-Tap Portrait Mode: The gimbal quickly orients the camera into vertical shooting for professional-level social media content.
  • Panorama: After configuring sensor and focal length, choose a start and stop point for panoramas up to gigapixel size.
  • Roll 360: The gimbal enters into the Flashlight position and rolls the camera system 360 degrees.
  • Timelapse: This classic feature shows subtle changes over durations of your choosing.

DJI Care Refresh
DJI Care Refresh is now available for both DJI RSC 2 and RS 2. For an additional charge, DJI Care Refresh offers comprehensive coverage as well as up to two replacement units within one year. Receive your replacement even sooner with DJI Care Refresh Express. DJI Care Refresh also includes VIP after-sales support and free two-way shipping. For a full list of details, please visit https://www.dji.com/service/djicare-refresh.

Price and Availability

DJI RS 2 and DJI RS 2 are available for purchase today from authorized retailers and on www.store.dji.com. Each product offers purchase options for a standalone gimbal and a combination pack that includes additional accessories. The standalone DJI RS 2 is available for the retail price of $ 849 USD, and the standalone DJI RSC 2 is available at the retail price of $ 499 USD. The Pro Combo includes additional accessories such as a phone holder, Focus Motor, RavenEye Image Transmitter, dedicated carrying case, and more. The DJI RS 2 Pro Combo is priced at $ 999 USD, and the DJI RSC 2 Pro Combo is priced at $ 739 USD. Full details on this can be found below.

Articles: Digital Photography Review (dpreview.com)

 
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Understanding Olympus OM-D E-M1 Mark III and E-M1X High Res Shot modes

31 Aug

Olympus has introduced several groundbreaking technologies in its cameras over the years, including high-performance multi-axis stabilization, and high-resolution shot modes, which combined multiple exposures to create a single, much larger final image.

The technology is complex, but the idea behind the classic tripod high res shot mode (introduced in the OM-D E-M5 Mark II) is simple: the camera’s sensor is shifted in minute increments across multiple exposures, so that the scene is ‘covered’ by more pixels. Those images are then combined in-camera to create a single, higher resolution photograph.

The Olympus E-M1 Mark III and E-M1X offer two high-res shot modes, ‘Tripod’ and ‘Handheld’

Today’s flagship OM-D E-M1X and E-M1 Mark III include the latest iteration of this feature, alongside a new mode: ‘Handheld high Res Shot’. Handheld High Res Shot mode enables ultra high-resolution images to be captured without the need for a tripod.

In Handheld High Res Shot mode, blur from camera shake is avoided thanks to a powerful in-camera stabilization system, which compensates for any accidental camera movement during this process.

The Olympus OM-D E-M1 Mark III and E-M1X feature a powerful inbuilt stabilization system. This system is also used in the cameras High Res Shot modes.

Choosing the right High Res Shot mode

The E-M1 Mark III’s high-res shot modes are available for those times when you want more than the camera’s normal resolution of 20MP. Which of the two modes you choose will depend on the kind of subject you want to capture.

With both the OM-D E-M1 Mark III and E-M1X, the maximum output resolution of 80MP is available in ‘Tripod’ mode, while in ‘Handheld’ it is possible to capture images of up to 50MP.


Tripod mode (max 80MP)

  • Download Tripod High res shot mode (80MP) sample
  • Download conventional (20MP) sample

This is a great mode for architecture, interiors and still life or reproduction work – basically, any scene where nothing in your subject is moving. With your camera steady on a tripod, and a stationary scene, you’ll be able to get the maximum resolution out of the system.

In ‘Tripod’ High Res Shot mode, the E-M1 Mark III and E-M1X’s sensor is shifted in tiny increments across multiple exposures. These exposures are automatically combined in-camera to create an 80MP file.

In this mode, your camera shifts the sensor eight times, in increments of one micron, capturing one exposure per adjustment. These images are then combined automatically to create a single 80MP photograph in either JPEG and / or Raw file format.

Use for:

  • Architecture
  • Landscape (on a still day)
  • Interiors
  • Still life
  • Macro
  • Night sky

Handheld mode (max 50MP)

  • Download Handheld High res shot mode (50MP) sample
  • Download conventional (20MP) sample

Handheld mode is great for situations where you want more resolution, but you either don’t have a tripod handy, or you want to shoot something where slight movement in your image is unavoidable, like a posed portrait, or landscapes.

In ‘Handheld’ High Res Shot mode, the E-M1 Mark III and E-M1X capture 16 images in quick succession, and combine them to create a 50MP file. The cameras’ powerful inbuilt stabilization system is employed to reduce the risk of shake.

In this mode, the E-M1 Mark III captures 16 exposures very rapidly, totaling 320MP of data, and combines them to create a single 50MP image. The sensor-based stabilization system does double-duty, turning on and off throughout the sequence of exposures, helping to prevent excessive movement due to motion blur, and analyzing the amount of camera movement that occurs during the sequence. The camera uses this information to automatically align the images for the final image and clone out any blurred areas.

If too much motion is detected, the camera will flash a warning to let you know.

Use for:

  • Landscapes
  • Portraits (static)
  • General photography at wide / medium focal lengths
  • Any situation where a tripod isn’t practical / allowed

Tips for using High Res Shot modes

  • With the Olympus OM-D E-M1 Mark III and E-M1X it is possible to hand-hold exposures down to four seconds*. Used in combination with Handheld High Res Shot mode, this makes it possible to capture long exposure nighttime photographs.
  • For best results with Handheld High Res Shot mode, shoot at wide and medium focal lengths, where the image stabilization system of the OM-D E-M1 Mark III and E-M1X is most effective.
  • Because it combines 16 exposures, Handheld High Res Shot mode also cancels out a lot of noise. Try switching to handheld High Res mode in low light situations for better image quality at high ISO settings.
  • When shooting in High Res Shot mode, avoid shooting at very wide apertures, especially for scenes with out of focus objects in the foreground. You’ll get best results at smaller apertures, where more of your scene is in focus.

* Exact performance is dependent on lens and focal length

Articles: Digital Photography Review (dpreview.com)

 
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Report: Google looking to stop smartphone manufacturers from adding built-in ‘beauty’ modes

21 Jul

According to a report from XDA Developers, Google might be making changes to its Camera API in Android 11 that will prevent them from using algorithms to smooth skin, change skin color or alter the facial geometry of subjects.

Sharp-eyed XDA Developers Editor-in-Chief, Mishaal Rahman, noticed in Google’s Android 11 Compatibility Definition Document that the company is banning equipment manufacturers from ‘implementing facial tweaking algorithms during image processing.’ Although the relevant section — [C-0–12] in particular — has been removed from the documentation, the below screenshot from Rahman shows it said the ‘facial appearance [can] NOT [be] altered including but not limited to altering facial geometry, facial skin tone or facial smoothing.’

This stipulation targets smartphone manufacturers who are suspected of adding these types of ‘beauty filters’ to the first-party camera app, even after turning off specific ‘Beauty’ modes, such as the one found on the Vivo X50 Pro.

Based on the wording of the documentation, it appears as though third-party apps that offer these kinds of ‘beauty’ features and filters won’t be affected — only the manufacturer’s first-party app. However, that hasn’t been confirmed at this point.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm adds Raw video output, gimbal support and Film Simulation modes to GFX100

30 Jun

Fujifilm has issued firmware updates to the GFX100 and GFX 50 models, with the 100MP camera gaining the most significant improvements.

The GFX100 will gain the ability to output a Raw video stream that can be encoded in Apple’s ProRes RAW format by an Atomos Ninja V recorder. This provides a much wider degree of processing latitude than the gamma-encoded, compressed files the camera saves internally.

In addition, the firmware expands the camera’s USB control protocol, giving more control over the camera’s settings when shooting tethered, and allowing remote control of various camera features when mounted on a drone or gimbal.

Face and eye detection AF is said to be improved, as is the performance of phase detection AF in low light. New focus bracketing options have also been added.

Finally, the GFX100 gains the Classic Neg and Eterna Bleach Bypass Film Simulations introduced since its launch.

GFX 50S and 50R users also gain Classic Neg, along with the original Eterna Film Simulation mode in an update to their cameras. This update also adds the subtle skin-smoothing feature from the GFX 100.

Articles: Digital Photography Review (dpreview.com)

 
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How to Create Mandalas in Photoshop Using Stack Modes

30 Apr

The post How to Create Mandalas in Photoshop Using Stack Modes appeared first on Digital Photography School. It was authored by Megan Kennedy.

create mandalas in photoshop with stack modes

There are so many facets to Photoshop that even regular users can sometimes be surprised by new ways to use particular features. Stack Modes is one of the tools in the Photoshop repertoire that I’ve only just started really playing with recently. And, it turns out, the function is great for generating intricate patterns and even mandala-like designs. In this tutorial, I’ll guide you through the steps to create mandalas in Photoshop with Stack Modes.

create mandalas in Photoshop

Can I use Stack Modes?

First things first – unfortunately, Stack Modes aren’t available in all versions of Photoshop. For this tutorial, I’m going to be using Photoshop CS6 Extended. Doing a little research, it looks like Extended and CC versions of Photoshop have the stack mode function. However, if you don’t have the Stack Modes tool required for this tutorial, you can try creating something a little similar here.

What are Stack Modes?

So what exactly are Stack Modes?

The Stack Modes function works by combining a group of image layers with similar content into the one image. For example, astrophotographers may use Stack Modes to combine hundreds of shots into one frame.

Stack Modes can also be used to reduce noise and remove people and objects from photos. It’s a pretty nifty function!

What are mandalas?

Throughout history, mandalas have seen numerous incarnations and applications. Meaning circle in Sanskrit, mandalas are a geometric array of symbols and designs made for spiritual, meditative and artistic purposes.

In modern terminology, mandala is a phrase sometimes used to describe other circular visual arrangements like spirographs and scientific diagrams. The term mandala may also be used to describe the meditative or visual quality of an artwork.

How to create mandalas in Photoshop with Stack Modes

Setting up

To create mandalas in Photoshop, the first step is to pick a single photograph to work with. Something with a few colors and small details is a good bet. I’m going with the flower seen below:

create mandalas in photoshop with stack modes flower close up

Open your image in Photoshop and right-click on the image layer in the Layers Panel. Select Duplicate Layer… and click OK at the prompt.

Select the Background layer in the Layers Panel (not Background copy) and hit Delete.

Next, click on Image on the top toolbar. Select Canvas Size… and (roughly) double the height and width of your canvas so we have room to expand the design.

Click OK.

How to Create Mandalas in Photoshop Using Stack Modes

Adjusting layers

Drag your image to the top of the canvas. Right-click on your image layer in the Layers Panel and select Duplicate Layer… hit OK at the prompt.

With the Move Tool selected, click on the image on the canvas to select it (one layer will be behind the other).

Hold the Shift key on your keyboard down and drag the selected image by the top-middle transform control icon towards the bottom of the canvas, flipping the image to mirror the remaining photograph so it looks like this:

create mandalas in photoshop with stack modes – duplicating the image

Select both layers by depressing the Shift key and clicking on each layer in the Layers Panel.

Right-click on either layer icon and select Merge Layers. The two layers will merge into one. Drag the merged image to the left edge of the canvas.

Right-click on the layer in the layers panel and hit Duplicate Layer… and Click OK at the prompt. Hold down the Shift key and click the left-most transform icon and drag the duplicated layer towards the right edge of the canvas, flipping the second layer to mirror the first. Like in the example below:

create mandalas in photoshop with stack modes – duplicating the image again

Making room

We have a pretty cool image now, but we aren’t finished yet!

To create mandalas in Photoshop, we need to extend the canvas further to accommodate the rest of the layers we will be making.

Click on Image->Canvas Size… and add an extra hundred-or-so cm’s to the height and width of the image. Don’t worry if the canvas looks too large, we can always crop it back down once the mandala is finished.

Back to layers

Okay. In the expanded canvas, select our two layers by holding Shift and clicking on both layers in the Layers Panel. Right-click and select Merge Layers.

Next, right-click on the merged layer and click Duplicate Layer… Click OK at the prompt. Hold down the Shift Key and rotate this newly created layer to form a cross-like structure.

How to Create Mandalas in Photoshop Using Stack Modes

Duplicate one of the layers again and rotate it so that it looks like mine below:

create mandalas in photoshop with stack modes – rotating the image

Duplicate the layer again and rotate it so that your image looks like this:

How to Create Mandalas in Photoshop Using Stack Modes

You can continue adding layers with the duplicate/rotate process until you are happy with the look of your image, or you can leave it as is.

When you are ready, select all the layers in the Layers Panel by holding Shift and clicking on the first and then the last layer in the Layers panel. Right-click on the selection and select Convert to Smart Object. This will combine your layers into a single Smart Object.

Making the mandala happen

With all this duplicating and rotating, the final step to creating mandalas in Photoshop is pretty straight forward. With your Smart Object layer selected, click Layer (in the top tool bar) then click on Smart Objects->Stack Modes. A range of options like Entropy and Kurtosis will become available.

How to Create Mandalas in Photoshop Using Stack Modes

You can look up the exact mathematics behind each setting here, but basically, each option is an algorithm that blends the layers together a different way. Select one and see how it looks…and if you don’t like it, simply undo it and try a different mode.

Here’s my result using the Maximum Stack Mode:

create mandalas in photoshop with stack modes – the final result
The result from using the Maximum Stack Mode

Final touches

Now you have your mandala, the rest is up to you! You can adjust the colors of your creation or increase/decrease the contrast…you can even invert the colors via the Curves Adjustment Layer and see what that looks like.

You can create mandalas in Photoshop forever – the possibilities are endless! It’s a great opportunity to experiment and explore.

If you’ve created a mandala with this method, go ahead and share below!

The post How to Create Mandalas in Photoshop Using Stack Modes appeared first on Digital Photography School. It was authored by Megan Kennedy.


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How to Use Photoshop Blending Modes for Fine Art Portraiture

14 Oct

The post How to Use Photoshop Blending Modes for Fine Art Portraiture appeared first on Digital Photography School. It was authored by Charlie Moss.

photoshop-blending-modes-for-fine-art-portraiture

Layering images experimentally in photoshop can be an exciting way to bring a fine art feel to your photography. It is spontaneous and unpredictable, with different outcomes each time.

The layering technique I talk about in this article is a way you can explore and get inspired by the work of Victorian art photographers like Julia Margaret Cameron. They would have used long exposures because of the limitation of their cameras, which added a dream-like quality to their images.

Instead of long exposures, I have used multiple images shot of the same subject, layering them and using Photoshop blending modes. It gives a different kind of ethereal feeling to the images which you can use on any subject, not just portraits.

Start with a portrait

Your portrait doesn’t have to be sophisticated, but it should be able to be repeated over a dozen shots or so. I opted for simple natural window light, but there’s no reason why you couldn’t use flash instead.

photoshop-blending-modes-for-fine-art-portraiture

The image I found worked best was one with strong colors and features with a simple background. I opted to take inspiration from Julia Margaret Cameron’s photography by using simple historical clothes, and an instantly recognizable prop.

You want to try to end up with a dozen or so slightly different images of your subject. Take far more images than you need so that you have lots of choices when it comes to selecting images for your layering effect.

Between each shot, ask your subject to move just a small amount – perhaps their head or their hands, but just a fraction. Try to avoid any dramatic pose changes.

Layering the images in Photoshop

When it comes to selecting images and editing them, there are many different software packages and options. I’m going to talk about how I use Lightroom Classic and Photoshop to achieve this effect. Even within these two software packages, there are other ways you can accomplish the same effect. As long as you end up with a photograph that you love, then you haven’t done anything wrong!

I start by importing my images into Lightroom Classic and then selecting the ten or so images that will make up the layers of my final image. At this point, I try to choose a ‘base’ image that will be at the bottom of the layer stack in Photoshop and will show through the strongest. Generally, this is my favorite image out of the set.

How to Use Photoshop Blending Modes for Fine Art Portraiture

When you’ve got your images selected in Lightroom Classic in the Develop module, open the ‘Photo’ menu and select ‘Open as Layers in Photoshop.’

This will save you having to manually stack all of the images together. You’ll end up with a single file open in Photoshop with all of your selected images placed on layers.

How to Use Photoshop Blending Modes for Fine Art Portraiture

The next stage is to place your ‘hero’ image (the one that you want to show through the most) at the bottom of the layer stack by dragging and dropping it. Then select all the layers above and reduce their opacity.

Playing with Photoshop Blending Modes

This is when it starts to get interesting. Playing with the different photoshop blending modes for the layers will give you all kinds of different results. Dark images will suit different blending modes to lighter images. You can check out a comprehensive guide to photoshop blending modes here!

You’ll want to turn down the opacity of the layers quite far so that the original ‘hero’ image shows though. The other layers should then become more of a fuzzy halo rather than a focal point for the shot.

photoshop-blending-modes-for-fine-art-portraiture

Once you’ve found a blending mode and opacity that looks good, you can start to fine-tune the image.

Begin by identifying parts of the images that don’t really work, and work out which layer they’re on. Then create layer masks and use a black paintbrush to gently fade those unwanted parts away.

I decided to remove almost all of the layers from the face of my subject since it was a portrait, and I wanted to be able to see her clearly. I also took away some distracting echos of hands, which I felt made the final image stronger. Since you’re working using layer masks, you can always undo any of your choices at this stage – just simply paint over the bits you want to see again on the layer mask with a white paintbrush!

How to Use Photoshop Blending Modes for Fine Art Portraiture

As you can see from my layer masks, they don’t have to be neat. Just use a fairly large brush with soft edges and a low opacity and you won’t be able to see the brushstrokes of your mask in the final image.

Finishing your image

Once you’re happy with the basic image you’ve achieved through layering, I’d suggest saving a copy of your work. Then you can experiment further with different techniques.

photoshop-blending-modes-for-fine-art-portraiture

Once I’d saved my image in Photoshop, I closed it and went back to Lightroom Classic to work on the shot further. Here, I simply changed the toning of the image slightly with a preset and applied some sharpening to key areas of the picture.

The result was a warmth that always makes me think of Old Masters paintings in galleries. Together with the effect of the layers, it creates a rather painterly fine art image.

photoshop-blending-modes-for-fine-art-portraiture

But, of course, there’s absolutely no harm in processing the same image in a different way. This is one of the reasons I love Lightroom Classic – you can create virtual copies of a single shot and work on them all differently!

photoshop-blending-modes-for-fine-art-portraiture

This variation I processed in Nik Analog Efex Pro 2, which you can use straight from the Lightroom Classic interface in the same way that you can take photos to Photoshop. The software itself is very similar to Lightroom Classic with its adjustment panels on each side but instead specializes in replicating old film effects.

It is a great way to create an image that pays homage to the great Victorian art photographers.

You could get a similar effect by layering wet plate textures and dust and scratch layers in Photoshop before adding a black and white conversion.

There are many ways to get all these different effects – please try some and post your results in the comments. I’d love to see what you did with this technique and how you achieved it!

The post How to Use Photoshop Blending Modes for Fine Art Portraiture appeared first on Digital Photography School. It was authored by Charlie Moss.


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Leaked Pixel 4 photos show new and improved astrophotography, portrait and Night Sight modes

03 Oct

The Google Pixel 4 is just around the corner, expected to be announced at the Made by Google Event on October 15. We’ve already seen what the Pixel 4 will look like, thanks to both Google and third-party leakers, but today we’re getting more than a hardware leak. 9to5Google has obtained exclusive images that it claims Google will use to promote the new camera capabilities of its impending device.

9to5Google has kindly given us permission to share the full-resolution images directly from their source and only saved once with a watermark over them. The images, as you’ll see below, are a combination of images captured with the front-facing selfie camera and the rear-facing cameras (rumors point to there being a 12-megapixel main camera and a 16-megapixel telephoto camera). The images appear to include photos shot in multiple camera modes, including the improved Night Sight mode and a new star-shooting mode that’s been rumored for some time now.

First up are a few photos that appear to show off the portrait mode of the front-facing camera onboard the Pixel 4. Interestingly, these photos measure in at 4.5-megapixels, nearly half the resolution of the 8-megapixel onboard the Pixel 3, so we’re not sure whether these are simply resized or from a larger sensor that’s been supersampled, but whatever the case is, they look impressive. The faked bokeh looks both realistic and smooth, while the outline, even around hair, seems to be precise, with only a few notable exceptions (specifically the arm on the white jacket).

Next up are more portrait mode shots with what we presume to be the rear-facing camera on the Pixel 4. These shots measure in at 7-megapixels and were taken with the main camera (the Pixel 4 will feature multiple camera modules). Like the previous shots, the fake bokeh appears to be incredibly accurate, even on difficult subjects, such as a long-haired pet and flyaway hairs.

Moving along, we have three photos (two 9.2-megapixels and one 5.2-megapixels) that appear to be taken with Google’s Night Sight mode. Based on the EXIF data embedded in some of the images, the photos were taken with the main 27mm (35mm equivalent) F1.7 camera onboard the Pixel 4. The actual lighting scenario in the scene isn’t known, but the images appear both bright and vibrant with nice dynamic range, even in the images that have multiple light sources at different color temperatures.

Along the lines of Night Sight, it appears a pair of photos showing off the much-rumored night sky camera mode expected to be onboard the Pixel 4. Based on the EXIF data, these images (the header image of this article and the below image) were also captured with the main camera unit and the GPS data reveals the shots were captured at Pinnacles National Park in Central California along State Route 146. For being captured with a smartphone, the amount of detail captured in the night sky is absolutely incredible. It seems as though stars get lost around the silhouette of the trees in the frames, but the rest of the sky showcases countless stars in the Milky Way.

The remainder of the photos showcase a number of scenes, but it’s not clear what specific camera modes are being used to capture these images. As noted by 9to5Google, it’s been rumored there will be a ‘Motion Mode’ with the Pixel 4, but that’s not yet confirmed, even though a few action-style shots are seen in the following images.

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Plenty still remains to be seen, but with the Made by Google Event less than two weeks away, it won’t be long before we know just what the Pixel 4 is capable of. 9to5Google has also detailed a new ‘Dual Exposure’ mode that’s believed to be avaialble on the Pixel 4.

Articles: Digital Photography Review (dpreview.com)

 
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DJI updates Ronin-S with ActiveTrack 3.0, Force Mobile and Auto 3D Roll 360° modes

30 Sep

When DJI announced the Ronin-SC this past July, it included features not found on the original Ronin-S. The Chinese manufacturer has now added Force Mobile, ActiveTrack 3.0, and Auto 3D Roll 360 modes to its original 3-axis gimbal stabilizer for mirrorless cameras. The V2.0.0.90 firmware update allows Ronin-S users to add these features.

DJI’s Paul Pan has created a few videos, seen above, demonstrating how Force Mobile, which controls the gimbal’s movement with a mobile device, and ActiveTrack 3.0, which tracks subjects, work.

Here is what’s new with v1.2.4 of the firmware update for the Ronin-S:

  • Added ActiveTrack 3.0.
  • Added Force Mobile.
  • Added quick switch to 3D Roll 360 mode. Press M button three times to enter, and press three times again to exit.
  • Added Auto 3D Roll 360. When the gimbal is in 3D Roll 360 mode, push the joystick left or right twice to enable Auto 3D Roll 360. The gimbal rotates continuously without needing to hold the joystick. Press the trigger twice to stop Auto 3D Roll 360.
  • Added video recording, autofocus, and focus pull support for Sony A7R4 cameras with supported E-mount lenses using a Multi-Camera Control Cable (MCC-C). To use autofocus on the A7R4, press halfway down on the camera control button of the gimbal.
  • Added photo capture, video recording, zoom, and focus pull support for Sony A7R4 cameras using a Multi-Camera Control Cable (Multi USB). To use autofocus on the A7R4, press halfway down on the camera control button of the gimbal.
  • Optimized 3D Roll 360.
  • Added Track mode settings for Command Unit.
  • Optimized follow experience in Flashlight mode.
  • Optimized the Profile LED display by changing the pulsing frequency when gimbal in sleep mode, and the LED will become red to indicate low battery warning when battery level is less than 20%.
  • Sleep mode can be enabled by pressing once or twice of the gimbal power button.
  • Optimized zoom adjustment when using Sony cameras’ multi-port with Power Zoom lens, The zoom speed can be set from 1 to 100 (requires DJI Ronin v1.2.4 app or later).
  • Fixed other minor bugs.

DJI has also provided a few tips on successfully updating the Ronin-S firmware:

  • Make sure that the DJI Ronin App is the latest version when updating the firmware.
  • Make sure Ronin-S is powered off and update the firmware through the DJI Pro Assistant for Ronin by connecting the USB-C port on Ronin-S to your computer. Do not disconnect the gimbal from the computer while updating.
  • After the update is complete, unplug the USB-C cable from Ronin-S and proceed to power on the gimbal.
  • If Ronin-S has a camera attached and is turned on while updating the firmware, make sure to protect the camera and lens as the motors will shut off during the update.
  • If the firmware update fails, restart the Ronin-S and retry.

The Ronin-S retails for $ 749 while the essentials kit costs $ 559.

Articles: Digital Photography Review (dpreview.com)

 
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