Taking great selfies requires the right light, angle, setting, and editing. Getting a great shot is so much more than just clicking a button. It requires skill, practice, and good technique. Come along and learn how to master the art of the perfect selfie using photography tricks and tools described below. In general, a great selfie is shot using an Continue Reading
Photodoto
Posts Tagged ‘Perfect’
How to Take the Perfect Selfie: The Right Angle, Lighting and Photo Editor
19
Sep
5 Secrets for Creating Perfect Silhouette Portrait Photography
08
May
The post 5 Secrets for Creating Perfect Silhouette Portrait Photography appeared first on Digital Photography School. It was authored by Alana Orth.
Silhouette portrait photography produces some of the most gorgeous images imaginable – which is why I recommend every portrait shooter try a silhouette shot or two.
In this article, I’m going to show you exactly what you need to do for perfect silhouette portraits. I’ll share plenty of tips and tricks I’ve learned from my own time as a portrait photographer. And by the time you’re done, you’ll be a portrait silhouette expert.
So let’s get started.
1. Shoot low and head to toe
Powerful silhouettes start with clear, minimalistic compositions. Here’s what I recommend:
Place the subject’s entire body, from head to toe, against the sky. To pull this off, you’ll need to be lower than the subject, so try lying on your back or stomach.
If you are unable to get low enough, you may need to have your subject get higher; ask them to stand on a rock, small hill, or sand dune. In most circumstances, this will allow you to get an angle that places the subject’s entire outline against the sky. (You can see a variety of examples throughout this article.)
Why is this so important?
If you can’t place your subject’s body against the sky, they will merge with the background, and the recognizable silhouette will be lost. You’ll end up with a lot of confusing darkness, and your viewer won’t be able to immediately tell what’s going on.
Also, pro tip:
It’s so, so, so important that your subject’s feet are outlined against the sky! Legs in a silhouette portrait that are cut off above the feet look like weird, short stumps:
Even with all this composition advice in mind, there will be times when you just can’t find a suitable spot for a full-body-framed-against-the-sky type silhouette.
And when that happens, you don’t need to give up on silhouettes entirely. Just get closer to your subject and create tighter compositions, focusing on the areas of your subject that are framed by the sky.
2. Shoot at the right time of day
Silhouettes work best around 20-30 minutes before sunset. The ideal time does vary with the angle you are able to achieve; the greater the height difference between you and the subject, the earlier you will need to take the shot.
Because if you wait too long, the sun will hide behind whatever your subjects are standing on, and the sky might not be bright enough to make a silhouette.
Shooting too early is also a problem, however; the sky’s colors can be a bit boring and you will have other issues, such as sun flare.
Pro tip: Silhouettes can be taken earlier in the day (i.e., before sunset) if the sun is partially blocked or filtered through strong clouds.
3. Choose your portrait silhouette settings carefully
Perfect silhouettes require careful settings.
Set your camera to Aperture Priority mode and dial in an aperture of f/2.8 and an ISO of 400. Select Evaluative Metering; that way, the camera will consider the whole scene when determining the exposure.
If you fill the frame with your subject’s face or body, the camera will expose for their skin even with a bright background (see the photo below, left).
But if you fill the frame mostly with a very bright sky, then the camera will expose for the sky – bringing out the natural sunset colors and making everything else dark (see the photo below, right).
So place your subject directly against the bright sky and make sure their body takes up a small portion of the frame. The subject will be heavily underexposed, and the sky will retain detail.
The result? A perfect silhouette portrait!
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Both the photographs above were taken with the settings I mentioned above (just seconds apart).
The difference? What was filling the frame – subject or sky.
4. Use perfect silhouette portrait posing
Silhouettes are very forgiving of poor facial expressions (because you cannot see them!). But silhouettes are very harsh when it comes to posing.
Here are a few things to keep in mind when posing subjects for a silhouette:
- Hugging poses do not work. A hug silhouette looks like a great big blob monster. Instead, all subjects need to be clearly defined, which means they need to be at least a couple of inches apart from each other. It’s nice for subjects to still be connected – but by holding hands or kissing, not by hugging.
- Have your clients look away from the camera. Face profiles look beautiful and natural.
- Watch the clothing. Very baggy clothing won’t work well for silhouettes; the shape can become unflattering. It is best to wear form-fitting clothes, as this helps clearly define your subject against the sky.
5. Take portrait silhouettes whenever you can (because they sell!)
Try to capture at least one silhouette at every photo shoot, whether it is a family portrait, maternity, engagement, or wedding.
Why? Because silhouettes sell!
Here are some reasons why silhouettes are great for client shoots:
- Silhouettes add variety to the series. Silhouettes are so different in their colors and style – and the variety they give instantly makes any shoot more interesting. Plus, because silhouettes are unique compared to standard portraits, they’re easy to sell individually as a piece of artwork.
- Silhouettes are perfect for shy clients. Some clients hate the idea of their faces hanging up on the wall. This makes silhouettes the perfect compromise! A silhouette can be marketed to a client as the perfect piece of personalized artwork – without making them feel uncomfortable or self-conscious.
- Silhouettes look better when printed big! Wide-angle silhouettes and scenic, environmental compositions look great, especially when printed large. So if you do capture wider silhouettes, you can sell them as a large piece of artwork. The client will love it, and it’ll be a more profitable sale for you.
Perfect silhouette portrait photography: final words
Well, there you have it:
Five simple secrets to capture stunning portrait silhouette photography.
Silhouette portraits are a lot of fun – so the next time you’re doing a portrait photoshoot, try a few shots! I’m confident you’ll love the results!
The post 5 Secrets for Creating Perfect Silhouette Portrait Photography appeared first on Digital Photography School. It was authored by Alana Orth.
8 Tips for Perfect Moon Photography Settings
29
Apr
The post 8 Tips for Perfect Moon Photography Settings appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Many people have attempted to capture a picture of the bright ball of light that governs the night sky, but getting your moon photography settings just right can be quite tricky. It’s easy to get frustrated when taking photos of the moon, especially when so many moon shots online look crisp and clear.
Fortunately, capturing great moon shots isn’t too difficult once you wrap your head around a few basic elements. With a little patience and practice, you’ll be taking excellent photos of the moon in no time at all!
Moon photography settings: the basics
The first thing to know about shooting the moon is that it’s deceptively bright. You might not think of this giant ball of rock as particularly luminous when compared to the sun, but it puts out way more light than you might think. This makes it tricky to calculate exposure and get your other moon photography settings just right.
The other important item to keep in mind is that the moon is not a slow celestial body. In Greek mythology, Selene, the goddess of the moon, speeds across the night sky in a glowing chariot. Our ancient ancestors knew what they were talking about! If you take a picture of the moon, you have to keep its constant movement in mind; otherwise, you’ll never get a great shot.
The final part of the equation to remember is that the moon, while relatively close in a galactic sense, is pretty far away when you look at it from the perspective of a photographer. If you want a good picture of the moon, you need at least a 200mm lens – and even then, it’s best to use a crop-sensor camera for a bit more reach. So a focal length of 300mm or greater is recommended, and photographing the moon is one time when megapixels really do matter. Unless you have a very long zoom lens, you’ll be cropping your images quite a bit.
If you want a simple answer to the question of what moon photography settings to use, here’s my advice:
- Shoot with a fast shutter speed of at least 1/180s.
- Use a small aperture like f/8.
- Keep your ISO low – so that when you crop, your picture will remain clean and not noisy.
- Use a telephoto lens.
- Always shoot in RAW; that way, you have plenty of room to edit the colors, sharpness, and other elements of your photo afterward.
While the above advice is a good starting point, you will need to experiment and figure out which settings are right for you. It’s a good idea to dive a little deeper into aperture, shutter speed, and ISO to find out what effect they have on your moon photos so you can get the shots you’re aiming for.
Now let’s take a closer look at the best moon photography settings:
1. Use Manual mode
This might be intimidating if you’re used to letting your camera make exposure decisions for you, but moon photography is a great way to learn Manual mode.
Your camera knows what to do in most well-lit situations, but shooting the moon isn’t one of them. You have to take control, and Manual mode lets you choose the aperture, shutter speed, and ISO – all of which are critical to getting good pictures of the moon. You must be very specific about your exposure settings, and Manual mode lets you dial in the precise values you need.
Nikon D500 | Nikon 70-200mm f/2.8G ED VR II | 200mm | f/4 | 1/180s | ISO 200
2. Shoot in RAW
You have enough to worry about when taking pictures of the moon: exposure settings, weather concerns, cloud cover, foreground obstructions…and that’s just the beginning.
Setting the right white balance and making sure your highlights and shadows are perfectly captured is almost impossible to do in the moment. Thankfully, RAW can save the day.
Nikon D500 | Nikon 70-200mm f/2.8G ED VR II | 200mm | f/4 | 1/180s | ISO 200
Shooting in RAW gives you ultimate flexibility when editing your moon photos in a program such as Lightroom. You can adjust the exposure, tweak the sharpening, bring out details you might have missed, and of course, adjust the white balance to your heart’s content.
The JPEG format is fine for many photographic situations, but not moon photography. For best results, use RAW.
3. Use a fast shutter speed
Shutter speed is a good place to start when thinking about moon photography settings because of how fast the moon moves across the sky. Similar to sports photography, you’ll need a fast shutter speed to freeze the motion.
1/180s is a good starting point, but if you can go higher without increasing your ISO, I recommend doing so. 1/250s is good and so is 1/300s (go beyond that, and you start to get diminishing returns).
Nikon D200 | Sigma 120-300mm f/2.8 | 300mm | f/11 | 1/10s | ISO 200
4. Keep your ISO low
Cameras have come a long way, and what used to be considered a crazy high ISO – like 3200 or 6400 – is now easily achieved without a huge loss in image quality. Things are a bit different when taking photos of the moon, though. Lower ISOs are always preferable, and that holds doubly true for photos of our nearest celestial neighbor.
ISO 100 or 200 is best, but that might not be realistic given the lens you’re using. Generally speaking, you should be fine with ISO 800 or lower, partly because you will get a cleaner image, but also because you will have more leeway when editing your RAW files afterward.
5. Use a small aperture, but not too small
Most lenses have what’s known as a sweet spot, where the image isn’t too soft and chromatic aberration is well-controlled. This sweet spot isn’t usually at the widest or smallest aperture, but somewhere in the middle.
For that reason, I like to take pictures of the full moon at an aperture between f/4 and f/8. However, the optimal aperture will depend on your particular lens and the type of photos you’re taking.
Nikon D7100 | Nikon 70-200mm f/2.8G ED VR II | 180mm | f/2.8 | 1/90s | ISO 100
Honestly, of all the moon photography settings to worry about, I would put aperture at the bottom of my list. Before you consider the aperture, make sure you have a fast shutter speed and the lowest possible ISO. Finally, adjust your aperture until you get a picture you like.
Even if your photos are not tack-sharp because you had to shoot wide open, it’s a trade-off I recommend making. I would rather have a slightly blurry result than a higher ISO setting that will result in noise, especially in the deep blacks of the night sky.
6. Underexpose slightly
It might seem counterintuitive, but when taking pictures of the moon, you don’t want your images to be as bright as possible. I get my best results when underexposing by one stop or more, depending on the situation.
The easiest way to do this is to set your aperture, shutter speed, and ISO so your light meter indicates a properly exposed picture. Then drop the exposure by one or two stops. The result is a picture without any blown highlights and plenty of room for editing (as long as you make sure to shoot in RAW).
Nikon D500 | Nikon 70-200mm f/2.8G ED VR II | 200mm | f/4 | 1/200s | ISO 360
I also recommend using spot or center-weighted metering when doing moon photography. The moon is extraordinarily bright compared to the dark sky around it, which causes all sorts of confusion for your camera’s light meter. Telling your camera to meter based on one small portion of the scene (i.e. the moon) will help you get a better initial exposure value, one that you can then fine-tune.
7. Get creative
Taking pictures of the moon is enthralling, especially if you have never done it before. But after a few shots of that big bright ball of light in the sky, start thinking of a new approach. Try putting trees, buildings, or other objects between you and the moon. Experiment with taking pictures during the waxing or waning crescent phase.
Also, try getting shots at dawn or dusk when you can catch the sky in a rich blue or purple. These are simple, fun ways of taking pictures of the moon that can produce some unexpected results.
8. Manually focus to infinity
Your camera’s autofocus might struggle when it comes to getting pictures of the moon, but you can take care of this by adjusting your lens’s focus point manually.
Make sure your lens is focused as far out as it will go (this is often indicated by an infinity symbol on the lens barrel).
Moon photography settings: conclusion
There’s no magic or secret sauce when it comes to getting great shots of the moon. The only real trick is to get the right moon photography settings and to keep practicing until you’re happy with the results.
Try some of these tips as a starting point, and then branch out and see what you can come up with. You might be surprised at the pictures you’re able to take!
Moon photography settings FAQ
Can I take a picture of the moon with my phone?
It’s possible, but this is an area where a DSLR or mirrorless camera with full manual controls really has the edge. A mobile phone can’t zoom in very far, and even those that do have optical zoom lack the light-gathering ability required for good moon shots. That’s not to say it can’t be done, but you’ll likely get significantly better results with a dedicated camera.
Do I need an expensive zoom lens to get a picture of the moon?
A zoom lens helps, but it doesn’t have to be expensive. Even a basic 55-250mm kit lens, like the one that might have come with your camera when you bought it, is fine. Just make sure to follow some of the tips in this article, and you can get some good moon pictures.
What white balance setting should I use to get a picture of the moon?
That really depends, and there’s not always a good answer. Some people like to use the Daylight setting because the moon is reflecting the sunlight and has no actual light of its own. Just make sure you shoot in RAW so you can adjust your white balance after you take the picture.
How do I keep both the moon and the foreground in focus?
First, make sure you are using a small aperture like f/8 or f/11, which will give a much wider depth of field. In addition, you need to put a lot of space between you and your foreground objects. If you’re shooting through tree branches in your own backyard, they will always end up far too blurry. Position yourself so the trees, buildings, or other foreground objects are farther away; this will help make sure they are more in focus.
How do I get the moon to look so big? My moon pictures never look like the professional shots I see online.
Many people have asked me this, and it all comes down to your lens. A longer focal length will make the moon appear larger. If you don’t have a long lens, you can rent one for the few days that a bright full moon is visible. Many professional moon pictures are also cropped, and if you use a very high megapixel camera, you have a great deal of freedom to crop without a huge drop in quality.
The post 8 Tips for Perfect Moon Photography Settings appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
GoPro Hero 9 Review: Is It the Perfect Action Camera for You?
19
Dec
The post GoPro Hero 9 Review: Is It the Perfect Action Camera for You? appeared first on Digital Photography School. It was authored by Suzi Pratt.
Every fall, GoPro releases a brand new version of its popular and classic action camera, the GoPro Hero. Some years, it’s a significant release with big changes, and other years, it’s an incremental step forward.
Where does the brand new GoPro Hero 9 fall into place, and should you buy this camera?
Read our GoPro Hero 9 review to find out.
GoPro Hero 9: Overview
Since GoPro is practically the inventor of action cameras, you’re probably at least partially familiar with the GoPro Hero.
It’s always been a compact, rectangular camera that’s rugged – waterproof, crushproof, and made primarily for the outdoors. Listed below are a few significant GoPro Hero camera releases:
GoPro Hero 5
In terms of GoPro history, the GoPro Hero 5 was a significant camera for a couple of reasons.
It was the first GoPro that was waterproof, so you didn’t need to stick it in a waterproof housing for underwater shooting.
Plus, the Hero 5 was the first GoPro with a built-in LCD display screen on the back of the camera.
Every GoPro since the Hero 5 comes with both of these features.
GoPro Hero 7
The next major GoPro release was the Hero 7.
This was the first GoPro camera with built-in HyperSmooth, which promised “gimbal-like stabilization.” Every GoPro with HyperSmooth has amazing video stabilization, even in the roughest conditions. In fact, depending on your personal video quality preferences, you may not even need to use a gimbal or external stabilizer with newer GoPro models.
The Hero 7 was also the first GoPro Hero to include custom shooting presets via the back-facing LCD touchscreen for easy camera operation.
GoPro Hero 9
The latest GoPro release is the first to include a built-in front-facing screen (more on this below). It’s great for vlogging, taking selfies, and composing your shots while standing in front of the camera.
Additionally, the Hero 9 boasts the highest resolution of any GoPro camera. At 23.6 megapixels, the resolution is roughly double that of its predecessors. This allows for shooting higher-resolution photos (20 megapixels) and videos (up to 5K).
From here on out, I’ll be talking solely about the GoPro Hero 9.
Design and ergonomics
Aside from the inclusion of the front-facing screen and the relatively large size, the Hero 9 looks like many other modern GoPros. It has two physical buttons – one on top and one on the side – and a rear touchscreen LCD.
Accessing the camera’s many features is quite simple, thanks to the inclusion of shortcuts and presets that can be accessed via the rear LCD.
The Hero 9 is powered by a rechargeable battery. It can also be charged via the USB-C port, the only built-in port on the camera. If you desire additional ports such as a 3.5mm microphone jack and a micro HDMI port, you need to buy the GoPro Hero 9 Media Mod (more on this below). The Hero 9 uses a single micro SD card to record.
The Hero 9 is waterproof up to 33 feet (10 meters) without a waterproof housing, though dive housing can be used to further waterproof the camera.
Finally, the Hero 9 can be used without a cage, thanks to the built-in folding fingers on the bottom of the camera. That way, you have the mount directly on the camera base.
GoPro Hero 9 Pros
Now let’s take a look at some of the GoPro Hero 9’s best features, starting with:
Best photo and video quality ever
Thanks to the Hero 9’s impressive resolution, image quality is at an all-time high. You can now shoot 20-megapixel photos in both JPEG and RAW format, and videos can be shot at 5K/30p or 4K/60p.
Even if you don’t intend to export a 5K video, shooting at this resolution can be beneficial for post-production. When you shoot at 5K, you can crop your video later without sacrificing resolution. You can also take high-quality still shots from your 5K video footage.
Front-facing screen
While some may scoff and say that front-facing screens are only important for vloggers, don’t knock it until you try it. Being able to see your composition from the front of the camera will change the way you shoot. It’s especially helpful when you stick the camera in a tight corner.
But if you’re still not sold on the front-facing screen, there’s an option to disable it and simply display camera settings instead.
HyperSmooth stabilization
Shaky video footage has been long gone since the Hero 7 first debuted with HyperSmooth. Somehow, GoPro keeps finding ways to improve HyperSmooth, and it’s in its third version with the Hero 9.
Besides eliminating video shake from sports footage, HyperSmooth helps with another GoPro feature: TimeWarp.
Essentially a moving time-lapse, TimeWarp is great for conveying the passage of time while on the move (think walking, hiking, or driving), and HyperSmooth keeps that footage stable.
Horizon Leveling and Scheduled Capture
A new feature on the Hero 9 is Horizon Leveling. When enabled, this automatically keeps your video’s horizon straight.
Since the camera tends to be mounted on a moving subject, keeping the horizon straight is something that many GoPro users often struggle with.
Scheduled Capture is another new feature that allows you to schedule ahead of time when the GoPro should start shooting. It’s especially helpful for creating time-lapses.
Improved internal microphones
Ever since the GoPro was designed to work without a cage, the sound quality has gradually improved. The Hero 9 has three built-in internal microphones, and they do a great job of picking up audio. The only time the audio seems muddled is after the camera has been submerged in water.
If you want to get the best possible audio out of the GoPro, you can do so by adding an external microphone. However, for that you’ll need to buy the Media Mod (discussed below).
Mods
Starting with the Hero 8, GoPro began releasing Mods to add features to its cameras.
The main Mod is the Media Mod, which is aimed at vloggers. This Mod includes cold shoe mounts for adding accessories, a micro HDMI port, a 3.5mm mic jack, and built-in microphones.
Despite the added cost, the Media Mod delivers on its promises and turns the GoPro into a viable vlogging camera.
Other available Mods include the GoPro Light Mod (a glorified flashlight), a front-facing Display Mod, and the ultra-wide Max Lens Mod.
(Most of these Mods are intended for newer GoPros, so if you own an older GoPro, be sure to check its compatibility before purchasing Mods.)
Lots of third-party accessory options
Since GoPro has been around for so long, there are tons of third-party accessory makers selling all kinds of things to expand the functionality of GoPro cameras.
Some accessories are specific to GoPro models (i.e., form-fitting cages), but many accessories, such as mounts, lights, and microphones, can be used with every GoPro out there.
Cons
No camera is perfect, and the GoPro Hero 9 is no exception. Let’s take a look at the drawbacks of this action camera:
Larger size
To accommodate a larger battery and the front-facing LCD, the Hero 9 is the biggest GoPro ever. It’s still a small camera, but its slightly larger size means that any previous form-fitting cages you might own will no longer fit.
You’ll also have to buy Hero 9 batteries and a battery charger.
Poor low-light shooting
While the GoPro Hero 9 has a larger megapixel count than previous GoPro Heros, it performs miserably in low-light conditions. If you want to shoot photos or videos after the sun goes down or indoors, use the Light Mod or consider a different camera.
Buggy software
In my experience, most modern GoPros are prone to freezing bugs, and the Hero 9 is no exception.
The good news is that there’s a fast way to reset the camera should it freeze:
Simply hold down the Record and Power buttons for a few seconds, and the camera will reboot.
Firmware updates
Almost immediately after the Hero 9 came out, GoPro released a statement saying that two firmware updates would be on the way before the end of 2020.
These firmware updates promised fixes such as:
- Increased touchscreen sensitivity
- Image quality improvements for 4K shooting
- GPS accuracy
- Scheduled Capture bug improvements
- External microphone compatibility with the GoPro mic adapter
- More possible fixes on the way
One firmware update was released in October 2020, and the second was delayed from November to December 2020. In GoPro’s own words, “The more we test HERO9 Black in the field and the more feedback we receive from users, the more we identify little upgrades that will have huge impacts on the user experience.”
Not everyone will find the issues listed above to be a problem, but if you’re suffering from any, just know that a fix is on the way.
Should you buy the GoPro Hero 9?
Now that I’ve gone through the bulk of this GoPro Hero 9 review, it’s time to ask:
Who should think about purchasing the Hero 9?
If you have an older GoPro…
If you have a model older than the GoPro Hero 7, the Hero 9 will seem like a huge upgrade.
Not only is the image quality better, but you’ll also have a touchscreen with presets for easier control, buttery-smooth video, and better sound quality.
If you have the Hero 7 or 8, there’s no need to upgrade unless any of the key features, such as the front-facing screen or 5K video, have appeal.
If this is your first action camera…
For those new to the action camera market, you’re in luck – because there are a lot of good options. There’s the cheaper DJI Osmo Action or the modular Insta360 One R, both of which are excellent picks. It’s worth researching both of those cameras to see if they better fit your needs.
However, if you want a tried and true action camera that has the best image quality, stability, and sound on the market, then the GoPro Hero 9 is the best that money can buy. You can grab it here.
What do you think? Are you interested in purchasing the GoPro Hero 9? Let me know in the comments below!
The post GoPro Hero 9 Review: Is It the Perfect Action Camera for You? appeared first on Digital Photography School. It was authored by Suzi Pratt.
Product Photography 101: The Complete Guide To Perfect Product Photos
20
Nov
Online shopping is the wave of the future. Already, e-retail sales account for 14.1% of all retail sales around the globe. That’s expected to grow to 22%. Every online retailer from small businesses to global giants face the same challenge — how to get customers to buy a product they can’t see. That’s where compelling, true-to-life product photography comes in. Continue Reading
The post Product Photography 101: The Complete Guide To Perfect Product Photos appeared first on Photodoto.
Review: the DJI Mavic Mini 2 is the perfect drone for beginners
05
Nov
DJI Mini 2
$ 449 | DJI.com
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A little over a year ago, DJI introduced the Mavic Mini. Its most notable feature was a takeoff weight that fell below the threshold of 250g (0.55 lbs). Now DJI is back with the Mini 2, which addresses the most important requests from users and still checks in at 249g. In the process, the Mavic branding has given way to a shorter name: the DJI Mini 2.
Jump to:
Camera | Controls | DJI app | Other upgrades | What’s it like to fly? | Who’s it for?
The original Mini was packed full of features and easy to operate; the DJI Fly app was introduced at the same time with a slick, pared-down and intuitive interface. But the drone also came with limitations that frustrated users, including spotty transmission and the ability to only capture JPEG files were frequently cited shortcomings.
The Mini 2 addresses these concerns and more. Users will pay slightly more for a drone with a higher quality camera that can record up to 4K/30p video, capture Raw+JPEG files, and features DJI’s robust OcuSync 2.0 transmission technology instead of relying on Wi-Fi. So, is it worth upgrading from the original Mini? Let’s find out.
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View our DJI Mini 2 sample gallery
Key Features
- 249g total weight
- OcuSync 2.0 transmission
- 1/2.3″ CMOS image sensor
- 24mm equivalent lens (84º FOV)
- F2.8 aperture (fixed)
- 12MP photo resolution
- JPEG + RAW images
- 4K/30p and 1080/60p video (100 Mbps bit rate)
- Up to 4X (2X lossless) zoom
- 31-minute flight time
Let’s start by comparing the Mini 2 to its predecessor, the Mavic Mini. Though some specifications are similar, those that have changed are significant.
| Mavic Mini | Mini 2 | |
|---|---|---|
| Takeoff weight | 249g | 249g |
| Flight time | 30 minutes | 31 minutes |
| Drone size (Folded) | 140x81x57 mm | 131x81x58 mm |
| Camera Sensor | 1/2.3-inch CMOS, 12MP | 1/2.3-inch CMOS, 12MP |
| Max. Video Resolution | 2.7K/30p @ 40 Mbps | 4K/30p @ 100 Mbps |
| Lens | F2.8, FOV 83º, 35mm equivalent at 24mm | F2.8, FOV 83º, 35mm equivalent at 24mm |
| Photo File Type | JPEG | JPEG + RAW |
| Video File Type | .MP4 | .MP4 |
| Zoom Capabilities | None | 2X @ 4K, 2X @ 2.7K, 4X @ 1080p |
| Return to Home | No | Yes |
| Transmission | Wi-Fi | OcuSync 2.0 |
| Maximum Distance | 4km | 10km |
| Image Modes | Timed Shots | AEB (Auto Exposure Bracketing) Triple Shot, Timed Shots |
Not much has changed when it comes to the overall design of the Mini 2. Its body is compact, its propellers need to be screwed in, the legs are foldable, the battery and MicroSD slots are located in the rear, and the vision positioning sensors are placed on the bottom of the aircraft. If not for the ‘4K’ lettering imprinted on the camera and a ‘Mini 2’ logo on the top left-hand arm of the vehicle, it would be difficult to tell them apart.
Registering the Mini 2 with the FAA, or other regulatory agencies with a similar 250g cut-off isn’t required
Also worth noting: the Mini 2’s 249g weight doesn’t exempt anyone from the Federal Aviation Administration’s (FAA) rules and regulations for operating unmanned aircraft. It just means registering a Mavic Mini with the FAA, or regulatory agencies in other countries with a similar 250g cut-off isn’t required.
Camera
The Mini 2 has a 1/2.3″ CMOS sensor with a 12MP camera, much like the original Mini and Mavic Pro. The camera has a 24mm (equiv.) fixed-aperture F2.8 lens with an 83º FOV, and an ISO range of 100-3200. What many buyers will appreciate this time around is the ability to capture Raw images in addition to JPEG.
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| The camera on the Mini 2 fits into an impressively small, but effective, 3-axis gimbal. |
For those not familiar with the Mavic Mini and looking at a Mini 2 for the first time, you’ll be impressed with the 3-axis gimbal DJI managed to place on such a tiny machine that easily fits in the palm of your hand. The footage captured is typically smooth and stable. DJI also claims this particular drone can withstand wind speeds up to 24mph, thanks in part to upgraded motors.
For those looking at a miniature drone for the fist time, you’ll be impressed with the 3-axis gimbal
A useful feature that seasoned photographers will surely make use of is Auto Exposure Bracketing (AEB); the Mini 2 can take up three shots, one underexposed, one normal, and one overexposed. While DJI says the shots are automatically stitched together, I found all three appeared separately on my memory card. Either way, they can be combined in post-processing for an HDR image.
The original Mavic Mini could only capture up to 2.7K/30p footage at 40 Mbps. The Mini 2 now allows you to record in resolutions up to 4K/30p, 2.7K/30p, and 1080p/60p at 100 Mbps. You can also zoom in on subjects while recording. Both 4K and 2.7K allow up to 2X zooming, and 1080p resolution allows you to hone in on a subject up to 4X, though the quality only remains lossless at 2X zoom.
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The Controls
DJI decided it was time to do away with the remote from the first Mavic Mini. Replacing it is a remote that replicates the design and functionality of the controller on the Mavic Air 2. This upgrade makes sense for a lot of reasons; it’s easier to hold and despite the fact that I still find it challenging at times to clamp my smartphone in, its placement above rather than beneath the remote makes viewing the display screen way more convenient.
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| The remote for the Mini 2 follows the trend of the new Mavic Air 2, mounting a smartphone above the control sticks instead of below for improved visibility. |
The front of the remote contains a ‘Return to Home’ button on the left-center area. This is a useful feature for beginner pilots who may not be comfortable with flying back to the home point – especially when battery life is running low. In the center is a switch that allows you to navigate between three flight modes – ‘Cine,’ which slows the drone down to 13 mph for cinematic-type footage, ‘Normal’ (22 mph), and ‘Sport’ which lets you fly up to 36 mph. To the right is the ‘Power’ button. I’m a fan of this simple layout as it gives you instant access to necessary commands.
An ‘Fn’ button on the top-left-hand corner activates an auxiliary light that’s useful for visibility when landing in poorly lit scenarios. On the upper-right-hand side is the ‘Photo/Video toggle’ button that allows you to instantly switch back and forth between the two modes. A gimbal wheel on the top-left-hand corner allows you to tilt the camera up and down while the top-right-hand corner contains a shutter button for taking images or recording video clips. The joysticks can be unscrewed and stored on the bottom of the remote for easier transport.
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The DJI Fly app
With the release of last year’s Mavic Mini, DJI also introduced the Fly app. It’s cleaner, powers the Mavic Air 2, and is more streamlined than DJI’s GO 4 app – which is compatible with more advanced drones including the Phantom 4 and Mavic 2 series. A top progress line allows you to view how much battery life is left on the drone, and the control panel can be accessed in the upper-right-hand corner.
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| The DJI Fly app is more streamlined than the DJI GO 4 app used with DJI’s more advanced drones, and offers a good balance of simplicity and control for beginners. |
On the left-hand side, above the shutter button, is a rectangular photo icon. This pulls out a menu that serves as access to all the features you need to capture imagery. Starting from the inside, a menu displaying the options of Photo, Video, QuickShot, and Pano appears. From there, you can customize your settings for each mode.
On the photo end, you can select regular, AEB, and Timed Shots. Video pulls out to a menu that allows you to select resolution and frames-per-second. When you start recording, a zoom button displaying either ‘2X’ or ‘4X’ depending on the resolution appears next to the Shutter button on the right-hand side. You can also slide it up and down for smoother zooming. It’s easy to use even while recording.
This sample reel from the Mini 2 includes 4K, 2.7K and 1080 footage, as well as 2x and 4x zoom shots.
The Mini 2 features five different options for QuickShots versus the original Mini’s four. As before there’s the “Dronie”, which flies up to 120 feet above its target, the “Helix” which spirals at a distance up to 120 feet as well, the “Rocket”, and the “Circle”. The latest addition, “Boomerang”, flies away from and back to the subject in an oval path. Like the original Mini, there aren’t any Intelligent Flight modes, like ActiveTrack or Point of Interest, available.
Finally, there are three different options for creating a panorama. “Sphere”, which resembles a tiny planet, captures twenty-six images. “180º” captures seven images for a landscape perspective while wide captures a 3×3 tile consisting of nine images. Unlike the Mavic Air 2, there isn’t an option to create a vertical panorama.
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Other important upgrades
There are two other significant upgrades to the latest Mini beyond the camera: upgraded motors and the addition of DJI’s OcuSync 2.0 transmission technology.
Regarding the motors, the Mini 2 is no longer ‘quite noisy for such a little machine,’ as I stated in my review of the original Mavic Mini, and also accelerates at a faster pace when taking off and in the air, especially in windier conditions.
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As for the transmission tech, the Mini 2 doesn’t rely on Wi-Fi communication. With OcuSync 2.0, dual-frequency transmission automatically alternates between channels to prevent signal interference between the remote and drone. DJI claims connectivity up to 10km (6.21 miles). While that’s impressive, it is important to keep the drone within your visual line of sight at all times.
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What’s it Like to Fly?
I was impressed with the original Mavic Mini and am even more delighted with the upgrades that the Mini 2 boasts. The updated motors really make all the difference as far as general noise and acceleration are concerned. Lately, it’s been windy where I live, and the drone handled gusts quite well, delivering smooth footage and crisp images.
What I enjoy most about this entry-level drone is how compact it is. DJI sent me the Fly More combo ($ 599), which also includes three batteries, a charging hub and a case. Everything, including the three-battery charger, fits neatly into the case and all components weigh a little over a pound. I found myself taking off unexpectedly in places, on impromptu shoots, where I may have hesitated with larger drones that needed the propellers snapped on. It feels effortless to launch and fly.
I was impressed with the original Mavic Mini and am even more delighted with the upgrades that the Mini 2 boasts.
The only minor snag I encountered is that the gimbal would sometimes flip back up slightly if I pointed it straight down. It may be an issue with the review unit, but I was a bit annoyed when I had to readjust the camera to achieve a top-down shot.
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Who’s if For?
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The Mavic Mini 2 is an excellent drone for hobbyists and beginners alike. One particular line that resonates is that this is ‘a drone that grows with you.’ The original Mini had its limitations with JPEG-only imagery, 2.7K video footage, and a Wi-Fi signal. DJI took the logical next steps to ensure that anyone purchasing the Mini 2 could accomplish a lot more with their investment.
That being said, with the recent release of the Mavic Air 2, which retails at a few hundred dollars more than the Mini 2, it’s clear that Intelligent Flight modes, which allow you to track and follow subjects, won’t ever be included. If you’re looking to upgrade to a drone with a similar camera that includes those capabilities, can produce higher-quality .MOV film clips, shoot hyperlapses, and even simulate FPV flight, all while offering obstacle avoidance, you will need to upgrade. Serious photographers may even want the 1″ CMOS sensor that the Mavic 2 Pro offers.
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One final thing I found odd for drone aimed at beginners is that images taken for panoramas aren’t stitched together, or synthesized, in the aircraft. This is something the Mavic 2 series and Mavic Air 2 performs automatically. While you can pull a completed version of your pano off the media library in your Fly app and instantly share it to social channels, the quality is inferior compared to the imagery from your memory card, which stores images from each panorama in a separate folder. This strikes me as a strange move on DJI’s part since most beginners may not be ready or willing to do the extra work in post-processing.
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Final Thoughts
DJI took an excellent initial concept for a beginner-level drone, listened to feedback from the community, and made some significant improvements. Despite some minor issues, the Mini 2 is a versatile little machine that is easy and convenient to transport and packs a number of sophisticated features into a small package. Mavic Mini owners will definitely want to upgrade and for those first-time buyers, the extra $ 100 you’ll spend is well worth it.
What We Like:
- 4K camera with zoom capabilities
- Raw photo capture
- OccuSync 2.0 transmission
- Quieter motors than predecessor
What We Don’t:
- No obstacle avoidance sensors
- No .MOV files
- Gimbal can be jerky when facing directly downward
Articles: Digital Photography Review (dpreview.com)
Film Fridays: Defining the ‘perfect’ lens
20
Jun
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| Photo: 35mmc.com |
What makes a lens ‘perfect?’ Is it a lack of distortion and aberrations? Is it measured by sharpness across the frame or the dreaminess of its bokeh balls? Are modern lenses, with all their technical achievements, really better than their film-era counterparts? And can a ‘flawed’ lens still be considered perfect?
Ultimately all lenses have some sorts of ‘characteristics’ based on their design. And how much you notice and appreciate these characteristics depends entirely on what you shoot and personal taste. To that regard, there is no perfect lens, or rather there is no universally-perfect lens. But there are perfect lenses for individual photographers, ones that allow you to work within a state of harmony.
35mmc’s Hamish Gill dives deep into the subject. Read on…
Read: Defining the ‘perfect’ lens
About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at 35mmc.
Articles: Digital Photography Review (dpreview.com)
How to Choose the Perfect Focus Mode For Every Situation
16
Jun
The post How to Choose the Perfect Focus Mode For Every Situation appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Do you struggle with choosing a focus mode? Do you want to know how to choose the perfect focus mode, every single time you pick up your camera?
You’ve come to the right place.
Because while it may seem to difficult to choose the best focus mode for the situation, there are a few guidelines you can use to ensure you nail focus, consistently.
Let’s dive right in.
The three key focus modes
Most cameras are equipped with three key focus modes:
AF-S, also known as One Shot.
AF-C, also known as Continuous, also known as AI Servo.
Manual (sometimes abbreviated as M).
Note that some cameras include an additional focus mode, known as AI Focus, also known as AF-A. But it’s a mode that I never use, and I certainly don’t recommend to others (it’s frequently finicky, and not very effective).
Instead, I suggest learning how to use the modes listed above, and you’ll do just fine!
So how do each of these key focus modes work?
Assuming that you use the shutter button to activate focusing:
When set to AF-S, your camera will acquire focus as soon as you half-press the shutter button. And that point of focus will lock until you let go of the shutter.
When set to AF-C, your camera will begin to acquire focus when you half-press the shutter button. But it will continue to refocus as your subject moves (or as your camera moves).
Canon EF-S 24mm f2.8 STM Lens | 24mm | f/5.6 | 1/800s | ISO 320
Note that you can tell a camera in AF-C to track a subject as it moves through the frame, or to continuously acquire focus at the center of the image, etc.
When set to manually focus, your camera won’t focus at all. You have to do all the focusing work via the focus ring on your lens.
Make sense?
So, to recap:
AF-S focuses and locks.
AF-C focuses and keeps focusing, potentially even tracking a subject as they move.
And manual leaves control over focus to you, the photographer.
But when should you use each of these focus modes?
Read on to find out!
When should you use your AF-S focus mode?
AF-S focus mode is my go-to, and the mode I use most frequently. When choosing a focus mode, AF-S is my first thought. And if you’re more of a still photographer (i.e., not an action/sports/wildlife shooter), I recommend you use AF-S mode all the time.
This is because it has so many applications, from landscape to street to portrait and more.
Canon EF 50mm f1.8 Lens | 50mm | f/1.8 | 1/320s | ISO 200
Basically, whenever you’re shooting a non-moving subject, AF-S is the way to go. You can set the focus point to the center of the frame, half-press the shutter button to lock focus, and then compose the shot however you like.
(This is often referred to as the focus and recompose technique.)
For instance, if you’re photographing a street scene, you can focus on a prominent element, such as an interesting poster. Then you can carefully compose the scene. And, as soon as all the elements come together (e.g., a person walks through in just the right place), you can take the shot!
I’m also a fan of using AF-S for handheld landscape photography. I’ll often find myself wanting to put elements off-center, so I’ll lock focus in AF-S, then shift the composition slightly.
Canon EF 100mm Macro f2.8L Lens | 100mm | f/8 | 1/1250s | ISO 200
And then, when I take the shot, it looks exactly the way I envisioned.
Really, AF-S is an extremely useful mode and the one I recommend you use it whenever you’re shooting a motionless scene.
When should you use your AF-C focus mode?
You should use AF-C focus mode whenever you’re shooting action.
400mm | f/7.1 | 1/1250s | ISO 200
You see, AF-C mode allows you to focus and refocus, or focus and track a subject as it moves throughout the frame.
This is invaluable when shooting sports, where players rarely stay still long enough to allow for easy focusing.
AF-C mode is also great for wildlife and bird photography because you’re frequently faced with fast-moving subjects at high magnifications.
And if you’re an insect photographer, you’ll also want to use AF-C mode, assuming you’re shooting an active subject such as a butterfly.
Even pet and street photographers can profit from using AF-C a lot of the time (though I recommend switching between AF-C and AF-S, depending on the situation).
50mm | f/2.8 | 1/640s | ISO 200
You should also be aware that AF-C often offers quite a few useful AF Area Modes (which are mostly used for tracking). These allow you to specify whether a subject should be tracked at a single autofocus point, by a single point and nearby surrounding points, or across the entire frame.
So, bottom line:
If you’re choosing a focus mode when shooting action, pick AF-C.
When should you use your manual focus mode?
Manual focus is often a mode of last resort, and the one that you go to when AF-S and AF-C fail.
Manual focus is very, very slow. It can also be frustrating if you’ve not had much practice with it before. But it’s the only mode that is consistently accurate, no matter the lighting, and no matter the size or color of your subject.
You see, there are some situations where AF-C and AF-S just don’t work well.
- When the light is low
- When your subject is heavily backlit
- When your subject includes very little contrast
- When you’re working at very high magnifications
50mm | f/2.8 | 1/1000s | ISO 200
Whenever you’re confronted by these situations, your autofocus will hunt like crazy.
Until you switch to manual, that is!
For instance, I do all of my macro photography in manual focus mode. My lenses just can’t handle focusing at such close distances.
100mm | f/2.8 | 1/250s | ISO 200
I also do still life photography while focusing manually, because I often work in dim light (with a couple of flashes).
I’ve also used manual focus when photographing birds, because my AF-S and AF-C modes struggle when shooting backlit silhouettes.
Note that manual can also be used for finer control over your point of focus. Many landscape photographers use manual focus mode for this very reason. It allows you to choose a point of focus that maximizes your depth of field, and it even allows you to do precise focus-stacking with ease.
24mm | f/11 | 1/4s | ISO 200
So don’t think that manual focus is only for a few specialized genres of photography. It can be useful in a number of different situations, and it pays to practice frequently.
That way, next time you’re in a situation where your autofocus isn’t working, you can quickly switch over to manual and nail the shot.
How to choose the perfect focus mode: Conclusion
Now that you’ve finished this article, you know that choosing a focus mode doesn’t have to be hard.
Because you know about AF-S (which is great for still subjects).
You know about AF-C (which is perfect for action photography).
And you know about manual focus, which is useful in quite a few scenarios (including macro, landscape, and still life).
Now over to you:
Which focus mode is your favorite? And how do you go about choosing a focus mode? Let me know in the comments!
The post How to Choose the Perfect Focus Mode For Every Situation appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Unsplash: The Perfect Source for Free Images?
14
May
Have you ever wanted to make your life simpler when it comes to finding stock photos, and by simpler I mean not dealing with confusing licenses, being afraid that one day an image you used may change its license, and not paying for subscriptions or collections of images? Well you are in luck as today I will be going into Continue Reading
The post Unsplash: The Perfect Source for Free Images? appeared first on Photodoto.
Things Photographers Will Do For The Perfect Shot (video)
04
Apr
The post Things Photographers Will Do For The Perfect Shot (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
With everything happening in the world at the moment, I thought we could all do with a bit of a laugh. So, I found this video that shows some of the crazy things (and poses) that photographers do to get the perfect shot.
So take a look, and let me know if you have done any of these “moves” to get just the right shot. Let’s face it, most of us will have at least done one of them!
Share with us in the comments section, along with the photo you achieved from your position.
You may also like:
- Why Using Ant’s View Perspective Can Take Your Photography to the Next Level
- Prime Lenses: Can you really zoom with your feet?
- Examples of Perspective Change for More Dynamic Images
- Perspective in Photography – Don’t just stand there move your feet!
- 5 Great Yoga Exercises for Photographers (with Illustrations)
- Change of Perspective in Photography – Start from the Top
- How to Improve Your Photography by Changing Perspective
The post Things Photographers Will Do For The Perfect Shot (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
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