We shot this entire review on the iPhone 13 Pro. See real world examples of Cinematic Mode, Portrait Mode, Night Mode and more. Also, find out the one thing that made Jordan declare, ‘It’s like having a fork dragged across my eyeballs.’
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Sony first announced its official entry into the drone sector early this year at the Consumer Electronics Show (CES). Though there still aren’t solid details on a release date or pricing for its Airpeak drone, the company recently unveiled some stunning wide-angle footage captured over Okinawa, Japan’s, remote island called Irimote. Besides the scenery, the video also showcases the Airpeak drone in action carrying both Sony’s a7S III and FX3 cameras.
What’s revealed, as well, is how the drone is able to carry a payload that includes their new 14mm F1.8 GM lens. Although rather large in size for a drone, Sony claims that the Airpeak is the smallest model available that is able to carry its Alpha line of cameras. For comparison’s sake, Freefly Systems has been working on its Astro drone, which is compatible with Sony’s a7R IV camera, but hasn’t been released yet.
One issue pointed out about the Airpeak is that it is a quadcopter. For comparison’s sake, DJI’s Matrice 600 is a hexacopter. If one rotor fails on the Matrice 600, the drone will still remain airborne. That’s not the case with a quadcopter, and Sony camera’s aren’t exactly cheap. We can also see from the latest video that two batteries are needed to power the drone. This is a typical failsafe, also found in DJI’s Inspire 2, should one battery fail during flight.
Much like a drone of its class, the Airpeak also has an additional front-facing pilot’s camera as well as obstacle avoidance sensors on the front and back of the aircraft. There aren’t any sideways sensors but unlike a DJI Phantom or Mavic series drone, which is constrained by a 3-axis gimbal that only tilts up and down, the AirPeak doesn’t need those additional sensors since it only needs to fly forwards or backwards since the camera can also rotate from side to side.
It also looks as though Sony hasn’t created a gimbal for the Airpeak yet. Instead, the Gremsy T3V3 3-axis camera stabilizer is attached. It is unclear whether or not Sony will develop their own gimbal. The remote is clearly made by Sony, since the branding is there, and a tablet is attached – suggesting, for now, that a built-in screen won’t be available.
The software being used to power the drone is built on Mapbox, which also powers self-driving cars. What this means is that Airpeak users will be able to pre-plan flights.
This isn’t the first teaser video Sony has released for its Airpeak drone. Sony also introduced a VISION-S concept car at CES. The Airpeak was featured in the video, above, where you can see its landing gear extensions retract upward, after takeoff, to give a fuller field of view for the camera. Wind resistance is another pain point for drone users. Sony recently created a wind tunnel to illustrate how well the Airpeak handles gusts up to 45 mph.
As mentioned above, a definitive release date and price point has yet to be announced. Sony is still looking for professional drone videographers and photographers, its target audience, to test out the Airpeak. You must be located in the United States or Japan to participate at this time.
Genesis + Ronald, Before Prom, Westchester Ave (May 2019)
David ‘Dee’ Delgado has spent his entire life exploring New York City. Born and raised in the Bronx, in his younger years he traveled the city as a graffiti artist before transitioning into photography. “I got busted a couple of times and I got tired of getting locked up for doing graffiti,” he says. “So I started taking pictures of my friends.”
He worked as a graphic designer but says he found himself in a creative rut in a career where all his creativity was expended on behalf of the clients – “it was soul-draining in a sense.” And so Delgado found himself gravitating back to his cameras. Six years ago, at the suggestion of his wife, he quit the job that he hated and dove head-on into documentary photography.
Shot entirely on 4×5 film, Delgados project, ‘On My Block’, is an homage to the people and places that make New York City so special
These days Delgado works as a freelance photographer for clients like Getty, Reuters, Gothamist and others. He’s spent the last year very busy, on the ground documenting stories about COVID-19, the George Floyd police brutality protests and the 2020 election. In between all of that he’s continued to work on an ongoing personal project called On My Block, which he debuted earlier this year on his Instagram account.
Shot entirely on 4×5 film, On My Block is a homage to the people and places that make New York City so special. We spoke with Delgado to learn more.
Saint Guadalupe, Simpson Street (February 2019)
When did you start shooting images for On My Block?
I started photographing On My Block in December 2018, I went into it with a direct purpose, although it has morphed. In the beginning, I was thinking about it in terms of gentrification – I’m a native New Yorker, I was born and raised here and I’ve seen how much the city has changed. I turn 45 this year, so I’ve been around for a decent amount of time.
Shooting 4×5 is a lot slower, especially when you are using a field camera. It slows things down and lets you connect to people, have a conversation and an interaction
I started seeing the city change so much and was reminiscing back to when I was a graffiti writer and I would go around the city. I decided I wanted to document the city and the people in it. What they are and how I remember them and how I remember it being like. That’s when the project morphed into more of a love letter to New York and less about gentrification. It’s a love letter to the city that I love and know.
Black and his Son Liam, Barber Shop, Cypress Ave (February 2019)
What camera are you using to shoot the work?
I did not want to shoot digital for this project. I have my cameras that are meant for assignment work and then I have my cameras that are my personal cameras that I use just because I love the medium.
This gives me a break and it gives me the ability to be a little more artistic. As opposed to the hard news, with this, I can slow down and make a pretty photo
This whole project was shot on a Toyo 45A which is a 4×5 field camera. It’s not a light camera. It’s a heavy camera. Lugging that camera along with the film, film holders, and a dark cloth is not an easy task. Shooting 4×5 is a lot slower, especially when you are using a field camera. It slows things down and lets you connect to people, have a conversation and an interaction, you can make the connection through the camera in a sense. It just slows down the whole process.
Why was it important to shoot on film? How do you select what film stocks you use for this project?
I’m a big film buff and I knew I did not want to shoot this in black and white. I wanted it to look less documentary and more personal. The project was shot on Kodak Portra 160, I just found the soft and warm tones of the film leant themselves to what I wanted the project to look like.
Kayla, Malcolm-X Boulevard and W.117th St (July 2019)
How does being born and raised in the Bronx influence the way you see and photograph in other New York City neighborhoods?
When you are young in New York it’s like, ‘don’t leave the stoop,’ but I always wandered. I would always push. ‘I can make it down the block to the bodega before mom notices.’ I always pushed the boundaries of where I was allowed to go. Once I became a little bit older and I was able to leave the stoop I would jump on the subway and I would pick a stop and go there. I would end up in Prospect Park, I would end up in Queensbridge, I would end up in Washington Heights.
I was always pushing the boundaries of my borders and was interested in embracing the city for what it is: multinational and multicultural
I’ve always been the person that was talkative and I would speak to people, I would connect to people. I’d be in Queens and when I was growing up, people in Queens used to use slang that was called ‘dun language’, and me being from The Bronx, I didn’t know how to speak dun language. But then I met guys who did and I would practice my dun language with them.
Then I’d be in the Heights, you know I’m Puerto Rican, and I’d be around the Dominican community and they are having Tres Golpes for breakfast and I was like ‘what the hell is that?’ and its salami and fried cheese and yucca, and I’d try it. I was always pushing the boundaries of my borders and was interested in embracing the city for what it is: multinational and multicultural.
Monica Flores, Macy Place, and Prospect Ave (December 2018)
Do you see this work as being related to the work you do as a freelance news photographer, or is this a project that gives you a mental break from that world?
This gives me a break and it gives me the ability to be a little more artistic and have a little bit more freedom. As opposed to covering the hard news, with this, I can slow down and make a pretty photo.
What can we expect to see as you continue the project?
It’s a project that is morphing on a continuous basis. Right now I’m playing with archival photos, I may include a different factor of photography in it. Chapter 2 is something I am still playing with.
What’s your quintessential New York food and where is the best place to get it?
Oh wow. Hmm. One of my favorite things – I was raised in Little Italy in the Bronx, 183rd and Crotona – is Madonia’s chocolate bread on Arthur Avenue. That’s definitely something that if you are here in New York, you have to try.
David ‘Dee’ Delgado is a Puerto Rican independent photographer based in New York City mainly focused on documentary and photojournalism. The interest in learning and his desire to help people made him realize the necessity of documenting his surroundings and broadening the conversation with the use of a camera. See more of Dee’s work on his site, dispatch.nyc.
A thread on Reddit has brought a neat photography documentary from 2017 to our attention. ‘One Shot: Photographing the Olympic Games’ is a behind the scenes look at how photographers capture the iconic images of the Olympics, including a special focus on photographers setting up to capture the 100m men’s final in Rio de Janeiro during the 2016 summer games.
Featured photographers include multi-awarded photographers such as Lucy Nicholson, Dave Burnett, Bob Martin, Tim de Waele, and Tsuyoshi Matsumoto. Nicholson had a very specific image in mind for the 100m men’s final in Rio. As she sets up her gear, nine hours ahead of the starting gun kicking off what is one of the most exciting 10 seconds in sports, Nicholson talks about how she wants a tight shot of the winner with other sprinters on either side of the winner. ‘You only get one chance to take the key shot,’ Nicholson says.
A chart showing Sports Illustrated’s plans for photographing the 100m men’s final in Rio. Click to enlarge.
The documentary, seen below, was awarded the Candido Cannavo Award at the World Final of the Milan Sport Film Festival in 2018. About 150 iconic images from nearly 100 different photographers over the last 50 years of Olympic games are featured. An iconic image tells a story for years to come. Long after the medals have been awarded to the victors, and even long after the photographer has passed, the images and the stories they tell remain. Presenter Jonathan Edwards, Olympic gold medalist triple jumper, says it well, ‘A story that’s taken a lifetime to create, told in one shot. One freeze frame.’
Years of planning are required to create iconic images, and in under a minute, an iconic photo can be sent halfway around the globe. The technology on display in 2016 during the summer games was incredible. Reuters was able to get the first photo of Usain Bolt winning the 100m men’s final out to its customers in 58 seconds. It’s safe to assume that the technology will have advanced even further when photographers head to Tokyo in 2021. And while the equipment and tools photographers use continue to evolve, photography’s importance when telling a story remains unchanged.
‘One Shot’ was directed and written by Peter Davies and presented by Jonathan Edwards. As pointed out by PetaPixel, the documentary can also be viewed on the Olympic Channel. It’s hosted on YouTube by Anthony Edgar, the Head of Media Operations for the International Olympic Committee. Edgar also appears in the video. His channel, linked above, includes a lot of interesting Olympics-related video content.
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
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.
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The post Things Photographers Will Do For The Perfect Shot (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
The post How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide appeared first on Digital Photography School. It was authored by Theodomentis Lucia.
Earlier today, I thought about playing some videos that I shot on my digital camera during my last vacation. Sadly, every time I tried to play them on VLC or Windows Media Player, I got a gray or green display on the screen instead. I realized that my videos were corrupt and thought of digging up and finding an ideal solution for it. To be honest, after some failed attempts, I was finally able to repair my corrupted videos. If you have also encountered a similar situation in the past, then you may learn something from my experience.
Read on to find out how.
What could have caused your videos to become corrupt?
Before we head into the details on how to repair corrupted videos, it is important to discuss a few things in advance. You should know the major reasons why a video gets corrupt or damaged so that you can avoid it in the future.
These reasons include:
The transfer process of videos from your digital camera to the computer could be halted mid-transfer.
You may have restarted the system while the video was still playing in the background.
Sometimes, a third-party tool like a video editing software can also end up corrupting a file.
The location (drive or partition) where your video is stored could be corrupted.
The meta content or the header of the video might be tampered with as well.
If you have forcefully tried to change the video extension or type, then it can corrupt the file.
The audio-video components of the file might not be synced properly or could be missing.
You have played the video with an unsupported media player, or there could be an issue with the video encoding.
Other logical issues related to video playback, picture, sound, etc. can also cause this problem.
How can you repair corrupted videos on Windows or Mac?
If your videos have been corrupted, then you need to look for the right tools to fix them.
Since there are so many tools out there to repair corrupted videos, I asked a friend of mine, who is an expert in the field. He recommended Recoverit Video Repair, so I decided to give it a try as well.
Ideally, Recoverit is a dedicated application to recover the lost or corrupt data of all kinds. However, it also has a dedicated video repairing tool that can fix various issues related to a video file.
After getting to know these features, I wanted to give Recoverit a try and found its click-through process pretty easy.
Once you have installed the Recoverit Video Repair application, you can follow these steps to fix your corrupt files.
Steps to repair corrupted videos and files
Step 1: Launch the Video Repair tool
If you have some videos to fix, then just launch the Recoverit application on your system and launch the “Video Repair” tool from its home page. Also, attach your digital camera to the computer and move your damaged videos to the system.
Step 2: Add corrupt videos to repair
Once you launch the Recoverit Video Repair application, you can just click on the “add” button to load the corrupted videos.
This will further launch a browser window, letting you locate and load the videos that are damaged. If you want, you can load multiple videos and repair them at the same time.
Step 3: Start the repairing process
After you have added the corrupted videos to the application, the interface will let you know. You can view the details of the added videos and even remove them from here.
If you are ready, then just click on the “Repair” button to commence the repairing process.
Step 4: Wait for the repairing process to be over
As soon as you click on the “Repair” button, the application starts fixing the loaded videos and displays the progress. Kindly be patient as of now and let the application complete the process.
Once the repairing process is completed, Recoverit will let you know by displaying the following prompt.
Step 5: View the repaired videos
You can now preview the results of the repaired process by clicking on the play icon adjacent to the video.
This opens a pop-up window with a video player that will let you play the repaired video. In this way, you can check the results of the application before saving the videos.
Step 6: Save the repaired videos
If you are satisfied with the results, then click on the “Save to Folder” button right next to the video.
If you want, you can also click on the “Save All” button to save all the videos. This opens a browser window, letting you select a secure location to save the videos.
Step 7: Run an advanced video repair (optional)
In the case that you are not satisfied with the standard video repairing results, then click on the Advanced Video Repair feature, which you can find at the bottom of the video player.
To run an advanced repair, you need to load a sample video to the application. The sample video should be shot on the same device as the corrupted video and must be in the same format.
After loading the sample video, you can start the advanced video repair process and view its results as well.
Conclusion
When using Recoverit, it’s easy to repair corrupted videos. Recoverit is able to fix all sorts of issues related to videos like missing fragments, gray/green screens, video not loading error, and so on and supports a wide range of video formats like MOV, AVI, FLV, 3GP, MP4, MKV, MTS, and more. It can fix all kinds of videos shot on a wide range of devices like digital cameras, drones, camcorders, and smartphones.
The video repair tool is available in three different purchase options – $ 29.95 a month, $ 39.95 a year, or $ 49.95 (lifetime purchase) for the Windows version. If you get it now, you can get 30% off Recoverit for windows or 30% off for mac.
Download and Get 30% off Recoverit video repair now by using the exclusive coupon code: LENOP09
Disclaimer: Recoverit is a dPS paid partner.
The post How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide appeared first on Digital Photography School. It was authored by Theodomentis Lucia.
Apple reveals the winners of the Shot on iPhone Night mode challenge
At the beginning of the year, Apple invited iPhone 11, iPhone 11 Pro, and iPhone 11 Pro Max users to share their best photos taken in Night mode. All 3 iPhone 11 models feature a Wide sensor with 100 percent Focus Pixels. As a result, Night mode automatically activates in low-light environments.
Thousands of photos were submitted from around the world. The winning photographers, selected from a panel of 10 judges, hail from China, India, Russia, and Spain. The judges, including Malin Fezehai, Tyler Mitchell, Sarah Lee, Alexvi Li, and Darren Soh shared their thoughts on what made the winning photos stand out.
Winning photos will be featured on apple.com, Apple’s official Instagram account which boasts 22.5 million followers, at select stores, on billboards around the world, and other third-party photo exhibitions.
Konstantin Chalabov (Moscow, Russia), iPhone 11 Pro
Location: Sakha Republic
Phil Schiller says: ‘Konstantin’s photo is a super-dramatic image shot with Night mode. It could be the opening shot of a great Cold War spy movie. It challenges us with intriguing questions — ‘Where is the driver? Where are they going? Why stop out here?’ A cool mist permeates the blue Russian hillside and snow-covered ground, framing the lonely vehicle with bright red lights that hint at an unknown danger.’
Brooks Kraft says: ‘A movie-like scene that leaves you curious about what happened in this snowy remote setting. Night mode captures the blue light exterior hue beautifully as well as the incandescent lighting inside the cab of the truck and the truck lighting — a wide variety of lighting.’
Andrei Manuilov (Moscow, Russia), iPhone 11 Pro Max
Mitsun Soni (Mumbai, Maharashtra, India), iPhone 11 Pro
Location: Quartiere San Lorenzo
Darren Soh says: ‘An amazingly well-balanced composition that throws so many questions back at the viewer — ‘Where is this? Who lives here?’ — and perhaps the most important — ‘Why is laundry hanging out to dry at night?’ As an architectural photographer, I am drawn by the image’s one point perspective that leads the viewer into the frame, right smack into the hanging pieces of clothing.’
Sarah Lee says: ‘I love this and feel it could only have been shot on Night mode. It is beautifully composed, uses symmetry very well, and without cliché to communicate a fascinating story about densely populated urban spaces and the way many people live. This work reminds me of Michael Wolf’s ‘Architecture of Density’ in its theme, but compositionally the photographer has their own take, which is really interesting.’
Location: Dubai, United Arab Emirates
Tyler Mitchell says: ‘This one blows my mind. I have no idea where that deep rich red light is coming from on the tree. It almost feels like a UFO sitting above the tree, just out of frame. Absolutely beautiful composition as well.’
Arem Duplessis says: ‘The rich red color of the tree and ground gives this picture an otherworldly quality. Paired with the night sky, it feels like a still from a sci-fi film.’
Rubén P. Bescós (Pamplona, Navarra, Spain), iPhone 11 Pro Max
Location: Sierra del Perdón
Phil Schiller says: ‘Photography is the art of light, and Rubén’s photo magically uses light to bring this art installation in Spain to life. The color in this Night mode image is a captivating orange, beautifully framing the band of pilgrims in sharp silhouette. The crackly details on the foreground rocks add to the story of the long and difficult journey ahead for these pilgrims before they reach their holy site.’
Alexvi Li says: ‘Taking great advantage of Night mode with exposure setting, the photographer captured the silhouette of a group of people in the city light backdrop. The ground in the photo reveals beautiful texture when shooting against the light. The simple composition quickly draws viewers into a story, while delivering good image quality.’
Rustam Shagimordanov (Moscow, Russia), iPhone 11
Location: Hamnøy I Lofoten, Nordland, Norway
Kaiann Drance says: ‘A captivating shot of a winter village by the sea, which must feel cold, yet looks warm with the glow against the rocks and lights inside the red cabins, inviting a story about the people inside.’
Malin Fezehai says: ‘I love how the lights in the red cabins give a sense of warmth in the cold. The layers in the image create depth and give me a sense of cold and warmth at the same time. It’s a beautifully captured landscape image of a winter evening.’
Yu “Eric” Zhang (Beijing, China), iPhone 11 Pro Max
Jon McCormack says: ‘This image represents iPhone at its best. Capturing life as it happens, no matter what the light is! The sense of moment, intimacy and place in this image is very good. It really transports the viewer to being right there.’
Arem Duplessis says: ‘This picture has a very real quality to it. The rising steam, the silhouetted figures backlit from the lamp all align perfectly in this magical caught moment.’
In this article, Catherine Hall tells us about what inspired her into photography, and gives us tips and tricks of the industry offering some advice to fellow photographers. What influenced you to photograph people? Over the years, I’ve tried many different types of photography, and at the beginning of my career all I knew was that I loved shooting but Continue Reading
The post Professional Photographer Catherine Hall’s Advice On How to Get The Perfect Shot appeared first on Photodoto.
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