360Photography

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  • DNP Photo launches new dye sublimation printer with mobile support and more

    DNP Photo has released its new QW410 compact dye-sublimation photo printer featuring a 4.5in print head, 5.9kg (13lbs) weight and relatively small dimensions at 20 x 19.6 x 24cm (8 x 7.75 x 9.5in). When compared to the maker’s DS-RX1HS and DS620A models, the QW410 has 28% and 35% lower power consumption, respectively.

    The model offers a number of key features, including a lay-flat printing function that reduces print curl, support for glossy and matte photo paper, an optional wireless accessory that add supports for directly printing from Android, iOS, Windows and macOS, as well as print speeds as fast as 19 seconds for 4 x 6in prints.

    The QW410 features a 300 x 300 dpi resolution and support for the following print sizes:

    • 4 X 6in
    • 4 X 4in
    • 4.5 X 8in
    • 4.5 X 4.5in

    Photographers who need to print photos while away from the office can pair the QW410 with an optional portable battery for use without an outlet. DNP Photo also offers an optional carrying bag. The photo printer is available to purchase from several retailers like B&H Photo in the USA, Canada, and Latin America for $ 469.

    Articles: Digital Photography Review (dpreview.com)

  • Autel pushes back EVO II launch to March after discovering pre-production bug

    Autel’s three EVO II drones were set for a late January release, but due to a last-minute software bug the engineering team discovered during production, Autel has confirmed to DPReview that its EVO II drones will likely be pushed back to a March release.

    The bug, which ‘could limit flight performance under normal operation,’ according to an email sent to us and copy shared on Autel’s social media accounts, is being addressed on the production line, rather than needing to be fixed by consumers as a day-one software update. Due to the combination of this delay and the Chinese New Year, Autel is estimating that the first units should hit shelves in March, although it notes ‘this is not a set date or time frame,’ as ‘things can always change.’

    The post, which is shared in its entirety below, thanks interested customers for their patience as the 18-member Autel team works to get units out as soon as possible.

    You can read our original Autel EVO II series coverage for more information about the impending drones and keep up to date with the latest developments via Autel’s Facebook, Instagram, Twitter and YouTube channel.

    Hello Everyone!

    First, we want to thank all of our fans and followers. It doesn’t matter if you just follow one of our social channels, or if you fly our products every day. Your support and enthusiasm have always kept us going here at the Seattle office.

    With the announcement of EVO II at CES, the response has been absolutely crazy. This community is exploding, and we thank you for your patience with us as we are still trying to catch up on responses. We also want to be as transparent as possible and give you all periodic updates on the status and availability of EVO II. That way you have the most up to date information straight from us and not just rumors.

    Our goal at CES was to get the initial units of EVO II (8k) into the hands of dealers by the end of January. Unfortunately, during production, we found a bug in our software that could limit flight performance under normal operation. Instead of shipping the hardware with a known issue and forcing users to perform day 1 updates, we have decided to delay the rest of production and shipments until we have resolved the issue. Our projected timeline is to have EVO II available for purchase in March. This is not a set date or time frame, and things can always change. But with the information we have today, that is our goal.

    The team in Seattle is very small and we are adding channel support as we can. We are looking to start up our website newsletter again in the next few weeks. So for any future updates, please check our website, the official social channels, and emails coming directly from us.

    We thank you for your patience. If you have any questions please do not hesitate to get a hold of us at support@autelrobotics.com

    Thank you all again and fly safe!

    Articles: Digital Photography Review (dpreview.com)

  • OnePlus promises major video improvements on its future smartphones

    Earlier this month smartphone manufacturer OnePlus hosted on Open Ears Forum, an event designed to gather user feedback, in New York City. This time around the focus was on smartphone videography and attendees included OnePlus users with varying degrees of video experience, from casual users to video shooters that use smartphones as a work tool.

    Now OnePlus has published its own comments from the Q&A sessions held at the event and committed to improving video quality and features on its existing products as well as upcoming models. The most important points include exposure and color consistency across all camera modules, LUT options in editing and a video night mode. You can see the full list below:

    • Exposure / color / white balance shift and consistency across all cameras
      Tuning all the cameras to have the identical exposure, white balance is our first priority and main goal.
    • Auto focus consistency
      We weren’t be able to reproduce the issue reported by the OEF attendees in our lab, but an upgrade both on hardware and software for auto focus will come in 2020.
    • Skin tone consistency
      Skin tone improvement is one of our top priorities. It will improve via future system updates.
    • Sharpness: Sharpness needs improvement across all scenarios
      We are trying to find the new balance between sharpness and noise.
    • Super stabilization: Support for 4K recording; Reducing noise and improving low light quality.
      There are hardware limitations, but 4K super stabilization will be supported in some of our future devices.
    • Dynamic range: Subject is lit but background is too dark
      We have been working on video HDR, which will solve these dynamic range problems.
    • Light flickering
      We’ve heard a lot of feedback about this, and we are working on de-flickering solutions to reduce this issue.
    • Panning shots are not smooth: Improve panning shots stabilization and smoothness
      So far, we weren’t be able to reproduce this issue in our lab, but smoothness and video are part of our key improvement points for 2020.
    • Faster camera
      Again, this is one of our main goals in 2020. Faster shutter requires updates from system, application, as well as the animation. It will constantly be improved via future updates.
    • Lens feature-parity: 1080P and 4K should be supported in all three lenses, allowing to switch between lenses while recording
      This is due to a hardware limitation in current devices, but we’re exploring ways to make it possible for future devices.
    • Limited 4K record length
      Having considered overall performance and temperature, we will not change current limit, but will keep working on optimizing this in the future.
    • Single handed use: Difficult to reach the top bar for features; Single hand zooming
      This is very important feedback for us, and we’ve already been discussing solutions with the design team.
    • Video editing
      We plan on completely updating our Gallery app’s video tools, so many of the features requested during the OEF will be supported. For color grading or LUT options, we will have news soon.
    • Pro video mode
      Pro video mode will be put into backlog, since our high priority is improving default video quality and use experience across the board.
    • Depth of field for tele camera recording (optical)
      We have already been researching and working on this feature, and the current quality has not reached our standard to release.
    • Zoom-in time-lapse
      We have some similar ideas for time-lapse as well, they are already in future product plan.
    • Reverse recording video
      Less frequent user scenario, so we’ve put into backlog. Our main focus in video is basic quality and user experience for all users.
    • Night mode for night video
      This is something we believe to be very interesting, we have already been researching and working on it.
    • AR emoji and stickers recording
      We still haven’t found a killer scenario for AR in video. There are some third-party apps that already offer interesting sticker features, so this isn’t a big priority for now.
    • Social media mode: Directly to twitter, crop ratio for Instagram, etc.
      We believe the image quality in third-party apps is of high importance and has a higher priority. We have been working on this, these features are planned after image quality improvement.
    • Light painting mode
      We decide not to follow on light painting effect due to a narrow user scenario.
    • 2 cameras recording at the same time: Wide and ultra-wide; rear and front
      This is already supported by current platform and cameras, but we are looking for user scene to fully take advantage of this feature.

    It’s a long list and we’ll have to see if the OnePlus engineers will manage to implement all of the features and improvements in it. In any case it’s good to see manufacturers interact this closely with its customers and vowing to make improvements that users are asking for.

    Articles: Digital Photography Review (dpreview.com)

  • Xiaomi asks users which camera manufacturer it should collaborate with

    Collaborations between smartphone camera manufacturers aren’t anything new. We’ve seen Leica labels on Huawei phones, the Zeiss logo on Sony and Nokia handsets and Motorola used to offer a Hasselblad-branded camera module for its Moto Z series. It’s often difficult to tell if the teamwork is mostly marketing-driven or actually happening on an engineering level but one thing is clear: smartphone manufacturers like the logo of a big-name camera brand on their devices.

    Chinese company Xiaomi has so far (as far as we know) worked without the help of a big name in the camera business, but it appears this could be about to change. The company launched a survey on the Chinese social media platform Weibo, asking users which camera company it should collaborate with.

    Image: Weibo

    Options included Hasselblad, Canon and Nikon. The ‘vote’ was won by Hasselblad. There is, of course, no way of knowing if we’ll see a Xiaomi phone with Hasselblad-branded camera anytime soon but out of three camera manufacturers, it would be the most logical choice. It’s the only one with previous experience in the mobile business (through the Hasselblad True Zoom module) and has previously collaborated with other manufacturers in the camera category. In any case, we’d hope a company like Xiaomi does not base strategic business decisions solely on social media surveys.

    Articles: Digital Photography Review (dpreview.com)

  • Video: 20 couples poses in under 10 minutes

    Adorama has published a new video featuring photographer Pye Jirsa as he teaches photographers more than 20 couples poses in less than 10 minutes. This is the second part of Jirsa’s Couples Crash Course; the first part introduced five foundational couples poses that ‘every photographer should know.’

    This is part of the ‘Master Your Craft’ photography tutorial video series published on the Adorama YouTube channel.

    Articles: Digital Photography Review (dpreview.com)

  • Florian Ledoux’s arctic photos illustrate the effects of climate change

    Florian Ledoux’s arctic photos illustrate the effects of climate change

    About this photo: This image of people rowing through chunks of glacial ice was a semi-finalist in Red Bull’s Illume competition.

    Chances are, if you follow what’s happening in the world of photography, you’ve already seen at least one image taken by French photographer Florian Ledoux. His work has won multiple awards, has been published in major magazines including National Geographic, and was recently on display at the Louvre Carrousel in Paris. Ledoux took a big risk, several years back, and left his 9-to-5 job to pursue photography full-time. His involvement with the Arctic Arts Project is what made his images stand out to an international audience.

    I got a chance to interview Ledoux and discover what inspired him to start documenting the effects of climate change. Florian will be leading a guided photo tour through East Greenland next September. To learn more, contact him through his Facebook page.

    What inspired you to get involved in the Arctic Arts Project?

    I love the polar regions of the planet for their immense landscape and nature, which remains wild and almost untouched by human activity. You can sail, hike, and explore for several days or weeks without witnessing any sign of human presence. The scale of those landscapes where incredible species live is what draws me there. I was deeply touched while I took my first journey above the Arctic Circle when I was ten years old, with my parents, and this feeling is something that is still growing in intensity as I explore further.

    As I got into photography, it came naturally that my work has to serve science and conservation. The Arctic Arts Project aims to work together with scientists and conservationists. The main idea is that they have the data and we have images to combine to better communicate to the public and leave a stronger impact. In March, for example, Jason Box and other researchers published a meta study gathering 35 years of data on climate change in Greenland — from temperature increases to sea ice loss, from shifts in the tundra to land ice loss.

    Two months later, in May, Arctic Arts Project photographers went to Greenland to see exactly how those changes are playing out in real time. We captured images of early flora bloom, of dissolving sea ice, and the ice sheet melting. The Arctic Arts Project presented the findings from our May expedition to Greenland to the IUCN (International Union for the Conservation of Nature). Here is a video of the presentation, if you’d like a better look at what we found and some thoughts on the changes in Western Greenland and the world.

    What message would you like to convey to people who don’t believe climate change is real, based on your observations?

    Nature is everything to me, it is the place where I feel connected to the rest of the world. Nature is the place where it all makes sense, the place where we find all the answer about life. It feels like it is where it all began! These are our origins. Not only do we come from nature, but we are part of this complex ecosystem – the mysterious equation called LIFE.

    When I find myself in the remote Arctic, co-existing in harmony with the wildlife that calls it home, I know that this is where everything makes total sense. I know it because I feel it deep within myself. It is a deep vibe that consumes my body and soul in its entirety. At this moment, the urge to create an image that I would remember for the rest of my life with a strong message to protect it comes naturally to me.

    What inspired you to incorporate a drone into your workflow?

    The bird’s eye perspective a drone provides has become a major part of my work. It started as I was always seeking a new way to show our planet. Drones are a revolution, allowing us to capture images that wouldn’t have been possible with and helicopter. Drones are also much more eco-friendly.

    I believe in, and aspire to bring, a new perspective of capturing wildlife we already know well from traditional photography. I believe these images allow us to observe and document patterns from a new angle and approach, revealing the animals in their entirety as well as in a wider habitat and landscape, in a way not before possible. Using a drone has provided a new way of learning about the white Northern part of our planet. Drones need to be used with care and ethics, especially when it comes to documenting wildlife. The same principles apply for a normal wildlife photographer, no one should run toward the animal or disrupt their habitat.

    Any final words of advice?

    Air Iceland Connect changed my life. In June 2017, I got an opportunity to embark on a sailing expedition from Greenland to Nunavut. Many of us have this life where we are stuck in a 9-to-5 job with excuses not to do things we love. So I quit! I quit my stable life, quit my job, I quit holding myself back, and feeling trapped with not being who I would like to be. I followed my heart, my passion. I now have the most beautiful life I could imagine. In the end, all I want to say is this: Live and don’t let anybody tell you that it is not possible to follow your dreams.

    Crabeater Seals resting on the ice in Antarctica

    About this photo: Here is a group of crabeater seals resting on the ice in Antarctica early in the morning after a feed during the night. They mainly haul out onto the packed ice in early Spring where they form small family groups consisting of a male, female, and pup. According to some studies, most haulouts are shorter than 24 hours without change through the seasons. However, the timing of haulouts shifted during the study period. After midwinter, the pattern shifted with haulouts starting in the morning and ending in the late afternoon.

    Gear and specs: DJI Phantom 4 Pro +; f/7,5; ISO: 400; Shutter Speed: 1/1000 sec

    Polar bear leaping the ice during summer in Canada

    About this photo: It has been a year seen the Canadian government and Nunavut agreed on creating a Marine Protected Area in the Lancaster Sound called Tallurutiup Imanga. It is also a year that I captured this beautiful image of the polar bear leaping the ice with its message on climate. Since then, the image has traveled a lot all around the world.

    I am so grateful to everyone that understands the importance of my work, to help conservation efforts in the Arctic. I believe visual images connect us to nature, it helps us to better understanding the planet where we live and make the right decisions. My hope for dear future generations is that you will be able to witness what we see now.

    In 2016 only 4.7% of the Arctic’s marine areas were protected. Hopefully, the target of 10% by 2020 will be reached but progress is too slow. Polar bears need the ice not only to hunt but to rest and live.

    Gear and specs: DJI Phantom 4 Pro+; f/8; ISO: 100; Shutter Speed: 1/640 sec

    Glacier calving in Antarctica last December

    About this photo: I have seen beautiful things in my life but I have never seen such a thing as crazy as Antarctica, a place so hostile, so powerful but so fragile. When I lose the words, moved by this beauty of the world, the photos to come will take over what I can not articulate.

    This expedition was amazing, with its ups and downs, extensive hours of work, short nights, 11,250 photos taken, 1TB of video stored, a furious sea on our way back, but what images I managed to capture!

    Gear and specs: Nikon D5 with 60-600mm 4.5-5.3 lens; f/6.5; ISO: 360; Shutter Speed: 1/1000 sec

    A polar bear at the edge of the ice during summer in North Canada

    About this photo: Where am I going next, asked a guy when I met him on my journey in 2017? There was almost no ice left in the Lancaster Sound and the area. As the sea ice declines, industrial activities such as fishing, shipping, mining, and drilling are expected to expand Northward. But I believe in a world where humans are able to learn from nature and reconnect with it. I believe in a world where polar bears will still be among us and will not be just a memory from the past.

    Gear and specs: DJI Phantom 4 Pro+; f/8; ISO: 800; Shutter Speed: 1/100 sec

    Huge iceberg from the glacier of Ilulissat in Disko Bay, West Greenland

    About this photo: This image was captured in Ilulissat, Greenland, on an expedition last December. I am honored to be part of the Arctic Arts Project team. I joined three other incredibly talented photographers to work together on capturing images in this region. In light of new scientific findings on the effects of climate change in the Arctic, our team also traveled to Western Greenland during the Arctic springtime, as several critical elements of change are evident only during this time frame.

    Gear and specs: Nikon D5 with a 60-600mm 4.5-5.3 lens; f/8; ISO: 640; Shutter Speed: 1/2500 sec

    The sun sets on icebergs that calve from Sermeq Kuuatdleq in Ilulissat

    About this photo: It was a magical night but hard work as I was trying to fly blindly in the thick mist. This was one of the last sunsets in the area before a long period of the year. It set the sky on fire while my drone was navigating through the large piece of icebergs that calve from Sermeq Kuuatdleq in Ilulissat.

    Gear and specs: DJI Phantom 4 Pro+; f/4.5; ISO: 100; Shutter Speed: 1/120 sec

    Gentoo penguins collecting rocks

    About this photo: Gentoo penguins are ground-nesting birds. They collect rocks from the beach that they bring on the hill to build the nest, or sometimes give it to their neighbor. The way back from the beach is long and other penguins will come and try to steal it when they arrive close to the colony.

    Gear and specs: Nikon D5 with a 60-600mm 4.5-5.3 lens; f/8; ISO: 360; Shutter Speed: 1/640 sec

    Aerial view of the sea ice in formation on the East Coast of Greenland during winter

    About this photo: Here is an aerial perspective of the sea ice formation in East Greenland. This image won 3rd prize at the international contest of drone photography, 2017, organized by National Geographic and Dronestagram.

    Gear and specs: DJI Phantom 3; f/2.8; ISO: 131; Shutter Speed: 1/25 sec

    Crabeater seal resting on the fast ice of Antarctica in December

    About this photo: This is a crabeater seal resting on the fast ice of Antarctica in December. The crabeaters do most of their feeding at night (typically between 9:00 – 10:00 pm). They can dive as deep as 430 meters although feeding dives are usually around 30 meters.

    Gear and specs: Nikon D5 with a 60-600mm 4.5-5.3 lens; f/10; ISO: 300; Shutter Speed: 1/800 sec

    Articles: Digital Photography Review (dpreview.com)

  • Video: Five reasons you still need vintage lenses in 2020

    Photographer and filmmaker Mark Holtze has shared a video explaining ‘5 Reasons Why You Need Vintage Lenses in 2020.’

    Throughout the eight-minute video, Holtze highlights five particular reasons vintage, manual lenses still make sense despite increasingly-impressive lenses manufacturers are making nowadays. Holtze says in a comment beneath the video ‘I could have made a list of top 100, but honestly…nobody is sitting through 90 mins of this,’ so eight minutes it is.

    Not all of the reasons will make sense for all photographers or filmmakers, but each is valid in their own way. You can find more videos from Holtze on his YouTube channel and keep up with his work on Instagram and Twitter.

    Articles: Digital Photography Review (dpreview.com)

  • Stellina: imaging the sky with a smart telescope

    Stellina Telescope Camera
    $ 3,999 | vaonis.com

    Stellina is a self-contained, portable telescope designed to easily take photographs of celestial objects. All you need is the Stellina itself and a smartphone. It is not a traditional telescope that lets you explore the universe through an eyepiece. Instead, it captures images with its built-in camera which then you can view on your phone (or tablet). During my latest trip to Yellowknife, Canada I was able to put the Stellina to the test and capture some classic telescope targets.

    When folded, the Stellina looks like a retrofuturistic home appliance and one could hardly guess that it holds a telescope and a camera inside. Its weight of 11 kg (25 lb) makes it portable but its bulky size of 49 x 39 x 13 cm (19 x 15 x 4.7 in) and the lack of handles makes it a little awkward to move around. The Stellina comes with a Gitzo carbon fiber tripod (1.3 kg, 2.2 lb) which provides leveling and stability to the telescope.

    Stellina is a portable astronomical telescope and camera. Everything you need to take photographs of celestial objects is contained in this unit and on a smartphone/tablet app.

    Setting up the Stellina

    The Stellina requires 5.1V / 2.4A to operate. It can be powered by an external battery connected through a USB Type-C port and stored in a compartment, or by an AC external power adapter. The 10,000-mAh battery included with the Stellina should provide approximately 5 hours of use. Once powered up, the Stellina creates its own Wi-Fi network which you use to control it from the Stellina app (available for both iOS and Android devices) .

    The Stellina reads the local time and GPS coordinates off your smartphone and then it automatically focus and aligns itself by looking around the sky and identifying stars. All this is done in a completely automated fashion and in just a mater of minutes. Pretty smart!

    The Stellina comes with a 10,000-mAh battery that is easily stored in its own compartment and provides approximately 5 hours of use.

    Imaging with the Stellina

    The Stellina uses a 400mm F5 apochromatic lens and a 1/1.8″ CMOS Sony sensor (3,096 x 2,080 pixels, 6.4 MP) to produce a series of exposures which are then combined into a final image with a Field-of-View (FOV) of 1° x 0.7°. But first you must pick a target.

    Once the automated calibration is completed, the Stellina offers you a catalogue of astronomical objects that are visible from your location at that particular time. For each of these objects the Stellina app provides you basic information about the object, its current location in the sky (altitude and azimuth), as well as the recommended exposure time.

    Stellina provides useful information of the potential targets up in the sky at the current time, including recommended exposure times.

    According to Vaonis, the Stellina manufacturer, “The catalogue includes all Messier objects and the most interesting NGC targets in the Northern and Southern hemispheres.” Some objects whose angular diameters exceed the Stellina’s FOV are excluded from the catalogue, but Vaonis plans to extend that list when they add the ability for the Stellina to combine multiples images in a mosaic.

    Vaonis is also planning to let users enter sky coordinates manually and point at any direction in the sky. That will be another welcome feature since the Stellina does not let you manually slew. Luckily, these features should easily become available through software updates.

    I selected the Andromeda Galaxy, the Stellina slew to the correct location in the sky, and started imaging. To do this, the telescope relies on a technique called image stacking where a series of relatively short exposure are combined to produce an image with a higher signal-noise ratio. As more images are exposed and added, you can interactively review how the stacking and image processing improves the final image and decide when to stop exposing.

    In the two screenshots below, you can see how the image improved from a combined exposure time of 2 min 40 sec (16 exposures of 10 seconds each) to a combined exposure time of 8 min (48 exposures of 10 second each). As expected, the spiral arms of the Andromeda Galaxy appear more prominent as the Stellina gathers more light.

    Comparison of a 2 min 40 sec exposure with a longer 8 min exposure. Stellina has the impressive ability of showing you in real-time how the final exposure improves as more images are added and total integration time increases.

    I could have exposed for a longer time but, unfortunately, clouds rolled in. Impressively, the Stellina software rejects cloud-covered images and does not add them to the stack, so when clouds cover the FOV you will notice how the total exposure time pauses until the clouds move out of the way. Evidently, automation is at the heart of Stellina and Vaonis has done a great job in the programming of this telescope.

    On the other hand, what did not impress was the feedback given by the Stellina app when saving JPEG photos. You can either save images on the app itself or on your smartphone’s photos app (and in the cloud if your phone is set up that way), but if you choose the latter, the photos are deleted from the app (with no warning) along with any observation information. That is, photos copied to your photos app are saved without any metadata. Furthermore, JPEG photos produced by the Stellina are downsampled from 6.4 MP to 1.4 MP.

    There’s definitely room for improvement in documenting Stellina’s features

    If you want to enjoy full-resolution images you need to retrieve FITS (Raw) files using the USB port. That’s great! As long as you know that options exists. And therein lies a problem. The Stellina instruction manual does a good job of explaining how to set up the telescope up to the point of connecting it to the app, but nothing further. Once you start controlling the telescope via the Stellina app, documentation and feedback from the app is underdeveloped.

    I learned about the ability to save Raw images on a Q&A page on the Vaonis support site. Unfortunately, by then I had returned the unit. There’s definitely room for improvement in documenting Stellina’s features. I look forward to someday using the Stellina again and processing its FITS files.

    Resulting (JPEG) Images

    Below is the resulting 8-minute exposure of the Andromeda Galaxy. The Stellina did a good job of automatically focusing, tracking, stacking, and processing the images. Nevertheless, a bright vignette is fairly noticeable. According to Vaonis, the vignette ‘is produced by the luminescence of the sensor’ and they are working on improving the image processing algorithm.

    1.4 MP JPEG of the Andromeda Galaxy saved from the Stellina app. This is the result of 48 10-sec exposures stacked automatically by the Stellina for a total exposure time of 8 minutes.

    Afterwards, I selected the open cluster The Pleiades from the catalogue and let Stellina combine 60 10-sec images. Judging by what the Stellina captured in a total exposure time of 10 minutes, it’s a shame that the clouds rolled in again. The blue reflection nebula around the cluster stars was starting to nicely show up in the final image.

    1.4 MP JPEG of The Pleiades cluster saved from the Stellina app. This is the result of 60 10-sec exposures stacked automatically by the Stellina for a total exposure time of 10 minutes.

    Final Thoughts

    The Stellina is a well-thought out smart telescope. It can easily be transported from one location to another and setting it up cannot be more simple. A carrying case to move the telescope around would be a welcome addition.

    The fact that the Stellina finds its orientation with respect to the sky, focuses, exposes, stacks, and process images in a completely automated fashion is quite the feat for a prosumer device. Although the Stellina app needs further development, the whole experience of operating the Stellina is fun and the ability of seeing the final exposure improve as more images are stacked is quite gratifying.

    The whole experience of operating
    the Stellina is fun

    Once you’re happy with your final exposure you can easily share your astrophotographs with friends and the rest of the world in a matter of minutes. Stellina is definitely a telescope for the social media age. Then at home, you have the option of experimenting with the Raw files.

    Unfortunately, all this comes with the high price tag of $ 3,999. For that price, some will consider instead the more versatile combination of camera, lens, tripod, and star tracker. But if you want a fun-to-use, click-and-shoot device that will work for you while you relax and enjoy the night sky then the Stellina is right for you!

    What we like:

    • Extremely easy to set up
    • Smart and highly automated
    • Instant gratification of previewing images as they are stacked
    • Fun to use

    What we’d like to see improved:

    • A carrying case included with the telescope
    • Ability to slew to any location in the sky
    • Further development of the Stellina app

    Articles: Digital Photography Review (dpreview.com)

  • Blair Bunting on photographing Aaron Hernandez on the same day he shot someone

    A behind-the-scenes photograph of Blair Bunting capturing a shot of the late New England Patriots tight end Aaron Hernandez.

    Editor’s note: Blair Bunting is an award-winning advertising photographer who’s no stranger to being in front of high-profile cars, characters and celebrities. From eight-figure cars to professional athletes at the top of their game, Blair has done it all, but one shoot, in particular, stands out for all the wrong reasons. In the following post, Blair details his experience photographing the late New England Patriots football star, Aaron Hernandez, fewer than 24 hours after the former New England tight end committed murder on February 13th, 2013.

    I am writing this after getting a torrent of texts from friends and family who have been watching the documentary Killer Inside: The Mind of Aaron Hernandez on Netflix. It turns out I’m in it… an image of me on set with Aaron appears in the second episode.

    My first reaction was a bit of anger as I never licensed any images from that shoot (hey Netflix, call me maybe), but as that passed it eventually got me thinking about the day I spent on set with Aaron… the same day he shot someone.

    Diving into the mind of another man is enough to make one lose his own. My photoshoot with Aaron Hernandez left me questioning what lies behind the eyes of the subjects who stand before my camera.

    My many years of photographing celebrities have led to great experiences and friendships, but this one photoshoot made me question my own mental depth and acuity when it came to the very people that I work so hard to learn about, only to exist until the last shutter closes.

    The photoshoot with Aaron took place on the final day of a week-long campaign that I was shooting for a sports client. We had professional athletes from the NBA, MLB and NFL in the studio all day. For me I wanted nothing more than to keep up the quality of the lighting on set through the final athlete, wrap, and then take my wife to Hawaii—the next day was Valentine’s Day.

    It had been a long production: through pre-pro meetings, lighting days, scouting and client dinners, mentally I was exhausted and internally I was begging for relief from the pressure that I enjoy so much.

    When Aaron Hernandez first entered the studio, I was wearing the jersey and shoulder pads of Clay Matthews (the athlete that preceded Aaron), a Chicago Cubs batting helmet, and drinking a Stella Artois. Perhaps understanding the light-heartedness that I carry on set, he immediately smiled and started laughing. I introduced myself, shook his hand and we started talking pleasantries: how’s the weather, what’s your new house like, how has your day been?

    The final question and answer haunt me to this day….

    “How has your day been?” I asked.

    “Good,” he replied, along with a calm, childlike smile.

    Hours earlier, he had shot a man in the head.

    Having gone through mental health struggles in the past, the idea of not knowing the mind behind one’s eyes is familiar to me, but the level to which Aaron was able to keep it hidden still frightens me to this day.

    As I sit here typing this years later, I still have to pause for a moment in order to digest the gravity of the situation. Having gone through mental health struggles in the past, the idea of not knowing the mind behind one’s eyes is familiar to me, but the level to which Aaron was able to keep it hidden still frightens me to this day.

    Upon hearing the news, the people on my crew that day were in shock and disbelief that such a sweet kid could have done such a horrible thing, but as time went on and the details became clearer, we accepted it despite the confusion.

    In an odd way, it left me with a dilemma: how do I describe Aaron Hernandez?

    I can only describe him with lights and a camera—the truth that existed within him will never play out on set.

    As portrait photographers, we are challenged to expose the true nature of the person that stands in front of our camera: be it angry, shy, calm, or intense. However, photographing Aaron Hernandez has taught me a lot about my approach, what I thought existed within the frame lines, and what a camera can never truly capture.

    Often times photographers are celebrated for a reaction or expression they’re able to draw out of their subjects (think of Karsh’s iconic image of Winston Churchill). It’s a romantic notion that the photographer is a sort of snake charmer, the subject a willingly controlled entity—together, they make up an act that ends in a great image.

    I feel this approach sells the celebrity or model short; a successful photo shoot is the result of the collaborative effort of everyone on set, subject (obviously) included.

    What Aaron Hernandez taught me is that all the lights in the world could not illuminate the darkness that lived within his mind.

    While he and I worked together very well to get the images that the client wanted, we were merely playing the roles that were asked of us, in a dance that benefits the choreographer more than the dancer. It’s a part of this career where form and light matter more than discovery and truth, where we are not trying to learn anything about the athlete, but rather speak through them for the client’s cause.

    On set, if I feel like the shoot has gone well and the images are in the bag, I will sometimes offer my subjects the option to shoot a few frames for fun. Aaron was game, he had seen an image in my portfolio of a football player holing a ball in a profile stance and wanted to have one like it for himself.

    We drew the lights and smoke machine and created this image of him in a calm, subtle, almost stoic stance. He was excited about how the pose showed off his tattoos, which seemed to mean a lot to him.

    I knew that turning an action light set into an impromptu portrait session wouldn’t be as dynamic a shot as I wanted, but when I got home and looked through the files, it wasn’t the lighting that disturbed me, it was his eyes.

    The images we created on set that day were packed with intense expression and focus… the portrait that he asked for was absent of this. It was absent of emotion, of life, almost as if the personality of the young kid with the smiles and laughs had left and what remained was cold and unfeeling.

    The images we created on set that day were packed with intense expression and focus… the portrait that he asked for was absent of this. It was absent of emotion, of life, almost as if the personality of the young kid with the smiles and laughs had left and what remained was cold and unfeeling. Maybe this was a result of him being tired, or the difference of direction. But part of me wonders what he was thinking about as the huge light source in front of him popped at full power, probably blinding him, as I could barely see after setting up the softboxes.

    We will never know.

    Before breaking down set, Aaron asked me about one more shot. I pitched him a few crazy action scenarios (after all, it was the style of set we had that day), but what he wanted was a straight to camera portrait… without his helmet on.

    This was the last frame I shot that day, and the last shot of him before the world learned of his dark secret.

    I have never shown this image to anybody. Until today, I had chosen not to talk about the situation for many years. But with the recent release of the Netflix documentary about Aaron, and my unsolicited cameo, I found myself watching and wondering what could have been. Hoping, more than anything, that his tragic fall from grace could save someone in his shoes.

    This post was written by Blair Bunting and was originally shared on PetaPixel. It was republished here with permission from both parties. Blair is based in Phoenix, Arizona and his work can be found on his website, blog, Instagram and Twitter.

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm X-T200 is lighter, faster, offers 4K/30p and costs $800

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    Fujifilm has announced the X-T200, boasting a wide range of improvements over its X-T100 predecessor. The X-T200 uses a 24MP Bayer sensor like the T100 did, but uses copper rather than aluminum wiring, which provides 3.5x faster readout and had allowed Fujifilm to extend the high ISO by one stop, to 25600.

    The X-T200 is an altogether lighter camera than the X-T100, weighing in at 370g / 0.8lb. Where the T100 offered very little in the way of a grip, the X-T200 provides a prominent, protruding grip for more comfortable hand-holding. The T200’s touchscreen is larger (3.5″ vs. 3″) and inherits a more touch-friendly menu from the X-A7.

    Another welcome improvement is the ability to shoot un-cropped 4K video at 29.97 and 24p

    Fujifilm promises autofocus improvements as well, including the latest eye detection algorithms. The X-T200 offers more phase-detect pixels (140k versus 16k), better PDAF coverage (across the whole sensor, rather than a central 25%) and more selectable autofocus points (425 vs. 91) than its predecessor. Burst shooting is improved to 8 fps (compared to 6 fps).

    Another welcome improvement is the ability to shoot un-cropped 4K video at 29.97 and 24p, compared to the T100’s 4K/15p. Slow motion 1080/120p is also now an option, and a video setting has been added to the mode dial.

    The Fujifilm X-T200 will ship in late February for $ 700 body-only or $ 800 with XC 15-45mm F3.5-5.6 OIS PZ kit lens.

    Press release

    INTRODUCING THE X-T200 MIRRORLESS DIGITAL CAMERA: A FULLY-FEATURED CAMERA TO DOCUMENT THOSE DAY-TO-DAY MOMENTS

    Valhalla, New York – January 23, 2020 – FUJIFILM North America Corporation is pleased to announce FUJIFILM Corporation’s launch of its “FUJIFILM X-T200” (hereinafter “X-T200”) mirrorless digital camera.

    The X-T200 provides content creators of all levels with a new, light-weight and compact mirrorless camera body that features a newly designed EVF, quick face detection AF, and a new sensor and processor combination that can create 24.2MP stills at 8 FPS and record 4K UHD video at 30fps.

    An ideal camera for creative individuals who want to make high-quality imagery anywhere, the X-T200’s HDR functions for still and video make this easier in high- contrast environments. It can also record Full-HD 120p video, making it a great tool to use for scenes needing super slow motion. Additionally, the new Digital Gimbal Function can now be used to smoothly record video in-camera by mitigating camera shake through new gyro sensors in the camera body. This enhances image quality even further beyond what normal Smartphones can provide comparatively.

    Incredible Image Quality for any Situation
    X-T200 combines innovation, design, and technology to provide image makers of all levels with a complete solution to unlock limitless creative possibilities. Weighing 13.05oz (370g), X-T200 is about 2.82oz (80g) lighter than its predecessor (the X-T100) and is equipped with a new vari-angle touch-screen, a high-speed APS-C 24.2 Megapixel CMOS sensor which uses copper wiring for optimal performance, and an intuitive user interface that provides professional quality with the ease and familiarity of a Smartphone. Able to process data 3.5 times faster than the X-T100, rolling shutter is reduced with the X-T200, while AF performance in the X-T200 is dramatically enhanced through the use of phase detection autofocus pixels across the sensor.

    Touch Your Way to the Perfect Image
    X-T200 is equipped with a vari-angle 3.5-inch, 16:9 Aspect Ratio widescreen LCD touch- screen that can be opened and closed between 0 to 180 degrees and rotated between – 90 to +180 degrees. It also provides an intuitive and responsive control over the camera’s features and functionality and can be used to adjust a variety of settings, like brightness, background blur, film simulation effects, and image aspect ratios.

    Focus on the Faces and the Moment
    The use of on-sensor phase detection pixels across the sensor and a new AF algorithm means focus can be achieved quickly and in a variety of conditions. The updated Face/Eye Detection AF makes focusing on individuals or groups of people quick and easy. This is even possible when the camera’s LCD monitor is flipped out and you want to take a selfie. Automated functions, like Main Subject Recognition, allow the camera to be set to recognize and track a main subject within the frame. These features, combined with a burst mode of 8fps, allow you to see, frame, and make images of those important moments with those important people.

    Legendary Color Science
    Fujifilm’s history in color science has given it world renowned status among image- makers across the world. With over 85 years of experience in the industry, Fujifilm has been responsible for some of the most iconic photographic films in history and this exceptional knowledge has been poured into the 11 digital film simulation modes installed into X-T200. Images made with these film simulations carry the look and feel of the actual films that inspired them, which are a great building block to sparking creativity in image- making. In addition, 20 advanced filters, which includes the new, “Clear Filter”, give even more creative possibilities to image-makers as they seek to express themselves artistically.

    When Stills Just Aren’t Enough
    The new Electronic Stabilization and HDR Video modes, along with the X-T200’s basic internal editing functions, helps X-T200 do more than just produce beautiful 4K Video– it ensures that videos are stable, crisp, and properly trimmed so they can be easily shared with family and friends. A gyro sensor sits at the heart of the new Electronic Stabilization Mode and assists in reducing the effects of camera shake when recording video footage. The new HDR Video function makes recording footage in high contrast situations much easier and more practical, while its in-camera video editing functions allow for clips to be trimmed and right-sized before they are shared. This means creators can share the perfect section of a super-slow motion clip or the best part of their 4K footage right from the camera to their Smartphone without ever needing to open a computer!

    Pick Your Favorite Color and add a Fast Prime Lens
    X-T200 will be available as a standalone body and as a kit with the XC15-45mmF3.5-5.6 OIS PZ Lens in three colors (Silver, Dark Silver, and Champagne).

    For those interested in expanding their X-T200 tool kit, the new FUJINON XC35mmF2 lens gives an equivalent to 52mm field of view on 35mm format. Weighing just 130g and measuring 46.5mm in length, this new prime lens has nine elements, including two aspherical lens elements in six groups, which work to produce sharp and crisp images with creamy bokeh. AF operation is quick and near silent thanks to the use of an internal focus system and a stepping motor, which is used to drive the focusing elements quickly and accurately.

    X-T200 is expected to be available for sale in late February 2020 at manufacturer’s suggested retail pricing as follows:

    • X-T200 camera body only: $ 699.95 USD ($ 899.99 CAD)
    • X-T200 kit including camera body and XC15-45mm45mmF3.5-5.6 OIS PZ lens: $ 799.95 ($ 1,049.99 CAD)
    • XC35mmF2 lens: $ 199 USD ($ 259.99 CAD)

    For more information, please visit https://fujifilm-x.com/en-us/products/cameras/x-t200/.

    Fujifilm X-T200 specifications

    Price
    MSRP $ 699 (body), $ 799 (w/15-45mm lens)
    Body type
    Body type SLR-style mirrorless
    Body material Metal, composite
    Sensor
    Max resolution 6000 x 4000
    Image ratio w:h 4:3, 3:2, 16:9
    Effective pixels 24 megapixels
    Sensor size APS-C (23.5 x 15.7 mm)
    Sensor type CMOS
    Color space sRGB, Adobe RGB
    Color filter array Primary color filter
    Image
    ISO Auto, ISO 200-12800 (expands to 100-51200)
    Boosted ISO (minimum) 100
    Boosted ISO (maximum) 51200
    Custom white balance Yes
    Image stabilization No
    Uncompressed format RAW
    JPEG quality levels Fine, normal
    File format
    • JPEG (Exif v2.3)
    • Raw (Fujifilm RAF format)
    Optics & Focus
    Autofocus
    • Contrast Detect (sensor)
    • Phase Detect
    • Multi-area
    • Center
    • Selective single-point
    • Tracking
    • Single
    • Continuous
    • Touch
    • Face Detection
    • Live View
    Autofocus assist lamp Yes
    Digital zoom Yes
    Manual focus Yes
    Number of focus points 425
    Lens mount Fujifilm X
    Focal length multiplier 1.5×
    Screen / viewfinder
    Articulated LCD Fully articulated
    Screen size 3.5″
    Screen dots 2,780,000
    Touch screen Yes
    Screen type TFT LCD
    Live view Yes
    Viewfinder type Electronic
    Viewfinder coverage 100%
    Viewfinder magnification 0.93× (0.62× 35mm equiv.)
    Viewfinder resolution 2,360,000
    Photography features
    Minimum shutter speed 4 sec
    Maximum shutter speed 1/4000 sec
    Maximum shutter speed (electronic) 1/32000 sec
    Exposure modes
    • Program
    • Aperture priority
    • Shutter priority
    • Manual
    Scene modes
    • Portrait
    • Night
    • Fireworks
    • Sunset
    • Snow
    • Beach
    • Party
    • Flower
    • Text
    • Multiple Exposure
    • Light Trail
    Built-in flash Yes
    Flash range 7.00 m (at ISO 200)
    External flash Yes (via hot shoe)
    Flash X sync speed 1/180 sec
    Continuous drive 8.0 fps
    Self-timer Yes
    Metering modes
    • Multi
    • Average
    • Spot
    Exposure compensation ±5 (at 1/3 EV steps)
    Videography features
    Format MPEG-4, H.264
    Modes
    • 3840 x 2160 @ 30p, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 25p, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 24p, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 23.98p, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 120p, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 60p, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 50p, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 25p, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 24p, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 23.98p, MP4, H.264, Linear PCM
    Microphone Stereo
    Speaker Mono
    Storage
    Storage types SD/SDHC/SDXC (UHS-I supported)
    Connectivity
    USB USB 3.1 Gen 1 (5 GBit/sec)
    USB charging Yes
    HDMI Yes (micro HDMI)
    Microphone port Yes
    Headphone port Yes
    Wireless Built-In
    Wireless notes 802.11b/g/n + Bluetooth
    Remote control Yes (via smartphone)
    Physical
    Environmentally sealed No
    Battery Battery Pack
    Battery description NP-W126S lithium-ion battery & carger
    Battery Life (CIPA) 270
    Weight (inc. batteries) 370 g (0.82 lb / 13.05 oz)
    Dimensions 121 x 84 x 55 mm (4.76 x 3.31 x 2.17″)
    Other features
    Orientation sensor Yes
    GPS None

    Articles: Digital Photography Review (dpreview.com)