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Slideshow: Agora’s #Urban2020 photo contest winner and finalists

15 Jan

Agora’s #Urban2020 photo contest winner and finalists

Agora, a free-to-use mobile app, hosts weekly competitions with cash prizes based on different themes. They just announced the winner of their #Urban2020 photo contest. 50 of the top entries were judged by Roc Isern, a Barcelona-based architectural photographer. Darren Reichel (@dlr on Agora), from Australia, was selected as the winner for his image of Brisbane’s Inner City Bypass freeway interchange. It was taken with a DJI Mavic 2 Pro at dusk in March 2019.

“I chose @drl’s photo in first place for its futuristic look with his incredible road junction in the foreground and the downtown in the background. The light, colors and contrast are just gorgeous,” said Isern about his selection. Read more about Reichel’s inspiration behind capturing this image, here. He’ll use the $ 1,000 prize to take his wife on a much-needed vacation from the stresses of raising their two-year-old daughter.

Agora is currently running photography contests based on the themes of Love, Celebration, Winter, Change the World, and Friends. It is available for iOS and Android. The title of the photo followed by the Agora username of the photographer and their home country. Captions are the photographers own words about their inspiration behind the image.

#Urban2020 Winner: ‘Myriad’ by @dlr (Australia)

About this photo: With his photo, @dlr shows how Australia’s third-largest city is adopting a very futuristic and forward-looking feel: “My wife, daughter and I were driving through this area late one evening, and we both commented on how complex this freeway interchange seemed. I thought to myself that this would look particularly amazing from the air, so I decided to go back the following weekend with my DJI Mavic 2 Pro drone, to capture the scene from above.

This freeway interchange runs over the top of a local waterway known as Breakfast Creek, which is renowned for its mosquito population. Needless to say, I came home covered head to toe in mosquito bites. My body was itchy for a week! I was super impressed with how well this image turned out though, so I think that the pain of the mosquito bites was more than worth it. I’m hoping that Brisbane residents see this photo and feel a sense of pride, and realise just how quickly this amazing city and its urban infrastructure is growing.”

#Urban2020 Top 50 Finalist: ’Untitled’ by @banudiker (Turkey)

About this photo: @banudiker snapped this picture while sailing on the Nile River, Egypt: “We were sailing away from Cairo’s noisy neighbourhoods. There is a lot of monotonous, colorless tall buildings along the Nile River in downtown. When I saw this building that is totally different from the others, I started to imagine the life of people living there.”

#Urban2020 Top 50 Finalist: ‘Organised Chaos’ by @leemumford8 (UK)

About this photo: British photographer @leemumford8 snapped the incredible architecture of Hong Kong view from above: “Sometimes you don’t get the same sense of scale until you look at something from above. As the day turns too dark, I captured the hustle and bustle of the city streets.

As the street lights turned on, the roads lit up in this bright yellow-orange which I like to call the city’s veins. As the light was fading, a longer shutter was needed as I wanted to keep the ISO fairly low to help reduce noise. As this was an aerial shot, it was a fine balance before camera shake was an issue. The visibility on this particular was so clear, conditions I’ve been unable to replicate since.”

#Urban2020 Top 50 Finalist: ’Mind The Gap’ by @_kennyc_ (UK)

About this photo: @_kennyc_ entered the competition with an iconic shot from the London Tube: “Heading out later at night in London was something I loved to do – it’s a stark difference to the hustle and bustle of the day, giving photographers with completely different scenes to work with. The underground in particular, is eerily peaceful compared to the mayhem of rush hour.

At the time I had recently been inspired by a number of street/urban photographers who had captured some stunning scenes from various subways around the world – so one evening I picked up my camera and ventured below ground. This particular shot is an idea I’d had in my head ever since I watched the fantastic short film ‘Mind The Gap’ directed by Luke Flanagan.

This iconic message/recording is played out throughout the Underground network and heard by millions of Londoners every day. It’s a message instantly recognisable to anyone that has lived in this incredible city, and something I wanted to capture in a picture. I knew the message wasn’t just played out through speakers, but painted in bright yellow paint on the floor of many tube stations. I thought getting a close-up shot of this while capturing the speed of a moving train would make for a pretty cool shot – I wasn’t wrong! While the Tube is iconic to many people around the world, ‘MIND THE GAP’ is iconic to Londoners.”

#Urban2020 Top 50 Finalist: ‘Trapped’ by @laboussole.seon (France)

About this photo: French expat @laboussole.seon took this photo of the legendary Yick Fat building in October 2017: “Hong Kong is the most exciting and most contrasted urban environment I know. With this photo, I wanted to transmit the feeling to be trapped in a city, in the middle of tall buildings with a high density of apartments, and the sky seems so far away. I took the photo at sunset so that the colours of the sky are an invitation to peace and warmth, to contrast with the main subject.

It is challenging to take a photo in this place, as it is a famous spot, mostly for Instagramers. I went a couple of hours before sunset secure a good spot. Shortly after this shooting session, the management of the building has added a sign forbidding photo taking as it became too disturbing for the people actually living in the building. unfortunately for them, it doesn’t seem to have stopped tourists.”

#Urban2020 Top 50 Finalist: ’Untitled’ by @anhtrungqng (Vietnam)

About this photo: Every day, thousands of motorcycles and cars crowd the streets of Ho Chi Minh City also known as Saigon, the largest city in Vietnam where @anhtrungqng snapped this shot during the evening rush hour.

#Urban2020 Top 50 Finalist: ‘Eyeshape’ by @marcelvanbalken (Netherlands)

About this photo: Dutch photographer @marcelvanbalken said: “It was very bad weather, a lot of rain. So I had to take this picture with my camera in one hand and an umbrella in the other. The urban space in a play of light and shadow form shows an almost surrealistic decor. Pure black-and-white, in which the photography of architecture begins to take on abstract forms, reinforced by the apparently disproportionate addition of the man. If I win, I want to purchase a drone to be able to photograph urban spaces from a height.”

#Urban2020 Top 50 Finalist: ‘Ship city’ by @azimronnie (Bangladesh)

About this photo: @azimronnie (no longer on the app) shares some facts about this picture taken in his hometown, Dhaka: “The 500 enormous vessels used to transport bricks, sand and other goods, are either being built or are docked for maintenance work in Dhaka, Bangladesh. Shipbuilders in Bangladesh began exporting their ships to other countries in 2009, and it has since become a growing trade in the area.”

#Urban2020 Top 50 Finalist: ‘Saigon-Vietnam’ by @nguyenvuphuoc (Vietnam)

About this photo: @nguyenvuphuoc spotted these two female workers on Saigon’s under-construction new metro line: “When they saw me taking pictures, they asked me: Why? We are not beautiful, you should go and photograph beautiful girls instead.”

#Urban2020 Top 50 Finalist: ‘Nightscape in Rome’ by @henrydo (USA)

About this photo: The majesty of Rome’s iconic symbol was perfectly captured by @henrydo: “Rome has been completely urbanized but they still kept many historic sites to preserve the history. I think it fits quite well with the hashtag. This shot was a composite of 2 separate images taken at different times in the same location. Many people thought a drone is capable of capturing the lit-up night sky but the technology isn’t that advance, yet. If I. win, I will donate part of my prize to a charity to fight plastic pollution in the ocean and save the marine wildlife.”

#Urban2020 Top 50 Finalist: ‘Radioactive ??‘ by @notanothermica (Belgium)

About this photo: @notanothermica snapped this impressive shot while exploring the urban area of Charleroi, Belgium: “This is one of the most famous spots in Belgium for urban exploration. The door to enter this power plant is sometimes closed, which makes it not easy to get in. On that day, I was lucky because the door was open and there was some good light, which caused the cool glow on the metal of the powerplant. I wanted to place a person inside the power plant to had a reason for the viewer to relate to the photo.”

#Urban2020 Top 50 Finalist: ‘/–\’ by @wunderbilder (Germany)

About this photo: @wunderbilder captured this photo on a trip to Rome: “During our visit, we stayed in a flat in this building and I found the staircase geometrically very interesting. There was no elevator in the building.”

#Urban2020 Top 50 Finalist: ‘Sinking in the fog’ by @borsch (Russia)

About this photo: Russian photographer @borsch entered the competition with a foggy aerial view of his hometown, Moscow.

#Urban2020 Top 50 Finalist: @paulaaranoa (Argentina)

About this photo: Argentine photographer @paulaaranoa loved to explore the mysterious streets of Barcelona’s gothic neighbourhood: “The story behind the photo shows a character who is walking through a dark path, however the light is wrapping itself around him. On this day, the light was perfect. I watched how the people walking by were wrapped by the light, I spent at least an hour in the same place until the light changed… it was a unique spectacle and I consider myself privileged to have witnessed it.”

#Urban2020 Top 50 Finalist: ‘Can’t stop won’t stop’ by @theliamman (UK)

About this photo: @theliamman shot this photo nearby the telephone box outside St Paul’s Cathedral, London: “I wanted to transmit a sense of adventure. Cities come alive at night and I wanted to capture that bustling energy as the day turns to night. The top of this phone box was filthy, if you want to do the same photo I recommend wearing clothes that you don’t wear often.”

Articles: Digital Photography Review (dpreview.com)

 
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MSI Creator 17 is the world’s first laptop with a Mini LED HDR 1000 display

15 Jan

In late December and again during CES 2020, MSI introduced a laptop designed specifically for graphics professionals: the MSI Creator 17 (not the be confused with the company’s Creator 17M model). This is the world’s first laptop to feature a Mini LED display that meets the HDR 1000 standard, making it ideal for photographers, filmmakers and others who work in visual professions.

Though the MSI Creator 17 isn’t yet available and hasn’t been fully detailed at this time, the company did discuss its new display technology in detail during CES. According to MSI, the Creator 17 features a 4K 17in display with 1,000 nits brightness, 240 local dimming zones and Mini LED backlighting.

Mini LED display technology has thus far only been offered in select television models, but it is expected to expand into the smartphone and laptop markets in coming years. The MSI Creator 17’s display offers 100% DCI-P3 coverage, plus MSI says that its display is ‘immune to burn-in problems.’

A simulated graphic from MSI showing the advantages of Mini LED technology.

Among other things, MSI says buyers can expect ‘close-to-real color accuracy’ from the laptop’s 4K display, as well as the power efficiency and thinness that come with the technology. Most of the Creator 17 specifications have not been revealed at this time, but MSI did reveal that its new model will feature a USB-C port for powering up to 8K displays and the fastest UHS-III SD card reader currently available on the market.

Pricing and availability are unknown at this time.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon D3500 review

15 Jan

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Introduction:

The Nikon D3500 is a 24 megapixel entry-level DSLR with an APS-C CMOS sensor, that is cheaper, lighter, and has a longer battery life than the D3400 that it replaced. It was designed with the new photographer in mind and features a Guide Mode that will essentially teach you how to shoot in various situations.

Key specifications:

  • 24 megapixel APS-C CMOS sensor
  • EXPEED 4 image processor
  • ISO range of 100-25600
  • 11-point autofocus system through the optical viewfinder
  • Shoots continuously at 5 frames per second
  • Capable of ‘Full HD’ 1080/60p video
  • Bluetooth for image transfer
  • 921k fixed LCD screen
  • Battery rated for 1,550 shots per charge (CIPA)

The D3500 is available with an MSRP of $ 499.95 with the AF-P DX NIKKOR 18-55mm f/3.5-5.6G VR, and $ 849.95 with the 18-55mm and an AF-P DX NIKKOR 70-300mm f/4.5-6.3G ED.

What is it?

Out-of-camera JPEG
Nikon 18-55 F3.5-5.6 lens @ 23mm | ISO 400 | 1/125 sec | F5
Photo by: Jeanette Moses

It can be admittedly hard to get excited about entry-level DSLRs: they’re bulky compared to mirrorless cameras and can be somewhat limiting in some respects, but for beginners they are a great place to start. The Nikon D3400 that this camera replaces was always very good, and the 24 megapixel sensor inside the D3500 is still one of the best APS-C sensors around.

This is a camera that a brand-new photographer can pick up and start making decent pictures without a steep learning curve

The D3500’s Guide Mode puts it into an ‘easy-to-use’ space in the market. This mode makes it easy to tell the camera what kind of scene you are trying to capture and essentially teaches you the basics of photography, such as shutter speed, aperture and exposure compensation along the way. This is a camera that a brand new photographer can pick up and start making decent pictures without a steep learning curve.

It’s not as simple as shooting with a smartphone, but the image quality is better than you’ll get from your phone in a whole lot of situations: especially if you are shooting with a fast prime lens. The D3500 is also a great deal. You can pick this one up with a lens for under $ 500, making it incredibly appealing for newbie photographers.

Nikon’s 35mm F1.8 DX lens is an excellent companion to the D3500.

We spent time with the D3500 around Brooklyn with the standard 18-55mm f/3.5-5.6G VR kit lens and an additional 35mm f/1.8G DX Nikkor lens.

What’s new?

Although this is a very compact DSLR, you’ll never forget that it’s hanging off your shoulder: DSLRs can only be so small. As a result of its form factor, though, the camera’s hand grip is still substantial and comfortable. The camera’s back buttons have been reorganized, so that everything sits on the right side of the camera within easy reach.

Nikon omitted a ‘Fn’ button on the back of the D3500 in an effort to keep the user operation simple.

The D3500’s battery life has increased by thirty percent and has a CIPA rating of 1550 shots. That’s a lot of photos, and these ratings much lower than you’ll usually see in the real world. Expect to be able to get through nearly a week of casual shooting and image reviewing without having to charge up.

The biggest changes here are the inclusion of the Guide Mode menu, making it easy for entry level photographers to capture a variety of scenes. In ‘easy operation’ mode shooters can select options like ‘moving subjects’ and the camera will automatically adjust to this mode. ‘Advanced operation’ lets shooters refine settings like shutter speed, aperture and ISO.

What stands out about the camera?

The D3500 is so compact and lightweight that, as someone who usually uses a higher-end body, it felt a little bit like shooting with a toy. It’s comfortable for a full day of shooting, but like most entry-level cameras, it has a body that feels like it could easily get dinged-up if you aren’t careful. Of course the benefit is that its lightweight, making it easy to take everywhere, but there were situations where I found myself thinking twice about shooting with it.

Its lightweight, making it easy to take everywhere

The camera’s menu systems were easy enough to navigate for changing settings, but the layout of the camera’s back buttons and dials left something to be desired. The grip itself is comfortable, but the redesigned layout of buttons makes the back and top of the camera a little cluttered. I found it difficult to change certain settings while my eye was to the viewfinder, especially while I was shooting in manual mode and attempting to adjust my aperture. Changing ISO is also a bit cumbersome. There is no dedicated ISO button so adjustments must be made by diving into the menus on the camera.

The most compelling feature of the DSLR design is its optical viewfinder, which lets you see the world directly through the camera’s lens.

One of the consequences of the DSLR design is that the D3500 only offers eleven autofocus points, all clustered fairly near the middle of the frame. As you learn and grow with the camera, you might find this limiting. The autofocus system on the camera feels quite dated, even for an entry-level camera. It has a hard time keeping up in low-light situations and when your eye is to the viewfinder it can be a little difficult to tell which point is selected. Pressing the shutter down half-way to initiate autofocus before firing a shot shows you what point is selected, but the red dot only appears for half a second, is quite faint, and occasionally will trigger a red glow from other spots in the viewfinder.

Face-detection AF only works in Live View mode, where the rear screen is used to frame up your photo, instead of the viewfinder and although it reacts quickly in sunny conditions, indoors it got laggy seemed to have trouble keeping up. There is no touch-screen functionality on the 921k LCD screen, which can be a little frustrating if you’re used to shooting mirrorless or with a phone. Another unfamiliar (but minor) annoyance could be that the optical viewfinder only covers 95 percent of the frame. It’s pretty standard for an entry-level DSLR like this, but means it’s hard to precisely judge what is and isn’t in the edges of your photo.

The AF does a fine job when you have a static subject, but with something fast moving you will probably have to learn to pre-focus at the point you expect the subject to arrive at, which may require some trial-and-error.

The camera’s ‘Guide’ mode tries to help teach you the camera’s functions and how to get the most out of it.

The camera’s image quality is beautiful on the low end of the ISO range and just fine up to about ISO 6400. On the higher end of the range things start to deteriorate. We didn’t love the amount of noise that we were seeing on files shot at ISO 12800.

The battery life on the D3500 is amazing, though. It will effectively last for days at a time if you shoot through the optical viewfinder: longer than its predecessor or mirrorless cameras. You can’t charge over USB, which is disappointing, but during our time with the camera we didn’t even notice a percentage drop on the battery.

Although the Guide Mode can be incredibly helpful for new photographers, we didn’t find the camera quite as dependable as we’d like. Unlike mirrorless cameras, which use their main sensor to assess exposure, the D3500 uses a small, dedicated metering sensor. We found the results to be more inconsistent than we’ve become used to, with photos that were too bright or too dark. And, because we were looking through an optical viewfinder, we only found this out once we’d taken the shot: making it hard to preemptively apply exposure compensation to correct this.

Out of camera JPEG.
Nikon DX 35mm F1.8 G | ISO 100 | 1/500 sec | F3.2
Photo by: Jeanette Moses

The camera lacks Wi-Fi and uses a much slower Bluetooth connection to transfer images, via Nikon’s SnapBridge app. You can transfer 2 megapixel versions from the camera to your smartphone automatically or one at a time, but it takes a while. And if you want access to the full resolution images that the camera is capable of shooting, which you absolutely should, you are simply better off waiting to unload files onto your computer, or smart device using a memory-card reader.

Because it’s a DSLR, you have to flip the mirror up, block the optical viewfinder and use live-view mode to shoot video. The D3500’s video capability tops out at Full HD at 1080/60p, which seems odd considering that 4K seems to be baked into everything hitting the market, but is also likely one of the reasons that the D3500 is so accessible when it comes to price. It’s fine for short clips, but it does feel like a bit of an afterthought. This is a camera that is far more capable for handling stills photography and you would probably be better off shooting video with your smartphone.

Although the experience of shooting with the camera was just okay, the images that it produced were good quality, especially when considering the low price for the kit.

Conclusion

The D3500 is a capable camera available as a competitive price, and is very small for a DSLR.

Ultimately the D3500 is a very capable and affordable camera for beginners and young families. It does a fine job capturing ‘candids’ and other casual shots. Although the Guide Mode leaves something to be desired for seasoned shooters, it does offer a non-intimidating way to learn about some of the more technical aspects of photography.

The autofocus on the camera can be a bit limited—especially if you are dealing with tricky lighting situations or very fast moving subjects. It isn’t the most fun camera to shoot with, but the image quality is good. The 24-megapixel sensor and EXPEED 4 image processor make for high-quality frames that would look great as prints.

D3500 is an affordable camera that is simple enough to not be intimidating

If you are looking to capture a lot of movies with your camera you will probably want to look elsewhere, as the D3500 is a camera that was made for primarily capturing stills. It is just fine for short clips, but there are much better options on the market for video making. We don’t love the outdated 11-point AF system, the lack of a touchscreen or the cluttered nature of the back buttons. Having a dedicated ISO button on the back of the camera would have been a worthy addition here.

Overall the D3500 is an affordable camera that is simple enough to not be intimidating, but features enough tech that a young photographer could grow into it. The D3500 probably won’t be a ‘forever’ camera, but it’s a solid place to start.


Sample galleries:

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Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about the changes to our scoring system and what these numbers mean.

Nikon D3500
Category: Entry Level Interchangeable Lens Camera / DSLR
Build quality
Ergonomics & handling
Features
Metering & focus accuracy
Image quality (raw)
Image quality (jpeg)
Low light / high ISO performance
Viewfinder / screen rating
Performance
Movie / video mode
Connectivity
Value
PoorExcellent
Conclusion
The D3500 is a compact and likeable DSLR for beginners. It's not great for video and its image transfer is slow. But for stills it's a solid choice
and its Guide Mode makes it easy to learn.

Good for
Beginners who want the DSLR experience

Not so good for
Video shooters or anyone expecting a phone-like 'WYSIWYG' shooting experience.
75%
Overall score

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With thanks to Glazers Camera for lending us a D3500 for product photography.

Articles: Digital Photography Review (dpreview.com)

 
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The Autel Evo II will come in three modular models, including two with 8K video

15 Jan

Early last month, a forthcoming EVO II from Autel Robotics was revealed through an FCC filing. The portable follow up to the EVO officially launched at last week’s CES 2020 show. Drone and tech pundit OriginaldoBo made a prediction a week before the conference that this year, industry-dominating company DJI was not going to be the star of CES. Now we know why. Autel has introduced the very first 8K folding drone. The EVO II comes in 3 variants offering up 3 separate camera modules.

  • The standard Autel EVO II has an 8K, 48MP camera with a 1/2″ CMOS sensor. It can capture content at resolutions up to 8,000×6,000 pixels for photos, meaning you could print an image as large as 100 inches wide. Video resolution will max out at 7720×4320 pixels. It also features lossless, in-camera zoom up to 4x. Its weight at takeoff is 1,127 grams (about 2.5 pounds).
  • The EVO II Pro features a 20MP camera with a 1″ CMOS sensor, an adjustable aperture (ranging from f/2.8 to f/11), HDR, an ISO range of 100-12,800, and the ability to capture 6K video. The weight of EVO II Pro at takeoff is 1,174 grams (about 2.6 pounds).
  • The EVO II Dual boasts both a FLIR Boson sensor, with a thermal resolution up to 640×512, plus the same 8K camera that comes with the standard model. Takeoff weight for the EVO II Dual 320 is 1,157 grams (2.55 pounds) and 1,192 grams (2.62 pounds) for the EVO II Dual 640.

All 3 cameras have a maximum bitrate of 120Mbps. They will also feature 10-bit color depth. Autel’s states on its official site that it will continue to update specs, as they become available, but they have not specified whether there is an H.264 or H.265 codec. Information on frame rates is also notably absent at the time of this writing. Each variant of the EVO II is modular. You can upgrade, downgrade, and switch out camera systems without having to purchase a new drone.

The EVO II has a maximum flight time of 40 minutes and a transmission range of 9 km (5.6 miles). While most users will not need to fly this far, Autel states that a longer range ‘also means a stronger signal.’ It can operate at a maximum speed of 45 miles per hour (20.1 m/s). 12 AI-powered computer vision sensors give it omnidirectional obstacle avoidance that can also be disabled if the user wants full, uninterrupted control. 8GB of onboard storage is available with the option of adding an external microSD card up to 256GB.

What drone enthusiasts and professionals, especially, will appreciate is that Autel does not equip its drones with geofencing. While the feature, found in all contemporary DJI models, prevents drones from flying into restricted areas, including controlled airspace, it can also create a major inconvenience if a pilot secures permission to fly in a designated area and is unable to unlock the zone as planned.

The EVO II is currently in production. The EVO II is $ 1,495 and the EVO II Pro is $ 1,795. Those interested in purchasing an EVO II Dual will need to contact Autel for pricing. Availability and shipping dates will be announced soon, according to Autel’s official site.

Articles: Digital Photography Review (dpreview.com)

 
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Paul C. Buff launches LINK 800WS plug-and-play LED flash unit

15 Jan

Paul C. Buff Inc., the company known for its professional lighting products, has introduced LINK 800WS, a new portable flash unit that features up to 800 watts of power, multiple shooting modes, 1 to 10 adjustable f-stops and a digital LCD. The product’s name refers to the company’s effort to link its ‘past products with currently photography needs,’ according to the PCB.

The LINK 800WS flash unit is Paul C. Buff Inc.’s most powerful and versatile light ever launched. The product packs a daylight-balanced LED modeling light and detachable battery into an all-metal housing; the model supports umbrella rods up to 9mm and has a stand mount that supports up to 5/8in stands. The portable flash unit is fairly compact at 16.5cm x 12.1cm x 32cm (6.5in x 4.8in x 12.6in) with a weight of 3.9kg (8lbs, 7oz) including the battery.

In addition to HSS / TTL modes, the LINK 800WS also features an Action Mode and a Color Mode. Other features include 3.5s recycle time, 8.8cm (3.5in) LCD, plug-and-play support for 100 to 240 voltages, +/- 100K color consistency at any power level, support for speeds up to 1/154,000s and an included magnetic rubber diffusion dome.

The LINK 800WS is currently listed on the Paul C. Buff Inc. website for $ 895.95, but the company says it won’t be available to purchase until Spring 2020. The light will work with the new HUB remote and BUFF mobile app on iOS and Android. Buyers will have the option of choosing a LINK 800WS bundle that includes the flash, charger, battery, and the HUB remote for Nikon or Canon (or, later on, Sony) for $ 1,196.

Articles: Digital Photography Review (dpreview.com)

 
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Manfrotto launches new ‘Pro Rugged’ line of SD, Micro SD memory cards

15 Jan

Italian tripod and accessory manufacturer Manfrotto has launched a range of memory cards that it claims is the strongest on the market. Comprising of SD, MicroSD and CompactFlash models, the Pro Rugged series is claimed to combine high-speed performance with waterproof, crush-proof and temperature-proof build quality that can withstand extremes of use and conditions.

The SD cards particularly are sealed against ingress of water and dust, and can remain underwater for up to 72 hours without suffering damage. They are made from a solid moulded piece of plastic and are said to be three times stronger than normal cards and able to survive a 20kg impact. Tested in temperatures of between -25 degrees C to 85 degrees C, the SD cards come in 64 and 128GB capacities and have a V90 rating that sees 280MB/s and 250MB/s read/write speeds.

The Pro Rugged MicroSD cards are V30 rated, offer 90MB/s read/write speeds and come in 64 and 128GB capacities, while the CompactFlash cards are UDMA 7 rated, offer 160MB/s and 130MB/s read/write speeds and also come in 64/128GB varieties. The CF cards aren’t waterproof but Manfrotto claims they are made from tougher materials than most cards, that they will last longer and that they can withstand a 35kg impact. They are suited to use in temperatures of between freezing and 70 degrees C.

The SD cards are half price at the moment on the Manfrotto website and are listed at $ 57.50/£47.50 and $ 112.50/£92.50, while the CF cards are $ 80/£65 and $ 150/£125 and the MicroSD cards are $ 32/£27 and $ 42/£35. Visit Manfrotto’s website for more information.

Articles: Digital Photography Review (dpreview.com)

 
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Sony releases new wireless shooting grip for select mirrorless cameras

14 Jan

Sony has launched the GP-VPT28T, a new wireless shooting grip designed to work with a number of Sony cameras. The grip, which also serves as a tripod, uses Bluetooth connectivity to wirelessly control the shutter, zoom and more on compatible cameras.

Specifically, the grip can trigger both photo and video capture, control zoom on compatible cameras, and trigger a custom setting using the dedicated ‘C’ button on the face of the trigger. There’s also a ‘Lock’ button to ensure you don’t accidentally trigger the camera.

The grip is dust-and-water-resistant and works with the following Sony cameras: a9 II, a9, a7R IV, a7R III, a7 III, a6600, a6400, a6100, and RX100 VII.

The GP-VPT2BT Shooting Grip With Wireless Remote Commander is set to ship this month in North America for $ 140 ($ 180 CAD).

Articles: Digital Photography Review (dpreview.com)

 
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Shooting with the Olympus OM-D E-M5 Mark III in Sonoma County

14 Jan

From rolling vineyards to redwoods to ocean views, Sonoma County is a stunning place to photograph. For restaurateur and cyclist Remi McManus, it’s also a much-needed escape from the stresses of his day-to-day work. On a recent trip, he brought along the Olympus OM-D E-M5 Mark III to capture the sights on a ride through the region, getting better acquainted with its beauty (and wines), as well as the scars that remain after the recent wildfires.

Sample images from this video

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Articles: Digital Photography Review (dpreview.com)

 
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Venus Optics releases Laowa 12mm F2.8 Zero-D Cine lens for PL, EF and E mount cameras

14 Jan

Venus Optics has announced pricing and availability of its Laowa 12mm T2.9 Zero-D Cine lens.

The lens, which Venus Optics claims is ‘the world’s widest T2.9 cinema lens covering Vista Vision/Full frame sensors,’ is a re-engineered version of its 12mm F2.8 Zero-D photo lens. It’s constructed of 16 elements in 10 groups, features two aspherical elements and has a minimum focusing distance of just 18cm (7in) from the sensor.

As the ‘Zero-D’ nomenclature in its name suggests, the Laowa 12mm T2.9 lens features ‘close-to-zero’ distortion. It offers up a 47mm image circle, which is large enough to support both full-frame sensors and the larger Vista Vision sensors found on RED Monstro and Arri Alexa LF cameras. It also works as a 17mm equivalent lens on Super35 sensors.

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Both the aperture and focus rings use standard 0.8 mod gears for easy operability with follow focus systems. The focus ring has a 270-degree throw for smooth and precise adjustments. The lens, which is constructed of an aluminum alloy, measures in at 87mm (3.4in) long and weighs just 675g (1.5lbs).

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The Laowa 12mm T2.9 Zero-D Cine lens is currently available to order in PL, EF and E mount on Venus Optics’ online shop for $ 1,500. In addition to a custom Pelican case, the lens comes with a 114mm step-up ring for attaching matte boxes and other accessories, as well as shims for flange calibration. Pricing will vary in different regions around the world, according to Venus Optics.

Articles: Digital Photography Review (dpreview.com)

 
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Seagate is planning to release 18 and 20TB HDDs in 2020

14 Jan

If you’re the kind of photographer who likes to archive every single Raw file and video clip they’ve ever shot, Seagate’s upcoming new 18 and 20TB hard drives might just be what you’ve been waiting for.

According to a report from AnandTech, drive maker Seagate has confirmed it will release an 18TB hard drive in the first half of 2020 and follow up with a 20TB unit in the second half of the year.

The 18TB drive will come with the same nine-platter design already used in Seagate’s 16TB Exos drive and use conventional magnetic recording (CMR). However, shingled magnetic recording (SMR) will be used for the 20TB drive. This technology increases the storage density, and therefore capacity, of a drive by partly overlapping the magnetic storage tracks. This leaves the previous track narrower but allows more data to fit within the same platter.

Dave Mosley, CEO of Seagate, said the following:

“We are preparing to ship 18 TB drives in the first half of calendar year 2020 to maintain our industry capacity leadership. We are also driving areal density leadership with our revolutionary HAMR technology, which enables Seagate to achieve at least 20% areal density CAGR over the next decade. We remain on track to ship 20TB HAMR drives in late calendar year 2020.

Currently, Seagate’s largest drives offer a 16TB capacity and are aimed at the enterprise and NAS markets. The new 20TB drive will also use heat-assisted magnetic recording (HAMR) technology which temporarily heats the disk material, allowing for data to be written to smaller regions.

This much storage likely won’t come cheap. Seagate’s current 16TB Exos drive will set you back around $ 420, so the new versions will, at least at the time of launch, likely be more expensive than that.

Articles: Digital Photography Review (dpreview.com)

 
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