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Review: DJI Mavic Air

28 Feb

The DJI Mavic Air is a compact, foldable drone and is the smallest member of DJI’s Mavic family of products. It offers high image quality in a travel-friendly size, as well as a solid obstacle avoidance system and powerful automated flight modes. It can shoot 4K/30p video at 100 Mbps, but uses Wi-Fi for connectivity instead of DJI’s more robust Lightbridge or OcuSync signal transmission systems, both of which perform better over long distances.

The Mavic Air is a compelling offering, positioned between the consumer and professional-grade drones that DJI currently offers. When used correctly, it can produce content difficult to distinguish from its professional-grade cousins. If you’re in the market for a drone that delivers features close to the Phantom 4 Pro or Mavic 2 series while keeping size and cost factors in check, the Mavic Air is the perfect aerial companion for you.

Key Features:

  • 1/2.3″ 12 megapixel CMOS sensor
  • 3-axis stabilized gimbal
  • 85 degree FOV (24mm equiv)
  • Lightweight, 430 grams (15 ounces)
  • 21-minute flight time
  • Top speed of 68 km/h (42 mph) in sport mode
  • DNG Raw support
  • 100 Mbps 4K video up to 30 fps
  • Forward and rear-facing APAS obstacle avoidance
  • 8GB of internal storage
  • New intelligent flight modes

The DJI Mavic Air is in some ways an evolution of the DJI Spark, but also borrows liberally from DJI’s Mavic series of drones. The Mavic Air has a smaller footprint than the Spark when the legs are folded and the drone is in travel mode. On top of that, it also includes 4K video (the Spark maxes out at 1080p). The Air also offers DNG Raw stills, longer flight time, D-Cinelike color profile in video, and upgrades the gimbal from two to three axes of stabilization. The use of Wi-Fi for signal transmission matches the Spark, which keeps this small-but-mighty drone beneath the more robust transmission offering of the Mavic and Phantom series.

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The Mavic Air has an improved obstacle avoidance system, which protects it from objects in front, behind, and beneath its flight path. Additionally, DJI’s Active Pilot Assistance System, or APAS, also helps the drone avoid obstacles intelligently, by moving around them, instead of just stopping when it encounters them. It has many features that make it suitable for new and experienced drone pilots alike. It’s a near-perfect travel drone for hobbyists and creators of all levels.

The Mavic Air shoots high quality video at resolutions up to 4K/30p, but not without a few compromises. Read the video quality page to learn more. Video by Kjell Redal

How it compares

Learn about new features found on the Mavic Air, and find out how it compares to other DJI models, including the original Mavic Pro/Pro Platinum.

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Aircraft, Camera and Controller

The Mavic Air’s incredible portability may be the best part if its design. We take a closer look at the hardware, and explain a few of the compromises that come with its small size.

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Is it right for you?

We’ll help you figure out whether the Mavic Air is the right drone for you based on how you intend to use it.

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Photography Features and Image Quality

The Mavic Air’s camera is capable of capturing some very high quality images – as long as you’re aware of its limitations.

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Video Features and Quality

The Mavic Air boasts some impressive video capabilities, including high quality 4K/30p capture. Find out how it performs and whether the camera’s small sensor comes with any limitations.

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Conclusion

Our overall impression of the Mavic Air, as well as some alternative models you may want to consider.

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Review Publication History
February 28, 2019 Review published

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2019: Zeiss ZX1 – hands-on with the full-frame Android camera

28 Feb

Hands-on with the Zeiss ZX1

We’ve seen Android-based cameras before, we’ve seen primarily touchscreen-based cameras before and we’ve seen full frame compacts with built-in 35mm lenses, but we’ve never seen anything that combines them, which is essentially what Zeiss’s ZX1 does.

Zeiss’s first entry into the digital camera market has echoes of the touchscreen-based Leica TL, it also can’t help but conjure-up thoughts of Sony’s RX1 cameras, which are also built around 35mm F2 lenses on full frame chips. What it doesn’t feel like, though, are Samsung’s erstwhile Android-based Galaxy cameras or Nikon’s Coolpix S800c, which felt like smartphones with a lens glued onto the front.

We got the chance to handle and explore a pre-production ZX1 at CP+ in Yokohama. Zeiss isn’t yet giving a release date for the ZX1 so it’s difficult to know how close to finished it is, but the camera seemed stable and to have most features in place, so we can at least describe how it’s going to work.

ZX1 Physical controls

There are only five physical control points on the camera: dedicates aperture, shutter speed and ISO dials, a solitary function button and a sprung switch at the base of the shutter speed dial. Everything else is controlled via the touchscreen.

All three dials have ‘A’ positions, if you want to hand-off control of their function to the camera. The shutter speed dial only goes up to 1/1000 sec since that’s where the camera’s leaf shutter tops-out. You’ll also notice there’s an ‘H’ position, though. This switches the camera over to electronic shutter mode, to access shutter speeds up to 1/8000 sec, via the touchscreen. At the other end of the scale there’s a ‘L’ setting for shutter speeds longer than a second. There are Low and High positions on the ISO dial, too.

ZX1 power switch

But before we get into the details of the touchscreen, we should take a closer look at that sprung switch. At first glance, this little nub looks like a power switch, but it’s not quite that simple. Although it is the way you turn the camera on and off, this three-position switch provides access to the ZX1’s video shooting mode, too, and it’s also how you put the camera to sleep.

Because it’s an Android device, the ZX1 doesn’t just leap into life when you flick the power switch forward from being off – it starts to boot up, which just like a smartphone, takes a little while. To avoid you having to go through this ordeal every time you want to take a shot, pulling the switch back doesn’t turn the camera off: instead, like a smartphone it just sends it to sleep: powering down the sensor and screen. Pull the switch back for three seconds and it’ll completely shut the camera down. Push it forward while shooting and you enter video mode. We’re told that in ‘sleep’ mode, your battery should only drain by about 10% over the course of a day.

The function button can be reconfigured. With the current firmware it’s an AEL button but you can also get it to control a couple of other functions, including AFL.

ZX1 Swipe bar

The first thing you’ll notice about the ZX1’s touchscreen is that it’s not flat. Instead there’s a distinct crease (but a lovely, smooth one that we suspect must be quite costly) around 1.5 cm in from the right-hand edge. This angled strip of screen is home to a series of icons, which are used for controlling everything else on the camera. In stills mode they’re displayed on a black background but in video mode they’re overlaid on the preview, which expands out to use the full 16:9 expanse of the screen.

There are four icons to a page and swiping your finger up or down along the control strip scrolls through the available options. The top option on the strip is exposure compensation and tapping it brings up a vertical slider so that you can swipe-in the amount you want to apply. Most of the other options work in the same way, popping up a small virtual slider to adjust the setting. Some options also present three dots in a circle, giving you access to a menu with more detailed settings.

Menus, playback and the Android homescreen

What’s not quite so obvious is that there’s another, un-indicated swipeable region along the right-hand-side of the screen. Swipe up and you’ll enter the camera’s main menu, swipe down and you’ll enter playback mode. Left and right swipes change the level of information shown on the screen.

Only if you swipe down do you get a a little 3-dot icon that then finally lets you see the homepage of familiar circular icons that belie the camera’s Android underpinnings. At present, the available apps are locked-down, for security purposes but will be opened up somewhat when the camera is finished. We doubt that Zeiss will simply allow all Google Play apps to be accessible, though.

ZX1 battery and battery life

All the extra processing to run a more complex operating system has the predictable effect on battery life. The ZX1 packs a pretty sizable battery pack that offers around 3190mAh. At present Zeiss is discussing a figure of around 250 shots per charge when tested in a manner comparable with the CIPA standard. We’ll see whether this improves at all with the last bits of fine-tuning of code, prior to launch.

This image gives you a better idea of the angled right-hand portion of the rear display, which follows the angle of the body shell. It really is beautifully done.

ZX1 construction

Back on the physical side of things, the camera has a solid-feeling metal body. The right-hand edges are wrapped with a thin rubberized coating, which means it feels surprisingly secure in the hand. I found myself rotating my hand to the right to adjust my grip whenever I held the camera, but I’m not sure if this was a conscious attempt to more comfortably reach the shutter button or an unconscious attempt to access a front control wheel that doesn’t exist.

The top left of the camera is the only other non-metal body panel: a plastic cover that looks for all the world like it should conceal a pop-up flash but is actually a ‘window’ in the camera’s metal shell to allow the Wi-Fi to communicate efficiently. Given the large files (~70MB per uncompressed Raw), the Wi-FI needs to work as effectively as possible.

Storage, image management and output

What you can’t see on the ZX1 is that it has no memory card slot. Instead it has a vast 500GB SSD built in. We weren’t told exactly how much of that space is taken up by the operating system, but that’s still a ridiculously large amount of space. To sensibly manage such a large drive, the ZX1 lets you shoot what it calls ‘collections’. Essentially these are image folders on the camera’s internal drive, so that you can easily find the images to took on a particular shoot. They appear as separate folders if you connect a device to the exposed USB C socket on the left-hand side of the camera.

Interestingly, because it has an onboard operating system the ZX1 can act both as a slave device (effectively a computer will see it as a massive memory card, as you’d expect from a conventional camera) or a host device that can read a USB memory stick or hard drive plugged into it. This means you can transfer images from the camera to an external drive without ever having to connect to a computer.

Summing up

One advantage the Zeiss has over previous attempts at Android-based cameras is that it’s not trying to compete on price with less-sophisticated mass-market models, meaning (in theory) fewer corners should need to be cut in terms of processing power or memory.

The company say they’ve also stripped the Android implementation back to the bare essentials and focused on building a camera interface, rather than trying to use any of the operating system’s built-in camera capabilities. And even in this non-final form, this decision appear to have paid-off, with the interface working smoothly.

If anything, it’s Zeiss’s decision to include an ISO dial, rather than an exposure comp control (or an unmarked dial to let you choose which you want access to), that took us longest to adapt to in our brief time with the camera. Zeiss believes that a lot of people will manually set exposure, leaving ISO effectively playing the role of exposure compensation. I guess we’ll see how that feels once we get our hands on a testable camera in the coming months.

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2019: Hands-on with Nikon Z 24-70mm F2.8 S

28 Feb

CP+ 2019: Hands-on with Nikon Z 24-70mm F2.8 S

At the annual CP+ photography show in Yokohama, Japan, Nikon has been showing its new Z 24-70mm F2.8 S. The Z 24-70mm F2.8 S sits above the Z 24-70mm F4 in Nikon’s new mirrorless lineup, and offers a native mirrorless alternative to the company’s AF-S Nikkor 24-70mm F2.8 for its DSLRs. Promising to be smaller, lighter, and sharper than its forebears, the new lens has been keenly awaited by professional and enthusiast Nikon photographers.

Smaller and lighter than F-mount 24-70mm F2.8

Compared to the AF-S 24-70mm F2.8 for F-mount, the new lens is 25% smaller and 18% lighter. This size comparison shows the difference pretty clearly. Even without the FTZ adapter, it is obvious that the older 24-70mm (top) is a larger lens.

Among the many differences between the two lenses is the zoom ring of the newer zoom, which is much slimmer. in the hand, the weight difference is also obvious. The new lens is a noticeably lighter bit of kit than the older F-mount equivalent, which is a welcome change.

New optical formulation

The optical formula of the Z 24-70mm F2.8 S is totally new, and comprises 17 elements in 15 groups. Two of the elements are Extra Low Dispersion (ED) glass, and four are aspherical. As well as Nikon’s Nano Crystal coating, the 24-70mm introduces a new ‘Arneo’ coat, which is promised to further reduce flare and ghosting.

Fluorine coating

Fluorine coating on the front and rear elements is designed to help make it easier to clean oil and moisture from the outer surfaces of the lens. As you can (just) see in this image, like the older AF-S 24-70mm F2.8, the lens extends when zoomed – taking the hood mounting ring with it.

Control ring

A customizable ‘control ring’, closest to the lens mount joins focus and zoom rings to provide direct control over various functions. Some photographers might find it useful for direct control over aperture, or exposure compensation. There’s potential for the ring to be accidentally bumped, and if this is an issue, the ring can also be disabled.

OLED display

Joining the control ring and customizable ‘L-Fn’ button is an OLED panel, which can display various information, including focal length…

OLED display

Aperture…

OLED display

And focus distance.

‘Multi-Focus System’

A new ‘Multi-Focus System’ has been included in the Z 24-70mm F2.8 S, which appears to be designed along the same lines as recent high-performance Sony GM lenses. In the Z 24-70mm F2.8 S, two autofocus actuators move two focus groups at once, enabling the lens – in Nikon’s words – to “achieve critical focus rapidly from nearly any distance, including close-up shooting”.

Our very limited use of a what judging by the very early serial number we assume is a pre-production sample at the Nikon booth indicates that focus is, indeed, quite fast and responsive in favorable light. More or less comparable, in fact, to the older AF-S Nikkor 24-70mm F2.8. In lower light, and with a bit less contrast to bite onto, autofocus response appears very similar to the Z 24-70mm F4 S when mounted on a Z7.

The new Z 24-70mm F2.8 S will be shipping soon, at an MSRP of $ 2299.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm XF10 review

28 Feb

Introduction

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No Award

75%
Overall score

The Fujifilm XF10 is a stylish, compact, well-priced pocket camera that will take great photographs courtesy of its 24 megapixel sensor and 28mm-equivalent F2.8 lens. But while it looks good in pictures, and its pictures look good, the XF10’s overall performance may be a let-down, including for those users coming from smartphone cameras.

Key specifications

  • 24MP APS-C sensor with a traditional Bayer color filter array
  • Fixed 18.5mm (28mm equiv.) F2.8 lens
  • Fujifilm ‘film simulation’ modes including Classic Chrome, but missing Acros
  • 91-point hybrid autofocus system (phase and contrast detect)
  • New ‘snapshot’ snap focus modes
  • Up to 6fps burst shooting
  • 4K/15p or 1080/60p video capture
  • Fixed rear touchscreen, autofocus joystick
  • Wi-Fi + Bluetooth LE

The XF10 offers really solid image quality and is essentially a cut-down Fujifilm X70, which was itself Fujifilm’s take on the Ricoh GR series, though it shared some design philosophy with the company’s successful X100 series that uses a less-wide-angle 35mm-equivalent lens.

But compared to the X70, the XF10 brings simpler controls, an even more compact build, and unfortunately, a step backwards in both autofocus and general speed of operation that may be be off-putting to anyone used to the fluidity of a modern smartphone experience.

The XF10 serves up plenty of detail and tasty color without requiring any fancy setup.
ISO 2500 | 1/80 sec | F2.8
Photo by Wenmei Hill

And let’s not forget that even a reasonable price of $ 499 can be a lot to ask of people who may already have an expensive smartphone that, in many cases, will offer ‘good enough’ image quality to go along with more responsive performance. Crucially for this crowd, the XF10 is yet another item to carry in your pocket or purse.

We’ve now had the chance to put our champagne-colored XF10 to the test (it also comes in a stealthy black color) – follow along and see if the XF10 is the right fit for you.


What’s new and how it compares

With a new sensor, new focus modes and a handy square mode for Instagram enthusiasts, the XF10 has plenty of new features under the hood.

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Body, handling and controls

With twin dials, a touchscreen and an AF joystick, the XF10 handles equally well for new users and those wanting to take more control over their photography.

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Image and video quality

We never tire of Fujifilm’s gorgeous film simulations, most of which are present in the XF10. But how does it look in our studio scene?

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Autofocus and performance

Though the XF10 has a hybrid autofocus system with phase detection, we weren’t blown away by autofocus accuracy. Or speed, for that matter.

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Conclusion and sample gallery

The XF10 can take great images, but operational quirks significantly dull the experience of shooting with it.

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Specifications

Check out our full spec list for the XF10.

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Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with the Sony 135mm F1.8 GM

28 Feb

A relatively lightweight lens for portraiture, weddings, sports

Sony has just announced the FE 135mm F1.8 G Master (GM) lens, its 9th GM lens and 31st native full-frame E-mount lens. According to Sony, the GM line promises both ‘high resolution and exquisite bokeh’, and our initial impressions after shooting with the lens are certainly positive.

Sony tells us the design of this lens is new, and entirely different from the A-mount Sonnar 135mm F1.8 ZA lens. At 950g (2.1lb), it’s 280g (0.62lb) lighter than the Sigma Art 135mm F1.8 lens, which – at 1230g (2.7lb) – weighs 30% more than the Sony. That’s a significant weight difference, and the 135mm GM balances reasonably well on an a9 or Mark III Alpha-series full-frame body.

The relatively lightweight and portable nature of the lens will be appreciated by its target audience: portrait, wedding, and sports shooters looking for subject isolation and fast autofocus performance.

Optical design ensures smooth bokeh, minimal aberrations

Comprised of 13 elements in 10 groups, the Sony FE 135mm GM features an XA (extreme aspheric) element, an ED (extra-low dispersion) and Super ED element. The Super ED and ED glass used in the front element groups replace traditional large and heavy negative elements commonly used to suppress longitudinal spherical aberration, which is most often seen as purple and green fringing in front of and behind the focus plane, respectively. Sony claims this combination of a Super ED and ED element ‘compensate for axial CA, minimize color fringing and maximize overall resolution.’

Onion-ring bokeh is non-existent

Meanwhile, the large XA element mitigates spherical aberration, and helps maximize sharpness. Sony’s 10 nanometer mold precision and other recent improvements ensure that onion-ring bokeh is non-existent. In addition, each XA element produced is individually inspected to ensure smooth bokeh and an 11-blade circular aperture ensures circular out-of-focus highlights even at F4 and beyond.

Flare resistance and ergonomics

Sony’s Nano anti-reflective coating is used to reduce flare and ghosting, which can be particularly problematic when shooting backlit portraits. A fluorine front element repels fingerprints and water.

There’s an aperture ring with 1/3EV increments, as well as two custom ‘Focus Hold’ buttons that can be assigned to any one custom function (they can’t be assigned to different functions). The locations make them convenient to access with your thumb in either landscape or portrait shooting orientation. An AF/MF switch makes quick work of choosing between auto and manual focus.

Fast to focus

The 135mm GM has a close minimum focus distance of 0.7m (2.3ft), offering 0.25x magnification. A focus limiter switch allows you to optimize focus for your shooting situation such that if you’re shooting mostly distant subjects, you can ensure the lens never hunts to a nearby distance. You can also choose a range from minimum focus distance to 2m (6.6 ft) if you’re only shooting close-up portraiture. With the right setting, you’ll almost never experience hunting to extremes, which can otherwise slow down shooting on such a shallow depth-of-field prime.

Two focus groups can move independently of one another in a ‘floating’ design for fast, accurate autofocus

Speaking of focus, four XD (‘extreme dynamic’) linear induction motors replace the previous piezoelectric design of Sony’s ‘Direct Drive SSM’ system. These motors are capable of moving larger, heavier elements, and it’s Sony’s first lens to feature four of them driving two focus groups. The two groups – one in the front and one in the rear – can move independently of one another in a ‘floating’ design, yielding fast, accurate and quiet autofocus (and we can confirm that in our experience, it’s the fastest focusing lens of its type). A new control algorithm helps ‘maximize control response and ensure quiet, low-vibration AF’ – we assume this is at least in part related to the lens’ ability to receive and execute instructions at the high rates the a9 is capable of (60 instructions / second).

Features video shooters will love

The dedicated aperture ring is ‘de-clickable’, making smooth changes to depth-of-field in video possible. The focus ring offers a linear response in manual focus mode, making focus pulls easy during video shooting. The linear response will also be appreciated by stills shooters accustomed to the focus response of traditional DSLR lenses.

Magnesium alloy chassis, dust and moisture resistant

Sony claims the 135mm GM lens has a similar kind of internal construction as on the FE 400mm F2.8 GM lens. It has a magnesium-alloy chassis, and Sony claims dust and moisture resistance. A rubber gasket around the mount helps keep water from entering your camera internals.

The FE 135mm F1.8 GM will ship in late April for $ 1900 USD / $ 2600 CAD. If you haven’t already, you can view our sample gallery here to get a better idea of what this lens is capable of.

Articles: Digital Photography Review (dpreview.com)

 
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Italian photojournalist has a Leica camera to thank for saving his life after being hit by an RPG

28 Feb

Editors note: Although no injury is shown, there is visible blood on a Leica camera in an embedded image below.


Italian photojournalist and co-founder of the Cesura Lab photographer collective, Gabriele Micalizzi, has a Leica camera to thank for saving his life.

On February 11, 2019, while covering conflict between the United States-backed Syrian Democratic Forces and the Islamic State (IS) militant group in Baghuz, Syria, Micalizzi was hit with shrapnel from an IS-fired rocket propelled grenade (RPG).

In the above video, shared by YouTube channel Gli Occhi della Guerra, wherein Micalizzi recounts the attack. The interview is in Italian, but closed captions can be turned on for an auto-generated English translation.

In speaking with Italian news outlet Corriere della Sera, Micalizzi recounts the incident, saying:

I can tell you the story now, in a corridor of San Raffaele hospital, [thanks to] those who did everything for me. The Kurdish military, the American doctors, the Italian embassy. My Leica camera, too. If I hadn’t been holding it in front of my face, I wouldn’t be here to talk about it: in the impact [the Leica] damaged my eyes, but it served as a shield.

Gabriel Chaim, a CNN visual journalist who was with him at the time, also spoke on Micalizzi’s brush with death with the Committee to Protect Journalists:

Micalizzi was hit by shrapnel from the RPG in his head, his left eye and ear, and different parts of his body. I was a meter and a half away from him and got hit by the blast.

The below image and accompanying caption was shared on the Cesura Instagram page.

View this post on Instagram

Following the recent events regarding our photographer, co founder, friend and brother Gabriele Micalizzi in Syria, we would like to update you on his conditions. Gabriele is currently in Baghdad’s military hospital and is being carefully looked after by their medics for his lesion on eyes and arms. Yesterday we talked with Gabriele on the phone and he confirmed he is feeling fine, he is able to stand up and can see from both his eyes even if blurry. We are extremely happy to be able to dispute the recent news about the loss of his left eye which the media published without the necessary fact checking. Gabriele, the Micalizzi family and cesura would like to thank the people who very quickly and efficiently helped to rescue and evacuate him from the area of the accident. We would like to thank the Farnesina Crisis Unit and Italian diplomatic network for quickly jumping to action, keeping us constantly updated and for organising Gabriele’s return in italy. Furthermore, thank you to the whole medical team at the American hospital in Baghdad who took him in and with great dedication is taking care of him. We would also like to thank the journalist Fausto Biloslavo, @francesco.semprini and @gabrielchaim for the support during the evacuation operations and lawyer Alessandra Ballerini for the constant and precious help. Thank you to all the people who helped us handle this emergency situation in the best way possible. We will still have to wait a few days longer to see Gabriele in Italy again and hug him but the operations to bring him back home are already under way and the hospital ready to welcome him. We are waiting for you Never never never give up Cesura

A post shared by CESURA (@cesura_) on

Micalizzi’s work has been published around the world, with his credit line appearing in The New York Times, the Wall Street Journal and more. You can keep up with Micalizzi’s recovery on both his and Cesura’s Instagram profiles.

Articles: Digital Photography Review (dpreview.com)

 
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NASA Astronaut Drew Feustel explains how he captures racetrack images from space

28 Feb
Photograph of Drew Feustel taking a photograph outside the International Space Station while on a space walk mission.

NASA astronaut Drew Feustel has detailed his love of cars and racing in a new interview with Hot Rod Network, as well as his work photographing racetracks from space. Feustel has shared a number of these images on social media, each providing a unique look at racetracks around the world.

The images were captured from the International Space Station, where Feustel served as commander from June 2018 to October 2018. During the interview, Feustel explained that he would work with mission control ground support teams to coordinate times when he could attempt to capture the images.

German GP at Sachsenring Circuit — MotoGP

Feustel shot the images during his free time in space, where he’d plan ahead to capture the racetracks as the ISS passed overhead. The photography project ‘wasn’t a trivial thing,’ he said during the interview, explaining that he’d have to consider whether the conditions would be clear enough to capture the images and how he would get them.

Feustel said:

The photos were taken in my spare time—nights or weekends, or middle of the night or whenever, basically when I knew I was going to be flying over a track I would plan ahead for the day so that I had some free time to use the 5 minutes that I had to catch a track as I passed overhead, and then get back on with my work—I managed to capture all of them.

German GP at the Hockenheimring — Formula 1

The images were taken using a Nikon D5 camera with an 800mm lens and a 2x converter. Locating the racetracks from space was tricky and, in some cases, didn’t pan out:

When I looked out in the lens you could probably fit 30 tracks into the area, I couldn’t see them with the naked eye, usually, but if I pointed the camera in the right place, I could see them through the viewfinder. There were a lot of times where I couldn’t see them, and entirely missed a track because I pointed the camera in the wrong spot.

The ISS’s high-speed travel through space — it travels approximately 28,000kph / 17,000mph — compounded the difficulty, giving Feustel less than a minute to capture the racetrack before the window of opportunity closed.

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The effort paid off, however, resulting in dozens of images of racetracks located around the world. The public can view Feustel’s images on his Instagram and Twitter accounts.

Articles: Digital Photography Review (dpreview.com)

 
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Instagram ‘Public Collections’ feature discovered in Android app code

28 Feb
A view of the ‘Saved’ post section of the iOS Instagram app, also known as ‘Collections.’

Two years ago, Instagram released a feature called Collections that enables users to privately group posts together for organized safekeeping. The company now appears to be testing a new setting that would allow these users to make their Collections public. The discovery was made by software engineer Jane Manchun Wong, who has an excellent history with uncovering unannounced features in mobile apps.

The new public setting for Collections is not available to users, but Wong recently published a screenshot of what the feature currently looks like. Instagram told TechCrunch that it is not testing the feature, which indicates it is still in development. It’s possible the new option may appear for some users in the future when (if) public testing starts.

With the public option, Instagram users would be able to create curated Collections featuring a variety of content from different Instagram users. Based on the above screenshot, it appears Instagram would enable users to add contributors to their public Collections.

Public Collections would help address the issue of unauthorized content sharing via screenshots, as well as offering an alternative to Pinterest ‘boards.’ As with any unannounced feature, it’s possible the final product will differ from the version still in development. Likewise, Instagram may scrap the project and never release the ‘public’ Collections setting.

Articles: Digital Photography Review (dpreview.com)

 
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Xiaomi and Light announce partnership to push smartphone photography forward

27 Feb

It looks like Light, the maker of the L16 multi-lens camera, is really putting its money on the mobile sector. A few days ago the company announced it was partnering with Sony to use the Japanese chip maker’s image sensor in its multi-camera modules.

Shortly after, at the Mobile World Congress HMD Global launched its Nokia 9 PureView smartphone which uses Light’s technology in its main camera. Nokia phones won’t be the only smartphones to come with Light-engineered cameras, however. Now Chinese manufacturer Xiaomi and Light have announced that they’ll collaborate in developing smartphone cameras and computational photography technology as well.

The partnership is still brand new, so it will likely take some time before we see the first results in the shape of final products on store shelves. That said, it’s good to see Light is working with multiple manufacturers to market its innovative imaging technologies, which will likely accelerate market penetration and innovation of multi-lens cameras alike.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm XF10 sample gallery update

27 Feb

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_7628928607″,”galleryId”:”7628928607″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

As we found in our full review, the Fujifilm XF10 is a little on the slow side and we were surprised by autofocus accuracy issues. But when it all comes together, this pocket compact is certainly capable of some really beautiful images. With a 24MP sensor, sharp lens and absolutely excellent JPEG color, the XF10 will reward you with some fantastic photographs if you’ve remembered to pack your patience.

We’ve done a lot of shooting with our XF10 copy and updated our sample gallery to give you a look at what it can do.

Articles: Digital Photography Review (dpreview.com)

 
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