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World’s largest wet collodion plate created in abandoned house converted into a camera

29 Nov

While the rest of the world has been concentrating on making cameras smaller and lighter photographer Ian Ruhter was making one literally the size of a house in order to make the world’s largest wet collodion plate. Ian and his team sealed up an abandoned house in California and mounted a lens in the wall to create a massive camera. The camera was used to produce a portrait of a 100-year-old local resident on a sheet of glass measuring 66×90 inches.

The scale of the camera is one thing, and the size of the finished image is another, but what is most remarkable is that the team used a process that requires the glass plate to be coated with a solution of collodion poured from a jug right before the picture was taken.

The house selected was an abandoned ruin in an area called Bombay Beach, and the living room was used to form the camera. A giant hole for the lens was cut into the side of the house projected the image of the outside world into the room, and onto the massive sheet of glass for a ten second exposure.

The team made a fascinating documentary about the process that shows the project from start to finish and the thinking behind it. More of the team’s old-process adventures can be seen on the Silver and Light Vimeo channel.

Video description:

“While working with wet plate collodion Ruhter came up with an idea to show the world the beauty of these objects in a size that was deemed impossible. This led him and the Silver & Light Team to a forgotten town on the edge of the Salton Sea called Bombay Beach, located in California’s Imperial Valley. The idea was to create a camera out of an abandoned house. The structure would serve as the framework for the camera. Instead of focusing on the decay from the outside, this house camera allowed a view from the inside into someone’s dream.

Once the giant lens was placed on the front of the house, images of Ted, a 100 year old resident who recently found himself homeless, were projected in, breathing new life into this abandoned structure and once again making it a home. During this brief moment in time when Ted’s photograph was captured, he was present in both places. In reality, he was homeless in the outside world. However, the projected image simultaneously allowed him to be sitting in the living room where he was once again home. because the surface of the plate is highly reflective the life sized plate serves as a mirror, allowing one to reflect upon where they will be in the twilight of their life.

Ten seconds of this dream were recorded on a 200 pound sheet of glass coated with collodion. The result was a 66”x 90” Ambrotype, which is recognized as the world’s largest wet plate collodion image.”

Articles: Digital Photography Review (dpreview.com)

 
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Anaiyyun: Prayer for the Whale: An interview with Kiliii Yuyan

29 Nov

Filmmaker Kiliii Yuyan has been a friend of DPReview’s for several years. He spoke at our PIX2015 event in Seattle and joined us later that same year in what was then called Barrow, Alaska (now known as Utqia?vik) for a long-form video shoot.

Since then, Kiliii has returned to Alaska several times, working with the people and communities of the north slope, and his new film, ‘Anaiyyun: Prayer for the Whale’ premiered earlier this year at the Seattle International Film Festival (SIFF). Anaiyyun: Prayer for the Whale is a short documentary film that tells the story of an Iñupiaq whaling crew in northern Alaska.

Since its premier at the Seattle International Film Festival (SIFF) in spring, Anaiyyun has been shown all over the world, and is currently being featured in the National Geographic Short Films Showcase. We caught up with Kiliii recently, and asked him to explain more about the project.

What’s the new film about?

It’s focused on the spirituality of whaling. It’s intended to give you the perspective of the people up there and a sense of how very different the world of the whaler is, and how different the culture is. To put you on the ice, and let you absorb the beauty of the arctic. I like to say that being on the sea ice is a bit like being on the open ocean. There are long interminable stretches of boredom and silence, quiet. It’s very peaceful but those moments are punctuated with moments of sheer terror.

On the Arctic Ocean, Iñupiat paddle their umiaq skinboat. Spring whaling by umiaq is made possible by the shorefast sea ice. As the sea ice gets thinner each spring from a warming climate, traditional whaling becomes increasingly challenging.

That’s how the film is, too. There’s a lot of quiet observation, time just being there, but it’s broken up by moments where the sea ice collapses, and polar bears appear. I really wanted to do something experimental and introduce the indigenous perspective. It’s not a typical Hollywood-style structure. It puts you on the ice, and puts whaling into context inside that culture.

This is the latest piece that’s come out of a long-term relationship you’ve been cultivating with the communities of the North Slope in Alaska. How did it all begin?

Well if I remember rightly, you asked me to join you on a video shoot up there a few years ago! But the reason I wanted to go there is that it’s the only place where skin on frame boats are still being used, outside of Greenland. And the Iñupiat are a role model culture for northern indigenous peoples. People look at the Iñupiat like ‘how did they do it? How did they keep their culture so traditional yet have so much prosperity?’ They’re more isolated than most places, but there are many places just as remote which haven’t done as well for themselves.

The Iñupiat haven’t avoided modernity at all – they’ve embraced it

I originally went there thinking that the culture was so traditional because the people had somehow magically avoided modernity. But over time what I’ve discovered is that they haven’t avoided modernity at all – they’ve embraced it. But because they were smart, they managed to keep their culture and its traditions alive by placing a lot of importance on them, and reintroducing it into their education system.

It’s hard to think about all those things when you can’t eat. When there’s no food on the table, and the ice is getting thin and the whales are leaving and there are all these massive changes. It’s hard to hold on. They do it by embracing modernity in a smart way, and as a result they’ve retained one of the most beautiful cultures on the planet while still being successful. Despite the fact that Christianity has changed the Iñupiaq culture probably more than anything, the idea of the gift of the whale is old. Much much older than Christianity, right back to the shamanistic tradition, and it’s still alive.

Kiliii Yuyan is an indigenous Nanai/Hézhè photographer and journalist, based in Seattle.

His clients include The Nature Conservancy and National Geographic.

Are you hoping to change the way that outsiders think about that culture, and the culture of whaling?

This isn’t a political film. My intent is to give people the indigenous perspective. It’s fine to have films that are overtly political, but the thing that’s often missing is the indigenous viewpoint. Because the population is so low, indigenous peoples in the US and Canada just don’t have much of a voice. For the most part, stories told about indigenous peoples are told by colonizers, not by those who have been colonized, and you can really see the difference.

I’ve shown this film to people who have spent a lot of time either with me on the North Slope or people who’ve been around the Iñupiaq culture a lot and they get it – it makes sense to them. But then I’ll show it to someone who is used to seeing western films and they find it harder to watch because it doesn’t follow the standard format.

I hope that outsiders who watch this film will understand that there is no single right way to live.

At Nalukataq, the summer whaling festival, the village comes out to celebrate a successful whaling season and to give thanks to the whale for its gift. Here, successful whalers must do the blanket toss. They are thrown up to thirty feet in the air, and depend on everyone’s hands to land safely.

You’ve said that the communities of the North Slope are at ground zero for climate change – how is that affecting them?

Well, the truth is they’re figuring it out. The Iñupiat have a lot of agency, they’re an extremely competent people, and Alaska has the kind of legal structure where hopefully they’ll be able to mitigate a lot of the problems. The Yup’ik communities on the west coast of Alaska are not so lucky— they are not as economically prosperous.

With a film like this it’s easy to fall into the romanticism of the Arctic

What kind of feedback have you had from those communities?

The highest praise I’ve received so far was having an Inuk look at it and tell me that his kids need to see it. With a film like this it’s easy to fall into the romanticism of the Arctic, but when I’ve shown it to locals who grew up with this stuff and it’s their everyday, that kind of feedback means a lot.

My hope is that the young people of those indigenous communities will be able to see the film and take inspiration from it.

Watch Kiliii’s talk, ‘Living Wild’ at PIX2015

Articles: Digital Photography Review (dpreview.com)

 
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CyberLink launches subscription-based PhotoDirector 365 with premium add-ons

29 Nov

CyberLink has launched PhotoDirector 365, a new Windows program that is effectively a subscription version of the company’s PhotoDirector Ultra image editing software. The new option provides customers with unlimited access to the software’s premium add-ons, new style packs that are released quarterly, templates, and all new feature updates as they become available.

PhotoDirector 365 includes the new features found in PhotoDirector 10 Ultra, including AI Style Effects and tethered shooting. Other PhotoDirector tools, such as Layer Packs, Keystone Correction, and HDR, are also available. With the addition of all the add-ons, CyberLink says PhotoDirector 365 subscribers get access to “hundreds of dollars’ worth of unique tools” over time.

Whereas PhotoDirector 10 costs $ 99.99 USD for new customers to purchase, PhotoDirector 365 is available with a monthly cost of $ 14.99 USD, a quarterly cost of $ 29.99, or an annual cost of $ 54.99, depending on which plan the customer signs up for. PhotoDirector 365 joins CyberLink’s Director Suite 365, which bundles PhotoDirector with three of the company’s other software products for an annual cost of $ 129.99 USD.

Articles: Digital Photography Review (dpreview.com)

 
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COOPH photo vest features smartphone-controlled heating system

29 Nov

If you appreciate the practicality of a photo vest but aren’t really into the beige or khaki safari design of most traditional models, the new COOPH photo vest might be worth a closer look.

The vest features a more modern reversible padded design and comes in several color options. There are plenty of storage options for gear, accessories and smaller lenses. COOPH also says the vest is easy to fold and carry when not worn. The outer material is a rip-stop fabric and sheep wool is used for insulation.

Despite the attractive design touches, the vest’s real highlight feature is smartphone controlled built-in heating. The optional THERM-IC Heating System warms the hand pockets and heats kidney, back and stomach regions.

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It is compatible with any 5V USB power bank and can be used as a simple “dumb” heating system. However, if you add the THERM-IC bluetooth dongle into the mix, it becomes smartphone-controllable. A dedicated app lets you control the temperature and a motion control mode provides more heat when you are static and reduces power while you are moving. An eco mode delivers a constant level of heat for best energy efficiency.

COOPH claims an approximate five hours runtime with its own THERM-IC 5200 mAh battery. Vest and heating system (including battery and dongle) are available as a bundle for approximately $ 440 (389 Euros). More information can be found on the COOPH website.

Articles: Digital Photography Review (dpreview.com)

 
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Samyang announces 35mm F1.2 ‘XPert’ lens for EF mount cameras, due out in January

29 Nov
Product photo provided by Samyang

Third-party lens manufacturer Samyang has discreetly announced its new XP 35mm F1.2 manual focus lens for Canon EF mount cameras.

The XP 35mm F1.2 lens joins Samyang’s XP 14mm F2.4, XP 50mm F1.2 and XP 85mm F1.2 lenses to round out its ‘XPert’ lens lineup.

Samyang claims it’s built with 50 megapixel photos and 8K video in mind. It’s constructed of 12 elements in 10 groups and includes one extra-low dispersion, two aspherical and three high refractive elements.

The lens offers an aperture range of F1.2 to F16 and features a nine-blade aperture diaphragm. The front filter thread measures in at 86mm and the minimum focusing distance is 0.34m/1.115ft. The lens weighs 1,106g/2.2lbs.

The Samyang XP 35mm F1.2 lens for Canon EF mount lens is set to ship in January 2019 with a suggested retail price of $ 999 USD.

Articles: Digital Photography Review (dpreview.com)

 
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DJI announces the Osmo Pocket, ‘the world’s smallest 3-axis gimbal’ that shoots 4K60p video

29 Nov

DJI has announced the DJI Osmo Pocket, the world’s smallest three-axis stabilized camera system.

The Osmo Pocket features a 1/2.3″ sensor that captures 12-megapixel photographs and 4K60p video at 100Mbps. It also captures slow-motion footage at 120 fps when shooting 1080p. Audio is recorded with two buiilt-in microphones (one on the bottom of the camera and one on the rear of the camera) that feature noise-cancelling technology for reducing unwanted background noise.

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To compose shots, review media, navigate the menu, and select the various shooting modes DJI included a 1″ integrated touchscreen onboard the Osmo Pocket. The integrated shooting modes include ActiveTrack, which tracks a subject within the frame; FaceTrack, a more advanced version of ActiveTrack that will follow a particularly persons face when visible; Timelapse & Motionlapse, modes that speed up time and integrate motion into timelapse videos; FPV Mode, a locked shooting mode that follows the movement of the users hand while keeping the footage steady; and Panorama modes, which enables the capture of multiple images for stitching together in post-production.

For times when the onboard screen isn’t enough — and to unlock a slew of other features — users can also attach a mobile device using the onboard USB Type-C port. Using the included adapters, Android and iOS mobile devices can be connected to the DJI Osmo and operated with the dedicated DJI Mimo app. In addition to live-view and image review, DJI Mimo also adds Story Mode and Pro mode.

Story Mode simplifies the entire video creation process by offering ten templates that automatically control the camera movement and include music, transitions and color grading presets in post-production. After shooting is finished, the DJI Mimo app constructs an entire video that’s ready to share.

Pro Mode, which is available on numerous other DJI products, gives complete control of almost every camera setting imaginable. As its name suggest, it’s oriented more towards professionals, but when auto modes just aren’t enough, Pro Mode is there to fill in the gaps.

The DJI Osmo Pocket battery life is rated for two hours when shooting 4K30p video. The battery is built-in, so there’s no swapping out batteries on the fly, but it’s possible to charge on-the-go with an external battery pack.

DJI has also announced a range of nine accessories for the Osmo Pocket to expand creative possibilities, including an accessory mount, wireless module, controller wheel, expansion kit, ND filter set, waterproof case, extension rod, charging case, and a 3.5mm adapter.

The DJI Osmo Pocket retails for $ 349 and is available for pre-order at DJI.com and through other DJI Authorized Retailers, including B&H.

Capture Life’s Moments With Ease Using The DJI Osmo Pocket Stabilized Camera

The world’s smallest three-axis stabilized camera is made for your travels, family events and adventures

November 28, 2018 – DJI, the world’s leader in creative camera technology, today announced Osmo Pocket, a highly compact three-axis stabilized camera created for everyone. Designed to be incredibly easy to use, Osmo Pocket offers a host of intelligent features to help capture creative videos and photographs in a portable form factor.

“Innovation is at the heart of every product we create and DJI Osmo Pocket is here to change the way photos and videos are captured, not just by professionals but by parents, couples, adventurers, travelers, and everyone in between,” said Roger Luo, President at DJI. “Osmo Pocket is a portable personal camera crew and we can’t wait to see how people use it to capture their stories and share them with the world.”

Small yet powerful

At just over 4 inches tall, Osmo Pocket is DJI’s smallest three-axis stabilized camera. It redefines DJI’s family of handheld gimbals offering features never before seen in a product this compact. A 1/2.3-inch sensor records 12-megapixel photographs and 4K video up to 60fps at 100Mbps in stunning detail. Osmo Pocket also uses built-in dual microphones and advanced noise-canceling algorithms to ensure you capture high quality audio to match your footage. Furthermore, a battery life of up to two hours shooting video in 4K, 30fps means you can always rely on Osmo Pocket to capture your story no matter where you are at the very best quality.

Smooth, stable video

Building on DJI’s experience creating gimbal technology, Osmo Pocket helps capture stable video for all of life’s moments. The state-of-the-art three-axis mechanical gimbal compensates for movements and smooths these motions so you can focus on composition and subject matter. Whether you are taking videos of your vacation or documenting special holiday moments, Osmo Pocket helps ensure your video comes out smooth.

Simple and smart

Designed with ease of use in mind, Osmo Pocket doesn’t just let anyone shoot cinematic footage; it empowers creativity. The gimbal camera uses a 1-inch integrated touch screen that provides a high quality live view as well as the ability to toggle through the various shooting modes, adjust settings, review footage and gain access to a full suite of creative features including:

  • ActiveTrack- DJI’s image recognition algorithms allow Osmo Pocket to recognize and follow subjects of your choice, perfect for capturing family moments easily with the tap of your finger.
  • FaceTrack– FaceTrack takes ActiveTrack one step further. With enhanced ActiveTrack algorithms, FaceTrack automatically recognizes a human face and locks the subject in center of the frame at all times. It does not identify individual faces, but keeps the camera centered on one. To initiate FaceTrack, simply select selfie mode and the camera will detect your face.
  • Timelapse & Motionlapse– If you’re looking to turn minutes into seconds, Timelapse is perfect for capturing unique content with the effect of the world moving faster around you, while Motionlapse adds the dynamic element of camera movement to your Timelapse.
  • FPV Mode– FPV Mode lets you capture your greatest adventures by recording video from your perspective. Instead of locking the gimbal to maintain the horizon, FPV tells the camera to follow your every tilt and lean, shooting dynamic footage exactly as you experienced it.
  • 3×3 & 180° Panorama– For capturing breathtaking wide-angle photos, Osmo Pocket offers two Panorama modes. 3X3 takes an expansive 9 images in total while 180° mode captures 4 images. Osmo Pocket software stitches them together automatically so you can focus on the framing of the scene.

Unlock the full power of Osmo Pocket

A universal port under the touchscreen allows users to connect their mobile devices that use iOS Lightning or USB-C. Upon connection, the new dedicated DJI Mimo app will automatically open and serves as a monitor, while in-app menu offers a variety of intelligent features and recording modes:

  • Story Mode – Bring creative editing to your video with a host of preset music, video transitions and coloring. Choose one of 10 fun templates and Mimo will handle the camera movement for you. After finishing, Mimo automatically generates your very own short story, ready to be shared.
  • Pro Mode – If you want even more control over your content, “Pro mode” gives you access to camera setting adjustments and exposure settings to let you create exactly how you want, from rich video in bright conditions to a perfect handheld long exposure photo at night. Whatever you want to shoot, Osmo Pocket and DJI Mimo let you explore and expand your creativity. Osmo Pocket automatically detects and illuminates low-lit scenes into bright photos. This helps eliminates the need for a tripod, and you can rely on the gimbal to keep the camera still for a shutter speed of up to three seconds. Illuminate the dark, or capture the movement of light in a “light painting.” You’re only limited by your imagination.

A versatile tool with a range of accessories

An ecosystem of accessories unlocks the potential of Osmo Pocket:

  • Accessory Mount- The accessory mount makes Osmo Pocket compatible with action camera accessories so you’re able to capture your adventure footage, such as when mounted on a helmet, backpack or your wrist.
  • Wireless Module- The wireless module supports Wi-Fi and/or Bluetooth transmission between Osmo Pocket and your smartphone, providing remote access to the camera feed and control of Osmo Pocket; perfect for setting up a Timelapse or Motionlapse on a busy city street.
  • Controller Wheel- The wheel allows you to precisely control gimbal movement (left-right or up-down) enabling you to easily adjust the composition of your shot. Re-center the gimbal or switch to selfie mode easily with dedicated buttons on the handle.
  • Expansion Kit- The expansion kit includes the Accessory Mount, Wireless Module and Controller Wheel.
  • ND Filters Set**- Specifically designed for Osmo Pocket, ND filters attach to the front of the camera to reduce the amount of light entering the sensor. The ND Filter Set offers several levels of filter darkness and allows for more control over the camera’s aperture, exposure time, and sensor sensitivity settings.
  • Waterproof Case**- Bring a unique underwater perspective to your footage using the Waterproof Case which can be placed at a depth of 60 meters.
  • Extension Rod**- The Extension Rod attaches to the Lightning or USB-C port and provides 31 inches of reach to Osmo Pocket, opening a world of new creative angles that are normally difficult or impossible to get. A gimbal control joystick and camera button on the handle were designed for remote control when using the Extension Rod and a tripod was added to the bottom for expanded use cases
  • Charging Case**- This dual-purpose case not only protects Osmo Pocket while in transit but charges it as well. Dedicated sections were added into the case for your MicroSD card and ND filters so you can quickly grab your Osmo Pocket and know you’re ready to capture those moments and adventures.
  • 3.5mm Adapter**- The 3.5mm Adapter allows you to connect an external microphone if you prefer to capture audio using a separate device.

**coming soon

Price and Availability

Osmo Pocket retails for $ 349 USD and will be available for pre-order at store.dji.com, DJI Flagship Stores, DJI Authorized Retailers and additional retailers beginning today, November 28th 2:15 PM EST. Pre-orders will start shipping in December. For more information on all the new features and capabilities of Osmo Pocket, please visit www.dji.com/osmo-pocket.

OSMO Shield

OSMO Shield offers comprehensive two-year protection coverage, doubling your DJI warranty from one to two years. Customers also get an additional free accidental coverage service.

Articles: Digital Photography Review (dpreview.com)

 
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Flash made easy: Two portrait photographers try out Canon’s 470EX-Ai smart flash

29 Nov

Canon’s new Speedlite 470EX-Ai flash is designed to do the hard work for you, automatically repositioning itself for the best results. In this video we gave the 470EX Ai to two portrait photographers – John Keatley and Chelsea Miller, to see what they thought.

John is a professional studio photographer, whose usual setups involve multiple external strobe lights. Chelsea, meanwhile, is a self-described ‘natural light snob’. Watch our video to see how they got on with Canon’s smartest accessory yet.


This is sponsored content, created with the support of Amazon and Canon. What does this mean?

Articles: Digital Photography Review (dpreview.com)

 
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Review: DJI Ronin-S gimbal stabilization system

28 Nov

The Ronin-S is DJI’s newest camera stabilization system, distilling the technology of the more expensive $ 900 Ronin-M, a two-handed stabilization system, into a more efficient single-handed model that retails for $ 750.

There are other, less expensive single-handed gimbals on the market, but the Ronin-S stands apart thanks to a number of features, such as its easy-to-use setup app and its offset roll axis motor, which is lowered down behind the camera so you can more clearly see the back of the camera as you shoot. DJI also says it uses the most powerful motors it’s ever used in a handheld gimbal.

In addition to stabilization, the Ronin-S will connect to a range of popular cameras and allow varying degrees of control, from video start/stop all the way up to remote focus and zoom control.

Key specifications

  • 3-axis motorized gimbal head
  • Auto-tune feature for quick gimbal calibration
  • 3.6kg (7.9 lbs) load capacity
  • Integrated follow focus knob
  • Remote camera control (depends on model)
  • Button to switch between three sets of custom settings
  • Fully configurable using smartphone app
  • 12-hour battery life

Like other gimbals, the Ronin-S provides three-axis stabilization using motors that can counteract the movements of your camera, as well as create automated (or guided) tracking and panning camera movements. DJI recently released nine additional accessories for the Ronin-S, including useful items such as focus motor to facilitate remote follow focus on additional lenses.

Controls on the Ronin-S include a dedicated focus wheel, a joystick, a trigger, and three buttons on the grip: power, start/stop, and the ‘M’ button. The focus wheel system can be attached to either side of the grip using an Allen wrench using either of the two 8-pin ports on the side of the gimbal’s base, and cables are included for follow focus and remote camera control.

Fully assembled Ronin-S including gimbal, handle (which houses the battery) and mini-tripod. The detachable tripod collapses to create an extended handle for two-handed support.

The gimbal is rated to support up to 3.6kg (7.9 lbs), nearly the same as the Ronin-M, and is capable of balancing fairly large zooms as well, including the Canon EF 24-105mm f/4L IS II USM, the Nikon AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR and the Sony E 18–200 mm F3.5–6.3 OSS LE.

In fact, the gimbal’s weight limit is much higher than the one kilo (2.2 lbs) weight of the Panasonic GH5S camera and 12-60mm f/2.8-4 ASPH lens that I used for testing. Balancing the diminutive GH5S and 12-60mm kept each axis so close to center that I wonder if there’s potentially a minimum weight restriction.

In terms of remote camera control, the Ronin-S supports a number of cameras from Canon, Panasonic, Nikon and Sony. Only certain camera and lens combinations will support full camera communications with focus pulling, but DJI continues to add additional support through firmware updates. An evolving list of compatible cameras and lenses can be found on the Ronin-S support page. (Look in the ‘documents and manuals’ section.)

…the Ronin-S stands apart thanks to a number of features, such as its easy-to-use setup app and its offset roll axis motor, which is lowered down behind the camera so you can more clearly see the back of the camera as you shoot.

DJI also provides a sliding attachment plate to mount the camera to the gimbal, which is compatible with the Manfrotto 501PL type quick-release plate, letting you transfer from the gimbal to some tripods without dismounting the camera. However, you can’t use a Manfrotto plate on the gimbal. DJI’s plate is proprietary, no doubt on purpose.

Balancing and setup

Broadly speaking, balancing a camera on the Ronin-S is similar to most other gimbals, though it handles some situations particularly well.

DJI has mitigated some of the pain in the balancing process by including bright white position scales on each of the adjustable bars for recording the perfect balancing positions of favored setups. With proper annotation, this process only needs to be performed once for each camera and lens combination.

Most of the setup and configuration process for the Ronin-S is conducted from a smartphone app. The gimbal connects easily and quickly (faster than most cameras) via Bluetooth. There’s a balance test available through the Ronin App (iOS or Android) to check and score each axis by its center of gravity. This helps you optimize balance, which helps minimize the amount of effort the gimbal has to make to keep the camera steady.

Balance is achieved by balancing each axis of the gimbal, working from the camera outward. Once balanced, the Ronin app can be used to run the Auto Tune function that configures the motor behavior. Each adjustable part includes helpful index lines, making it easy to record precise positions for a particular camera and lens combination.

By my second day of use I had developed a good feel for how the cameras and lenses would balance, and I could switch back and forth between the Panasonic GH5S and a much larger Canon 1D X Mark II within just a few minutes. DJI’s recommended process for balancing is based on a sequential approach by axis working from the camera outward, though I ended up going off-book, slowly centering gravity by weight, locking off each axis from the outside-in.

Once balanced, the Ronin app has an Auto Tune function that configures the motor behavior. It gives you a choice of three levels of ‘aggressiveness,’ depending on how extreme the motion you’re correcting is. This avoids the need to learn how to configure the motor behavior (though you can do so manually if you wish).

As well as making the whole setup process easier, Auto Tune also makes it easy to quickly re-calibrate the gimbal. Instead of using the app, you can also hold the trigger and M button down simultaneously for four seconds. The Ronin then vibrates (rather alarmingly, sometimes) each of its movement axes, to test its setup.

As well as making the whole setup process easier, Auto Tune also makes it easy to quickly re-calibrate the gimbal. Instead of using the app, you can also hold the trigger and M button down simultaneously for four seconds.

DJI says the use of strong motors mean that Ronin-S can cope with slightly mis-balanced setups, which is especially useful when working with zoom lenses. Small changes in weight distribution as you zoom in and out can be corrected-for, without having to re-position and re-calibrate the gimbal.

SmoothTrack

With the camera balanced, it’s worth investigating the ‘SmoothTrack’ settings in the Ronin App. These let you dictate how you want the gimbal to respond to your movements. There are three customizable parameters: ‘Deadband’ sets the threshold for how much user movement it should ignore before interpreting the motion as an intentional input. ‘Speed’ defines how quickly the motors move in response to that input and ‘Sensitivity’ lets you control how much additional acceleration should be applied if you make an extreme movement.

You can set up three SmoothTrack presets, each of which holds separate settings for each axis, so you could set up a slow preset that only responds to big, intentional movements, another that is faster and more responsive and a third that only responds to input in one axis (just panning, for instance).

The Ronin app allows you to adjust the gimbal’s SmoothTrack settings, which let you dictate how you want the gimbal to respond to your movements.

Three sets of these parameters can be defined and then selected from the gimbal. Each parameter sets allows you to configure different responses for each axis, letting you create presets to suit a range of shooting styles.

The presets also let you choose whether an axis will respond to you pushing the camera around, so that you can physically over-ride the motors.

Operating the Ronin-S

Once your camera is balanced, and any cables connected, you’re ready to start shooting. The controls on the Ronin-S provide a simple user interface that makes it possible to perform multiple functions quickly and easily at the tap of a button or nudge of the joystick.

Pressing the M button while you’re using the Ronin will cycle through your three SmoothTrack presets, with numbered LEDs indicating which you’re currently using. Having three presets makes it much easier to react to situations on-the-fly as you’re working, something that would be especially useful to documentary filmmakers.

A fourth setting, the Sport Mode, can also be found by holding down the M button until the indicator LED turns yellow. Sport Mode provides the maximum responsiveness possible from the gimbal in order to accommodate and counteract extremely rapid movements, ideal for tracking subjects that move around quickly or unpredictably.

The ‘M’ button on the grip of the Ronin-S allows you to quickly cycle between three groups of settings; holding the ‘M’ button switches to Sport Mode, which is useful for tracking fast moving subjects. The joystick can be used to independently control camera movement.

The joystick on the handle gives another way to re-direct the camera when you turn it, and again you’ll probably want to play with the settings until it responds to your liking. I found the default parameters to be too sensitive; a little flick of the joystick would move the camera too quickly for a refined camera move.

Finally, the trigger on the front of the handle serves multiple functions. Holding it down will lock the camera in the direction it’s pointing, cancelling all user movement, while a double-press of the trigger will recenter the camera if it drifts. I found this to be a very quick way to reset the camera to its default, centered position when switching from one shot to the next. A triple tap will reverse the camera 180º for a selfie POV shot, useful for the vlogger generation, I’m sure. Finally, four taps and a trigger hold will unlock joystick-drift corrections.

It’s also worth noting that the rubberized grip on the handle is comfortable and easy to hold, and the shape insures that you can tell which way it’s oriented at any time even without glancing at it.

Remote camera control

One of the most useful features on the Ronin-S is remote camera control, using either the MCC (multi camera control) or RSS (remote start/stop) cable, both of which are included with the gimbal. With the Panasonic GH5S that meant I was able to pull focus electronically using the focus wheel, as well as start and stop recording, capture photos, or trigger autofocus with the button on the handle. Support for remote control varies depending on your camera/lens combination, so I recommend reviewing the current list of compatible cameras and lenses found on the Ronin-S support page.

MCC (multi camera control) and RSS (remote start/stop) cables facilitate remote operation of the camera using the Ronin’s controls, though support varies depending on camera model and lens. With the GH5S I was able to use the Ronin’s follow focus knob, which worked smoothly and allowed for very precise adjustments.

Beyond this, the Ronin app contains a series of extra functions, beyond basic stabilization and camera control. Even a cursory dig into the controls unlocks an absolute litany of versatile camera movements, including options like barrel rolls, 360º of spin, head-over-heels, tailspins, and seemingly endless combinations thereof.

In use

At the base of the handle there are two female 1/4″-20 and 3/8″-16 threads for additional supports and tripods. An included mini tripod screws into this base, and it’s very helpful when rigging your camera. The mini tripod can also act as a second handhold when folded.

The folded mini-tripod provides a boom-like extension for overhead shots, low-to-the-ground shots, and generally provides a better handhold than the handle alone.

The folded mini-tripod provides a boom-like extension for overhead shots, low-to-the-ground shots, and generally provides a better handhold than the handle alone. I also found the mini tripod could be used to prevent fatigue by using it as a belt rest. That’s good, because at 1.9kg (4.1lbs), the Ronin-S looks lightweight on paper, but adding any weight at all to a camera setup increases physical stress for even the most experienced gimbal operators. It’s much less of a workout than trying to manhandle the larger Ronin-M for any length of time, though.

The Focus Wheel worked very well when adjusting focus on my GH5S, and when racking focus I found it easy to make very subtle changes with focus peaking enabled. It’s possible to move this wheel to the other side of the handle if that works better for you ergonomically.

The front of the gimbal includes the trigger and USB charging port; the follow focus knob can be mounted on either side or removed completely. The base of the gimbal connects to the battery with a very solid lever.

The 2400 mAh battery promises roughly 12 hours of use on a two hour charge, and I found these estimates to be more or less in line with my experience. One gripe is that you have to charge the battery through the gimbal’s USB-C connection, meaning the battery and gimbal have to remain fully assembled in order to charge. If you want to charge the battery independent of the gimbal you’ll need to purchase DJI’s $ 39 Ronin-S Battery Adapter to do so.

In addition to providing exceptionally smooth camera movements, the Ronin-S has a few other tricks up its sleeve. Features like Panorama, Hyperlapse, Track, and CamAnchor allow time-lapses, panoramas, and programmed tracking shots from the Ronin App. Using the internal intervalometer, moves can be programmed in precise, repeatable patterns, with up to five keyframes that can create a segmented motion path for time-lapses and multi-shot panoramas for later stitching.

My overwhelming sense with the Ronin-S was just how easy it was for a novice to get going with it. With just a little thought given to the kinds of motion you want to make (and which you want the device to correct), it was pretty easy to get to the point where I could just start shooting and learn how to move with it.

The offset roll axis motor on the Ronin-S sits below the camera at an angle rather than being directly behind the camera. This design makes it much easier to monitor the rear screen on a camera when shooting.

Using a gimbal for the first time is something of a challenge to your inherent sense of spatial reasoning: the device over-rides some, but not all of your attempts to move the camera. But after a little time spent looking like you’re inventing your own Tai chi moves, you get a feel for how you need to move your hands and body to communicate your intentions to the gimbal. Using the app to create different SmoothTrack presets makes it easy to experiment and fine-tune the Ronin to perform different types of motion for different circumstances.

The verdict

Due to its small size and impressive performance, the Ronin-S should appeal to a variety of users ranging from filmmakers to wedding videographers.

For those not accustomed to working with a stabilization system, the Ronin-S may initially appear daunting, but it can deliver professional looking camera moves with surprisingly little experience. I think most shooters who need this kind of solution for their work are going to look at it as a no-brainer compared to many other options, and with a bit of practice even beginners will be able to get great results.

I think most shooters who need this kind of solution for their work are going to look at it as a no-brainer compared to many other options, and with a bit of practice even beginners will be able to get great results.

With the plethora of available stabilization kits in the market, DJI has done an exceptional job of setting the Ronin-S apart through clever engineering and, most importantly, heightened toolsets at a similar price point to many other, far simpler stabilization kits. More advanced movements will require a bit of time to master the programming, but can result in great looking shots. For those who are novices to gimbals and stabilization systems, DJI has done a really great job in balancing the complexity of the device with simplified, ready to go, out of the box operations.

What we like:

  • Easy setup and calibration
  • Remote camera operation, including follow focus (depending on camera model)
  • Very effective at creating smooth, steady video

What we would like to see improved:

  • Battery charging adapter included with purchase
  • Support for additional camera models and lenses
  • App-based instructions as to how each axis interacts

Articles: Digital Photography Review (dpreview.com)

 
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Voigtlander introduces a pair of retro wide lenses for Leica M mount

28 Nov

Lens manufacturer Voigtlander has announced a pair of new lenses in what it calls its Vintage Line. The Color-Skopar 21mm F3.5 and Ultron 35mm F2 Aspherical are both designed for M mount cameras, including Voigtlander’s Bessa models as well as Leica’s M rangefinders.

The lenses are styled to conjure up the feel of the 1950s, according to the manufacturer. While the exteriors are retro, the optical construction aims to be a match match modern digital sensors as well as for film. Voigtlander says it has used ‘practical’ maximum apertures rather than going too wide so that it could keep the lenses small and the quality high. The aperture range is ‘practical’ because, according to Voigtlander, it is more difficult to focus with a shallow depth of field with a rangefinder when faced with moving subjects, and these lenses are intended to be used stopped down for zone focusing when responding to fluid situations.

The barrels and moving parts are made of metal and the focusing mechanism is claimed to be well greased for smooth movements. The Color-Skopar 21mm uses nine elements in eight groups, while the Ultron 35mm has eight elements in five groups – and both have a ten-bladed iris.

Below is a gallery of sample images from the Color-Skopar 21mm F3.5:

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Below is a gallery of sample images from the Ultron 35mm F2:

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The lenses will be available in January priced ¥95,000 and ¥90,000 (approx. $ 840 and $ 800). For more information see the Voitlander pages of the Cosina website.

Articles: Digital Photography Review (dpreview.com)

 
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NASA’s InSight lander shares its first photos from the surface of Mars

28 Nov
Photo via NASA/JPL-Caltech/Lockheed Martin, used under Public Domain

It took six months and more than 300 million miles, but NASA’s InSight lander is now safe and sound on the surface of Mars and transmitting back the first bits of data to scientists here on Earth.

Among the first observations sent back to Earth from Mars is a collection of 1-megapixel photos captured with its onboard Instrument Deployment Camera (IDC). The images, which were transmitted by relaying the data to NASA’s Odyssey orbiter that’s currently orbiting Mars before being sent back down to NASA’s Jet Propulsion Laboratory in Pasadena, California, are the first of many that will be transmitted back to Earth during InSight’s two-year mission to study the interior of Mars.

The first publicly-shared photo sent back was one captured before the lens cap was removed from the camera, as evident from the dust covering the image.

The second image shared by NASA shows off a bit of the spacecraft itself with Elysium Planitia, a large plain on the equator of Mars that’s located in the Elysium and Aeolis quadrangles, in the background.

The landing site, which is approximately 370 miles north of where NASA’s Curiosity rover is rolling around the Martian surface, will now be scanned and covered with various scientific instruments as part of InSight’s mission to ‘probe the mysteries of Mars’s deep interior and help answer geophysical questions about the planet’s structure, composition and how it formed,’ as noted by The New York Times.

To keep up with the InSight mission, visit NASA’s InSight mission page and follow the verified InSight Twitter account.

Articles: Digital Photography Review (dpreview.com)

 
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