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DJI introduces Ronin-S stabilizer for DSLR and mirrorless cameras
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DJI has announced the Ronin-S, its first single-handed stabilizer designed for use with DSLR and mirrorless cameras.

It will be available in two frame sizes (referring to the frame that holds the camera), one for mirrorless cameras such as the Sony Alpha system and Panasonic GH series, and another for larger DSLRs like the Canon 5D Mark IV. Additionally, the 3-axis gimbal is fully compatible with both in-camera and in-lens stabilization systems.

DJI tells us that it put a lot of work into making the system easy to use. It comes with a tripod that screws into the base, allowing the Ronin to stand upright on its own while rigging the camera, axis locks to prevent gimbal movement during setup, and a calibration process that it describes as quick and easy. Also included is a feature called Push Mode, activated in the Ronin app, that allows users to tune settings like pan and tilt while the Ronin-S is still turned on, eliminating the need to shut down the system to make these adjustments.

The Ronin app also provides a number of features designed to automate complex camera moves. These include CamAnchor, which allows you to set designated camera positions and toggle between them, Panorama and Hyperlapse tools, and also DJI’s ActiveTrack technology. SmoothTrack enables you to adjust gimbal responsiveness on each axis, along with the ability to save profiles for later use.

The Ronin app also provides a number of features designed to automate
complex camera moves

The Ronin-S includes dedicated control buttons for both camera and gimbal, including the ability to quickly toggle between settings, activate recording on the camera, and adjust camera position using the built-in joystick.

The Ronin-S is also compatible with some very useful accessories, including a focus dial with built-in screen that can be used as a follow-focus (primarily on Sony cameras, we’re told) or used to select SmoothTrack profiles saved in the Ronin app. There’s also a cheese plate for attaching other accessories and a car mount for shooting on vehicles.

Over the past couple years we’ve seen quite a few products designed for the growing market of small production companies and emerging filmmakers, including more cameras with advanced features like Log video, as well as a number of budget-oriented cinema lenses. A compact, affordable stabilization system should be very appealing to this audience.

Pricing for the Ronin-S has yet to be announced, but DJI indicated it will be available in the second quarter of 2018. If you’re attending CES 2018 in Las Vegas you can see the Ronin-S in person at the DJI booth.

Press release:
DJI Reveals New Handheld Camera Stabilizers At CES 2018

A Redesigned Osmo Mobile 2 Turns Smartphones Into Smart Steadycams and Ronin-S Becomes DJI’s First Single-Handed Stabilizer for DSLR and Mirrorless Cameras

January 7, 2018 – DJI, the world’s leader in creative camera technology, introduced two new handheld camera stabilizers at CES 2018 – Osmo Mobile 2 and Ronin-S. Built for smartphones, DSLRs, and mirrorless camera systems, they give consumers, professional videographers and photographers new tools to capture smooth, steady videos and stunning photos wherever they go.
- Osmo Mobile 2: The handheld smartphone camera stabilizer from DJI, redesigned for the storyteller in all of us. Using a lightweight design that supports portrait orientation, with simpler controls with cinematic zoom, a longer battery life for more filming, and intelligent features to help you share a professional-looking story wherever you go.
- Ronin-S: DJI’s first single-handed stabilizer for DSLR and Mirrorless Cameras. Built for efficient setup and ease of use with a compact form and dedicated buttons to control camera settings and precise positioning, plus intelligent features for advanced shooting modes all designed to help bring a steady shot to any set.
“With the introduction of these two stabilizers, DJI now offers gimbal technology to help unlock the creative storyteller in everyone no matter what camera they’re using,” said Paul Pan, Senior Product Manager at DJI. “Osmo Mobile 2 offers the best in smartphone stabilization at an affordable price, and Ronin-S brings the quality of DJI’s professional gimbal technology to a new form factor that is perfect for run-and-gun filming using your favorite DSLR or mirrorless camera system.”

Osmo Mobile 2 – Redesigned for the Storyteller in All of Us

Osmo Mobile 2 is a smartphone camera stabilizer that captures smooth videos and high-definition panoramas with cinematic movement and incredible ease. DJI’s industry-leading three-axis gimbal technology cancels out movement in three directions so your video stays steady even if your hands shake or wobble, while DJI’s built in SmoothTrack technology detects and compensates for your movement of the camera to ensure a smooth cinematic shot every time.

Designed to be lightweight and portable, Osmo Mobile 2 is made from high-strength modified nylon and features a folding design that makes it perfect for all-day use. The two-way mobile clamp lets you easily pivot between landscape and portrait orientation so that you can chose the most engaging full-screen format for your audience. In addition, a 1/4” universal screw mount ensures compatibility with your favorite photography accessories, making Osmo Mobile 2 more versatile than ever.

Simpler controls let you use your phone’s camera like a professional camera with integrated settings for ISO, shutter speed and more. A new zoom slider lets you completely operate your smartphone camera from the handle and you can even produce dolly zoom, a visual effect usually created only on professional film sets.

A more powerful built-in battery system lets you film for up to 15 hours, over three times longer than the original Osmo Mobile’s battery. The new USB port enables phone charging during use and serves as a power bank for charging other electronics while on the go.

Smart software in the DJI GO mobile app unlocks intelligent photo and video features that help you create professional-looking content automatically. Videographers can use modes including ActiveTrack to automatically follow of subjects in motion, Motion Timelapse with up to five different camera positions, Hyperlapse to create dramatic time-lapse videos with the camera in motion, or stream live to popular social platforms like Facebook and YouTube. Photographers can expand their creativity with options such as Panorama, Long Exposure and LightTrail modes.

Ronin-S – Bring a Steady Shot to Any Set

Ronin-S is DJI’s first single-handed stabilizer for DSLR and mirrorless camera systems. Available in two frame sizes for either camera type, DJI’s powerful three-axis gimbal technology delivers smooth, shake-free video and crisp photos, adding a cinematic and professional look to your work.

Powerful high-torque motors support the most popular camera and lens combinations including the Canon 5D, Panasonic GH and Sony Alpha systems. Its stabilization system compensates for zoom lenses with higher magnification ratios and an external zooming barrel, while its advanced stabilization algorithms work with both in-camera and in-lens optical stabilization technology.

Capturing stabilized video has never been easier because Ronin-S was designed for easy setup and use. A new Push mode lets you adjust the pan and tilt axis by hand while the Ronin-S is powered on and axis locks speed up the setup process so you can spend more time filming and less time prepping your gear. Ronin-S has a comfortable, ergonomic curved design that helps capture smooth cinematic movements from upright to underslung positions without obstructing the camera’s display. Ronin-S also features DJI’s intelligent battery technology that can be hot-swapped during operation for extended shoots.*

Dedicated control buttons for the camera and gimbal let you toggle between SmoothTrack settings, record and stop the camera, and the high-precision joystick changes the camera position to help frame your shot perfectly. A new Sport mode allows for fast movements with tight and quick subject following speed.

Harness intelligent shooting modes on Ronin-S through the DJI Ronin mobile app to create complex camera moves automatically like Panorama, Hyperlapse, Track and CamAnchor that lets you designate specific camera positions in a scene and rotate between them on demand. Directly customize SmoothTrack settings with dedicated controls for responsiveness of each axis. Camera settings can be directly adjusted as well.**

Ronin-S is compatible with a variety of DJI Pro Accessories to capture any scene and expand your creative freedom on set or location. Supported accessories include a Focus Control Center consisting of a focusing dial and a screen allowing advanced gimbal and focus control without a mobile device, a vehicle mount solution, DJI Master Force, DJI Master Wheels, an external focus motor, and a cheese plate adapter so you can use your favorite third-party accessories. A dual-handle support will also be available for when an added level of comfort and stability is required.

Price and Availability

Osmo Mobile 2 retails for $ 129 USD and will be available exclusively for pre-order at Apple.com on January 23, 2018. Starting in early February, it will also be available at store.dji.com, DJI Flagship Stores, and DJI Authorized Retailers, with additional availability later in February at Apple Stores in select regions worldwide. For more information on all the new features and capabilities of Osmo Mobile 2, please visit www.dji.com/osmo-mobile-2.

Ronin-S will be available in the second quarter of 2018 from dji.com, DJI Flagship Stores, DJI Authorized Retail Stores, and DJI Resellers worldwide***. Pricing will be announced prior to availability. Additional information on Ronin-S can be found at www.dji.com/ronin-s.

?Osmo Shield for Osmo Mobile

Osmo Shield is a coverage plan that extends the warranty of any Osmo series product by one additional year, including accidental hardware damage coverage, that covers up to one free replacement and provides repair solutions for two years. Osmo Shield is currently available in select countries, including China, the United States, and Canada.

Photos and Videos Available for Download

Osmo Mobile 2 photos: http://bit.ly/2CGwrPf

Ronin-S photos: http://bit.ly/2lXk4E8

DJI at CES 2018

Visit the DJI booth at CES to see the new Osmo Mobile 2 and Ronin-S, and experience the entire DJI product portfolio of camera drones and image stabilization systems. Onsite activities and promotion for CES attendees at the DJI booth include:
- Rent an Osmo Mobile 2 for free each day
- Compete in DJI’s daily flight simulator challenge to win a DJI Spark Fly More Combo
- Register to enter a daily raffle for Ronin-S and receive a $ 100 USD discount coupon
DJI’s main booth is located in the Las Vegas Convention Center South Hall, Level 2, booth #26002. Drone flight demos will also take place at DJI’s booth in the Central Hall, booth #14710T.

*Can be utilized with dual-handheld accessory as well

**For supported camera models

***The Ronin-S products shown at CES 2018 are prototypes and the final specs and features may vary
Articles: Digital Photography Review (dpreview.com)
January 7, 2018

VESA establishes world’s first open standard for HDR displays

HDR is a term increasingly causing confusion amongst both photographers and the masses. ‘Isn’t it that thing that makes my images look flat and less contrasty by including all the shadows and highlights in my final image?’ many of our friends and forum members ask.

Well, yes, if it’s not done right. But when it comes to displays, the ironic thing is that ‘HDR’ is meant to make imagery look less flat, by taking the wide dynamic range encompassed in HDR images and stretching it back out on the display to no longer look flat but, instead, encompass nearly as much punch as the scene had in the real world.

Whenever a new display technology comes along, and particularly when it falls into that gap before it’s well defined or understood, monitor manufacturers LOVE to throw the spec all over their products. That, in a nutshell, is what has happened with the ‘HDR’ moniker and computer displays, making it very difficult for someone to know what is and isn’t a “real” HDR monitor.

What kind of brightness and contrast ratio should you be looking for? What’s the actual static contrast ratio, not the stupidly high (and irrelevant) dynamic contrast ratio often quoted? What kind of color output should you expect out of an HDR monitor? And what the heck is local dimming?

These are the questions that manufacturers tend to not answer, at least for now, and it’s why VESA has created the world’s first open standard for HDR displays: DisplayHDR.

Targeted largely at LCD-based computer monitors (not OLED), the purpose of DisplayHDR is to establish an open standard with fully transparent testing methodology, so you can “rate” your display and see where it falls on the HDR scales. Is it really just an SDR monitor, or does it rank as DisplayHDR-400 (low-tier), DisplayHDR-600 (mid-tier), or DisplayHDR-1000 (top-tier)?

Here’s how those tiers break down, and the performance metrics they have to hit:

A breakdown of the VESA standard. Click to enlarge

‘Corner Maximum Limit’ is aimed to ensure local dimming implementations can effectively keep black levels low even when small non-central portions are illuminated brightly. ‘Tunnel Maximum Limit’ ensures good overall contrast with varied content all over the screen but with nothing hitting pure white. Many of these targets cannot be met without some sort of local dimming capability, which most computer displays don’t have. Consider these targets a ‘push’ to get manufacturers to embrace the future of HDR display.

Up until now, there was no open standard for HDR displays. The closest thing we had is the UHD Alliance Premium Standard, which is essentially just a stamp that you’ll see on TVs, Blu-ray players, discs, and the like that ensures your device hits 4K resolution, BT.2020 color space, 10-bit encoding, and a few key contrast and brightness specs. But unlike the VESA standard, there’s no gradation: you either have the UHD Alliance Premium Standard badge or you don’t.

VESA’s standard, on the other hand, aims to grade LCD-based computer monitor displays or grading monitors. It establishes tiers that manufacturers can shoot for when designing computer monitors. And since most if not all of these manufacturers are members of VESA, they have access to the documentation outlining the specifications and testing methodologies.

The hope is that the standard becomes widely accepted. That way, you can look for the VESA badge on your next monitor purchase to make sure the manufacturer isn’t just throwing the term “HDR” onto an IPS monitor that can only hit 350 nits brightness and a 1000:1 static contrast ratio (many otherwise highly-rated IPS monitors aimed at photographers from manufacturers like Dell, BenQ, Eizo and the like).

A DisplayHDR-400 rated display would be guaranteed to hit peak brightness of 400 nits, a black level of no more than 0.4 nits for a largely black scene (or 0.1 nits for a more varied scene only hitting 50% white at any point), 10-bit encoding, and 95% sRGB coverage. This would be considered the “first genuine entry point for HDR” by VESA. Funny enough, the otherwise excellent IPS displays many photographers choose might hit this standard, but we’d argue you shouldn’t consider such a display ‘HDR’. In other words, we here at DPReview don’t really consider monitors with the ‘DisplayHDR 400’ truly ‘HDR’. Grading or processing your images on these displays aren’t going to guarantee your images will look proper on future, truly ‘HDR’ displays.

A DisplayHDR-600 rated display would be guaranteed to hit a peak brightness of 600 nits, a black level of no more than 0.1nits, 10-bit encoding, 99% sRGB, and at least 90% DCI-P3 coverage. These specs, according to VESA, describe “professional/enthusiast-level laptops and high-performance monitors.” This rating, in our opinion, is far more stringent and is better indicative or a truly ‘HDR’ display. If you want your images and video to be future-proof, pick a display rated no lower than this.

Finally, a DisplayHDR-1000 rated display would guarantee peak brightness of 1000 nits, a black level of no more than 0.05 nits, 10-bit encoding, 99% sRGB, and at least 90% DCI-P3 coverage. This final tier describes, “professional/enthusiast/content-creator PC monitors.” This is the stamp of approval we’d be looking at were we to be grading video or photos that will look good on displays of the future. Monitors with the DisplayHDR-1000 badge will be far more representative of the displays of the future, so if you want to make sure your content is ready to be displayed on future devices, this is the badge you’ll want to look for when shopping for monitors.

This new 5K UltraWide monitor from LG earned the VESA DisplayHDR-600 badge, meaning it hits at least 600 nits peak brightness, 10-bit encoding, and 99% sRGB and 90% DCI-P3 coverage.

These new standards are also more stringent about color gamut coverage: the 600 and 1000 standards require what we’d call ‘wide gamut’ color coverage, capable of displaying colors well outside of the old (can we say ‘boring’) sRGB standard of yesteryear. That means they can display colors well outside of old photochemical printing devices, so you can edit far more saturated and interesting colors into your image that will be displayed by monitors and printers of the future (and current).

Furthermore, these new standards set stringent requirements on bit-depth: while 8-bit monitors with dithering are allowed, each one of these standards require you hit 10-bit color reproduction with or without 2-bit temporal dithering (many monitors of the past would only hit 8-bit by 6-bit panels with 2-bit dithering: a big no-no for HDR content capable of displaying a wider range of luminances and colors that might otherwise band or posterize with 6-bit panels).

To learn more about the new VESA standards, head over to the DisplayHDR website. There, you’ll find a simple breakdown of what constitutes an HDR display, why the standard was set up, and a link to download the DisplayHDR CTS (Compliance Test Specification) for free.

Articles: Digital Photography Review (dpreview.com)

January 7, 2018

Sigma 16mm F1.4 DC DN for Micro Four Thirds sample gallery

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We’ve already taken the Sony E-mount version of Sigma’s super fast 16mm lens for a spin, and we were eager to see how the Micro Four Thirds version stacks up. Announced in fall of 2017, the 32mm equivalent prime includes weather-sealing a nine-blade aperture – all for $ 450.

See our Sigma 16mm F1.4 DC DN for
Micro Four Thirds sample gallery

Articles: Digital Photography Review (dpreview.com)

January 7, 2018

Shooting K?lauea Volcano, Part 3: At Sea

In the first part of this series, I talked about shooting Kilauea’s lava surface-flows using a drone. In the second part I talked about shooting the lava with a DSLR from the ground. This time, I’d like to take you on the mini-adventure of sailing on the Pacific’s rough waters and shooting the lava entering the water at the Kamokuna Ocean Entry from a dedicated lava-viewing boat.

Please note that lava flow is never guaranteed. As I’m writing this, the ocean entry is inactive, so it’s always good to check the situation before traveling.

I was a bit anxious before heading out to the ocean. I suffer from severe motion sickness, and while pills help, they won’t keep my food in my belly if the water is rough. I was overwhelmingly relieved to hear that the ocean was supposed to be quiet the morning of our sail. I still gulped down 4 pills just in case!

Several providers offer dedicated lava-viewing trips, and they can easily be found online. Most offer the excursion at several fixed times each day. It was an easy choice to go at morning twilight, since I’d get nighttime, twilight and sunrise images in one sail. I chose a large boat with room for 50 people, give or take. When we were allowed on, I did my best to find a spot at the front of the seating area, since this would give me a larger field of view and more time doing actual shooting. The sail wasn’t cheap—I paid $ 250—but it was very much worth it.

What a hectic, delightful sight!

Arrival at the ocean entry takes about 30 minutes of fast sailing in open ocean. Bear in mind that this can be a problem if you suffer from motion sickness like I do, so please take precautions or you’ll be very sorry.

Upon arrival at the actual location, I was astounded to see the hectic clash of 1100-degree molten rock and ocean water. The temperature difference creates constant steam, and this, together with the ever-changing lava formations, creates an infinite variety of possible shots. A true delight for someone who thrives on shooting changing landscapes.

There are shapes created not only in the lava. The waves, crashing on the black rock and pushed by the steam, also create interesting shapes that are worth capturing.

Can you spot the tiny dancer?

Technically, there are many challenges one faces when shooting lava from a boat. Upon arrival, when it’s still nighttime, the global contrast in the scene is almost impossible to deal with. The lava is more than a few stops brighter than the solid rock and the water. Add the constant change in brightness and the result is often blown out. The photographer needs to continuously check the histogram and make sure the best compromise is made.

On my Canon 5D4, I tried not to have the brights overly exposed, since shadows are a bit easier to recover.

Since long exposures are out of the question (you’re on a rocking boat), and longer focal lengths are often used, high exposure speeds and thus very high ISO are required when shooting at nighttime. I normally used ISO 6400, just to get some detail in the water and the rocks.

I aimed to expose between 1/500 and 1/1000 sec with my 70-300mm to overcome the constant motion. Since frequent and immediate focal length changes were necessary, I had to have the exposure speed on the high end.

Luckily, when dawn strikes and ambient light begins to appear, global contrast and brightness levels improve a great deal. This was my favorite time to shoot, as the blend of colors (red from the lava, blue from the ocean at twilight) was wonderful, and shooting conditions were easier—lower ISO required and less concern about contrast management.

Wonderful colors and action upon morning twilight at the ocean entry. If you look very carefully, you’ll be able to spot another boat in this image! As light was a bit stronger, I could lower the ISO to 3200 and gain a bit more image quality.

As the light increases and sunrise approaches, the contrast goes down, and the extreme look with it. They give way to a more silky, matted look and a more balanced, easier to swallow histogram. Shooting at this stage is much easier and more fun. The lack of concern allowed me to concentrate on finding interesting patterns and creating compelling compositions.

These conditions were also great for putting more emphasis on the meeting of lava and water. At some points, the waves crash on the lava and flow on top of it, which looks a bit surreal.

Lastly came the sunrise. Luck struck again and this too was beautiful. I hope this last image gives you a feel of what it was like to be there, in the middle of the Pacific, watching Earth’s molten interior flowing to meet the water.

In the next and final article in this series, I’ll write about shooting the lava from a helicopter.

Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez’s work on Instagram and Facebook, and subscribe to his mailing list for updates.

Erez offers video tutorials discussing his images, and explaining how he achieved them.

If you’d like to experience and shoot some of the most fascinating landscapes on earth with Erez as your guide, take a look at his unique photography workshops in locations such as southern Iceland, Northern Iceland, The Lofoten Islands, Patagonia, Greenland, Namibia and the Faroe Islands.

Selected Articles by Erez Marom:

Parallelism in Landscape Photography
Winds of Change: Shooting changing landscapes
Behind the Shot: Dark Matter
On the Importance of Naming Images
On Causality in Landscape Photography
Behind the Shot: Lost in Space
The Art of the Unforeground
Whatever it Doesn’t Take

Articles: Digital Photography Review (dpreview.com)

January 6, 2018

Sigma 16mm F1.4 DC DN Contemporary for Sony E-mount sample gallery

The Sigma 16mm F1.4 DC DN Contemporary is an ultra-fast wide-angle prime for Sony APS-C mirrorless cameras. The lens features low-dispersion elements, a nine-blade aperture and weather-sealing, all for under $ 450.

We’ll be posting a gallery from the Micro Four Thirds version of this lens in a few days.

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Articles: Digital Photography Review (dpreview.com)

January 6, 2018
Review: Rylo is a 360º camera done right

The Rylo camera captures a 360º spherical image. Its companion mobile app makes it possible to export standard HD video from anywhere in the image.

Over the past couple of years I’ve tried quite a few consumer-oriented 360º cameras, and while I’m generally excited about the future prospects of 360º photo and video, I’ve also been of the opinion that applications and technology need to improve before it really gets traction with consumers.

Part of my ambivalence towards 360º video stems from the fact that few of the cameras I’ve tried really do anything unique. Almost universally, they capture spherical video that requires a VR headset to view, or which requires the viewer to drag around an image to find the part of the scene they care about.

The Rylo Camera ($ 499) takes a different approach. Although it captures 360º photos and video, it does so with the idea that you can later select a region of the image from which to create a standard 16:9 HD video. It’s basically like an action cam that lets you decide where to point the camera after you’ve shot your footage.

It’s basically like an action cam that lets you decide where to point the camera after you’ve shot your footage.

On the hardware side of things, the Rylo looks much like any other VR or action camera. It has two fisheye lenses and records 4K spherical video or 6K spherical photos. The body is aluminum and feels very solid – much more so than most action cameras I’ve used. A small door provides access to the MicroSD card and battery, and a small display shows remaining battery and recording time.

However, it’s the software that makes the Rylo really interesting. Video is copied to your mobile device via the included cable, and the camera’s companion app provides numerous opportunities for getting creative.

Before you even begin working with your footage, the app applies automatic horizon leveling and image stabilization. You don’t even notice how effectively this works until you turn these features off, but once you do so it becomes apparent that this correction is really good.

This video shows the same clip with the Rylo’s image stabilization and horizon correction turned on (left) and turned off (right). It works very effectively.
Video by Dale Baskin

To begin editing a video, you simply open a clip and select your desired framing within the app. You could export your HD video at that point, but you would be ignoring the software’s best feature: the ability to direct the camera after the fact.

One way to do this is to tap and hold the screen, then select the option to ‘Look Here’. Doing so locks the camera at that position and creates a keyframe. It’s possible to create multiple keyframes at different locations throughout your clip, and the software will virtually tilt and pan as needed to transition between them.

Even better, you can let the software do the work for you. In addition to ‘Look Here’, there’s also a ‘Follow This’ option that locks onto a subject and tracks it, smoothly panning and tilting like a virtual camera on a gimbal. I found this feature surprisingly effective, and it produced very natural looking footage.

My friend Stu West offered to take the Rylo skiing with his family for a day. In this video we used the app’s Follow Me feature to track the skier down the hill. Stu pointed the camera straight ahead through the entire run; most of the camera movement is the result of virtual panning by the Rylo app.
Video by Stu West

If you want to see the world a bit differently, there’s also a ‘Tiny Planet’ view that shrinks the entirety of your world down into a small sphere.

In addition to motion control, the software also includes the ability to trim clips and perform basic corrections including highlights, shadows, vibrance, and tone (WB). It’s fairly basic, but enough that you can generally adjust the footage to your taste.

The biggest challenge I ran into when shooting video was adjusting my own behavior. I had a tendency to point the camera at my subject as it moved around, much like you would do with an action cam. That actually made editing a bit more difficult, so I had to learn to hold the camera still, then virtually change my camera direction later using the app.

This clip shows an example of the Rylo’s Tiny Planet mode. (Note: the camera records sound in this mode, but we chose not to include it.)
Video by Stu West

The Rylo can also be used for still photos, but I found the experience less satisfying. There’s no way to remotely trigger the shutter from your phone; instead, you have to physically press the shutter button, meaning that your hand is guaranteed to cover much of the photo. As with video, you can select your framing after the fact, but the largest image size is 1080p video resolution, though in practice resolution appears to be somewhat lower than that.

Of course, the Rylo is also a 360º camera that can be used to export spherical images or video. In that sense, it doubles as a VR cam if you want to share a VR experience.

Battery life is respectable. Rylo claims 60 minutes of continuous recording using the interchangeable battery, which is just about enough to fill a 64GB memory card, and based on my experience that seems about right.

The Rylo captures 6K spherical VR photos. It’s possible to export framed images at resolutions up to 1920×1080 pixels.
Photo by Dale Baskin

Speaking of memory, one thing you’ll need is a lot of free space on your mobile device. At its high quality setting, the camera records at a rate of approximately 1GB/minute, and your phone will need enough free space to copy all the footage.

As much as I enjoyed using the Rylo, it’s not perfect. The 1080p video files it exports are, in reality, somewhat lower resolution. That’s not surprising considering that total resolution for the entire spherical file is 4K. That said, it looks very good on a smartphone screen, so if you’re sharing to social media where people are likely to watch on a mobile device it will look fine.

…the camera records at a rate of approximately 1GB/minute, and your phone will need enough free space to copy all the footage.

It would also be nice if the camera were waterproof. The included ‘Everyday Case’ with handle is well designed and very effective, but if you want more protection you’ll need to spring for the ‘Adventure Case’ ($ 69).

The Rylo is a great example of a 360º camera done right. Rather than just capturing spherical video and expecting your audience to view it as such, it provides a set of tools that allow you focus in on telling your story, as well to share that story in a way that’s comfortable and familiar to most people. Sure, I wish the video quality were a bit better, but I’d likely choose the Rylo over many action cameras because it provides such an easy way to direct the action after the fact.

It’s also a reminder that there’s a lot of potential opportunity for 360º cameras if manufacturers are willing to think outside the box. Or, maybe I should say outside the sphere.

Articles: Digital Photography Review (dpreview.com)

January 6, 2018
Have Your Say 2017: the winners

Have Your Say 2017: The Winners

As 2018 gets started in earnest, it’s time to look back at what you thought of the best-of-the-best in photography gear in 2017. We first whittled everything down to your final choices after two rounds of voting, and our final poll culminated in thousands of votes cast across 16 choices. Without further ado, let’s see which product you’ve crowned as the absolute best of 2017.

Runner-up: Sony a9

In third place for our final poll is the sports-oriented Sony a9, garnering 10.7% of votes and easily edging out the next-best performer, the iPhone X. As we stated in our full review, it’s an incredibly capable speed-machine, and its 20 fps burst shooting with zero blackout is one of our favorite features.

Learn more about the Sony a9

Runner-up: Sony a7R III

In the second-place position in our final poll with 21.3% of total votes sits the Sony a7R III. It’s a supremely well-rounded camera, offering 42MP of resolution and 10 fps burst shooting while also improving ergonomics and battery life. We think it’s the best camera Sony’s made yet, is one of our joint-winners for High-end Camera of the Year as well as our choice for Product of the Year and it easily earned a Gold award in our full review.

Learn more about the Sony a7R III

Winner: Nikon D850

It’s only fitting that each of our joint-winners for High-end Camera of the Year should be among your choices for the best products of 2017 – and with an impressive 25.8% of total votes in our final poll, Nikon’s D850 handily takes the top spot.

Although we picked the a7R III as our overall Product of the Year, the race between it and the D850 was incredibly tight, and you certainly can’t go wrong with either. The D850 is truly a DSLR tour-de-force, blending speed, resolution and image quality with superb ergonomics and a vast lens ecosystem for nearly limitless creative possibilities. We’ve called it the best DSLR on the market, and now, you’ve crowned it as your favorite product of 2017.

Read more about the Nikon D850

Full results

Here’s the final breakdown of all 4,614 votes. A hearty thank you to everyone who voted – we can’t wait to see what the photographic world has in store for us in 2018!

Articles: Digital Photography Review (dpreview.com)

January 6, 2018
Leak: Samyang to announce autofocus 14mm F2.8 lens for Canon EF mount

Nokishita has gotten their hands on two lens photos that have Canon users buzzing this morning. Just days after Yongnuo announced its (probably very cheap) YN 14mm F2.8 for Canon, Samyang/Rokinon are reportedly preparing to do you one better by releasing its own AF 14mm F2.8 for EF mount.

We have no details about the lens beyond the photos above, but if (or more likely when) this lens is announced, it will be the first Samyang autofocus lens for Canon’s EF mount—so far, all of the Samyang/Rokinon AF lenses released have been made for Sony’s FE mount.

Nokishita typically releases leaked image like the ones above only a day or two (if not hours) before the official announcement, so stay tuned for more.

Articles: Digital Photography Review (dpreview.com)

January 6, 2018
Report: GoPro has laid off 200-300 more staff from its drone division

Californian action camera manufacturer GoPro has laid off between 200 and 300 staff, according to a report by TechCrunch. The report claims the redundancies have been made in the division of the company that builds it aerial offering—the Karma drone—and that GoPro cited a need to “better align our resources with business requirements” as the reason for the layoffs.

GoPro has suffered in recent times, with its share price taking a hammering and profits showing in negative figures. One of the main reasons for this was the much-anticipated Karma drone, which had to be recalled after it was discovered the battery could shake itself loose, causing the device to lose power mid-flight and plummet back to Earth.

The company claims that, since returning to stores, Karma has been the number 2 best-selling drone priced above $ 1,000 in the US for a period of six months up to September 2017. Even so, it would have faced (and still does) stiff competition from former partner DJI.

GoPro’s November report to shareholders announced increased revenue of $ 300 million, up 37% on the same quarter last year, and a gross margin of 40%. The company was in profit too, making $ 15 million against a loss of $ 104 million in the third quarter of 2016. However, the share price has remained low, with current trading at $ 7.51 against a high of $ 90 in October 2014.

After 370 job cuts in 2016 and early 2017 the company stated that it employed 1,327 people, but that number is now set to drop to close to 1,000, according to the TechCrunch report.

GoPro, which has been operating under the name since 2004, hasn’t commented on the claims, but the job losses have come between the end of the financial year (December 31st) and the company’s annual report, which would seem the logical time to do it.

Articles: Digital Photography Review (dpreview.com)

January 6, 2018
The JOBY GripTight PRO TelePod is a tripod… and a grip… and a selfie stick

Joining the GorillaPod Mobile Rig recently launched by JOBY comes another new product from the company: the GripTight PRO TelePod. This little telescoping tripod doubles as a lightweight extending pole and is designed primarily for professional video creators working with smartphones or small cameras, such as an action cam.

The JOBY GripTight PRO TelePod supports both landscape and portrait modes, as well as adjustable tilt for selfies. The tripod weighs 359g / 12.7oz and sports the company’s GripTight mount, as well as a hand grip, extended grip, and both elevated and tabletop tripod modes. A removable Bluetooth Impulse Remote Shutter enables users to capture shots remotely.

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In addition to the tilting tripod mount, the GripTight PRO TelePod includes a cold shoe PRO mount for accessories, and a Pin Joint mount for action cameras like GoPro. The tripod can be extended to lengths up to 79cm / 31in and is made from fiberglass-reinforced nylon plus stainless steel. The tripod’s legs have three positions and a maximum flattened leg span of 36cm / 14in.

The GripTight PRO TelePod is available from JOBY’s website now for $ 100 USD.

Articles: Digital Photography Review (dpreview.com)

January 6, 2018