360Photography

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  • Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

    Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

    For the most part a glittering parade of the utterly unnecessary*, CES does occasionally throw up a gem for camera geeks. Last year it was Nikon’s D500 and D5, and this year we’re very taken with Fujifilm’s new ‘Graphite’ editions of the X-T2 and X-Pro2. More specifically, the X-Pro2 is ‘Graphite’, while the X-T2 is offered in a lighter, shinier ‘Graphite Silver’.

    You’ve seen the cameras before, but not like this – click through for a closer look. 

    *I saw something last night called a ‘Smart Lawn’. I’m not kidding.

    Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

    The X-T2’s new graphite silver finish is actually really nice. The gloss silver looks flashy without being gaudy. It will certainly attract more attention than the standard body but doesn’t scream ‘bling’. 

    Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

    According to Fujifilm, the new finish is achieved by layering three coats, over the magnesium-alloy shell. The first coat is matte black…

    Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

    …the second coat uses something that Fujifilm calls “Thin-film Multilayer Coating Technology” to apply the smooth silver finish… 

    Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

    …and the final coat is a clear varnish, for a glossy finish. The end result is very nice indeed, we think. 

    Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

    The graphite silver X-T2 will ship later this month, for $ 1799 body-only. That’s $ 200 more than the standard X-T2.

    Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

    Not to be left out of the party, the X-Pro2 is getting a new color treatment, too. This time, it’s just plain ‘Graphite’. Darker and more subtle than the silver X-T2, the graphite X-Pro2 looks great. It’s still glossy, but not ostentatious. 

    Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

    The Graphite X-Pro2 will be kitted with a special matching 23mm F2 R WR lens (not available separately). These pictures were taken under pretty rotten mixed hotel lighting, but hopefully you get the idea.  

    Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

    The graphite finish is also a multilayer coating, and according to Fujifilm the distinctive shade is achieved by increasing the amount of black pigment in the top coat. 

    Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

    The Graphite edition X-Pro2 kit will come with a dedicated LH-XF35-2 lens hood for the 23mm F2, in matching graphite finish (of course).

    Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

    In all functional respects, the Graphite X-Pro2 is precisely the same as the standard model that we reviewed here. The Graphite kit will be available later this month for $ 2,299.95, which is about $ 150 more than the standard camera and lens. 

    Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

    As well as the new graphite editions of the flagship X-series, Fujifilm also took the wraps off a new rugged camera, the XP120. 

    The XP120 has a 16.4MP BSI-CMOS sensor and a 28-140mm lens, and is waterproof to 20m/65ft, shockproof to 1.8m/5.7ft and freezeproof to -10C/+14F.

    Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

    Other features include a 3″ LCD, unique ‘Cinemagraph’ feature, which ‘produces still photos with moving elements’, 1080/60p video (with a wind filter) and Wi-Fi.

    Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

    The XP120 will come in four colors – blue, sky blue, green and yellow – and will be available in February for $ 229.

    Articles: Digital Photography Review (dpreview.com)

  • CES Video: The Panasonic GH5

    One of the most anticipated cameras at CES is the Panasonic GH5, so it’s no surprise that the company’s booth was overrun, in part, by people wanting to see it in person. We met up with Panasonic’s Matt Frazer, who walks through some highlights (and things he likes) on this new camera.

    Articles: Digital Photography Review (dpreview.com)

  • Take a look at a 380-shot mosaic of Apple’s new campus created with a 100MP Phase One camera

    A composite of 380 100MP aerial images has been created of the site of Apple’s new campus by photo mapping and data company SkyIMD. The company usually provides the kit for other aerial photographers to use, but on this occasion wanted to show off the amount of detail that can be captured with a Phase One iXU RS1000 100MP aerial camera. The company used software to create flight paths over the 0.5 square mile construction site and spent just thirty minutes shooting 420 images with the camera attached to a Cessna 172 light aircraft.

    When combined to create a single picture of the whole area, the images allow dramatic magnification so that people in the scene can be picked out – even though the plane was flying at 2000ft with a lens just longer than standard for the format.

    The Phase One iXU RS1000 industrial camera uses the same CMOS sensor that is used in the IQ3 100 back for the XF 645-style DSLR body, but in this case it is used in a body with no moving parts. The firm used a Rodenstock 90mm lens with the body and once all 420 images were combined and cropped to the equivalent of 380 images, the file measured 4.76GB. SkyIMD used Photoshop’s Photomerge feature to combine the images, but to maintain manageable amounts of data the company divided the images into batches of over 70 covering specific areas of the site. Once the batches were combined those composites were also combined to create the final image, which you can see on the SkyIMD website.

    SkyIMD’s Michael Estigoy has provided some detail about how the image was shot and created.

    All of the images were captured using our FAA/EASA/ANAC STC certified Aerial Camera Platform. The platform mounts to the strut of a plane (Cessna) and holds the PhaseOne iXU RS1000 90mm camera in a vertical (nadir) position.

    During the pre-flight process, we used a software program called Flight Planner from AeroScientific (http://www.aerosci.info/flightplanner/) to create our flight paths, and calculate the frequency of the intervalometer based on the speed, altitude and desired GSD (ground sample distance).

    Using the PhaseOne iX Capture Software, we set the exposure and ISO to obtain the best image balance we could. There was some consideration given to capture as much detail as possible – balancing the exposure between not making the shadows too dark and whites/brights too blown out.

    We loaded up the flight plan on our iPad – we use an application called Galileo Offline Maps (https://galileo-app.com/) – to depict the flight lines and line up our airplane. Our pilot, who has years of experience flying missions like this, lined up the plane at the speed and altitude we calculated pre-flight, and then flew the lines straight and level. I controlled the camera operation and made sure that the image quality and coverage was being captured successfully.

    The parcel required us to fly 7 flight lines to capture the imagery. We flew one grid.
    We are planning follow up flights and will fly a double grid pattern on those, or a cross hatch pattern, to capture more images and enable us to create better mosaics and perhaps a 3D model or flyover.

    Stitching and imaging process
    We typically use photogrammetry software such as those offered by Pix4D and Agisoft. However, this time I elected to try and use Adobe Photoshop to create the Mosaic. I used the Photomerge function.

    We had a total of 420 images. We have a high-powered computer (8 core i7, 64GB RAM, m.2 SSD drives, etc., GeForce GTX video card), but 420 is almost impossible to process all at once. I grouped the images into six separate folders, each representing an area of parcel. Each group shared some images with the other groups in order to facilitate matching. After each group, or chunk, of images was merged, I corrected them for distortion and then merged the groups together. After merging, any major flaws were cut out and images were sourced to fill in the holes.

    Photoshop used 90% of our installed RAM and approx. 700 GB of scratch disk space on two m.2 SSD drives to complete each group, including the final mosaic.

    As mentioned on our site, we did not take any time to massage the resulting mosaic Photoshop produced. I may have adjusted curves, performed some slight sharpening, and that’s about it. There are obvious mis-alignments and distortions in the image. We wanted to share the image rather than spend another week making it perfect.

    The final image was cropped to the final size. I had seen the plans Apple submitted to the City of Cupertino and wanted to try and represent that area of view (pages 3 & 4 of this PDF – https://s3.amazonaws.com/apple-campus2-project/Site_Plan1_Submittal7.pdf). The crop was made visually. We eliminated the use of about 40 photos, hence the approx 380 images mentioned on our site.

    The image was too large for TIFF or JPG format so it was saved as a Photoshop Large Document (.PSB). In order to support the zooming feature on our web, we used a photoshop plugin from Microsoft:
    http://research.microsoft.com/en-us/um/redmond/groups/ivm/HDView/HDPhotoshopPlugin.htm. This created the thousands of tiles for zooming.

    I used Openseadragon for the javascript/web enablement for the zoom/interactive viewer:http://openseadragon.github.io/

    Articles: Digital Photography Review (dpreview.com)

  • Analog revival? Increase in film sales spurs Kodak to bring back Ektachrome

    A box of Ektachrome. Photo via Wikimedia commons

    The list of discontinued film stocks is lengthy and after Kodak pulled the plug on our beloved Kodachrome, it seemed like any film could be next on the chopping block. But perhaps those dark days are behind us because today Kodak announced the company will be bringing back a different film stock: Ektachrome.

    Discontinued in 2012, Kodak’s decision to raise it from the dead is directly related to a recent increase in demand for analog film. Yep, you read that right. So does this mean that film photography is about to start down a similar path of revival as we’ve seen from vinyl records, which are currently selling at a 25 year high? We sure wouldn’t mind.

    From the Kodak announcement:

    “Sales of professional photographic films have been steadily rising over the last few years, with professionals and enthusiasts rediscovering the artistic control offered by manual processes and the creative satisfaction of a physical end product. The reintroduction of one of the most iconic films is supported by the growing popularity of analog photography and a resurgence in shooting film. Resurgence in the popularity of analog photography has created demand for new and old film products alike.”

    Ektachrome is a color reversal film and was first developed in the 1940’s. Used for decades by National Geographic photographers, it’s been long favored it due to its fine grain and excellent color reproduction.

    So come the end of 2017, you’ll once again be able to pick up a 35mm roll of it. And you’ve likely got a bearded, glasses-wearing hipster with a turntable to thank for that.

    What do you think of the prospect of an analog revival? Let us know in the comments.

    Kodak Brings Back a Classic with EKTACHROME Film

    Las Vegas, NV, Thursday, January 05, 2017 —

    To the delight of film enthusiasts across the globe, Eastman Kodak Company today announced plans to bring back one of its most iconic film stocks. Over the next 12 months, Kodak will be working to reformulate and manufacture KODAK EKTACHROME Film for both motion picture and still photography applications. Initial availability is expected in the fourth quarter of 2017.

    KODAK EKTACHROME Film has a distinctive look that was the choice for generations of cinematographers before it was discontinued in 2012. The film is known for its extremely fine grain, clean colors, great tones and contrasts.

    “It is such a privilege to reintroduce KODAK EKTRACHROME Film to the cinematography community,” said Steven Overman, Kodak’s chief marketing officer and president of the Consumer and Film Division. “We are seeing a broad resurgence of excitement about capturing images on film. Kodak is committed to continuing to manufacture film as an irreplaceable medium for image creators to capture their artistic vision. We are proud to help bring back this classic.”

    Kodak will produce EKTACHROME at its film factory in Rochester, N.Y., and will market and distribute the Super 8 motion picture film version of EKTACHROME Film directly.

    Kodak Alaris, an independent company since 2013, also plans to offer a still format KODAK PROFESSIONAL EKTACHROME Film for photographers in 135-36x format. KODAK PROFESSIONAL EKTACHROME Film is a color positive film, also known as “reversal,” “slide,” or “transparency” film. Unlike all of the other KODAK PROFESSIONAL Films available today, which are color negative films, EKTACHROME generates a positive image that can be viewed or projected once it is exposed and processed. This makes it ideal for high-resolution projection or presentations. It is also well suited for scanning and printing onto a range of professional-grade photographic media. Availability is expected in the fourth quarter of 2017.

    Articles: Digital Photography Review (dpreview.com)

  • CES 2017: Hands-on with Nikon D5600

    CES 2017: Hands-on with Nikon D5600

    The D5600 was originally announced in Europe and Asia late last year, but now – surprise surprise – it’s coming to the USA. The D5600 sports a slimmed-down body compared to the D5500. We got our hands on it at CES.

    CES 2017: Hands-on with Nikon D5600

    In terms of specs, the D5600 offers only minor improvements over the D5500, but that’s not a bad thing. The D5500 was a very fully-featured, enjoyable camera to use. Key features include a 24MP APS-C format sensor, and 39-point phase-detection autofocus system. ISO sensitivity spans 100-25600 and the D5600 can shoot at a maximum frame-rate of 5 fps.

    CES 2017: Hands-on with Nikon D5600

    The D5600 lacks a front control dial (you’ll have to save up for a 7000-series body for that) but the rear control dial is large and well-placed for operation with your thumb. Control layout is typical Nikon, with a large exposure mode dial to the right of the pentaprism hump, and a toggle-style live view selection lever. 

    CES 2017: Hands-on with Nikon D5600

    The built-in flash is operated with a button just above the lens release, and when the flash is popped-up, this button doubles as a flash exposure compensation control, in concert with the rear control dial. This view also shows labeling for the D5600’s built-in Wi-Fi and Bluetooth features. The addition of Nikon’s ‘Snapbridge’ suite is one of the few additional features compared to the D5500. 

    CES 2017: Hands-on with Nikon D5600

    One of the major selling points of the D5000-series has always been the relatively small, lightweight camera bodies. The D5600 takes things even further in this direction, with a significantly downsized, monocoque body shell. 

    CES 2017: Hands-on with Nikon D5600

    It’s hard to really appreciate from looking at a picture, but the D5600 feels almost incredibly slim when compared to previous D5000-series DSLRs. The deeper grip and thinner body make a real difference to handling. I was reminded of the experience of picking up a D750 for the first time and comparing it to a D700.

    CES 2017: Hands-on with Nikon D5600

    This image shows off the D5600’s deep grip to good effect. The depth of the lens throat is fixed, but the body around it has been slimmed-down considerably. 

    CES 2017: Hands-on with Nikon D5600

    The D5600 offers a conventional rear control layout, with most buttons arranged to the right of the large 3.2″ LCD screen. The screen itself is touch-sensitive, and offers a resolution of 1.04 million dots. The ability to quickly scrub through images by touch is a nice addition, inherited from the pro-grade D500.

    CES 2017: Hands-on with Nikon D5600

    The D5000-series is the only place in Nikon’s DSLR lineup where you’ll find fully-articulated rear LCD screens, as befitting their role as hybrid stills and video cameras. Although the D5600 isn’t 4K-capable, its HD video feature set is solid, and well-suited to beginners and occasional videographers. HD footage can be captured at up to 60p.

    The D5600 will be sold in several kits. It will be available body-only for $ 699, with the AF-P 18-55mm F3.5-5.6G lens for $ 799, with the 18-140mm F3.5-5.6G lens for $ 1199, and with the AF-P 18-55 and non-VR AF-P 70-300mm F4.5-6.3G lenses for $ 1149. All of these kits will be available this month.

    Articles: Digital Photography Review (dpreview.com)

  • Dell’s 8K monitor goes on sale in March for $5000

    Ready for 8K? Dell’s UltraSharp 32″ 8K monitor will be the first of its kind to reach the masses when it goes on sale in March. It packs in 33.2MP of resolution (280 ppi) and provides 100% Adobe RGB and sRGB color gamut. If that sounds enticing, you might want to start saving: it’ll start at $ 4999 when it goes on sale March 23rd. 

    A thin 9.7mm bezel keeps it looking sleek, and the monitor offers two Displayport 3.1 connections and four USB 3.0 ports. Dell’s product information claims the monitor displays 1.07 billion colors, and lists an X-Rite color checker as ‘optional hardware,’ but we’re pretty sure you’d want to throw one of those in too.

    PCWorld points out that just because you can buy an 8K monitor doesn’t mean you should pull the trigger just yet. They suggest waiting until GPUs can keep up, which will likely be later this year.

    So are you ready to shell out $ 5000 for 8K, or will you wait a while? Let us know in the comments.

    Articles: Digital Photography Review (dpreview.com)

  • The Polaroid Pop instant digital camera produces 3 x 4″ prints

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    Meet the Polaroid Pop, a new instant camera that produces classic Polaroid-sized 3 x 4″ prints. Like the Polaroid Snap and Snap Touch, the Pop combines a digital sensor with an integrated ZINK Zero Ink printer. But unlike the Snap, which produces 2 x 3 prints, the Pop prints to a 3.5 x 4.25 format, with the image itself occupying 3 x 4 inches to give each print a faux Polaroid-style border.

    The Pop uses a 20MP CMOS sensor and features a dual LED flash, 3.97″ touch LCD and image stabilization. It can also shoot 1080p HD video and stores everything to a Micro SD. When used in conjunction with the Polaroid print app and one’s smart device, users can edit images before printing. Photos print in just under a minute.

    If you’re itching to get your hands on one, expect the Polaroid Pop to ship in late 2017. Pricing info is forthcoming.

    The Polaroid Pop Instant Digital Camera Offers a Modern Take on the Classic Polaroid Instant Print

    Debuting at CES 2017, the Latest Camera in the Polaroid Instant Digital Print Line Pairs Wireless Technology With the Iconic Polaroid 3×4” Print

    LAS VEGAS, January 5, 2017– CES 2017 marks debut of the newest camera in the wildly popular line of Polaroid instant digital photography products, the Polaroid Pop. The Polaroid Pop instant digital camera combines a sleek, modern design and digital technology with the classic 3×4” Polaroid instant print format that is reminiscent of the brand’s iconic legacy instant print cameras.

    “Polaroid is celebrating its 80th anniversary in 2017 and we could not think of a better way to kick-off this milestone year than with the debut of the Polaroid Pop instant digital camera at CES 2017,” said Scott W. Hardy, President and CEO of Polaroid. “Perfectly blending nostalgia with modern design and functionality, the Polaroid Pop embodies the brand’s 80-year history; staying true to the Polaroid core values of sharing, instant, fun and easy-of-use, while pushing the envelope with a fresh form factor and the latest technology.”

    The Best of Both Worlds

    Just like the Polaroid Snap and Polaroid Snap Touch instant digital cameras and the Polaroid Zip instant photoprinter, at the heart of the new Polaroid Pop instant digital camera is an integrated printer using ZINK® Zero Ink Printing Technology. This gives users the ability to automatically print full color photos in the iconic 3×4” format with the Polaroid Classic Border Logo resulting in a 3.5×4.25” print. The Polaroid Pop also features a traditional digital camera experience. The camera includes a a 3.97-inch touchscreen LCD for framing shots and navigating the camera’s menu, a 20-megapixel CMOS sensor and dual LED flash for high quality images, image stabilization, as well as 1080p full HD video recording capability. All images and video are stored on a micro SD card (up to 128GB).

    The Polaroid Pop can quickly and easily connect to a mobile device using a Wi-Fi and Bluetooth dual chip, transforming the camera into an instant photo printer. Via the Polaroid print app, available free for iOS and Android, users can edit and enhance their prints with a number of creative filters, digital stickers, effects and controls. Once again, consumers will have an all-in-one solution for capturing and sharing images on-the-go. No matter what device they use to capture images, users will be able to share the fun with their own creative flair. The Polaroid Pop is ideal for today’s selfie shooters thanks to a self-timer. Additionally, the Polaroid Pop has three color modes—black and white, color, and vintage sepia to give users that iconic Polaroid look and feel.

    The Polaroid Pop instant digital camera was designed in partnership with renowned design firm, Ammunition, the studio that was also behind the Polaroid Zip instant photoprinter, Polaroid Snap instant digital camera line and Polaroid Cube lifestyle action camera line. With the Polaroid Pop, Ammunition continued the simple, modern and stylish design aesthetic reflected throughout the current instant and action product offering. The jet-black camera body is accented with a pop of color, or a contemporary monochromatic look. The iconic red shutter button provides users with the easy-to-use one-button shutter control they have come to know and love from legacy cameras like the Polaroid One Step. Led by industrial designer Robert Brunner, Ammunition has partnered with award-winning consumer brands including Adobe, Beats by Dre, Square, Lyft, and Williams-Sonoma.

    ZINK Zero Ink® Printing

    The Polaroid Pop instant print camera uses the revolutionary ink-free Zero Ink® Printing technology developed by ZINK. The ZINK-enabled printer uses heat to activate and colorize cyan, yellow and magenta dye crystals embedded in the paper. The result is full-color, high quality, long-lasting and smudge-proof images without ink cartridges, ribbons or toner

    The 3×4” photo prints in just under a minute so consumers can instantly share the photo with their friends and family. Additionally, because ZINK Paper® is adhesive backed the photo can be used as a sticker as well.

    Offered by C+A Global, an authorized Polaroid licensee, the Polaroid Pop instant print camera will be available Q4 2017. Pricing is not yet available. To learn more about the Polaroid brand, please visit polaroid.com

    The Polaroid Brand

    Polaroid is one of the most trusted, well-respected and recognizable brands with a rich 80-year history beginning with Polaroid instant cameras and film. Our range of products include instant print cameras, action sports cameras, smartphones, flat-screen TVs and emerging technologies that deliver the fun, instant gratification and value for which the brand has long stood. Today, the Polaroid Classic Border Logo, rooted in our beginnings of instant photo sharing, serves to designate genuine Polaroid branded products. For more information, visit Polaroid.com.

    Polaroid, Polaroid & Pixel, Polaroid Color Spectrum, Polaroid Pop, Polaroid Cube, Polaroid Zip, Polaroid Snap and Polaroid Classic Border Logo are trademarks of PLR IP Holdings, LLC.

    Articles: Digital Photography Review (dpreview.com)

  • Readers’ Choice Awards 2016: the winners

    Readers’ Choice Awards 2016: The Winners

    At the end of last year we asked you to vote for the best cameras and lenses of 2016. Across two rounds of voting DPReview readers did just that, selecting the top overall photography products of the year. With more than 40,000 votes in multiple categories, the final poll closed at midnight on New Years’ eve. So without further ado, find out which products made the final cut for Best Product of 2016.

    Runner-up: Nikon AF-S 105mm F1.4E

    In third place in our final poll is the Nikon AF-S 105mm F1.4E, just edging out the Olympus M.Zuiko 12-100mm F4 with 8.2% of the vote. We love this lens for the results it can deliver, especially for portraits.

    Learn more about the Nikon AF-S 105mm F1.4E

    Runner-up: Fujifilm X-T2

    In the runner-up position, coming second in our final poll is the Fujifilm X-T2. We really like the Fujifilm X-T2 and it’s clear that you feel the same. The X-T2 also took the runner-up spot in our poll for best high-end / professional ILC.

    Learn more about the Fujifilm X-T2 

    Winner: Nikon D500

    It was our Product of the Year and now that the votes have been counted, we know it was yours too. Taking home a full quarter of the final vote (25.4% for the pedants) the D500 was a clear winner, pipping the X-T2 to take first place in our poll. If you’d read this far, you already know why. The D500 is one of the most capable DSLRs we’ve ever reviewed, and its price and capability make it arguably the best enthusiast ILC on the market. 

    Thanks to everyone that voted, and we hope that you’re all looking forward to more great gear in 2017!

    Read more about the Nikon D500

    Articles: Digital Photography Review (dpreview.com)

  • Turn your doodles into Google satellite images with Land Lines

    Looking for a moment of zen? We suggest spending a couple of minutes playing with Land Lines, a game that draws on Google’s satellite images of Earth.

    So maybe it’s not quite a ‘game.’ Its creators Zach Lieberman and Matt Felsen call it an experiment, one that analyzes basic scribbles (zig zags and curves, nothing fancy) and finds a satellite image of Earth with matching features. It runs on either a mobile or desktop web browser.

    Lines that you draw with your finger or a mouse become roads, shorelines and runways before your eyes, almost instantaneously. It runs seamlessly, and it’s oddly soothing. Give it a try and learn more about how it all came together.

    Articles: Digital Photography Review (dpreview.com)

  • DJI’s special Chinese New Year edition Phantom 4 celebrates the Year of the Rooster

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    DJI is celebrating the Chinese New Year with a brightly colored, special edition Phantom 4. The drone features bright red body work and propeller blades, which may prove easier to see against a bright sky than the regular white Phantom 4. The drone and controller also feature vivid artwork from designer and illustrator Martin Sati, with a phoenix as the symbolic centerpiece.

    Pricing starts at $ 1,199. The special edition drone will only be sold during Chinese New Year, so now’s the time to order one if it strikes your fancy.

    n celebration of Chinese New Year, DJI invited renowned illustrator and designer Martin Sati to customize the Phantom 4, adding colors and his imagination to this flagship DJI product. Sati’s design features the phoenix as the centerpiece, a symbol of good fortune and happiness in Chinese mythology. He also drew inspiration from the four basic elements of nature – air, fire, water and earth – and reflected each of these elements in his design.

    The Phantom 4 Chinese New Year Edition houses the same on-board intelligence that make piloting and shooting great shots simple through features like its Obstacle Sensing System, ActiveTrack and TapFly functionality. With 4K video recording, 3-axis camera stabilization, advanced computer vision and sensing technology, aerial imaging has never been so easy. The Phantom 4 also has DJI’s signature Lightbridge video transmission system onboard, allowing users to see what their camera sees in HD and in real-time at a distance up to 5 kilometers (3.1 miles). The Phantom 4 can achieve up to 28 minutes of flight time.

    The Phantom 4 Chinese New Year Edition’s U.S. retail price is USD1,199 and will be sold exclusively at Apple Stores, DJI Flagship Stores (except Korea), DJI Online Store and Tmall DJI Store. The product will start shipping from January 23.

    For more info, visit: http://store.dji.com/product/phantom-4-chinese-new-year-edition

    Articles: Digital Photography Review (dpreview.com)