360Photography

Category: Uncategorized

  • New York Times unveils prototype system aimed at inspiring confidence in photojournalism

    Misinformation is a big issue online, especially with how quickly false stories are shared. The New York Times R&D team has worked with the Content Authenticity Initiative (CAI) on a prototype system ‘exploring tools to give readers transparency into the source and veracity of news visuals.’ If a picture is worth a thousand words, the picture must be verifiably truthful to its viewers.

    As CAI points out, it used to be a given that a ‘photograph never lies.’ However, that hasn’t been true for a long time. It’s easy for an image to be manipulated and tell a story far from the truth. It’s hard to tell fact from fiction, and a fake or doctored image can make the rounds so quickly that you see it many times on your feed before you ever see the original image. That is if you ever see the real image at all. A study by Adobe found that there’s a lack of trust in images and that people are concerned about seeing doctored content. The study also found that photographers are concerned with image theft and plagiarism.

    The NYT R&T team shows their ‘secure sourcing’ prototype visualization.

    For photographers, it’s not just about the honesty of an image, it’s about credit. Someone can screengrab a photographer’s image and spread it around the web before the photographer ever has the opportunity to demand the financial compensation they deserve. After the image has been seen all over the internet, the value of their work has already been irreparably damaged. Santiago Lyon, Head of Advocacy & Education at CAI, writes, ‘Regardless of source, images are plucked out of the traditional and social media streams, quickly screen-grabbed, sometimes altered, posted and reposted extensively online, usually without payment or acknowledgment and often lacking the original contextual information that might help us identify the source, frame our interpretation. and add to our understanding.’

    Scott Lowenstein of NYT R&D says, ‘The more people are able to understand the true origin of their media, the less room there is for ‘fake news’ and other deceitful information. Allowing everyone to provide and access media origins will protect against manipulated, deceptive, or out-of-context online media.’

    Along with Adobe and Twitter, The New York Times Co. is a founding member of the CAI. The CAI and its partners ‘are working to develop an open industry standard that will allow for more confidence in the authenticity of photographs (and then video and other file types). We are creating a community of trust, to help viewers know if they can believe what they see.’ To this end, the new prototype outlines a ‘secure sourcing’ workflow, which will preserve metadata with secure signatures at each step as an image is captured, edited in Adobe Photoshop, and published. As an image is published, links to an original image will be attached and signed by a social media platform.

    Photograph by Niko Koppel for the NYT R&D project, integrated with CAI Content Credentials.

    Lyon writes, ‘This important work demonstrates how a well-respected news outlet like the NYT is experimenting with CAI technology, giving us a hint of what’s possible at scale. This aligns with our goal of displaying a CAI logo next to images published in traditional or social media that gives the consumer more information about the provenance of the imagery, such as where and when it was first created and how it might have been altered or edited.’

    Lyon continues, ‘This will bolster trust in content among both consumers and capture partners (such as Qualcomm and Truepic), editing partners (in this case, our colleagues at Adobe Photoshop), and publishers, such as the New York Times and others.’

    Eventually, the hope is that CAI logos can be placed next to images on traditional publishing and social media platforms, inspiring confidence in the provenance of images and explaining how an image was edited before being published. Ideally, viewers would be able to click on the CAI logo and find out about the image creator and see all the edits that have been made.

    For the initiative and the NYT R&D prototype to work, widespread adoption is necessary. The overall distrust in the news and images will require considerable work to improve. Reliable, secure, and accessible records of image creation and edits will go a long way toward inspiring confidence in images.

    Articles: Digital Photography Review (dpreview.com)

  • Slideshow: Winning photos from the Pink Lady Food Photographer of the Year 2021 contest

    Winning photos from the Pink Lady Food Photographer of the Year 2021 contest

    Editor’s note: There are images in this gallery that show animal carcasses being butchered (slide 8 and 9, in particular). Keep this in mind going forward if you would rather not see this content.

    The winning photographs for the Pink Lady Food Photographer of the Year 2021 contest have been announced, with the overall prize being taken by Chinese photographer Li Huaifeng for their photograph Taste, which shows a young family enjoying a meal in their home as the sun cast rays through the smoke-filled room.

    The Pink Lady Food Photographer of the Year awards is celebrating its tenth anniversary. The finalists and winning images were whittled down from nearly 10,500 entries submitted from more than 70 countries around the world.

    In lieu of an in-person event, due to the COVID-19 pandemic, the winners were announced in a livestream, which can be watched in its entirety, below:

    In addition to the usual categories, this year’s contest also featured a ‘very special category’ to honor Claire Aho, ‘Finland’s greatest woman photographer,’ according to contest organizers. The inaugural winner of the Claire Aho Award for Women Photographers was Marina Spironetti for ‘her magnificent portrait Female Butchers of Panzano – Martina, one of the women trained by Dario Cecchini, world-famous butcher of Panzano.’

    As for the judges of this year’s contest, the event organizers say:

    ‘This year’s global judging panel, chaired by legendary food photographer, David Loftus, includes Fiona Shields, Head of Photography, Guardian News & Media, Susan Bright, Writer and Curator, Nik Sharma, Cookbook Author and Photographer, Chef Simone Zanoni, Restaurant Le George, Four Seasons Paris, Alison Jacques, Founder, Alison Jacques Gallery and Vitalie Taittinger, President, Champagne Taittinger.’

    An exhibition for the 2021 finalists will premiere at The Royal Photographic Society in Bristol from November 20 through December 12. Entry is free.

    The following gallery will showcase images from twelve of the more than three dozen categories in this year’s contest. You can see all of the finalists and winning images on the Pink Lady Food Photographer of the Year 2021 contest website.

    Taste, Overall Winner

    Credit: Li Huaifeng via Pink Lady Food Photographer of the Year

    Photographer: Li Huaifeng, China

    Image Description: The photograph was taken in Licheng, Shanxi, on a warm and sunny day, and shows a young family sharing in the joy of preparing food.

    Drying Okra, Bring Home the Harvest

    Credit: F. Dilek via Pink Lady Food Photographer of the Year

    Photographer: F.Dilek Uyar, Turkey

    Image Description: Drying okra flowers in Tokat, Turkey. Women pick okra flowers from the field and arrange them on a rope, then the dried flowers fall and the okra becomes ready to be used in winter

    A Grape View, Errazuriz Wine Photographer of the Year – Overall

    Credit: Oscar Olivera via Pink Lady Food Photographer of the Year

    Photographer: Oscar Oliveras, Spain

    Image Description: The photograph captures the filling up of Semillon grapes ready to be pressed at the cellar. It was taken on the first day of the harvest of Sauvignon Blanc at Chateau des Ganfards, in Saussignac, France. The harvesting machine is unloading the fruit into the tractor, ready to take them into the winery for pressing. The tractor is being driven by M. Jean Claude Géraud, the owner of Château des Ganfards. Oscar took the photo whilst working there as a winemaker.

    Breakfast at Weekly Market, Food at the Table

    Credit: Thong Nguyen via Pink Lady Food Photographer of the Year

    Photographer: Thong Nguyen, Vietnam

    Image Description: People enjoy their Pho (beef of chicken noodle) for breakfast at a local weekly market.

    Making Rice Noodles, Fujifilm Award for Innovation

    Credit: Abdul Momin via Pink Lady Food Photographer of the Year

    Photographer: Abdul Momin, Bangladesh

    Image Description: A worker is inspecting rice noodles if they got dried rightly or not.

    Old Friends, Politics of Food

    Credit: Sandro Maddalena via Pink Lady Food Photographer of the Year

    Photographer: Sandro Maddalena, Italy

    Image Description: Tskaltubo – Refugees from the Abkhazian – Georgian conflict gather in the basement of an abandoned sanatorium to share their food. Almost thirty years after the conflict, Abkhazian refugees are still living in abandoned buildings in conditions of poverty.

    Female Butchers of Panzano-Martina, The Claire Aho Award for Women Photographers

    Credit: Marina Spironetti via Pink Lady Food Photographer of the Year

    Photographer: Marina Spironetti, Italy

    Image Description: Part of a project about the female butchers at Dario Cecchini’s, the world’s famous butcher from Panzano in Chianti. For some time now, Dario has been training a team of young ladies, who came to Tuscany from all over the world to learn the art of deboning. Traditionally, women butchers have always existed in Tuscany.

    Head to Head, The Philip Harben Award for Food in Action

    Credit: David Thompson via Pink Lady Food Photographer of the Year

    Photographer: David Thompson, Taiwan

    Image Description: Taken at Wanhua District night market, Taipei, Taiwan the photo depicts a butcher preparing cuts for the daily traditional market, here seen working on a pigs head cutting out the cheeks.

    Family, WFP Storytellers Award

    Credit: Ziney Abdulhakim Ibrahim via Pink Lady Food Photographer of the Year

    Photographer: Ziney Abdulhakim Ibrahim, Iraq

    Image Description: The importance of all family members meeting around one dining table at least once a day, as this habit helps to strengthen family ties and gives family members a sense of emotional warmth and provides an opportunity for dialogue, exchange of ideas and problem-solving.

    Orishas Tribal Markets, Young – 11 – 14

    Credit: Indigo Larmour via Pink Lady Food Photographer of the Year

    Photographer: Indigo Larmour, India

    Image Description: The tribal markets in Odisha are some of the most colourful in all of India. Vendors commonly sit on the ground and spread-out vegetables that they are selling.

    Spill the Tea, Young – 15 – 17

    Credit: Dewi Hollema via Pink Lady Food Photographer of the Year

    Photographer: Dewi Hollema, Egypt

    Image Description: Men gather round on the side of the street in old Alexandria to share the local gossip with a cup of black sweet tea and snacks. This is a common sight in Egypt where their national drink is enjoyed throughout the day: tea ???.

    Articles: Digital Photography Review (dpreview.com)

  • Star Stacker lets you create star trail images and timelapses on iPhones, iPads

    Star Stacker, an astrophotography app available for iOS, allows users to create star trail images and timelapses on their phone, computer or tablet. Michael Webb, the developer, posted about his latest creation on Reddit’s r/LandscapeAstro community. To demonstrate a final result from using the app, Webb posted the image, seen above, and explained how he achieved it in the post’s comments section.

    Using a Sony a7R III camera and Rokinon 14mm M2 lens, Webb captured 170 15-second exposure images with an ISO of 640 and an F4.0 aperture. Webb then copied the 170 RAW files to his phone using an SD card adapter and stacked the images in the app. To be clear, you can also import JPEG, .tiff or .png images from your iPhone or iPad’s photo app into Star Stacker. Pixelmator was used to combine images of the foreground and stars together for a final product.

    After importing your selected photos, you can start creating images or timelapses with the following effects:

    • Full trails – shows every star at full brightness.
    • Faded trails – stars get brighter as the process runs.
    • Shooting star – similar to faded trails but the last image is brighter than the previous, giving off a shooting star effect.
    • Warp mode – zooms into the image stack slowly creating a warped effect. This will also impact the foreground so post processing may be required if the images have the foreground included.

    Astrophotographers typically take a series of images in the same place and stack them to reduce noise. Is 170 necessary? Likely not. This video from Milky Way Mike breaks explains how many photos you should stack and why.

    The app isn’t available for Android yet though Webb mentioned he would ‘certainly consider making an Android version depending on how popular this version is.’ One Reddit user pointed out that Star Trails, available on Google Play, could be a decent alternative. Star Stacker is available for $ 1.99 in the App Store for the Mac, iPhone and iPad.

    Articles: Digital Photography Review (dpreview.com)

  • The RUHAcam is a ‘retro-style’ digital camera made with the Raspberry Pi HQ Camera module

    When Raspberry Pi announced its 12.3MP High Quality Camera module in April 2020, it opened up a whole new world of photo-centric DIY projects. One such project that’s come as a result of its release is the RUHAcam, a ‘retro-style’ digital camera made from scratch by Ping-Hsun ‘penk’ Chen and Ruha Cheng.

    The RUHAcam is built around a Raspberry Pi Zero W connected to a Raspberry Pi High Quality Camera module, which accepts C and CS mount lenses. Other features include a built-in 2,000mAg Li-Pi battery, a 2.2” TFT display that serves as the viewfinder and a 3D-printed case clearly inspired by SLR cameras from the past. The camera is still a work in progress, but is fully functional and captures rather impressive images when used with the 16mm lens ‘penk’ and Cheng attached to it for the following sample photos:

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8782642479″,”galleryId”:”8782642479″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    In addition to sharing detailed instructions on how to make your own RUHAcam at home, ‘penk’ and Cheng published the 3D design components and software required to run the camera for free under MIT license. This means you’re free to build an exact replica of the RUHAcam or use it as a base to make your own DIY digital camera.

    In speaking with DPReview, ‘penk’ said the duo ‘plan to improve more on the software side, to add controls to the UI using Pi’s libcamera stack, and to leverage Raspberry Pi more as a server to easily share captured images with smartphones.’ You can find all of the instructions and materials needed to make your own on the RUHAcam GitHub Page.

    Articles: Digital Photography Review (dpreview.com)

  • Incredible video showcases world’s first 8K VR drone footage of Iceland’s Mt. Fagradalsfjall volcano

    Incredible new footage, captured with an 8K Insta360 Pro 2 mounted to the bottom of a DJI drone, shows the Mt. Fagradalsfjall volcano in Geldingadalur, Iceland as it continues to erupt. The immersive visuals were captured by Ragnar Th. Sigurðsson, founder of Arctic Images, and drone pilot Arnar Þór Þórsson in collaboration with Perlan Museum, ‘which hosts a state-of-the-art 8K planetarium and other exhibitions on Iceland’s geographic wonders.’

    The Mt. Fagradalsfjall volcano erupted for the first time in roughly 800 years back on March 19, 2021. Since then, it’s been spewing lava from its fissures, making for incredible visuals that have brought photographers from around the world to see the geological phenomenon. We’ve already seen a number of incredible videos captured with drones flying over the active volcano, but none of which allow you to control what you’re seeing. Until now, that is.

    While YouTube limits playback to 4K, the footage was recorded in 8K using an Insta360 Pro 2 attached to the bottom of a DJI Matrice 600 drone. According to Insta360’s blog post detailing the creation of this video, the drone and camera flew over lava that reached reached temperatures as high as 1240°C degrees (2264°F). Despite the intense heat, which we’ve already seen is capable of melting drones, both the Insta360 Pro 2 and DJI Matrice 600 survived the flight.

    For the best viewing experience, make sure you’re using a browser that supports YouTube’s VR content and have plenty of bandwidth to stream the video at full resolution. Another option, if you have one on hand, is to use a VR headset to really immerse yourself in the footage.

    Image credit: Photos provided by Insta360

    Articles: Digital Photography Review (dpreview.com)

  • Video: How to improve your compositions, from a photographer who worked with Ansel Adams

    Born in 1949, award-winning photographer Huntington Witherill has been a fine art photographer since 1970. Witherill was fortunate enough to have worked with the famous Ansel Adams, among other notable photographers like Wynn Bullock, Steve Crouch, and Al Weber. Over the past 50 years, Witherill has learned a lot about photography. He recently chatted with Marc Silber of Advancing Your Photography to discuss composition.

    In the video below, Silber asks Witherill the core areas he considers in terms of composition. Witherill replies, ‘Well, I think as an overriding sort of mantra for composition, I always like to refer to the way Edward Weston described composition, as being the strongest way of seeing.’ Witherill pays attention to everything in a scene, rather than what attracted him to the scene in the first place. When out shooting, it’s common to be drawn to a specific element of a scene. However, when making a composition, you don’t want to ignore everything in the scene. ‘Finding the strongest way of seeing is really, to my way of thinking, intellectualizing within myself what it is that attracted me to the scene in the first place. And then, doing my best to include all of that within the photograph itself and eliminate everything else out of the photograph,’ Witherill says.

    In the video above, Witherill refers to an article he wrote in 2019, ‘The Strongest Way of Seeing.’ In this article, Witherill writes, ‘When it comes to the art of creating successful photographs, formulating an effective composition must surely be at (or near) the top of the list in terms of relative importance.’ He goes on to say when discussing whether or not there are prescribed rules of composition which could always prove successful, ‘As it also turns out, knowing where best to point your camera requires a skill set whose precepts appear to be instinctively derived, rather than intellectually prescribed. What might work in one situation can often prove disastrous in another. As such, employing a formulaic approach to composition will, more often than not, prove ineffectual.’

    However, that is not to say that trying to improve your composition or that learning more about composition is a fool’s errand. While Witherill doesn’t believe that composition is a skill that can be taught in a rote fashion, he believes there are steps you can take to make it easier to ‘see’ composition in the field. Witherill likes to squint at a scene, which makes it easier to see the overall shapes and arrange a composition, as you are no longer able to focus on the finer details.

    To learn more of Huntington Witherill’s tips for composition, watch the full video above. To view more of Witherill’s work, visit his website. For more videos from Marc Silber, visit the Advancing Your Photography YouTube channel.

    Articles: Digital Photography Review (dpreview.com)

  • Google shares a deep dive into its new HDR+ with Bracketing technology found in its latest Pixel devices

    Google has shared an article on its AI Blog that dives into the intricacies of the HDR capabilities of its most recent Pixel devices. In it, Google explains how its HDR+ with Bracketing technology works to capture the best image quality possible through clever capture and computational editing techniques.

    To kick off the article, Google explains how its new ‘under the hood’ HDR+ with Bracketing technology — first launched on the Pixel 4a 5G and Pixel 5 back in October — ‘works by merging images taken with different exposure times to improve image quality (especially in shadows), resulting in more natural colors, improved details and texture, and reduced noise.’

    Using bursts to improve image quality. HDR+ starts from a burst of full-resolution raw images (left). Depending on conditions, between 2 and 15 images are aligned and merged into a computational raw image (middle). The merged image has reduced noise and increased dynamic range, leading to a higher quality final result (right). Caption and image via Google.

    Before diving into how the behind-the-scenes work is done to capture the HDR+ with Bracketing images, Google explains why high dynamic range (HDR) scenes are difficult to capture, particularly on mobile devices. ‘Because of the physical constraints of image sensors combined with limited signal in the shadows […] We can correctly expose either the shadows or the highlights, but not both at the same time.’

    Left: The result of merging 12 short-exposure frames in Night Sight mode. Right: A single frame whose exposure time is 12 times longer than an individual short exposure. The longer exposure has significantly less noise in the shadows but sacrifices the highlights. Caption and image via Google.

    Google says one way to combat this is to capture two different exposures and combine them — something ‘Photographers sometimes [do to] work around these limitations.’ While this works fairly well with cameras with larger sensors and more capable processors inside tablets and laptops to merge the images, Google says it’s a challenge to do on mobile devices because it requires ‘Capturing additional long exposure frames while maintaining the fast, predictable capture experience of the Pixel camera’ and ‘Taking advantage of long exposure frames while avoiding ghosting artifacts caused by motion between frames.’

    Google was able to mitigate these issues with its original HDR+ technology through prioritizing the highlights in an image and using burst photography to reduce noise in the shadows. Google explains the HDR+ method ‘works well for scenes with moderate dynamic range, but breaks down for HDR scenes.’ As for why, Google breaks down the two different types of noise that get into an image when capturing bursts of photos: shot noise and read noise.

    Google explains the differences in detail:

    ‘One important type of noise is called shot noise, which depends only on the total amount of light captured — the sum of N frames, each with E seconds of exposure time has the same amount of shot noise as a single frame exposed for N × E seconds. If this were the only type of noise present in captured images, burst photography would be as efficient as taking longer exposures. Unfortunately, a second type of noise, read noise, is introduced by the sensor every time a frame is captured. Read noise doesn’t depend on the amount of light captured but instead depends on the number of frames taken — that is, with each frame taken, an additional fixed amount of read noise is added.’

    Left: The result of merging 12 short-exposure frames in Night Sight mode. Right: A single frame whose exposure time is 12 times longer than an individual short exposure. The longer exposure has significantly less noise in the shadows but sacrifices the highlights. Caption and image via Google.

    As visible in the above image, Google highlights ‘why using burst photography to reduce total noise isn’t as efficient as simply taking longer exposures: taking multiple frames can reduce the effect of shot noise, but will also increase read noise.’

    To address this shortcoming, Google explains how it’s managed to use a ‘concentrated effort’ to make the most of recent ‘incremental improvements’ in exposure bracketing to combined the burst photography component of HDR+ with the more traditional HDR method of exposure bracketing to get the best result possible in extreme high dynamic range scenes:

    ‘To start, adding bracketing to HDR+ required redesigning the capture strategy. Capturing is complicated by zero shutter lag (ZSL), which underpins the fast capture experience on Pixel. With ZSL, the frames displayed in the viewfinder before the shutter press are the frames we use for HDR+ burst merging. For bracketing, we capture an additional long exposure frame after the shutter press, which is not shown in the viewfinder. Note that holding the camera still for half a second after the shutter press to accommodate the long exposure can help improve image quality, even with a typical amount of handshake.’

    Google explains how its Night Sight technology has also been improved through the use of its advanced bracketing technology. As visible in the illustration below, the original Night Sight mode captured 15 short exposure frames, which it merged to create the final image. Now, Night Sight with bracketing will capture 12 short and 3 long exposures before merging them, resulting in greater detail in the shadows.

    Capture strategy for Night Sight. Top: The original Night Sight captured 15 short exposure frames. Bottom: Night Sight with bracketing captures 12 short and 3 long exposures. Caption and image via Google.

    As for the merging process, Google says its technology chooses ‘one of the short frames as the reference frame to avoid potentially clipped highlights and motion blur.’ The remaining frames are then aligned with the reference frame before being merged.

    To reduce ghosting artifacts caused by motion, Google says it’s designed a new spatial merge algorithm, similar to that used in its Super Res Zoom technology, ‘that decides per pixel whether image content should be merged or not.’ Unlike Super Res Zoom though, this new algorithm faces additional challenges due to the long exposure shots, which are more difficult to align with the reference frame due to blown out highlights, motion blur and different noise characteristics.

    Left: Ghosting artifacts are visible around the silhouette of a moving person, when deghosting is disabled. Right: Robust merging produces a clean image. Caption and image via Google.

    Google is confident it’s been able to overcome those challenges though, all while merging images even faster than before:

    ‘Despite those challenges, our algorithm is as robust to these issues as the original HDR+ and Super Res Zoom and doesn’t produce ghosting artifacts. At the same time, it merges images 40% faster than its predecessors. Because it merges RAW images early in the photographic pipeline, we were able to achieve all of those benefits while keeping the rest of processing and the signature HDR+ look unchanged. Furthermore, users who prefer to use computational RAW images can take advantage of those image quality and performance improvements.’

    All of this is done behind the scenes without any need for the user to change settings. Google notes ‘depending on the dynamic range of the scene, and the presence of motion, HDR+ with bracketing chooses the best exposures to maximize image quality.’

    Google’s HDR+ with Bracketing technology is found on its Pixel 4a 5G and Pixel 5 devices with the default camera app, Night Sight and Portrait modes. Pixel 4 and 4a devices also have it, but it’s limited to Night Sight mode. It’s also safe to assume this and further improvements will be available on Pixel devices going forward.

    You can read Google’s entire blog post in detail on its AI blog at the link below:

    HDR+ with Bracketing on Pixel Phones

    Articles: Digital Photography Review (dpreview.com)

  • ‘A Year in Photos’ documentary covers winning imagery from Sony World Photography Awards

    The annual Sony World Photography Awards is one of the world’s most reputable competitions for creatives. DPReview makes it a point to cover every announcement. Over the course of the past year, over 330,000 images were submitted to its myriad of contests covering contemporary events and issues. A documentary, produced by Chocolate Films, showcasing the winning images, as well as the stories behind them, was recently released.

    Hosted by British stand-up comedian and art historian Jacky Klein, who curiously stated that submissions came in from over 200 countries (she possibly meant territories as well), A Year in Photos from Sony World Photography Awards 2021 features imagery, behind-the-scenes takes, and interviews from some of the award-winning photographers. Some of the jurors also share what they love about a particular photographer’s style the most.

    Winning imagery addresses how some people believe the novel Coronavirus was a conspiracy.

    Naturally, a good deal of imagery discussed in the hour-long film cover the impact of climate change and the pandemic. As winning photographer Coenraad Heinz Torlage stated early on in the film, ‘I think photography is a powerful medium to speak for those who can’t speak for themselves.’ A Year in Photos from Sony World Photography Awards 2021 can be viewed in its entirety above or here.

    Articles: Digital Photography Review (dpreview.com)

  • Volcano for the People: Stunning visuals from Iceland’s spectacular volcanic eruption

    Following thousands of earthquakes beginning in February, the Fagradalsfjall volcano on Iceland’s Reykjanes Peninsula erupted on March 19. Since then, the volcano has been erupting with new fissure vents opening, including a new one over this past weekend. Given the volcano’s accessible location, thousands of people have visited the site and seen the eruption for themselves. Photographer and wildlife conservationist Donal Boyd and director and filmmaker Frank Nieuwenhuis created a short human interest film, ‘Volcano for the People,’ about the incredible natural event and the experience of enjoying it with others.

    Nature is often enjoyed in solitude or in small groups. However, the ongoing volcanic eruption in Iceland is attracting hundreds to thousands of people at a time. Enjoying nature has transformed from something enjoyed independently to something enjoyed as a collective experience. The video below touches on that shift and what it means to the people enjoying the spectacle. The video includes breathtaking visuals, including stunning drone shots.

    Boyd and Nieuwenhuis also created a behind-the-scenes video, showing how they were able to make the short film above. The duo spent just under a week planning, shooting and editing their video. Isn’t it dangerous to visit an active volcano? The eruption event on the Reykjanes Peninsula is unique. As Iceland was hit with thousands of earthquakes, scientists could track the magma flowing underground until it finally broke through the surface. The eruption occurred in a valley, so there are many safe viewing areas surrounding it. So long as the wind is at your back, blowing away toxic gases from the eruption, it’s safe. The Icelandic Meteorological Office, Icelandic Search and Rescue, and on-site advisors have regularly updated safety protocols so that risks to visitors are minimized. It’s an ever-changing situation, of course, so what was safe during the making of Boyd and Niewenhuis’s video may no longer be safe.

    Although the volcano site was accessible, the hike to and from the area was still 2-3 hours. This meant that Boyd and Nieuwenhuis wanted to keep their gear as light as possible, although it’s easier said than done. Since they wanted to record not only the eruption itself but also the people at the site, their bags were essentially packed to the brim. Interview sequences were shot on Sony A7R III, Sony A7R IV and Canon EOS R5 mirrorless cameras with a Sigma 24mm F1.4 Art lens. Distant shots of spectators were captured with a Sigma 135mm F1.8 Art lens or a Sony FE 135mm F1.8 G Master lens. Other lenses used during production included the Canon RF 50mm F1.2 and an older Canon 300mm F2.8 lens for extreme close-ups. Aerial shots were captured using a DJI Mavic Air 2. At times, the lava was so bright that Boyd needed to attach his strongest ND filter to the Mavic Air 2.

    Alongside the pair of videos above for Adorama TV, Donal Boyd also wrote an article for Adorama about how to photograph an active volcano. The article includes some background about the volcano, tips on gear and, importantly, safety advice and where to get the latest viewing conditions. In addition to a lot of useful information, Boyd’s article also includes amazing images, so be sure to check it out.

    If you’d like to see more from Boyd, follow him on Instagram. More of Niewenhuis’s work can be seen on Instagram and YouTube.

    Articles: Digital Photography Review (dpreview.com)

  • Review: DJI’s Air 2S is the ultimate consumer drone

    Introduction

    Arriving just one year after its predecessor, the Mavic Air 2, the Air 2S is DJI’s newest mid-range consumer drone. The new model sheds the familiar Mavic branding in favor of a shorter naming scheme, following the lead of DJI’s Mini 2 model, but receives some significant upgrades in return. Most notably, the Air 2S features a camera with a 1″-type sensor – something that was previously exclusive to DJI models costing over $ 1,500.

    Whereas the Mavic Air 2 emphasized resolution over sensor size, with features like 48MP stills and 8K hyperlapse modes, the Air 2S pivots in the direction of image quality; its larger 20MP sensor easily outperforms the camera on the Mavic Air 2 and addresses one of the most frequent requests from users.

    The downside is that the retail price of the Air 2S is $ 200 more than the Mavic Air 2, coming in at $ 999. The good news is that the Mavic Air 2 will continue to sell alongside the new Air 2S, so consumers can choose the option that best fits their needs – not to mention their budget.

    There’s also a Fly More combo that includes two additional batteries, a charging hub, a set of three ND filters, and a shoulder bag for $ 1299. The addition of ND filters to the Fly More combo should please a lot of users as they’re a common add-on purchase.

    Aircraft| Photo and Video| Flight Modes | What it’s like to fly | Conclusion | Samples

    Key Features

    • 20MP, 1″-type CMOS sensor
    • 22mm (equiv.) lens with 88º FOV and fixed F2.8 aperture
    • 5.4K/30p, 4K/60p, and 1080p/120p video
    • H.264 and H.265 recording at 150 Mbps
    • 10-bit D-Log and HDR video capture
    • Raw and JPEG image capture
    • OcuSync 3.0 (O3) image transmission (12 km range)
    • Four-way obstacle avoidance
    • APAS 4.0
    • ‘MasterShots’ cinematic capture mode
    • ‘RockSteady’ electronic image stabilization
    • 31-minute flight time
    • 595g (1.3 pounds) total weight

    Compared to…

    On paper, the Air 2S compares favorably to both the Mavic Air 2 as well as the more expensive Mavic 2 Pro.

    DJI Air 2S Mavic Air 2 Mavic 2 Pro
    Price $ 999 $ 799 $ 1599
    Camera

    20MP, 1″-type sensor

    22mm equiv. F2.8 (fixed)

    48MP, 1/2-inch sensor

    24mm equiv. F2.8 (fixed)

    20MP, 1″-type sensor

    28mm equiv. F2.8-11
    Video transmission OcuSync 3.0 (O3), 4 antennas, 12 km, 1080p OcuSync 2.0, dual antenna, 10 km, 1080p OcuSync 2.0, dual antenna, 10 km, 1080p
    Video resolution 5.4K/30p, 4K/60fps 4K/60p 4K/30p
    Video bit-rate 150 Mbps 120 Mbps 100 Mbps
    Log video 10-bit D-Log, HDR video (10-bit) HDR video (8-bit) 10-bit D-Log, HDR video (10-bit)
    APAS version (Advanced Pilot Assistance System) APAS 4.0 APAS 3.0 APAS 1.0
    Obstacle avoidance Forward, Backward, Downward, Upward Forward, Backward, Downward Forward, Backward, Downward, Left, and Right
    Flight time 31 minutes 34 minutes 31 minutes
    Dimensions 180×97×80 mm 180x97x84 mm 214×91×84 mm
    Weight 595g 570g 907g

    There’s no question the improved camera alone warrants an upgrade. In fact, the Air 2S one-ups the Mavic 2 Pro in an important area. The Mavic 2 Pro could record 4K video using the full width of its sensor, but it did so using pixel binning. As a result, the best 4K footage was obtained by shooting from a native crop of the sensor, which also narrowed the camera’s field of view.

    In contrast, the Air 2S captures 5.4K video using the full width of the sensor – with no pixel binning – resulting in more detailed video capture. The upgraded sensor appears to put the Air 2S on par with the prosumer Mavic 2 Pro. Or does it? Let’s take a look at what the Air 2S has to offer and determine if it’s a must-have for hobbyists and professionals alike.

    Back to top

    Aircraft and controller

    At 180x97x80 mm folded down, the DJI Air 2S has a frame that’s almost identical to the Mavic Air 2 and can fit in the palm of your hand. What’s noticeably different is that the 2S has obstacle avoidance sensors placed on top of the drone.

    The Air 2S (L) and Mavic Air 2 (R) side-by-side. The Air 2S boasts a camera with a larger 1″-type sensor plus upward obstacle avoidance sensors.

    In fact, DJI has equipped the Air 2S with four-way obstacle avoidance detection and APAS 4.0 – the latest iteration of an autopilot system that automatically avoids, and will fly around, obstacles it encounters, when recording up to 4K/30p footage. There is also an auxiliary light on the bottom of the aircraft to aid in takeoff and landing during low-light situations.

    The Air 2S uses the same remote as the Mavic Air 2.

    DJI has opted to use the same remote that powers the Mavic Air 2 and Mini 2. It doesn’t have external antennas, and it can still be a challenge to attach a smartphone. However, it’s comfortable to hold and includes everything you need to operate, including a gimbal wheel plus buttons to instantly start and stop taking photos and video. It’s easy to switch between Cine, Normal, and Sport Modes while the Return to Home feature is instantly accessible.

    Back to top

    Photos and video

    The camera on the Air 2S has a 20MP, 1”-type CMOS sensor, mounted on a 3-axis gimbal stabilized with the ‘RockSteady’ EIS system introduced on DJI’s FPV drone. It has a 22mm (equiv.) fixed-aperture F2.8 lens with an 88º FOV.

    Until now, getting a 1″-type sensor on a DJI drone required you to purchase a much more expensive model like the Mavic 2 Pro or Phantom 4 series. So the fact that it’s now available on a model costing under $ 1,000 is notable. Where the camera on the Air 2S differs from the Mavic 2 Pro is that the Hasselblad color profile is not included.

    The camera on the Air 2S uses a 1″-type CMOS sensor capable of 20MP photos and up to 5.4K/30p video.

    Like its predecessor, the Air 2S is powered by the DJI Fly app. The pared down, intuitive menu showcases all the photo modes on the same screen. Single, SmartPhoto, AEB (in brackets of 3 and 5 images), and Burst mode can be easily accessed. The shutter allows up to an 8-second exposure, and together with DJI’s RockSteady EIS, make’s low-light, night time, and motion blur photos possible.

    The shutter allows up to an 8-second exposure, and together with DJI’s RockSteady EIS, make’s low-light, night time, and motion blur photos possible.

    SmartPhoto mode, which uses computational photography technology similar to smartphones, automatically gives you an ideal image using one of the following methods, depending on lighting conditions:

    • HDR photos: The camera automatically captures seven different exposures and combines them for greater dynamic image.
    • Hyperlight: Images taken in low-light conditions tend to be grainy and contain noise. Hyperlight takes multiple photos and merges them for a clearer image.
    • Scene recognition: This mode allows the drone to recognize five major components of a photo – sunsets, blue skies, grass, snow, and trees. It will analyze these objects and maximize tone, clarity, and colors.

    DJI’s RockSteady EIS makes it possible to capture night shots with long exposure and motion blur.
    ISO 200 | 6 sec | F2.8

    The Air 2S allows you to record video at resolutions up to 5.4K/30p, 4K/60p, and 1080p/120p at 150Mbps with either the H.264 or H.265 codec. You can also zoom up to 4X at 4K/30p, 6X at 2.7K/30p, 4X at 2.7K/60p, 6X at 1080p/60p and 8X at 1080p/30p. That’s an upgrade from the Mavic Air 2, which maxed out at 4K/60p and 120 Mbps (which is still impressive in its own right).

    This video shows an example of 5K/30p video captured on the Air 2S.

    One area where the there’s a big difference between the Air 2S and Mavic Air 2 is support for HDR and Log video. The Mavic Air 2 could capture HDR video but was limited to 8-bit, and it didn’t include a Log gamma profile. In contrast, the Air 2S includes 10-bit D-Log and 10-bit HLG capture in addition to the Normal (8-bit) color profile for video. That’s a substantial upgrade for serious video shooters.

    Also, as noted above, the Air 2S captures 5.4K video using the full width of its sensor, with no pixel binning, for detailed video capture. That’s a step up from the Mavic 2 Pro which could record 4K video using the full width of its sensor, but did so using pixel binning. As a result, the best 4K footage on that model was obtained by shooting from a native crop of the sensor, which also narrowed the camera’s field of view.

    Back to top

    The DJI Fly app and flight modes

    The Air 2S uses the DJI Fly app, which was first introduced with the Mavic Mini. Unlike the DJI GO 4 app, which is more fully-featured and suitable for prosumer drones, they Fly app was created with newer pilots in mind. It’s easy to navigate and basically every photo and video setting you need is right on the same screen.

    When switching out of Auto mode and into Manual, or Pro mode, in this case, the bottom-right-hand corner gives you sliders that allow you to adjust white balance, ISO, shutter speed, and choose JPG or Raw+JPG imagery. Resolution can be adjusted on the video end.

    DJI’s Fly app is pared down, simple, intuitive, and easy to navigate.

    Three dots on the upper-right-hand corner of the app will allow you go deeper into the main settings. This is where you can select which video color profile you’d like, whether you wish to brake in front of or bypass obstacles, which codec you prefer, and how high an altitude or far a distance you’d prefer the drone to fly.

    A new feature called MasterShots has been introduced as a way for pilots to generate professional-grade footage that’s ready to share on social by simply selecting a few parameters, such as proximity and portrait or landscape orientation. DJI has equipped the Air 2S with ActiveTrack 4.0 and Point of Interest 3.0 for increased accuracy in tracking subjects during automated flights. The usual QuickShots, including Dronie, Circle, Helix, Rocket Asteroid and Boomerang are included.

    This is an example of a completed MasterShots sequence, complete with title and music, that was automatically edited together using the DJI Fly app.

    I tried the MasterShots feature and have mixed feelings about it. Upon launching it, a notification to ‘watch out for obstacles’ immediately appears. The drone then autonomously launches into a series of pre-programmed shots including Dronie, Rocket, and Boomerang along with some other sweeping movements. It’s best to focus on a static object versus a moving one as the Air 2S will lose track of the latter.

    I paused the flight two separate times while a MasterShot was in progress because I was afraid it was going to fly into the side of a mountain I was close to, and over moving traffic in another location. Anyone wanting to test out this feature should make sure they’re at a high enough altitude that the drone won’t encounter a tree or building as the Air 2S tends to pitch down at one point during the recording.

    I aborted this MasterShots sequence to avoid having the drone fly over a highway with vehicles, but it it illustrates how MasterShots runs the drone through a series of pre-programmed shots.

    MasterShots was made with the casual consumer and beginning pilot in mind. Select shots are stitched into a final clip and music is automatically added in for something that can be instantly shareable on social channels from the DJI Fly app. This is not likely to be something a professional with access to Adobe Premiere Pro, Final Cut Pro, or similar software will be interested in using, but they’re also not the market DJI is targeting with this new feature. Finally, it only works in Auto mode which makes for some potentially awkward lighting switches.

    Back to top

    What’s it like to fly?

    The first thing anyone will notice when operating the Air 2S is that the drone is incredibly quiet. It’s clear that DJI has updated the electronic speed controllers and continues to create more aerodynamic propellers for a noticeably more pleasant experience. It maneuvers well too. Unfortunately, it doesn’t hold up in moderate to high winds. In low winds, however, it’s steady. RockSteady EIS image stabilization makes low-light imagery especially easy to capture.

    What impressed me most was the improved APAS 4.0, the latest version of DJI’s Advanced Pilot Assistance System, which maneuvers the drone above, below, or to the side of an obstacle. With the Mavic Air 2, I felt that APAS was a bit lacking. This version of the technology worked seamlessly. In the example below, it flew above a tree and then to the side, missing every branch. Keep in mind, this feature works on 4K/30p video and below.

    This clip shows APAS 4.0, DJI’s Advanced Pilot Assistance System, in action as the drone navigates around the tree. APAS 4.0 is noticeably improved over previous versions.

    Overall, everything feels vastly improved and more more reliable. Hyperlapse, especially, looks much cleaner and more stable on a 1″-type sensor coupled with RockSteady EIS. I was impressed with how easy it was to get smooth footage on a mildly windy day.

    Hyperlapse sequence captured on the Air 2S.

    Odds and ends

    Equipped with OcuSync 3.0 (O3) transmission technology, the Air 2S can fly at a distance up to 12 km (7.45 miles) when free of obstacles or interference. Like its predecessor, it supports both 2.4GHz and 5.8GHz frequency bands. The maximum flight time clocks in at 31 minutes in ideal conditions, on par with the Mavic 2 Pro but less than the 34 minutes the Mavic Air 2 offers. It can travel up to 68.4 km/h (42.5 mph) in Sport mode.

    The Air 2S supports memory cards up to 256GB and also has 8GB of onboard internal storage should you forget a card or run out of space. Equipped with ADS-B, pilots are warned when manned aircraft are nearby. One feature I appreciated was the fact that the Air 2S automatically returned to home after losing its connection, even as the remote screen remained dark.

    The Air 2S Fly More combo includes a set of ND filters that help create better videos and hyperlapses. A simple twist attaches them to the camera.

    I would also recommend considering the Fly More combo – particularly since it now includes ND filters, which are very helpful for shooting video and hyperlapses.

    Back to top

    Who’s it for?

    DJI has created a top-of-the-line consumer-grade drone with the Air 2S. To have access to a camera with a 1″-type sensor that is capable of capturing 20MP imagery and video up to 5.4K/30p, for under $ 1,000, is truly remarkable. While the camera doesn’t include the vibrant Hasselblad color profile of the Mavic 2 Pro, it still produces decent color. Imagery feels cleaner and crisper compared to past models, overall.

    The Mavic 2 Pro (right) is slightly larger and heavier than the Air 2S. It can fly in more turbulent conditions, and at higher altitudes, but costs significantly more as well.

    With that context, what does it mean for the Mavic 2 Pro, DJI’s other foldable drone with a 1″-type sensor? Professionals shouldn’t write off the Mavic 2 Pro just yet. Slightly larger, heavier, and sturdier, it can withstand high winds like its larger peer, the Phantom 4 Pro. It also has obstacle avoidance sensors on each side making it more suitable for inspections and other high risk gigs that require maneuvering in tight or treacherous areas. Let’s not forget the adjustable aperture either.

    The Air 2S would be a terrific drone for a professional to take to a wedding, for example, particularly with its quieter props. However I wouldn’t dream of taking it with me to shoot around a high rise building, where winds get stronger the higher you ascend, or to a boat race where it would be whipped around. The Air 2S is built for more casual situations.

    The Air 2S would be a terrific drone for a professional to take to a wedding, for example, particularly with its quieter props.

    With its fixed aperture and user-friendly features, the Air 2S is still targeted more towards everyday consumers and those who want a solid option to get into drone imaging. DJI isn’t going to cannibalize its professional and prosumer lines of drones by allowing it to operate in the same manner. MasterShots and some of the QuickShots features were created for travelers and content creators who want to capture impressive imagery and share it instantly. The Fly app has even been updated to make adding a soundtrack and subtitles easy for anyone.

    Final thoughts

    The release of the Air 2S is a strong indication that next Mavic Pro (or even Phantom or Inspire) will see significant bumps in features and capabilities. Also, with Remote ID finalized, DJI has a lot of incentive to start rolling out some new models that both hobbyists and professionals have been wanting for the past few years.

    I tested DJI’s Fly More combo, which includes two additional batteries plus a set of ND filters, and was thrilled to be able to carry the entire set around in a bag the size of a small purse. I can imagine a professional commercial pilot wanting one of these for fun or impromptu shoots, especially now that it includes a 1″-type sensor. This really is an ideal solution for travel and on-the-go content creation.

    What we like

    • 1″-type CMOS censor
    • 5.4K/30p video with 10-bit D-Log and HLG support
    • Quiet flight
    • Improved APAS 4.0 performance
    • Ability to shoot long exposures

    What we don’t

    • Fixed aperture lens
    • Can be unsteady in windy conditions
    • 1080p recording in Quick and MasterShots modes

    Sample gallery

    Please do not reproduce any of these images without prior permission (see our copyright page).

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6004503450″,”galleryId”:”6004503450″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    Back to top

    Articles: Digital Photography Review (dpreview.com)