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

17 Apr

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.

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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.

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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.

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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.

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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.

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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).

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Gudsen updates Moza Slypod Pro electric monopod arm with longer reach, better battery

16 Apr

Gimbal manufacturer Gudsen has updated its Moza Slypod electronic monopod, adding a longer extension, faster motion and better battery life. The Moza Slypod Pro is essentially a motor-driven monopod that allows videographers to create smooth slider and jib-style camera movements using automatically extending telescopic tubes.

The Slypod Pro can be controlled via the Moza App to extend the telescopic tubes at a given pace to allow mounted cameras to slide across the scene, towards or away from the subject, or to raise or lower the shooting angle. In this new version the range of movement has been increased, allowing a shift from start to finish of up to 53cm/21in, and the speed at which the camera can be moved has been increased to 40mm per second. A further improvement over the previous models is the 4 hour battery life, which can be supplemented with USB power via an external battery pack.

Made of carbon fiber, to keep the weight down, at 1460g it is still heavier than the previous Slypod and Slypod E due to the extra extension, and probably the bigger battery. It can support kit of up to 2kg for horizontal movement and 6kg when being asked to move vertically.

The Slypod can be linked to the Moza Aircross 2 gimbal to allow both devices to be controlled from the same app when the gimbal is mounted on the Slypod, allowing the camera to move in many more directions at the same time.

The Slypod Pro stores at 650mm and extends to a maximum of 1180mm, and comes with an Arca Swiss type mount instead of the Manfrotto mount used on the original Slypod and the E version. The company is launching the Pro version via a Kickstarter campaign that exceeded its very modest funding goal almost immediately. The campaign is offering the Slypod Pro for $ 459, with an estimated shipping date of May 2021. For more information see the Moza Slypod Kickstarter campaign page or the Gudsen Moza website.

Press release

MOZA Announces Launch of Slypod Pro – World’s First Electronically Adjustable Monopod

Imaging solutions experts MOZA, just announced the launch of Slypod Pro – an innovative electronically adjustable monopod for phone and camera photography. This impressive new monopod combines an electric slider & jib arm that lets users capture amazing photos at any angle and with smooth transition effects. Now, there is an affordable way for anyone to achieve professional results easier than ever. Slypod Pro is available now live on Kickstarter. https://www.kickstarter.com/projects/mozaslypodpro/moza-slypod-pro-do-wonders

This impressive new device is more than just a monopod. It’s a 3-in-1 monopod that combines an electronic slider & fully adjustable jib arm that lets users capture amazing photos at any angle and with smooth transition effects. As the world’s first electronic height adjustable monopod, Slypod Pro can be controlled with just one hand. Its motorized slider is internally geared and silky smooth, and extends out 530mm for a total length of 1460mm. It provides rock-steady support for perfectly smooth motion shots and compelling video.

With Slypod Pro, there are no more lost moments. The slider and jib arm can be placed at any angle and camera position. Previously impossible angles become easy to achieve for photos that come to life from new creative perspectives. Users can find the perfect shot by extending the slider in and out for compelling video and high camera angles.

Slypod Pro Redefines motion control when combined with the MOZA Master App other MOZA’s products such as the MOZA AirCross 2 gimbal to capture dynamic motion footage, and seamless cinematic shots with perfect stability.

“Collapsible monopods are a great option when it’s impractical to carry a bulky tripod. Combined with extensions and jib arms, they allow users to capture stable images at a variety of camera angles. At MOZA, our goal with Slypod Pro was to create the ultimate monopod, one that combines the smoothness of an electronic slider with a versatile jib arm for greater control and creativity. Fully electronic, Slypod can be operated with just one hand, or remotely by app. It gives users the features normally found in high-end photography gear, in a compact, portable and affordable option. Slypod Pro redefines the monopod so that you save time, streamline the photo process, and never, ever miss a shot.” Terry Guan, Founder Of MOZA

Sometimes the best photos happen without being behind the camera so the included MOZA Master APP works with smartphone to enable total control of the monopod to operate the motorized slider, perform precise movements at variable speeds and pre-program movements so users can concentrate on creativity instead of setup.

This full-featured monopod is durable and strong but made for portability. With a rigid carbon fiber body, and tri-legged support stand, it works on any surface. When it’s time to leave the studio and capture location shots, or during travel, the monopod collapses to a compact size that is lightweight, easy to carry and fits in a backpack.

SlyPod Pro supports most of the mainstream entry-level or pro-level photo and video cameras and other camera accessories for versatility and professional results and is available now on Kickstarter with special pricing for early adopters. To learn more visit the campaign here: https://www.kickstarter.com/projects/mozaslypodpro/moza-slypod-pro-do-wonders

Note/disclaimer: Remember to do your research with any crowdfunding project before backing it. Pledges to crowdfunding campaigns are not pre-orders. DPReview does not have a relationship with this, or any such campaign, and we publicize only projects that appear legitimate, and which we consider will be of genuine interest to our readers. You can read more about the safeguards Kickstarter has in place on its ‘Trust & Safety’ page.

Articles: Digital Photography Review (dpreview.com)

 
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Apple removes claim that its Pro Display XDR goes ‘far beyond HDR’ in the UK

12 Apr

Following a complaint and subsequent review by the Advertising Standards Authority (ASA) in the UK, Apple has changed the marketing for its $ 5,000 Pro Display XDR. Per 9to5Mac, the ASA asked Apple to remove the term ‘Far beyond HDR’ from its marketing materials for its flagship display, a request which Apple abided, at least in the UK. In the US, the phrase ‘Far beyond HDR’ remains live.

The phrase ‘Far beyond HDR’ has become a sticking point because some customers believe it’s misleading. The Pro Display XDR displays 99% of the P3 wide color gamut, and complaints have alleged that the term ‘Far beyond HDR’ suggests that the display shows 100% of the P3 color gamut.

On Apple’s US store, the term ‘Far beyond HDR’ remains present.

In response to the complaints, Apple has taken two steps. It has removed ‘Far beyond HDR’ from its UK website, as mentioned. Still, Apple has also added a footnote following the sentence, ‘A P3 wide color gamut provides a color palette capable of creating the most vibrant imagery.’ This footnote corresponds to small text at the bottom of the product page, which states, ‘Pro Display XDR supports 99% of the P3 wide color gamut.’ No such footnote currently exists on the product page in the US.

On the other hand, in the UK, the term ‘Far beyond HDR’ has been removed.

The ASA has also taken issue with Apple’s claim that its XDR display has a 1,000,000:1 contrast ratio. As of now, that claim remains on Apple’s website. 9 to 5 Mac reports that Apple is having independent tests completed, which Apple hopes will corroborate its contrast ratio claim.

As you can see in this screenshot from Apple’s US store, there’s no footnote about color space performance on the Pro Display XDR’s product page.

On the ASA’s website, the complaint against Apple is listed as informally resolved. Since the complaints were in the UK, they have no impact on Apple’s obligations in other markets.

When Apple first announced the Pro Display XDR in 2019, the California-based company made many lofty claims. Some of them can be verified, such as claims about color space and contrast ratio, while others are more difficult to confirm.

In the UK, however, the text in the ‘Show your truest colors’ section now includes a footnote that corresponds to the text, ‘Pro Display XDR supports 99% of the P3 wide color gamut.’ Click to enlarge.

For example, Apple says the Pro Display XDR is the ‘world’s best pro display.’ What does that even mean? It likely means something different to different users. For what it’s worth, reviews for the display have been generally very positive, with many claiming that the display features incredible build quality and fantastic performance.

Apple’s popularity and position mean that the company attracts a lot of attention, not all of it positive. The company is no stranger to complaints, investigations and general government oversight across the many markets it operates. It’s merely part of doing business, big business in Apple’s case. Does Apple’s Pro Display XDR go ‘far beyond HDR?’ Well, I guess that depends on who, or rather, where you ask.

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Sample gallery: Tokina atx-m 23mm F1.4 for Fujifilm X-mount

11 Apr

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Tokina’s atx-m 23mm F1.4 is one of two of the company’s new primes available for Fujifilm X-mount shooters. With a 35mm full-frame equivalent focal length, this lens is perfect for casual, candid, and street photography, even in low light.

Focus is snappy, accurate and near-silent when shooting at wider apertures. But the lens does occasionally hunt and can sometimes miss focus when stopped down. Sharpness looks good in the center of the frame, but corners show softness at wider apertures.

There’s no weather-sealing, but the build quality is impressive nonetheless. The lens mount and body are constructed of metal; the focus ring seems to be plastic. In terms of handling, the Tokina feels just right on the Fujifilm X-E4; heavy enough that you know it’s there but not too heavy. We’re not crazy about the clickless aperture ring for stills work, but an ‘auto’ setting at least lets you control the aperture from your camera body.

For a sense of the Tokina atx-m 23mm F1.4 X’s optical characteristics, including bokeh and lens flare examples, jump into our sample gallery below.

View our Tokina atx-m 23mm F1.4 X sample gallery

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Interview: David ‘Dee’ Delgado’s love letter to New York City, shot on 4×5 film

09 Apr
Genesis + Ronald, Before Prom, Westchester Ave (May 2019)

David ‘Dee’ Delgado has spent his entire life exploring New York City. Born and raised in the Bronx, in his younger years he traveled the city as a graffiti artist before transitioning into photography. “I got busted a couple of times and I got tired of getting locked up for doing graffiti,” he says. “So I started taking pictures of my friends.”

He worked as a graphic designer but says he found himself in a creative rut in a career where all his creativity was expended on behalf of the clients – “it was soul-draining in a sense.” And so Delgado found himself gravitating back to his cameras. Six years ago, at the suggestion of his wife, he quit the job that he hated and dove head-on into documentary photography.

Shot entirely on 4×5 film, Delgados project, ‘On My Block’, is an homage to the people and places that make New York City so special

These days Delgado works as a freelance photographer for clients like Getty, Reuters, Gothamist and others. He’s spent the last year very busy, on the ground documenting stories about COVID-19, the George Floyd police brutality protests and the 2020 election. In between all of that he’s continued to work on an ongoing personal project called On My Block, which he debuted earlier this year on his Instagram account.

Shot entirely on 4×5 film, On My Block is a homage to the people and places that make New York City so special. We spoke with Delgado to learn more.

Saint Guadalupe, Simpson Street (February 2019)

When did you start shooting images for On My Block?

I started photographing On My Block in December 2018, I went into it with a direct purpose, although it has morphed. In the beginning, I was thinking about it in terms of gentrification – I’m a native New Yorker, I was born and raised here and I’ve seen how much the city has changed. I turn 45 this year, so I’ve been around for a decent amount of time.

Shooting 4×5 is a lot slower, especially when you are using a field camera. It slows things down and lets you connect to people, have a conversation and an interaction

I started seeing the city change so much and was reminiscing back to when I was a graffiti writer and I would go around the city. I decided I wanted to document the city and the people in it. What they are and how I remember them and how I remember it being like. That’s when the project morphed into more of a love letter to New York and less about gentrification. It’s a love letter to the city that I love and know.

Black and his Son Liam, Barber Shop, Cypress Ave (February 2019)

What camera are you using to shoot the work?

I did not want to shoot digital for this project. I have my cameras that are meant for assignment work and then I have my cameras that are my personal cameras that I use just because I love the medium.

This gives me a break and it gives me the ability to be a little more artistic. As opposed to the hard news, with this, I can slow down and make a pretty photo

This whole project was shot on a Toyo 45A which is a 4×5 field camera. It’s not a light camera. It’s a heavy camera. Lugging that camera along with the film, film holders, and a dark cloth is not an easy task. Shooting 4×5 is a lot slower, especially when you are using a field camera. It slows things down and lets you connect to people, have a conversation and an interaction, you can make the connection through the camera in a sense. It just slows down the whole process.

Why was it important to shoot on film? How do you select what film stocks you use for this project?

I’m a big film buff and I knew I did not want to shoot this in black and white. I wanted it to look less documentary and more personal. The project was shot on Kodak Portra 160, I just found the soft and warm tones of the film leant themselves to what I wanted the project to look like.

Kayla, Malcolm-X Boulevard and W.117th St (July 2019)

How does being born and raised in the Bronx influence the way you see and photograph in other New York City neighborhoods?

When you are young in New York it’s like, ‘don’t leave the stoop,’ but I always wandered. I would always push. ‘I can make it down the block to the bodega before mom notices.’ I always pushed the boundaries of where I was allowed to go. Once I became a little bit older and I was able to leave the stoop I would jump on the subway and I would pick a stop and go there. I would end up in Prospect Park, I would end up in Queensbridge, I would end up in Washington Heights.

I was always pushing the boundaries of my borders and was interested in embracing the city for what it is: multinational and multicultural

I’ve always been the person that was talkative and I would speak to people, I would connect to people. I’d be in Queens and when I was growing up, people in Queens used to use slang that was called ‘dun language’, and me being from The Bronx, I didn’t know how to speak dun language. But then I met guys who did and I would practice my dun language with them.

Then I’d be in the Heights, you know I’m Puerto Rican, and I’d be around the Dominican community and they are having Tres Golpes for breakfast and I was like ‘what the hell is that?’ and its salami and fried cheese and yucca, and I’d try it. I was always pushing the boundaries of my borders and was interested in embracing the city for what it is: multinational and multicultural.

Monica Flores, Macy Place, and Prospect Ave (December 2018)

Do you see this work as being related to the work you do as a freelance news photographer, or is this a project that gives you a mental break from that world?

This gives me a break and it gives me the ability to be a little more artistic and have a little bit more freedom. As opposed to covering the hard news, with this, I can slow down and make a pretty photo.

What can we expect to see as you continue the project?

It’s a project that is morphing on a continuous basis. Right now I’m playing with archival photos, I may include a different factor of photography in it. Chapter 2 is something I am still playing with.

What’s your quintessential New York food and where is the best place to get it?

Oh wow. Hmm. One of my favorite things – I was raised in Little Italy in the Bronx, 183rd and Crotona – is Madonia’s chocolate bread on Arthur Avenue. That’s definitely something that if you are here in New York, you have to try.

More photographs from On My Block

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About:

David ‘Dee’ Delgado is a Puerto Rican independent photographer based in New York City mainly focused on documentary and photojournalism. The interest in learning and his desire to help people made him realize the necessity of documenting his surroundings and broadening the conversation with the use of a camera. See more of Dee’s work on his site, dispatch.nyc.

Articles: Digital Photography Review (dpreview.com)

 
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Sennheiser’s new MKE 400 shotgun mic and XS Lav mics are for creatives on-the-go

08 Apr

Audio equipment manufacturer Sennheiser has released a number of new products designed to simplify on-the-go audio recording.

First up is a redesigned MKE 400 on-camera shotgun microphone. This second-generation device keeps the same name as its predecessor, but updates the design and feature set. Inside the windscreen-protected housing is a shock-mounted super-cardioid polar pattern microphone.

The shoe-mounted microphone features a low-cut filter switch, built-in gain control, a 3.5mm headphone output for monitoring and an eight-step volume rocker for adjusting the monitoring volume. The microphone is powered by two ‘AAA’ batteries, which will power the device for up to 100 hours, according to Sennheiser.

Using the included 3.5mm audio cable, the MKE 400 will power on and off by detecting power from the camera it’s attached to, which should ensure you don’t accidentally forget to turn on the microphone while shooting.

The Sennheiser MKE 400 is available to order now for $ 200. Included with the microphone is a windscreen, the TRS 3.5mm cable for using with cameras, a TRRS 3.5mm cable for connecting to smartphones and a carrying case to keep all of it together. If you shell out an extra $ 30 for the MKE 400 Mobile Kit, you’ll also get a Manfrotto PIXI Mini Tripod and Sennheiser’s Smartphone Clamp.

Next up from Sennheiser is a pair of XS Lav microphones. The first features a 3.5mm TRRS plug on the end and is designed to be used with cameras and other audio equipment while the second model has a USB-C plug on the end and is designed to be used with mobile devices. The pair of lav microphones both feature a 2m (6.5ft) cable and come with a removable windscreen and carrying case.

All models of the XS Lav microphones are available starting today. The XS Lav Mobile retails for $ 50, while the XS Lav USB-C retails for $ 60. For an extra $ 40, you can get the XS Lav USB-C Mobile Kit, which includes the Manfrotto PIXI Mini Tripod and Sennheiser’s Smartphone Clamp.

Articles: Digital Photography Review (dpreview.com)

 
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Sony quietly updates the a7R III, a7R IV with improved LCD displays

07 Apr
One of our product photos of the original a7R IV.

Sony has, rather quietly, released updated versions of its a7R III and a7R IV cameras that bring small improvements to the full-frame mirrorless cameras. The updated cameras now have an ‘a’ appended to their model numbers to differentiate them from their original predecessors.

According to the update product specifications, both the a7R III (model: ILCE-7RM3A) and a7R IV (model: ILCE-7RM4A) have improved rear LCD panels, up to 2.36 million dots compared to the 1.44 million dots in the original models. Sony notes in the the battery life of the updated cameras has dropped slightly (10 shots) when using the LCD panel. Also, based on the product photos on Sony’s website, the a7R IV (model: ILCE-7RM4A) no longer has the Sony logo under the LCD monitor. Aside from those details, it’s not clear what else, if anything, has changed.

Note the ‘Sony’ underneath the LCD panel on this product image of the original a7R IV. Note The lack of the ‘Sony’ logo under the LCD panel of the newly-updated a7R IV ‘a’

Sony’s updated product pages don’t show whether or not the price has changed and, as of publication, Sony’s site isn’t linking out to any retailers with the new models in stock. Neither Adorama or B&H Photo have the new models listed as of publication. This, combined with the fact Sony hasn’t actually changed the more general name of the cameras will likely lead to some confusion for buyers, so you might want to hold off if you’re hoping to get one of these updated cameras until more information is available.

We have contacted Sony for more details and will update this article accordingly when we receive a response.

Articles: Digital Photography Review (dpreview.com)

 
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Videos: Learn photography by playing video games

06 Apr

Can video games help teach you photography skills? Texas-based photographer Mir-or-Image believes they can. In his ongoing video series, ‘Photo Mode Perspective,’ Mir plays popular video games and uses their built-in photo modes to help viewers learn the basics of photography, including principles of composition, how shutter speed and aperture impact the look and feel of an image, and more. Mir loves video games and photography. With his educational video series, he combines these two passions in a distinct and educational way.

Photo modes in video games have become increasingly more sophisticated. For example, in the PlayStation 4 game ‘God of War,’ the included photo mode includes sliders for the field of view and focal length, which are, of course, interconnected. As you increase the field of view, the focal length decreases. This is something that experienced photographers take for granted, but for beginners, understanding how focal length changes perspective in a scene is important.

Likewise, for seasoned shooters, you understand how aperture changes the depth of field, all else equal. Still, the photo mode in ‘God of War’ and other games offers a helpful visual representation of how the plane of focus changes with aperture. Put in simple terms, ‘Here’s something to note with f-stop, the smaller the number, the blurrier the background gets,’ Mir says in the video below. Using ‘God of War,’ Mir also discusses ways to crop images and edit brightness, contrast and colors, and more.

Another PlayStation game with a very capable built-in photo mode is 2020’s ‘Ghost of Tsushima.’ The game, developed by Sucker Punch Productions, is set on Japan’s Tsushima island during the first Mongol invasion of Japan. Some creative liberties are taken in the game for narrative and gameplay purposes, but it nonetheless provides a stunning backdrop for taking in-game photos.

Like ‘God of War,’ ‘Ghost of Tsushima’ includes focal length and aperture sliders for your virtual lens. If you want to shoot a portrait of the main character, Jin, you can use a virtual 85mm f/1.8 lens, for example. You can even direct your subject, in a sense, by changing the character’s pose and facial expression. To add creative flair, you can adjust exposure compensation (bias), add particle effects, change the lighting, color grade your image and more. Also, as a warning, ‘Ghost of Tsushima’ is a violent video game and there is some virtual blood in the video below.

Over at Mir’s YouTube channel you can also see his ‘Photo Mode Perspective’ videos for two more video games, ‘Cyberpunk 2077’ and ‘Spider-Man: Miles Morales.’ To view Mir’s real-world photography, follow him on Instagram and visit his website. The photography bug bit Mir during a trip to Europe in 2018. He enjoyed using his smartphone in manual mode, and when he returned home to Texas, he went out and bought an interchangeable lens camera. He is now a professional car photographer based in Houston.

I captured this image in ‘Forza Horizon 4’ on Xbox. It’s exceedingly unlikely that I’ll ever have the chance to photograph a 1962 Ferrari 250 GTO in the Scottish highlands in real life, so it’s neat that I get to photography rare cars in different locations in a racing video game.

Videogames can do more than help aspiring photographers learn more about how camera and lens settings impact the photos they capture. For example, professional automotive photographer Sam Dobbins used Forza Motorsport on Xbox to plan out a real-world photoshoot. Others, such as Instagram user jk_fh4_pics has an entire account dedicated to photography from the game ‘Forza Horizon 4.’ In some cases, game developers even hold photography contests using their games, which is something that Playground Games does with Forza Horizon and Rockstar Games does with Red Dead Redemption 2.

If you’re like Mir and love both video games and photography, you may be able to combine your interests like him. ‘New Pokémon Snap’ arrives on Nintendo Switch later this month, and the entire purpose of that game is to capture photos of Pokémon in their virtual habitats.

The upcoming Switch title will allow Pokémon shutterbugs to edit and share their images online with other gamers. A similar game is a PlayStation 3 title from 2008, ‘Afrika,’ in which the player assumes the role of a photojournalist hired to take photos on an African safari. It’s a difficult game to find these days, but I remember importing a copy from Japan when I became interested in photography in high school. It wasn’t an amazing game, but it was a lot of fun to take wildlife photographs of animals I’ve never seen in real life.

Articles: Digital Photography Review (dpreview.com)

 
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Samyang teaser suggests two new astrophotography prime lenses will be released later this month

04 Apr

Samyang, also known as Rokinon or Bower depending on the retailer, has posted a teaser on its Facebook page for two upcoming lenses — a full-frame lens and an APS-C lens — which appear to have been designed specifically with astrophotography in mind.

Samyang doesn’t reveal the focal length or aperture for either lens, nor whether these are manual lenses or autofocus lenses, but both lenses are relatively compact primes based on their respective silhouettes. Samyang says the lenses will be ‘Masterpiece[s] for Astrophotography,’ with night sky photos (presumably captured with the respective lenses) as the background for the teaser.

The duo will be out by the end of the month, according to the post, so it shouldn’t be long before we know the details.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: In search of porcupines with the Fujifilm GFX 100S

03 Apr

Now that Chris is out of quarantine and the team has access to a full-production camera, the DPRTV team have been revisiting the Fujifilm GFX 100S. In this video, they take the GFX 100S up into the deceptively named Porcupine Hills of Alberta. Did they find any porcupines? Watch the video to find out.

(But no, they didn’t).

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Sample images
  • Design and handling
  • Displays
  • Nostalgic Neg
  • Image quality
  • Stabilization
  • Autofocus
  • ProRes Raw video
  • Who is it for?

Sample images from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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