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Archive for May, 2018

Panasonic Lumix TS7/FT7 is first rugged compact camera to have built-in EVF

11 May

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Panasonic has announced its Lumix DC-TS7 (FT7 outside of North America) which is the first waterproof/rugged compact to have an electronic viewfinder. The viewfinder is 0.2″ in size and has an resolution equivalent to 1.17 million dots and a magnification of 0.45x equivalent. Obviously, you won’t be able to use the EVF if you have a scuba mask on, but for shooting in bright light on land it could come in handy. There’s also a 3″ non-touch LCD available for composing and reviewing your photos.

The TS7 has a 20.4MP, 1/2.3″ BSI CMOS sensor and an F3.3-5.9, 28-128mm equiv. lens. It’s able to go 31m/102ft underwater, can take a fall from 2m/6.6ft and can withstand 100kg / 220lb of crushing force. It’s also freezeproof to -10C / +14F.

You’ll find a 49-point contrast-detect AF system on the TS7, and Panasonic claims that it can track a moving subject at 5 fps. The camera can capture UHD 4K video at 24p and 30p as well as 1080/60p. There’s a 120 fps mode, but only at 720p resolution. Naturally, the TS7 supports Panasonic’s 4K Photo feature, which allows for ‘Post Focus’ and 8MP still extraction. Wi-Fi (but not Bluetooth) is built in, and battery life is CIPA-rated at 30 shots per charge.

The TS7 will be available this summer for $ 449. Available colors include blue, orange and black.

Press Release:

New LUMIX TS7 with LVF, Wi-Fi® and 4K Video and 4K Photo

Featuring Waterproof, Rugged Design Camera for Outdoor Imaging

Newark, NJ (May 11, 2018) – Panasonic is pleased to introduce the 20.4-megapixel LUMIX TS7, the rugged new LUMIX TS Series camera geared exclusively for outdoor use. This tough, lightweight camera is waterproof to 102ft., dustproof, shockproof to 6.6ft., freeze proof to 14 degrees F and pressure resistant to 220lbf for exceptional imaging in virtually any and all locations and conditions.

The LUMIX TS7 features a 28mm wide angle 4.6x optical zoom lens (35mm equivalent: 28-128mm) and includes a new 0.2-in, 1,170K-dot equivalent LVF (Live View Finder) to easily capture subjects even under strong sunlight or with backlighting. A 3.0-in rear LCD monitor delivers highest-in-class 1,040K-dot resolution for approximately 100% field of view.

For video, the LUMIX TS7 records smooth, high-resolution QFHD 4K video in 3840×2160 at 30p/ 24p in MP4. Taking full advantage of 4K technology, outdoor photographers will enjoy 4K PHOTO to capture perfect moments at 30 fps and save 8-megapixel, high-resolution photos. The LUMIX TS7 also includes the LUMIX Post Focus feature, which enables users to modify focus after capturing the image.

A newly integrated 20.4-megapixel High Sensitivity MOS sensor and the camera’s advanced imaging engine enables high-speed, high-sensitivity image recording to generate high-speed burst shooting at 10 fps* in high picture quality. The LUMIX TS7 also provides Light Speed AF to capture the most fleeting shooting opportunities, ideal for outdoor adventures like diving, snorkeling, surfing, climbing, skiing and snowboarding.

The LUMIX TS7 ensures flexible shooting with built-in Wi-Fi® connectivity for fast, easy image sharing, also integrating a variety of special effects’ options — Creative Control, Creative Panorama, Time Lapse Shot and High-Speed Video —adding creativity and fun to outdoor imaging. Beginning photographers will like the popular LUMIX Shooting Assist function iA (Intelligent Auto) mode to help shoot sharp, memorable photos and video. Plus, the camera’s built-in LED Photo Light function illuminates the subject to help compose the shot even if the camera function is not activated.

Other new LUMIX TS7 features include:

1. Airtight, all-seasons design
Thanks to a minimum aperture area, rubber padding and reinforced glass inside the camera, the LUMIX TS7 features an airtight body to withstand water immersion, dust and sand. A reinforced body case performs flawlessly at depths up to 102 ft with water pressure resistance up to 220lbf. The durable TS7 can absorb drops to hard surfaces from up to 6.6ft in accordance with the “MIL-STD 810F Method 516.5-Shock” test standard. And in cold weather, all components including the lens unit can endure temperatures up to 14 degrees F. Specifically designed for active outdoor imaging, the LUMIX TS7 includes a compass and altimeter, all of which makes the all-seasons LUMIX TS7 the perfect camera for photos and video when fishing and camping in the spring; diving, snorkeling and surfing in summer; traversing mountains in autumn; and skiing and snowshoeing in winter.

2. New LVF (Live View Finder) and high-resolution rear monitor
The LUMIX TS7 integrates a new 0.2-inch, 1,170K-dot equivalent LVF (Live View Finder) to make it easier to capture subjects under strong sunlight or in backlighting and reduce power consumption in harsh conditions. Both the sensor and LVF are in a 4:3 aspect ratio, and the 3.0-in tempered-glass rear LCD monitor in a 3:2 aspect ratio, delivers highest-in-class 1,040K-dot resolution for an approximately 100% field of view. Image output between the LVF and the rear monitor is instantly switched with a dedicated button.

3. 4K imaging with 4K video and 4K PHOTO
The LUMIX TS7 records smooth, high-resolution QFHD 4K videos in 3840×2160 at 30p or 24p in MP4* in addition to Full-HD 1,920 x 1,080 60p videos in MP4 (MPEG-4 / H.264) format with practical full-time AF.

With 4K video and 4K PHOTO, photographers can choose and extract single images from 30 fps video frames to save as 8-megapixel equivalent resolution photos. Three exclusive LUMIX functions integrated into the TS7 make it easy; 4K Burst Shooting, 4K Burst (Start/Stop) and 4K Pre-burst. 4K Burst Shooting provides consecutive shooting at 30 fps,** which can be used like photo burst shooting. The LUMIX TS7 includes the LUMIX Post Focus function to select in-focus areas after shooting — a helpful feature in situations like macro shooting where severe focusing is required, or for changing expression by changing the subject in focus.

The camera’s 4.6x optical zoom with POWER O.I.S. is also available in video recording to suppress hand shake, and an Auto Wind Cut function blocks most of the noise created by background wind. High Speed Video feature enables recording in HD (1280×720) at 120 fps/100 fps, and Time Lapse /Stop Motion Animation functions are also available.

4. 20.4-megapixel High Sensitivity MOS Sensor
The 20.4-megapixel LUMIX TS7 integrates a High Sensitivity MOS sensor to deliver highest-in-class resolution. And its high-speed response achieves burst shooting at 10 fps* in full resolution with a mechanical shutter, 5 fps with continuous AF. Auto focusing is quick and accurate with its Light Speed AF. The LUMIX TS7 incorporates a high-quality 28mm wide-angle LUMIX lens with a 4.6x optical zoom (35mm equivalent: 28-128mm) in folded optics. Thanks to LUMIX Intelligent Resolution technology, the Intelligent Zoom is included in the LUMIX TS7, which virtually extends the zoom ratio to 9.1x equivalent, maintaining picture quality even when combined with the digital zoom.

5. Other
• Wi-Fi 2.4GHz (IEEE802.11b/g/n) Connectivity
The LUMIX TS7 integrates Wi-Fi® connectivity for flexible shooting and instant image sharing with easy operation. Once the camera is connected to a smartphone or tablet installed with Panasonic Image App for iOS/Android, users can shoot, browse and share images remotely. GPS geotag can also be added on the photos after shooting.

• AC/USB Charging
The camera’s rechargeable battery can be charged via AC or USB.

• Creative Control
The LUMIX TS7 is equipped with Creative Controls for 22 filter effects – Expressive, Retro, Old Days, High Key, Low Key, Sepia, Monochrome, Dynamic Monochrome, Rough Monochrome, Silky Monochrome, Impressive Art, High Dynamic, Cross Process, Toy Effect, Toy Pop, Bleach Bypass, Miniature Effect, Soft Focus, Fantasy, Star Filter, One Point Color and Sunshine. Creative Controls let users shoot and review filter effects, which can also be used for video recording.***

With the Creative Panorama, users can shoot a horizontal/vertical panoramic image by overlaying consecutive shots with filter effects like Expressive, Retro, Old Days, High Key, Low Key, Sepia, Monochrome, Dynamic Monochrome, Rough Monochrome, Silky Monochrome, Impressive Art, High Dynamic, Cross Process, Bleach Bypass, Soft Focus, Fantasy, Star Filter and One Point Color.

• LED Photo Light illuminates the subject even while the camera function is not activated.

• SDXC UHS-I Memory Card Compatibility
The LUMIX TS7 complies with SDXC UHS-I Memory Card for high-speed 4K video.

*Max.11 images.
**Max.29 min 59 sec.
***Not all filters can be used in video recording.

•Design and specifications are subject to change without notice.

The LUMIX TS7 will be available in early summer 2018 in blue, orange and black with an MSRP of $ 449.99.

Panasonic Lumix DC-TS7/FT7 specifications

Price
MSRP $ 449
Body type
Body type Compact
Body material Metal/composite
Sensor
Max resolution 5184 x 3888
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 20 megapixels
Sensor photo detectors 21 megapixels
Sensor size 1/2.3" (6.17 x 4.55 mm)
Sensor type BSI-CMOS
Processor Venus Engine
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 80-3200 (expands to 6400)
Boosted ISO (maximum) 6400
White balance presets 5
Custom white balance Yes
Image stabilization Optical
Uncompressed format No
JPEG quality levels Fine, standard
File format
  • JPEG (Exif v2.31)
Optics & Focus
Focal length (equiv.) 28–128 mm
Optical zoom 4.6×
Maximum aperture F3.3–5.9
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (4x)
Manual focus Yes
Normal focus range 30 cm (11.81″)
Macro focus range 5 cm (1.97″)
Number of focus points 49
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3″
Screen dots 1,040,000
Touch screen No
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 2.53×
Viewfinder resolution 1,170,000
Photography features
Minimum shutter speed 4 sec
Maximum shutter speed 1/1300 sec
Maximum shutter speed (electronic) 1/16000 sec
Exposure modes
  • Intelligent Auto
  • Program
  • Manual
Scene modes
  • Clear Portrait
  • Silky Skin
  • Backlit Softness
  • Clear in Backlight
  • Relaxing Tone
  • Distinct Scenery
  • Bright Blue Sky
  • Romantic Sunset Glow
  • Vivid Sunset Glow
  • Glistening Water
  • Clear Nightscape
  • Cool Night Sky
  • Warm Glowing Nightscape
  • Glittering Illuminations
  • Handheld Night Shot
  • Clear Night Portrait
  • Soft Image of a Flower
  • Appetizing Food
  • Cute Dessert
  • Freeze Animal Motion
  • Monochrome
Built-in flash Yes
Flash range 5.60 m (with Auto ISO)
External flash No
Flash modes Auto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off
Continuous drive 10.0 fps
Self-timer Yes (2 or 10 secs, 10 secs x 3 images)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV steps)
AE Bracketing ±3 (3, 5, 7 frames at 1/3 EV, 1/2 EV, 1 EV steps)
WB Bracketing No
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 30p / 100 Mbps, MP4, H.264, AAC
  • 3840 x 2160 @ 24p / 100 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 30p / 20 Mbps, MP4, H.264, AAC
Microphone Mono
Speaker Stereo
Storage
Storage types SD/SDHC/SDXC (UHS-I supported)
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging Yes
HDMI Yes (microHDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n
Remote control Yes (via smartphone)
Physical
Environmentally sealed Yes
Durability Waterproof, Shockproof
Battery Built-in
Battery description DMW-BCM13PP lithium-ion battery and charger
Battery Life (CIPA) 300
Weight (inc. batteries) 319 g (0.70 lb / 11.25 oz)
Dimensions 117 x 76 x 37 mm (4.61 x 2.99 x 1.46″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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CMOS image sensor sales at all-time high

11 May

Industry analysts IC Insights report that CMOS image sensor sales will be at an eighth straight record-high level this year, with worldwide revenues growing 10% to $ 13.7 billion. This comes after a 19% increase in 2017.

The growth is due to a spread of digital camera applications to vehicles, machine vision, human recognition and security systems, but demand is also driven by more advanced smartphone cameras using multiple sensors.

Smartphone cameras accounted for 62% of CMOS image sensor sales in 2017, but this number is forecast to decrease to 45% in 2022 as demand in other sectors, such as automotive, is expected to grow faster.

Overall, CMOS image sensors accounted for 89% of total image sensor sales in 2017 by value. This is a noticeable increase from 74% in 2012 and 54% in 2007. In terms of units shipped, CMOS imagers represented 81% of all image sensors sold in 2017, making CMOS by far the most utilized image sensor technology and also suggesting CMOS sells at a premium, compared to its rival technologies.

Articles: Digital Photography Review (dpreview.com)

 
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The Yongnuo YN43 is a Micro Four Thirds smartphone clip-on camera with Canon lens mount

11 May

Yesterday, affordable photography accessory maker Yongnuo unveiled a 60mm F2 macro lens, and they’ve also taken the wraps off a YN43 camera module, a clip-on camera for smartphones in the spirit of Sony’s QX-cameras, the Olympus Air, DxO One, and the Kodak PixPro models.

Unfortunately, at this point there are no specifications available on the site. Looking at the images and model name it’s fair to assume the device will feature a Micro Four Thirds sensor. Curiously the lens mount appears to be of the Canon variant, though. On the product images we can see a Yongnuo 14mm F2.8 wide angle lens for Canon mounted to the module. The choice of lens mount is likely due to the fact that Yongnuo only makes lenses for Canon and Nikon, but no Micro Four Thirds glass.

The camera is pictured with an Apple iPhone and an app is already available in the App Store which suggests it will definitely work with Apple devices, but one would assume it’ll be compatible with at least the most popular Android phones as well.

With its unusual sensor/lens mount combination the YN43 looks like a slightly odd product to put it mildly. It also doesn’t bode well that all the similar products mentioned above have disappeared from the market and the built-in cameras in smartphones have improved drastically, almost nullifying the need for bulky clip-on modules.

That said, Yongnuo is known for its budget pricing and while no price information is available yet for the YN43 we’d expect it to be quite affordable. This could make it worth a closer look to anyone who has a few Canon lenses lying around and likes tinkering with photo equipment.

We’ll let you know as soon as more information and specs become available.

Articles: Digital Photography Review (dpreview.com)

 
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Sony reduces Pixel Shift interval to 0.5 seconds in a7R lll

10 May

Sony has released new firmware for its a7R lll camera to insert a new option for Pixel Shift Multi Shooting that reduces the delay between frames to 0.5 sec. Firmware v1.10 adds the 0.5 sec delay setting to the menu so users can halve the current shortest time between frames taken with the camera in Pixel Shift Shooting mode. Previously, delays of 1-30 seconds could be selected. The move will reduce the total amount of time the pixel shift mode takes to record the images it needs, so perhaps will also reduce the risk of movement in the subject.

Users can now also use exposure bracketing in silent mode when recording uncompressed Raw files, and the focus assist peaking display can be tuned when shooting in S-Log mode. Sony says it has improved the general stability of the camera and has fixed problems it had with Eye AF failing in when used with certain settings.

For more information, and to download firmware v1.10 for the Sony a7R lll visit the Sony website.

Manufacturer’s information

ILCE-7RM3 Camera Firmware Update

What Does This Do?
This update (version 1.10) provides the following benefits:

  • Adds the menu option to select Pixel Shift Multi Shooting (On: Shooting Interval 0.5sec)

Notes:

When using an A-mount lens via an adaptor (LA-EA1/ LA-EA2/ LA-EA3/ LA-EA4), the interval might be slightly longer

When the camera is connected to PC, please use the latest version of the Imaging Edge software

  • Adds support for bracketing during silent shooting with uncompressed RAW
  • Adds support for tuning of the peaking display level for S-Log shooting
  • Makes improvements for a condition where the Eye AF does not work with certain camera settings
  • Makes improvements for a condition where Viewfinder Brightness is not reflected correctly in the Manual setting
  • Improves overall stability of camera

Articles: Digital Photography Review (dpreview.com)

 
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Shooting polar bears with the $12,000 Nikon 180-400mm F4E TC1.4 FL ED VR

10 May

In many respects, the Nikon AF-S Nikkor 180-400mm F4E TC1.4 FL ED VR is a dream lens. Earlier this year, with the support of Nikon Europe, I tested it out in some of the harshest conditions on our planet—on a special Polar Bear production in Svalbard, near the north pole.

I took this lens on two different expeditions—first in early April with temperatures reaching well below -20°C with wonderful low-light, and the second expedition at the end of April with the midnight sun and higher contrast. As a professional wildlife photographer, I have to trust my gear to perform and deliver the sharpest images possible, and while this lens took a beating (sorry Nikon) it survived the freezing temperatures and functioned perfectly while providing razor sharp results.

Nikon D850, Nikon 180-400mm F4 @ 250mm (No TC) F4.5 1/800sec ISO 80

Construction and Handling

This lens is part of the new generation of E lenses with reduced weight compared to older designs. That’s important, since it makes hand-held shooting a lot easier. The entire body of the lens feels firm and well-balanced, although it’s a bit front-heavy in my opinion.

Compared to the much-loved Nikon 200-400mm, the new lens weighs less, and is in fact even lighter than the Nikon 300mm F2.8. The wide zoom ring and focus ring, plus the TC lever, make it easy to manipulate even when wearing the thick gloves required at this latitude, in temperatures well below freezing.

During my shooting, this lens “ate” a lot of snow and wind, and survived being transported for hundreds of kilometers on my snowmobile with nary a complaint.

Nikon D850, Nikon 180-400mm F4 @ 195mm (No TC) F4.5 1/2000sec ISO 80

Zoom Range

Without the 1.4X teleconverter engaged, the 180-400mm has wonderful range and the advantage of a constant F4 aperture. Going from one zoom extreme to the other requires only a 1/4 turn of the zoom ring, which is much quicker than the Nikon 200-500mm.

However, while 180-400mm is a usable range for large mammals or medium-sized ones that allow the photographer to approach relatively closely, its not long enough for safety if you want to capture a tight portrait of a predator like a polar bear. For that extra reach, Nikon has integrated a 1.4X teleconverter, which turns the 180-400mm into a 250-550mm lens at the cost of one f-stop—making it an F5.6 constant aperture zoom.

Nikon D850, Nikon 180-400mm F4 @ 210mm (No TC) F4.5 1/500sec ISO 80

Focus

As you might hope from a lens of this type (and price) autofocus is blazing fast. It feels faster than the old 200-400, and also faster than the Nikon 600mm F4. I didn’t notice any hesitation or ‘hunting’ during focusing.

Aperture, Vignetting and Sharpness

Image quality at F4 is really great—not only usable but actually really sharp throughout the zoom range. My Nikon D850 was pushed to its resolution limit even with the widest aperture selected. When engaging the TC, the lens does get a bit softer, and there is very noticeable vignetting wide-open; the converter is there if you need it, but I’d recommend engaging it only when absolutely necessary.
Nikon D850, Nikon 180-400mm F4 @ 550mm (TC) F5.6 1/320sec ISO 80

100% crop (click to view)

Overall, the images came out crisp, sharp and with excellent contrast—even when shooting backlit subjects. I saw no flare, no ghosting and no noticeable chromatic aberrations.

Vibration Reduction

This lens features Nikon’s new-generation VR system, which is good for around 4.5 stops of correction. During my shooting, VR was very useful for hand-held shots.

Price and Value

The sadistic part of my personality enjoys looking in people’s eyes when they get all excited about the lens and ask me how much it costs. When I say $ 12,000 USD, the bright light of childish enthusiasm is quickly extinguished.

It’s a lot of money, but as the expression goes: “you get what you pay for.”

This is a dream lens with so many advantages, both optically and in terms of handling, and that comes at a cost. The cheaper and more approachable option would be the Nikon 200-500 F5.6, which costs a mere $ 1,500. As a friend of mine said, “I could buy eight of those for the price of one 180-400 F4.” I don’t know what he would do with eight lenses, but you get the point.

Nikon D850, Nikon 180-400mm F4 @ 250mm (No TC) F4.5 1/800sec ISO 80

Final Thoughts

So the 180-400mm is a dream lens, but the dream doesn’t come cheap. For a safari in Africa, a project in Svalbard or any action-packed wildlife shooting it’s perfect. In sports or any activity where the subject is moving in your direction, this lens could be a great option. For capturing birds, small mammals or any subject where you know you’d end up cropping after the fact, I’d tend to go for a long telephoto prime instead.

So… is it worth it? That depends on your standards, requirements and the depth of your pockets. The 180-400 lets in an extra stop of light compared to the 200-500mm and offers much better sharpness, faster focus and better handling, not to mention the ability to reach 550mm with the flip of my thumb. I’d go for the 180-400mm without hesitating.

If your budget is tight and you can’t afford this lens, the Nikon 200-500mm F5.6 is a very attractive option, but it can’t match the 180-400mm for speed, critical sharpness or versatility.

About the Author: Roie Galitz is an award-winning wildlife photographer. He travels in extreme conditions to the remotest places on earth, from the Arctic right down to Antarctica, capturing images of rarely viewed animals in their natural habitats. He is a sought-after public speaker, a photography expedition leader and a proud ambassador of Nikon Israel, Global DJI and Greenpeace.

You are welcome to see more of his work and bio on his website and follow on Instagram and Facebook.

Roie Galitz was not compensated for this article in any way either by Nikon or DPReview, and Nikon had no involvement in its publication.

Articles: Digital Photography Review (dpreview.com)

 
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DJI launches Phantom 4 Pro V2.0 drone with ‘OcuSync’ and 60% quieter flight

10 May

Following numerous leaks, DJI has officially launched its new Phantom 4 Pro V2.0 drone today: basically a Phantom 4 Pro with a new ‘OcuSync’ transmission system for high-res low-latency video transmission, and a 4 decibel reduction in flying noise (that makes it 60% quieter).

Beyond these two features, the drone features the same build and internals as the Phantom 4 Pro. That means a 4K/60fps camera with a 1-inch 20MP Exmor R CMOS sensor and support for taking stills at 14fps in Burst Mode; an “aerial optimized” F2.8 wide-angle lens with a 24mm equivalent focal length, 8 elements (including two aspherical) in 7 groups, and the promise of low dispersion/distortion; and a mechanical shutter with a max speed of 1/2000s.

There’s also the same FlightAutonomy system, an “advanced aerial intelligence and flight automation platform.”

This spec comparison from DJI’s website shows you what’s new (and not new) in the P4P V2 as compared to the original Phantom 4 Pro and the Phantom 4 Advanced (click to enlarge):

As mentioned above, what’s new about the P4P V2.0 is OcuSync and quieter flight. There’s not much to say about quiet flight except that noise has been reduced by 60% over its predecessor. OcuSync, on the other hand, is a little more interesting.

The OcuSync HD video transmission system replaces Lightbridge in the original Phantom 4 Pro and Phantom 4 Advanced. Like Lightbridge, OcuSync offers a 7km transmission range and automatic dual-frequency band switching (where allowed). Unlike Lightbridge, it connects to DJI Goggles RE wirelessly, and features high-def, low-latency transmission—both convenient features for FPV shooters.

Here’s a closer look at the Phantom 4 Pro V2.0 from all angles:

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The DJI Phantom 4 Pro V2.0 is available now from DJI for $ 1,500 USD. When bundled with the Phantom 4 Pro+ V2.0 controller—which features a 5.5-inch, 1080p resolution screen with 1000 nits brightness—the price increases to $ 1,800 USD. Finally, DJI is also offering a $ 2,200 USD bundle that includes the DJI Goggles.

To learn more about this new(ish) drone, read the press release below or head over to the DJI website.

Press Release

DJI Introduces V2.0 Edition Of The Phantom 4 Pro

With DJI OcuSync Transmission, 60% Propeller Noise Reduction And Simultaneous Wireless Connectivity For An Enriched FPV Experience

Fans of the iconic DJI Phantom drone can look forward to the release of the Phantom 4 Pro V2.0 (P4P V2.0), the latest variation of the Phantom 4 Pro. Packed with the powerful features of the P4P, the P4P V2.0 uses DJI’s OcuSync transmission technology for high-resolution and low-latency digital video transmission and improves the flight experience by reducing propeller noise by up to 60%. Users who utilize the first-person-view experience for work or for play, can directly connect the P4P V2.0 with their DJI Goggles for an immersive FPV flying experience.

With 30 minutes of flight time, 7 km transmission range[1], 5-directional obstacle sensing system and 1” CMOS Sensor with 4k@60p video recording capabilities, the P4P V2.0 is a drone fit for prosumers and professionals who need a reliable and powerful imaging solution that can cater to diverse filming needs and mapping operations.

Retaining its iconic white airframe, the P4P V2.0 also has a Phantom 4 Pro+ V2.0 version, which comes with a 5.5-inch, 1080p resolution screen built-in to the remote controller for operators who often fly outdoors under direct sunlight.

Price and Availability

The Phantom 4 Pro V2.0 is now available for purchase at store.dji.com, the four DJI Flagship Stores and authorized dealers worldwide. Its US retail price of USD$ 1,499 includes the aircraft, battery, remote controller, four pairs of propellers, battery charger, power cable, gimbal clamp, Micro USB cable, Micro SD Card and a carrying case. The Phantom 4 Pro+ V2.0 retails at USD$ 1,799 and includes all P4P V2.0 accessories, but with the 5.5-inch monitor built into the remote controller. For availability and pricing in local currency, visit store.dji.com.

[1] The aircraft must be unobstructed and free of interference, using a remote controller when FCC compliant. Always follow applicable laws and regulations when flying.

Articles: Digital Photography Review (dpreview.com)

 
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Lomography releases gold-plated Daguerreotype Achromat 64mm F2.9 lens

10 May

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Lomography is back with another variant of its Daguerreotype Achromat 64mm F2.9 Art Lens. The lens was first launched on crowdfunding website Kickstarter in early 2016, followed by a chrome-plated version introduced last summer. This time around, Lomography is offering a limited edition gold-plated version of the Achromat 2.9/64, that joining the chrome-plated and original black/brass variants.

The Gold Plated Daguerreotype Achromat 2.9/64 Art Lens is “wrapped in a glossy coat of real gold plate” applied to the underlying brass, says Lomography. The lens is otherwise the same as the others in the collection, including Canon EF and Nikon F mounting options, a helicoid focusing mechanism, 37-degree FOV, 40.5mm filter thread, and 64mm focal length.

Here are some sample photos captured with the Daguerreotype Achromat:

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The Gold Plated lens is available now globally from Lomography’s online store and Gallery Stores now for $ 550 USD. The brass, black, and chrome-plated versions are priced at $ 400 USD.

Articles: Digital Photography Review (dpreview.com)

 
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Yongnuo reveals YN 60mm F2 MF macro lens

10 May

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Hong Kong company Yongnuo—known for releasing ultra-affordable photography accessories and, more recently, lenses as well—has introduced its newest lens: the YN 60mm F2 MF macro lens.

The model has a minimum focus distance from 0.234m / 9.2-inches and offers up to a 1:1 magnification ratio, as well as an infinity mode, manual focus with support for half-press shutter focus prompt and automatic exposure. The lens is made up of a metal bayonet, 10 glass elements in nine groups, and seven aperture blades.

Other features include gold-plated metal contacts, integrated electromagnetic aperture, and a focus distance indicator. The lens firmware can be updated from the camera rather than over USB, assuming the camera supports the feature.

There has been no official word on what mount it will be made for, but the gold-plated contacts in the product shot make this a Canon EF lens. Price also hasn’t been revealed, but we expect it to come in quite a bit cheaper than your typical 60mm macro lens if Yongnuo’s reputation as a budget brand is to continue.

To learn more about this lens, head over to the Yongnuo website.

Articles: Digital Photography Review (dpreview.com)

 
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Consent in Photography – What to Think About When Photographing People

10 May

You might not think about it, but as a photographer, you possess a certain power over the people you photograph. In her well-known book On Photography, Susan Sontag wrote:

”To take a photograph is to participate in another person’s mortality, vulnerability, mutability.”

Consent in Photography – What to Think About When Photographing People - street portraits

Photographing someone exposes them to scrutiny, both by others and by themselves. The photographer captures a representation of the person which may be very different from how they see themselves; it’s a representation made by someone else. This is not a bad thing or a good thing, but it is the basis for this discussion about consent in photography.

What is consent in photography?

People have a basic right to integrity, to make their own decisions about their bodies. Consent is someone’s agreement for another person to do something that would violate their integrity if it were done without their approval. For instance, we can consent to take part in a medical examination, joining a dance, or performing on stage, all of which would be wrong for someone to force us to do.

So how is this relevant to you? When do you need to ask for consent in photography, and how is it done?

Silhouettes at sunset on the beach in Brighton, England. - Consent in Photography – What to Think About When Photographing People

Consent in photography

When it comes to photography, the absence of consent usually isn’t about a direct physical violation. It’s (fortunately) rare for someone to be dragged into a studio against their will or forced to pose. The legal and ethical issues have more to do with the ”aggression” of the act itself, the right to privacy, and also to some extent the control the person may want to have over how they’re represented.

Even if you may not have considered it in those terms, you’ve probably encountered the question of consent if you’ve ever taken photos of other people, especially if you do street photography. For example, maybe you’ve considered whether to photograph people kissing or taken a photo and received an annoyed or angry expression in return.

Photographing demonstrations and consent. - Consent in Photography – What to Think About When Photographing People

When considering consent, you need to keep in mind both the making of the photograph and its publication.

For instance, imagine that you’ve been hired to photograph a wedding reception. The consent in these situations is often implied, meaning that even if you’re an outsider in a private space at a private occasion, you can assume that photographing the guests is okay unless they specifically ask you not to. However, this implied consent does not extend to publication on your website or anywhere else, so you’ll have to ask for explicit consent from photographed persons before publishing those photos.

When do you need to ask for consent?

Consent in Photography – What to Think About When Photographing People

Photographing children and consent.

Legalities

Laws obviously differ from country to country, so you should familiarize yourself with the laws concerning photography in your country or where you travel. For many places, you can find handy summaries of your legal rights as a photographer.

In general, it’s legal to take and publish photographs in and from a public space without asking, whereas taking photographs in a private space requires consent. Selling a photograph usually requires consent from the persons in the picture. If you’re unsure or traveling to a foreign country, it’s always worth looking up the rules.

Anonymous street photography -- tips on consent in photography.

Ethics

Apart from the legal aspect, there is also an ethical one. This one is up to you and your values. Do you feel it’s okay to take a picture of a child playing on a beach or publish a series of portraits of people leaving a bar on your website, without asking first?

We all take part in creating the atmosphere and shaping the attitudes of the society we live in or the communities we visit. Thinking about consent makes it easier to decide which photographs are worth making and which ones are not.

Consent in Photography – What to Think About When Photographing People

Photographing Pride parades and other festivals where people may wish to remain anonymous.

In the end, there’s a spectrum of situations in which you can ask for consent. The range goes from just asking when you’re legally required to do so, to asking every single time you take a photo with a recognizable person in the frame. Don’t expect that doing unto others what you want them to do to you will always work in these situations. People’s attitudes toward being photographed differ a lot between individuals.

Interpreting the law in its least strict sense means you may never need to ask for consent as long as you avoid certain situations, whereas asking every single time will help you avoid unpleasant confrontations. Consent may seem tricky, but in the end, it’s not. All it requires is awareness of the law, knowing your own limits, and respecting the people around you.

Street photography, religion, anonymity, and consent. Consent in Photography – What to Think About When Photographing People

Getting consent in practice

So you’ve decided that you are required to or want to ask for consent from someone you’d like to photograph. What does that actually mean? How do you get a person’s consent to photograph them and maybe publish their picture somewhere?

To get written permission to photograph someone and use their photograph, you can use consent forms or a model release.

There aren’t any correct or incorrect forms; you can make your own and include whatever you want in it. However, the form should at least contain the photographed person’s name and what they’re consenting to (being photographed and the photographs being published in a certain place or a specific context).

The purpose and date are good to add, but it’s also good to keep forms simple so there won’t be any question as to whether the person who signs the form understood it or not.

Who do you ask for consent to take and publish pictures? Consent in Photography – What to Think About When Photographing People

Who do you ask for consent?

Implied consent

Implied consent is when you can assume that the subject is okay with being photographed without explicit written or oral permission. This requires that the person understands that they are being photographed and that they react in a way that implies that they’re okay with it.

As a paid event photographer, you can often assume that the guests know that they may be photographed and that they’ll approach you if they don’t want to be photographed. You can also put up a clear sign at the venue, identifying you as the photographer and explaining that guests can ask to be avoided in the photos if they wish.

In my experience, it’s very rare that people aren’t okay with being photographed at weddings or other events.

Publishing pictures taken at private events often requires permission. -Consent in Photography – What to Think About When Photographing People

Publishing pictures that were taken at private events often require permission.

There are many consent-related issues to consider in street photography. Tips on how to avoid most issues are presented in this article on how to take an anonymous approach to street photography.

And if you’re unsure, you can always just ask!

Summary

This article is a very general overview of what consent in photography entails, with the intent to inspire you to think about the subject. I have no legal training, so please only use this article as a basis for discussion, and please do add your own ideas to it!

Do you think about consent when you’re making photographs? Which of the photos in this article would you have made sure to get consent for, and which do you think don’t call for consent? Have you ever wished that a photographer had asked before taking a picture of you? I’d love to hear your thoughts on this, please add your comments below.

In the end, maybe we can participate not only in the photographed person’s mortality and vulnerability, but also in their pleasant memories, self-confidence, and all the positive sides of mutability.

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How a Studio Photographer Came to Love Natural Light Again

10 May

I’m a studio photographer. There are no two ways around that fact. It also happens to be the way I like it. I prefer the absolute control I have over every single factor in a studio environment. That way, I’m not at the whim of changing light at different times of the day or inclement weather.

How a Studio Photographer Came to Love Natural Light Again - studio portrait of a lady

As a studio photographer, my preferences are for an environment where I control every aspect of the light.

A lot of this might have to do with the fact that I live in the United Kingdom, and for the most part, the stereotypes about the weather aren’t wrong. That and daylight hours throughout the year vary wildly. In the summer, I may have daylight until 11 PM, in the winter, that changes to 3 PM. Locked away in my studio, I don’t have to worry about sudden unpredicted rain (in Yorkshire, there’s a lot of it).

I don’t have to worry about summer temperatures dropping below ten degrees (Celcius) causing severe discomfort for my subjects and myself. Most importantly, I don’t have to worry about the light being even slightly different then I want. In a studio, I decide what I want and if the lights aren’t quite there, I change them until they are as desired.

Of course, I have nothing against natural light. I just have a preference based on how I like to work.

Using Natural Light

outdoor portrait of a girl - How a Studio Photographer Came to Love Natural Light Again

On occasion, I get out to use natural light when there’s something specific to achieve.

This doesn’t mean I have forsaken natural light as some sort of taboo subject. No, I still use it from time to time, but it’s usually when I’m trying to do something specific in a certain location or with a special technique that can’t be done in a studio.

portrait of a man with gray hair - How a Studio Photographer Came to Love Natural Light Again

This image was taken only as a technical exercise because of how the light was behaving in a bit of open shade close to sunset.

Shifting perspective

How a Studio Photographer Came to Love Natural Light Again - window lit studio

The large windows in this natural light studio make the space a veritable playground for any photographer enthusiastic about lighting.

Last year, I booked a natural light studio with enormous windows for the first time and the experience completely changed the way I think about these things. I went in treating the whole thing as an experiment. As such, I had no concrete plans. I was going to go in and explore the space, look for pockets of light, and try to seize whatever opportunity presented itself.

How a Studio Photographer Came to Love Natural Light Again - portrait of a lady indoors

The dim, overcast day made for this glorious soft light coming through the windows.

Long story short, I was hooked in minutes. I’m sure the sight of me bouncing from corner to corner going “Ooo, look at the light here and look it at it over here” was more than a bit comical.

The whole experience was like a four hour treasure hunt. It seemed like everywhere I turned, the light was doing something new that was worth exploiting. I can easily compare the feeling to the enthusiasm I felt when I first got a camera and just randomly walked around taking photos of everything and burning through film like it didn’t matter.

As an added bonus, the changeability of the light (one of the factors that kept me firmly in the studio) made new opportunities all the time. On several occasions, I’d move from one spot to another, only to see what the light was doing in the first spot later on and I’d go straight back to it and get completely different results.

girl next to a window - How a Studio Photographer Came to Love Natural Light Again

A short while after the previous image was taken, the sun came out a bit changing the light from this window completely.

There is one thing that I found very hard to replicate in a studio environment. This particular studio is in an old industrial mill and the windows (there are a lot of them) are gargantuan. This gave the light a beautiful soft quality that would be hard to replicate with artificial lighting.

Needless to say, I loved my first time in a natural light studio and have since made it a point to go back and try to find other natural light venues as well.

lady in a gold top - How a Studio Photographer Came to Love Natural Light Again

Even from further away, the light from the windows was still soft and provided gentle tonal transitions.

New ideas

An unexpected side effect of this experience is that I every time I come out of one of these places, I leave with a head full of ideas on how I can apply what I’ve seen the light doing in the studio.

darker portrait of lady in yellow top - How a Studio Photographer Came to Love Natural Light Again

Using a strobe with High-Speed Sync functionality allowed me to darken the studio’s windows for a dramatic background while lighting the subject the way I would in a normal studio environment.

On top of that, I have always forsaken the option of mixing natural light with flash. For whatever reason, I never really felt that it was worth the effort. My opinion on this has changed dramatically since my first visit to that studio. Now I’m always looking for new ideas on how I can use and exploit natural light at any time of day and mix it with studio strobes if need be.

portrait of a girl with long blond hair - How a Studio Photographer Came to Love Natural Light Again

Also made using High-Speed Sync, the flash allowed me to fill in the shadows created by the backlighting from the windows. The result is an even exposure throughout the frame and no blown out windows.

Am I a Convert to Natural Light?

I’m still a studio photographer, there’s no doubt about that. I still prefer the control the studio provides and I will still default to that. However, I won’t be going out of my way to avoid natural light settings in the future.

Between the multitude of opportunities these experiences provided me and the ideas I took away from them, I will be making it a point to regularly shoot in natural light just to shake things up a bit if nothing else.

The end

The point of all this? Good question. If you’re like me, and you find yourself stuck in a rigid pattern, such as my adherence to studio work, I encourage to make the conscious choice of going out and pursuing the exact opposite.

You might very well find that your convictions towards whatever it is you’re stuck to aren’t founded as solidly as you had thought. If nothing else, it will give the opportunity to learn something new and to grow as a photographer and nobody can argue that that’s a bad thing.

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