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Archive for March, 2020

Analysis predicts drone Remote ID will cost 9X more than expected, DJI urges FAA to reconsider ruling

06 Mar

After numerous delays, the Federal Aviation Administration (FAA) released its Notice of Proposed Rulemaking (NPRM) for the Remote Identification of Unmanned Aircraft Systems at the end of last year. The 60-day public commenting period closed this past Monday, March 2nd, with over 52,000 comments submitted during that time.

DJI, the world’s leading drone manufacturer, has supported the need for Remote ID since 2017. In the interest of moving the industry forward, a proper ruling would allow flights at night, over people and beyond visual line of sight. When the NPRM was released, however, DJI publicly chastised the FAA for not incorporating recommendations submitted by the 74 stakeholders that make up the Aviation Rulemaking Committee.

In its 89-page comment to the FAA, DJI cites independent economic analysis that was prepared by Dr. Christian Dippon, Managing Director at NERA Economic Consulting. The study concludes that the societal costs associated with the Remote ID NPRM would total $ 5.6 billion. This makes it 9 times more costly than the $ 582 million the FAA predicts for the next decade.

“I worry about an impact on innovation, with fewer people interested in using drones,” – Brendan Schulman

The long-term ramifications, should the Remote ID NPRM pass in its current form, will extend beyond financial burdens. ‘I worry about an impact on innovation, with fewer people interested in using drones. Our economist’s survey found at least a 10% drop in drone activity if the proposal were implemented, but I think it could be much higher as the full impact is felt by operators,’ Brendan Schulman, DJI’s Vice President of Policy & Legal Affairs, tells DPReview.

Remote ID, simply put, is a digital license plate for drones. It allows authorities to identify the location, serial number, and a remote pilot’s identity in near real-time. The FAA is proposing that almost all drones should transmit that information over wireless networks to a service provider’s database. NERA’s study concludes that the monthly cost of a network-based service for a remote pilot would be $ 9.83 instead of the FAA’s $ 2.50 estimate.

A few vocal critics have suggested that DJI’s involvement in drafting Remote ID rulemaking has served their own interests, and that regulations will amount to a multi-billion dollar gain for the company. ‘The critics missed the context and history. Since 2017 we knew Remote ID was inevitable as a government mandate, and have been advocating for the best possible result for all drone users: low costs and burdens. Everything we have done on this topic has been focused on those goals. Keep costs low and respect drone user privacy. For example, in March 2017 we released a whitepaper strongly advocating for pilot privacy,’ Schulman explains.

DJI has advocated for a ‘drone-to-phone’ solution that provides Remote ID information on common smartphones without burdening drone operators with any extra costs or effort. DJI says that its solution is cheaper and easier than what the FAA is proposing. Any new ruling on Remote ID will not likely take effect until 2024.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Olympus shows off incredible photos from its 150-400mm F4.5 lens, hint at further lens developments

06 Mar

CP+ might’ve been cancelled due to COVID-19 concerns, but Olympus has improvised and shared its presentation on YouTube instead. The 44-minute video covers a variety of topics, but two specific moments stand out.

The first is a demonstration Olympus shared showing just how much zoom you can get out of the Olympus 150–400mm F4.5 lens. One demonstration, seen in the above screenshot from the video, shows a photograph captured with the sun setting over Mount Fuji, captured a ridiculous 67km (42 miles) away, at Olympus’ Ishikawa facility. To capture the shot, Olympus used the 1.25x converter inside the lens as well as the MC-20 2x converter to achieve a 2000mm (35mm equivalent) focal length.

A screenshot from the presentation contextualizing just how far away the photograph and timelapse images were captured from.

The next demonstration with the lens was a hand-held shot of the moon, seen in the below screenshot from the video, captured with the exact same camera setup.

In addition to both images, Olympus also shows a short timelapse video of the sunset over Mount Fuji (the section on the 150–400mm F4.5 lens starts at roughly 36:00).

The above captions in the image are auto-translated via YouTube.

Olympus representatives also note later on in the video that more lenses are in development. However, no further information was given.

Articles: Digital Photography Review (dpreview.com)

 
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NASA is asking the public to use their smartphones to help track light pollution caused by satellites

06 Mar

A newly launched NASA project called Satellite Streak Watcher aims to assess the night sky light pollution caused by low-Earth orbit satellites using images captured by the public. On its SciStarter project page, NASA asks anyone interested in participating to ‘Photographically record satellite streaks across the night sky to monitor this form of sky pollution.’

The space agency explains its concerns related to the satellites, stating, ‘As more satellites are placed into orbit, they will become an increasing problem to astronomers on the ground.’ Participants can use the Heavens-Above website to determine when and where satellites will pass over their local sky; images are uploaded and shared on the project’s website.

The new public science project follows announcements from a number of companies that have launched — or plan to launch — large numbers of small satellites into low-Earth orbit.

The most notable example of this comes from SpaceX, which has spent the past few years working on its Starlink mission. The private space company expects to ultimately launch thousands of small satellites into very-low Earth orbit (VLEO) in order to provide Internet access around the world. As of March 1, 2020, the company has delivered 302 of these satellites into space with plans to launch more throughout the year.

Critics have expressed concerns that Starlink and other projects like it will have a negative impact on the night sky, introducing light pollution that will disrupt astronomy. These satellites also impact astrophotography by adding thin, bright streaks of light to long-exposure images, prompting complaints from photographers who increasingly struggle to deal with light pollution.

DPReview reader Guido Forrier shared the below image in our Astrophotography forum, showing a series of fifteen Starlink satellites flying across the sky in one of his night sky photographs. When we asked what his thoughts on the matter, he said ‘I am surprised and incensed that apart from the already high light pollution, those satellites [have] also come to disturb. [There’s] a lot of rubbish is already flying in space and I see it regularly burning in the atmosphere.’

Photograph by Guido Forrier, shared with permission.

Until now, most efforts to combat light pollution have focused on the ground, not the sky. Light produced by street lamps, billboards, parking lot lights and more is reflected in the night sky, making it hard to see and photograph stars, particularly in regions close to big cities. The problem has spurred the creation of a number of Dark Sky Reserves throughout the world; these are regions of public and private land with ample natural darkness and starkly visible stars.

However, experts have expressed concerns over light pollution that results from satellites launched into low-Earth orbit, as well as more ridiculous future concepts like an artificial moon and space billboards. Because this type of light pollution comes from the sky rather than the planet’s surface, traveling to Dark Sky Reserves won’t help photographers avoid the issue.

According to Astronomy.com, the Starlink satellites are particularly disruptive to the night sky due to their shallow orbit, which is necessary for delivering Internet service to people on Earth. More than 40,000 of these small satellites may eventually be launched under the Starlink mission, and though SpaceX is experimenting with anti-reflective coating on the satellites, it is unclear whether that will be sufficient for reducing the disruption caused by the spacecraft.

MIT Technology Review points out that satellites depend on their reflective nature to help keep them cool; the experimental anti-reflective coating may cause thermal issues for the Starlink satellites. SpaceX applied the coating to the bottom of one of the 60 satellites it launched in December 2019 in order to test its potential impact on performance.

Harvard-Smithsonian Center for Astrophysics astronomer Jonathan McDowell had told Technology Review at the time that while the reflective coating is ‘worth a try,’ he fears it ‘will be offset by the fact that they are moving the constellation to a lower orbit.’

NASA anticipates its Satellite Streak Watcher operating as a long-term project in order to gather data on satellite light pollution over time. The project currently has 136 members and 20 images, which include shots ranging from bright dots on the night sky to several long streaks of light bunched together. Though NASA says citizen scientists can use a basic tripod and most newer smartphones to capture the images, astrophotographers who have more capable camera systems are also welcomed to share their images.

Articles: Digital Photography Review (dpreview.com)

 
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Why Your Photoshop Keeps Crashing and How to Fix it

05 Mar

Photoshop can do amazing things with images. It can also make you want to pull your hair out in frustration.  Photoshop constantly crashing while you work is one such frustrating problem. Why does it crash? What can you do to fix it? Your computer may not have enough memory, or it may not have enough space to run Photoshop, causing Continue Reading

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How to Elevate Your Photography Portfolio With Video Collage Creation in SmartSHOW 3D

05 Mar

When it comes to photography software, the most common names that come up are Adobe Lightroom, which is often used to work with RAW images, and Adobe Photoshop, which is often used to perform retouching tasks like smoothing out skin, removing blemishes, and fixing exposure. While these programs are fantastic for the editing process, photographers tend to be left to Continue Reading

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Fujifilm X100V full-production sample gallery – with Raws

05 Mar

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The Fujifilm X100V updates the X100 line with a 26MP sensor, redesigned lens and a tilting, touch-sensitive rear screen (among other things). We took delivery of a production-quality X100V recently, and we’ve spent the past few days shooting up and down the coast of the Pacific Northwest.

Our full review is on the way, but in the meantime check out our gallery of sample images, including Raw files for download.

View sample images from
the Fujifilm X100V

Articles: Digital Photography Review (dpreview.com)

 
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Storytelling Newborn Photography Shoot Tips

05 Mar

Storytelling photography for newborn babies is all about capturing the real life memories of the newborn days for families in a beautiful way, and it’s quickly becoming the most popular style of photography for capturing the newborn stage of life. Not only does it bring out the personalities of everyone and provide specific memories of what life was like during Continue Reading

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Are Professional Photographers Expensive?

05 Mar

I don’t think there is a professional photographer out there that hasn’t heard a potential client utter the words, “you charge how much?” or “what exactly do I get for that” or even “But all you do is push a button!” Yes, it’s true, any photographer worth their weight will seem expensive at first glance. Even I am guilty of Continue Reading

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iFixit tears down a Galaxy S20 Ultra to show off the ridiculous camera array

05 Mar

Repair site iFixit has published its in-depth teardown of Samsung’s new flagship smartphone, the Galaxy S20 Ultra. In addition to the video above, iFixit also shared a detailed account of the autopsy, including close-up shots of the impressive camera array Samsung has packed inside this monster.

The motherboard assembly, which includes the camera array, is carefully removed from the Galaxy S20 Ultra unit.

As a quick refresher, the Galaxy S20 Ultra features a camera array consisting of three individual modules: a 12-megapixel F2.2 ultra-wide camera module, a 108-megapixel F1.8 wide-angle camera module and a 48-megapixel F3.5 telephoto camera module, the last of which offers up to 100x zoom through a combination of optical and digital zoom with a little AI and software trickery for good measure. On the front of the S20 Ultra is a ridiculous 40-megapixel front-facing camera as well.

The 108-megapixel sensor inside the Galaxy S20 Ultra (top) shown alongside the 12-megapixel primary sensor inside Apple’s iPhone 11 Pro.

First up on the docket was the 108-megapixel (9.5mm x 7.3mm) wide-angle camera, powered by Samsung’s ISOCELL Bright HM1 ‘Nonacell’ image sensor. As iFixit points out, this massive sensor features roughly double the surface area compared to the iPhone 11 Pro’s 12-megapixel primary sensor and uses Samsung’s Nonacell pixel-binning technology to bring the final image down to approximately 12-megapixels.The 12-megapixel F2.2 ultra-wide camera module was glossed over in the teardown, but given a nod in the video as it’s removed from the main camera assembly.

From there, iFixit took a closer look at the 48-megapixel F3.5 telephoto camera module, which is responsible for the 100x ‘Space Zoom’ advertised on the outside of the camera bump. Similar to other periscope-style zoom lenses seen in past smartphones, Samsung uses an array of zoom lenses behind an optically-stablized prism (which is used to redirect the light 90-degrees) to get up to 4x zoom capability. As noted above, the 100x ‘Space Zoom’ is achieved through a combination of sensor cropping, digital zoom and software.

The prism (top) redirects the light 90-degrees through the lenses housed within the assembly (black box, above where the tweezers are positioned), which slides back and forth within the guides to offer up to 4x optical zoom.

Other components onboard the Galaxy S20 Ultra include the 6.9-inch Quad HD+ Dynamic AMOLED Infinity-O Display (3200 x 1440 pixel, 511ppi, up to 120Hz refresh), a Snapdragon 865 processor, up to 16GB of LPDDR5 RAM and a 5,000mAh battery. As you might expect for a smartphone that manages to pack that much tech inside its frame, the device doesn’t score too well on iFixit’s repairability chart. When all was said and done, iFixit gave the Galaxy S20 Ultra a three out of ten.

You can find more images and read peruse through the entire teardown over on iFixit’s website.


Image credits: Photos via iFixit, used with permission

Articles: Digital Photography Review (dpreview.com)

 
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Slideshow: Apple reveals the winners of the Shot on iPhone Night mode challenge

05 Mar

Apple reveals the winners of the Shot on iPhone Night mode challenge

At the beginning of the year, Apple invited iPhone 11, iPhone 11 Pro, and iPhone 11 Pro Max users to share their best photos taken in Night mode. All 3 iPhone 11 models feature a Wide sensor with 100 percent Focus Pixels. As a result, Night mode automatically activates in low-light environments.

Thousands of photos were submitted from around the world. The winning photographers, selected from a panel of 10 judges, hail from China, India, Russia, and Spain. The judges, including Malin Fezehai, Tyler Mitchell, Sarah Lee, Alexvi Li, and Darren Soh shared their thoughts on what made the winning photos stand out.

Winning photos will be featured on apple.com, Apple’s official Instagram account which boasts 22.5 million followers, at select stores, on billboards around the world, and other third-party photo exhibitions.

Konstantin Chalabov (Moscow, Russia), iPhone 11 Pro

Location: Sakha Republic
Phil Schiller says: ‘Konstantin’s photo is a super-dramatic image shot with Night mode. It could be the opening shot of a great Cold War spy movie. It challenges us with intriguing questions — ‘Where is the driver? Where are they going? Why stop out here?’ A cool mist permeates the blue Russian hillside and snow-covered ground, framing the lonely vehicle with bright red lights that hint at an unknown danger.’
Brooks Kraft says: ‘A movie-like scene that leaves you curious about what happened in this snowy remote setting. Night mode captures the blue light exterior hue beautifully as well as the incandescent lighting inside the cab of the truck and the truck lighting — a wide variety of lighting.’

Andrei Manuilov (Moscow, Russia), iPhone 11 Pro Max

Mitsun Soni (Mumbai, Maharashtra, India), iPhone 11 Pro

Location: Quartiere San Lorenzo

Darren Soh says: ‘An amazingly well-balanced composition that throws so many questions back at the viewer — ‘Where is this? Who lives here?’ — and perhaps the most important — ‘Why is laundry hanging out to dry at night?’ As an architectural photographer, I am drawn by the image’s one point perspective that leads the viewer into the frame, right smack into the hanging pieces of clothing.’
Sarah Lee says: ‘I love this and feel it could only have been shot on Night mode. It is beautifully composed, uses symmetry very well, and without cliché to communicate a fascinating story about densely populated urban spaces and the way many people live. This work reminds me of Michael Wolf’s ‘Architecture of Density’ in its theme, but compositionally the photographer has their own take, which is really interesting.’
Location: Dubai, United Arab Emirates
Tyler Mitchell says: ‘This one blows my mind. I have no idea where that deep rich red light is coming from on the tree. It almost feels like a UFO sitting above the tree, just out of frame. Absolutely beautiful composition as well.’
Arem Duplessis says: ‘The rich red color of the tree and ground gives this picture an otherworldly quality. Paired with the night sky, it feels like a still from a sci-fi film.’

Rubén P. Bescós (Pamplona, Navarra, Spain), iPhone 11 Pro Max

Location: Sierra del Perdón

Phil Schiller says: ‘Photography is the art of light, and Rubén’s photo magically uses light to bring this art installation in Spain to life. The color in this Night mode image is a captivating orange, beautifully framing the band of pilgrims in sharp silhouette. The crackly details on the foreground rocks add to the story of the long and difficult journey ahead for these pilgrims before they reach their holy site.’

Alexvi Li says: ‘Taking great advantage of Night mode with exposure setting, the photographer captured the silhouette of a group of people in the city light backdrop. The ground in the photo reveals beautiful texture when shooting against the light. The simple composition quickly draws viewers into a story, while delivering good image quality.’

Rustam Shagimordanov (Moscow, Russia), iPhone 11

Location: Hamnøy I Lofoten, Nordland, Norway

Kaiann Drance says: ‘A captivating shot of a winter village by the sea, which must feel cold, yet looks warm with the glow against the rocks and lights inside the red cabins, inviting a story about the people inside.’

Malin Fezehai says: ‘I love how the lights in the red cabins give a sense of warmth in the cold. The layers in the image create depth and give me a sense of cold and warmth at the same time. It’s a beautifully captured landscape image of a winter evening.’

Yu “Eric” Zhang (Beijing, China), iPhone 11 Pro Max

Jon McCormack says: ‘This image represents iPhone at its best. Capturing life as it happens, no matter what the light is! The sense of moment, intimacy and place in this image is very good. It really transports the viewer to being right there.’

Arem Duplessis says: ‘This picture has a very real quality to it. The rising steam, the silhouetted figures backlit from the lamp all align perfectly in this magical caught moment.’

Articles: Digital Photography Review (dpreview.com)

 
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