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Our team at DPReview TV just finished their review of the Fujifilm X-S10, capturing a lot of images along the way. Take a look at their sample photos from the Canadian Rockies.
View the Fujifilm X-S10 pre-production sample gallery
Articles: Digital Photography Review (dpreview.com)
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DJI has revealed a new pair of gimbals that are successors to the company’s popular Ronin-S and Ronin-SC stabilization systems. The new DJI RS 2 and RSC 2 are ‘redesigned and reimagined’ three-axis handheld gimbals for filmmakers of all types.
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The DJI RS 2 is the successor to the Ronin-S and is made to be used with DSLR and compact cinema camera setups up to 4.5kg (10lbs). Despite the heavy payload, DJI claims the new RS 2 features up to 12 hours of battery life, as well as a new quick-charge function built into the handle for quickly adding two hours of use with just 15 minutes of charging.
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DJI is using its ‘newly optimized’ Titan Stabilization Algorithm for driving the onboard brushless motors, which it claims ‘reduces the need for manual user input while compensating for user movement and optimizing the gimbal tilt and angle.’ Also new is a SuperSmooth mode that’s specifically tuned to compensate for movement when using longer focal lengths up to 100mm.
Like its predecessor, the RS 2 features axis locks for secure transport and a new dual-layer mounting plate that’s compatible with both Arca-Swiss and Manfrotto standards.
A new 1.4” color touchscreen on the rear of the RS 2 serves as a way to cycle through settings, camera data or even a live feed from the camera. Two onboard RSA ports can double as NATO ports, enabling the RS 2 to be used in conjunction with other DJI and third-party accessories, including jibs, car attachments, sliders, grips and remote controllers.
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Just as the the DJI RS 2 is a successor to the Ronin-S, the RSC 2 is a successor to DJI’s Ronin-SC. The updated gimbal is constructed of steel and aluminum, which work to increase rigidity while reducing the overall weight of the unit compared to the Ronin-SC by 35%. It also has a smaller physical footprint with a folded size of 180mm x 190mm (7” x 7.5”) — roughly the size of an A5 sheet of paper.
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Despite the reduction in both size and weight, the RSC 2 features an increased maximum payload of 3kg (6.6lbs) over the Ronin-SC. DJI notes this makes it more than strong enough to carry a combination such as the Panasonic S1H with a 24–70mm lens attached.
It too features DJI’s improved Titan Stabilization Algorithm, dual-plate mount system and OLED screen, albeit slightly smaller at just 1”.
In addition to new hardware, both the RS 2 and RSC 2 have received a new pre-programmed movement mode — Time Tunnel. This new option is an inception-esque mode that performs a 360º roll while capturing a hyperlapse. This mode is in addition to other pre-programmed modes such as Flashlight, One-Tap Portrait Mode, Panorama, Roll 360, Timelapse and more.
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| Ronin RSC 2 |
The two gimbals also include an array of accessories for building out the gimbals to fit your needs. Optional accessories include a cheese plate, Focus Wheel, 3D Focus System, Twist Grip Dual Handle, RavenEye Image Transmission System, Tethered Control Handle, counterweight systems and more.
The DJI RS 2 is available starting today for $ 849 USD as a standalone unit and $ 999 in its Pro Combo configuration. The DJI RSC 2 is available starting today for $ 499 USD as a standalone unit and $ 739 in its Pro Combo configuration. Units are available through DJI’s online store and authorized DJI retailers.
Press release:
Two Stabilization Systems Offer Reworked Designs and New Creative Functions to Become Workhorses for Filmmakers and Content Creators
October 14, 2020 – DJI, the global leader in civilian drones and creative camera technology, today expands the legacy of the highly popular and prestigious DJI Ronin series, by introducing the rebranded DJI RS 2 and DJI RSC 2. Redesigned and reimagined, both systems offer the filmmaking and content creation community an extremely robust, versatile, and professional 3-axis camera gimbal for their various needs. DJI RS 2 brings added strength and agility to creators using heavier camera systems such as DSLR and compact cinema cameras. At the same time, DJI RSC 2 was created to be more portable, meeting the needs of mirrorless and more compact camera operators.
“DJI’s first Ronin-S and the original Ronin-SC created so much excitement when they launched that we immediately went back to the drawing board to figure out how to make our products even better,” said Paul Pan, Senior Product Line Manager. “Just like with the first version, we took time to research how our professional customers use their Ronin products and what new features they wanted in the next generation of a handheld gimbal. Yet again, the result is the culmination of user feedback, years of design and development, and significant advancements in stabilization technology. Now we are excited to showcase two new filmmaking tools designed to meet the needs of a wide array of filmmakers. From cinema cameras to mirrorless systems, we have a solution for you.”
DJI RS 2: Masterfully Crafted
Considering a tremendous amount of feedback from professional operators, DJI RS 2 incorporates carbon fiber in vital structural components, reducing weight down to 1.3 kg (2.86 lbs) while remaining highly durable. Pushing the innovation of single-handed gimbal technology even further, DJI RS 2 now supports a tested dynamic payload of 4.5 kg (10 lbs) for creators to use heavier camera and lens combinations while still achieving up to 12 hours of battery life. A new quick-charge function directly to the battery handle has been added for urgent situations, providing an extra two hours of battery life with just a 15-minute charge.
DJI RS 2 continues pushing gimbal technology forward with the ability to support heavier payloads while capturing ultra-smooth cinematic footage. Based on years of experience developing predictive technology, a newly optimized Titan Stabilization Algorithm reduces the need for manual user input while compensating for user movement and optimizing the gimbal tilt and angle. Additionally, a new SuperSmooth mode provides another level of camera stability, especially for compensating longer focal length lenses of up to 100mm.
Simple to set up, easy to operate, and highly customizable, DJI RS 2 was created to allow filmmakers to adapt their system to their filming needs while feeling confident it will easily integrate into their workflow. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A fine-tune balancing knob allows for even more precise balancing of the camera payload. The built-in 1.4” color touchscreen can display camera data, gimbal settings, or a live feed from the camera. Supporting 11 different languages, the ultra-bright screen can also initiate key functions such as ActiveTrack and intelligent shooting modes. The built-in front dial above the trigger allows for precise focus control and complements a DJI Focus Wheel mounted on the RSA port to create two-channel focus and zoom.[] DJI RS 2 also turns into a versatile tool that can be attached and used with other systems such as jibs, car attachments, and sliders. Two RSA ports double as NATO ports so that users can mount accessories and attachments such as grips and a remote controller.
DJI RSC 2: Filmmaking Unfolds
A completely new and portable folding design makes DJI RSC 2 easy for creators to carry everywhere without adding additional weight to the gear list. Additionally, the folding design provides creative ways to use the gimbal such as vertical filming without additional accessories, as well as a new Briefcase mode, where the main gimbal arm can be loosened and slung forward to provide unique shooting angles. Durable materials like steel are used on vital and frequently used components, while lightweight materials such as aluminum reduce overall weight. DJI RSC 2 weighs in at 1.2 kg (2.65 lbs), nearly 35% less than the original Ronin-S, and has a folding footprint of 180×190 mm, the same size as a sheet of A5 paper. The built-in battery offers an impressive 12 hours of battery life and – like DJI RS 2 – the new quick-charge function directly to the battery handle has been added for urgent situations.
DJI RSC 2 remains lightweight and portable, featuring stronger motors to support a tested payload of up to 3 kg (6.6 lbs). This increased dynamic payload supports popular mirrorless cameras along with heavier combinations like the Panasonic S1H and a 24-70mm lens. Using the same advanced technology as DJI RS 2, the newly optimized Titan Stabilization Algorithm generates a new level of stability – smoothing out fine details in conjunction with the motorized gimbal for some of the most advanced stabilization on the market. DJI RSC 2 is compatible with a wide array of camera models so users can get the most out of the system. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A 1” built-in OLED screen displays camera data with the ability to adjust settings directly.
Multifaceted Gimbals Supported by an Advanced App and Accessories
DJI RS 2 and RSC 2 were designed to expand beyond single-handed stabilization into tools that can be customized with additional accessories to achieve the desired shot. These accessories include a cheese plate, Focus Wheel, 3D Focus System, Twist Grip Dual Handle, RavenEye Image Transmission System, Tethered Control Handle, counterweight systems, and more.[] For remote operation, both DJI RS 2 and DJI RSC 2 can use ActiveTrack 3.0 when the RavenEye Image Transmission System is connected, sending a 1080p/30fps low-latency feed to a mobile device using the Ronin app from up to 200 meters away.
Vital features and functions can now be controlled and adjusted over long distances with the Ronin app such as gimbal movement using the virtual joystick and Force Mobile, where the gimbal mimics the mobile device’s movement. For solo operators using manual-focus lenses, the 3D Focus System uses state-of-the-art TOF sensors mounted above the camera to provide autofocus. This enables a single shooter to capture smooth and cinematic footage using a manual lens, without relying on a second camera operator or focus puller.
Pre-Programmed Movements and Features That Make Stories Come to Life
DJI RS 2 and RSC 2 expand on their predecessors’ suite of creative modes, movements, and features with tools to help capture content that stands out, including:
DJI Care Refresh
DJI Care Refresh is now available for both DJI RSC 2 and RS 2. For an additional charge, DJI Care Refresh offers comprehensive coverage as well as up to two replacement units within one year. Receive your replacement even sooner with DJI Care Refresh Express. DJI Care Refresh also includes VIP after-sales support and free two-way shipping. For a full list of details, please visit https://www.dji.com/service/djicare-refresh.
Price and Availability
DJI RS 2 and DJI RS 2 are available for purchase today from authorized retailers and on www.store.dji.com. Each product offers purchase options for a standalone gimbal and a combination pack that includes additional accessories. The standalone DJI RS 2 is available for the retail price of $ 849 USD, and the standalone DJI RSC 2 is available at the retail price of $ 499 USD. The Pro Combo includes additional accessories such as a phone holder, Focus Motor, RavenEye Image Transmitter, dedicated carrying case, and more. The DJI RS 2 Pro Combo is priced at $ 999 USD, and the DJI RSC 2 Pro Combo is priced at $ 739 USD. Full details on this can be found below.
Articles: Digital Photography Review (dpreview.com)
The post Weekly Photography Challenge – bicycle appeared first on Digital Photography School. It was authored by Sime.
I guess you could say we’re being very specific, but not very specific this week! ‘Bicycle‘ is our #dPSWeeklyChallenge theme! The reason being is that I managed to get my old bike going today and got out of the house to whip around the neighbourhood. Riding in the sun made me think of some amazing cycling photos I’ve seen over the years, and thought it’d be fun to see what we can come up with! Your entry can be a photograph of your bike, of a street with bicycles, a race, whatever you would like as long as the main subject includes a bicycle of some description, perhaps you could try your hand at product photography and photograph a part of your bike? So many options! #dPSBicycle
Missed a dPS Weekly Challenge? We’ve made a special home for them all! Here
You could make it an abstract, like my photograph above (oddly, from a series I call ‘stuff stuck in stuff) or it could be from an organized ride, like the photograph below.
Or it could just be a random scene of two chaps cruising down a street somewhere in Cuba. We look forward to seeing your entry in this week’s Digital Photography School Weekly Challenge!
Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSBicycle to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.
Follow us on Instagram?
The post Weekly Photography Challenge – bicycle appeared first on Digital Photography School. It was authored by Sime.
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Fujifilm has updated its roadmap of lenses for the APS-C X-mount system. The latest version adds the XF18mm F1.4 wide-angle prime, along with a fairly long, moderately fast 70-300mm F4-5.6 OIS telezoom. Both lenses are shown as being due for launch in 2021.
The 18mm will be equivalent to a 27mm lens, in full-frame terms, while the 70-300mm will offer a focal length range equivalent to that of a 105-450mm lens on a full-frame camera.
The lineup of current lenses now extends to 18 prime lenses and 12 photographic zooms, along with three teleconverters and two high-end video zooms. The additional prime and telezoom will take the total to 34 lenses overall, by the end of 2021.
The latest version of the roadmap can be seen on Fujifilm’s website.
Articles: Digital Photography Review (dpreview.com)
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Fujifilm has announced the Fujinon XF 10-24mm F4 R OIS WR. Updating the older XF 10-24mm, the new lens keeps the optics unchanged, but adds weather-resistance, improved optical image stabilization and a physical aperture ring.
Covering an equivalent focal length range of 15-36mm in full-frame terms, the XF 10-24mm F4 R OIS WR is a high-quality wide-angle option for Fujifilm X-series shooters. Now featuring weather-resistance, the new lens should be a better companion for the similarly tough X-T4 and X-T3.
Despite the sealing, the new lens is very slightly lighter than its predecessor (by 25g / 0.9oz) and optical image stabilization has been improved by one stop, bringing the total stabilizing effect to a rated 3.5EV (CIPA). When combined with the in-camera IBIS system of the X-T4, total stabilization increases to 6.5EV.
The new lens will be available next month, for an MSRP of $ 999.95 USD.
Press release:
Newly updated, ultra-wide angle zoom lens features weather-resistance and more
Valhalla, N.Y., October 15, 2020 – FUJIFILM North America Corporation is pleased to announce the launch of the FUJINON XF10-24mmF4 R OIS WR Lens, the 36th interchangeable lens designed for Fujifilm’s X Series digital camera system. The lens, an update to the current FUJINON XF10-24mmF4 R OIS Lens, also features significant design and usability updates.
The new XF10-24mmF4 R OIS WR Lens is an ultra-wide zoom lens covering focal lengths from 10mm to 24mm (equivalent to 15mm – 36mm in the 35mm format). “XF10-24mmF4 R OIS WR packs many updated features including an f-stop scale on its aperture ring, an Auto-position lock, and a new weather-resistant design,” said Victor Ha, senior director of marketing and product development for FUJIFILM North America Corporation. “We’re confident that this lens will be a top choice among landscape and nature photographers who need an ultra-wide angle zoom lens designed to withstand the elements.”
Additionally, the internal structure has been redesigned to make the focus and zoom rings slimmer, giving the XF10-24mmF4 R OIS WR lens a lower overall weight than its predecessor by 25g (.88 oz). Also, Optical Image Stabilization has been extended in the new version by 1 stop, bringing the total stabilization effect of the new lens to 3.5 stops.
The new lens utilizes the same optical design from the original XF10-24mm OIS Lens to provide similar image-resolving performance and also has a maximum aperture of F4.0 across the zoom lens’ entire focal length range.
A new, weather-resistant design and usability updates
Optical design that delivers advanced image resolving performance
Fast and near-silent autofocus (AF)
Pricing and Availability
The new FUJINON XF10-24mmF4 R OIS Lens is expected to be available in the U.S. and Canada markets commencing November 2020. Pricing for the lens will be at a manufacturer’s suggested retail price of $ 999.95 USD and $ 1,349.99 CAD.
For more information, please visit https://fujifilm-x.com/en-us/products/lenses/xf10-24mmf4-r- ois-wr/.
| Principal specifications | |
|---|---|
| Lens type | Zoom lens |
| Max Format size | APS-C / DX |
| Focal length | 10–24 mm |
| Image stabilization | Yes |
| CIPA Image stabilization rating | 3.5 stop(s) |
| Lens mount | Fujifilm X |
| Aperture | |
| Maximum aperture | F4 |
| Minimum aperture | F22 |
| Aperture ring | Yes |
| Number of diaphragm blades | 7 |
| Aperture notes | Rounded |
| Optics | |
| Elements | 14 |
| Groups | 10 |
| Special elements / coatings | 4 aspherical elements, 3 extra low dispersion glass elements |
| Focus | |
| Minimum focus | 0.24 m (9.45″) |
| Maximum magnification | 0.16× |
| Autofocus | Yes |
| Motor type | Stepper motor |
| Full time manual | Yes |
| Focus method | Internal |
| Distance scale | No |
| DoF scale | No |
| Physical | |
| Weight | 385 g (0.85 lb) |
| Materials | Metal barrel, metal mount |
| Sealing | Yes |
| Zoom method | Rotary (internal) |
| Filter thread | 72 mm |
| Filter notes | Does not rotate on focusing |
| Hood supplied | Yes |
Articles: Digital Photography Review (dpreview.com)
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The cameras haven’t even his the shelves of retailers yet and already Atomos has announced its Ninja V monitor/recorder will support ProRes RAW recording over HDMI on Nikon’s forthcoming Z6 II and Z7 II camera systems.
While both the Z6 II and Z7 II have respectable internal recording capabilities in their own right — 4K/60p for the Z7 II out of the box and with the Z6 II via a future firmware update — the addition of ProRes RAW recording further adds to the creative capabilities of Nikon’s latest mirrorless cameras.
Atomos says both the Z6 II and Z7 II will be able to output up to 4K/30p 12-bit ProRes RAW video over HDMI to the Atomos Ninja V recorder when it receives an AtomOS firmware update later this year. Atomos also notes that Nikon’s N-Log profile is fully supported in its AtomHDR monitoring pipeline ‘with the ability to add built in 709 preview, custom 3D LUTs and LOG to HDR conversion for both monitoring and output.’
You can keep up to date with the latest AtomOS firmware updates on Atomos’ support page.
Articles: Digital Photography Review (dpreview.com)
Canadian photographer Eric Paré has built a bullet-time rig using 15 Raspberry Pi cameras synchronised to record pictures at exactly the same moment from different angles. The cameras then create a series of images that show the subject, usually someone jumping in the air it seems, from multiple viewpoints. These images can then be put together as a video to show the person frozen in mid-air as the camera appears to pan around them. The technique, made popular by the fight scenes in the movie The Matrix, requires that the cameras used are all pointing at exactly the same spot and that the shutters are tripped either at the same moment or in sequence.
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Eric usually uses a collection of EOS DSLRs for his bullet-time videos but thought it would be interesting to use the tiny Raspberry Pi cameras as the lenses can be placed much closer together to create smoother motion in the final video. To do this he mounted 15 cameras on an aluminium rail and synchronised them using a single dashboard that could also control the settings of each camera.
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Problems arose due to the wide angle lens of the Raspberry Pi camera and because the cameras are mounted on their PCB using a gum glue that doesn’t hold them in a specific position. This meant that while the boards were all facing the right way the cameras were not, and the footage produced was jerky. Eric solved this issue by remounting all the camera units directly to the boards using a thin adhesive.
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Each camera in the rig was connected to the laptop via an Ethernet cable to a switch and Eric triggered the set-up using a Bluetooth presenter controller. He says he didn’t need to make any custom electronics for the rig when shooting with continuous lighting, but he did make a new control board to fit in the rig when he wanted to use flash.
For this experiment Eric used the Pi 3B+ with version 2 of the Raspberry Pi camera module. He says the same set-up would also work with the newer High Quality Pi camera with its 12MP sensor and interchangeable C-Mount lens system.
See Eric’s website for more of his work.
Articles: Digital Photography Review (dpreview.com)
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| Image credit: Iurie Belegurschi |
Last year, Skylum Software added a new feature to Luminar, AI Sky Replacement. The fully automatic feature, powered by artificial intelligence, can almost instantly replace the sky in an image and relight the overall scene. Next year in Luminar AI, Skylum is taking the feature even further with its new Sky AI tool. Sky AI will add a much-requested feature, water reflections.
Skylum has published a new blog post and video, seen further below, showing off how water reflection will work in 2021 when it is added to Luminar AI, which is scheduled to release this year. As is the case with AI Sky Replacement, Sky AI and its water reflections feature will be fully automated.
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| Sky AI 1.0 (left) versus Sky AI 2.0 (right). Sky AI 2.0 includes the new water reflections functionality. Image credit: Elia Locardi |
With Sky AI, when the software detects water in your scene and you replace the sky, Luminar AI will ensure that the new sky is accurately reflected in the water. As Skylum writes, ‘That means no more duplicating your scene, flipping it and applying a bunch of masking to make it look realistic.’ The reflected sky will also adapt on the fly to your selected relight settings and be ‘blurred into the scene without any manual work from you.’
Further, any details in the water in your scene, such as waterbirds, will stay in your scene and not be overwritten by the reflected sky. Sky AI recognizes the objects in your image and works to preserve fine details in a scene. You can check out the upcoming feature in the preview video below.
As you can see in the video above, Sky AI has a similar selection of sliders to what’s currently available in Luminar 4’s AI Sky Replacement tool. However, Skylum has added Water Reflection and Water Ripples sliders. You can control the intensity of the reflection and even add user-adjustable ripples to the reflection by using these new sliders.
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| Image credit: Daniel Kordan |
In addition to the new water reflection capabilities of Sky AI, Skylum is also adding the ability to browse through your library of skies in a thumbnail viewer in 2021. The browser will show you a preview of each sky, whereas in Luminar 4, you have a list of the names of different skies, but no visual preview.
Sky AI is one of many exciting new features coming to Luminar AI. You can discover more about Skylum’s Luminar AI and view preorder options by clicking here.
Articles: Digital Photography Review (dpreview.com)
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The Fujifilm Instax Mini 11 is a fresh entry-level instant camera from Fujifilm and a refinement of the Instax Mini 9 (there is no Mini 10). As the name suggests the camera makes use of the Instax Mini film format.
Improvements include a new ‘Selfie Mode’ and better auto exposure compared to its predecessor. But unlike its higher-end siblings, the Mini 25/26, Mini 70 and Mini 90, there are no additional creative exposure modes or special features to speak of. That said, the camera is simple to operate and capable of producing lovely images in a variety of lighting conditions.
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| The Mini 11 comes with two accessory buttons you can affix to the shutter release via double sided tape (included). I attached the glow in the dark button (shown above). |
The Instax Mini 11 is really straightforward to use, making it a great choice for kids. Simply press the button next to the lens to pop it out, switch the camera on and hit the shutter button by the viewfinder to take a photo; there are no other buttons to fumble with. When you’re done, push the lens back into the body to turn it off.
The Instax Mini 11 is really straightforward to use, making it a great choice for kids
The camera does a have a selfie mode as well as a small selfie mirror on the front of the lens. To engage the mode, pull the very front of the lens outward until the words ‘Selfie on’ appear (see image below); it admittedly took some digging through the instructions to figure this out.
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| Selfie mode = engaged. |
The camera is, by default, held in the vertical orientation, making it good for portraiture. The viewfinder is a bit small, but that’s par for the course with these Instax Mini format cameras.
In use, I found the shutter button can be easy to bump accidentally, and given the high cost of film, that’s a bummer. Fujifilm does include two accessory shutter releases that affix to the button via double-sided tape – one glows in the dark! Installation is tricky, but once attached, I did find my self less likely to pop off an unintended frame.
The shutter button can be easy to bump accidentally and given the high cost of film, that’s a bummer
Another note about usability: the selfie mode mechanism is a bit hard to engage and feels like it could be a fail point of the camera. It takes a good bit of force to yank the lens forward into selfie mode and retracting the lens after selfie mode has been engaged is a fiddly affair.
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| The Instax Mini 11 is held in the vertical orientation. |
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| Selfie shot in the camera’s standard mode. Focus is a little soft, but the exposure is on the money. | Selfie shot using the selfie mode. The subjects are sharp but the exposure is hot. |
Image quality from the Mini 11 is good through-and-through. The camera handles balancing ambient light with its flash output with ease, in most shooting scenarios. The addition of variable shutter speeds and slow synchro flash definitely seem to give it more versatility in tricky lighting than Mini 9, which has a fixed shutter speed of 1/60 sec.
When shooting in bright daylight, the inability to turn off the flash from firing can be annoying. There’s also no infinity mode, so shots in which the subject is far away can look a tad soft (see examples in the gallery below).
Using the selfie mode can sometimes result in blown highlights
Like most Instax Mini cameras, the Mini 11 produces its best images in good and moderate lighting conditions with subjects at relatively close distances (within the maximum flash range of 2.7 m / 8.85 ft). Shots in very low light tend to come out darker than desired. This is where some sort of exposure compensation would be useful. The Mini 25/26 and Mini 70, for instance, both offer a ‘High Key’ mode that adds +2/3rds exposure compensation.
I’m tempted to say skip the selfie mode all together. From my testing, a selfie in normal mode seems to produce a better exposure, though focus may be a tad soft. Using the dedicated selfie mode can sometimes result in blown highlights. That being said, I did have some success using the selfie mode for close-up subjects, like the pup shot leading the gallery below (which was shot in a very dark room).
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Ultimately, the Instax Mini 11 is for those seeking the easiest-to-use instant camera for the most popular instant film format. The addition of more reliable auto exposure is appreciated. And though I have hesitations about the selfie mode, my guess is most folks who didn’t read the instructions will never even find it. And that’s just fine.
The Instax Mini 11 is for those seeking the easiest-to-use instant camera for the most popular instant film format
For those desiring something with more creative control, we highly recommend spending a few more bucks and getting the Instax Mini 70, which is more feature-rich and our choice as the best Instax Mini camera, for the most people.
Articles: Digital Photography Review (dpreview.com)
The post Joby Mobile Vlogging Kit Review: A Great Deal for Vloggers appeared first on Digital Photography School. It was authored by Suzi Pratt.
As smartphones advance, mobile vlogging and filmmaking continue to rise in popularity. Thankfully, camera accessory brands have come up with whole systems to support phone vloggers. The Joby Mobile Vlogging Kit is the latest system to hit that market, and it is chock-full of accessories that you can use with your phone (or with other camera setups).
But what’s in the Joby Mobile Vlogging Kit? And how does it perform?
In this Joby Mobile Vlogging Kit review, you’ll discover the pros (and cons) of this product.
And you’ll leave knowing whether the Vlogging Kit is right for your needs.
Here’s what’s included in the Vlogging Kit package:
First off, Joby is the brand behind GorillaPods, the bendy-arm tripods that have been popular with vloggers and photographers for many years.
The base of this kit is the GorillaPod Mobile Rig: a small version of the GorillaPod that perfectly complements the size of modern smartphones. I used my copy with a Samsung Galaxy S10 and it fit perfectly.
The GorillaPod has a standard 1/4″ tripod screw, so you could also use it with another camera if you chose to.
The Joby Mobile Vlogging Kit also comes with a smartphone clamp that has two extra bendy arms attached. The clamp is very sturdy and adjusts to fit just about any smartphone out there. The bendy arms are great for attaching accessories such as a light and/or an external microphone, but the arms can be removed.
One of the best features of the smartphone clamp is its ability to easily flip between portrait and landscape orientations. All you have to do is loosen the lock and the clamp swivels. This is especially helpful for those wanting to shoot vertical content for Instagram Stories or TikTok.
Another great addition to the smartphone clamp is a cold shoe mount on top for mounting an accessory. Truth be told, I prefer using the Joby Mobile Vlogging Kit without the extra bendy arms; I simply attach my main accessory (usually the microphone) via the smartphone clamp cold shoe.
With this vlogging kit, Joby is branching out of the tripod market and debuting two other camera accessories: the Beamo Mini LED light and the Wavo Mobile microphone.
Both products are incredibly solid and perform very well. The Beamo light is reminiscent of other rugged light competitors such as the LitraTorch 2.0. It’s waterproof and rugged, has two cold shoe mounts to attach accessories, charges via USB-C, has multiple brightness settings, packs a magnetic attachment, and comes with a silicone diffuser to produce a flattering beam of light.
The Wavo microphone looks like a clone of the Rode VideoMicro. But the nice part about the Wavo mic is that Joby includes two different cables: a TRRS cable so that the mic can be used with a smartphone, and a TRS cable for use with a regular camera.
Note that you have to use the correct microphone cable. Otherwise, sound will not be captured properly.
This vlogging kit comes with a lot of camera accessories.
But how do they perform?
The GorillaPod is as steady as ever, although parts of the legs can sometimes snap off if they are bent in one direction too forcefully. It’s easy to snap the legs back into place if that happens, but it’s just something to be aware of.
If you like to use multiple compact cameras, it’s very easy to take off the included smartphone clamp and stick another camera on the GorillaPod. I did this a lot with my GoPro when I wanted to change my filming style.
Sound-wise, it’s tough to trust a microphone not made by a reputable sound company. Cheap mics often show their true colors via bad sound quality. However, the Wavo mic has very clear sound, and the windscreen does an excellent job of blocking out wind. The Rode VideoMicro has a slight edge in sound quality, but for the price and the fact that the Wavo mic is included as part of a kit, it’s a great deal. Plus, it can be used with a regular camera, which is even better.
After the sun went down, the Beamo light came out to play. After using similar light products made by Litra and Lume Cube, I have to declare the Beamo my favorite compact rugged light. It has a solid feel that is still lightweight, and the light quality is incredibly strong.
In fact, you must use the silicon diffuser if you plan to vlog with the Beamo light. Otherwise, the light is so powerful that it will wash out the video (and strain your eyes).
Now that you’ve finished our Joby Mobile Vlogging Kit review, you know all about the power of this handy little kit.
Overall, the Vlogging Kit is a great deal that gives you three high-quality products in a single package. You can use them together with a smartphone, or you can trade the phone for another compact point and shoot or action camera. You can even mix and match each accessory with different camera setups.
So whether you intend to vlog or simply want a good deal on three awesome camera accessories, you can’t go wrong with this kit.
To see the Joby Mobile Vlogging Kit in action, check out my video review:
The post Joby Mobile Vlogging Kit Review: A Great Deal for Vloggers appeared first on Digital Photography School. It was authored by Suzi Pratt.
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