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Posts Tagged ‘Dan’s’

Gear of the Year 2019 – Dan’s choice: DJI Mavic Mini

18 Dec

A lot of awesome gear arrived on the scene in 2019 including plenty of ground-breaking and impressive cameras, lenses and accessories. But of all the releases, there was only one piece of gear I purchased for myself to enjoy outside of work: The DJI Mavic Mini.

Back in 2016 I picked the original DJI Mavic Pro as my gear of the year because I felt it represented a turning point in the drone market. It was the first mid-level unit that seemed to offer everything I wanted: a folding design, good stills/video, a user-friendly interface and a reasonably affordable price. It was a product I threw down my own money for and one that opened my eyes to a new way of creating stills and video.

There was only one piece of gear I purchased for myself this year: The DJI Mavic Mini

But three years on and my Mavic Pro is starting to seem, well, old. While the folding design was unique at launch, the drone itself now feels hefty in comparison to many newer models. This has made me less likely to take it along on trips or adventures, unless I’m certain I’ll be using it. And though the image quality from its 1/2.3″ sensor is still largely good enough for my needs, I find the JPEG profiles unappealing and the Raw files lack malleability. It also doesn’t help that several ‘oh crap’ moments have now led the camera’s lens to become de-centered. Oops.

Image quality from the Mavic Mini won’t knock your socks off, but it’s more than good enough for social sharing and Web viewing, especially if you take a little time to tweak the JPEGs.
Processed to taste in Adobe Lightroom.
ISO 100 | 1/40 sec | F2.8

Even before the Mavic Mini was launched this Fall, I’d put together a wish list in my mind for my next drone: It would have to be small enough and light enough for me to bring it with me wherever, without a second thought. It would have to offer similar or better image quality to my Mavic Pro (either with better out-of-camera JPEGs or more workable Raw files), it would hopefully be quieter/less intrusive to others, all while offering similar battery life and a just as easy-to-fly interface.

There’s no Raw capture on the Mini, so I pull the JPEG files into Lightroom and tweak them slightly, with good results

The Mavic Mini checks off all the boxes (which is why I purchased one shortly after its launch, sight unseen). It’s nearly a quarter of the weight of the Mavic Pro and about half the size. It uses the same-sized, 1/2.3″ sensor (essentially, a smartphone-sized sensor) but the JPEG output, including color and tone, looks significantly more natural and pleasing (to me at least). There’s no Raw capture on the Mini, but that doesn’t really bother me: I pull the JPEG files into Lightroom and tweak them slightly, with good results.

The Mini also sounds less like an angry swarm of bees compared to my Pro, which will hopefully lead to fewer angry glares out in the Pacific Northwest wilderness from all those passive aggressive Seattlites I encounter. And at $ 400 for the unit, controller and battery, the Mavic Mini is significantly less investment than the current Mavic Pro offerings (The Pro Platinum is $ 1150 at the time of writing). The lower price also leads to less anxiety about potentially losing it (though that’d still majorly suck).

Processed to taste in Adobe Lightroom.
ISO 100 | 1/40 sec |F2.8

I’ve only been flying the Mavic Mini for several weeks now, but after a few adventures – including one in Oregon wine country – I’m hooked. The impossibly small size is hands-down its greatest feature. Getting it into my 16L Lowepro bag without displacing other necessities is no problem at all. Which means this little sky camera can come with me everywhere I go.

The impossibly small size is hands-down its greatest feature – this little sky camera can come with me everywhere I go

It’s also oh-so-easy to operate. DJI further simplified the flying experience for the Mini: It uses the new DJI Fly app, which is a pared-down and more user-friendly version of the standard DJI Go app (used by most of the brand’s other consumer drones). This is a change I welcome given the intended user is likely someone who is a beginner or intermediate drone flyer. Cleaning up the settings and options means there are less things to distract you while flying, but the experience is in no way dumbed-down. And perhaps most importantly, users still have full manual control over the camera’s settings.

Processed to taste in Adobe Lightroom.
ISO 100 | 1/60 sec |F2.8

I did have to give up some features by stepping down from the Mid-level Mavic Pro-series to the more beginner-oriented Mini, above and beyond Raw capture. One such feature is video quality: the max video resolution is 2.7K/30p compared to 4K/30p on my Mavic Pro (not a deal-breaker for my needs as a primarily stills shooter). The maximum flight range is also less than that of the original Mavic, a limitation I’ve yet to encounter, but I’ll report back if I do.

There is, however, one feature I wish the Mini had: Rear and front accident avoidance cameras. My Mavic Pro has a front avoidance camera and who would’ve guessed, all my crashes with it have been while going in reverse. But hopefully their absence will lead me to become a safer, more competent flyer (knocks on wood).

Access to a go-everywhere flying smartphone camera has put a big smile on my face

Ultimately, if you’re a photographer who’s been curious about drone capture and trying to decide when to pull the trigger and on which model, the time is now and the model is the Mavic Mini. At $ 400, it’s cheaper than a lot of other cameras accessories you can purchase. But it’s one that’ll likely change your perspective more than anything else you could put that money toward. Moreover, access to what is essentially a go-everywhere flying smartphone camera has put a big smile on my face, which is why the DJI Mavic Mini is my gear of the year.

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Articles: Digital Photography Review (dpreview.com)

 
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Gear of the Year 2018 – Dan’s choice: Tamron 28-75mm F2.8 Di III RXD

24 Dec

My past Gear of the Year choices – the Nikon D750, DJI Mavic Pro and Sony a9 – were based on the strong emotional connection I made with each, as a photographer and videographer during the given year. This year I’ve picked the Tamron 28-75mm F2.8, a lens I’ve recommended more than any other in 2018 and one Sony desperately needed for its system.

It’s the first third-party zoom for Sony E-mount to offer autofocus and it plays nice with all AF modes; even Eye-AF. It’s also the piece of gear in the DPReview cupboard I’m most excited to get out and shoot with once Seattle’s weather turns.

The Tamron 28-75mm F2.8 is a lens I’ve recommended more than any other in 2018

Last year’s pick, the a9, was an admission that I’ve finally come around to enjoying Sony’s cameras. But for me as a reviewer, a camera brand is only as good as its best budget lens options. In my opinion, Sony (in common with quite a few other brands) has done a poor job ensuring budding photographers on a tight budget have access to affordable, fast zooms.

ISO 200 | 1/60 sec | F8 | 28mm
Photo by Carey Rose

At $ 800, the 28-75mm F2.8 isn’t exactly cheap, but it does offer a-single-lens-solution to new E-mount customers and is a great companion to the a7 III – for about $ 2800 total, you’ve got a killer combo. It also makes Sony’s own 24-70mm F4, which costs about the same, seem irrelevant.

But the price is not the only thing Tamron got right: it nailed the size and weight, too. Sony’s F2.8 zooms tend to be large and heavy: the $ 2200 24-70mm F2.8, for instance, weighs 886g, compared to 550g in the Tamron. Size-wise, the Tamron is also much smaller, about the same size as a can of soda pop (until you zoom, that is).

It offers good center sharpness throughout its zoom range and for most photographers, that’s what counts

And just because it’s priced a lot lower than comparable native glass doesn’t mean it’s built with a ‘budget’ mindset. Sure, the body is made of polycarbonate, but it feels and handles like a high-quality piece of gear. It also well-suited to take on the elements: a fluorine coating on the front repels grime and a moisture-resistant construction, including gaskets around the barrel and at the mount, keeps water out.

It can also handle both stills and video capture as well as Sony’s modern full-frame cameras. A ‘Rapid eXtra-silent stepping Drive’ – the RXD at the end of its name – is virtually silent, ensuring accurate focus with no unwanted focus motor sounds in your videos.

It’s the most sensible zoom currently available for E-mount

Now some will argue Sony’s heavier, pricier lenses offer sharper results, nicer bokeh, etc., and honestly, this might be true. But who cares? The Tamron offers good central sharpness throughout its zoom range and for most photographers, that’s what counts. Those who want to spend 3x the cash on Sony’s version can go right ahead, while the rest of us use the Tamron.

ISO 1250 | 1/160 sec | F2.8 | 35mm
Photo by Carey Rose

The Tamron 28-75mm F2.8 my choice for 2018 Gear of the Year because it is a wonderful solution to a problem Sony has long had: the lack of a fast, affordable zoom full-frame zoom. For years, Tamron has concentrated on producing lenses that fill gaps in the market and this might be its most successful to date – there’s a reason it was back-ordered months after its launch.

Ultimately, it’s a lens for the many, not the few and in this writer’s opinion, the most sensible zoom currently available for E-mount.

Articles: Digital Photography Review (dpreview.com)

 
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Gear of the Year 2017 – Dan’s choice: Sony a9

01 Dec

It’s been fascinating to watch the rise of mirrorless cameras over the course of my 7+ years writing about digital photography. And Sony in particular has been fun to watch as they’ve lead the mirrorless charge in terms of sensor size and resolution.

I’ll never forget the moment the Sony NEX-7 was unveiled in a pre-launch briefing in 2011 – it was the first time I truly craved a mirrorless body – the publication I worked for at the time even named it ‘Camera of the Year’. Up until that point mirrorless still felt like something of a novelty: a nice option for amateurs craving a small, light ILC alternative to a DSLR, but certainly not a replacement for one, especially for those ‘serious’ about their photography.

It’s often been Sony in particular making the mirrorless cameras I’m most eager to get my hands on.

As the mirrorless market continued to take off and cameras like the original Sony a7 were unveiled, my interest in what originally seemed like a niche continued to grow. And while a lot of brands have contributed serious innovation to the mirrorless market, it’s been Sony in particular making the mirrorless cameras I’m most eager to get my hands on – an opinion not shared by all my colleagues, mind you.

But time and time again I found my expectations of shooting a Sony mirrorless camera never quite matched the reality of using the product. For instance, when it came to the Sony a7, sure it packed a full-frame sensor in a super compact mirrorless body – something that’d never been done, but the user interface of the camera, to put it simply, felt unfinished. This led to an overly frustrating shooting experience.

The Sony a9 is the brand’s first truly refined mirrorless camera, in this writer’s opinion.
ISO 1000 | 1/1000 sec | F5.6

To make matters worse, many of Sony’s early mirrorless UI stumbling points were uniquely their own: slow startup times, vague error messages, and batteries draining while the camera’s shut off were problems other manufacturers had long since addressed (not to mention poor battery life). And while no one has the perfect menus, Sony’s have historically been the most cluttered and confusing.

But time and time again I found my expectations of shooting a Sony mirrorless camera never quite matched the reality of using the product.

For years, early Sony mirrorless adopters defended their decision to go all-in citing that, eventually, you do get used to the annoying UI and find workarounds. And indeed I’m sure they did. But a good camera shouldn’t force you to work around it: it should work with you. And as the Sony a7 II-series came to market, it seemed clear the brand was intent on fixing a lot of these issues and shaking its image as the camera brand with bad UI.

And then came the Sony a9

But it wasn’t until the release of the Alpha 9 this year, that a Sony camera has felt as refined in use as it DSLR counterparts. A year early, the Sony a6500 came pretty close to hitting this mark, but it’s the Sony a9 that’s finally won me over as a whole-hearted mirrorless believer.

Make no mistake, the a9 is meant to compete against the likes of the flagship Nikon D5 and Canon EOS 1D X Mark II. What it lacks in built-in vertical grip, it makes up for in a faster burst (20 fps on the Sony, 14 fps on the Canon and 12 fps on the Nikon). But it has more appeal to me than as just a sports camera.

The a9 is a sports camera, but that doesn’t mean it isn’t also well-suited for shooting candids. In fact it’s flip-out touchscreen is perfect for discreetly focusing on a subject.
ISO 100 | 1/640 sec | F5.6

For me, the mark of a truly good camera is one you find yourself reaching for regardless of the assignment or subject matter. Since the a9 landed in our office, it’s been a camera that I’ve found myself grabbing for both static and moving subjects. Because as well-suited as it might be for sports photography, it’s also a great street photography camera with lenses like the FE 28mm F2 attached. I find that using the flip-out touchscreen to select a point of focus is a great way to shoot candids.

Since the a9 landed in our office, its a camera that I’ve found myself grabbing for both static and moving subjects.

I recently took a trip to Jackson, Wyoming where I expected to shoot a mix of wildlife, landscapes and video, and found myself bringing the a9 because it offered a fast burst rate with good AF, 4K video without any heavy crop factor and excellent dynamic range. But moreover, I packed it because it is a camera I enjoy shooting with and can, with some time spent, customize to complement my shooting style perfectly.

I picked the Sony a9 for a once in a lifetime trip to Jackson, Wyoming because of its small size, dynamic range, 4K video and burst speed.
ISO 50 | 1/640 sec | F8

That’s a big step forward for Sony. They’ve long made cameras that out-spec’ed the competition but for me personally, were not enjoyable to use. But the a9’s menus have been overhauled and are less confusing, its also responsive (starts up fast) and rarely throws confusing errors messages. These may sound like little things, but they add up to vastly more pleasant shooting experience compared to Sonys of years past.

I packed it because it is a camera I enjoy shooting with.

Improvements like a new, larger capacity battery that doesn’t self-drain, gave me more confidence in grabbing the Sony for what was likely a once in a lifetime shooting excursion. Plus, compared to a D5 or 1D X II, the a9 is a much smaller lighter camera to pack. And its in-body + lens stabilization allows me the flexibility to shoot handheld at slower shutter speeds and avoid lugging a tripod around. This was something that mattered to me as I was to do a lot of hiking in Jackson.

These bison may be nursing, and therefore stationary, but they can run at speeds up to 40 MPH. Good thing the Sony a9 can shoot at 20 fps.
ISO 100 | 1/500 sec | F5.6

Where Sony can go from here

The Sony a9, and its recently-released cousin, the Sony a7R III are both exceptional cameras. I used to hesitate to pick up a Sony camera; with this recent generation, no longer. That said, there are still some areas these cameras could improve to truly leave their DSLR pals in the dust, specifically: weather-sealing and subject tracking.

‘Nikon’s 3D Tracking is still superior to Sony’s Lock-on AF for subject tracking.’

The Sony a9 is dust and moisture resistant to certain degree, but the lack of robust rubber gaskets on the ports, SD card and battery doors does not lead me to trust its ability to survive shooting in conditions such as a lacrosse game in torrential downpours – I’d be much more comfortable grabbing a Nikon D5 of Canon 1D X II.

The same goes for any assignment/circumstance were nailing focus on the shot is mission critical: Nikon’s 3D Tracking is still superior to Sony’s Lock-on AF for subject tracking.

There are some other minor grievances I have with the a9, like the inability to enter menus while the buffer clears. Another: the omission of video gamma and color modes found in most other Sony cameras. But these are all things that can easily be added/improved in the next generation. And if there is one thing I’ve learned covering Sony’s camera technology, it’s that the brand listens to customers and industry feedback.

Note: This was shot through a seaplane window.
ISO 800 | 1/2000 sec | F5.6

It’s no secret that Sony is hungry for a piece of the professional sports photography market, eager to get mirrorless cameras on the sidelines of the Olympics and Super Bowl. And with the Sony a9, there’s compelling reason to at least acknowledge Sony as a legit player. I think it will take a few more generations of cameras for Sony to blow past the competition, giving pros a concrete reason to consider switching. But if they keep moving in the direction they have been, I see no reason why more and more pros wouldn’t give them a chance.

So for winning me over and being the first Sony mirrorless camera I truly love shooting with, the a9 is my pick for 2017 gear of the year.

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Articles: Digital Photography Review (dpreview.com)

 
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Gear of the Year 2016: Dan’s Choice – the DJI Mavic Pro (which he stinks at flying)

24 Dec
The Mavic Pro inspired me creatively and challenged me as a photographer more than any other product this year. Even if I still stink at flying it. Photo by Dan Bracaglia

I first flew the original DJI Phantom in 2013 as part of an article for Popular Science and have had drones on my mind ever since. However, my obsession with the idea of flight goes back to childhood, when I would launch into the sky anything I could get my hands on: kites, rockets, model planes, RC helicopters etc. 

When DJI announced the Mavic Pro at the end of September, I knew my years of patiently telling myself to ‘wait one more generation,’ had paid off: the Mavic Pro was the one for me. The reason? DJI is easily the most reputable maker of consumer drones and with the Mavic Pro, users get an easy-to-fly product (with years of R & D incorporated into it), good image quality, and an impressively-compact/portable package. It truly is the every-man’s drone. 

This is one of the few watchable clips I’ve shot so far.

Two months after pre-ordering, the box finally arrived at our office. And the first thing I learned upon firing it up is that despite the name, owning one certainly does not make you a ‘pro.’ The first thing I did with it was smash it into a wall in my apartment (I know, flying it inside the first time was a bad idea). 

As I’ve mentioned, I’ve been flying RC aircraft since childhood, and I like to think I’m pretty skilled behind the sticks. After all I can maneuver one of those $ 20 RC helicopters you get from Radio Shack (they do still exist, right?) like a champion. But crashing a $ 20 RC copter into a kitchen cabinet is one thing, crashing a $ 1000 drone into a kitchen cabinet is another thing entirely (video below). Note: this was the second crash. 

Photography is all about finesse and control, whether over one’s settings, light, subjects or all three. However being a good photographer does not make one a good drone operator. Despite the Mavic Pro being incredibly easy to get off the ground and fly safely (thank obstacle avoidance), there is a substantial learning curve in using it in an effective manner.

Outside of my childhood passion for controlling things as they soar through the sky, the DJI Mavic Pro is my gear of the year because it is the one piece of kit that challenges my understanding of both photography and video as mediums. Moreover, it challenges me to learn new skills that can be used to get new shots and perspectives as a content creator.

And knowing it’s in my bag and can be launched in under 10 minutes make me all the more eager to use it. Suddenly I can shoots stills and videos of friends skateboarding, or snowboarding or an outdoor concert, from both the ground and the air with relative ease. 

A sample image edited to taste in Adobe Lightroom. Photo by Dan Bracaglia

The drone industry is no longer in its infancy, in fact it’s growing up fast. And I think the Mavic Pro is a sure sign of this. High end consumer units are coming down in price, shrinking in size and offering increasingly impressive stills and video. At the same time, accident avoidance systems and other safety measure are also getting better.

It’s possible that before long we will live in a world where drones are as ubiquitous as smartphone. That’s somewhat of a terrifying thought, but all the more reason, if you are operating a drone, to try and be as safe and respectful to those around you as possible. Set a positive example for other drone fliers. Don’t ruin the fun for everyone else. 

I’ve only flown the drone on four occasions, but I can already see (modest) improvements in my skills, which is pretty exciting. With traditional photography, improvements can often only be seen retrospectively. Of course, accidents do happen and I’ll probably break the Mavic Pro in due time (perhaps even before this piece goes live). Fortunately, DJI offers one year of insurance for $ 100. That will cover you for up to two drone replacements in that time. I would certainly recommend this coverage to any first time fliers.

In conclusion, please enjoy the above scenic out-of-focus clip I shot last weekend In Seattle on one of the only clear days we’ve had this winter. Some day I hope to go back and try again. Maybe I should practice a bit more first, and not in my kitchen. 

Or instead you can watch the below clip of excellent 4K footage from the Mavic Pro, shot by Youtube user Digital Tech Reviews & Tips. #DroneGoals

Articles: Digital Photography Review (dpreview.com)

 
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