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Video: David Chan is the ‘Camera Guardian’ in Hong Kong

06 Nov

Hong Kong camera shop owner David Chan has spent the last 60 years collecting vintage camera gear and amassing an impressive collection of vintage photographic equipment. South China Morning Post visited Chan and interviewed him about his impressive collection.

The short film, ‘The Camera Guardian’, was filmed by Chris Chang. Its title is apt, as David Chan views himself as less of a collector and more of a guardian. He is working to preserve vintage camera gear, rather than cultivating a personal collection.

Chan owns David Chan Co., where he has sold cameras since the 1960s. There are some cameras that have come into his shop that he doesn’t want to sell, thus his collection has grown. He enjoys showing off his cameras and helping a new generation of photographers come to learn about and appreciate vintage camera craftsmanship. Any shutterbug would certainly be in gear heaven in Chan’s shop.

David Chan in his Hong Kong camera shop

Chan says, ‘Cameras are complicated to make. Cameras are luxury items.’ Some of his vintage lenses even contain radioactive elements that current regulations ensure are no longer found in modern camera equipment. But without the radioactive elements, Chan believes some newer lenses have lost their ‘flavor.’ He continues, ‘Modern lenses can’t produce the unique texture that vintage lenses could.’

Of digital cameras, Chan argues that while digital is more convenient, some character has been lost. Chan’s passion for photography is readily apparent. When passersby stop to look through the shop windows at the cameras, Chan invites them in and is eager to share his knowledge with visitors.

With respect to his own photography skills, Chan laughingly says, ‘I’m not a good photographer. Photography is an art. But I cherish cameras as works of art. Holding a camera in my hand makes me very happy. Pressing the shutter and listening to the sound also makes me so happy. Having spent so much time around cameras, does Chan have a favorite camera? He loves European cameras, such as ones from Zeiss, Voigtlander and Leica.

(Via Reddit)

Articles: Digital Photography Review (dpreview.com)

 
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US Navy shares photos, video from the Blue Angels’ farewell flight for its Legacy Hornet jets

06 Nov

The United States Navy Blue Angels have flown their last flight with their F/A-18A/B/C/D ‘Legacy’ Hornet aircrafts, which are being fazed out for the new F/A-18E/F Super Hornet. To commemorate the farewell flight of the 34-year-old planes, the U.S. Navy has released cockpit video and an array of images.

The final flight occurred yesterday, November 4, over the Hornet’s hometown of Pensacola, Florida, just as the sun was setting on the Florida coastline. Over the winter, the U.S. Navy flight demonstration team will enter its training period with 18 new F/A-18E/F jets that have been specifically modified for use by the Blue Angels, before showing off the new, larger ‘Super Hornets’ next year at its first show in Pensacola. The Drive has a fantastic deep dive into the modifications the U.S. Navy is making to the new Super Hornets for those of you interested in learning more.

An illustration showing the flight path of the Blue Angels’ final flight in the Legacy Hornet jets.

Below is a gallery of images from the final demonstration with the Legacy Hornet squadron, provided by the U.S. Navy:

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The Blue Angels demonstration team is a popular attraction for photographers at airshows around the world, with their incredible coordination, dizzying moves and near-flawless execution. You can read more about the U.S. Navy’s shift to the Super Hornet on Navy Times.


Image credits: Photos courtesy of the United States Navy.

Articles: Digital Photography Review (dpreview.com)

 
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Firmware v1.1.1 makes the Canon R6’s video much more usable

05 Nov

Alongside DPReviewTV’s re-assessment of the Canon EOS R6, we conducted some simple side-by-side testing of the latest firmware, in comparison to the original version. Our original tests showed that the R6 would deliver the promised amount of recording time in fairly challenging conditions, but that it would then struggle to recover.

Over the following weeks, diligent testing by users revealed Canon was factoring-in the initial temperature of the camera when determining how long to let it record for, but then was calculating recovery times without much consideration of internal or ambient temperature. This meant that the camera would take a long time to recover its recording capability and there was nothing you could do to speed up the process.

This could all be side-stepped if your shooting allows the use of an external recorder, but this somewhat undermines the convenience of the R6 as a stills-and-video tool.

Key takeaways:

  • The new firmware allows the EOS R6 to record for longer periods
  • An EOS R6 will require less cool-down time than before to recover recording times
  • Ambient temperature is likely to play a more significant role in recovery times

At the time of release, Canon’s description of this firmware update was:

  • Temperature detection and shooting time control in video shooting have been improved. In addition, the total shooting time when the short-time recording and power-on/off are performed repeatedly at room temperature is improved.

Our more recent testing supports this claim. A camera running firmware v1.1.1 was able to record for longer and, most critically, recover recording time faster than the example running firmware v1.0.

This makes the R6 a much more usable camera for stop/start video capture.

Of course the downside of the camera taking ambient and internal temperature into account to a greater degree is that its behavior is now more temperature sensitive and hence less predictable. However, this is much more consistent with how most other cameras work.

Testing two R6’s side-by-side, one with the previous firmware, one with the latest.

The original firmware was very dependable: you’d tend to get 40 minutes of 4K/24, 25 or 30p, as promised, but with dependably long recovery times. This meant that you were much more likely to hit that 40 minute limit than with other cameras that, on paper, promised less recording time (because they’d do a better job of recovering between clips).

With the latest firmware, in moderate and room-temperature shooting at least, the R6 is much better at recovering, which means you hit the temperature limit much less readily, particularly if you shoot clips of video and have some time between each one.

The R6 is generally a more usable camera for anyone shooting sequences of multi-minute clips

However, given we’re experiencing an early cold snap in Seattle, we can’t comment on how the camera will do when the summer comes.

Of course none of this is much help for, say, wedding photographers, for whom it may not be possible to turn a camera off for several minutes between clips, but it means the R6 is a much more usable camera for anyone shooting sequences of multi-minute clips.

Articles: Digital Photography Review (dpreview.com)

 
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The Top Best Photo and Video Tools for Beginners

05 Nov

The importance of post-processing and editing in photos and videos cannot be overemphasized. For every great photograph, great view, lighting, and aesthetics, there is a precise amount of effort that was put in place to achieve that result that has become a focus of all eyes. A bulk of these efforts come into play in the post-processing aspect, editing in Continue Reading

The post The Top Best Photo and Video Tools for Beginners appeared first on Photodoto.


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Canon introduces compact RF 70-200mm F4L and 50mm F1.8 STM lenses

05 Nov

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Canon has introduced a pair of lenses for its EOS R system.

First up is the RF 70-200mm F4L IS USM, which is 32% shorter (at wide-angle) and 11% lighter than its popular EF counterpart. The lens is just 119mm (4.7″) long and weighs in at a 695g (1.5lbs), yet it retains the build quality and weather-sealing of other L-series lenses. Unlike those lenses, this 70-200 does not support teleconverter or offer a tripod mount.

The lens’s image stabilizer can reduce shake by up to five stops, and when attached to an EOS R5 or R6, can reach 7.5 stops by working in conjunction with in-body image stabilization. The 70-200 features 16 elements, four of which are ‘UD’ (ultra low dispersion) glass that help control chromatic aberration. Canon’s Air Sphere Coating reduces flare and ghosting. The lens’s minimum focus distance is 0.6m (2ft), regardless of focal length. The focus elements are driven by a pair of Nano USM motors for fast and silent autofocus.

The 70-200mm F4L IS USM will be available in early December for $ 1599.

Along with the 70-200 comes the tiny RF 50mm F1.8 STM lens. The lens weights only 160g (5.6oz) and is 41mm (1.6″) long. It contains a total of six elements (one being aspherical) and can focus as close as 0.3m (0.98ft). Its control ring can be used for manual focus, by default, or other functions including aperture and exposure compensation, depending on your needs. Focus elements are driven by a stepping motor. The RF 50mm F1.8 STM will hit store shelves in mid-December for $ 199.

Go hands-on with the new Canon RF lenses

Press release

CANON ADDS TWO RF LENSES AND PIXMA PRO PRINTER IDEAL FOR THE ENTHUSIAST PHOTOGRAPHER

MELVILLE, N.Y., November 3, 2020 – Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to introduce the compact and lightweight RF70-200mm F4 L IS USM and the RF50mm F1.8 STM, two completely re-designed RF mount lenses with bloodlines to immensely popular EF models that feature new lens formulas and enhanced elements. Canon is also introducing the PIXMA PRO-200 printer, which is ideal for photography students and graphic designers.

“As Canon began to further build out the company’s RF lens portfolio, the goal in mind was to create advanced lenses, for a variety of experience levels, that also featured a sense of familiarity for longtime Canon users,” said Tatsuro “Tony” Kano, executive vice president and general manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “Canon prides itself on being able to uniquely offer both input and output solutions to our customers. We are equally excited to see the images captured with the new lenses, and the prints that are to be created with the new PIXMA PRO-200 printer.”

Canon RF70-200mm F4 L IS USM Lens

The Canon RF70-200mm F4 L IS USM lens is ideal for photography enthusiasts ranging from advanced amateur to professional skill levels. The compact and lightweight nature of the lens makes it Canon’s shortest and lightest 70-200mm F4 zoom lens to date. This RF lens is approximately 32 percent shorter and 11 percent lighter than its EF counterpart with a large portion of the lens element arrangement closer to the camera body. This arrangement is designed to provide photographers with a more balanced feel and experience even at the zoom range’s telephoto end. Additionally, the shorter and lighter design allows the lens to more easily be stowed away in a camera bag when not in use.

The RF70-200mm F4 L IS USM features two independent Nano USM motors, providing an even greater level of high-speed autofocus for still image shooting as well as quiet and smooth autofocus for video shooting. The lens also incorporates a floating focus control that drives the two lens groups individually while using the two aforementioned Nano USM motors. The floating focus lens element shortens the focusing distance and helps reduce breathing, providing users with fast, consistent and reliable performance.

Additional Features of The Canon RF70-200mm F4 L IS USM Lens Include:

  • 16 lens elements in 11 groups, including four UD lenses, that help to reduce chromatic aberration
  • Optical Image Stabilizer with up to 5 Stops[i] of shake correction
  • Up to 7.5 stops[ii] of shake correction with coordinated control of Optical Image Stabilizer and In-Body Image Stabilizer
  • Three stabilizer modes
  • Customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture, or ISO
  • 12-pin communication system
  • L-Series dust and weather-resistant build with a fluorine coating
  • Minimum focusing distance of 1.97 feet and a maximum magnification of 0.28x
  • Air Sphere Coating (ASC) that helps minimize lens flare and ghosting

Canon RF50mm F1.8 STM Lens

Creatives love using a 50mm lens because that focal length is similar to the natural viewpoint of the human field of vision. This perspective allows for the lens to be used in a wide variety of shooting situations, including portraits, landscapes and food photography. What’s more, Canon 50mm f/1.8 lenses have long been a popular tool for both photographers and creators due to their budget-friendly price point, extremely compact and lightweight form factor, and versatility.

The tradition continues with the RF50mm F1.8 STM that, in many ways, is improved over its EF counterpart. The first visually noticeable improvement is the customizable control ring that has become synonymous with RF lenses. The control ring allows photographers to adjust exposure compensation, shutter speed, aperture, or ISO and with a flip of the side switch can adjust focus. The inclusion of a PMo aspherical lens helps to reduce chromatic aberration and provides high-image quality even at the periphery of the image. Additionally, the combination of the lens shape and Super Spectra Coating (SSC) helps to minimize ghosting and flaring.

Additional Features of The Canon RF50mm F1.8 STM Lens Include:

  • Six lens elements in five groups
  • 12-pin communication system
  • Minimum focusing distance of 0.98ft and a maximum magnification of 0.25x
  • Up to 7 stops[iii] of Shake Correction with EOS R Series cameras with In-Body Image Stabilizer

Canon PIXMA PRO-200 Printer

Continuing a long history of high-quality input to output digital imaging equipment, the PIXMA PRO-200 printer is 15% smaller than its predecessor, the PIXMA PRO-100. With the ability to print up to 13 inches x 19 inches and featuring improved ChromaLife 100+ dye-based ink, the latest PRO printer helps to create prints that are more representative of the original digital file. A helpful tool of the trade for photographers who print work for themselves and graphic artists or photography students working on their portfolios from their homes, the PIXMA PRO-200 printer also features:

  • A new 3-inch LCD screen to help users set up the printer, connect to WiFi, monitor ink and paper levels for an improved user experience
  • New Skew Correction feature, which automatically corrects shifts the paper may encounter during printing
  • Professional print and layout software, which can work as a stand-alone program, or integrated into Adobe® Lightroom® or Photoshop® as a plugin to work within a photographer’s workflow, to help take the guesswork out of making great prints
  • Vast media support to print on a variety of surfaces such as Canon Photo Paper Pro Luster and Premium Fine Art Rough, as well as the ability to print longer panoramic images in comparison to previous models

Pricing and Availability

The Canon RF70-200mm F4 L IS USM, and RF50mm F1.8 STM lenses are scheduled to be available in early and mid-December 2020 for a suggested retail price of $ 1,599.00 and $ 199.99, respectively*.

The PIXMA PRO-200 printer is scheduled to be available later in November for a suggested retail price of $ 599.99*.

For more information, please visit cusa.canon.com.

[i] Based on CIPA (Camera & Imaging Products Association) standards. Testing performed at a focal length of 200mm using the EOS R camera.

[ii] Based on CIPA (Camera & Imaging Products Association) standards. Testing performed at a focal length of 200mm using the EOS R5 camera.

[iii] Based on CIPA (Camera & Imaging Products Association) standards. Testing performed at a focal length of 50mm using the EOS R5 camera.

Canon RF 70-200 F4L IS USM / RF 50mm F1.8 STM specifications

  Canon RF 70-200 F4L IS USM Canon RF 50mm F1.8 STM
Principal specifications
Lens type Zoom lens Prime lens
Max Format size 35mm FF
Focal length 70–200 mm 50 mm
Image stabilization Yes No
CIPA Image stabilization rating 5 stop(s)
Lens mount Canon RF
Aperture
Maximum aperture F4 F1.8
Minimum aperture F32 F22
Aperture ring No
Number of diaphragm blades 9 7
Optics
Elements 16 6
Groups 11 5
Special elements / coatings 4 UD elements + Air Sphere coating 1 aspherical element + Super Spectra Coating
Focus
Minimum focus 0.60 m (23.62) 0.30 m (11.81)
Maximum magnification 0.28× 0.25×
Autofocus Yes
Motor type Nano ultrasonic Stepper motor
Full time manual Yes No
Focus method Internal
Distance scale No
DoF scale No
Focus distance limiter Yes
Physical
Weight 695 g (1.53 lb) 160 g (0.35 lb)
Diameter 84 mm (3.31) 69 mm (2.72)
Length 119 mm (4.69) 41 mm (1.61)
Materials Magnesium alloy
Sealing Yes No
Colour White Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock Yes
Filter thread 77 mm 43 mm
Hood supplied Yes No
Hood product code ES-65B
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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How to Use Framing in Your Compositions to Improve Your Photography

05 Nov

The post How to Use Framing in Your Compositions to Improve Your Photography appeared first on Digital Photography School. It was authored by Simon Bond.

Photos look great when framed on the wall, but that is not the only way to use frames in photography. The world is full of frames, and they can be used in your photos to make the composition stronger.

In this article, you’ll learn how to find frames. You’ll also learn how you can work with frames to enhance your images. So let’s use framing in your compositions!

a paper frame in the composition
For this photo, traditional Korean paper, called Hanji, was held in front of the camera and used as a frame. The person in the photo is making this traditional paper, so the frame adds context to the image.

What is framing?

Framing, as the name suggests, is when you surround your main subject with a border of some kind.

The frame could literally be a picture frame you hold up in front of the camera. However, there are lots of other ways you can create frames in your compositions. For instance, you can photograph through a window frame, a doorway, or a gap in a wall. And you can always create your own frame, which you’ll learn about in a moment.

Why add a frame?

A frame is used in your image to draw the eye to your main subject. The subject could be a model standing in a doorway or architecture framed through a window.

Plus, a frame can add to your image. The right frame can add context, which creates a further narrative element.

framing in your compositions architecture
Architecture can provide strong framing opportunities for your photos.

Where to find frames

Here’s the next question:

Where can you find a frame that will work for your photo? I’ve already mentioned a few classic ideas, but let’s look at those (and others!) in more detail below:

  • Doorways: One of the easiest frames to find is a doorway. You can position your main subject in front of the door and use it as a frame. Alternatively, you can photograph through the door and use it as a frame for the background scene.
  • Picture frames: Hold a frame in front of your camera or ask someone else to hold it for you. Then use this to frame something interesting.
  • Windows: This is similar to a doorway, but doesn’t run to the ground.
  • A wall: Here, you need to look for a gap in the wall to use as a frame. This can work well when the foreground (the wall) complements the background behind it.
  • Lensballs: One of the reasons a lensball is an effective photography tool is because it always provides a natural frame, with the outside of the ball framing the inside.
  • Photograph through: Look for objects you can photograph through, such as a plant pot or a tube. These will give your photo a circular frame.
  • Nature: There are plenty of natural frames. A cave entrance or a tree tunnel can work well.
framing in your compositions archway
A wide-angle lens was used to capture the archway in front of this temple, which created a great frame.

How to photograph with a frame

On the face of it, photographing with a frame is easy:

Simply compose a photograph in front of something like an arch or window.

However, you need to consider some key compositional and technical questions. For instance, what’s the subject in the frame? And how large or small should your frame appear?

  • Focal length: The focal length you choose will depend on how much you want to compress the area surrounding your frame. It will also depend on how far back from your frame you’re able to stand. For instance, when photographing indoors, a wide-angle lens may be needed to fill the photo with the frame of a window or doorway.
  • Subject: Just because you have a natural frame does not mean you have a good photo, especially if the subject behind it is uninteresting. Look first for your main subject, and then look for available framing options. If you’re taking portrait photos, this will be easier than if you’re photographing a landscape; you can, of course, always ask your model to stand within the frame.
  • Narrative: What will your frame tell the viewer about the rest of the photo? Is it possible to adapt the frame in some way so it better suits the scene behind it? How much of the area surrounding the frame will you include, and how will that affect the story you’re trying to convey?
framing in your compositions light painting frame
There was no frame for this photo until the light was painted in!

Creative framing in your compositions

When a frame isn’t available, you have another option:

Create your own!

This creative approach to framing in your compositions can lead to the best results. That’s because you’ll have more control over the frame itself. You can control the size and shape of the frame. You’ll also be able to precisely match the frame to the image you are trying to create.

The following are some possible ideas for more creative framing:

  • Card or paper: Choose the color, cut out the appropriate shape, and make your own custom frame.
  • Copper piping: Placed close to the lens, this will create a flare-like effect when the sun shines off the metal, and this flare can be used as a frame.
  • Plant pot: Cut out the bottom of a plant pot and use it to photograph through. A wide focal length will likely be needed to catch the edge of the pot as you photograph through it.
framing in your compositions net
Always look to see how a frame can add more of a story to your photo. In this image, the fishing net is used to frame the fisherman.

Get framing!

Now that you know all about framing in your compositions, it’s time to get out and practice what you’ve learned.

Do you enjoy using frames in the photos you take? Is there another approach you use when looking for frames? Have you ever tried creating your own frame so that it matches the photo you’re taking?

Share your thoughts in the comments! And if you have photos with frames, please share them, too!

The post How to Use Framing in Your Compositions to Improve Your Photography appeared first on Digital Photography School. It was authored by Simon Bond.


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Panasonic Lumix S 85mm F1.8 initial sample gallery

05 Nov

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Panasonic’s latest lens addition to its full-frame lineup is the S 85mm F1.8. It’s weather resistant and weighs in at just 355g (12.5oz), and will sell for $ 600 in early 2021. We’ve been able to shoot with a pre-production version of the lens, just in time for some socially distanced fall portraits of friends – including the furry kind.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: We answer your questions about how to start a YouTube channel

05 Nov

Following our DPReview TV video series ‘How to start a YouTube channel’, we received lots of follow-up questions from viewers, so Chris and Jordan sat down to answer some of the most common ones.

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

  • Introduction
  • How important is it to publish consistently?
  • How much time does it take to shoot an episode?
  • How do you get things like health insurance?
  • How do you know what videos will succeed?
  • Should you include humor/personality?
  • Video editing speed round!
  • Should you focus on making videos for yourself or your audience?
  • Chris is cold

Articles: Digital Photography Review (dpreview.com)

 
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DJI’s Mavic Mini 2 now has 4K/30p video, Raw photos, OcuSync 2.0 and more

05 Nov

DJI has unveiled the DJI Mavic Mini 2, a second-generation compact drone that keeps the same look as its predecessor while improving performance in key areas.

On the outside, the DJI Mavic Mini 2 looks almost indistinguishable from the Mavic Mini. It features the same 249g weight (1g under the 250g weight limit that requires you to register the drone with the United States Federal Aviation Authority (FAA)), the same white livery and the same fold-up design that makes is small enough to fit in the palm of your hand.

Inside, however, the drone has received a number of updates, both in hardware and software. At the heart of the camera onboard the Mavic Mini 2 is a 1/2.3-inch sensor that can capture 12-megapixel photos and 4K/30p video at 100Mbps. In addition to the new 4K video capabilities, the Mavic Mini 2 can also capture Raw photos—something the Mavic Mini wasn’t capable of. When shooting video in 1080p, users can now zoom in 2x with lossless quality and 4x via digital zoom.

The Mavic Mini 2 now has DJI’s OcuSync 2.0 transmission technology, which increases transmission range by 150% compared to the Mavic Mini for a maximum line-of-sight range of 10km (6.2m). Upgraded motors in the Mavic Mini also improve the flight time, acceleration, top speed and wind resistance (capable of withstanding winds up to 38.6kmph (24mph).

No new sensors have been added, but that means the Mavic Mini 2 retains the basic vision and positioning sensors on the bottom of the device to help map out the terrain for the assisted landing function. Likewise, DJI’s array of safety features, including geofencing, Return to Home and Altitude lock are present.

The Mavic Mini 2 comes with a number of pre-programmed shooting modes for quick setting changes that make it easier to track subjects and apply movements with minimal user input. Below are the descriptions for each of the pre-programmed shooting modes:

  • QuickShots: Pre-programmed movements and image capture modes.
    • Dronie: DJI Mini 2 flies backward and upward, with the camera tracking your subject. Set a height limit of 40, 60, 80, 100, or 120 ft.
    • Helix: DJI Mini 2 flies upward and away, spiraling around your subject. Set a height limit of 40, 60, 80, 100, or 120 ft.
    • Rocket: DJI Mini 2 flies straight up into the air with the camera pointing downward following your subject. Set a height limit of 40, 60, 80, 100, or 120 ft.
    • Circle: DJI Mini 2 will circle around your subject at a constant altitude and distance.
    • Boomerang: DJI Mini 2 flies a boomerang-like oval flight path around your subject, starting and stopping video in the same place.
  • Panoramas: Capture a wider perspective with select pano modes.
    • Sphere: DJI Mini 2 automatically captures twenty-six images and stitches them together for a crystal-clear image.
    • 180°: Captures seven photos for sweeping landscape images.
    • Wide-Angle: Captures a wide 3×3 image consisting of nine images.
  • Image modes: Different photo modes for different scenarios.
    • AEB Triple Shot: Auto Exposure Bracketing (AEB) takes three images of varying exposure and merges them for a vivid image. This can be edited further to bring out a High Dynamic Range (HDR) image in post-processing.
    • Timed Shots: Give yourself a few extra seconds before taking that photo with timed shots.

Additional accessories available for the Mavic Mini 2 include a 360-degree propeller guard, a DJI mini bag, a charging display case, a DIY creative kit for customizing the look of the Mavic Mini and a snap adapter for attaching an LED screen to the top of the drone.

The DJI Mavic Mini 2 surrounded by its optional accessories.

The basic DJI Mavic Mini 2 drone is available to purchase from the DJI online store and authorized DJI retailers for $ 449 while the Fly More Combo, which includes the Mavic Mini 2, three batteries, a charging hub, a carrying case and a remote control for $ 599. You can read our full review as well:

DJI Mavic Mini 2 Review

Articles: Digital Photography Review (dpreview.com)

 
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Review: the DJI Mavic Mini 2 is the perfect drone for beginners

05 Nov

DJI Mini 2
$ 449 | DJI.com

A little over a year ago, DJI introduced the Mavic Mini. Its most notable feature was a takeoff weight that fell below the threshold of 250g (0.55 lbs). Now DJI is back with the Mini 2, which addresses the most important requests from users and still checks in at 249g. In the process, the Mavic branding has given way to a shorter name: the DJI Mini 2.


The original Mini was packed full of features and easy to operate; the DJI Fly app was introduced at the same time with a slick, pared-down and intuitive interface. But the drone also came with limitations that frustrated users, including spotty transmission and the ability to only capture JPEG files were frequently cited shortcomings.

The Mini 2 addresses these concerns and more. Users will pay slightly more for a drone with a higher quality camera that can record up to 4K/30p video, capture Raw+JPEG files, and features DJI’s robust OcuSync 2.0 transmission technology instead of relying on Wi-Fi. So, is it worth upgrading from the original Mini? Let’s find out.

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View our DJI Mini 2 sample gallery

Key Features

  • 249g total weight
  • OcuSync 2.0 transmission
  • 1/2.3″ CMOS image sensor
  • 24mm equivalent lens (84º FOV)
  • F2.8 aperture (fixed)
  • 12MP photo resolution
  • JPEG + RAW images
  • 4K/30p and 1080/60p video (100 Mbps bit rate)
  • Up to 4X (2X lossless) zoom
  • 31-minute flight time

Let’s start by comparing the Mini 2 to its predecessor, the Mavic Mini. Though some specifications are similar, those that have changed are significant.

Mavic Mini Mini 2
Takeoff weight 249g 249g
Flight time 30 minutes 31 minutes
Drone size (Folded) 140x81x57 mm 131x81x58 mm
Camera Sensor 1/2.3-inch CMOS, 12MP 1/2.3-inch CMOS, 12MP
Max. Video Resolution 2.7K/30p @ 40 Mbps 4K/30p @ 100 Mbps
Lens F2.8, FOV 83º, 35mm equivalent at 24mm F2.8, FOV 83º, 35mm equivalent at 24mm
Photo File Type JPEG JPEG + RAW
Video File Type .MP4 .MP4
Zoom Capabilities None 2X @ 4K, 2X @ 2.7K, 4X @ 1080p
Return to Home No Yes
Transmission Wi-Fi OcuSync 2.0
Maximum Distance 4km 10km
Image Modes Timed Shots AEB (Auto Exposure Bracketing) Triple Shot, Timed Shots

Not much has changed when it comes to the overall design of the Mini 2. Its body is compact, its propellers need to be screwed in, the legs are foldable, the battery and MicroSD slots are located in the rear, and the vision positioning sensors are placed on the bottom of the aircraft. If not for the ‘4K’ lettering imprinted on the camera and a ‘Mini 2’ logo on the top left-hand arm of the vehicle, it would be difficult to tell them apart.

Registering the Mini 2 with the FAA, or other regulatory agencies with a similar 250g cut-off isn’t required

Also worth noting: the Mini 2’s 249g weight doesn’t exempt anyone from the Federal Aviation Administration’s (FAA) rules and regulations for operating unmanned aircraft. It just means registering a Mavic Mini with the FAA, or regulatory agencies in other countries with a similar 250g cut-off isn’t required.


Camera

The Mini 2 has a 1/2.3″ CMOS sensor with a 12MP camera, much like the original Mini and Mavic Pro. The camera has a 24mm (equiv.) fixed-aperture F2.8 lens with an 83º FOV, and an ISO range of 100-3200. What many buyers will appreciate this time around is the ability to capture Raw images in addition to JPEG.

The camera on the Mini 2 fits into an impressively small, but effective, 3-axis gimbal.

For those not familiar with the Mavic Mini and looking at a Mini 2 for the first time, you’ll be impressed with the 3-axis gimbal DJI managed to place on such a tiny machine that easily fits in the palm of your hand. The footage captured is typically smooth and stable. DJI also claims this particular drone can withstand wind speeds up to 24mph, thanks in part to upgraded motors.

For those looking at a miniature drone for the fist time, you’ll be impressed with the 3-axis gimbal

A useful feature that seasoned photographers will surely make use of is Auto Exposure Bracketing (AEB); the Mini 2 can take up three shots, one underexposed, one normal, and one overexposed. While DJI says the shots are automatically stitched together, I found all three appeared separately on my memory card. Either way, they can be combined in post-processing for an HDR image.

The original Mavic Mini could only capture up to 2.7K/30p footage at 40 Mbps. The Mini 2 now allows you to record in resolutions up to 4K/30p, 2.7K/30p, and 1080p/60p at 100 Mbps. You can also zoom in on subjects while recording. Both 4K and 2.7K allow up to 2X zooming, and 1080p resolution allows you to hone in on a subject up to 4X, though the quality only remains lossless at 2X zoom.

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The Controls

DJI decided it was time to do away with the remote from the first Mavic Mini. Replacing it is a remote that replicates the design and functionality of the controller on the Mavic Air 2. This upgrade makes sense for a lot of reasons; it’s easier to hold and despite the fact that I still find it challenging at times to clamp my smartphone in, its placement above rather than beneath the remote makes viewing the display screen way more convenient.

The remote for the Mini 2 follows the trend of the new Mavic Air 2, mounting a smartphone above the control sticks instead of below for improved visibility.

The front of the remote contains a ‘Return to Home’ button on the left-center area. This is a useful feature for beginner pilots who may not be comfortable with flying back to the home point – especially when battery life is running low. In the center is a switch that allows you to navigate between three flight modes – ‘Cine,’ which slows the drone down to 13 mph for cinematic-type footage, ‘Normal’ (22 mph), and ‘Sport’ which lets you fly up to 36 mph. To the right is the ‘Power’ button. I’m a fan of this simple layout as it gives you instant access to necessary commands.

An ‘Fn’ button on the top-left-hand corner activates an auxiliary light that’s useful for visibility when landing in poorly lit scenarios. On the upper-right-hand side is the ‘Photo/Video toggle’ button that allows you to instantly switch back and forth between the two modes. A gimbal wheel on the top-left-hand corner allows you to tilt the camera up and down while the top-right-hand corner contains a shutter button for taking images or recording video clips. The joysticks can be unscrewed and stored on the bottom of the remote for easier transport.

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The DJI Fly app

With the release of last year’s Mavic Mini, DJI also introduced the Fly app. It’s cleaner, powers the Mavic Air 2, and is more streamlined than DJI’s GO 4 app – which is compatible with more advanced drones including the Phantom 4 and Mavic 2 series. A top progress line allows you to view how much battery life is left on the drone, and the control panel can be accessed in the upper-right-hand corner.

The DJI Fly app is more streamlined than the DJI GO 4 app used with DJI’s more advanced drones, and offers a good balance of simplicity and control for beginners.

On the left-hand side, above the shutter button, is a rectangular photo icon. This pulls out a menu that serves as access to all the features you need to capture imagery. Starting from the inside, a menu displaying the options of Photo, Video, QuickShot, and Pano appears. From there, you can customize your settings for each mode.

On the photo end, you can select regular, AEB, and Timed Shots. Video pulls out to a menu that allows you to select resolution and frames-per-second. When you start recording, a zoom button displaying either ‘2X’ or ‘4X’ depending on the resolution appears next to the Shutter button on the right-hand side. You can also slide it up and down for smoother zooming. It’s easy to use even while recording.

This sample reel from the Mini 2 includes 4K, 2.7K and 1080 footage, as well as 2x and 4x zoom shots.

The Mini 2 features five different options for QuickShots versus the original Mini’s four. As before there’s the “Dronie”, which flies up to 120 feet above its target, the “Helix” which spirals at a distance up to 120 feet as well, the “Rocket”, and the “Circle”. The latest addition, “Boomerang”, flies away from and back to the subject in an oval path. Like the original Mini, there aren’t any Intelligent Flight modes, like ActiveTrack or Point of Interest, available.

Finally, there are three different options for creating a panorama. “Sphere”, which resembles a tiny planet, captures twenty-six images. “180º” captures seven images for a landscape perspective while wide captures a 3×3 tile consisting of nine images. Unlike the Mavic Air 2, there isn’t an option to create a vertical panorama.

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Other important upgrades

There are two other significant upgrades to the latest Mini beyond the camera: upgraded motors and the addition of DJI’s OcuSync 2.0 transmission technology.

Regarding the motors, the Mini 2 is no longer ‘quite noisy for such a little machine,’ as I stated in my review of the original Mavic Mini, and also accelerates at a faster pace when taking off and in the air, especially in windier conditions.

As for the transmission tech, the Mini 2 doesn’t rely on Wi-Fi communication. With OcuSync 2.0, dual-frequency transmission automatically alternates between channels to prevent signal interference between the remote and drone. DJI claims connectivity up to 10km (6.21 miles). While that’s impressive, it is important to keep the drone within your visual line of sight at all times.

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What’s it Like to Fly?

I was impressed with the original Mavic Mini and am even more delighted with the upgrades that the Mini 2 boasts. The updated motors really make all the difference as far as general noise and acceleration are concerned. Lately, it’s been windy where I live, and the drone handled gusts quite well, delivering smooth footage and crisp images.

What I enjoy most about this entry-level drone is how compact it is. DJI sent me the Fly More combo ($ 599), which also includes three batteries, a charging hub and a case. Everything, including the three-battery charger, fits neatly into the case and all components weigh a little over a pound. I found myself taking off unexpectedly in places, on impromptu shoots, where I may have hesitated with larger drones that needed the propellers snapped on. It feels effortless to launch and fly.

I was impressed with the original Mavic Mini and am even more delighted with the upgrades that the Mini 2 boasts.

The only minor snag I encountered is that the gimbal would sometimes flip back up slightly if I pointed it straight down. It may be an issue with the review unit, but I was a bit annoyed when I had to readjust the camera to achieve a top-down shot.

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Who’s if For?

The Mavic Mini 2 is an excellent drone for hobbyists and beginners alike. One particular line that resonates is that this is ‘a drone that grows with you.’ The original Mini had its limitations with JPEG-only imagery, 2.7K video footage, and a Wi-Fi signal. DJI took the logical next steps to ensure that anyone purchasing the Mini 2 could accomplish a lot more with their investment.

That being said, with the recent release of the Mavic Air 2, which retails at a few hundred dollars more than the Mini 2, it’s clear that Intelligent Flight modes, which allow you to track and follow subjects, won’t ever be included. If you’re looking to upgrade to a drone with a similar camera that includes those capabilities, can produce higher-quality .MOV film clips, shoot hyperlapses, and even simulate FPV flight, all while offering obstacle avoidance, you will need to upgrade. Serious photographers may even want the 1″ CMOS sensor that the Mavic 2 Pro offers.

One final thing I found odd for drone aimed at beginners is that images taken for panoramas aren’t stitched together, or synthesized, in the aircraft. This is something the Mavic 2 series and Mavic Air 2 performs automatically. While you can pull a completed version of your pano off the media library in your Fly app and instantly share it to social channels, the quality is inferior compared to the imagery from your memory card, which stores images from each panorama in a separate folder. This strikes me as a strange move on DJI’s part since most beginners may not be ready or willing to do the extra work in post-processing.

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Final Thoughts

DJI took an excellent initial concept for a beginner-level drone, listened to feedback from the community, and made some significant improvements. Despite some minor issues, the Mini 2 is a versatile little machine that is easy and convenient to transport and packs a number of sophisticated features into a small package. Mavic Mini owners will definitely want to upgrade and for those first-time buyers, the extra $ 100 you’ll spend is well worth it.

What We Like:

  • 4K camera with zoom capabilities
  • Raw photo capture
  • OccuSync 2.0 transmission
  • Quieter motors than predecessor

What We Don’t:

  • No obstacle avoidance sensors
  • No .MOV files
  • Gimbal can be jerky when facing directly downward

Articles: Digital Photography Review (dpreview.com)

 
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