Here is a little help for organizing batteries for your photo/video equipment.
If your camera bag has an available pocket, perhaps you dedicate that pocket to loose batteries. If not, then maybe batteries haphazardly occupy nooks and crannies at the bottom of your bag. While I have often bundled four or more batteries using a simple elastic band, it has been unreliable; the band eventually breaks and the batteries randomly spill about.
My first solution is a filter pouch, which originally was included with a lens filter. Though the filter manufacturer never intended this little fabric pouch to hold a set of batteries, it functions well for that purpose. When empty, the pouch occupies almost no space in a pocket or in a bag. When full of eight Eneloop rechargables, it is still possible to loose the pouch entirely … which is my current dilemma. (I know it’s around here somewhere.)
The second solution is similar, but specifically designed to hold a set of batteries. The Indicator Pouch is divided into two compartments; each will hold four AA batteries or one camera battery, but a DSLR battery might be big enough that the Velcro closure isn’t entirely secure. Optionally, the green or red tag may be used to remind you whether the batteries are charged or discharged. Unlike my old filter pouch, the Indicator Pouch has belt loops on the back side.
Finally, I like Storacell plastic battery holders; see the introductory photo. Different models are designed specifically for different size batteries. Available in a variety of colors, I use orange for AAA and yellow for AA. The 12-cell AA holder is the perfect size to supply three speedlites.
A solution that I have not personally used is a plastic clamshell box for batteries. Vaguely, I imagine opening the clasp and then all the batteries simultaneously fall to my feet and roll across the floor.
January 23, 2018 – DJI officially announced the new Mavic Air, which again raises the bar for ease of use and safety for aerial drones. Having watched the announcement live this morning, here are the essential details I have noted (somewhat filtered according to what I find most interesting). So, for those interested in aerial drones or aerial photo/video with drones, here is what you need to know in 60 seconds.
Physical
Half the size of Mavic Pro and 41% lighter
Antennas concealed within the landing legs (away from the body)
8GB internal storage + SD card slot
USB type C port
Controller is pocketable, removable control sticks
Available in black, white, or red
Camera
1/2.3″ image sensor (same size as Mavic Pro and Phantom 3 Pro)
4K video
12MP still photos
HDR capture mode
360-degree panorama, auto stitching up to 25 images
New 3-axis gimbal, improved vibration dampening, better image stabilization
Flight control
Intelligent flight modes, including improved auto-tracking moving subject and two new quick-shot modes
Controllable with hand gestures (up to 19 feet)
Advanced pilot assist can automatically go around obstacles
More stable, can withstand wind speeds up to 22 mph
Fly Safe geo system – information about airspace restrictions
Pricing
$799 complete
$999 with accessories (extra battery, extra propellers, carrying case, etc)
Availability
Shipping Jan.29, 2018.
(I am guessing that demand will be high for this product and it will take some time for DJI to fulfill all the orders.)
(Left) Panasonic Lumix G3, and (right) Panasonic Lumix G85
Panasonic has long maintained two similar MFT camera lines, DMC-G series and DMC-GH series. In general, the G series has been intended as mid-level cameras while the GH series has been a bit more high-end, but the differences have not always been obvious. All of the G and GH series cameras are system cameras with interchangeable lenses and hot shoe for external flash.
While I do own and use DSLR cameras, I have used Panasonic Lumix cameras as smaller alternatives. My typical day kit (less gear than a multi-day kit) includes a camera body, two lenses, and minor accessories. My Lumix G series kit is half the size of my DSLR kit.
While camera features improve with each generation, the MFT image sensors in the Lumix cameras seems to not change very much. The resolution has remained 16 MP up until the new G9, which introduces 20MP in the same FT/MFT format. In low-light, the RAW image noise is less than excellent but isn’t bad. Comparing the G3 to the G85, I see a small improvement in the newer camera, but it is small. It effectively gives me one more stop; the G85 noise at ISO 3200 is comparable to the G3 at 1600.
Features
After considerable study, here are the notable feature changes (notable in my opinion) starting with the G3 and moving to the very latest G9 (which I believe will ship later this month).
The G5 camera layout and handling is essentially the same as the G3
9 fps vs 6 fps
“Live MOS” image sensor has technical speed improvements, but same resolution.
Video recording supports MP4
Higher resolution in both the LCD display and the EVF
Eye-sensor below the EVF
Larger handgrip
The G7 layout and handling is significantly updated (compared to the G5)
4K video recording
OLED touch screen
4K photo mode
Wi-fi
The G85 camera layout and handling is essentially the same as the G7. Here are the important feature enhancements in the G85.
In-body image stabilization (sensor-shift type)
9 fps vs 6 fps
49 focus pts vs 27
Higher resolution in both the LCD display and the viewfinder display
The G9 camera layout and handling is new and includes an monochrome LCD info screen on top of the camera. This is a breakout camera that exceeds the G series moniker.
20mp MFT sensor
20 fps
225 autofocus points
Much larger viewfinder (EFV)
UHD/4K video up to 60 fps
6K photo mode
80MP image achieved by shifting the sensor 1/2 pixel and then combining the two images together.
Optional battery grip (for better handling in vertical orientation)
USB 3.0
Both Wi-fi and Bluetooth
More than 5 ounces heavier than the G85; a bit smaller and lighter than GH5
I love autumn in New England. The colors of the leaves here are world famous. The reason is the large number of sugar maple trees and a good number of red maple trees.
If you are planning your fall vacation, there are a some good web sites that can help, but most are simply reporting the foliage as it is right now rather than forecasting when peak color will manifest.
Here’s a reasonably good map that I found helpful:
Do keep in mind this is based upon past years and not necessarily an accurate prediction for this year. As they say in the stock market, past performance does not guarantee future results.
I’ve read multiple suggestions online that the color could be particularly vibrant this year, considering this year’s temperatures and rainfall. Eastern Massachusetts experience significant drought during 2016 … but not so in 2017.
Also consider the night temperatures are still warmer than usual. Tonight, temperature will finally drop into the 40s but warmth returns this weekend. This may mean peak color will be a bit later than usual.
In this particular case, standing on a tall bridge (with pedestrian walkway) provided a spectacular view.
Where to stand? I do ponder this question in advance whenever possible. But sometimes I don’t have detailed information in advance. If I recall correctly, on the day of this parade of sail, I did not know precisely where the ships would be sailing and realized the potential of the bridge only that morning when I arrived at the waterfront.
The question of where to stand sometimes involves the location of the sun. In the morning, sunlight will be coming from the east or southeast. Later in the day, it comes from west or southwest. That can be extremely important if my photographic expectations are front-light, back-light, or side-light.
A staged event, such as a parade of sail, will generally have a fixed start time that is outside of my control. In that case, perhaps the biggest question is whether to stand on the left bank or the right bank. For a recent Sail Boston event, I knew that the ships would be sailing into Boston Harbor through a channel between East Boston and South Boston; I had to choose one location, as travelling between the different locations was impractical.
I first began photographing tall ships during SailBoston 2000. Since then, I have photographed tall ships many times from Philadelphia PA to Camden ME. SailBoston 2017 was not to be missed, being the largest gathering of tall ships in the northeast since 1976.
As the weather for the grand parade of sail was a big foggy, the resulting images were low contrast. If your camera is capturing JPEG images, then you might change the camera settings to increase the contrast. But for those of us who are sticklers for image quality and therefore capture RAW images, the camera setting for contrast doesn’t actually do anything. Here’s how I post-processed RAW images using Adobe Lightroom.
Original low-contrast image before post
(click on the image to see the full-resolution image.)
When lighting is low contrast, you have a choice of keeping that or compensating for it. If you choose to compensate, the most important step is usually to lower the black point. Essentially, low contrast implies that the darkest parts of the image render as a lighter tone and the brightest parts of the image render as less bright. Dark isn’t particularly dark and bright isn’t particularly bright.
With the original settings shown on the left, notice that the histogram at the top shows none of the image information extends to the far left. None of the image falls into the leftmost one third, the region of darkest possible tones. To pull the dark tones to the left, use the black clipping slider control. The settings on the right show the modified histogram.
Adjustments in Adobe Lightroom
Lightroom divides tonality into five regions, black, shadow, midtone, hightlight, and white. If you hover your computer cursor over any of the five relevant slider controls, the corresponding region will be highlighted in the histogram.
Dragging the black point to -60 is relatively heavy-handed and tends to drag the shadow areas down. Although I have raised the shadow brightness here, that is primarily to hold the shadows closer to the original brightness, compensating for the drag of the -60 black point.
Further increasing the overall contrast, I have raised the overall exposure brightness and the highlights. And I have made minor adjustments in color, to compensate for a slight green cast and slight yellow cast.
In addition to the overall image adjustments, I have made a few local adjustments. The hull of the Eagle was bit dark, due to the angle of the sun; so I brightened the hull slightly. The sails of schooner Adventure picked up a slight blue cast from the environment; so I moved that color slightly toward yellow. The white stripes of the American flag also picked up a bluish cast; so I moved that color slightly toward yellow, reduced the color saturation, and added a touch of brightness.
Finally, the foreground water appeared to be less bright, perhaps due to shallow depth. I applied a gradient filter to the foreground and bumped up the brightness to match the rest of the image.
Maybe these adjustments seem like a lot of work. But the overall image adjustments can be quickly and easily copied to other images. If the natural light of the day hasn’t changed, these adjustments are appropriate for many images, not just the one. Wherever the light did change, I have to make small adjustments and then apply that set of adjustments to a group of images.
With more than fifty ships in the parade of sail, I shot 250 images. I don’t give detailed attention to every single image. Duplicating adjustments to a group of images is a necessary time saver. And, of course, I will give the most attention to my favorite images, those that might be submitted to publishers or printed for wall decoration.
If you are in the Boston area during August 2017, stop by Boston City Hall and check out my exhibit of tall ship photography at the Mayor’s Neighborhood Gallery (2nd floor).
The tulips at Boston Public Garden. are an annual rite of spring. They are fun to photograph and I wanted to share some techniques with you.
This first image was shot at 7am on a Saturday morning. Early morning may be the only time when the garden isn’t swarming with people. To visually compress the distance, I used a 200mm lens.
This next image is different for several reasons. Of course, this is a closer view. Using a 100mm macro lens at an aperture of f/7, the depth of field is shallow. I chose to fill the frame with flowers and exclude the surrounding environment. Also note that the light is very different. I shot this image after 6pm with the evening sun directly shining on the flowers from the side.
Getting even closer, the image becomes more abstract. The image is about color and texture; the concept of “tulip” begins to disappear. I specifically chose to use an evergreen shrub for the background, knowing it would fall away to black because this side of the shrub is in shadow. (You can dimly see a green tulip stem rising along the left side of the image.)
Taking a step back, not as close as the previous image, this is more obviously a tulip. Still working with the dark background, I’ve repositioned myself to achieve back-lighting from the setting sun.
Additionally, I chose to break a couple photography “rules”. Intentionally photographing through a foreground tulip creates a highlight in the bottom left. It was a gamble that I think paid off quite well. A viewer will naturally be drawn to the lower highlight and the upper highlight. After bouncing back and forth a few times, you eventually find the beautiful color and texture in between. I find that my mind dwells on this image longer than the others.
A combination of backlighting, dark background, and close-up abstract shape.
Upon thinking “how can I look at this subject with a different perspective?” I finished up the evening by looking down on the flowers from a steep angle, as the sun was soon to fall behind the buildings of Boston. I chose a more narrow aperture here, f 16, because I wanted to hold some depth of focus from foreground to background. And because a smaller aperture means less light entering the camera, I increased the ISO. Aperture priority, f/16, 1/160 sec, ISO 800, 100mm macro lens.
If you have a personal checking account, you can have your own photographs printed as custom backgrounds on your checks.
While some of my bills are payed automatically, either through my bank or credit card, I do still write checks for some things. Upon discovering that I only had one blank check remaining, I was about to order more through regular channels, but the price seemed a bit high. Searcing on-line, I found that other providers will print blank checks for far less money and you can order checks direct through their web sites.
Some companies allow you to upload your own photographs to be printed as the background image on your checks. Caution – some of those providers do not include security features, such as microprinting of the signature line. I found two providers that offer custom photo checks with security features, then researched them on-line to find positive/negative reviews. I selected one of these providers and then searched on-line for freely available discount codes. I found a discount code that saved me $3 per box of checks.
The photo I selected from my own catalog is shown here, an image of the Boston skyline.
Unfortunately, no guidelines were given how to size my photo appropriately. The web site did list specific file types that were acceptable and a maximum file size of 5MB.
Measure the height and width of your old checks. Then re-size your digital image accordingly. Personal checks (in the USA) are typically 6″ x 2.75″. I re-sized my photograph to slightly larger than 6″, thinking that the images are typically over-printed and then the paper is cut to a slightly reduced size. Set the print resolution to 300 dpi. Save the file as JPEG. Upload this file when the check-ordering web site prompts you to do so.
Choose a brighter image rather than a darker image. Text that is printed on the check will be difficult to see if the background image is too dark. The web site should show you a preview of the check with your photo and text. Upon seeing my check preview, I deleted the photo (the original shown here in this post), edited the photo to make it lighter, then uploaded the modified version.
To lighten a photo, raise the black point, which causes black to be rendered as grey instead of black. For example, in Photoshop, use either curves or levels. In Lightroom, in the Develop Module, use the Tone Curve. Simply drag the left-most point of the curve upward until it looks right to you.
Yoshino Cherry trees encircle the tidal basin at Washington D.C.
This week, I was thinking that the trees may bloom very early this year, particularly as a friend in N.Carolina reported that dafodils bloomed early, in mid-February.
Today, looking on-line at cherryblossomwatch.com
I see that the D.C. air temp through January and February this year has been warmer than the past six years.
As spring arrived particularly early in 2012, the Yoshino Cherry trees around the tidal basin bloomed early and disappeared BEFORE the opening of the annual Cherry Blossom Festival. Thankfully, I achieved a bit of photography the day before a spring storm blew away all the Yoshino flowers.
Historic first cherry bloom in D.C.
•2016: March 25
•2015: April 10
•2014: April 10
•2013: April 9
•2012: March 20
•2011: March 29
•2010: March 31
•2009: April 1
If you are a photographer or videographer and you are interested in the Mavic Pro drone primarily as a flying camera, then this article is for you. This is a run-down of camera controls and options, without discussing flight controls.
Documentation included with the Mavic Pro is minimal and help for the DJI Go app is non-existent.
First of all, let’s point out the obvious. The Mavic Pro has unmatched portability; it folds to a size that can fit in a large coat pocket. The gimbal that stabilizes the camera is probably the smallest in the world.
This drone can be flown using using the hand-held controller alone, or in conjunction wtih a smart-phone and the DJI Go app. You do need the Go app for access to numerous configurable options, but after configuring what you need, it is possible to fly with just the controller and no app. During flight, the Go app gives you a live video feed and camera exposure information, but you may not need to interact with the app except maybe to set the focus.
Not all available features shown here. These are just some features I wish to point out.
The Remote Controller
The hand-held controller includes quite a few camera controls, independent of any smartphone app.
Photo trigger (shutter button)
Start/stop video recording
Camera tilt
Exposure compensation
Custom button left (e.g. center focus)
Custom button right (e.g. AE lock)
5D button – up, down, left, right each has a different meaning that is configurable.
(For example, zoom in/out. It is a 2x digital zoom; there is no optical zoom.)
DJI GO app
The app shows real-time video and provides in-flight camera exposure information.
Real-time image view
Exposure histogram
Current exposure compensation setting (1/3 ev increments)
Over-exposure zebra stripes during video recording
Camera: ISO, shutter speed, white balance, remaining SD card number of photos
Video: resolution, FPS, remaining SD card recording time
The app provides extensive camera configuration options.
The app alerts you if a firmware update is available. The update can be applied with a simple touch; the download comes via your wi-fi, through the phone, down to the drone. The time to complete the upgrade was more than ten minutes and consumed about 18% of the drone battery charge.
Bearskin NeckCompare JPEG to RAW
Photo Quality
For photos, you can shoot RAW, JPEG, or RAW+JPEG. Of course, I recommend either RAW or RAW+JPEG.
I shot the photo above (Bearskin Neck, Rockport MA) recently with the Mavic Pro set to record both JPEG and RAW. The second photo is a 200% crop from the center, comparing the original JPEG to the RAW file processed as I normally would in Adobe Lightroom. Overall, the JPEG is good. I think it is a bit green, looking at the short stone wall. Signs on the buildings are not legible in either case, but the JPEG is slightly worse than RAW.
With only a half dozen flights thus far, I have observed a couple specific image quality problems. For still photos, the very small image sensor is no match for a larger DSLR or MFT camera. I have read that the image sensor is Sony Exmore (wikipedia.org/wiki/Exmor), but I cannot confirm that. The maximum resolution is a respectable 12 megapixels, in 4×3 aspect ratio (4000×3000). You can choose to capture 16×9 ratio, but that is a crop down to 9 megapixels (I personally tested that just now; that’s real, not a guess.).
Photos can exhibit some amount of digital image noise at just about any ISO. Images shot during the low-light of dusk, around ISO 1600, exhibit a high amount of chroma noise. Samples are shown here below. For stills, Adobe Lightroom has the best noise reduction I know. While the JPEG processing in the Mavic does a reasonably good job of smoothing large areas, there is loss of detail inside the bridge. The Topaz Denoise plugin for Adobe is similar. Processing via Lighroom’s built-in noise reduction allows better control and retains better detail inside the bridge.
Video Quality
In good light, the video quality is probably on par with a GoPro Hero 3 or 4. Moire problems may occur when scenery includes detailed patterns, but I have not tested this with different capture resolutions. As with still photos, low light and high ISO exhibits a high amount of chroma noise. A product called Neat Video can do a good job of mitigating noise.
The video clip of the snowy mill (at the beginning of this article) was captured at 1080 without a problem. However, on a separate shoot, I did see a problem. Several people contributing to on-line forums have reported that 1080 does have problems, including a “pastel effect” which seems an apt description of the problem I saw. People experiencing problems at 1080 also report that the problem does not occur at higher 2.7K or 4K resolution. I have switched to shooting 2.7K and subsequently downsample to 1080 in post processing. However, the higher resolution does not support a frame rate faster than 30 fps; and downsampling does require additional compute time.
For video, I’ve been shooting the “None” color profile, modified with sharpness set to -1. Some pros are recommending two of the color profiles, DLOG (very flat) and ART (not as flat). Alternatively, some people have suggested color profile D-Cinelike and then customized to -2, -1, -1 (sharpness, contrast, saturation). All those suggestions create an intentionally flat result that necessitates some post-processing.
A clear plastic dome can optionally be used to protect the camera. Very first time I captured video with the Mavic Pro, I could see glare due to the plastic dome. Since then, I never fly with the dome attached. Potentially, I might use it if there some risk of water or dust in the air, for example, flying near a waterfall.
Pre-flight
Each time you fly, here’s the basic pre-flight steps:
1) Unfold the propeller arms and propellers
(Obviously, attach any propellers that you detached for transport/storage.)
2) Remove the camera gimbal clip
3) Optionally, connect your smart-phone to the hand-held controller
4) Turn on the controller and start the DJI Go app
5) Turn the antennae upwards, which is typically a 45-degree angle
6) Turn on the drone
7) To connect your phone with the drone, touch the “Camera” button on the DJI Go app
8) Check the aircraft status information, including available battery charge
9) If this is a different location than previous flight, calibrate the compass
10) Obviously, check your environment for obstacles or hazzards.
Make sure you are not in restricted airspace.
DJI includes a plastic clip to secure the camera gimbal when not in use. Always remove this clip BEFORE turning on the drone. If you fail to do so, the app warns of gimbal overload.
Initially, the Go app will display the “Aircraft Status”. Tap the “X” to close this display.
