Connect with us

Camera

Review: DJI’s Air 2S is the ultimate consumer drone

Published

on

Review: DJI’s Air 2S is the ultimate consumer drone

Introduction

Arriving just one year after its predecessor, the Mavic Air 2, the Air 2S is DJI’s newest mid-range consumer drone. The new model sheds the familiar Mavic branding in favor of a shorter naming scheme, following the lead of DJI’s Mini 2 model, but receives some significant upgrades in return. Most notably, the Air 2S features a camera with a 1″-type sensor – something that was previously exclusive to DJI models costing over $1,500.

Whereas the Mavic Air 2 emphasized resolution over sensor size, with features like 48MP stills and 8K hyperlapse modes, the Air 2S pivots in the direction of image quality; its larger 20MP sensor easily outperforms the camera on the Mavic Air 2 and addresses one of the most frequent requests from users.

The downside is that the retail price of the Air 2S is $200 more than the Mavic Air 2, coming in at $999. The good news is that the Mavic Air 2 will continue to sell alongside the new Air 2S, so consumers can choose the option that best fits their needs – not to mention their budget.

There’s also a Fly More combo that includes two additional batteries, a charging hub, a set of three ND filters, and a shoulder bag for $1299. The addition of ND filters to the Fly More combo should please a lot of users as they’re a common add-on purchase.


Key Features

  • 20MP, 1″-type CMOS sensor
  • 22mm (equiv.) lens with 88º FOV and fixed F2.8 aperture
  • 5.4K/30p, 4K/60p, and 1080p/120p video
  • H.264 and H.265 recording at 150 Mbps
  • 10-bit D-Log and HDR video capture
  • Raw and JPEG image capture
  • OcuSync 3.0 (O3) image transmission (12 km range)
  • Four-way obstacle avoidance
  • APAS 4.0
  • ‘MasterShots’ cinematic capture mode
  • ‘RockSteady’ electronic image stabilization
  • 31-minute flight time
  • 595g (1.3 pounds) total weight

Compared to…

On paper, the Air 2S compares favorably to both the Mavic Air 2 as well as the more expensive Mavic 2 Pro.

DJI Air 2S Mavic Air 2 Mavic 2 Pro
Price $999 $799 $1599
Camera 20MP, 1″-type sensor

22mm equiv. F2.8 (fixed)

48MP, 1/2-inch sensor

24mm equiv. F2.8 (fixed)

20MP, 1″-type sensor

28mm equiv. F2.8-11

Video transmission OcuSync 3.0 (O3), 4 antennas, 12 km, 1080p OcuSync 2.0, dual antenna, 10 km, 1080p OcuSync 2.0, dual antenna, 10 km, 1080p
Video resolution 5.4K/30p, 4K/60fps 4K/60p 4K/30p
Video bit-rate 150 Mbps 120 Mbps 100 Mbps
Log video 10-bit D-Log, HDR video (10-bit) HDR video (8-bit) 10-bit D-Log, HDR video (10-bit)
APAS version (Advanced Pilot Assistance System) APAS 4.0 APAS 3.0 APAS 1.0
Obstacle avoidance Forward, Backward, Downward, Upward Forward, Backward, Downward Forward, Backward, Downward, Left, and Right
Flight time 31 minutes 34 minutes 31 minutes
Dimensions 180×97×80 mm 180x97x84 mm 214×91×84 mm
Weight 595g 570g 907g

There’s no question the improved camera alone warrants an upgrade. In fact, the Air 2S one-ups the Mavic 2 Pro in an important area. The Mavic 2 Pro could record 4K video using the full width of its sensor, but it did so using pixel binning. As a result, the best 4K footage was obtained by shooting from a native crop of the sensor, which also narrowed the camera’s field of view.

In contrast, the Air 2S captures 5.4K video using the full width of the sensor – with no pixel binning – resulting in more detailed video capture. The upgraded sensor appears to put the Air 2S on par with the prosumer Mavic 2 Pro. Or does it? Let’s take a look at what the Air 2S has to offer and determine if it’s a must-have for hobbyists and professionals alike.


Aircraft and controller

At 180x97x80 mm folded down, the DJI Air 2S has a frame that’s almost identical to the Mavic Air 2 and can fit in the palm of your hand. What’s noticeably different is that the 2S has obstacle avoidance sensors placed on top of the drone.

The Air 2S (L) and Mavic Air 2 (R) side-by-side. The Air 2S boasts a camera with a larger 1″-type sensor plus upward obstacle avoidance sensors.

In fact, DJI has equipped the Air 2S with four-way obstacle avoidance detection and APAS 4.0 – the latest iteration of an autopilot system that automatically avoids, and will fly around, obstacles it encounters, when recording up to 4K/30p footage. There is also an auxiliary light on the bottom of the aircraft to aid in takeoff and landing during low-light situations.

The Air 2S uses the same remote as the Mavic Air 2.

DJI has opted to use the same remote that powers the Mavic Air 2 and Mini 2. It doesn’t have external antennas, and it can still be a challenge to attach a smartphone. However, it’s comfortable to hold and includes everything you need to operate, including a gimbal wheel plus buttons to instantly start and stop taking photos and video. It’s easy to switch between Cine, Normal, and Sport Modes while the Return to Home feature is instantly accessible.

Photos and video

The camera on the Air 2S has a 20MP, 1”-type CMOS sensor, mounted on a 3-axis gimbal stabilized with the ‘RockSteady’ EIS system introduced on DJI’s FPV drone. It has a 22mm (equiv.) fixed-aperture F2.8 lens with an 88º FOV.

Until now, getting a 1″-type sensor on a DJI drone required you to purchase a much more expensive model like the Mavic 2 Pro or Phantom 4 series. So the fact that it’s now available on a model costing under $1,000 is notable. Where the camera on the Air 2S differs from the Mavic 2 Pro is that the Hasselblad color profile is not included.

The camera on the Air 2S uses a 1″-type CMOS sensor capable of 20MP photos and up to 5.4K/30p video.

Like its predecessor, the Air 2S is powered by the DJI Fly app. The pared down, intuitive menu showcases all the photo modes on the same screen. Single, SmartPhoto, AEB (in brackets of 3 and 5 images), and Burst mode can be easily accessed. The shutter allows up to an 8-second exposure, and together with DJI’s RockSteady EIS, make’s low-light, night time, and motion blur photos possible.

The shutter allows up to an 8-second exposure, and together with DJI’s RockSteady EIS, make’s low-light, night time, and motion blur photos possible.

SmartPhoto mode, which uses computational photography technology similar to smartphones, automatically gives you an ideal image using one of the following methods, depending on lighting conditions:

  • HDR photos: The camera automatically captures seven different exposures and combines them for greater dynamic image.
  • Hyperlight: Images taken in low-light conditions tend to be grainy and contain noise. Hyperlight takes multiple photos and merges them for a clearer image.
  • Scene recognition: This mode allows the drone to recognize five major components of a photo – sunsets, blue skies, grass, snow, and trees. It will analyze these objects and maximize tone, clarity, and colors.
DJI’s RockSteady EIS makes it possible to capture night shots with long exposure and motion blur.
ISO 200 | 6 sec | F2.8

The Air 2S allows you to record video at resolutions up to 5.4K/30p, 4K/60p, and 1080p/120p at 150Mbps with either the H.264 or H.265 codec. You can also zoom up to 4X at 4K/30p, 6X at 2.7K/30p, 4X at 2.7K/60p, 6X at 1080p/60p and 8X at 1080p/30p. That’s an upgrade from the Mavic Air 2, which maxed out at 4K/60p and 120 Mbps (which is still impressive in its own right).

This video shows an example of 5K/30p video captured on the Air 2S.

One area where the there’s a big difference between the Air 2S and Mavic Air 2 is support for HDR and Log video. The Mavic Air 2 could capture HDR video but was limited to 8-bit, and it didn’t include a Log gamma profile. In contrast, the Air 2S includes 10-bit D-Log and 10-bit HLG capture in addition to the Normal (8-bit) color profile for video. That’s a substantial upgrade for serious video shooters.

Also, as noted above, the Air 2S captures 5.4K video using the full width of its sensor, with no pixel binning, for detailed video capture. That’s a step up from the Mavic 2 Pro which could record 4K video using the full width of its sensor, but did so using pixel binning. As a result, the best 4K footage on that model was obtained by shooting from a native crop of the sensor, which also narrowed the camera’s field of view.


The DJI Fly app and flight modes

The Air 2S uses the DJI Fly app, which was first introduced with the Mavic Mini. Unlike the DJI GO 4 app, which is more fully-featured and suitable for prosumer drones, they Fly app was created with newer pilots in mind. It’s easy to navigate and basically every photo and video setting you need is right on the same screen.

When switching out of Auto mode and into Manual, or Pro mode, in this case, the bottom-right-hand corner gives you sliders that allow you to adjust white balance, ISO, shutter speed, and choose JPG or Raw+JPG imagery. Resolution can be adjusted on the video end.

DJI’s Fly app is pared down, simple, intuitive, and easy to navigate.

Three dots on the upper-right-hand corner of the app will allow you go deeper into the main settings. This is where you can select which video color profile you’d like, whether you wish to brake in front of or bypass obstacles, which codec you prefer, and how high an altitude or far a distance you’d prefer the drone to fly.

A new feature called MasterShots has been introduced as a way for pilots to generate professional-grade footage that’s ready to share on social by simply selecting a few parameters, such as proximity and portrait or landscape orientation. DJI has equipped the Air 2S with ActiveTrack 4.0 and Point of Interest 3.0 for increased accuracy in tracking subjects during automated flights. The usual QuickShots, including Dronie, Circle, Helix, Rocket Asteroid and Boomerang are included.

This is an example of a completed MasterShots sequence, complete with title and music, that was automatically edited together using the DJI Fly app.

I tried the MasterShots feature and have mixed feelings about it. Upon launching it, a notification to ‘watch out for obstacles’ immediately appears. The drone then autonomously launches into a series of pre-programmed shots including Dronie, Rocket, and Boomerang along with some other sweeping movements. It’s best to focus on a static object versus a moving one as the Air 2S will lose track of the latter.

I paused the flight two separate times while a MasterShot was in progress because I was afraid it was going to fly into the side of a mountain I was close to, and over moving traffic in another location. Anyone wanting to test out this feature should make sure they’re at a high enough altitude that the drone won’t encounter a tree or building as the Air 2S tends to pitch down at one point during the recording.

I aborted this MasterShots sequence to avoid having the drone fly over a highway with vehicles, but it it illustrates how MasterShots runs the drone through a series of pre-programmed shots.

MasterShots was made with the casual consumer and beginning pilot in mind. Select shots are stitched into a final clip and music is automatically added in for something that can be instantly shareable on social channels from the DJI Fly app. This is not likely to be something a professional with access to Adobe Premiere Pro, Final Cut Pro, or similar software will be interested in using, but they’re also not the market DJI is targeting with this new feature. Finally, it only works in Auto mode which makes for some potentially awkward lighting switches.


What’s it like to fly?

The first thing anyone will notice when operating the Air 2S is that the drone is incredibly quiet. It’s clear that DJI has updated the electronic speed controllers and continues to create more aerodynamic propellers for a noticeably more pleasant experience. It maneuvers well too. Unfortunately, it doesn’t hold up in moderate to high winds. In low winds, however, it’s steady. RockSteady EIS image stabilization makes low-light imagery especially easy to capture.

What impressed me most was the improved APAS 4.0, the latest version of DJI’s Advanced Pilot Assistance System, which maneuvers the drone above, below, or to the side of an obstacle. With the Mavic Air 2, I felt that APAS was a bit lacking. This version of the technology worked seamlessly. In the example below, it flew above a tree and then to the side, missing every branch. Keep in mind, this feature works on 4K/30p video and below.

This clip shows APAS 4.0, DJI’s Advanced Pilot Assistance System, in action as the drone navigates around the tree. APAS 4.0 is noticeably improved over previous versions.

Overall, everything feels vastly improved and more more reliable. Hyperlapse, especially, looks much cleaner and more stable on a 1″-type sensor coupled with RockSteady EIS. I was impressed with how easy it was to get smooth footage on a mildly windy day.

Hyperlapse sequence captured on the Air 2S.

Odds and ends

Equipped with OcuSync 3.0 (O3) transmission technology, the Air 2S can fly at a distance up to 12 km (7.45 miles) when free of obstacles or interference. Like its predecessor, it supports both 2.4GHz and 5.8GHz frequency bands. The maximum flight time clocks in at 31 minutes in ideal conditions, on par with the Mavic 2 Pro but less than the 34 minutes the Mavic Air 2 offers. It can travel up to 68.4 km/h (42.5 mph) in Sport mode.

The Air 2S supports memory cards up to 256GB and also has 8GB of onboard internal storage should you forget a card or run out of space. Equipped with ADS-B, pilots are warned when manned aircraft are nearby. One feature I appreciated was the fact that the Air 2S automatically returned to home after losing its connection, even as the remote screen remained dark.

The Air 2S Fly More combo includes a set of ND filters that help create better videos and hyperlapses. A simple twist attaches them to the camera.

I would also recommend considering the Fly More combo – particularly since it now includes ND filters, which are very helpful for shooting video and hyperlapses.


Who’s it for?

DJI has created a top-of-the-line consumer-grade drone with the Air 2S. To have access to a camera with a 1″-type sensor that is capable of capturing 20MP imagery and video up to 5.4K/30p, for under $1,000, is truly remarkable. While the camera doesn’t include the vibrant Hasselblad color profile of the Mavic 2 Pro, it still produces decent color. Imagery feels cleaner and crisper compared to past models, overall.

The Mavic 2 Pro (right) is slightly larger and heavier than the Air 2S. It can fly in more turbulent conditions, and at higher altitudes, but costs significantly more as well.

With that context, what does it mean for the Mavic 2 Pro, DJI’s other foldable drone with a 1″-type sensor? Professionals shouldn’t write off the Mavic 2 Pro just yet. Slightly larger, heavier, and sturdier, it can withstand high winds like its larger peer, the Phantom 4 Pro. It also has obstacle avoidance sensors on each side making it more suitable for inspections and other high risk gigs that require maneuvering in tight or treacherous areas. Let’s not forget the adjustable aperture either.

The Air 2S would be a terrific drone for a professional to take to a wedding, for example, particularly with its quieter props. However I wouldn’t dream of taking it with me to shoot around a high rise building, where winds get stronger the higher you ascend, or to a boat race where it would be whipped around. The Air 2S is built for more casual situations.

The Air 2S would be a terrific drone for a professional to take to a wedding, for example, particularly with its quieter props.

With its fixed aperture and user-friendly features, the Air 2S is still targeted more towards everyday consumers and those who want a solid option to get into drone imaging. DJI isn’t going to cannibalize its professional and prosumer lines of drones by allowing it to operate in the same manner. MasterShots and some of the QuickShots features were created for travelers and content creators who want to capture impressive imagery and share it instantly. The Fly app has even been updated to make adding a soundtrack and subtitles easy for anyone.

Final thoughts

The release of the Air 2S is a strong indication that next Mavic Pro (or even Phantom or Inspire) will see significant bumps in features and capabilities. Also, with Remote ID finalized, DJI has a lot of incentive to start rolling out some new models that both hobbyists and professionals have been wanting for the past few years.

I tested DJI’s Fly More combo, which includes two additional batteries plus a set of ND filters, and was thrilled to be able to carry the entire set around in a bag the size of a small purse. I can imagine a professional commercial pilot wanting one of these for fun or impromptu shoots, especially now that it includes a 1″-type sensor. This really is an ideal solution for travel and on-the-go content creation.

What we like

  • 1″-type CMOS censor
  • 5.4K/30p video with 10-bit D-Log and HLG support
  • Quiet flight
  • Improved APAS 4.0 performance
  • Ability to shoot long exposures

What we don’t

  • Fixed aperture lens
  • Can be unsteady in windy conditions
  • 1080p recording in Quick and MasterShots modes

Source link

Continue Reading
Click to comment

Leave a Reply

Camera

A nature photography tour of Madagascar, Part 3: Kirindy Forest

Published

on

By

A nature photography tour of Madagascar, Part 3: Kirindy Forest


In the last two articles in this series, I wrote about my visits to Andasibe National Park, where I photographed lemurs and chameleons, and Tsingy Rouge National Park, where I saw beautiful erosion-formed formations. This time, I’d like to write about my visit to Kirindy Forest.

A Verreaux’s Sifaka, my favorite lemur species in Kirindy, feeding in a tree. The eyes on some of these lemur species are incredible.

Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3
150mm, 1/1000 sec, F6.3, ISO 800

Kirindy Forest (or Kirindy Private Reserve) is a private nature reserve located in the west of Madagascar. The forest is home to a wide variety of animals, from many species of lemurs to fossas (a very weird-looking predator) to geckos and chameleons. Numerous species of plants and trees are also found in the region, the most famous and iconic of which is the baobab tree.

Baobab trees under post-sunset glow. The gaps between the trees made it easier to compose without creating overlap.

Canon EOS 5D Mark IV, Canon 70-300mm F4-5.6
83mm, 13 sec, F11, ISO 200

From a photographic point of view, Kirindy is nothing less than a paradise and was one of my favorite locations on my month-long Madagascar trip. The wildlife is surprisingly easy to find and photograph (with many highly skilled and cheerful guides available on the premises), the baobabs are easy to get to, and there are comfortable accommodation options close by. The only bad thing is the Wi-Fi connection.

Lemurs are one family of primates Kirindy has no shortage of. There are no less than eight lemur species here, from the tiny Madame Berthe’s Mouse Lemur (the smallest primate in the world, weighing 30 grams) to red-fronted lemurs, sportive lemurs and sifakas. I photographed all of Kirindy’s diurnal species in three days, which shows how easy they are to find with a good guide. As to being easy to photograph, that’s a different story.

Red-fronted lemur

Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3
347mm, 1/125 sec, F5.6, ISO 400

The easiest species to find in Kirindy is the red-fronted lemur. They are small and relatively common, so one could say they’re also the least exciting of the local lemur species, but I found them to be very cute and expressive subjects.

Unfortunately due to massive deforestation and climate change, Madagascar’s lemurs are losing their ability to migrate and access water. Authorities are trying to help them by giving them water. The red-fronted lemurs are, therefore, much less averse to getting close to humans. I really hope this doesn’t hurt them in the long run.

A red-fronted lemur is feeding in a tree. Its interaction with its environment is what makes this image. These animals are cathemeral, meaning that they are active during the day and at night, especially during the full moon.

Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3
403mm, 1/250 sec, F6.3, ISO 800

The interestingly named sportive lemurs appear not to be sportive at all. Most of the time, they rest in the trees to digest the plants they have eaten. But during the mating season, male sportive lemurs have been observed to box with each other, which gave them their unusual name.

This sportive lemur looked like it had one too many drinks the previous night!

Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3
516 mm, 1/500 sec, F6.3, ISO 1600

The crown jewel of Kirindy’s wildlife selection (in my opinion) is the Verreaux’s sifaka, a beautiful, medium-sized lemur. Its thick and silky fur is mostly white, other than dark brown patches on the top of the head, face and arms. Like all sifakas, it has a long tail that it uses as a balance when leaping from tree to tree, where they are capable of making remarkable leaps. Distances of 9–10m (30ft) are not uncommon.

A Verreaux’s sifaka lemur, beautifully framed between tree branches. Those eyes are to die for!

Canon EOS 5D Mark IV, , Sigma 150-600mm F5-6.3
531mm, 1/320 sec, F6.3, ISO 800

As a rule, the better composed the jumping shots I got, the worse the sharpness was on them. These guys are notoriously hard to catch when jumping. Here’s an effort, with the sifaka showing its trademark Superman-style jump.

Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3
150mm, 1/2500 sec, F5.6, ISO 800

Unfortunately, sifakas are very hard to photograph. They tend to stay very high up in the trees, which keeps them both far away and at awkward angles. This forces the photographer to use longer lenses, which becomes surprisingly tiresome when hand-holding the camera. I wanted to shoot at eye level but ended up shooting upward the vast majority of the time. They also just love hopping from tree to tree exactly when a photographer has finally found a good composition.

This sifaka looked like something out of a Dr. Seuss book. Note the shooting angle is less than optimal here, due to the height of the tree it was sitting on.

Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3
302mm, 1/800 sec, F5.6, ISO 400

As beautiful as they are shy. A lucky eye-level shot.

Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3
421mm, 1/1000 sec, F6.3, ISO 800

My visit to Madagascar was during baby season for lemurs, which was wonderful. I ended up seeing many species carrying very young and impossibly cute baby lemurs, and the sifakas were no different.

Again, the challenge was the distance and their tendency to move around all the time, probably even more so when carrying babies. Unfortunately, about 30% of infants are lost to predators like the fossa, a cat-like mammal, and a smaller number to raptors such as the Madagascar harrier-hawk.

For the first 6-8 weeks, the infant clings to the mother’s stomach, but for the following 19 weeks, it clings to her back. During my trip, I saw infants up to 8 weeks old. I guess the signature eyes are there from birth!

Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3
600mm, 1/500 sec, F6.3, ISO 800

A lucky closer-range, eye-level shot of a baby sifaka in its mother’s fur.

Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3
600mm, 1/125 sec, F6.3, ISO 800

I’m not much of a bird photographer, but several beautiful owl species are in Kirindy, and they were relatively easy to find.

Madagascar scops owl

Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3
516mm, 1/250 sec, F6.3, ISO 400

White-browed owl

Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3
283mm, 1/160 sec, F5.6, ISO 400

Finally, the Kirindy area was once home to a huge forest of baobabs. Not many remain, but those that are still there are huge and impressive. It was fun photographing a group of baobabs in the late afternoon and early evening, under direct light and during post-sunset glow.

The more baobabs close together in one location, the harder they are to compose, but if you manage to combine multiple elements into one shot in a satisfying way, then perhaps you’ve achieved something.

Canon EOS 5D Mark IV, Canon 11-24mm
19mm, 1/100 sec, F14, ISO 100

Here, I used the gaps between the foreground trees to frame the background trees.

Canon EOS 5D Mark IV, Canon 70-300mm F4-5.6
84mm, 0.8 sec, F14, ISO 100

I highly recommend visiting Kirindy Forest if you’re interested in Madagascar’s wildlife. The concentration of fascinating species and relaxed atmosphere are unmatched.

In the next article in this series, I will write about my journey from Tsingy De Bemaraha National Park to Isalo.


Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez’s work on Instagram and Facebook, and subscribe to his mailing list for updates and to his YouTube channel.

If you’d like to experience and shoot some of the world’s most fascinating landscapes with Erez as your guide, take a look at his unique photography workshops in Madagascar, Greenland, the Lofoten Islands, Namibia and Vietnam.

Erez also offers video tutorials discussing his images and explaining how he achieved them.

More in this Series:

Selected Articles by Erez Marom:





Source link

Continue Reading

Camera

DPReview Rewind: the birth of the Canon EOS D30, its first ‘home grown’ DSLR

Published

on

By

DPReview Rewind: the birth of the Canon EOS D30, its first ‘home grown’ DSLR


In the early days of digital, cameras were big, bulky, expensive and mostly out of reach for people unwilling to shell out professional-level MSRPs. Then came the Canon EOS D30, a landmark camera that introduced a slew of film photographers to digital, inspiring photojournalists to give up high-end film cameras and a new generation of wedding photographers, portraits and landscape artists to dip into the DSLR pool.

At $3000, it was not cheap, but it was within reach of a new category of camera buyer, the ‘prosumer.’

During our 25th anniversary year, we’re looking back at some of the milestones in camera history. On this day in history, on May 17, way back in the year 2000, the D30 was announced as Canon’s first built-from-the-ground-up in-house DSLR. Up to this point, Canon’s DSLRs (the EOS D2000 and EOS D6000) were joint ventures with Kodak. These cameras married Kokak internals with Canon bodies.

With the new camera, Canon was doing it all themselves, including designing a new body, its own sensors and processors and the introduction of its own RAW and JPEG engines. It would also become the first DSLR with an APS-C format CMOS sensor, a blistering 3.25MP beast capable of 3 RAW image bursts (or 9 Fine JPEG) and a full day of shooting on a single charge. It was pretty cutting-edge for the time.

The camera would arrive on store shelves in time for the holidays. In our review, dated Oct 10, 2000, we noted the monumental task that Canon had taken on. They had not only taken on building a camera on their own and decided to use a relatively new high-resolution CMOS sensor at a time when CMOS struggled with high megapixel builds, but they also had to know consumers would be comparing their camera to the previously announced, although not yet released, Nikon D1.

But Canon had pulled it off, and we were impressed, writing: “Canon’s engineers, designers and developers haven’t let them down, the D30 WILL go down in history books as a very important camera, breaking a price barrier and opening up the digital SLR market (more so than Fujifilm’s S1 Pro) to a new wave of users, both new and old. From the minute you pick up the D30 … you get a feeling of quality you weren’t expecting.”

Revisit our Canon EOS D30 review



Source link

Continue Reading

Camera

DPReview Rewind: the birth of the Canon EOS D30, its first ‘home grown’ DSLR

Published

on

By

DPReview Rewind: the birth of the Canon EOS D30, its first ‘home grown’ DSLR


In the early days of digital, cameras were big, bulky, expensive and mostly out of reach for people unwilling to shell out professional-level MSRPs. Then came the Canon EOS D30, a landmark camera that introduced a slew of film photographers to digital, inspiring photojournalists to give up high-end film cameras and a new generation of wedding photographers, portraits and landscape artists to dip into the DSLR pool.

At $3000, it was not cheap, but it was within reach of a new category of camera buyer, the ‘prosumer.’

During our 25th anniversary year, we’re looking back at some of the milestones in camera history. On this day in history, on May 17, way back in the year 2000, the D30 was announced as Canon’s first built-from-the-ground-up in-house DSLR. Up to this point, Canon’s DSLRs (the EOS D2000 and EOS D6000) were joint ventures with Kodak. These cameras married Kodak internals with Canon bodies.

With the new camera, Canon was doing it all themselves, including designing a new body, its own sensors and processors and the introduction of its own RAW and JPEG engines. It would also become the first DSLR with an APS-C format CMOS sensor, a blistering 3.25MP beast capable of 3 Raw image bursts (or 9 Fine JPEG) and a full day of shooting on a single charge. It was pretty cutting-edge for the time.

The camera would arrive on store shelves in time for the holidays. In our review, dated Oct 10, 2000, we noted the monumental task that Canon had taken on. They had not only taken on building a camera on their own and decided to use a relatively new high-resolution CMOS sensor at a time when CMOS struggled with high megapixel builds, but they also had to know consumers would be comparing their camera to the previously announced, although not yet released, Nikon D1.

But Canon had pulled it off, and we were impressed, writing: “Canon’s engineers, designers and developers haven’t let them down, the D30 WILL go down in history books as a very important camera, breaking a price barrier and opening up the digital SLR market (more so than Fujifilm’s S1 Pro) to a new wave of users, both new and old. From the minute you pick up the D30 … you get a feeling of quality you weren’t expecting.”

Revisit our Canon EOS D30 review



Source link

Continue Reading

Trending

Copyright © 2017 Zox News Theme. Theme by MVP Themes, powered by WordPress.