Camera
The DJI FPV is an all-in-one solution to first-person-view drones
DJI has launched a new type of FPV drone. A hybrid of a traditional first-person-view immersive flight experience from a traditional rig and a cinematic camera drone, their latest release also offers GPS, obstacle avoidance sensors, the ability to hover in place, brake in an emergency, and return home. An ADS-B receiver system is also included to alert pilots of manned aircraft nearby. The DJI FPV drone is ready to fly out of the box.
”DJI has been redefining what drones can do since our company began in 2006, and as we celebrate our 15-year anniversary this year, we honor that heritage of innovation by redefining what drone flight can be with DJI FPV,’ said Ferdinand Wolf, Creative Director, DJI Europe. ”Right out of the box, DJI FPV combines the best available technology for a hybrid drone like no other. It can fly like a racer, hover like a traditional drone, accelerate like a homebuilt project and stop faster than any of them. DJI FPV lets the world experience the absolute thrill of immersive drone flight without being intimidated by the technology or spending hours building a system from scratch. We can’t wait for the world to try it.’
A camera with a 1/2.3″ 12MP sensor with a 150º Field of View (FOV) is mounted on a 1-axis gimbal. It is capable of capturing up to 4K/60p or 1080p/120p, for 4X slow motion, footage at 120 Mbps. Both still and video clips can be captured in the same flight. DJI uses RockSteady electronic image stabilization to prevent a shutter rolling effect when the drone flies at high speeds.
DJI’s FPV ecosystem of products includes the drone, the remote controller 2, FPV Goggles V2, and a Motion Controller that allows the drone to mimic the movement of your hand. Pilots can view what the drone sees in near-real-time with a low-latency, high-definition digital feed through the goggles. The system being equipped with DJI’s OcuSync 3.0 technology. It allows for a 10km transmission range, dual-frequencies, and a bitrate of 50 Mbps.
The Motion Controller allows the drone to mimic your hand’s movements. |
Here’s how you can view your FPV flight:
Standard low-latency HD mode: View your flight in 1440x810p in 60p with a wider 142° FOV or 50p with 150° FOV. In this mode, latency is as low as ≤ 40 milliseconds.
Smooth mode: pilots activate high frame rates for a more cinematic look to signal latency is decreased to ≤ 28 milliseconds. Resolution is 1440×810p 120 fps with a 142° FOV or 100 fps at 150° FOV.
Audience mode: Shares the pilot’s perspective by connecting up to eight additional goggle sets so even onlookers can experience the same flight.
DJI’s FPV drone was built with both seasoned and beginner pilots in mind. There are three different flight modes, depending on skill level.
Normal (N) Mode: N mode allows for pilots to operate will all obstacle detection sensors activated. It will automatically slow or halt the drone before it can collide with an object. In this mode, the maximum speed is 50 km/h (31 mph).
Sport (S) Mode: Between N and M mode, S mode offers some of the dynamic movement capabilities that come with M mode along with some of the key safety features of N mode. It will still hover in place but obstacle avoidance sensors won’t activate. The drone can travel up to 97km/h (60 mph). The drone can accelerate from 0-100km/h (0-62 mph) in two seconds.
Manual (M) Mode: This is the most advanced mode and only recommended once you’ve gotten comfortable with FPV flight. Hovering and obstacle avoidance sensors are disabled though the Emergency Brake feature will still work. DJI has created a Virtual Flight app to help pilots prepare to fly this mode, which allows you to flip and roll the drone. The maximum specs is 140km/h (87 mph).
DJI’s OccuSync 3.0 technology allows for a clear digital feed with low latency. |
There are several options for purchasing a DJI FPV drone. The standard FPV combo retails for $1,299 and includes the drone, remote controller 2, FPV Goggles V2, and one Intelligent Flight battery. The Fly More Kit includes two additional Intelligent Flight batteries and a dedicated charging hub for $299. The Motion Controller is sold separately for $199. All items are now available for purchase. DJI Care Refresh is also available, but keep in mind that it does not cover flyaways.
Camera
Canon makes Super35 global shutter sensor available to third parties
Canon’s LI5070SA sensor delivers 4K at up to 60p with no rolling shutter, with Canon suggesting ‘Cinema’ as one of its potential applications.
Image: Canon |
Canon has made a 4K/60-capable Super35 (∼APS-C) video sensor with global shutter available to third-party buyers.
The 10.3MP sensor added to the product page of its industrial equipment and semiconductor business unit is 27.4 x 15.3mm, making it a 1.34x crop, relative to a full-frame stills camera, but in a roughly 16:9 aspect ratio.
Its 4288 x 2398 pixel count is clearly designed for delivering 4K footage. We’d usually expect Canon to have already offered it in a camera, if it planned to, before offering it to external users.
Canon sold a 4K/60 Super35 ‘GS’ global shutter version of its EOS C700 camera, back in 2017, though available specs suggest its sensor was slightly smaller, so presumably wasn’t the same as the one now being offered to external companies. Notably, Canon claimed its dynamic range was one stop lower than the progressive scan Super35 chip in the regular C700 model. There’s still a chance this new chip will underpin a successor to the C700 GS.
An image of Canon semiconductor’s LI7080SA sensor: a progressive scan Super35 sensor that closely resembles its global shutter cousin.
Image: Canon |
At present, we’re not aware of any other consumer camera maker using Canon sensors. Specialist industrial / security camera makers such as Illunis have used its sensors to make high-speed and high-resolution cameras for applications such as aerial photography and machine vision applications, but we’ve not seen its 120MP or 250MP APS-H chips in consumer cameras, including those from Canon itself.
Canon said it was developing a DSLR based on its 120MP sensor, back in 2015. Prototypes based on EOS 5DS bodies appeared at trade shows, but no final product ever emerged.
Canon’s semiconductor business also offers a “full-frame” global shutter sensor. Again this has a roughly 16:9 aspect ratio and proposed uses include microscopy, factory automation and traffic surveillance. This sensor has been available since early 2023.
Camera
Gear of the Year – Mitchell's choice: ThinkTank Retrospective 30 V2
The Retrospective 30 V2 is a big ‘ol bag. |
The ThinkTank Retrospective 30 V2 is not a new product by any means, but it’s new to me. Earlier this year, I went looking for a camera bag to replace the one I had since high school and landed on the Retrospective 30; the largest option in ThinkTank’s well-known lineup of canvas shoulder camera bags.
While anyone can make a messenger bag with a few dividers and call it a day, it feels like this bag was really designed and refined by and for photographers. All its velcro flaps can be covered or tucked away to silence them if you don’t want to draw attention to yourself while shooting on the street or at an event like a wedding. The top can be zippered closed for maximum protection or left open to let you quickly access gear, and it has what I think is just the right ratio of open space to built-in organization.
Some of the velcro patches have covers to keep you from ruining a quiet moment by ripping them open.
Photo: Mitchell Clark |
There are also subtle touches that I’ve found really useful: one of the front pockets has a bright red fabric loop that I clip my keys to so I always know where they are, the water bottle pocket can be cinched tight when you’re not using it and there are plenty of places to hook carabiners onto if I need to hang additional gear on the outside of the bag.
I also just like how it looks. The olive green fabric matches the antique-looking metal hardware well.
My favorite thing about this bag, though, is that it’s monstrous. It’s the station wagon – nay, Honda Odyssey – of messenger-style camera bags. I’ve used it to carry two camera bodies, a few lenses, a 14-inch MacBook Pro, an iPad, and a bunch of other bits and bobs like a notebook, an army of SD cards, a Clif bar or two, power adapters and rain jacket. Is that a sign of overpacking? Perhaps, but it’s part of the job; I’m frequently testing out one camera for a review and using another to shoot a sample gallery of some variety.
Even when my camera load isn’t as heavy, I’ve found the Retrospective 30 useful as a commuter. I live in Spokane, Washington, but travel to DPReview’s offices in Seattle relatively frequently. Because I keep my entire photographic life in it – my SD cards, various cables, white balance cards and rolling shutter tester – I can just pick it up and go without having to run around making sure everything I’ll need for the next week is packed.
I took a bit of a chance buying this bag: DPReview was sending me to Japan as a freelancer to cover what ended up being the Panasonic S9 announcement, and I knew the Lowepro bag I’d gotten with my first camera in high school was on its very last legs. I hoped to turn reviewing cameras into my full-time job, but I wasn’t 100% sure I was cut out for it.
Me, very tired, returning home from Japan.
Photo: Mitchell Clark |
If it turned out I wasn’t, the 30 would be way larger than I’d ever need; my personal camera consists of a Fujifilm X-T3 and two lenses, which would get absolutely swallowed by this bag. But if I did end up at DPReview, I worried that a smaller bag might not be able to carry all the gear I assumed I’d be carting around.
I was also concerned about the price at the time: at $240, it’s far from the spendiest bag out there, but I still didn’t feel great telling my wife that I wanted to spend that much on anything when I’d been largely unemployed for the last year – I’d quit my job as a news writer at The Verge in April 2023 to hike the Pacific Crest Trail. I spent some time working at a ski shop after I got back and did various odd jobs, but it’d been a long time since I’d meaningfully contributed to our household’s budget.
But I went for it anyway; the prospect of going on a press trip and juggling cameras in a backpack that’s not at all designed for them seemed like a nightmare. And obviously, it worked out: I’m working at DPReview now, and am reminded pretty much every day that it was a good idea to get something with this much capacity.
Despite its carrying capacity, the Retrospective 30 is a reasonable size to carry around on a photo walk.
Photo: Mitchell Clark |
Of course, I have a few nitpicks. No bag is perfect, which is why the market for them is nearly infinite. I haven’t figured out a graceful way to attach a tripod to it, even one as small as the Peak Design Travel model, the main zipper can be a bit hard to start closing if it’s all the way open, and I needed a tutorial video to figure out how to use the included rain cover. I’d rather the bag’s top flap was made out of waterproof material, though the canvas alone has been enough to protect my gear through short walks in light rain – phew!
The bag can also rub a bit uncomfortably on my hip when it’s fully loaded, but I suspect that’s more of a limitation with the messenger bag form factor as a whole. Realistically, if you’re carrying over 7kg (15+lbs) of gear, you should be doing it on your back, not slung over one shoulder.
Despite my complaints, I still love this bag, and I suspect I’ll continue using it for years to come. The same’s true for the job, by the way – and if I’m lucky enough for that to happen, I’ll have the Retrospective 30 as a reminder of where it all began.
Camera
Magic skies: See the Northern Lights Photographer of the Year winning photos
Northern Lights Photographer of the Year winners
Capture the Atlas has announced the winners of its 2024 Northern Lights Photographer of the Year awards in the seventh edition of its annual photo contest.
This year was an exciting year for aurora photography – both the aurora borealis and the aurora australis – as we close in on the solar maximum of the current solar cycle. Throughout 2024, increased solar activity has resulted in aurora being visible further away from the poles than in recent years, which can be seen among the winners.
This year, the competition awarded 25 photos from photographers representing 15 nationalities. We’ve picked our ten favorite images from the set to share here.
Want to be ready to photograph the aurora if it suddenly becomes visible in your area? Read our article on how to photograph the northern lights to learn how.
Carpe Diem: Adrian Cormier
Photographer: Adrian Cormier
Location: Crater Lake National Park, USA
Caption: May 10, 2024, began like any other new moon cycle for me. I was shooting at one of my favorite spots along the Sonoma coastline. Around 2:30 a.m., I was surprised to feel my phone buzz with a notification, as my location had sporadic cell coverage. The alert was one I never expected—and will never forget! A fellow Sony Alpha photographer, who was in Nepal at the time, messaged me: “Get as far north as you can by sunset, it’s going down tonight!” A historic geomagnetic storm, possibly peaking at G5, was predicted.
I immediately drove home to grab my Atlas pack full of cold weather gear. My gut told me to head to Crater Lake National Park in Oregon. Shortly into the drive, I learned the CLNP Rim Road was completely closed due to 7 feet of recent snowfall. Fortunately, I was prepared for deep snow conditions and pressed on.
Confident and armed with snowshoes, I settled on a spot along the South Rim, east of the Crater Lake Lodge, which was closed due to the extreme snow levels. My image, “Carpe Diem,” reflects the magnificent display of geomagnetic energy that weekend, set against the iconic and unforgettable alpine landscape.
Copyright Adrian Cormier
Looking North: Lynsey Schroeder
Photographer: Lynsey Schroeder
Location: Arizona, USA
Caption: It’s not every day that the Northern Lights make it as far south as Southern Arizona! I’ve been captivated by the aurora ever since I first saw it in Iceland in 2018, so when I heard there was a chance to witness it here, I didn’t hesitate to grab my gear and head into the desert with a couple of friends.
My expectations were low, but the show completely exceeded them! As soon as we stepped out of the car, we could clearly see a pink glow on the horizon, occasionally pulsing with shimmering pillars as the night went on. I achieved a photography goal I never imagined I’d accomplish: capturing the aurora shining over the beautiful saguaros of the Sonoran Desert.
Copyright Lynsey Schroeder
In the Rays of the Solar Wind: Sergey Korolev
Photographer: Sergey Korolev
Location: Rybachy Peninsula, Russia
Caption: After a melt, we had a flash freeze with extremely cold temperatures and a clear blue sky. I was driving by a ditch on the side of a road that had been filled with water and had to stop and look (as we photographers do, can’t pass a ditch without investigating). This is what I found. Great textures and patterns, tones and flow, with lovely graphic lines creating a dynamic, abstract designs. I love this type of work – it’s so much fun, yet challenging to find just the right composition.
Copyright Sergey Korolev
Magic of the North: Josh Beames
Photographer: Josh Beames
Location: Iceland
Caption: I’ve dreamed of capturing this shot for years, and this year, everything aligned perfectly! During my annual Iceland workshop, our group witnessed the sheer power of nature as Iceland’s most recent active volcano erupted just days before.
After spending hours shooting and soaking in the incredible scene, we started to wrap up and head back to the car. Then, to our amazement, the Northern Lights began dancing across the sky! I quickly launched the drone, sending it on a mission to capture this wild spectacle.
Navigating through the wind, heat, and low visibility surrounding the volcano, I managed to capture a vertical panorama just as the volcanic smoke and ash shifted to the side. Moments later, the dreaded battery warning sounded, and I began the tense journey back. By this point, the wind had really picked up, and I honestly thought the drone was a goner… but with only 1% battery left, it somehow limped back to safety!
Copyright Josh Beames
Devil’s Lights: Forest Barkdoll-Weil
Photographer: Forest Barkdoll-Weil
Location: Wyoming, USA
Caption: May 10, 2024: Aurora forecasts promised an incredible display, so I drove to Devils Tower, Wyoming, to witness the event. The solar storm delivered, reaching a historic KP9, with auroras visible worldwide. As the vibrant lights danced overhead, my father was undergoing emergency surgery two thousand miles away in Maine. It was a surreal night—awed by the celestial beauty above, yet grappling with worry for my dad.
The aurora offered a strange sense of comfort amidst the turmoil, grounding me in the moment as I captured this incredible phenomenon. My father, a photographer for over 50 years and the person who introduced me to this art, thankfully survived surgery and recovered after several days in the ICU. Although he missed this display, six months later, on October 10, we shared an even stronger solar storm together as a family—a memory I’ll always treasure.
Copyright Forest Barkdoll-Weil
Coronal Mass Eruption: Matt Haynie
Photographer: Matt Haynie
Location: California, USA
Caption: After finally capturing the elusive Northern Lights in mid-latitudes on May 10th, 2024, I was hooked. I realized there was more to predicting the aurora’s appearance than just relying on the KP forecast, so I learned how to read the charts that determine when the lights can reach mid-latitudes.
This photo is from the sixth time I’ve had the opportunity to capture them since that unforgettable night. Lassen Volcanic National Park, in Northern California, was the best option, as smoke and clouds threatened to obscure views in most nearby locations. I stayed on top of a ridge until 3 a.m., enduring frigid winds that cut through my layers, but witnessing two significant substorms made all the discomfort worthwhile.
Copyright Matt Haynie
Paddling Under the Aurora: Herry Himanshu
Photographer: Herry Himanshu
Location: Banff National Park, Canada
Caption: I live in Saskatchewan, Canada, so I’ve seen and captured the aurora hundreds of times before, but that night in Banff National Park, Alberta, was unlike any other.
As luck would have it, I was in Banff for a wedding that weekend when massive CMEs were predicted to hit Earth directly. As soon as it got dark, the aurora came out swinging, with vivid hues of reds, pinks, and purples dancing across the sky.
I had three camera setups running timelapses in different directions, but even that wasn’t enough. One brave friend took a standup paddleboard out on the lake and modeled for us beneath the insane light show. She was the perfect complement to the aurora and the mountainous landscape.
We were all in pure disbelief at the colors and patterns unfolding above us. Those shared moments of joy are what I’ll remember forever. I stayed up all night, driving hundreds of kilometers through Banff to iconic spots, capturing some of my best photos and timelapses ever.
Copyright Herry Himanshu
Cosmic Explosion: Uroš Fink
Photographer: Uroš Fink
Location: Istria, Croatia
Caption: On the night of the Perseid meteor shower, I was treated to a “multi-course menu” of the night sky. I captured the Milky Way arch with Orion, the Aurora (a first for me), the Zodiacal light, and the Perseid meteors. As if that wasn’t enough, the sky gifted me with one of the most stunning greenish airglows I’ve ever seen. Oh, and I almost forgot to mention the close conjunction of Jupiter and Mars, right along the path of the Zodiacal light.
In the center of the panorama is the Cap Marlera lighthouse, built in 1880 at the southeastern tip of the Istrian Peninsula. The rugged coastline, at the entrance to Kvarner, attracts fish and dolphins. This area is also home to the Mediterranean bear, though I didn’t have the pleasure of meeting one.
Meteors rained down throughout the night, and I captured 75 of them using three cameras. I used the RegiStar software to seamlessly insert the meteors to the panorama in the exactly same spots as they appeared in the sky this night.
It was an extraordinary, perhaps once-in-a-lifetime event, and I’m grateful and happy to have been part of it.
Copyright Uroš Fink
Aurora Australis: Marc Adamus
Photographer: Marc Adamus
Location: Patagonia Fjords, Chile
Caption: I’m not sure if an aurora had ever been recorded in Patagonia before, but we got incredibly lucky on the night of May 10, 2024, when a G5 storm hit. We were camped on an iceberg beach, deep in the wilderness of the Patagonia Fjords, when the incredible display unfolded.
Copyright Marc Adamus
28° Aurora: Efrén Yanes
Photographer: Efrén Yanes
Location: Tenerife, Spain
Caption: The night of May 10th was one of the most unforgettable moments since I became a photographer. I went to Teide National Park in Tenerife with the intention of capturing a circumpolar shot with the endemic tajines in bloom. After setting up my camera and finding the perfect composition, I hit the shutter. To my surprise, the camera screen showed a strange red color on the horizon. It wasn’t light pollution, but something I had never seen before.
Suddenly, I remembered hearing about a recent large-magnitude solar storm and the possibility of Northern Lights at lower latitudes. My heart raced as I scrolled through social media and saw others sharing photos of the Aurora from the Iberian Peninsula. I realized I was witnessing this extraordinary event from the Canary Islands. It was a magical experience that happened entirely by chance, and I feel incredibly lucky to have been a part of it.
Copyright Efrén Yanes
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