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Posts Tagged ‘Drew’

NASA Astronaut Drew Feustel explains how he captures racetrack images from space

28 Feb
Photograph of Drew Feustel taking a photograph outside the International Space Station while on a space walk mission.

NASA astronaut Drew Feustel has detailed his love of cars and racing in a new interview with Hot Rod Network, as well as his work photographing racetracks from space. Feustel has shared a number of these images on social media, each providing a unique look at racetracks around the world.

The images were captured from the International Space Station, where Feustel served as commander from June 2018 to October 2018. During the interview, Feustel explained that he would work with mission control ground support teams to coordinate times when he could attempt to capture the images.

German GP at Sachsenring Circuit — MotoGP

Feustel shot the images during his free time in space, where he’d plan ahead to capture the racetracks as the ISS passed overhead. The photography project ‘wasn’t a trivial thing,’ he said during the interview, explaining that he’d have to consider whether the conditions would be clear enough to capture the images and how he would get them.

Feustel said:

The photos were taken in my spare time—nights or weekends, or middle of the night or whenever, basically when I knew I was going to be flying over a track I would plan ahead for the day so that I had some free time to use the 5 minutes that I had to catch a track as I passed overhead, and then get back on with my work—I managed to capture all of them.

German GP at the Hockenheimring — Formula 1

The images were taken using a Nikon D5 camera with an 800mm lens and a 2x converter. Locating the racetracks from space was tricky and, in some cases, didn’t pan out:

When I looked out in the lens you could probably fit 30 tracks into the area, I couldn’t see them with the naked eye, usually, but if I pointed the camera in the right place, I could see them through the viewfinder. There were a lot of times where I couldn’t see them, and entirely missed a track because I pointed the camera in the wrong spot.

The ISS’s high-speed travel through space — it travels approximately 28,000kph / 17,000mph — compounded the difficulty, giving Feustel less than a minute to capture the racetrack before the window of opportunity closed.

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The effort paid off, however, resulting in dozens of images of racetracks located around the world. The public can view Feustel’s images on his Instagram and Twitter accounts.

Articles: Digital Photography Review (dpreview.com)

 
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Behind the scenes of Drew Gardner’s gigapixel shot of British royal family

16 Jun
Drew’s 2.3 gigapixel image is made up of more than 100 50MP files, shot with the Fujifilm GFX 50S. Click the thumbnail to launch the interactive image at www.telegraph.co.uk

Photographer Drew Gardner has been a photographer for more than 30 years, and since 1999 he’s worked mostly in the commercial world. Following a recent move into 360-degree imaging, he accepted a commission from British newspaper The Telegraph to shoot a gigapixel image of the queen’s birthday parade. Earlier this week we spoke to Drew to learn more about how the project came together.


Following a career working in local and national press, I decided to move away from newspapers and into commercial and advertising photography, in 1999. These days I shoot extensively for magazines around the world, so the commission has to be something really special to entice me to work with newspapers again.

When I was asked to shoot a gigapixel photo for the Daily Telegraph, it was a trip down memory lane for me in many ways, but with the latest technology so I leapt at the chance. I was approached about two weeks before the event, and I spent many hours working out the sequence of events and the best position to place the camera.

I work with a wide variety of gear but this occasion seemed a perfect opportunity for a medium format camera, where ultimate resolution would be very useful.

‘The final image doesn’t represent one moment, but rather many different moments’

I like shooting gigapixel photos to record events. The final image doesn’t represent one moment, but rather many different moments. This provides a better overall feel of what it was like to be there. When I say many different moments, the final gigapixel image is made up of more than 110 50 megapixel images, shot on a Fujifilm GFX 50s with a 250mm F4 lens. The result is a 2.3 gigapixel file.

Drew Gardner has been a professional photographer since 1979. Based in the UK, Drew’s work spans local and national press, and commercial photography for clients including Manfrotto and Suzuki Motor Corporation.

Check out more of Drew’s work at his website, drewgardner.com

I love the Fujifilm GFX 50S. It really suits the way I shoot medium format camera, and it weighs less than most DSLRs. Image quality is stunning and it has proven very reliable.

What I really like about the GFX is its high ISO performance. Even though the light was excellent I shot at ISO 1600 to allow me to stop down to F11-16 for better depth-of-field. To move the camera I used a Seitz VR drive motorized head – the same head that I use for all my 360 degree still images, too.

I’m a huge fan of Brian Storm of Mediastorm who is a great advocate of the use of audio and this was the perfect occasion to record ambient audio of the event with a Zoom H2N audio recorder. Audio is all too often overlooked and yet it is a very easy way of adding another valuable dimension to a gigapixel or 360 panorama image.

View the final gigapixel image at www.telegraph.co.uk

Articles: Digital Photography Review (dpreview.com)

 
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Watch Drew Geraci’s latest time-lapse masterpiece, shot with Sony a7R III

27 Nov

Drew Geraci is a master of time-lapse photography. His work has taken him all over the world, and his client list contains some of the biggest names in sports and entertainment. Even if you don’t know his name, if you’ve ever watched ‘House of Cards’ on Netflix, you’ve seen his work.

Drew has been using a Sony a7R III for some time, and prior to its official launch last month he spent some time in New Zealand, to see what the new camera could do. We caught up with him recently to ask about his inspirations, workflow, and tips for successful time-lapse photography.


What first got you interested in time-lapses?

The real reason I became interested in time-lapse photography wasn’t because of anything ultra profound or mind-blowing. It was because someone I looked up to (as a pro-photographer) looked at my early time-lapse work and told me that it was, bluntly, garbage.

Since that day I’ve channeled that negative energy into something positive, which has lead me down an incredibly successful career path which I’ve very thankful for.

Why would/should you shoot a scene using timelapse techniques rather than a conventional single exposure?

Timelapse tells a story that a single frame or even series of video frames can’t. The passage of time is something that you can’t really ‘see’ normally, and this is why timelapse photography is so useful – it showcases short or long passages of time which can show the grandness of an event or place in a unique way. Timelapses always seem to dazzle and amaze audiences.

How is the process of planning a timelapse shoot different to a conventional landscape shooting session?

Planning a time-lapse shoot can be quite difficult depending on where and when you want to film. You have to think of all of the elements of motion that will be in your scene and how light will effect the scene over time. There are so many random variables that most photographers/videographers don’t have to worry about, but for time-lapse it’s different.

You really have to be aware of your scene, to an even higher degree than normal. You need to make sure there you account for things that could destroy your shot like birds, people, or lights. You have to work all of this out before you start shooting.

What’s the single most important factor to consider when making timelapse movies?

For me personally, it’s about creating something that’s going to wow your audience and keep them entertained for the few seconds or minutes that you get their attention. I want to shoot scenes that are unique, vibrant, and invoke some type of emotion to really draw the viewer in.

Music is key as well. Selecting the wrong music can be fatal. As a case in point, there’s an M83 song that has been used so many times now on timelapse videos that it’s getting ridiculous. I always try to find something original to use instead of mainstream music.

What does your workflow look like when planning and shooting a time-lapse movie?

The workflow is chaos. It usually consists of a shot list, scouting notes and it’s all subject to change when I get to the location. I make sure (most of the time) to do a 2-3 day scout visit to each location before the actual shooting occurs. This gives me a better idea of what to expect when I shoot it for real. I look at the lighting, the atmosphere, and all of the elements of motion, because I want my shots to be as dynamic as possible.

What was your big break?

For me, my big break was the title sequence of Netflix’s House of Cards. I had lunch with David Fincher to discuss a new project and it turned out to the the intro to his new show. Completing that sequence was a fun and grueling 6 months of shooting but the end result is something that 100’s of millions of people have viewed – which is quite humbling.

I’ve had some other big name clients before this, like the NFL and Apple, but shooting the intro to House of Cards pushed things over the top. It’s fun being known as the guy who shot the intro to a now iconic (and infamous ) show but I want to continue pushing boundaries and exploring new techniques to keep things fresh.

How do you control the camera trigger when you’re shooting?

My personal preference is a manual, external intervalometer because it provides the fastest method for setup and shooting. Internal intervalometers are great, but they can be limited and awkward to use – especially if you have to adjust the interval or number of shots. I use the JJC micro-USB – it’s cheap, and it’s reliable.

Can you give us 3 top tips for photographers planning on getting into timelapse shooting?

  1. Turn off anything automatic on your camera (Auto WB, ISO, Aperture, Shutter… even stabilization – turn it off!)
  2. If you’re not using a manual aperture lens, make sure to “lens twist” or detach your lens from the body, just enough so the connectors that send data aren’t touching. This will ensure that the aperture blades don’t change position from exposure to exposure and it will reduce the amount of flicker in your footage substantially.
  3. Always shoot Raw!

Articles: Digital Photography Review (dpreview.com)

 
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DREW BARRYMORE PHOTOSHOP Tutorial ( MAKEOVER )

23 Oct

The process of digital enhancing a picture with Photoshop (makeover) , in this case a Drew Barrymore’s picture.
Video Rating: 5 / 5

 
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