A composite of two of the formations seen in the drone show Saturday, following the announcement that Joe Biden was projected to become the next president of the United States.
This past Saturday, major news outlets announced former Vice President Joe Biden and his running mate and senator Kamala Harris as the projected winners of the 2020 presidential election. Biden and Harris addressed the world later that evening with speeches that concluded with a drone and fireworks light show.
The drone show especially excited many in the rapidly-growing industry, after years of negative media coverage and concerns about overregulation. Numerous unconfirmed sightings of drones near airports and aircraft, in addition to rulemaking proposed for Remote ID, reportedly set to be decided by year’s end, are a clear indicator that drones continue to be controversial.
Drones in a national security TFR isn’t a small deal. Someone slogged through a ton of paperwork. Kudos. https://t.co/pwSQUUtHkF
— Brendan Schulman (@dronelaws) November 8, 2020
That’s why it’s such a big deal that a formation of drones was used on Saturday night, so close to two people about to become among the most powerful (and most closely-guarded) in the world. After a bit of sleuthing, we were able to confirm that the company responsible for the light show was Verge Aero, based in Pennsylvania.
‘This event is certainly a first on many fronts,’ Nils Thorjussen, Verge Aero’s CEO, tells DPReview. ‘While I’m unable discuss the event in detail, there were many unique challenges we’ve never faced before, as you can imagine.’
Drone light shows have been around for several years, but they don’t come cheap. It takes anywhere from fifty to tens of thousands of drones to form illuminated shapes in the sky, and when the cost of setup, plus travel and accommodation for a staff of trained professionals is factored in, they’re typically very expensive.
And it raises awareness. Drones are becoming less and less seen as this really bad thing in the sky but are now seen as a tool; a tool to improve entertainment, science and research, public safety, agriculture, inspection and STEAM education. #UAVsForGood https://t.co/TD61rtIffP
— Romeo Durscher (@romeoch) November 8, 2020
Mass light shows with hundreds of drones might be beyond the means of most of us, but, says Thorjussen, ‘we’re developing the tools to make drone light shows more accessible.’
He predicts that ‘soon enough, as with other technologies in the past, they’ll become more affordable and mainstream.’ Good news for an industry that all too often is on the wrong side of the headlines.
To learn more about all the components that go into a drone light show, head over to Verge Aero’s blog.
Profoto has announced the release of the OCF Adapter, a new adapter that makes it possible to use all of Profoto’s OCF light shaping tools with any of its A-series flash units.
Image credit: Profoto
The OCF Adapter looks similar to many other speedlight to speedring adapters: it has a coldshoe mount for securely attaching a Profoto A-series flash and a mounting point for any of Profoto’s OCF light shaping tools, which the head of the flash fits into. Profoto has over a dozen OCF light shaping tools, including the OCF Magnum Reflector, a 24” OCF Beauty Dish, an array of OCF Grids and plenty of OCF Gel attachments.
The unit isn’t necessarily small (120mm (4.7”) wide, 280mm (11”) tall and 90mm (3.5) deep), but it’s certainly a more compact solution than carrying around a larger monolight when an A-series flash will get the job done with an OCF light shaping tool. Below is a hands-on with the OCF Adapter by Adorama:
Being Profoto, it shouldn’t come as a surprise the OCF Adapter isn’t cheap. The 750g (1.65lb) piece of plastic and metal will set you back $ 299 (Adorama, B&H). For a little context, Godox/Flashpoint’s Profoto A1 knock-off can be purchased, with accessories, for $ 229 (Godox at B&H, Flashpoint at Adorama).
The post 5 Tips for Photographing Wildlife in Low Light Conditions appeared first on Digital Photography School. It was authored by Will Nicholls.
NOTE: Check out our Ultimate Guide to Nature and Outdoor Photography.
Most wildlife is active during dawn or dusk, and photographing animals in low light can be frustrating when you’re pushing your equipment to the limit. Even if you’re shooting on the latest and greatest DSLR camera, you’re still going to reach a point where the light is too low to use the ideal settings. It’s at this point that you need to start calling on your skill and technique to improve your success rate.
Here are a few tricks that I use in my own wildlife photography to get better, more usable images in low light.
1. Choose the perfect aperture and shutter speed for low light
When shooting in low light, you should use the widest aperture you can (i.e., the lowest f-number) to let in the most light possible.
If you’re using expensive telephoto lenses, then you’ll probably have a maximum aperture of f/4 or even f/2.8. However, the majority of midrange and budget telephoto lenses have a maximum aperture of about f/5.6 or f/6.3. Still, keep the aperture as wide as possible to give yourself the optimum baseline.
With regard to the shutter speed, the rule most people learn is to use a speed of at least 1 over the focal length of your lens. For example, a 400mm lens would need a shutter speed of at least 1/400s to eliminate camera shake effectively. However, this rule often isn’t possible in low light conditions. So you’re going to need to break it!
Drop your shutter speed as much as you can while still keeping the image sharp. You can go much slower than you think. 1/100s is totally plausible.
To prevent camera shake, enable any image stabilization technology offered by your lens. It’s important to use a tripod, too, as it’ll keep things steady.
This bear photo was taken at 1/30s, f/4, and ISO 8000.
Try panning
Once your shutter speed starts to get really slow, then you’ll almost definitely introduce motion blur from the subject moving. But if your subject is walking or running along, you can pan your camera along with it.
With practice, you can move your camera at the same rate as the animal and freeze its body – even with a slow shutter speed. You will get a blurred background, but it’s actually a rather cool effect (see the bear photo above!).
2. Don’t be afraid to boost your ISO
ISO might be the most feared setting among photographers. However, it shouldn’t make you tremble! I meet many photographers who don’t move the ISO above 400, even if their cameras are more than capable of handling the increase.
Sure, higher ISOs introduce noise into your photo, but a noisy image is better than a blurred one.
Test out your camera and see how far you can feasibly increase the ISO before shots become unusable. You can also remove noise in post-production, so you can sometimes salvage a too-noisy image.
The image below was taken at ISO 5000, but you’d be forgiven for thinking the value was much, much lower. The camera in question was a Nikon D4, which has notoriously good ISO capabilities. But this is an extreme example, and at ISO 5000 there was still noise. Even lower-level DSLR cameras can still be pushed to ISO 1600 or so while achieving fairly good quality images.
An eagle photo taken at 1/100s, f/4, and ISO 5000.
Be brave and increase your ISO when you need a faster shutter speed. It’ll help you keep shooting as the light gets lower, meaning you’ll have more time to wait for wildlife!
3. Be careful when using a zoom lens
Zoom lenses sometimes use a variable maximum aperture.
What does this mean?
Zoomed out, you may have an aperture of f/4 – but as you zoom in, this can increase to something like f/6.3. If your lens has a constant aperture throughout, then you don’t need to worry. But if it doesn’t, then be conscious of the fact that you’ll have less light reaching the sensor when you’re zoomed in.
When your lens is limited by a variable maximum aperture, think about zooming out and taking a more atmospheric or environmental image. You’ll have a larger aperture to play with, and you may be able to achieve a more usable shot than if you zoom in all the way with less light.
If your lens has a variable aperture, try zooming out to utilize the widest option and take environmental images that don’t focus only on the animal.
4. Utilize burst mode
Don’t forget that you have a burst mode. If you’re worried about blurry images, fire off as many frames as possible. This will increase your chances of ending up with a usable shot.
You see, slower shutter speeds mean more chance for both camera blur and motion blur. If an animal moves its head, your shot may well be ruined. But if you’ve been shooting multiple images at once (via burst mode!), then chances are that you’ll get another shot, taken a fraction of a second later, that isn’t blurred.
Burst mode is honestly one of the most useful things you can do when photographing wildlife in low light. It really helps to get usable photos and works like magic alongside the other techniques in this article.
5. Don’t underexpose
It can be tempting to underexpose your photo, knowing that you can brighten it later. While this may give you a quicker shutter speed, the photo will likely need significant brightening in post-production. And lightening an already-dark scene will introduce a lot of digital noise.
This photo was taken at 1/60s, f/4, and ISO 5000.
Instead, try to keep your exposure as balanced as possible. If you can keep your histogram happy, then you’ll have a smoother ride through the editing process. The worst thing would be to take an underexposed shot, only to find out later that it’s unusable because brightening it up ruins it.
I prefer to risk blur but fire multiple frames than to take an underexposed, sharp shot. Maybe that’s just me, but the technique frequently works in my favor.
Photographing wildlife in low light: conclusion
No matter how good you are at photography or how good your gear is, you’re going to have times when your shots are ruined by low light. That’s just part of the game – but, with luck, you will manage to capture strong low light shots some of the time.
With practice, you’ll learn when there’s no point battling against depleting light levels. And a combination of the techniques I’ve shared here should keep you in action for longer.
Do you have any other low light tips to add? Please share them in the comments below!
FURTHER READING: Check out our new Ultimate Guide to Nature and Outdoor Photography.
The post 5 Tips for Photographing Wildlife in Low Light Conditions appeared first on Digital Photography School. It was authored by Will Nicholls.
Having light is critical for photography, but what about the quality of light? Our resident mad scientist, Don Komarechka, explains how different light sources can impact your photos.
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Think you know what the world looks like? Think again! DPReview TV host and mad scientist Don Komarechka shows us what the world looks like when seen through ultraviolet light.
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German mechatronics engineer Johannes Heberlein has launched a new photo accessory on Kickstarter, the Lime One compact hot shoe light meter. The meter has been designed to be very easy to use, and even updates its readings in real-time.
In 2018, Heberlein started using film cameras, and he immediately found his light meter options somewhat lacking. He started using a smartphone-based solution but became frustrated with needing to constantly take his phone out of his pocket, get an exposure value and then put his phone away. In late 2018, Heberlein started sketching out ideas for a compact, easy to use light meter. His first prototype was ready a few months later and final hardware revisions took place over the next year.
Lime One works with all cameras that have manual exposure control, including analog cameras that do not feature a built-in light meter. Heberlein hopes that Lime One, which has a funding goal just shy of $ 30,000 USD, will help photographers who have been frustrated by external meters and smartphone light meter applications. He designed Lime One to be compact enough that you can leave it attached to your camera indefinitely, even when packing your camera away in a bag.
Lime One promises fast operation and start-up, plus the ability to store previous settings. It has four modes: aperture priority, shutter priority, manual mode, and exposure value. The control wheel has a knurled edge for grip and when holding the Lime One’s button while rotating the wheel, you can change secondary parameters.
The hot shoe light meter is constructed using anodized aluminum for both the body and wheel and attaches to a standard accessory shoe mount. The device is battery powered and uses a CR2032 battery.
The Lime One appears very simple to operate. For example, when using aperture priority, you set the desired aperture on the Lime One using the control wheel, frame your shot, and then the light meter shows you on its top display the required shutter speed. You can also use exposure compensation by holding down the button while rotating the control wheel. By double-tapping this same button, you access the menu where you can perform actions such as adjusting operational mode and ISO.
Hedeco Lime One on 6×6 folding medium format camera. Image credit: Hedeco, Kickstarter
For those who pledge €99 or more, which is roughly $ 115 USD, you will receive one Lime One in silver in April 2021. If you pledge €149 (about $ 175 USD), you have a choice of silver or black for Lime One, plus you receive an accessory pack. If you have access to a 3D printer, you can download the files to print your own accessories and instead purchase just the standard pack.
To learn more about the Lime One compact light meter, head to the Kickstarter page.
Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
Google has released an updated version of the Google Photos app for Android, bringing with it a few new features, including an after-capture Portrait Light mode, a one-tap editing feature and a slightly revamped editing interface.
As Google briefly demonstrated during yesterday’s Pixel 5 event, the new Portrait Light mode will edit the image to appear as though there’s light coming from a light source not actually in the image. While limited to Google’s new Pixel 4a 5G and Pixel 5 devices for the time being, this feature lets you apply ‘lighting’ in post-production by editing the image to appear as though it’s coming from a specific direction.
As noted by PetaPixel, it’s possible this new adjustable lighting technology is derived from a research project Google participated in back in 2019. Google says this feature will be coming to other Pixel devices, but doesn’t specify which ones or a definitive timeframe.
Also included in this Google Photos update is a one-tap editing feature that uses ‘machine learning to give you suggestions that are tailored to the specific photo you’re editing.’ In its current form, only three suggestions are available: Black and White, color Pop and Enhance, but Google says more options for landscapes, portraits and more will be available ‘in the coming months.’
Google has also changed the user interface (UI) of the manual editing tools. There’s now a scrollable toolbar at the bottom with round buttons and icons, akin to the interface of Apple’s Photo app, VSCO and others. This updated interface, in theory, makes it easier to quickly find the settings you need and make the appropriate adjustments.
This update will go live in the Google Play Store this week. If you don’t already have the Google Photos app, you can download it for free; if you do, be sure to keep an eye out for updates. Google hasn’t specified whether or not we’ll see these new features and redesign make their way to the iOS version of the app.
Low light photography is one of those types of photography that when done well can produce amazing photos but when not done well can leave you feeling a bit disappointed. It’s a type of photography that at first can seem quite complicated as if you need a PhD to master. Yet all you actually need is a few simple pieces Continue Reading
The post The Ultimate Guide To Low Light Photography: Tips, Settings, Cameras, Lenses appeared first on Photodoto.
Canon has announced a new CMOS image sensor that is designed to perform in extreme low light conditions. The LI7050’s is a sensor of the 1/1.8-inch variant which means it has the same size as many image sensors that can be found in smartphone cameras. However, this is not the new sensor’s intended use.
Instead it’s meant to be used for industrial applications that require extreme low light capabilities. For example, it could record low light video with realistic color and good detail in security cameras that are monitoring public areas, transport infrastructure or manufacturing facilities. Thanks to its compact dimensions it could also help improve image quality in underwater drones or wearable cameras for security personnel that operates in dark environments.
Canon says in its press release: ‘Conventional nighttime monitoring employs infrared cameras and records video in monochrome. However, network cameras equipped with the LI7050 can capture video at night in such locations as public facilities, roads or transport networks, thereby helping to identify details including the color of vehicles or subjects’ clothing.’
Thanks to the ‘architecture’ of its 4.1 µm pixels the sensor is capable of recording Full-HD color video in near darkness – light levels as low as 0.08 lux – and also comes with an HDR mode that dramatically expands the dynamic range. When recording in this mode the sensor can capture scenes with extremely high contrast (light levels between 0.08 lux and 80,000 lux) while avoiding clipping in both highlight and shadow areas of the frame, achieving a dynamic range of 120dB (approximately 20EV).
HDR mode merges a bright and a dark exposure into one frame and is only available at 30 frames per second. If you need faster frame rates of 60 frames per second the sensor can still avoid clipping anywhere between 0.08 and 500 lux and offers a dynamic range of 75dB (approximately 12.5 EV).
Those are impressive numbers and they are backed up by the low light footage in Canon’s sample clips which does not only have very good exposure but also maintains excellent detail in the bright illuminated areas of the frame, something that a lot of cameras struggle with.
Even though the sensor is marketed as a security and surveillance product there could be interesting applications in consumer imaging as well. Modern smartphones come with multi-camera arrays for different focal length already. Why not add a dedicated low light video camera?
Sample shipments of the LI7050 have started in August and official sales will be launched in late October. We’ll probably see sometime next year if the new sensor will be confined to its industry niche or possibly make it out to the wider consumer imaging market.
The post How to do Long Exposure Photography and Light Trails at Night appeared first on Digital Photography School. It was authored by Barry J Brady.
Gastown light trails, Vancouver, Canada
Before I understood how photography worked, I was always intrigued by light trails in images. I never understood how that happened. When I began to study photography, one of the first assignments I did was an advanced course on night photography. I decided I would try and capture some light trails.
I set up my camera, made sure the settings were correct and waited. A few cars went past, but my timing was off and the shots were not great. I continued to wait. After about an hour of trying and experimenting, I got the shot I was looking for. It was like magic to me.
The car was not in the shot but the lights seemed to float in mid-air. I was hooked. This was something that had mystified me for a long time, yet I had managed to get it right. What was so mesmerizing for me was that the image I saw on my LCD screen was not what I saw in real life. The camera had managed to capture a scene that my eyes could not capture in the same way. This seemed amazing to me.
I soon realized that the camera was able to “see” things differently compared to the way my eyes saw them. I spent many nights trying to capture light trails in various locations. I was also doing lots of reading and research and came across a technique called long exposure.
This too was amazing. It had the ability to alter a scene in such a way that it looked totally different to the way our eyes normally see it. Again I was hooked; to this day, long exposures and light trails are some of my favorite techniques in photography.
Long exposure photography and light trails have similar techniques; it is the subject matter that differs. So I will discuss each technique separately, and tell you how to get the best results in both.
How to do long exposure photography
Shooting long exposures effectively requires that you should be shooting in Manual mode as much as possible. If you are not sure how to shoot in Manual, take a look at “Getting Off Auto – Manual, Aperture and Shutter Priority Modes Explained to learn more about these modes. To be able to get sharp and effective long exposure images, here is a checklist of items you will need.
1. What equipment is needed to shoot long exposures?
A tripod – this is a good piece of equipment to have in most instances, but is a critical piece of equipment for shooting long exposures. Make sure your camera is properly mounted onto the tripod before you start shooting.
A camera – obviously you will need a camera, but many people assume you can only do this type of photography with an SLR. Some advanced point-and-shoot cameras can also do long exposures if they have a Shutter Priority function. Take a look in your camera’s manual to see if it has this function; you may be surprised.
Cable release – your camera will be on a tripod, so it should be very still. However, sometimes the action of pressing the shutter release button can cause the camera to move slightly and this movement can cause your image to blur very slightly. You may not notice this on the LCD screen, but when you open the image on your computer, it will be evident. I recommend getting a cable release (also called a remote trigger). It is simply a cable that attaches to your camera and acts as a shutter release button. Using a cable release means you can set up your camera, step away from the tripod, and press the button without touching the camera. Cable releases can be wireless too. If you don’t have a cable release or don’t want to buy one, you could use your camera’s self-timer function to trigger the shutter.
Warm clothes and comfortable shoes – depending on where you live, and depending on the time of year you plan to be shooting, you may need to dress warmly. Long exposures work well after dark and it may get cold, so be sure to wear warm clothes. Be sure that you have comfortable footwear, too, as you may be standing for a few hours.
2. What subjects are best for long exposure photography?
Long exposures work well for certain types of subjects like seascapes, landscapes, and cityscapes. The key to getting a successful long exposure image is to have something in your image that is perfectly still and something that is moving. Water, clouds, and trees blowing in the wind all work well if the rest of the scene is stationary. This difference between the elements in the scene will create drama, and will add significant value to your image. The viewer will be seeing something that cannot be seen with the naked eye.
The reason why long exposure images are so compelling is that they warp time. Water looks like a soft mist, trees look like a dull blur, and clouds become long and streaky. This is what makes a familiar scene more compelling.
Long exposure scene in Vancouver, Canada
3. What camera settings should be used?
Long exposures are ideally shot in Manual mode. If you are not sure how to shoot in Manual mode, you can use one of the other semi-manual modes such as Aperture priority or Shutter priority. Here are some quick pointers on the settings:
Shutter speed – depending on the light in your scene, your shutter time will need to be at least 10 to 15 seconds, or longer if necessary. If you are doing a seascape and the water is moving quickly, then a few seconds may be long enough to make the water look misty.
Aperture – you will want to have your aperture set at anywhere between f/8 and f/16. This will be determined by how much light is in the scene and how long you want to expose for.
ISO – keep your ISO settings as low as possible. ISO 100 is what I use for long exposures.
4. When is the best time of day to shoot long exposures?
It’s normally a good idea to shoot long exposures as the sun is setting, or just after sunset. My suggestion is to be on the scene an hour before sunset. That way you can test some shots, make sure your composition is good, and be sure all your settings are correct. Then wait.
I will sometimes simply sit there and enjoy the scene; other times I may listen to some music. But I like to be relaxed and ready for when the light starts to work. Normally you will want to start shooting about 15 minutes before the sun has completely set and up to an hour after it is below the horizon. The important part is to be willing to experiment.
Each time you decide to shoot long exposures will be a little different. The light may be brighter than you think, the sunset may not be as dramatic as you hoped, or the shot may not be just as you imagined. Be patient and experiment. I will sometimes go back to a location two or three times to try and get the shot I am looking for. Once I have it, though, the sense of reward is fantastic, and the patience and effort are paid off!
Long exposure of Science World in Vancouver
How to shoot light trails
Much of the advice for shooting light trails is very similar to the tips above. The key difference is in the timing and location of your shoot.
1. What equipment is needed to shoot light trails?
Same as above
2. What subjects are best for light trails?
For light trails to work, you need to have something with lights moving through your scene. A car, a bus, a train, and even an aircraft can work. Be sure to be out of the direction of the vehicle you are photographing. Please do not stand in the middle of the road, or on train tracks. Position yourself in a safe place to make this work. Always be aware of your surroundings. It is easy to become immersed in what you are shooting and lose sight of where you are standing. Be safe, first and foremost!
A moving bus in the scene made this shot more dynamic
3. What camera settings should be used?
Light trails, like long exposures, are ideally shot in Manual mode.
Shutter speed – depending on the light in your scene, your shutter time will need to be at least 10 to 15 seconds, or longer if necessary. Make sure that your shutter speed is long enough to capture longish light trails. You don’t want to cut them off too soon as you will have some short trails in your image that may look strange.
Aperture – you will want to have your aperture set at anywhere between f/5 and f/11. This will be determined by how much light is in the scene and how long you want the exposure.
ISO – keep your ISO settings as low as possible; ISO 100 is what I use for light trails. If your ISO is set to 500 or higher, your exposure will be shorter and you run the risk of overexposing the highlights, especially when shooting car headlights.
4. When is the best time of day to shoot light trails?
Light trails can be shot in the early evening, or after the sun has set. Each scene will be different, but sometimes it is too light to get effective light trails just after sunset. You may need to wait until 30 minutes after the sun has set to get longer light trails.
The important part, once again, is to be willing to experiment. Try different times after sunset and see what works for you. Spend time behind your camera perfecting your timing. Scout locations during the day that you will think will work for light trails and then go and try it out.
Steam Clock in Gastown, light trails on the road
Photographing after dark can be very rewarding. It is worth the effort to learn how to use these techniques to bring new images into your portfolio, and to have new skills which will enable you to shoot under any lighting conditions. Experiment and enjoy it! Happy shooting.
The post How to do Long Exposure Photography and Light Trails at Night appeared first on Digital Photography School. It was authored by Barry J Brady.
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