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Posts Tagged ‘shouldn’t’

Why You Shouldn’t Delete Your Images Too Quickly

23 Jul

The post Why You Shouldn’t Delete Your Images Too Quickly appeared first on Digital Photography School. It was authored by Nils Heininger.

why-you-shouldnt-delete-images-too-quickly

There are many reasons why you might want to delete images: They show the same subject, again and again, they are technically inferior, or you simply do not like them. However, don’t hit the delete button right away!

Here are some reasons why you shouldn’t delete your images too quickly

Isn’t it hard to stay organized? Since the age of digital photography, it is quite easy to get “just one more shot” of your subject. These few shots quickly add up to hundreds, even thousands. Considering the huge file sizes of modern cameras, that’s a lot of memory. Not only is your hard-drive full of bytes, but you also have to keep an overview – a few stars here, a few flags there and a red label for your beloved ones. It’s often hard to avoid the data mess.

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At first, I rated this image with one star. Recently, I rediscovered it and was happy that I did not delete it

Sometimes, I feel like deleting all the images I assume I will not use anymore. Why should I keep images that I don’t sell, show to my friends and family or use in any other way? It’s the same subject, just from another perspective.

I have five images from a nicer angle, in a better light and with fewer people in it.

Here is my hint:

Wait a little while, and stay organized. Don’t delete everything in the first place. There are some reasons why you might want to keep your images.

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A picture I rejected because it was a byproduct of a hike to shoot the Milkyway over a river bend.

Your client wants a specific picture

If you are documenting something, or you do travel photography, you should be careful what you delete. Never get rid of any image before completing the job. You may think the light in the image of person XY was not too nice or the photograph is not perfect, but maybe it tells a story.

Your client or editor might ask you, “Is there an image of this person XY, while he looks a bit sad?” or “Is there an image of a person wearing this weird hat, which is so typical for people working in this area?”

You may remember that person XY wore that hat. Then you look it up and realize that you deleted the image because you did not find the light appropriate. My friend, you missed a chance to satisfy an editor.

Even after delivering a project, it is smart to keep all of your images. You may want to sell some of them to someone else. People could approach you to ask if you have an image of this one shop because they make a follow-up story on yours. We never know what the future brings. Don’t delete what others might ask for. Demands of editors can be unpredictable.

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I shot this image as a byproduct of covering a desert safari in India. It was useless for this topic, but it might be useful for another project about the desert region.

Blindness for the beauty

Sometimes, while you are working on a project, you get used to the beauty that you create. You are completely sucked into a breathtaking work environment, and every shot amazes you.

Later, you look at your images and search for the best ones (which you should do) but ignore the second-best ones. Make sure you do not delete them.

When I was in the Indian Himalayas on a motorbike tour, every mountain peak was worth shooting. The light was appealing, and the blue sky was full of little cottonwool clouds. I shot away hundreds of images during the daytime and edited the best in the evening. I recently looked at the old folders and found some amazing images that I rated with two stars just because the others outshined them.

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This picture almost ended up in the bin. Luckily, I checked the folder after a few years.

Maybe you want something specific at one point in time, and you simply cannot see other forms of beauty then. The image may be surrounded by too many other nice ones that distract you at that moment.

When you open your old folders a few years later, you may be happy that you kept them all. Don’t delete what you might value later.

Did you think about stock?

If you worked on commission, you might have a deal that your client takes a bunch of images out of your primary selection. You probably shot far more pictures than needed (you should!). What can you do with the rest? Did you ever think about uploading them on a stock photography platform? You may be able to get a little money from all those images that your client rejected or that you didn’t even send to them because there were better ones of the same subject.

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I chose an image of me sitting under the stars for an article about the desert. This “dismissed” one of me standing on the dune might work well in stock.

Always give your clients the best quality and the best compositions. If your contract does not stop you from using the other images, why would you want to waste them? When you make three images of subject A, but just one is good enough for your client, maybe the other two might be good enough for stock. Don’t delete what you might use afterward.

An image contains memories

Maybe the best reason to keep your images is the simplest – for yourself.

When I look back at any image, it triggers my memory.

These rivers are meeting in the Himalayas. It’s not the best image because it’s too dark, with bad light. Yet, they make me remember the feeling I had when I stopped to take the image. They remind me of the taste of the air, the feeling of empty solitude and the discovery of my dire sunburn where my scarf did not cover my neck.

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Technically, a bad image, yet, the broken bridge reminded me of the struggle to get up this mountain and shoot better images. I laughed out loud when I rediscovered it.

Little details in images make you remember big stories. They evoke feelings. You can smell the flowers again, which you see in the frame of that horribly composed landscape-image. You remember the way that tea vendor smiled, even though the image is a little soft or blurry because you had to shoot with one hand while balancing your teacup in the other. Don’t delete what your older self might love to see.

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It is very hard to compose with one hand while reaching for tea with the other.

Conclusion

You never know what will happen and how you will look at your images at a later point in time. If you have completely identical pictures, well, hit that Del-Button.

If they differ, mark them differently.

You can check your old files after a few years and decide what you want to delete for good.

Maybe you will find something useful even if it is just for a blog post about why you should not delete images. All the images in this article were once ready for deletion.

I resisted, and today, I am happy about it.

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Be careful what you delete. One day, you might regret it.

What about you?

Did you ever have any regret after deleting images? Do you find pleasure in it? Is there a method, which helps you to avoid deleting the wrong pictures? And when did you last review your old images? I would love to hear your stories in the comments below.

 

why-you-shouldnt-delete-your-images-too-quickly

The post Why You Shouldn’t Delete Your Images Too Quickly appeared first on Digital Photography School. It was authored by Nils Heininger.


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5 Camera Accessories You Shouldn’t Buy Cheap

12 May

The post 5 Camera Accessories You Shouldn’t Buy Cheap appeared first on Digital Photography School. It was authored by Suzi Pratt.

With each passing year, it seems that camera gear and accessories get progressively cheaper. Third-party brands now offer everything from lenses and flashes to batteries and tripods. This gear is typically priced at a fraction of the price of name brand manufacturers and the quality is often on par. Photographers have often said that “you get what you pay for” when it comes to camera gear, implying that cheaper goods offer less quality. But is that still true today?

In this article, I’ll highlight 5 camera accessories you shouldn’t buy cheap and should consider paying full price for. This isn’t to say that there aren’t cheap, third-party brands offering solid quality for less. But these are items that you’ll want to research extra hard to make sure you’re buying the best product for your camera.

Camera Strap

1. Camera strap

All cameras come with a stock camera strap that you can use to secure your camera on your shoulder. However, the quality and long-term durability of these camera straps are often questionable. Thus, it’s becoming more commonplace for photographers to purchase their own camera straps. Peak Design and Black Rapid are two popular brands offering sturdy and stylish camera straps. These straps are on the pricey side with the Peak Design Slide coming in at $ 64.95 and the Black Rapid Breathe at $ 68.99. Each strap also attaches to your camera differently, but their main benefit is being able to detach on demand if you need to remove the strap (ie. for use on a tripod or gimbal).

Are there cheaper camera strap alternatives? Certainly. But consider the fact that you are trusting the camera strap to hold hundreds or thousands of dollars of equipment and be sure to buy a camera strap that you can trust.

Manfrotto tripod

2. Tripod

Along the lines of keeping your valuable camera gear safe, it’s also wise to invest a little extra into a high-quality tripod. I’ve spent years buying cheap, compact tripods for travel only to have them fail on me sooner than expected. As a result, I’ve amassed a pile of broken tripods. Last year, I finally took the plunge and bought a more expensive Manfrotto tripod. Solid and reliable, I now wonder why I didn’t just buy this tripod in the first place.

When purchasing a tripod, it’s also important to buy a quality tripod head. Ball heads are popular and are often the default tripod head that you’ll receive. However, they tend to loosen over time. Luckily, there are many other tripod heads out there that offer more stability and precise control over your camera movement. My personal favorite tripod head is the Manfrotto MH804-3W, which I now use for all of my architecture and real estate photo shoots.

Camera batteries

3. Camera batteries

When buying a new camera, it’s always important to budget for a few extra camera batteries. You’ll always want spares just in case, and authentic spare camera batteries are generally not cheap. For example, a spare Sony Z-battery for the A7III costs $ 78. Similarly, a spare Fujifilm battery is $ 65. Third-party brands such as Wasabi Power offer cheaper battery knock-offs, but there’s a risk in using these.

Battery knock-offs may or may not offer the same amount of power as the original batteries. I’ve used third-party batteries for certain cameras such as my Canon DSLRs and not seen any difference in their power. However, camera brands are getting smarter and will sometimes detect knock-off batteries. For instance, my Fujifilm X-T3 flashes a warning sign if Wasabi Power battery is inserted, and it definitely does not last as long as an authentic Fuji battery.

It’s also said that using third-party batteries can void your camera’s warranty. I’m not sure how the camera brand would know if you were using a knock-off battery, but it’s still something to look into.

Memory cards

High-megapixel cameras come at a price as they eat up storage on your memory cards and hard drives.

4. Memory cards

All of your photos and videos are recorded onto memory cards, so it is very important to select quality memory cards. SanDisk is one of the biggest and most reputable memory card makers. There are other brands such as Lexar and PNY that also make quality memory cards. But I’d be wary of buying memory cards made by any other brands. With that said, even the most reputable memory card brands tend to fail and malfunction, so also be sure to use multiple memory cards if your recording device offers multiple card slots.

Hard drives

5. Hard Drives

Related to memory cards, hard drives are also important for storing and backing up your photos and videos. If you’ve ever had a hard drive fail, you know the importance of choosing a quality hard drive and making sure you have a backup for your backup.

Similar to memory cards, even the most high-quality hard drives can fail, so the best brand names are up for debate. Western Digital and Seagate are generally good hard drive brands, even though I’ve experienced hard drive failures from them both.

Lately, I’ve had the best luck with Samsung SSD hard drives. I use a 1TB Samsung T5 as my main working hard drive and a 4TB LaCie Rugged Mini as my secondary backup. This combo is great for working on the road, as well as in the office.

Conclusion

There you have it – 5 camera accessories that you’ll want to consider splurging for because in some cases, you still get what you pay for. Are there cheaper, high-quality alternatives for these items? Certainly. But when it comes to these 5 items, take the extra time to read customer reviews and make sure you’re buying the best gear for your camera.

Would you add or remove any items from this list? Let me know in the comments below!

The post 5 Camera Accessories You Shouldn’t Buy Cheap appeared first on Digital Photography School. It was authored by Suzi Pratt.


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Controversial copyright ruling based on ‘faulty understanding’ but shouldn’t set precedent

06 Jul

A copyright ruling against a photographer whose work was re-used has been criticized as a “very poor decision,” based on “a faulty understanding of the fair use doctrine,” by copyright lawyer Bert Krages.

The widely-reported ‘Brammer v. Violent Hues LLC’ case in the Eastern District of Virginia appeared to accept that the use of a crop of a photograph without permission as fair use. However, while Krages questioned the decision, he also stressed that “the decision does not serve as precedent in other cases,” though he thinks “it’s likely that other defendents in copyright cases will cite to the case in the hopes of getting a favorable decision.”

A faulty understanding of the fair use doctrine

The legal matter began in 2017 after photographer Russell Brammer filed a complaint against Violent Hues Productions, LLC, for using one of his images on its website without first receiving permission. The image had been taken in 2011 and was uploaded to Flickr with an “All Rights Reserved” copyright notice.

Violent Hues removed the image upon being contacted by Brammer, but the photographer sued, both for copyright infringement and for removing copyright information from the image. The court dismissed the copyright removal claim but then made a controversial ruling that Violent Hues’ use was covered by the ‘fair use’ exemption from copyright protection.

‘Fair use’ in US copyright law includes the consideration of four basic tests:

  • The purpose and character of the use, including whether such use is of a commercial nature. . .
  • The nature of the copyrighted work
  • The amount and substantiality of the portion used in relation to the copyrighted work as a whole
  • The effect of the use upon the potential market for or value of the copyrighted work.

The court decision works through each of these tests but Attorney at Law Krages said “The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served.

In particular, he expressed surprise at the court’s assessment of the character of the usage. The ruling states that Brammer’s work was ‘promotional and expressive,’ whereas Violent Hues’ was ‘informational,’ and that the usage was, therefore ‘transformative.’

The downloading of an image off of a website to use on another website is hardly a new or unexpected use.

“The District Court seems to have failed to recognize that a finding of transformative use requires that the source work has been used in a completely new or unexpected way,” he says. In particular, he questioned the case cited in the ruling: “Although the court cites to a Fourth Circuit decision that held that the use of papers written by high school students in a database intended to detect plagiarism was “transformative” because the purpose was different, In this case, the downloading of an image off of a website to use on another website is hardly a new or unexpected use.”

The ruling goes on to suggest the nature of the copyrighted work was a factual representation of the world, even though it contained creative elements, and therefore decided in favor of fair use on the second test. It dismissed the third test by saying that Violent Hues had cropped the image so that only the amount “necessary to convey the photo’s factual content” was used. It then concluded that Brammer had managed to sell the image after Violent Hues had used it, and hence the use hadn’t undermined the work’s value.

In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents

Krages disagrees: “The four fair use factors are neither exclusive nor are they to be given equal weight. The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served. Violent Hues purpose for using the image was to make its website look better, and the usage did nothing to promote public interests such as commentary, news reporting, and scholarship. Violent Hues did not use the image to comment on the image as art, to report that someone had made an interesting image, or in connection with a scholarly work on photography. The image obviously had value or Violent Hues would not have wanted to use it. In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents.”

Ultimately, though, Krages has reassuring words: “Although it is likely that other defendants in copyright cases will cite to the case in the hopes of getting a favorable decision, hopefully it will not encourage other parties to engage in infringement. In any case, it should not prevent similarly-situated plaintiffs in other cases from receiving just compensation.”

The court’s ruling in the case can be found in its entirety here.

A copyright ruling against a photographer whose work was re-used has been criticized as a “very poor decision,” based on “a faulty understanding of the fair use doctrine,” by copyright lawyer Bert Krages.

The widely-reported ‘Brammer v. Violent Hues LLC’ case in the Eastern District of Virginia appeared to accept that the use of a crop of a photograph without permission as fair use. However, while Krages questioned the decision, he also stressed that “the decision does not serve as precedent in other cases,” though he thinks “it’s likely that other defendents in copyright cases will cite to the case in the hopes of getting a favorable decision.”

A faulty understanding of the fair use doctrine

The legal matter began in 2017 after photographer Russell Brammer filed a complaint against Violent Hues Productions, LLC, for using one of his images on its website without first receiving permission. The image had been taken in 2011 and was uploaded to Flickr with an “All Rights Reserved” copyright notice.

Violent Hues removed the image upon being contacted by Brammer, but the photographer sued, both for copyright infringement and for removing copyright information from the image. The court dismissed the copyright removal claim but then made a controversial ruling that Violent Hues’ use was covered by the ‘fair use’ exemption from copyright protection.

‘Fair use’ in US copyright law includes the consideration of four basic tests:

  • The purpose and character of the use, including whether such use is of a commercial nature. . .
  • The nature of the copyrighted work
  • The amount and substantiality of the portion used in relation to the copyrighted work as a whole
  • The effect of the use upon the potential market for or value of the copyrighted work.

The court decision works through each of these tests but Attorney at Law Krages said “The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served.

In particular, he expressed surprise at the court’s assessment of the character of the usage. The ruling states that Brammer’s work was ‘promotional and expressive,’ whereas Violent Hues’ was ‘informational,’ and that the usage was, therefore ‘transformative.’

The downloading of an image off of a website to use on another website is hardly a new or unexpected use.

“The District Court seems to have failed to recognize that a finding of transformative use requires that the source work has been used in a completely new or unexpected way,” he says. In particular, he questioned the case cited in the ruling: “Although the court cites to a Fourth Circuit decision that held that the use of papers written by high school students in a database intended to detect plagiarism was “transformative” because the purpose was different, In this case, the downloading of an image off of a website to use on another website is hardly a new or unexpected use.”

The ruling goes on to suggest the nature of the copyrighted work was a factual representation of the world, even though it contained creative elements, and therefore decided in favor of fair use on the second test. It dismissed the third test by saying that Violent Hues had cropped the image so that only the amount “necessary to convey the photo’s factual content” was used. It then concluded that Brammer had managed to sell the image after Violent Hues had used it, and hence the use hadn’t undermined the work’s value.

In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents

Krages disagrees: “The four fair use factors are neither exclusive nor are they to be given equal weight. The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served. Violent Hues purpose for using the image was to make its website look better, and the usage did nothing to promote public interests such as commentary, news reporting, and scholarship. Violent Hues did not use the image to comment on the image as art, to report that someone had made an interesting image, or in connection with a scholarly work on photography. The image obviously had value or Violent Hues would not have wanted to use it. In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents.”

Ultimately, though, Krages has reassuring words: “Although it is likely that other defendants in copyright cases will cite to the case in the hopes of getting a favorable decision, hopefully it will not encourage other parties to engage in infringement. In any case, it should not prevent similarly-situated plaintiffs in other cases from receiving just compensation.”

The court’s ruling in the case can be found in its entirety here.

Articles: Digital Photography Review (dpreview.com)

 
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Why brand market share shouldn’t matter to you

11 Mar
The best-selling camera with 8 buttons, in the western Tri-state area, last Tuesday between 11:47 and 11:49.

“We’re #1 in full frame*,” scream the press releases from the three big full frame camera makers. And, given the price and apparent appeal of the Sony a7 III, I wouldn’t be surprised if there’s more screaming once it hits the shelves.

The precise wording changes, as does the length of the list of caveats that follows that all-important asterisk but, I’d argue: what doesn’t change is that it’s simple boosterism. And you should pretty much ignore it.

There are a couple of reasons I say this. The first is that, even if you take all the footnotes (in this month, in that territory…) into account, the numbers don’t really tell you very much.

These announcements mainly tell you whose turn it is to be king for the day

Part of this is because you’re cherry-picking data from a small sample: there are only three big brands in the sector and very few products being launched. This means the launch of a new model inevitably causes a sales spike and this can see one brand jump in front of the others in the sales chart. A new model will sell more through pre-orders than an existing competitor that, post launch spike, has been selling steadily for 23 months. So, rather than saying which camera is king, these announcements mainly tell you whose turn it is to be king for the day.

Existing commitments

It’s interesting, of course, when similar models, such as Nikon’s D850 and Sony’s a7R III get launched around the same time. But even though they are targeted at pretty similar customers, the winner of the sales race doesn’t tell you much about the cameras because there’s already a degree of brand loyalty baked into the market.

Investment in lenses and accessories means that anyone already shooting full frame is very unlikely to switch systems. So, if we assume a good proportion of new full frame sales are being made to exactly these photographers, you realize much of the current popularity was defined years ago.

And this doesn’t just apply to people who’re already shooting full frame. The manufacturer-promoted (though arguably mythical) concept of the upgrade path can lead to people feeling committed, or to commit themselves to a system, even if they aren’t shooting full frame.

There’s tremendous inertia to overcome before any brand can make headway in the pro sector. Even once Sony’s 400mm F2.8 becomes available, it’s not going to displace all those Canon ‘L’ lenses overnight.

All these issues are amplified at the high/pro-end of the market. Not only are many pro-orientated lenses much more expensive, thereby increasing the financial commitment to a system, but there’s also a chance that some of your kit belongs to your employer or that you’re already a member of one brand’s pro support network.

So a lot of sales figures are more about whether a brand has convinced its existing user-base to modernize/upgrade, rather than about stealing customers away from other systems.

Further inertia

To cause any significant amount of brand switching a camera would have to be compellingly better. And people have to recognize it.

Canon stole a huge march over Nikon in the early days of autofocus and the sea of white lenses that flanks the sidelines of sports games are a testament to that, as much as anything else. Canon could release a stinker (or, in the case of the EOS-1D III, a camera that develops the reputation as one), but that’s not going to drive customers away unless they release a series of duds and the competition is doing something noticeably better. Again, this counts double for professionals.

To cause any significant amount of brand switching a camera would have to be compellingly better. And people have to recognize it.

Even if one brand does fall behind, its users may not notice. For a while Canon lagged behind in dynamic range, but that didn’t see any mass exodus because many Canon shooters, having not experienced the difference and having adapted to the capabilities of their existing cameras, simply didn’t notice. After all, you can’t miss what you’ve never had. So it’s unlikely many Canon photographers felt any impetus to switch, even though there was a real-world photographic benefit to doing so. Now that Canon has essentially closed that gap and opened up a new front with the development of Dual Pixel AF, the moment has passed.

So while we felt the EOS 6D II was a bit disappointing, compared with its rivals it’s still good enough that existing Canon buyers will stick with ‘their’ system and perhaps never be aware that the grass might be greener just one field over.

Until the fog clears, it’s all bluster

Which is to say: these numbers don’t tell you anything at all about how good the respective brands’ cameras are.

They might tell you something interesting about whether a new technology is finding a foothold in the market, but without a lot more context, it’s hard to meaningfully interpret even that. For instance, no matter what Sony proclaims, it’ll probably take a few more years to establish whether mirrorless is making inroads into DSLR sales or to what extent it’s simply expanding the market.

These numbers don’t tell you anything at all about how good the respective brands’
cameras are

I can see that sales success of the system you’ve bought into can give some reassurance that it has a future, but should you care about how one brand is performing relative to another? Since the numbers tell you next-to-nothing about camera quality or even much about what’s happening in the market, I’d argue most discussion of sales rankings are simply fanboyism. And the canny stirring of it by marketing departments.

Articles: Digital Photography Review (dpreview.com)

 
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Inspiration: All the reasons why you shouldn’t be a photographer

09 Aug

If you’ve ever felt down, defeated, unmotivated, uncertain and unsure whether you should go on being a photographer, then this video is for you. And since all of us, at one time or another, have felt this way; this video is for all of us. Put together by visual artist Simon Cade of DSLRguide, it tackles the most common insecurities and uncertainties that make any artist, photographers included, want to just give up and quit.

There’s real power in voicing these insecurities, in letting other photographers and creatives know that they’re not alone. And over the course of two and a half minutes Cade hits just about all of them.

  • “I don’t have the money to make what I want to make.”
  • “I don’t have the time to make what I want to make.”
  • “I don’t have the talent.”
  • “I don’t have the work ethic.”
  • “I don’t have the creativity.”
  • “I’ll never be as good as the greats.”

How many times have thoughts like this run through your head? If you’re a creative in any respect—be it an amateur with dreams of shooting professionally, or a successful professional experiencing one of those periodic ruts we all find ourselves in from time to time—chances are good the answer is “all the freaking time.”

Cade’s hope, what he’s trying to inspire us all to do with this short, poignant video, he expresses at the end of the video:

“One day, I hope to ignore my insecurities, set aside my doubts of fine art, have the backbone to push through all of those reasons why not. But most of all, one day I’d like to be as carefree as a child painting a page with delight. Because kids don’t worry themselves with the reasons why not. They throw paint at the page just to see what the colors do… cause, why not?”

Articles: Digital Photography Review (dpreview.com)

 
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How to photograph the August eclipse, and why you probably shouldn’t try

23 Jul

Essentially, it’s the ultimate photo challenge. On August 21st, photographers across the continental United States – and especially photographers within a 70-mile-wide band stretching from Oregon to South Carolina – will have no more than 160 seconds to get the shot of a lifetime.

Starting around 9am PT, the moon will pass in front of the sun, and a large swath of North America will be treated to a total eclipse. And if you ask anybody who knows anything about astronomy, it is a huge deal. Dr. Tyler Nordgren is such a man. He’s a professor of physics and astronomy, an award-winning photographer and a self-described Night Sky Ambassador. Here’s how he puts it:

“Half the people that are alive right now weren’t even alive the last time something like this was visible from the continental US. Secondly, there are 12 million people just living in the path of totality that are going to get the chance to see it, so it will be the most-viewed total solar eclipse probably in history.”

The most seen, most photographed, most shared, most tweeted – potentially the most people in total are going to be able to experience this in one form or another

Given that just about everyone in its path will have a camera in their pocket, he says it’s also likely to be the most photographed in history.

“The most seen, most photographed, most shared, most tweeted – potentially the most people in total are going to be able to experience this in one form or another.”

Hungary – My first eclipse photo that I took in 1999 superimposed on the stamp I bought there comemorating the eclipse by showing its path across the country. Photo and caption by Tyler Nordgren

But unless you’re a seasoned landscape photographer or astrophotographer, Dr. Nordgren thinks you might be better off not photographing it at all and just enjoying the view. He quotes Warren De la Rue, a pioneer of astrophotography. After becoming the first person to photograph a total eclipse “he wrote in his journal afterwards, that if he ever got the chance to see another one, he hoped to be able to see it without any equipment at all.”

In short, “See your first eclipse, photograph your second.” But if you’re unconvinced, Dr. Nordgren does have some advice.

Get ready

Preparation is key. Remember – 160 seconds. Of course, you’ll want a tripod and a cable release to lock everything down and minimize shake.

“If you really must photograph this, you’re going to want to practice a whole bunch of techniques in the weeks leading up so it’s as second nature as absolutely possible during those precious seconds.”

Protecting your eyesight and your gear is equally important. It’s only safe to point your eyes or your camera sensor directly at the sun during totality – a little bit before or after and you’re risking serious damage. He suggests a pair of solar eclipse glasses and a filter for your lens. Per NASA, your glasses should meet the ISO 12312-2 international standard.

Be sure to use both during partial phases of the eclipse – you risk damaging your eyesight, not to mention your camera, with just a pair of glasses and an unfiltered lens. Crucially, don’t forget to take off the filter during totality. You’ll be extremely disappointed with the results if you don’t.

Lensrentals recently posted a useful article detailing some specific settings to dial in if you plan on using a longer lens.

Pick a lens

What kind of lens should you use? Well, not surprisingly, it all depends on what you’re going for. If you want the sun as your main subject, you’ll obviously want a longer lens. “To really capture big detail in the corona and the object itself, you’ll want a lens with a focal length of around 500mm; between 400 and 600mm at least.”

But don’t forget that a total eclipse also presents a unique landscape photo opportunity. If you’d rather capture the eerie effect on the scene, a wider lens will produce excellent results too. It’s all a matter of personal preference.

Star Flyer – the 2013 eclipse as seen from the deck of a four-masted sailing ship racing across the Atlantic. Totality was 42 seconds long and I was on a quickly moving (and rocking) surface. Photo and caption by Tyler Nordgren

No matter what kind of shot you’re going for, you can size things up ahead of time by photographing a full moon.

“Something to keep in mind is that during totality the sun turns black, and is surrounded by this ghostly corona, so the spectacle of the object itself is this black disk with this white glow around it. That black disk is the size of the full moon, so take whatever your camera equipment is, take whatever your lens is and go out and photograph the next full moon. See if whatever size dot that appears. If that’s interesting to you, then great – that’s the lens to use.”

Get thee to the path of totality

If you’re set on photographing the eclipse and have the safety and gear requirements nailed down, all that’s left to do is get yourself into the path of totality for the big moment. Easy enough, right? Well, unless you’re lucky enough to live there, or you started planning your eclipse vacation years ago, chances are extremely slim that you’ll be able to find a campsite or hotel room in the path at this point. Your best bet is to find accommodations within a reasonable driving distance and set out as early as possible.

Ideally, you also want to aim for somewhere that’s less likely to have cloud cover. Dr. Nordgren knows all too well what a cloudy eclipse view looks like.

“If you’re going to do the close up photograph, you could be almost anywhere provided you’ve got clear skies. But I’ve also seen some really spectacular photos of totality through wispy clouds that give this dramatic view as well… just as long as you’re within that path of totality and the cloud cover is not so total that you’re utterly blacked out. And I’ve had that happen.”

This is the partial phase just a minute or two before totality in the Faroe Islands. Those clouds totally socked us all in 30 seconds before totality so we saw nothing. Photo and caption by Tyler Nordgren

If you’re hoping to get a wider shot, then great news: this eclipse will cross some of the most beautiful locations in the continental US. Provided you can get there, you can pretty much take your pick of landscapes. “What do you find compelling? Is it a hardwood forest like the Great Smoky Mountains, is it the big jagged peaks of the wind river range in Wyoming? Or being along the Oregon coast? It’s up to the photographer.”

And really, that’s what makes this such an incredible event.

“Everywhere from rocky shorelines in Oregon to snowcapped volcanic peaks in the Cascade range, to the deserts of Idaho and the mountains of Wyoming, the farmlands of Nebraska, the hardwood forests and the Mississippi river… you really have the entire breadth, literally, of the United States of America to capture this in.”

160 seconds – that is not a lot of time to see what I think is the most awe-inspiring, unnatural, natural experience in nature

Whether or not you can get to the path of totality, and whether or not you choose to photograph the event, you’ll still be treated to an amazing array of photos and videos from photographers across the US. And unless you’re dead set on photographing it, consider leaving the camera at home.

“If you haven’t seen a total solar eclipse, I encourage you, don’t waste your time photographing it. Chances are, somebody else will get a better photo. But if you are that kind of expert photographer, practice so that you can set your camera up and let it do its thing with as little input as possible, because 160 seconds – that is not a lot of time to see what I think is the most awe-inspiring, unnatural, natural experience in nature.”

Articles: Digital Photography Review (dpreview.com)

 
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40+ Free & Premium Lightroom Presets You Shouldn’t Miss

11 Feb

Presets can be a Lightroom user’s best friend. When you are editing hundreds or thousands of photos any time you can save in post processing is extremely valuable. Making use of presets is one of the best ways to streamline your workflow and save time in the editing process. You can either create your own presets, download free presets, or Continue Reading

The post 40+ Free & Premium Lightroom Presets You Shouldn’t Miss appeared first on Photodoto.


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Erez Marom: Why you shouldn’t always believe the forecast

11 Mar

Landscape photographer Erez Marom has taken photographs all over the world in all manner of locations, in all kinds of weather conditions. But whereas many landscape photographers are slaves to the weather forecast, Marom has learned that some of his best shots come from the most unlikely situations. Click through to read more, and see some stunning images

Articles: Digital Photography Review (dpreview.com)

 
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