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How to Make Natural-Looking HDR Images with Aurora HDR 2018

11 Oct

Aurora HDR 2018 is tremendously easy, fun software by Macphun, designed for processing HDR (High Dynamic Range) images. If you’ve been following popular contemporary photography for a while, you’ll know that dramatic HDR is no longer in style. It fell out of photography fashion as quickly as wine-lovers stopped drinking merlot. Knowing how to create natural-looking HDR images is a very practical tool to have in your wheelhouse though, so let’s take a look at how to do that with Aurora.

How to Make Natural-Looking HDR Images with Aurora HDR 2018 - ice cave

Realistic & Detailed Aurora HDR 2018 preset.

When do you need HDR?

If you’re shooting a location where there are very bright tones, along with very dark shadows, your camera probably won’t be capable of capturing exactly what your eye sees. If you bracket your images as you shoot, you can capture the entire dynamic range of the scene – every tone from very bright to very dark.

What is bracketing?

Bracketing means you shoot multiple images of the same thing, changing the exposure of each individual image. Most photographers choose to shoot between three and five images, though as few as two will work. Sometimes a situation requires seven or more. By bracketing your exposures this way, you generate the raw materials you need to use in Aurora HDR to create a final image that records all of the bright and dark tones your eyes saw.

How to Make Natural-Looking HDR Images with Aurora HDR 2018

My three bracketed images inside Lightroom.

Setting your camera up to bracket

First, attach your camera to your tripod, compose your scene and fine-tune your focus. Now, configure your bracketing. You can set the auto-bracketing feature (AEB) on your camera to shoot multiple images, approximately one to two stops of light apart, depending on the situation. The first image will be very light, or overexposed. The second image will be correctly exposed – or what your camera interprets as correct. The third image will be very dark or underexposed. Many photographers find three images to be effective, especially when they’re striving for a natural-looking HDR look but you can shoot as many as you think you’ll need.

How to Make Natural-Looking HDR Images with Aurora HDR 2018 - back of camera AEB on

Bracketing settings on a Canon camera.

NOTE: If you don’t have a camera with an auto-bracketing feature, don’t worry, you can bracket manually too. Create multiple exposures for each scene using your exposure compensation dial to increase and then decrease your exposure (make sure to use Aperture Priority and only change the shutter speed as altering the aperture will result in images that do not blend properly). It takes a little more time and patience while you are shooting but it’s worth trying if your camera doesn’t have an auto-bracketing feature.

How do you process the brackets?

After your shoot, upload your images to your computer just like you normally would. Aurora HDR runs as stand-alone software but if you’re a Lightroom user, it can be installed as a plug-in too.

Starting in Aurora HDR 2018

Double click the Aurora icon to open the software. Click the Open Image button.

Choose the folder where your images live and select them. Click Open.

How to Make Natural-Looking HDR Images with Aurora HDR 2018 - select files

The Aurora dialog box appears with your selected images. Click the Create HDR button.

Note: Tick off the “Alignment” checkbox if you think there was any movement of the camera between shots. The program will scan the images and attempt to align them. You can also click the little gear icon for additional settings like removing ghosting (subjects that moved from image to image).

How to Make Natural-Looking HDR Images with Aurora HDR 2018

Starting in Lightroom

Go to the folder containing the images you want to process in HDR. Click to select them. Right-click to bring up the menu. Select Export > Aurora HDR 2018 > Open Original Images. The Aurora dialog box appears with your selected images. Click the Create HDR button.

How to Make Natural-Looking HDR Images with Aurora HDR 2018

Note: If you made adjustments to your images in Lightroom, such as lens corrections, cropping, straightening, spot removal or noise reduction, instead of selecting Open Original Images, choose Use .TIFF with Lightroom Adjusters.

Aurora HDR’s Realistic Presets

Part of why I opened this article with the statement that Aurora HDR 2018 is both easy and fun is because of its presets. Along the lower part of the screen, just above the filmstrip, you’ll see a menu called Categories. Click on it to bring up the preset menu, then click on Realistic HDR.

How to Make Natural-Looking HDR Images with Aurora HDR 2018

My four favorite natural-looking Aurora presets live in this folder:

  • Realistic & Detailed
  • Realistic & Balanced
  • Realistic Bright
  • Realistic Neutral

These presets make my images look and feel the way the ice cave looked and felt when I was there. To me, recreating an image faithful to that memory is what natural-looking realistic HDR is all about.

How to Make Natural-Looking HDR Images with Aurora HDR 2018

Choose your favorite

The best way to choose your favorite Realistic HDR preset is to scroll all the way to the left on the filmstrip and then work your way right, clicking each one. As you select each preset, the larger image above the filmstrip will show you a more detailed preview of how each preset affects the look of your image. Once you find your favorite, it might look so perfect that all you might need to do is save it. Or, you might want to personalize the preset before you save. Here are a few tips on how to do that.

Modifying the Opacity

Let’s say that you love the Realistic & Detailed preset but it’s just a touch too much. The first – and easiest – way to modify its effect is to reduce the overall opacity of the preset. To do that, click on that preset in the filmstrip. Slowly shift the slider to the left, reducing the opacity, and lowering the effect (I often find that between 75-80 is the perfect amount). Save the image at this point if you are happy with it.

How to Make Natural-Looking HDR Images with Aurora HDR 2018

Another method of reducing opacity is layer-based. Look to the upper right corner of the Aurora HDR develop panel, just below the histogram. See where it says Layers? The Opacity adjustment slider for that layer is just below that. You can increase it or decrease it (each layer) there as well.

Fine-tuning the preset

If you’d like to use your chosen preset as a starting point, you can easily modify it. On the right-hand panel of the screen, in the editing panel, just below the Layers section, you’ll see a section called Filters. The first one is called HDR Basic which adds clarity, contrast, vibrance, and a bit of saturation. I’m calling this adjustment out specifically because it does so much to your image.

Just for kicks, push the HDR Enhance slider all the way to the right, so that it’s at 100. Your image is now the opposite of what most people consider natural-looking HDR. Next, adjust the slider to zero to get a feel for what this slider does to your image.

How to Make Natural-Looking HDR Images with Aurora HDR 2018

Realistic & Detailed Aurora preset, with HDR Enhance set to 100. Compare this to the lead image of the same ice cave, with the HDR Enhance set at 50. This image is quite a bit more contrasty, with sharper edges throughout.

Most of the Realistic presets are set below 50 for HDR Enhance. If you want to stay in a natural-looking range but your image needs a touch more pizazz, slowly move the HDR Enhance slider to the right until you reach the level that feels right to you.

Additional fine-tuning options

As you work your way through Aurora’s Filters, you’ll see additional options like Color, HDR Structure and Glow. The preset you’ve chosen dictates the setting of each Filter. But again, you can shift each slider individually to give your image more, or less, pop.

How to Make Natural-Looking HDR Images with Aurora HDR 2018

This HDR image was made from three exposures using the Realistic & Bright preset, set at an opacity of 80, with no other changes made.

To learn the effects of each tool, I suggest moving the sliders all the way to the right, so that the effect is at 100 and then doing the opposite, so the effect is at zero. Nine times out of ten I think the Aurora HDR design gurus have chosen the right level, and I leave the preset at its original amount. If you do choose to make a change just remember that if your goal is natural-looking HDR, a little Structure or Saturation can make a big shift in the appearance of your image.

Glow

Glow is an interesting option, giving images an almost Orton-like effect. While it’s a popular style option for many photographers right now, it’s not what I usually call natural-looking. In all four of my favorites, Realistic HDR presets, the Glow setting is set to 0. For ice cave images, 0 is the perfect amount but for some subjects, like this barn, a touch of Glow softened the natural look of this HDR image and made it feel more inviting.

How to Make Natural-Looking HDR Images with Aurora HDR 2018

This HDR image was made from three exposures using the Realistic & Bright preset, set at an opacity of 100, with Glow set at 15. Both are very small changes but compare this image to the one above. This one has a little more of a bright, dreamy feel while still looking natural.

While I probably sound like a broken record at this point, remember to move the slider just a touch to the right if you want your HDR image to have that natural, I-just-stumbled-on-this-gorgeous-vista-and-took-this-amazing-picture sort of look to it.

Top and Bottom Adjustment

The Top and Bottom Adjustment Filter is a “selective adjustment” meaning that, unlike global adjustments, it only affects parts of your image. If you have an image where the sky reads overexposed and is much brighter than the foreground, or conversely, where the foreground is dark and underexposed, adjust the image using this tool.

How to Make Natural-Looking HDR Images with Aurora HDR 2018 - top and bottom adjustments

This HDR image was made with the same three exposures using the Realistic & Balanced preset, at 80% opacity, plus a Top Adjustment of -5 Exposure, +5 Contrast and +15 Vibrance. I added a Bottom Adjustment of +10 Exposure and +5 Warmth. Of the three final HDR images, this one feels the most natural and faithful to the barn itself.

For this final version of the barn, after applying the Realistic & Balanced preset, at 80% opacity, I ultimately decided that the sky was a bit too light and the barn was a little too dark. I added a Top Adjustment of -5 Exposure, +5 Contrast, and +15 Vibrance. I also added a Bottom Adjustment of +10 Exposure and +5 Warmth. These adjustments help to enhance the sky and even out the overall exposure of the image.

Of the three, this version is my favorite. Which is yours?

Saving your image

Once you’ve completed all of your adjustments, it’s time to save your image. If you started in Aurora and want to create a JPEG or TIFF, select File > Export and then select the correct folder and rename the file as appropriate for your workflow.

If you want to create a native Aurora .mpaur2 HDR file, select File > Save and then select the correct folder and rename the file. This format saves the history (and any layers) as well and allows you to continue to go back in and make changes to your image.

How to Make Natural-Looking HDR Images with Aurora HDR 2018

Saving your image to your Lightroom Catalog

If you started in Lightroom, it’s a snap to save your image. After you finish processing your image in Aurora HDR, click the Apply button in the upper right corner of the interface. This saves and also catalogs your image in Lightroom. The new file name will end in AuroraHDR2018-edit.tiff.

How to Make Natural-Looking HDR Images with Aurora HDR 2018

Your Turn

Hopefully, you’ve been following along and processed a few images in Aurora as you were reading this article. Now take a minute to upload your best natural-looking HDR version. Share with the dPS community about how you created it using Aurora as well as any other tips or tricks you’ve discovered.

Disclaimer: Macphun is a dPS advertising partner.

The post How to Make Natural-Looking HDR Images with Aurora HDR 2018 by Lara Joy Brynildssen appeared first on Digital Photography School.


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A Guide to Creating Stunning HDR Images

27 Sep

The simple contrast between light and shadow can have a powerful effect on a photographic image. In fact, quite often you may find that contrast is what inspires you to photograph a particular scene or subject in the first place. Sometimes, however, the contrast of a scene exceeds the ability of your camera to contain all of that information. Fortunately, with the help of powerful software such as Aurora HDR 2018, you can transform a scene with high contrast into a stunning photographic image with tremendous detail. In this article, I’ll show you how it’s done.

Photographing the Scene

The first step in creating a high dynamic range (HDR) image is to capture a sequence of photos. Put simply, when you aren’t able to capture a single photo that includes detail in the darkest shadows and the brightest highlights of a scene, you’ll want to capture multiple exposures and blend them together with software such as Aurora HDR 2018.

Bracketed Exposures A Guide To Creating Stunning HDR Images

Most cameras include an automatic exposure bracketing (AEB) feature that can help streamline the process of capturing the several exposures which are needed to create an HDR result. If your camera only enables you to capture a bracket of three exposures, you can separate the exposures by two stops each. If you are able to capture a bracketed sequence of five or more photos you can separate the exposures by one stop each. It is highly recommended that you use the RAW capture mode for these exposures, to ensure there is maximum information available for creating your final image.

In most cases you will want to keep the lens aperture setting fixed, altering the shutter speed for each frame to adjust the exposure. This will help ensure consistent depth of field in the scene. The ultimate goal is to be sure that you have one exposure that is dark enough to include full detail in the bright areas of the scene, one exposure that is bright enough to include full detail in the dark areas of the scene, and exposures in steps of one or two stops to transition between the darkest and brightest exposures.

Creating the Initial HDR

There are two basic steps to creating a final HDR image. The first is to assemble the multiple exposures into a single image with a tremendous amount of information. The second is to perform what is referred to as “tone mapping” or translating the huge range of tonal and color values into the range of values available for a “normal” photographic image.

With Aurora HDR 2018, there are a couple of ways you can start the process of creating the initial HDR image. If you’re using other software such as Lightroom or Photoshop as the foundation of your overall workflow, you can employ Aurora HDR 2018 as a plug-in for these other software tools. The other option is to simply open the original captures directly from within Aurora HDR 2018.

Open your images

When you initially launch Aurora HDR 2018 you’ll see the “Open Image” button. You can click that button, or choose File > Open from the menu to get started. Note, by the way, that you could also take advantage of the “Batch Processing” option to assemble multiple HDR images in a single process.

Aurora Open Images - A Guide To Creating Stunning HDR Images

After selecting the option to open images, you can navigate to the folder containing the photos you want to assemble into an HDR image, and select those images. Then click the Open button to initiate the process of creating your HDR image.

The images you selected will then be presented as thumbnails so you can confirm which photos are going to be assembled into an HDR image. More importantly, however, you can adjust the settings for how the individual captures should be combined.

HDR options and settings

Almost without exception, you’ll want to turn on the “Alignment” checkbox. Even if you used a tripod when capturing the bracketed frames, it is possible that there was a tiny movement of the camera during the capture process. By having the Alignment checkbox turned on, Aurora HDR 2018 will analyze the contents of the images and fine-tune the positioning of each to ensure perfect alignment.

Aurora Initial Settings - A Guide To Creating Stunning HDR Images

Next, click the popup with the gear icon to adjust the settings for assembling your HDR image. If there was any movement of subjects within the frame, such as people or cars, or even trees blowing in the breeze, you’ll want to turn on the “Ghost Reduction” checkbox. In many cases having this option enabled can completely eliminate the “ghost” effect that results from objects moving within the frame from one exposure to the next.

Once you have turned on the “Ghost Reduction” checkbox, you can choose which exposure to prioritize by selecting it from the “Reference image” popup. In most cases, you will want to choose the image that would provide the best overall exposure if you hadn’t captured bracketed exposures in the first place.

You can also choose the strength setting for ghost reduction, depending on how much movement there was in the scene you were photographing. If there was minimal movement in the scene you can use the “Low” option. However, there are also settings for Medium, High, and Highest to help you achieve good results even when there was considerable movement within the scene you photographed.

Other settings

For many situations where you might employ HDR techniques, you may be photographing a scene with relatively low light levels. If so, you can turn on the “Color Denoise” checkbox to apply noise reduction to your original captures as Aurora HDR 2018 is processing them.

It can also be helpful to turn on the “Chromatic Aberration Removal” checkbox so that any color fringing that appears in the captures can be removed. This fringing is most common when using a wide-angle lens to photograph a high-contrast scene, but it can also occur with other lenses or photographic situations.

Once you have established the desired settings for the assembly of your HDR image, click the “Create HDR” button. Aurora HDR 2018 will then combine the multiple exposures you selected into a single high dynamic range result.

Presets and Beyond

Put simply, an HDR image contains a greater range of tonal information that can actually be displayed on a computer monitor or presented in a printed output. It is, therefore, necessary to translate that huge range of information into the range used for a normal digital photo. That process is referred to as “tone mapping”. Fortunately, Aurora HDR 2018 makes it easy to exercise considerable control over the interpretation of your image during this process.

One of the great features of Aurora HDR 2018 is the ability to use a variety of presets to quickly achieve the optimal look for your image. Even better, these presets are presented as thumbnails that provide an actual preview of the effect you’ll achieve with each preset. In other words, there is no guessing involved. You can browse the preset thumbnails, and easily find a good starting point for processing your photo.

Preset Categories - A Guide To Creating Stunning HDR Images

The presets are organized into categories, so you can start by clicking the “Categories” popup at the center of the thumbnail display at the bottom of the Aurora HDR 2018 interface. Choose a category from the popup (including an option to view all presets at once), and then browse the thumbnails to find a preset that looks good to you. To apply the effect, simply click on the thumbnail for the desired preset.

Adjust to your taste

Of course, the presets are merely a starting point in the process of optimizing your interpretation of the HDR image. You can still exercise tremendous control over the image with a variety of adjustments.

First, you can tone down the effect of the selected preset by reducing the strength with the “Amount” slider. As soon as you select a preset, you’ll see a slider on the thumbnail for that preset. Simply drag that slider to a lower value if you want to reduce the strength of the overall effect.

In addition, there is a wide variety of adjustment controls available on the right panel within Aurora HDR 2018. The preset you selected will have changed the value for many of these controls, but you can go far beyond the effect applied by that preset.

You will probably want to get started in the “HDR Basic” set of controls, where you can fine-tune the overall color and tonality of the image. For example, you can bring out more detail in darker areas of the image by increasing the value for Shadows. In the Color section, you can adjust the intensity of colors in the photo.

HDR Basic A Guide To Creating Stunning HDR Images

Many options available

You’ll then want to move on to some of the other powerful adjustments available. The HDR Structure section provides controls for enhancing the overall appearance of detail in the image. You’ll also find a variety of special effects available, including a polarizing filter effect, graduated adjustments to refine the top or bottom areas of the image, color tinting, dodging and burning, a vignette effect, and much more.

Be sure to also take a look at the Lens Correction and Transform controls available via a popup at the top of the right panel in Aurora HDR 2018. These enable you to correct for lens distortion as well as perspective issues caused by your position relative to the subject you photographed.

As you refine the settings for the many available adjustments in Aurora HDR 2018, you will likely find it helpful to see a “before” and “after” view of the image. You can click and hold your mouse on the “Quick Preview” button (the eye icon) at the top-center of the Aurora HDR 2018 interface to see the image without any adjustments applied. Then release the mouse to see the final effect. You can also enable the Compare view with the button to the right of the Quick Preview button.

Compare View A Guide to Creating Stunning HDR Images

Tone mapping a single image

By its nature, creating a high dynamic range image involves capturing multiple exposures and combining them into a single image with tremendous detail. However, the powerful adjustments available in Aurora HDR 2018 can also be used to improve the appearance of a single photo.

To use Aurora HDR 2018 to process a single image, you can simply open that image. Instead of selecting multiple exposures when you initiate the process of working in Aurora HDR 2018, you can select a single image. The overall workflow is exactly the same as when assembling an HDR image from multiple exposures, and all of the same adjustments are available.

So after getting familiar with the use of Aurora HDR 2018 to process a series of exposures into a single stunning HDR result, you can use the same basic process to apply similar adjustments to individual photos.

Single Image - A Guide to Creating Stunning HDR Images

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Don’t miss this opportunity to pre-order Aurora HDR 2018 with over $ 150 worth of bonuses, all for only $ 89. (For a limited time.)


Only the beginning

The ability to assemble multiple exposures into a single image containing a tremendous amount of detail and texture provides you with incredible creative control as a photographer. Aurora HDR 2018 provides a powerful solution for creating high-quality HDR images and creating unique interpretations of those images with a variety of features and effects.

In this article, you’ve learned the basic process of creating great HDR images using Aurora HDR 2018. But this is only the beginning. If you spend a little time exploring the many adjustments available within Aurora HDR 2018, you’ll be able to create stunning HDR images with ease.

Disclaimer: Machpun is a Paid Partner of dPS

The post A Guide to Creating Stunning HDR Images by Tim Grey appeared first on Digital Photography School.


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Getty Images bans Photoshopping models to look thinner thanks to French law

27 Sep

In 2015, France passed a law that will require some commercial images with a digitally retouched model to have a label notifying viewers about the alterations. That requirement will be effective starting October 1st, 2017, and Getty Images is preparing for that day with a policy change of its own.

Announced in an email that DPReview has acquired from a reader, Getty has updated its Creative Stills Submission Requirements to specify that it will no longer accept images of models whose bodies have been edited to look either thinner or larger.

The law doesn’t extend to minor digital edits, such as fixing skin blemishes, altering hair color, or altering nose shape; however, edits that change a model’s body shape require a disclosure. In response, Getty Images says that starting October 1st, photographers may not “submit to us any creative content depicting models whose body shapes have been retouched to make them look thinner or larger.”

Submitting this type of altered image will result in the photographer breaching both submission guidelines and their agreement with the company, Getty warns. The same change applies to iStock submissions, as well.

Magazines and other entities in France that use these altered photos without proper disclosure face a fine of up to €37,500 (~$ 45,000 USD).


DPReview has reached out to Getty Images for comment on the policy change, as well as clarification about how broad this change is, and what the company intends to do about the altered images already in its catalog. We will update the post if and when we hear back.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon D850: First full-res sample images

25 Aug

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_0724895971″,”galleryId”:”0724895971″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

Nikon Japan has released the first set of official sample images captured with the new Nikon D850. Unfortunately there aren’t RAWs, but they are full-resolution JPEGs shot in 14-bit RAW and converted to JPEG using Capture NX-D.

Given the D850’s beast of a 45.7MP sensor, even in JPEG the files are anything but small, ranging in size from 18MB all the way to 25.4MB. We can’t wait to get our hands on a production model and shoot our own sample gallery, but in the meantime these photos should give you a good idea of what the new full-frame camera can do in the real world.

And if you want to find out more about how the D850 camera handles, check out our hands on:

Hands On with the Nikon D850

Articles: Digital Photography Review (dpreview.com)

 
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19 Vibrantly Colored Crimson Images

20 Aug

Here are 19 really vibrant images featuring the color red for your visual stimulation.

Hope you enjoy them.

By liz west

By Bernard Spragg. NZ

By theilr

By Ivan Bandura

By Harsha K R

By jimpg2_2015

By Bernard Spragg. NZ

By VaMedia

By jasleen_kaur

By aotaro

By d26b73

By Mike Beales

By sean_hickin

By Visha~~AWAY..VERY BUSY

By Jim Lukach

By inthepotter’shands

By Sebastian Rieger

By Johan Neven

By coniferconifer

The post 19 Vibrantly Colored Crimson Images by Darlene Hildebrandt appeared first on Digital Photography School.


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19 Cool Images of Blue Subjects

13 Aug

A while back we took a look at images with the primary color of summer, green. Now let’s have a peek at the color of the night time – blue.

Of course, there are many other things which are blue as well, as you can see below.

By StudioTempura

By Albert Vuvu Konde

By O. R.G.

By Joao Clerigo

By Maarten Takens

By Bill Dickinson

By Roy Cheung

By nathan_gamble

By Mirai Takahashi

By Stanley Zimny (Thank You for 24 Million views)

By Neil Tackaberry

By Javier Díaz Barrera

By Neal Fowler

By Stanley Zimny (Thank You for 24 Million views)

By Maria Eklind

By Tom Roeleveld

By Michiel van Nimwegen

By Ivan Rigamonti

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17 Highly Detailed Images That Display Texture

08 Aug

I hope you enjoy this detailed image collection of subjects with a lot of texture. To capture texture in an image requires a few elements to come together – the right lighting, the right camera angle, and a good degree of image sharpness.

I’ll start you off with a couple of my own images, and then we’ll branch out to see what a few other photographers have done to capture texture with their cameras.

By Darlene Hildebrandt (shot in Havana Cuba)

By Darlene Hildebrandt (shot in Granada, Nicaragua) 

By JLS Photography – Alaska

By Nicholas Erwin

By ROBERTO CABRAL PHOTOGRAPHY

By Thad Zajdowicz

By Suzy Hazelwood

By Gabriel Caparó

By Sandy Sarsfield

By BriarCraft – crazy busy in July

By Kate Ter Haar

By XoMEoX

By Peyton Stanton

By Hernán Piñera

By Iain Merchant

By Marco Verch

By Alexander Day

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NASA will chase the August eclipse in jets to capture ‘clearest images of the corona to date’

03 Aug

It doesn’t matter where you’ll be during the August 21st solar eclipse, NASA plans to one-up you and capture a better photo—or at least a unique one. The space agency is actually going to chase the eclipse’s totality in two highly modified 1950s-vintage WB-57F jets, in order to capture the ‘clearest image of the sun’s […] corona to date,’ and the first-ever thermal images of Mercury.

The whole plan is detailed in the short video above, although we have to warn you, it might make you feel a little bit of gear envy—”if only I’d bought that Air Force surplus reconnaissance plane…”

Joking aside, the August 21st eclipse is a brilliant research opportunity, and NASA doesn’t plan to let it slip by unused. The two WB-57F jets have each been retrofitted with twin telescopes mounted on their noses. Using these telescopes, Amir Caspi of the Southwest Research Institute in Boulder, Colorado plans to capture “the clearest images of the Sun’s outer atmosphere — the corona — to date and the first-ever thermal images of Mercury.”

One of the WB-57F jets is readied for a test run at NASA’s Johnson Space Center in Houston. The instruments are mounted under the silver casing on the nose of the plane. Photo: NASA’s Johnson Space Center/Norah Moran

According to NASA, the jets will capture high-definition pictures at 30fps during the entire eclipse totality—which will last three times longer as the jets speed along, staying inside the moon’s shadow—from the stratosphere, avoiding interference from most of the Earths atmosphere. These photos will then be analyzed to determine why the sun’s atmosphere is so hot (millions of degrees), when the visible surface of the sun is significantly cooler (a few thousand degrees).

Before and after these observations, the scientists will also use the jets to try and capture the first-ever thermal images of Mercury—”the first attempt to map the variation of temperature across the surface of the planet.”

To find out more about this fascinating scientific (and photographic) mission, check out the video at the top or head over to the NASA website for a more detailed breakdown of what they’re looking to capture and why.

Articles: Digital Photography Review (dpreview.com)

 
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Beautiful images from the Astronomy Photographer of the Year 2017 shortlist

30 Jul

Astronomy Photographer of the Year 2017 shortlist

A Battle We Are Losing © Haitong Yu (China)

The Milky Way rises ominously above a small radio telescope from a large array at Miyun Station, National Astronomical Observatory of China, in the suburbs of Beijing. The image depicts the ever-growing light pollution we now experience, which together with electromagnetic noise has turned many optical and radio observatories near cities both blind and deaf – a battle that inspired the photographer’s title of the shot. The image used a light pollution filter (iOptron L-Pro) and multiple frame stacking to get the most of the Milky Way out of the city light.

The Royal Museums Greenwich has announced the shortlist for its ninth annual Insight Astronomy Photographer of the Year competition. Thousands of entries were received from over 90 countries; winners will be announced on September 14th.

Here are just a handful of the more than 130 images that made the shortlist – head to the Royal Museums Greenwich site to learn more about the competition.

Astronomy Photographer of the Year 2017 shortlist

A Brief Rotation of Mount Olympus © Avani Soares (Brazil)

A series photos of Mars taken between 1 June and 3 July 2016 showing Mount Olympus in three different positions. Mount Olympus also known as Olympus Mons is the tallest volcano in the Solar System. The features on the surface of Mars as seen from Earth change rapidly, as seen in the contrast between the central photo, made during the opposition (when Mars is at its closest to the Earth), and the photo on the left, taken 33 days later.

Astronomy Photographer of the Year 2017 shortlist

An Icy Moonscape © Kris Williams (UK)

A lone stargazer sits atop the peak of Castell-Y-Gwynt (Castle of the Winds) on Glyder Fach Mountain in Snowdonia, North Wales, beneath a starry night sky during freezing temperatures in mid-winter. The lunar-like landscape was formed through a process called freeze-thaw weathering: water seeps into cracks in the rock, freezing and expanding as ice forms, eventually cracking the rock over hundreds and thousands of years.

Despite the full cloud and fog on the night the photographer set up his one-man tent in the snow and began the long wait of 15 hours of darkness in -10°C temperatures but the sky clearing for a mere 20 minutes, was all the time needed to capture this shot.

Astronomy Photographer of the Year 2017 shortlist

Aurora over Svea © Agurtxane Concellon (Spain)

The purples and greens of the Northern Lights radiate over the coal mining city of Svea, in the archipelago of Svalbard. The earthy landscape below the glittering sky is illuminated by the strong lights of industry at the pier of Svea.

Astronomy Photographer of the Year 2017 shortlist

Beautiful Trømso © Derek Burdeny (USA)

The aurora activity forecast was low for this evening, so the photographer remained in Tromsø rather than driving to the fjord. The unwitting photographer captured Nature’s answer to a stunning firework display as the Northern Lights dance above a rainbow cast in the waters of the harbour in Trømso made for a spectacular display, but did not realize what he had shot until six months later when reviewing his images.

Astronomy Photographer of the Year 2017 shortlist

Crescent Moon over the Needles © Ainsley Bennett (UK)

The 7% waxing crescent Moon setting in the evening sky over the Needles Lighthouse at the western tip of the Isle of Wight. Despite the Moon being a thin crescent, the rest of its shape is defined by sunlight reflecting back from the Earth’s surface.

Astronomy Photographer of the Year 2017 shortlist

Eastern Prominence © Paul Andrew (UK)

A large, searing hedgerow prominence extends from the surface of the Sun on 29 August 2016. There are a number of different prominence types that have been observed emanating from the Sun, and the hedgerow prominence is so called due the grouping of small prominences resembling rough and wild shrubbery.

Astronomy Photographer of the Year 2017 shortlist

Fall Milk © Brandon Yoshizawa (USA)

The snow-clad mountain in the Eastern Sierras towers over the rusty aspen grove aligned perfectly in front of it, whilst our galaxy the Milky Way glistens above.

Astronomy Photographer of the Year 2017 shortlist

Ghostly Sun © Michael Wilkinson (UK)

The Sun photographed in Calcium-K light, depicting the star’s inner chromosphere. In the colour-rendering scheme used, the surface is shown as negative, with the sunspots as bright spots, but the area outside the limb is shown with increased contrast, highlighting a surge on the western limb, and several small prominences. Although the Sun is shown entering a quieter phase, a lot of activity is still taking place, illustrating just how dynamic our star is.

Astronomy Photographer of the Year 2017 shortlist

Hustle and Peaceful © Prisca Law (Hong Kong)

Taken from The Peak, the highest mountain on Hong Kong Island, the image shows the hustle and bustle of the city in contrast to the peaceful starry sky. The haze above the beautiful landscape reminds us that light pollution prevents us from enjoying an even more stunning sky view. Along the coastline the sharp, vibrant light signifies the fast-paced life of cities that many of us have become accustomed to.

Astronomy Photographer of the Year 2017 shortlist

Ignite the Lights © Nicolas Alexander Otto (Germany)

After a long hike from his small cabin to Kvalvika, Lofoten Islands in Norway, the photographer arrived at the slopes above the beach around midnight. During the hike the auroral display was relatively weak, but when he made it to the beach the sky ignited in a colourful spectacle of greens and purples framed by the mossy, green landscape. The image is stacked from six different exposures to combat high ISO and thermal noise in the foreground. The sky was added from one of these exposures.

Astronomy Photographer of the Year 2017 shortlist

ISS Daylight Transit © Dani Caxete (Spain)

The International Space Station (ISS) whizzes across the dusky face of the Earth’s natural satellite, the Moon, whilst photographed in broad daylight. Shining with a magnitude of -3.5, the ISS was illuminated by the Sun at a height of 9º on the horizon. Like the Moon, the ISS receives solar rays in a similar way during its 15 orbits of the Earth a day, making it possible to see it when the Sun is still up. This is a real shot, with no composite or clipping in the process.

Astronomy Photographer of the Year 2017 shortlist

Moon Rise Reflections © Joshua Wood (New Zealand)

An unexpected shot of the Moon rising over the glistening ocean off the Wairarapa coast, bearing a remarkable resemblance to the Sun. As the photographer was capturing the sunset over Castlepoint, he looked over his shoulder to see the Moon rising behind, reflecting off the wide expanse of the Pacific Ocean, and it became the new subject of his image.

Astronomy Photographer of the Year 2017 shortlist

Mr Big Dipper © Nicholas Roemmelt (Denmark)

A stargazer observes the constellation of the Big Dipper perfectly aligned with the window of the entrance to a large glacier cave in Engadin, Switzerland. This is a panorama of two pictures, and each is a stack of another two pictures: one for the stars and another one for the foreground, but with no composing or time blending.

Astronomy Photographer of the Year 2017 shortlist

Near Earth Object 164121 (2003 YTI) © Derek Robson (UK)

On 31 October 2016, Near Earth Asteroid 164121 (2003 YT1) made a close encounter with Earth at 3 million miles. This Apollo asteroid with an orbital period of 427 days was discovered by the Catalina Sky Survey on 18 December 2003. The photographer’s first attempt at imaging the asteroid was done with a camera on a fixed tripod, controlled by Astrophotography Tool software.

The asteroid moved so fast I could see it moving on the live screen. The negative image is a stack of 56 cropped images created using PIPP and Deep Sky Stacker software and was processed with IrfanView and Photoshop for scientific content rather than cosmetic appearance.

Astronomy Photographer of the Year 2017 shortlist

NGC 2023 © Warren Keller (USA)

Lying in the constellation of Orion, at a distance of 1467 light years from our planet is the emission and reflection nebula NGC 2023. Most often photographed next to the famous Horsehead Nebula, the photographer has instead given NGC 2023 the spotlight in order to try and bring out all of the wonderful detail seen across its diameter of 4 light years, making it one of the largest reflection nebulae ever discovered. Partner Steve Mazlin is the lead processor on this one for SSRO.

Astronomy Photographer of the Year 2017 shortlist

NGC 7331 – The Deer Lick Group © Bernard Miller (USA)

NGC 7331 is an unbarred spiral galaxy found some 40 million light years away from Earth, in the constellation Pegasus. Of the group of galaxies known as the Deer Lick Group, NGC 7331 is the largest, and can be seen dominating the image whilst the smaller galaxies NGC 7335, NGC 7336, NGC 7337, NGC 7338 and NGC 7340 drift above it.

Astronomy Photographer of the Year 2017 shortlist

Orion’s Gaseous Nebula © Sebastien Grech (UK)

Lying 1,300 light years away from Earth, the Orion Nebula is found in Orion’s Sword in the famous constellation named after the blade’s owner. The Orion Nebula is one of the most photographed and studied objects in the night sky due to the intense activity within the stellar nursery that sees thousands of new stars being created, which also makes it a relatively easy target for beginners. The nebula is thought to measure about 24 light years across and have a mass 2000 times that of our Sun.

Astronomy Photographer of the Year 2017 shortlist

Reflection © Beate Behnke (Germany)

The reflection in the wave ripples of Skagsanden beach mirrors the brilliant green whirls of the Aurora Borealis in the night sky overhead. To obtain the effect of the shiny surface, the photographer had to stand in the wave zone of the incoming flood, and only when the water receded very low did the opportunity to capture the beautiful scene occur.

Astronomy Photographer of the Year 2017 shortlist

Scintillating Sirius © Steve Brown (UK)

The seemingly pop art inspired canvas of the rainbow of colours exhibited by the brightest star in our sky, Sirius. These colours are obvious to the naked eye and more so through the eyepiece of a telescope, but are difficult to capture in an image. To do this the photographer had to somehow ‘freeze’ each colour as it happened by taking a series of videos at different levels of focus and then extracted the frames from each video to make up this composite image.

By capturing the star out of focus, the light from Sirius was spread out over a larger area, which resulted in the colours it displayed being more obvious. The image is made up of 782 different frames at different levels of focus. There is a single frame of a focused Sirius in the centre of the image.

Astronomy Photographer of the Year 2017 shortlist

Sh2-249 Jellyfish Nebula © Chris Heapy (UK)

Lying in the constellation of Gemini, IC443 is a galactic supernova remnant, a star that could have exploded as many as 30,000 years ago. Its globular appearance has earned the celestial structure the moniker of the Jellyfish Nebula. Pictured to the upper left of the Jellyfish Nebula is a much fainter background area of nebulosity, which is actually a large cloud of mostly molecular hydrogen gas and dust.. ‘The Jellyfish’ is a convoluted tangle of gaseous filaments rapidly expanding away from the initial explosion.

Professional observatory data shows that what we are actually seeing are two lobes superimposed on each other, but from this angle one appears as the head of the jellyfish (to the left) and the other lobe (to the right) as the dangling tentacles. It is illuminated by a few young blue embedded stars and criss-crossed by tendrils of dark dust clouds lying between us and the bright nebula.

Astronomy Photographer of the Year 2017 shortlist

Shooting Star and Jupiter © Rob Bowes (UK)

A shooting star flashes across the sky over the craggy landscape of Portland, Dorset, as the planet Jupiter looks on. The image is of two stacked exposures: one for the sky and one for the rocks.

Astronomy Photographer of the Year 2017 shortlist

Solar Trails above the Telescope © Maciej Zapior (Poland)

Taken with a solargraphy pinhole camera, the image charts the movement of the Sun over the Astronomical Institute of the Czech Academy of Sciences, Prague with an exposure of half a year (21 December 2015–21 June 2016). As a photosensitive material, regular black-and-white photographic paper without developing was used, and after exposure the negative was scanned and post-processed using a graphic program (colour and contrast enhancement).

The exposure time was from solstice to solstice, thus recording the solar trails above the telescope dome and the rainbow of colours of the trails are the result of the sensitivity of the paper changing as it is exposed to different temperatures and humidity.

Astronomy Photographer of the Year 2017 shortlist

Star Track in Kawakarpo © Zhong Wu (China)

The stars beam down on to the Meili Snow Mountains, also known as the Prince Snow Mountains – the highest peaks in the Yunnan Province, China. It is world-renowned for its beauty and is one of the most sacred mountains in Tibetan Buddhism. The moonlight striking the top of the mountains appears to give them an ethereal quality.

Astronomy Photographer of the Year 2017 shortlist

Starburst Galaxy M82 © Bernard Miller (USA)

The starburst galaxy M82, also known as the Cigar Galaxy, gleams five times brighter than our galaxy lies some 12 million light years away from Earth in the constellation of Ursa Major. In a show of radiant oranges and reds, the superwind bursts out from the galaxy, believed to be the closest place to our planet in which the conditions are similar to that of the early Universe, where a plethora of stars are forming.

Astronomy Photographer of the Year 2017 shortlist

Super Moon © Giorgia Hofer (Italy)

The magnificent sight of the Super Moon illuminating the night sky as it sets behind the Marmarole, in the heart of the Dolomites in Italy. On the night of 14 November 2016, the Moon was at perigee at 356.511 km away from the centre of Earth, the closest occurrence since 1948. It will not be closer again until 2034. On this night, the Moon was 30% brighter and 14% bigger than other full moons.

Astronomy Photographer of the Year 2017 shortlist

The Blue Hour © Tommy Eliassen (Norway)

The setting crescent Moon and Mars gaze over Saltfjellet, Norway as the Northern Lights appear to emanate from the snowy landsape. The Aurora Borealis were an unexpected guest in the shot as the Sun was only about ten degrees under the horizon meaning the early display came as a surprise.

Astronomy Photographer of the Year 2017 shortlist

The Lost Hour © Andrew Whyte (UK)

The radiant, concentric star trails seemingly spinning over a lone stargazer against the glowing purples and pinks of the night sky during the hour when the clocks ‘spring forward’ to begin British Summer Time. With time so intrinsically linked to celestial activity, a one-hour star trail seemed the perfect metaphor. Through the use of long exposures, the trails depict the rotation of the Earth on its axis centring on the north celestial pole, the sky moving anti-clockwise around this point.

Astronomy Photographer of the Year 2017 shortlist

The Road Back Home © Ruslan Merzlyakov (Latvia)

Noctilucent clouds stretch across the Swedish sky illuminating a motorcyclist’s ride home in this dramatic display. Noctilucent clouds are the highest clouds in the Earth’s atmosphere and form above 200,000 ft. Thought to be formed of ice crystals, the clouds occasionally become visible at twilight when the Sun is below the horizon and illuminates them.

Astronomy Photographer of the Year 2017 shortlist

Winter Ice Giant Uranus © Martin Lewis (UK)

The distant ice giant Uranus, the seventh furthest planet from the Sun, some 2.6 billion kilometres (at its closest) away from our own planet is entered into the competition for the first time. Found in the constellation of Pisces, here it can be seen surrounded by its five brightest moons: Ariel, Miranda, Umbriel, Titania and Oberon.

Taken on an exceptionally still night in late December, an infrared filter was used to further improve the viewing and to bring out the planet’s belt and cloud details. As the planet lies so far away and appears so dim to us on Earth, Uranus seems to be tiny at 3.7-arcseconds across.

Articles: Digital Photography Review (dpreview.com)

 
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Capitol Hill photographers asked to delete protest images, claim journalists

27 Jul
Photo by Phil Roeder, licensed under Creative Commons

Journalists photographing a protest in the US Capitol building report that they were told by Capitol Police to delete photos and videos of arrests. The events unfolded yesterday in the third floor Senate wing of the building as demonstrators protested the vote that would begin an effort to repeal the Affordable Care Act.

As police handcuffed and removed protestors from the hallway outside of the Senate chambers, journalists were reportedly told by police to stop taking photos, and were instructed to delete photos and videos they had captured.

Official policy for press in the Senate Gallery states that photography is indeed prohibited in that area. However, the ACLU spoke up to remind press that police may not force anyone to delete a photo or video without a warrant, no matter the circumstances.

Articles: Digital Photography Review (dpreview.com)

 
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