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See this year’s Astronomy Photographer of the Year winners

26 Oct

Insight Investment Astronomy Photographer of the Year 2018 winners

The Royal Observatory Greenwich has announced the winners of its annual astronomy photo competition. American photographer Brad Goldpaint’s Transport the Soul, a dreamy photo of the Milky Way and Andromeda galaxy hanging over Moab, Utah, took the People and Space category’s top prize and was named Overall Winner. A total of 31 winning images were selected across 11 categories – take a look at them here and visit Royal Observatory Greenwich’s site to get yourself ready for next year’s competition.

Transport the Soul © Brad Goldpaint (USA) – WINNER (PEOPLE AND SPACE) AND OVERALL WINNER
Interested in adding a ‘human element’ to his photographs, once the quarter moon rose and revealed the incredible, vast landscape of the shale hills below the viewpoint, the lone photographer, to the left of the frame, stood motionless while he captured this photograph. The Andromeda Galaxy, quarter moon, Milky Way Galaxy, and position of the photographer all combined to create a captivating, harmonious portrait of a night sky photographer at work.
Moab, Utah, USA, 20 May 2017
Nikon D810 camera, 14-mm f/4.0 lens, ISO 2500, 20-second exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

PEOPLE AND SPACE: Living Space © Andrew Whyte (UK) – RUNNER-UP
This is a single-frame image and not a speculative composite. Situated on a south-coast peninsula, this street falls within a part-night street lighting zone; when the lights go out, there’s nothing to interfere with the view of the stars until continental Europe- miles across the English Channel. The scene might be perceived incongruous or surreal and almost shows how accustomed we’ve become to the loss of night sky views due to light pollution. It was a conscious decision by the photographer to feature the unlit streetlamps, hinting how it might be possible to undo the damage and restore awe-inspiring views. Pagham, West Sussex, UK, 29 April 2017
Sony ILCE-7S camera, 28-mm f/2 lens, ISO 6400, 15-second exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

PEOPLE AND SPACE: Me versus the Galaxy © Mark McNeill (UK) – HIGHLY COMMENDED
This photograph was taken just after Christmas at the Sycamore Gap, Hadrian’s Wall in Northumberland and showcases the majestic winter Milky Way and the Andromeda galaxy. The temperature was about -4°C and the photographer arrived from Lancashire at 11am but had to wait till 2.30am for the Moon to set and for all the stars to be visible. Hadrian’s Wall, Northumberland, UK, 28 December 2017
Nikon D810 camera, 20-mm f/1.4 lens, ISO 5000, 10-second exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

AURORAE: Speeding on the Aurora lane © Nicolas Lefaudeux (France) – WINNER
A hazy, subtle auroral band is leisurely drifting across the sky providing an unusual perspective with faint bands appearing to radiate from a vanishing point, like a road disappearing over the horizon. As the aurora glided overhead, it made the photographer feel like he was driving a spaceship about to reach light speed toward the Big Dipper. This view lasted less than a minute.
Sirkka, Finland, 30 March 2017
Sony ILCE-7S2 camera, 20-mm f/1.4 lens, ISO 2000, 3.2-second exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

AURORAE: Castlerigg Stone Circle © Matthew James Turner (UK) – RUNNER-UP
This was the photographer’s first ever encounter with the aurora borealis in the UK. The Moon was bright enough to illuminate the foreground arena of standing stones perfectly and the aurora surfaced from behind the majestic mountains, giving the appearance that the hills themselves were emitting the ethereal green glow.
Keswick, Cumbria, UK, 7 November 2017
Sony ILCE-7R camera, 22-mm f/4 lens, ISO 1000, 30-second exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

AURORAE: Aurorascape © Mikkel Beiter (Denmark) – HIGHLY COMMENDED
The conditions to shoot an aurora that night were not ideal because of the bright Moon but the photographer managed to capture the breathtaking Aurora Borealis above the fjord in the gorgeous Lofoten archipelago, in Northern Norway. The small pool of water with rocks made the perfect foreground and a natural leading line into the frame.
Haukland Beach, Lofoten, Norway, 26 February 2018
Canon EOS 5DS R camera, 17-mm f/2.8 lens, ISO 2000, 8-second exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

GALAXIES: NGC 3521, Mysterious Galaxy © Steven Mohr (Australia) – WINNER
The spiral galaxy NGC 3521 is located around 26 million light-years away in the constellation Leo and presents complex scene, with enormous amounts of surrounding dust and stray stars glowing far out from its disk. Emerging from the photographer’s colour data was a bright array of contrasting colour tones, generated by aging yellow-red stars, younger burning aggressively blue-white stars, and various nebulae throughout the disk. This image comprises approximately 20.5 hours of exposure time, collecting data in various filter types.
Carrapooee, Victoria, Australia, 13 February 2018
Planewave CDK 12.5 telescope, Astrodon Gen II LRGB, Baarder H? lens at 2541 mm f/8, Astro Physics 900 mount, SBIG STXL-11000 camera, Luminance: 33 x 1200 seconds [11hrs], H?: 12 x 1200 seconds [4hrs], Red-Green-Blue: 450 x 12–18 seconds

Insight Investment Astronomy Photographer of the Year 2018 winners

GALAXIES: From Mirach © Raul Villaverde Fraile (Spain) – RUNNER-UP
This photograph is a mosaic of 24 images and depicts how the galaxies Messier 31 and Messier 33 appear symmetrically on either side of the star Mirach. Despite being the two galaxies closest to our own, they are still significantly further away from us than Mirach, which is a star within our own Milky Way. We can also see the two smaller satellite galaxies of M31, M32 and M110.
Ocentejo, Castilla-La Mancha, Spain, 14 November 2017
Takahashi FSQ 106ED telescope, Idas lps 2-inch lens, SkyWatcher Nq6pro mount, Canon 6D camera, 414-mm f/3.9 lens, ISO 1600, 24x30x400″ exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

GALAXIES: Fireworks Galaxy NGC 6939 – SN 2017 EAW © César Blanco (Spain) – HIGHLY COMMENDED
This image showcases the open cluster of stars NGC 6939 and the galaxy NGC 6949 with the stellar explosion of the supernova SN 2017 EAW. The data gathering for this image was carried out over a few different days and the photographer tried to obtain sharp details as well as some of the ‘foggy’ background light. The image depicts the great variety of objects we can observe in the Universe, a stellar explosion with an enormous diversity of the colours of the stars which depends on the temperature, a magnificent galaxy that can be seen directly face-on; the show of the supernova, a fantastic phenomenon which is produced not very often in our skies; and a dim nebula of IFN type in the background. Escobar de Campos, Castile and León, Spain, 18 June 2017
Takahashi FSQ 106ED telescope, Idas lps 2-inch lens, SkyWatcher Nq6pro mount, Canon 6D camera, 414-mm f/3.9 lens, ISO 1600, 24x30x400″ exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

OUR MOON: Inverted Colours of the boundary between Mare Serenitatis and Mare Tranquilitatis © Jordi Delpeix Borrell (Spain) – WINNER
Inverting the image is a legacy of deep sky imaging, where tenuous extensions of galaxies and nebulae can be more visible on a negative image because our eye more easily detects tenuous dark details on a white background. This is also useful in Moon imaging helping to reveal otherwise barely detectable soil features such as ray systems. Low contrast areas like the lunar seas and ray systems, look much more interesting because low contrast details are revealed and according to the photographer this is a new way for Moon exploration that should be considered.
L’ Ametlla del Vallès, Barcelona, Spain, 6 December 2017
Celestron 14 telescope, Sky-Watcher NEQ6 Pro mount, ZWO ASI 224MC camera, 4,200-mm f/12 lens, multiple 20ms exposures

Insight Investment Astronomy Photographer of the Year 2018 winners

OUR MOON: Earth Shine © Peter Ward (Australia) – RUNNER-UP
During a total solar eclipse the brightness of the solar corona hides details of the Moon to the human eye. But by layering multiple digital exposures in this image from 2 seconds to 1/2000th of a second, the photographer managed to reveal much more. The image showcases not just the brilliant solar corona, but the newest possible of new moons, seen here illuminated by sunlight reflecting off the Earth.
Jackson Hole, Wyoming, USA, 21 August 2017
Takahashi FSQ85 telescope, Losmandy Starlapse mount, Canon 5D Mark IV camera, 500-mm f/5 lens, 9 exposures ranging from ISO 100 to 900, 150 2-seconds through to 1/4000th second exposures

Insight Investment Astronomy Photographer of the Year 2018 winners

OUR MOON: From the Dark Side © László Francsics (Hungary) – HIGHLY COMMENDED
The photographer had planned to capture a high resolution image of the morning crescent Moon for a long time. The waning crescent Moon only rises high above the horizon of the Carpathian basin in autumn, but in this period of the year the weather is usually cloudy and rainy. Fortunately, in October 2017, an anticyclone wiped the area clear, which allowed the photographer to take a good resolution picture capturing the special atmosphere of the thin crescent in a glitteringly bright sky.
Budapest, Hungary, 10 October 2017
Homemade 250-mm f/4 Carbon Newton telescope, f/11, 250/1000 mirror lens, Skywatcher EQ6 mount, ZWO ASI 174 MM camera, 6250 mm f/4 lens increased to f/11, multiple 1/200-second exposures

Insight Investment Astronomy Photographer of the Year 2018 winners

OUR SUN: Sun King, Little King, and God of War © Nicolas Lefaudeux (France) – WINNER
In order to capture this mesmerising image, the photographer chose the area according to weather forecasts to make sure he would get a clear sky. The image shows the Sun corona in all its glory during the August total solar eclipse. It is flanked on left hand side by the blue star Regulus – the little King – and by the red planet Mars on the right. The many radial streamers of the solar Corona are a real crown for the Sun King and the corona can be traced almost to 30 solar radii distance. The total exposure duration of 100-seconds was recorded in more than 120 individual images and it is a setup consisting of both a fast f/1.4 lens, at full aperture to get as much signal as possible, and a large buffer camera at base ISO to avoid overexposure. The inner corona was recorded using a longer focal length setup.
Unity, Oregon, USA, 21 August 2017
AF-S NIKKOR 105-mm f/1.4E ED lens, Nikon D810 camera on an untracked tripod, 105 mm f/1.4 lens, ISO 64, multiple exposures of 0.3-second, 0.6-second and 1.3-second

Insight Investment Astronomy Photographer of the Year 2018 winners

OUR SUN: Coloured Eruptive Prominence © Stuart Green (UK) – RUNNER-UP
In this image the photographer managed to capture an eruptive prominence just hours after this active region produced a massive X9.0 class solar flare. Close to the solar limb and presented here in an inverted format (black to white) and colour enhanced to create a warm sunny glow, the photograph showcases the beautiful 3D structure within the hydrogen chromosphere. Captured in hydrogen alpha light at 656.3nm, the photographer used a 150mm solar telescope and monochrome machine vision camera to record a video sequence which was stacked to bring out the fine details and image processing techniques to produce colour and a backlit effect in order to enhance the spicule features around the solar limb.
Preston, Lancashire, UK, 9 September 2017
Home-built telescope based on iStar Optical 150mm f/10 lens, double stacked hydrogen-alpha filter at 5250 mm, Sky-Watcher EQ6 Pro mount, Basler acA1920-155um camera, 150-mm f/35 lens, multiple 0.006-second exposures as an AVI

Insight Investment Astronomy Photographer of the Year 2018 winners

OUR SUN: AR2673 © Haiyang Zong (China) – HIGHLY COMMENDED
AR2673 is a large sunspot group which formed in 2017. Clearly visible is the beautiful “rice grain” structure of the paler, outer regions of the sunspots.
Tongzhou, Beijing, China, 5 September 2017
Sky-Watcher DOB10 GOTO telescope, Optolong R Filter, QHY5III290M camera, 3,600-mm f/4.7 lens, ISO 160, 0.7ms exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

PLANETS, COMETS AND ASTEROIDS: The Grace of Venus © Martin Lewis (UK) – WINNER
Shortly before sunset, a slender and graceful Venus hangs low in the western sky, just 10 days before meeting the Sun at inferior conjunction. This is an infra-red image of that view, taken using a monochrome digital video camera mounted on a reflector telescope. The recording was processed to remove the blurring effects of our atmosphere and combine the video frames to create a single still image of the planet. The infra-red filter used on the camera helps steady the effects of atmospheric movement.
St Albans, Hertfordshire, UK, 15 March 2017
Home-built 444-mm Dobsonian reflecting telescope, Astronomik 807nm IR filter, Home-built Equatorial tracking platform, ZWO ASI174MM camera, 12.4-m f/28 lens, 6msec frame time, 5.3sec total exposure duration

Insight Investment Astronomy Photographer of the Year 2018 winners

PLANETS, COMETS AND ASTEROIDS: Parade of the Planets © Martin Lewis (UK) – RUNNER-UP
During the course of just one year the photographer managed to image surface details on every planet in our Solar System from his own back garden. At the start of the year, the photographer had captured distant Mars, eight months after opposition, sporting a tiny polar cap and dark features. Later on, he captured Venus, then Jupiter and Saturn. In September, the photographer had imaged details on the rocky face of Mercury for the first time and in November he recorded Uranus’s distinct polar region, making the set complete. The more challenging planets, Mercury, Uranus and Neptune, required IR (infrared) imaging to bring out surface details and have been colourised to match their more normal visual appearance. All images are displayed at the same relative size that they would appear through a telescope.
St Albans, Hertfordshire, UK, 1 November 2017
Home-built 444-mm Dobsonian Newtonian reflector telescope (Mercury used 222-mm Dobsonian), various IR filters for Uranus, Neptune, Mercury, Saturn (L). UV filter for Venus, home-built Equatorial Platform, ZWO ASI174MC/ASI174MM/ ASI290MM camera, various focal lengths f/12 to f/36, various exposures

Insight Investment Astronomy Photographer of the Year 2018 winners

PLANETS, COMETS AND ASTEROIDS: Comet C/2016 R2 Panstarrs the blue carbon monoxide comet © Gerald Rhemann (Austria) – HIGHLY COMMENDED
Still relatively far from the Sun, the comet’s well-developed ion tail shines bright in the night sky. Emission from unusually abundant ionized carbon monoxide (CO+) molecules fluorescing in the increasing sunlight is largely responsible for the beautiful blue tint. This is a median stack of the total event from 5p.m. until 11.12p.m and the comet’s magnitude was approx. 12.5 mag.
Eichgraben, Lower Austria, Austria, 19 January 2018
ASA 12-inch (300 mm) Astrograph telescope at f/3.62, ASA DDM 85 telescope mount, ASI ZWO 1600 MC colour CCD camera, exposure: RGB composite, 4.6-hours total exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

SKYSCAPES: Circumpolar © Ferenc Szémár (Hungary) – WINNER
The cold winter weather weaves a transparent blanket above the human settlements. If one rises above this coherent surface of mist, the colourful star trails can be brought together with the glowing lights of the cities. This extremely long capture sequence took half of the winter’s nights facing the clear northern sky as the circumpolar star Almach, also known as Gamma Andromedae, just touched the horizon.
Gatyatet?, Hungary, 17 February 2018
Minolta 80–200 f/2.8 telescope, tripod, Sony SLT-A99V camera, 135-mm f/2.8 lens, ISO 640, 50 x 300-second exposures

Insight Investment Astronomy Photographer of the Year 2018 winners

SKYSCAPES: Eclipsed Moon Trail © Chuanjin Su (China) – RUNNER-UP
On 31 January 2018, a spectacular total lunar eclipse occurred. The photographer set his camera for a four-hour stack exposure and after he took about one thousand images, he finally captured an image that reflects the changes of the Moon’s colour and brightness before, during and after the eclipse. The picture reminded the photographer of the Compliant Golden-Hooped Rod, which is the weapon of the Monkey King, who is described in ancient Chinese literature.
Zhangjiakou, Hebei Province, China, 31 January 2018
Sony ILCE-7RM2 camera, 17-mm f/4 lens, ISO 100, 950 x 15-seconds

Insight Investment Astronomy Photographer of the Year 2018 winners

SKYSCAPES: Midnight Glow over Limfjord © Ruslan Merzlyakov (Latvia) – HIGHLY COMMENDED
The dark summer sky in Denmark and the ideal weather on 22 May 2017 allowed the photographer to capture this magnificent orange glow over Limfjord, a beautiful place just five minutes away from where the photographer had lived for six years. The weather was so calm and quiet, which made the photographer think that time was standing still. Nykøbing Mors, Denmark, 22 May 2017
Canon EOS 6D camera, 14-mm f/2.8 lens, ISO 400, 10-second exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

STARS AND NEBULAE: Corona Australis Dust Complex © Mario Cogo (Italy) – WINNER
Under the dark Namibian sky, the photographer set his camera to a six-hour exposure in order to capture the CrA Molecular Complex, a large, dark and irregular area in the northern part of Corona Australis where we can see reflection nebulas NGC 6726-27-29, dark dust cloud Bernes 157, globular cluster NGC 6723 and other objects. Interestingly, there is a huge difference in distance: under 500 light years for the dust complex and 30,000 light years for the globular cluster.
Tivoli Southern Sky Guest Farm, Namibia, 18 August 2017
Takahashi FSQ 106 ED telescope, Astro-Physics 1200 GTO mount, Canon EOS 6D Cooling CDS Mod camera, 530-mm f/5 lens, ISO 1600, total 6-hours exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

STARS AND NEBULAE: Rigel and the Witch Head Nebula © Mario Cogo (Italy) – RUNNER-UP
The dark Namibian sky was the perfect location to capture the wonder of the Witch Head Nebula and Rigel. The Witch Head Nebula is a very faint molecular gas cloud which is illuminated by supergiant star Rigel, the seventh brightest star of the sky and the brightest star in the constellation of Orion.
Tivoli Southern Sky Guest Farm, Namibia, 20 August 2017
Takahashi FSQ 106 ED telescope, Astro-Physics 1200 GTO mount, Canon EOS 6D Cooling CDS Mod camera, 383-mm f/3.6 lens, ISO 1600, 1, 3 and 6 min, total 5 Hours exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

STARS AND NEBULAE: Thackeray’s Globules in Narrowband Colour © Rolf Wahl Olsen (Denmark) – HIGHLY COMMENDED
Almost 5,900 light years away, toward the southern constellation Centaurus, lies a large beautiful nebula known as the Lambda Centauri Nebula. The intense light from stars in a young open cluster cause the surrounding gas to glow with a magenta hue from emission lines of ionised Hydrogen atoms. In the centre of the image, is a group of Bok globules, which are dark, dense collapsing patches of gas and dust where new stars are frequently born. These were discovered by South African astronomer, A. David Thackeray, in 1950 and are now known as Thackeray’s Globules and are a favourite target for backyard astrophotographers. The largest globule is two separate clouds that overlap slightly. While they appear small in the context of the grand nebula, these overlapping globules are each 1.4 light years across and together they contain more than 15 times the mass of our Sun.
Auckland, New Zealand, 13 May 2017
Homebuilt 12.5-inch f/4 Serrurier Truss Newtonian telescope, Losmandy G-11 mount, QSI 683wsg-8 camera, 1,450-mm 12.5” f/4 lens, 14 hours and 40 minute exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

YOUNG ASTRONOMY PHOTOGRAPHER OF THE YEAR: Great Autumn Morning © Fabian Dalpiaz (Italy – aged 15) – WINNER
On an early Monday morning before taking an exam at school, the photographer decided to go out and take some images. Shooting on a 50mm lens the photographer got lucky and captured this incredible photograph of a meteor passing over the Dolomites. On the left side of the image the Moon is shining over the stunning landscape of the Alpe di Siusi with the autumn colours on the was illuminated only at 13.5 per cent.
Alpe di Siusi, Dolomites, South Tyrol, Italy, 16 October 2017
Canon EOS 5D Mark III camera, 50-mm panorama f/2.0 lens, ISO 6400, 8-second exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

YOUNG ASTRONOMY PHOTOGRAPHER OF THE YEAR: The Eta Carinae Nebula © Logan Nicholson (Australia – aged 13) – RUNNER-UP
The Eta Carina Nebula, or NGC 3372, is the biggest and brightest nebula in the sky and is located in the constellation Carina. It is mostly made out of hydrogen, created when the bright orange star mid-left went nova, spewing out large amounts of hydrogen gas which now emits light at the Hydrogen-alpha wavelength. The photographer took and stacked multiple shots and processed them in Pixinsight.
Heathcote, Victoria, Australia, 16 December 2017
Takahashi MT-160 telescope, f/4.8 reducer for MT-160, Celestron CGEM mount, Canon EOS 700D camera, 776-mm f/4.8 lens, ISO 800, 12 x 5 minute exposures

Insight Investment Astronomy Photographer of the Year 2018 winners

YOUNG ASTRONOMY PHOTOGRAPHER OF THE YEAR: Inverted Sun © Thea Hutchinson (UK – aged 11) – HIGHLY COMMENDED
This was the photographer’s first attempt at solar imaging and was from the observatory in her back garden in Wimbledon. She used her father’s solar scope and after following her father’s advice, the photographer beautifully captured our nearest star, the Sun. The picture is a mosaic of two stacked images that were merged in Photoshop CC, cropped and inverted. The final image was then converted to false colour.
London, UK, 24 September 2017
Lunt LS60 telescope, Celestron CGE Pro mount, ZWO ASI174MM camera, 1250 (500-mm with x2.5 Powermate) f/21 (f/8.3 x 2.5) lens, 2000 frames best 20% retained

Insight Investment Astronomy Photographer of the Year 2018 winners

YOUNG ASTRONOMY PHOTOGRAPHER OF THE YEAR: First Impressions © Casper Kentish (UK – aged 8) – HIGHLY COMMENDED
After a few days of cloudy skies the photographer finally got the chance to use his birthday present, a new telescope. The clouds were moving fast so there was not much time to capture the Moon. With the help of his grandfather who kept moving the telescope and trying to keep an iPad at the right position, he managed to capture this wonderful and artistic image of his first viewing of our Moon.
Ponthirwaun, Ceredigion, UK, 23 January 2018
SkyWatcher Skyliner 200 p, SkyWatcher 25mm wide angle, Dobsonian mount, Apple iPad 5th generation, 3.3-mm f/2.4 lens, ISO 250, 1/17-second exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

YOUNG ASTRONOMY PHOTOGRAPHER OF THE YEAR: A Valley on the Moon… © Davy van der Hoeven (Netherlands – aged 10) – HIGHLY COMMENDED
The photographer’s father taught him how to focus the telescope, capture and process the data. Once the telescope was set up the photographer started taking images of the surface of the Moon and even managed to capture more details than his father did in the past. Hendrik-Ido-Ambacht, Netherlands, 25 February 2018
Celestron C11 Schmidt Cassegrain telescope, Baader red filter, SkyWatcher NEQ6 mount, Imaging Resource DMK21 camera, 2,700-mm f/10 lens, 1/300-second exposure

Insight Investment Astronomy Photographer of the Year 2018 winners

SIR PATRICK MOORE PRIZE FOR BEST NEWCOMER: Galaxy Curtain Call Performance © Tianhong Li (China) – WINNER
This was the last opportunity in 2017 to see the silver core of the Milky Way before it sunk below the horizon. It was accompanied by the gradual curtain call of Scorpio heralding the upward trend of Orion in the sky. Meanwhile the season of bright shooting stars quietly arrived. The image is stitched together from a total of twenty pictures.
Ming’antu, China, 23 September 2017
Nikon D810A camera, 35-mm f/2 lens; sky: ISO 1250, 16 x 60-second exposures, total 16 pictures; ground: ISO 640, 4 x 120-second exposures, total 4 pictures

Insight Investment Astronomy Photographer of the Year 2018 winners

ROBOTIC SCOPE: Two Comets with the Pleiades © Damian Peach (UK) – WINNER
The image showcases a very rare conjunction of two bright comets both passing the famous Pleiades star cluster in Taurus at the same time. Comet C/2017 O1 (ASASSN) is at far left while C2015 ER61 (PanSTARRS) is in the centre. Both comets have strikingly different appearances. The whole region is embedded in the faint nebulosity of the Taurus Molecular Cloud. The photographer used a remote telescope located in Mayhill, New Mexico.
Remote Astronomical Society (RAS) Observatory, Mayhill, New Mexico, USA, 19 September 2017
Takahashi FSQ106 telescope at 106 mm, Paramount ME mount, SBIG STL-11000M camera, 530-mm f/5 lens, exposure: four LRGB frames, each frame 30 minutes each

Articles: Digital Photography Review (dpreview.com)

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This lens only existed for a minute and was made from a crystal clear iceberg

24 Oct

French photographer and YouTuber Mathieu Stern is known for his look at rare, vintage glass, but his latest lens might just top it all. While on Iceland’s famous “iceberg beach,” Stern fulfilled his dream of shooting photos and videos with a lens made of ice.

“Shooting photos using an ice lens [has been] my dream for almost 2 years. After some research I saw that almost no one ever tried this crazy idea, mainly because it’s hard as hell to find pure ice, and even harder to get a clear image,” says Stern in the video’s description. “So I had the choice to give up on my idea because it was too hard, or to just level up in the craziness […] If it’s hard to find pure ice in my city, maybe I should go where I could find some 10 000 year old pure ice — Iceland’s famous iceberg beach.”

The night before Stern and his friends were supposed to go to the beach, a “huge” storm went through and took all of the icebergs away from shore. So, they waited a few days and eventually went back three days later at 5am in the morning to get a chunk from one of the icebergs that had made its way to shore.

Stern says it took nearly six hours to create a single working ice lens, after four of them had broken inside of the housing. Every iteration, each of which took 45 minutes to make, was done so with the help of a Japanese cocktail ice ball maker, which Stern had hacked to form the piece of iceberg into a half-sphere.

The housing of the lens he created was 3D-printed, which held the continuously-melting piece of ice in place in front of Stern’s camera. As you could imagine, shooting with the lens was less than ideal. The lens lasted only a minute or so after it was completed and trying to focus as it was melting proved to be a challenge.

According to Stern, no cameras were harmed in the making of the video. As to whether or not he was happy with the result, Stern says “This project is a scientific, artistic and poetic project — I never imagined the result would look like the photos that comes from an ultra modern lens, but I was amazed by the strange beauty of the images I made with the first ever 10,000 year old lens.”

You can read Stern’s detailed account on the creation of the lens and see more of his work on his website.

Articles: Digital Photography Review (dpreview.com)

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Don’t wait for Holga – this battery-free Instax printer is already on the market

18 Oct

Toy manufacturer Tomy has announced the KiiPix, a battery-free smartphone printer that’s remarkably similar to the one Holga has been promoting through its Kickstarter campaign. The biggest difference between the two is that you can get the KiiPix today, rather than having to wait for a Kickstarter.

The KiiPix is designed very much like the Holga version, other than the pull-up bellows, and uses the same principles for copying the screen of your smartphone onto Fujifilm Instax Mini instant film.

To make a print, users are encouraged to turn up the brightness of their screen and place the smartphone face down on a frame supported by a fold-out stand. The shutter is tripped using a nearly identical side-lever mechanism as the Holga Printer, and a winding crank draws the film from the cassette through the exit slot to trigger development.

The only thing the KiipIx needs to print photos is a steady supply of Instax film. It collapses down to 135x55x175mm/5.3×2.1×6.88in to stow away easily in a bag for carrying around. The printer has been available since August, and retails for$ 40/£39. It comes in a range of colors depending on your region. For more information see the Tomy website.

PRINT PICTURES ANYTIME, ANYWHERE WITH KIIPIX

KiiPix from TOMY is the new and innovative smartphone printer that instantly prints your favourite photos straight from your smartphone to create lasting memories.

Unlike many instant cameras or photo-printing devices, KiiPix does not require batteries, an app or Wi-Fi to use; simply open up the device, place your smartphone on top, press the button and rotate the dial to print out your photo. KiiPix’s compact design means it’s easily portable so you are ready to print photos anytime, anywhere. It comes in three colours: cherry blossom, sky blue and jet black and at an affordable price point of £39.99 is guaranteed to appeal to the masses.

As the revival of retro inspired products becomes more prominent in both the fashion and technology industries, Kiipix is tipped to be the must-have lifestyle product for millennials, students and young women in 2018. From fashion, to gaming systems, to food, consumer trends show that nostalgic brands are resonating with millennials as they embrace old favourites.

There has been a huge surge in the popularity of instant photography in the last number of years as consumers turn to analogue camera equipment and discover the joy of print photography in this digital age. KiiPix combines both the new and the old, as users can capture and modify photos on their smartphones before instantly printing, retro style.

Kiipix will be supported with a strong digital and social media campaign, as well as being present at experiential consumer events; influencer marketing will also be central to the product launch.

KiiPix – SRP: £39.99
The innovative KiiPix device is light and compact, and collapses into a peggable closed box making it easily portable measuring at 135 mm x 55 mm x 175 mm. KiiPix comes in three colours, cherry blossom, sky blue and jet black. Available in August 2018. Suitable for 10 years plus.

All TOMY toys are cleverly designed to develop children’s core skills whilst they play. Manufactured to the highest standards, this collection of reliable toys continues to be a family favourite, building on the heritage and core values, which parents associate with TOMY. For more information on TOMY please visit www.tomy.com, become a fan at Facebook.com/tomy.toy.uk or follow us on @TomyToysUK.

Articles: Digital Photography Review (dpreview.com)

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PSA: This is what happens when a drone hits the wing of an airplane

10 Oct

The University of Dayton Research Institute (UDRI) has published a video showing the damage caused by a consumer drone when it strikes the wing of a fixed-wing aircraft. The test simulated life-like conditions, the end result mimicking the collision of a quadcopter with the wing of an aircraft at 238MPH / 383kph.

Despite weighing only 952g / 2.1lbs, the drone tore a large hole in the wing, ultimately causing damage to its main spar. UDRI’s group leader for impact physics Kevin Poormon said in a university release that the drone caused “significant damage” to the structure. Both the video and test results were recently presented at the Unmanned Systems Academic Summit.

The test follows decades of bird-strike research involving aircraft, the data necessary in a world where consumer drone numbers have skyrocketed. Talking about the topic, Poormon explained:

Drones are similar in weight to some birds, and so we’ve watched with growing concern as reports of near collisions have increased, and even more so after the collision last year between an Army Blackhawk helicopter and a hobby drone that the operator flew beyond his line of site.

Earlier this year, a video surfaced of a drone pilot operating their UAV directly above a passenger jet as it left McCarran International Airport in Las Vegas. Similar reports of reckless activity have surfaced in recent months, such as an investigation into a possibly drone-related helicopter crash earlier this year and a drone-plane collision in Canada late last year.

Articles: Digital Photography Review (dpreview.com)

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Adobe Portfolio – This Unsung Hero of Creative Cloud Could Save You Money

24 Aug

I have used Adobe Lightroom since version 4 in 2012. After upgrading to version 5 and 6 in the following years, have really grown to appreciate its workflow, comprehensive suite of editing tools and the digital asset management.

When Adobe switched to a subscription model for Lightroom and announced they would no longer offer the product as a standalone license, I started looking at other options because I didn’t want to be locked into a perpetual pricing model. I was already paying nearly $ 100/year for a website and as a hobbyist photographer with a family and a full-time job, the thought of paying another $ 120/year for Lightroom seemed crazy.

That is until I discovered Adobe Portfolio and had a complete change of heart.

Adobe Portfolio website landing page

A bit of background

In 2015 I got serious about doing photography work for clients. At that time, I recognized the need to have a professional easy-to-use website to attract clients and showcase my work. I tried a number of options before settling on Squarespace.

Their $ 96/year fee was entirely reasonable to me because it provided access to dozens of templates as well as a worry-free website I did not have to update or maintain like a self-hosted WordPress installation requires. I appreciated how easy Squarespace was to use as well as its rich set of features including blogging, podcasting, and even tools for buying and selling goods and services.

A few years later as I was investigating software options to replace Lightroom, I stumbled across Adobe Portfolio entirely by accident. I certainly never intended this barely-mentioned service to be the fulcrum on which my decision to subscribe to the Adobe Creative Cloud Photography Plan would rest!

The more I examined what Portfolio had to offer the more I realized that the subscription which includes Portfolio along with Lightroom and Photoshop would be ideal for my needs as a part-time photographer.

This is the homepage for my own Adobe Portfolio site. When users hover over one of the sections with their cursor it shows the name of that particular photo gallery.

While Squarespace handled all my website needs with aplomb, it also offered many things I did not use at all. Portfolio, on the other hand, is almost anemic by comparison but uniquely suited to fit the basic needs of most photographers.

It does not have all the options, tools, integrations, and flexibility of other platforms including Squarespace, Wix, Weebly, and WordPress. But as a photographer who just wanted a simple way to showcase my work, it fit the bill perfectly.

For me the choice was clear. I could sign up for the Creative Cloud Photography plan for only a few dollars more than what I was paying for my Squarespace website and get Lightroom, Photoshop, and a beautiful website that did everything I needed. I canceled my Squarespace account, signed up for Creative Cloud, and couldn’t be any more pleased with how things have worked out.

Start with a theme

If you have a Creative Cloud plan you already have access to Portfolio and you can get started by visiting myportfolio.com and entering your Adobe ID. After that, you begin the process of building your website by selecting a theme. Right away you may notice one of the significant shortcomings of Portfolio compared to other website services. There are only eight themes from which to choose. This dearth of options can be a source of frustration if you’re used to a myriad of themes on other platforms.

Adobe Portfolio themes

Some photographers might balk in horror at the idea of only having eight template options but I saw it as a way of streamlining my design approach. I couldn’t spend hours poring over different templates if I only had eight to choose from, so it only took me a few minutes to select one that suited my tastes just fine.

The templates do allow for some editing and customization but you are limited to the basic look and feel of how they are laid out. This approach is similar to how many mainstream website platforms operate and is well suited to photographers who would rather spend their time taking and editing pictures instead of poring over lines of HTML code.

It’s also worth noting that you can change templates at any time. So if you are not sure where to start you can just pick one that you like and begin editing with the freedom to change it later. I settled on the Mathias template but any of the eight options would work well for photographers who want a simple, pleasing, and functional website.

Lightroom Integration

The ace in the hole for Portfolio and a standout feature that allows it to really shine despite its lean feature set is the way that it integrates seamlessly with Lightroom. This is a huge boon for photographers who rely on Lightroom for their editing and digital asset management, and one of the big reasons it makes sense to consider Portfolio as a worthwhile website platform.

On the editing screen, there is a giant blue Add Content button which gives you access to four different options: Page, Lightroom Album, Gallery, and Link. Any photo collections in Lightroom CC, or those you have synced with Lightroom CC from Lightroom Classic CC, will show up as options when you click Lightroom Album. There is no need to export images and upload them individually. Choose Lightroom Album and the full Lightroom Web interface will load which will let you select any of the albums to be automatically displayed on your website.

You can also manually upload pictures via drag-and-drop interface but I found it much easier to manage images by loading them from Lightroom.

add content Adobe Portfolio

Editing Website Content

In addition to loading images directly from Lightroom, you can create content right from within Portfolio. This is useful if you want a few image galleries to showcase your work while also having elements like an About Me and pricing pages. Individual pages can contain blocks of text and images with captions, and elements can be re-ordered using a simple drag-and-drop interface. There’s even an option for inserting a Contact page which can contain many different fields that you are free to customize.

After creating a Page, Lightroom Album, or Gallery the ever-present floating menu lets you edit the unique characteristics of the element you just created. This floating menu took me a little while to get used to but now I don’t mind it at all.

My contact page using Portfolio.

It never really goes away but you can expand and collapse the panes and use the three horizontal lines at the top to move it around so it’s not in your way. While you can’t go so far as editing the actual CSS code you can make changes to things like background color, page header, and fonts.

It won’t take you long to get the hang of this workflow but you also may get frustrated at what initially feels like a criminal lack of options. As you poke around with the tools available you will likely hit some brick walls, just as I did, when you find out you can’t insert pull-quote text boxes, customize the appearance of individual blocks of text, or embed elements such as a blog feed. Slideshow options are limited as well, and this is where some people might hang their head in frustration and run back to WordPress with open arms.

However, keep in mind that the purpose of Adobe Portfolio is to offer a simple way for photographers to showcase their work. It’s not supposed to be a comprehensive all-in-one web publishing platform, and within the context of that framework, the limitations in terms of choices and options make a little more sense. You can add a custom logo, change the appearance of your pages, embed dozens of web elements, and even password-protect your site if you so choose.

site options box - Adobe Portfolio

Portfolio lets you use a custom domain name as well, and though this process is fairly straightforward it does add a little extra to the cost of the service. Portfolio nor Adobe cannot actually register your domain so you will need to go to a third-party site like Dreamhost, Hover, or Register to set it up. Most domain names cost about $ 15/year which isn’t much but it does bring the total cost to around $ 135/year when you add that to a Creative Cloud subscription.

setting up your page in Adobe Portfolio

The Happy Middle Ground

The entire idea of a website might seem like somewhat of an anachronism in today’s social media-saturated internet. Many photographers have elected to forego a traditional web presence entirely in favor of building a brand and following on social media.

The downside of this approach is that your audience experience can be tainted by design decisions and embedded advertising entirely beyond your control, and there are always going to be a subset of potential clients who choose not to engage on social media at all and will, therefore, miss out on the chance to view your work.

My family portrait gallery.

Websites might not have the shine and excitement that they once did but there are still plenty of good reasons to build and maintain your own presence on the internet. To that end, Adobe Portfolio offers a compelling set of features for literally no cost at all if you already subscribe to any of Adobe’s Creative Cloud plans.

If you don’t currently subscribe to Creative Cloud but do pay a third-party provider to host your website you might want to give Portfolio a second look. Think of it as paying about the same as you are now for a website, but with the added bonus of world-class photography software like Lightroom and Photoshop thrown in at no extra charge.

Adobe Portfolio options

Your opinion of Adobe Portfolio will likely depend on your needs for a website and your expectations of what Portfolio can offer. If you want an extensive do-everything website solution, Portfolio is going to fall short in many respects and you’d be better off with something like Squarespace.

But if you want a simple platform that lets you display your work for the world to see, in a manner that you choose, without any intrusive third-party advertising or corporate mining of your personal data, I can’t recommend Portfolio highly enough.

Rating: 5/5

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Hands-on with the Pentax HD FA* 50mm F1.4 (for real this time)

10 Aug

Hands-on with the Pentax HD FA* 50mm F1.4

The last time we saw the Pentax D FA* 50mm F1.4 it was an unfinished prototype at the CP+ show in Yokohama, back in March. Following some delays earlier this year (and a lot of patience from the Pentax faithful), it’s finally shipping, and is available now for $ 1200.

Check out our full gallery of samples from the Pentax HD FA* 50mm F1.4

Now that the finished article is in our hands and we’ve had some time to shoot with it and examine the results, we wanted to update our earlier impressions of this powerful lens, including some notes on image quality with the full-frame K-1 II.

Hands-on with the Pentax HD FA* 50mm F1.4

First announced last October, the HD Pentax-D FA* 50mm F1.4 SDM AW is a weather-sealed fast prime for the company’s full-frame DSLRs.

Optical construction consists of 15 elements in nine groups, including three anomalous dispersion elements and one aspherical. The combination of ‘Aero Bright Coating II’ and ‘HD coating’ is claimed to help reduce flare and ghosting in challenging lighting, while the ‘Super Protect’ coating keeps dust and moisture from adhering to the front element.

The 50mm F1.4 has nine rounded aperture blades, and a minimum focus distance of 40cm / 15.75″. The maximum magnification at the closest focus distance is 0.18x.

Hands-on with the Pentax HD FA* 50mm F1.4

The ‘D FA*’ label designates this as a flagship lens for Pentax, and it certainly feels like it. When we first handled the lens in prototype form back in March, we didn’t know its exact optical makeup but published schematics show exactly how much glass has been packed inside. It’s no surprise that the 50mm F1.4 is heavy (910g / 2lbs) and solid-feeling, and the K-1/II is no lightweight either. Despite its bulk though, the 50mm balances well on the K-1 II assuming you don’t mind the combined weight of the package.

Hands-on with the Pentax HD FA* 50mm F1.4

As you can see, the 50mm F1.4 is a big lens, even without the large hood attached. The only controls are an autofocus switch and a broad, nicely damped manual focus ring. The distance scale is likely to be appreciated by users preferring manual focus, and the lens can focus down to 0.4m or 15.75 inches.

Hands-on with the Pentax HD FA* 50mm F1.4

The 50mm F1.4’s ‘AW’ label stands for ‘all weather,’ which is made most visible by the bright red gasket on the rear of the lens. A number of other seals at key points in the body of the lens help protect against both dust and moisture incursion. We haven’t tested it, but in general our experience with high-end Pentax equipment in tough weather has been very reassuring.

Hands-on with the Pentax HD FA* 50mm F1.4

Ricoh claims that a newly developed SDM ring-type motor provides 7.5x as much torque as previous models, which makes sense given how much glass needs to be moved around inside the lens. Focusing is taken care of internally with a silent ring-type SDM motor, and though it isn’t what we’d call ‘lightning fast,’ it’s fine for most shooting. The K-1/II and 50mm combination definitely isn’t up to the task of tracking fast-moving kids around the frame, but after our in-depth testing of the K-1 II’s autofocus system, this didn’t come as any surprise.

In use, the most limiting factor about this lens is probably its sheer weight. Attached to a K-1 II, the total package weighs two kilos (~4.4 pounds) and that’s the kind of weight that can quickly become uncomfortable during shooting.

Hands-on with the Pentax HD FA* 50mm F1.4

Since the 50mm F1.4 makes use of an electromagnetic diaphragm, note that it is only fully compatible with recent DSLRs – specifically, the K-1 Mark II, K-1, K-3 II, K-3, KP, K-70, K-S2 and K-S1. The lens will mount on older cameras and work fine, but only at its maximum aperture setting of F1.4.

Hands-on with the Pentax HD FA* 50mm F1.4

Photograph by Wenmei Hill

The Pentax 50mm F1.4 is a pretty expensive lens (at $ 1200 it’s almost twice the price of the excellent Sigma 50mm F1.4, which is sadly not available for Pentax), but for many users of the company’s full-frame DSLRs, its performance could justify the cost. As far as sharpness is concerned, the HD 50mm F1.4 is up there with the best of its competitors, even when shot wide open.

It’s not perfect though. Longitudinal chromatic aberration (which is near-impossible to remove post-capture without some penalty) is a major factor in images shot at faster apertures. Look closely at the image above (taken at F1.8) and you can clearly see how the wire mesh in front of our subject is ringed with bright green fringes in the areas just beyond the zone of sharp focus and magenta fringes in the areas just ahead of the in-focus point.

Hands-on with the Pentax HD FA* 50mm F1.4

Photograph by Carey Rose

This is a another example (admittedly a stress-test) shot at F2.8. To see the issue at its worst, take a look at the area upper left (it might help to download the full-sized original). Unlike lateral CA, longitudinal chromatic aberration is very hard to correct in post-processing, especially in a scene like this.

Hands-on with the Pentax HD FA* 50mm F1.4

Photograph by Wenmei Hill

This is a more everyday subject (shot at F2.4, with flare slightly reducing overall contrast) and as you can see, longitudinal CA is much less objectionable. How and where it appears depends to a large extent on the content of your images, and overall the Pentax HD FA* 50mm F1.4 gives excellent performance. This shot is a good example of the very pleasant bokeh (free of common nasties like onion ring patterns in the out of focus highlight disks) that the 50mm F1.4 delivers at wide apertures.

Hands-on with the Pentax HD FA* 50mm F1.4

Photograph by Wenmei Hill

As well as pleasant bokeh, the 50mm F1.4 can also make really pretty-looking sunstars. This shot was taken at F16.

Hands-on with the Pentax HD FA* 50mm F1.4

So it’s big, it’s heavy and it’s very sharp. But is it worth $ 1200? That’s a hard question to answer, given the paucity of other options for Pentax full-frame users. Older Pentax primes are showing their age, and currently, third-party 50mm options for PK mount are non-existent. Right now, for Pentax users wanting a modern fast 50mm, the HD FA* 50mm F1.4 is the only game in town.

Speaking of third-party options, the Pentax HD FA* 50mm F1.4 is almost certainly an OEM product, and bears a striking external resemblance to the recently-released Tokina ‘Opera’ 50mm F1.4. This isn’t particularly significant (the Pentax 15-30mm F2.8 and 24-70mm F2.8 look suspiciously similar to Tamron-branded lenses, for example) and this kind of an arrangement makes sense given the relatively small market for Pentax full-frame glass.

Currently we don’t know much about the Tokina Opera beyond the fact that it will be available in Canon EF and Nikon F mounts (schematics and detailed specifications are yet to be released) but we’re interested to compare the two lenses as soon as we get a chance.

Check out our full gallery of samples from the Pentax HD FA* 50mm F1.4

Articles: Digital Photography Review (dpreview.com)

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Warning: Avoid This Scam Targeting Photographers

26 Jul

Over at All Things Photo, I’ve shared a video detailing a scam targeting photographers selling prints online. Also included in the video are 7 tips to avoid being scammed online. While the video is on the long side it’s worth a listen to protect yourself and learn the limitations of fraud protection with your bank and insurance companies. If you’re driving you can also listen to the podcast recording via the All Things Photo podcast.

If you haven’t already I welcome you to follow All Things Photo on YouTube, Twitter and Facebook.

The post Warning: Avoid This Scam Targeting Photographers appeared first on JMG-Galleries – Landscape, Nature & Travel Photography.

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Light reportedly has phones with ‘between 5 and 9 lenses’ due out later this year

03 Jul

In 2015, Light burst onto the photography scene with the introduction of the L16, a portable camera that promised ‘DSLR quality’ photos in a pint-sized package thanks to a unique design that featured 16 different lenses and sensors.

It wasn’t until 2017 that we were able to get a peek at the first full-res image samples. Since then, there hasn’t been a lot of positive feedback surrounding the functionality and image quality of the camera, but it seems they’re far from done working on its multi-camera setups.

According to a report from Geoffrey A. Fowler of The Washington Post, Light has shown off concepts and working prototypes of phones that include between five and nine lenses. ‘[Light] says its phone design is capable of capturing 64 megapixel shots, better low-light performance and sophisticated depth effects,’ says Fowler in the article.

We’re not exactly sure what Fowler means when he says ‘its phone design,’ as Light has never stated intentions of creating its own phone. What Light has said in the past is that it’s working with manufacturers to put its cameras and software into future devices.

In speaking to Wired in December 2017, Senior Vice President of Marketing and Product Design at Light, Bradley Lautenback, said ‘one manufacturer is already at work on a Light-enabled phone, and more are in the works.’

According to The Washington Post report, Light says ‘a smartphone featuring its multi-lens array will be announced later this year.’ There’s no word on what manufacturer it’ll be from, but considering Foxconn is an investor in Light, it wouldn’t be a surprise to see it from a company with ties to the Taiwanese manufacturer.

The list of smartphone manufacturers who are customers of Foxconn include: Apple, Blackberry, Huawei, Microsoft, Motorola, Xiaomi and others.

Articles: Digital Photography Review (dpreview.com)

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Amusement Parks to go to This Summer months months months

26 Jun

As summertime time approaches, quite a few vacationers pack up and head to a amount of of North America’s most well-known amusement parks. When hordes of thrill seekers head in to the domestic staples like Disney and Cedar Trouble, many of America’s best subject issue parks deliver different hours of spouse and youngsters entertaining with distinctive touches you will not routines within the mega-parks. Tourists in search of to improve up the Disney routine undoubtedly have to study out the subsequent amusement parks home page.

Indiana Seaside entrance front, Monticello, Indiana

Indiana Seaside entrance has every thing you can want along with the strategy park, which include things like thrilling rides also a h2o park, with distinct touches together with lake-front cabins and cottages, a boardwalk, in addition being a whole golfing schooling education class. In essence by far the most worthwhile portion is generally that Indiana beach is refreshingly affordable.

Knoebels, Elysburg, PA

Knoebels payments by alone as conventional subject matter make any difference park, showcasing free of charge of demand admission and fairly priced journey price ranges. This Pennsylvania strategy park has rides which will go on to help keep the many family and friends shoppers joyful, furthermore the park is harmless ample to permit additional mature tiny styles operate wild freely.

Storyland, Glen, New Hampshire

Nestled in New Hampshire’s White Mountains, Storyland will be the quintessential spouse or partner and youngsters amusement park. You’ll find much more than numerous sights for youthful youngsters, and almost all rides make certain it truly is feasible for additional mature individuals right now and kids to journey, so homes could potentially get satisfaction from jointly. Not similar to a large amount of overpriced matter parks, Storyland’s meals items and souvenirs are within your means.

The post Amusement Parks to go to This Summer months months months appeared first on Photonovice.

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This Photography Training is Guaranteed to Improve Your Photography [48 Hours Only]

18 Jun

Are you looking to give your photography a boost?

If so – for the next 48 hours we’ve got a bundle of training resources that you’ll want to snap up.

It’s the Ultimate Photography Bundle and it’s back for 2 days only.

The Short Story:

Here’s what you need to know about this bundle of photography training:

It contains 26 eBooks, 21 courses, 1 membership and 10 amazing tools
It is valued at just over $ 5000 USD
It is currently 98% off and yours for $ 97 USD
This offer disappears forever in less than 48 hours
There’s no risk – buy it today and if you’re not 100% satisfied Ultimate Bundles will refund the purchase

There’s so much covered in this bundle. There’s training on travel photography, landscape photography, black and white, portraits, post production, making money from photography and so much more.

Check out what’s included here but don’t delay because it’ll be gone in a snap.

Here’s how long is left:

There's not much time left! Enable images to see just how much time is left on the clock!

The Longer Story:

Earlier this year our friends at Ultimate Bundles released this Ultimate Photography Bundle and when we saw it we were quite amazed by what they’d included.

For example one of our writers – Gina Milicia – has her best selling ‘How to Direct and Pose Like a Pro‘ Course in the bundle. This is definitely one of the highlights of this bundle and one we’re very excited about because Gina is an accomplished photographer and brilliant teacher.

Gina’s course is normally priced at $ 297 – 3 times what you’ll pay for the full bundle which also gets you over 50 other resources including:

Light & Airy Lightroom Presets by Cole’s Classroom ($ 67)
The Essentials of Street Photography and Street Photography Conversations eBooks by James Maher ($ 19.95)
Colour Portrait Tools by Gavin Gough ($ 59)
Photoshop for Portrait Photographers by David Molnar ($ 197)
Easy Way Photography Photoshop Essentials Workflow by Adam Williams ($ 200)
Food Photography Behind the Scenes: Bright Food, Dark Shadows by Nicole Branan ($ 20)
Lighting 101: Foundation & Light Shaping by Pye Jirsa ($ 99)
Intentional Documentary: The Session Workflow for Documentary Family Photographers by Marie Masse ($ 149)
The Winning Creative’s Way by Christina Scalera ($ 997)
Our own dPS Essential Guide to Black and White Photography eBook ($ 19)

Everything I’ve mentioned already normally cost $ 2104 and we’re just scratching the surface of what’s included – see the full list of what you get here.

Don’t Miss It This Time

Many dPS readers picked up this bundle when it was first offered in February but we heard from quite a few of you that you missed out.

Thankfully Ultimate Bundles have brought it back one last time for a quick 48 hour flash sale.

This is the last time it’ll be offered so don’t miss out.

30 Day Happiness Guarantee

As I mention above – this bundle is covered by a 30 day happiness guarantee – so you can snap it up today before it’s gone and rest easy that if you don’t find it quite fits your need that the team at Ultimate Bundles is happy to refund your purchase price any time within 30 days of purchase.

dPS is proud to be involved in this Ultimate Photography Bundle as an affiliate and partner because we know it will help you to improve your photography.

Secure this bundle of great training here now before time runs out.

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