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  • Astronomy Photographer of the Year 2018 shortlist revealed

    Astronomy Photographer of the Year 2018 Shortlist

    AR 2665 and Quiescent Prominence. © ?ukasz Sujka (Poland)

    The sunspot AR2665 was one of the most active regions in 2017 on the right you can see a phenomenal quiescent prominence extending from our star, the Sun. This type of prominence lasts for a very long time and its structure is quite stable. The photo is a composition of two images: one of the magnificent prominence and one of the Sun’s surface. The surface is much brighter than the prominence so it is a negative to reveal details of Sun chromosphere (spicules and filaments).

    Budy Dlutowskie, Poland, 9 July 2017

    TS Individual 102/1100 telescope, etalon from Lunt50ThaPT+B1200+BelOptik ERF+TV barlow x2, Sky-Watcher NEQ6 Pro mount, ZWO ASI 178 MM-C camera, 1100mm f/11 lens, 10ms exposure

    Some of the best pictures of stars, planets and deep space have been revealed in the shortlist of the 2018 Astronomy Photographer of the Year competition. The annual contest is run by the Royal Observatory in Greenwich London, and is currently in its 10th year. Organizers say they received 4200 images from amateur, professional and young photographers in 91 countries.

    Entrants compete across eight categories for the top prize of £10,000 (approx. $ 13,000) while the under 16s stand a chance of winning £1500. Shortlisted and winning entries form part of a book of the completion, and an exhibition is held at the National Maritime Museum, also in Greenwich, London.

    The overall winner, and the winners of the Sir Patrick Moore prize for Best Newcomer and Robotic Scope Image of the Year, will be announced on 23rd October 2018.

    For more information see the Royal Museum Greenwich website.

    Press release

    ROYAL OBSERVATORY GREENWICH’s “INSIGHT INVESTMENT ASTRONOMY PHOTOGRAPHER OF THE YEAR 2018” SHORTLISTED IMAGES TO THIS YEAR’S COMPETITION SELECTED

    – WINNERS ANNOUNCED 23 OCTOBER 2018
    – EXHIBITION OPENS 24 OCTOBER 2018

    A mesmerising mosaic of the Great Orion and the Running Man Nebula, a magical scene of an Aurora Borealis exploding over the south coast of Iceland, a solar transit of the International Space Station between the massive sunspots AR 12674 and AR 12673; Royal Observatory’s Insight Investment Astronomy Photographer of the Year 2018 has received thousands of exceptional images once more. The competition, which is run by the Royal Observatory Greenwich sponsored by Insight Investment and in association with BBC Sky at Night Magazine, is now in its tenth year and continues to go from strength to strength, receiving over 4,200 spectacular entries from enthusiastic amateurs and professional photographers, taken from 91 countries spanning the globe. This year has also seen a phenomenal increase in entries from our aspiring young astrophotographers.

    Shortlisted images from this year’s entrants include a glorious Milky Way looming over a thunderstorm that lights up the sky, star trails sweeping over the extraordinary sacred altars in Inner Mongolia, a majestic image of deep space framed by the Breiðamerkurjökull, the glacial tongue that extends from the largest glacier in Europe, Vatnajökull.

    The range of subjects is not just limited to our planet. Photographers have also captured sights from across our Solar System, galaxy and the wider universe; from the second largest planet, Jupiter, which lies 746 million miles away from Earth when the two are closest and over a billion miles apart at their most distant; the striking and often overlooked Nebula NGC 2023, at 4 light years in diameter it is one of the largest reflection nebulae ever discovered; to the bright IC 342 also known as the ‘Hidden Galaxy’ that sits near the galactic equator, an obscure area with thick cosmic gas, bright stars and dark dust.

    The competition’s judges include renowned comedian and keen amateur astronomer, Jon Culshaw; Editor of BBC Sky at Night Magazine Chris Bramley; the Royal Observatory’s Public Astronomer, Dr Marek Kukula and a host of experts from the worlds of art and astronomy. The winners of the competition’s nine categories and two special prizes will be announced on Tuesday 23 October at a special award ceremony at the National Maritime Museum. This year’s and previous winning images will be displayed in a commemorative exhibition that will celebrate 10 years of outstanding astrophotography, at the National Maritime Museum from Wednesday 24 October. Winners and shortlisted entries will also be published in the competition’s official book, available on 24 October from bookstores and online. The awards ceremony can be followed live on Twitter #astrophoto2018.

    Website: www.rmg.co.uk/astrophoto
    Twitter: @ROGAstronomers
    Instagram: @royalmuseumsgreenwich
    Facebook: Royal Museums Greenwich
    Astrophotography Facebook Group: facebook.com/groups/astrophotos

    Astronomy Photographer of the Year 2018 Shortlist

    A Magnificent Saturn. © Avani Soares (Brazil)

    In high resolution planetary photography having a good view of a planet is a key factor but also completely out of a photographer’s control. In this image the photographer was lucky to capture our second largest planet, Saturn, in all its glory. After stacking 4,000 out of 10,000 frames we can admire details such as the beautiful polar hexagon, the Encke Division and even the crepe ring.

    Canoas, Rio Grande do Sul, Brazil, 29 July 2017

    Celestron C14HD Schmidt-Cassegrain telescope, Powermate 2X + Filter Baader UV-IR cut Celestron CGE Pro mount, ZWO ASI 290 MC camera, 7820 mm f/22 lens, stacked from 4000 frames

    Astronomy Photographer of the Year 2018 Shortlist

    Andromeda galaxy. © Péter Feltóti (Hungary)

    Andromeda Galaxy has always amazed the photographer. The dust lanes and bright star clusters in its arms, the emblematic galaxy shape of it, and the magnificent look of this great star city make it one of his most desired objects to photograph. This image was taken using a 200mm mirror and creating a three panel mosaic.

    Mez?falva, Hungary, 20 October 2017

    SkyWatcher 200/800 Newton astrograph telescope, SkyWatcher NEQ6 pro mount, Canon EOS 600D camera (modded), 800 mm f/4 lens, ISO 800, 3.79-second exposure

    Astronomy Photographer of the Year 2018 Shortlist

    Aurorascape. © Mikkel Beiter (Denmark)

    The conditions the night the image was taken were not ideal because of the bright moon lighting up the sky. The photographer managed to overcome this obstacle and capture the incredible Aurora Borealis above the fjord at Haukland in the gorgeous Lofoten archipelago, Northern Norway. The small pool of water with rocks made the perfect foreground and a natural leading line into the frame.

    Haukland Beach, Norway, 26 February 2018

    Canon EOS 5DS R camera, 17mm f/2.8 lens, ISO 2000, 8-second exposure

    Astronomy Photographer of the Year 2018 Shortlist

    Cave Man. © Brandon Yoshizawa (USA)

    Battling the light pollution in Malibu, California the photographer brilliantly framed our galaxy, the Milky Way, inside a sea cave, 25 miles away from the heart of downtown Los Angeles. In order to achieve this outstanding shot planning it ahead and waiting for the perfect conditions of low tide and clear skies was very important. The image required two exposures; one to capture the details of the dark cave and one for the Milky Way. Both exposures were taken back to back without moving the camera or changing the composition.

    Malibu, USA, 28 March 2017

    Nikon D750 camera, 14mm f/4 lens, ISO 1600, 119/1 exposure

    Astronomy Photographer of the Year 2018 Shortlist

    Mosaic of the Great Orion & Running Man Nebula. © Miguel Angel García Borrella and Lluis Romero Ventura (Spain)

    The Orion Nebula, also known as Messier 42, M42, or NGC 1976, is a diffuse nebula situated in the Milky Way, south of Orion’s Belt in the constellation of Orion. It is one of the brightest nebulae and is visible to the naked eye during a clear night sky. M42 is 1270 light years from our planet and is the closest region of massive star formation to Earth. It is estimated to be 24 light years across and it has a mass of about 2,000 times more than that of the Sun. This image is the result of the efforts of two astrophotographers using different equipment from their observatories. Located hundreds of kilometres away from each other, they chose the Orion Sword are as a common target to render.

    The software suites used in this image are Maxim DL, Pixinsight and Photoshop CC 2017. Àger, Monfragüe, Spain, 2 January2017 Astrodon LRGB Gen2 I-Series True-Balance telescope, Astrodon LRGB Gen2 I-Series True-Balance, Titan 50 Losmandy & ASA DDM85 mount, SBIG & Moravian STL 11000 C2 & G3-11002 camera, 2720mm and 2840mm f/6.8 and f/8 lens, 42 hours exposure

    Astronomy Photographer of the Year 2018 Shortlist

    Rigel and the Witch Head Nebula. © Mario Cogo (Italy)

    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, 385mm f/3.6 lens, ISO 1600, 1, 3 and 6 mins total 5 hours exposure

    Astronomy Photographer of the Year 2018 Shortlist

    The Eagle nebula. © Marcel Drechsler (Germany)

    The Eagle Nebula, also known as Messier 16, is a young open cluster of stars, surrounded by hot hydrogen gas in the constellation Serpens and lies at a distance of 7,000 light years from Earth. Taken at the Baerenstein Observatory in Germany, the photo is a RGB-Ha-OIII image and shows off the radiant red and blue colours of the nebula. In the centre you can spot the famous Pillars of Creation.

    Baerenstein, Germany, 9 August 2017

    Celestron RASA telescope, Baader narrow band filters, Celestron CGEpro mount, ZWO Asi1600mmc camera, 620mm f/2.2 lens, ISO 139, 10.5 hours exposure

    Astronomy Photographer of the Year 2018 Shortlist

    Thunderstorm under milky way. © Tianyuan Xiao (Australia)

    A glorious Milky Way looms over a thunderstorm that lights up the Florida sky. The photographer wanted to show the great contrast between stable (Milky Way) and moving (thunderstorm) objects in the sky.

    Perry, USA, 21 August 2017

    Canon EOS 5D Mark III camera, 25mm f/3.2 lens, 30/1 exposure

    Astronomy Photographer of the Year 2018 Shortlist

    Aurora Borealis on the coast of the Barents sea. © Michael Zav’yalov (Russia)

    From the city of Yaroslavl in Russia to the coast of the Barents Sea in the Arctic Circle, a party of three travelled 2000 kilometers to capture the magnificent Northern Lights. The photographer stayed in the village of Teriberka in the Murmansk Oblast district for five days. After four days of bad weather, with heavy snow and thick clouds the sky finally cleared on the last day and the Northern Lights appeared in all their glory.

    Murmansk/Teriberka, Russia, 28 February 2017

    Nikon D750 camera, 20mm f/4 lens, ISO 2000, 30/1 exposure

    Articles: Digital Photography Review (dpreview.com)

  • Astronomy Photographer of the Year 2018 shortlist revealed

    Astronomy Photographer of the Year 2018 Shortlist

    AR 2665 and Quiescent Prominence. © ?ukasz Sujka (Poland)

    The sunspot AR2665 was one of the most active regions in 2017 on the right you can see a phenomenal quiescent prominence extending from our star, the Sun. This type of prominence lasts for a very long time and its structure is quite stable. The photo is a composition of two images: one of the magnificent prominence and one of the Sun’s surface. The surface is much brighter than the prominence so it is a negative to reveal details of Sun chromosphere (spicules and filaments).

    Budy Dlutowskie, Poland, 9 July 2017

    TS Individual 102/1100 telescope, etalon from Lunt50ThaPT+B1200+BelOptik ERF+TV barlow x2, Sky-Watcher NEQ6 Pro mount, ZWO ASI 178 MM-C camera, 1100mm f/11 lens, 10ms exposure

    Some of the best pictures of stars, planets and deep space have been revealed in the shortlist of the 2018 Astronomy Photographer of the Year competition. The annual contest is run by the Royal Observatory in Greenwich London, and is currently in its 10th year. Organizers say they received 4200 images from amateur, professional and young photographers in 91 countries.

    Entrants compete across eight categories for the top prize of £10,000 (approx. $ 13,000) while the under 16s stand a chance of winning £1500. Shortlisted and winning entries form part of a book of the completion, and an exhibition is held at the National Maritime Museum, also in Greenwich, London.

    The overall winner, and the winners of the Sir Patrick Moore prize for Best Newcomer and Robotic Scope Image of the Year, will be announced on 23rd October 2018.

    For more information see the Royal Museum Greenwich website.

    Press release

    ROYAL OBSERVATORY GREENWICH’s “INSIGHT INVESTMENT ASTRONOMY PHOTOGRAPHER OF THE YEAR 2018” SHORTLISTED IMAGES TO THIS YEAR’S COMPETITION SELECTED

    – WINNERS ANNOUNCED 23 OCTOBER 2018
    – EXHIBITION OPENS 24 OCTOBER 2018

    A mesmerising mosaic of the Great Orion and the Running Man Nebula, a magical scene of an Aurora Borealis exploding over the south coast of Iceland, a solar transit of the International Space Station between the massive sunspots AR 12674 and AR 12673; Royal Observatory’s Insight Investment Astronomy Photographer of the Year 2018 has received thousands of exceptional images once more. The competition, which is run by the Royal Observatory Greenwich sponsored by Insight Investment and in association with BBC Sky at Night Magazine, is now in its tenth year and continues to go from strength to strength, receiving over 4,200 spectacular entries from enthusiastic amateurs and professional photographers, taken from 91 countries spanning the globe. This year has also seen a phenomenal increase in entries from our aspiring young astrophotographers.

    Shortlisted images from this year’s entrants include a glorious Milky Way looming over a thunderstorm that lights up the sky, star trails sweeping over the extraordinary sacred altars in Inner Mongolia, a majestic image of deep space framed by the Breiðamerkurjökull, the glacial tongue that extends from the largest glacier in Europe, Vatnajökull.

    The range of subjects is not just limited to our planet. Photographers have also captured sights from across our Solar System, galaxy and the wider universe; from the second largest planet, Jupiter, which lies 746 million miles away from Earth when the two are closest and over a billion miles apart at their most distant; the striking and often overlooked Nebula NGC 2023, at 4 light years in diameter it is one of the largest reflection nebulae ever discovered; to the bright IC 342 also known as the ‘Hidden Galaxy’ that sits near the galactic equator, an obscure area with thick cosmic gas, bright stars and dark dust.

    The competition’s judges include renowned comedian and keen amateur astronomer, Jon Culshaw; Editor of BBC Sky at Night Magazine Chris Bramley; the Royal Observatory’s Public Astronomer, Dr Marek Kukula and a host of experts from the worlds of art and astronomy. The winners of the competition’s nine categories and two special prizes will be announced on Tuesday 23 October at a special award ceremony at the National Maritime Museum. This year’s and previous winning images will be displayed in a commemorative exhibition that will celebrate 10 years of outstanding astrophotography, at the National Maritime Museum from Wednesday 24 October. Winners and shortlisted entries will also be published in the competition’s official book, available on 24 October from bookstores and online. The awards ceremony can be followed live on Twitter #astrophoto2018.

    Website: www.rmg.co.uk/astrophoto
    Twitter: @ROGAstronomers
    Instagram: @royalmuseumsgreenwich
    Facebook: Royal Museums Greenwich
    Astrophotography Facebook Group: facebook.com/groups/astrophotos

    Astronomy Photographer of the Year 2018 Shortlist

    A Magnificent Saturn. © Avani Soares (Brazil)

    In high resolution planetary photography having a good view of a planet is a key factor but also completely out of a photographer’s control. In this image the photographer was lucky to capture our second largest planet, Saturn, in all its glory. After stacking 4,000 out of 10,000 frames we can admire details such as the beautiful polar hexagon, the Encke Division and even the crepe ring.

    Canoas, Rio Grande do Sul, Brazil, 29 July 2017

    Celestron C14HD Schmidt-Cassegrain telescope, Powermate 2X + Filter Baader UV-IR cut Celestron CGE Pro mount, ZWO ASI 290 MC camera, 7820 mm f/22 lens, stacked from 4000 frames

    Astronomy Photographer of the Year 2018 Shortlist

    Andromeda galaxy. © Péter Feltóti (Hungary)

    Andromeda Galaxy has always amazed the photographer. The dust lanes and bright star clusters in its arms, the emblematic galaxy shape of it, and the magnificent look of this great star city make it one of his most desired objects to photograph. This image was taken using a 200mm mirror and creating a three panel mosaic.

    Mez?falva, Hungary, 20 October 2017

    SkyWatcher 200/800 Newton astrograph telescope, SkyWatcher NEQ6 pro mount, Canon EOS 600D camera (modded), 800 mm f/4 lens, ISO 800, 3.79-second exposure

    Astronomy Photographer of the Year 2018 Shortlist

    Aurorascape. © Mikkel Beiter (Denmark)

    The conditions the night the image was taken were not ideal because of the bright moon lighting up the sky. The photographer managed to overcome this obstacle and capture the incredible Aurora Borealis above the fjord at Haukland in the gorgeous Lofoten archipelago, Northern Norway. The small pool of water with rocks made the perfect foreground and a natural leading line into the frame.

    Haukland Beach, Norway, 26 February 2018

    Canon EOS 5DS R camera, 17mm f/2.8 lens, ISO 2000, 8-second exposure

    Astronomy Photographer of the Year 2018 Shortlist

    Cave Man. © Brandon Yoshizawa (USA)

    Battling the light pollution in Malibu, California the photographer brilliantly framed our galaxy, the Milky Way, inside a sea cave, 25 miles away from the heart of downtown Los Angeles. In order to achieve this outstanding shot planning it ahead and waiting for the perfect conditions of low tide and clear skies was very important. The image required two exposures; one to capture the details of the dark cave and one for the Milky Way. Both exposures were taken back to back without moving the camera or changing the composition.

    Malibu, USA, 28 March 2017

    Nikon D750 camera, 14mm f/4 lens, ISO 1600, 119/1 exposure

    Astronomy Photographer of the Year 2018 Shortlist

    Mosaic of the Great Orion & Running Man Nebula. © Miguel Angel García Borrella and Lluis Romero Ventura (Spain)

    The Orion Nebula, also known as Messier 42, M42, or NGC 1976, is a diffuse nebula situated in the Milky Way, south of Orion’s Belt in the constellation of Orion. It is one of the brightest nebulae and is visible to the naked eye during a clear night sky. M42 is 1270 light years from our planet and is the closest region of massive star formation to Earth. It is estimated to be 24 light years across and it has a mass of about 2,000 times more than that of the Sun. This image is the result of the efforts of two astrophotographers using different equipment from their observatories. Located hundreds of kilometres away from each other, they chose the Orion Sword are as a common target to render.

    The software suites used in this image are Maxim DL, Pixinsight and Photoshop CC 2017. Àger, Monfragüe, Spain, 2 January2017 Astrodon LRGB Gen2 I-Series True-Balance telescope, Astrodon LRGB Gen2 I-Series True-Balance, Titan 50 Losmandy & ASA DDM85 mount, SBIG & Moravian STL 11000 C2 & G3-11002 camera, 2720mm and 2840mm f/6.8 and f/8 lens, 42 hours exposure

    Astronomy Photographer of the Year 2018 Shortlist

    Rigel and the Witch Head Nebula. © Mario Cogo (Italy)

    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, 385mm f/3.6 lens, ISO 1600, 1, 3 and 6 mins total 5 hours exposure

    Astronomy Photographer of the Year 2018 Shortlist

    The Eagle nebula. © Marcel Drechsler (Germany)

    The Eagle Nebula, also known as Messier 16, is a young open cluster of stars, surrounded by hot hydrogen gas in the constellation Serpens and lies at a distance of 7,000 light years from Earth. Taken at the Baerenstein Observatory in Germany, the photo is a RGB-Ha-OIII image and shows off the radiant red and blue colours of the nebula. In the centre you can spot the famous Pillars of Creation.

    Baerenstein, Germany, 9 August 2017

    Celestron RASA telescope, Baader narrow band filters, Celestron CGEpro mount, ZWO Asi1600mmc camera, 620mm f/2.2 lens, ISO 139, 10.5 hours exposure

    Astronomy Photographer of the Year 2018 Shortlist

    Thunderstorm under milky way. © Tianyuan Xiao (Australia)

    A glorious Milky Way looms over a thunderstorm that lights up the Florida sky. The photographer wanted to show the great contrast between stable (Milky Way) and moving (thunderstorm) objects in the sky.

    Perry, USA, 21 August 2017

    Canon EOS 5D Mark III camera, 25mm f/3.2 lens, 30/1 exposure

    Astronomy Photographer of the Year 2018 Shortlist

    Aurora Borealis on the coast of the Barents sea. © Michael Zav’yalov (Russia)

    From the city of Yaroslavl in Russia to the coast of the Barents Sea in the Arctic Circle, a party of three travelled 2000 kilometers to capture the magnificent Northern Lights. The photographer stayed in the village of Teriberka in the Murmansk Oblast district for five days. After four days of bad weather, with heavy snow and thick clouds the sky finally cleared on the last day and the Northern Lights appeared in all their glory.

    Murmansk/Teriberka, Russia, 28 February 2017

    Nikon D750 camera, 20mm f/4 lens, ISO 2000, 30/1 exposure

    Articles: Digital Photography Review (dpreview.com)

  • 9 Recommended Accessories for Your New Sony a7R III or a7 III Camera

    The Sony a7 III is arguably the hottest and most popular full-frame DSLR on the market right now. It packs much of the power of Sony’s other full-frame powerhouses, the a9 and a7R III, into a camera that’s significantly more affordable.

    If you’ve added the Sony a7III (or the a7R III) to your camera kit recently, here are 10 accessories you might want to buy as well to help you capture better photos and/or videos.

    Side note: This article excludes specific lenses, flashes, and camera bags as recommended accessories since they’re hot topics in their own rights, but make sure you get some of those as well.

    Sony accessories 01

    1. Screen Protector

    Both the Sony a7R III and a7 III are certainly very solidly built. You probably won’t need to buy additional protective accessories to shoot in most conditions (unless, of course, you plan on shooting in extreme conditions).

    However, it’s a good idea to invest in a screen protector for the rear LCD screen. They’re cheap, relatively easy to apply, and they let you use Sony’s limited touchscreen functions. Just make sure to buy a screen protector that fits your camera model.

    2. SD cards

    Make sure you invest in at least a couple of SD memory cards to store your images in-camera. If you have multiple memory cards, a memory card wallet or holder is also great to keep them organized.

    Size-wise, bigger is better given the larger file sizes of these cameras, so consider getting 32GB or 64GB cards. If you plan to shoot 4K video or take advantage of your camera’s blazing fast frames per second shooting, make sure you choose memory cards with a high write speed, such as this SanDisk 64GB USH-II SD card.

    9 Recommended Accessories for Your New Sony a7R III or a7 III Camera - SD cards

    3. Camera strap

    Both the Sony a7 III and a7R III come with dedicated Sony camera straps. They get the job done but can be difficult to remove in a situation where you don’t want a camera strap in your way (ie. shooting on a tripod). Thus, many photographers opt to purchase third-party camera straps.

    The Peak Design Slide camera strap is especially popular right now since they have the ability to easily connect and disconnect from your camera as needed. Also worth checking out are Black Rapid camera straps, especially if you have two camera bodies and need a Double Camera Harness.

    Photographers looking for a more fashionable alternative may also be drawn to the HoldFast Money Maker camera strap, which is handmade from genuine or vegan leather.

    4. Lens filters

    Both the Sony a7 III and a7R III require detachable camera lenses that you have to buy separately. This article won’t discuss specific lenses, but no matter which ones you end up with, you should definitely have a UV filter for each of your lenses.

    Not only do UV filters minimize atmospheric haze, but they also protect the surface of the lens from scratches, dust, and most other external damage.

    Other handy photography filters include a polarizer and neutral density filter. These are especially applicable if you plan to shoot outdoors.

    9 Recommended Accessories for Your New Sony a7R III or a7 III Camera

    5. External hard drive

    Today’s cameras are packed with more megapixels and high-resolution video recording capabilities than ever before. While this can be a great thing for creatives, it can be a bane on your digital media storage. This is especially true if you have the Sony a7R III, which is capable of producing massive 42-megapixel images.

    To avoid filling up your computer, you’ll want at least one external hard drive, or ideally three total to make backups of your images after shooting. When selecting an external hard drive, consider getting a “tough” or version such as the LaCie Rugged Portable Hard Drive that will give you some extra protection, since hard drives can be notoriously easy to damage.

    9 Recommended Accessories for Your New Sony a7R III or a7 III Camera - computer and hard drives

    6. Spare batteries and a battery charger

    It’s somewhat arguable if these two accessories are needed. In case you haven’t heard, Sony drastically improved the battery life in the new Z-batteries that ship with the Sony a9, a7R III, and a7 III.

    In my experience with the A7rIII, these new batteries last as long as the ones that power the Canon 5D Mark III. I find that I rarely bust through a whole battery in a full day of shooting still photography. However, it’s always wise to carry a spare battery or two, just in case.

    As for the battery charger, you will probably need to buy one if you have the a7 III since that camera is reportedly not shipping with a battery charger in the box. Or, you can simply juice up your camera using the next recommended accessory.

    7. External battery charger

    One of the most refreshing parts about switching from a DSLR to a Sony mirrorless camera is the fact that you can charge your camera without removing the battery. Simply plug your camera into a wall outlet or external battery via the USB-C port to start charging.

    Best of all, you can operate your camera while it’s being charged! As far as external battery packs go, Anker makes stellar options such as this one that is slim and capable of charging not only your camera but also your cell phone.

    8. Tripod

    Most photography articles include a tripod as a definite “must-have” in your camera kit, but I think this is a very arguable accessory, especially as camera technology improves. If you plan to shoot architecture, real estate, products, or in low-light scenarios, you definitely need a sturdy tripod such as this beastly Manfrotto tripod that is huge, but rock solid.

    However, if you’re more of a run and gun shooter or looking for a more minimalist camera setup, you can get away with something like the Manfrotto BeFree travel tripod series, or even a GorillaPod.

    In particular, I’ve found the GorillaPod to be ultra convenient. It’s compact and flexible enough to throw into your bag and have it as an option to quickly stabilize your camera as needed (if at all). If you do get a GorillaPod, be sure to get the 3K or 5K option, as any smaller models are often not strong enough to support Sony a7 cameras, or DSLRs in general.

    Sony accessories - photographer with pack and tripod in the mountains

    9. Timelapse trigger

    If you’ve owned a previous model of Sony camera such as the a7R II or an a6000, you probably used the built-in Sony apps. These unlock a host of extra features such as built-in time-lapse.

    Unfortunately, Sony removed those apps from both the a7R III and a7 III cameras. That means you can’t easily do built-in time-lapses anymore. Fortunately, there are other options such as the MIOPS Smart Trigger.

    In Conclusion

    There you have it, nine recommended accessories (besides lenses, flashes, and bags) that you should get for your Sony a7 III or a7R III camera. Would you add any accessories to this list? Please let us know in the comments below.

    The post 9 Recommended Accessories for Your New Sony a7R III or a7 III Camera appeared first on Digital Photography School.


    Digital Photography School

  • 9 Recommended Accessories for Your New Sony a7R III or a7 III Camera

    The Sony a7 III is arguably the hottest and most popular full-frame DSLR on the market right now. It packs much of the power of Sony’s other full-frame powerhouses, the a9 and a7R III, into a camera that’s significantly more affordable.

    If you’ve added the Sony a7III (or the a7R III) to your camera kit recently, here are 10 accessories you might want to buy as well to help you capture better photos and/or videos.

    Side note: This article excludes specific lenses, flashes, and camera bags as recommended accessories since they’re hot topics in their own rights, but make sure you get some of those as well.

    Sony accessories 01

    1. Screen Protector

    Both the Sony a7R III and a7 III are certainly very solidly built. You probably won’t need to buy additional protective accessories to shoot in most conditions (unless, of course, you plan on shooting in extreme conditions).

    However, it’s a good idea to invest in a screen protector for the rear LCD screen. They’re cheap, relatively easy to apply, and they let you use Sony’s limited touchscreen functions. Just make sure to buy a screen protector that fits your camera model.

    2. SD cards

    Make sure you invest in at least a couple of SD memory cards to store your images in-camera. If you have multiple memory cards, a memory card wallet or holder is also great to keep them organized.

    Size-wise, bigger is better given the larger file sizes of these cameras, so consider getting 32GB or 64GB cards. If you plan to shoot 4K video or take advantage of your camera’s blazing fast frames per second shooting, make sure you choose memory cards with a high write speed, such as this SanDisk 64GB USH-II SD card.

    9 Recommended Accessories for Your New Sony a7R III or a7 III Camera - SD cards

    3. Camera strap

    Both the Sony a7 III and a7R III come with dedicated Sony camera straps. They get the job done but can be difficult to remove in a situation where you don’t want a camera strap in your way (ie. shooting on a tripod). Thus, many photographers opt to purchase third-party camera straps.

    The Peak Design Slide camera strap is especially popular right now since they have the ability to easily connect and disconnect from your camera as needed. Also worth checking out are Black Rapid camera straps, especially if you have two camera bodies and need a Double Camera Harness.

    Photographers looking for a more fashionable alternative may also be drawn to the HoldFast Money Maker camera strap, which is handmade from genuine or vegan leather.

    4. Lens filters

    Both the Sony a7 III and a7R III require detachable camera lenses that you have to buy separately. This article won’t discuss specific lenses, but no matter which ones you end up with, you should definitely have a UV filter for each of your lenses.

    Not only do UV filters minimize atmospheric haze, but they also protect the surface of the lens from scratches, dust, and most other external damage.

    Other handy photography filters include a polarizer and neutral density filter. These are especially applicable if you plan to shoot outdoors.

    9 Recommended Accessories for Your New Sony a7R III or a7 III Camera

    5. External hard drive

    Today’s cameras are packed with more megapixels and high-resolution video recording capabilities than ever before. While this can be a great thing for creatives, it can be a bane on your digital media storage. This is especially true if you have the Sony a7R III, which is capable of producing massive 42-megapixel images.

    To avoid filling up your computer, you’ll want at least one external hard drive, or ideally three total to make backups of your images after shooting. When selecting an external hard drive, consider getting a “tough” or version such as the LaCie Rugged Portable Hard Drive that will give you some extra protection, since hard drives can be notoriously easy to damage.

    9 Recommended Accessories for Your New Sony a7R III or a7 III Camera - computer and hard drives

    6. Spare batteries and a battery charger

    It’s somewhat arguable if these two accessories are needed. In case you haven’t heard, Sony drastically improved the battery life in the new Z-batteries that ship with the Sony a9, a7R III, and a7 III.

    In my experience with the A7rIII, these new batteries last as long as the ones that power the Canon 5D Mark III. I find that I rarely bust through a whole battery in a full day of shooting still photography. However, it’s always wise to carry a spare battery or two, just in case.

    As for the battery charger, you will probably need to buy one if you have the a7 III since that camera is reportedly not shipping with a battery charger in the box. Or, you can simply juice up your camera using the next recommended accessory.

    7. External battery charger

    One of the most refreshing parts about switching from a DSLR to a Sony mirrorless camera is the fact that you can charge your camera without removing the battery. Simply plug your camera into a wall outlet or external battery via the USB-C port to start charging.

    Best of all, you can operate your camera while it’s being charged! As far as external battery packs go, Anker makes stellar options such as this one that is slim and capable of charging not only your camera but also your cell phone.

    8. Tripod

    Most photography articles include a tripod as a definite “must-have” in your camera kit, but I think this is a very arguable accessory, especially as camera technology improves. If you plan to shoot architecture, real estate, products, or in low-light scenarios, you definitely need a sturdy tripod such as this beastly Manfrotto tripod that is huge, but rock solid.

    However, if you’re more of a run and gun shooter or looking for a more minimalist camera setup, you can get away with something like the Manfrotto BeFree travel tripod series, or even a GorillaPod.

    In particular, I’ve found the GorillaPod to be ultra convenient. It’s compact and flexible enough to throw into your bag and have it as an option to quickly stabilize your camera as needed (if at all). If you do get a GorillaPod, be sure to get the 3K or 5K option, as any smaller models are often not strong enough to support Sony a7 cameras, or DSLRs in general.

    Sony accessories - photographer with pack and tripod in the mountains

    9. Timelapse trigger

    If you’ve owned a previous model of Sony camera such as the a7R II or an a6000, you probably used the built-in Sony apps. These unlock a host of extra features such as built-in time-lapse.

    Unfortunately, Sony removed those apps from both the a7R III and a7 III cameras. That means you can’t easily do built-in time-lapses anymore. Fortunately, there are other options such as the MIOPS Smart Trigger.

    In Conclusion

    There you have it, nine recommended accessories (besides lenses, flashes, and bags) that you should get for your Sony a7 III or a7R III camera. Would you add any accessories to this list? Please let us know in the comments below.

    The post 9 Recommended Accessories for Your New Sony a7R III or a7 III Camera appeared first on Digital Photography School.


    Digital Photography School

  • Ricoh’s Theta Plug-in store is now live

    Ricoh has announced that its Plug-in Store for the Theta V 360 camera is now live, featuring plugins created by Ricoh, and others by third-party developers as part of the the Theta Plug-in Partner Program.

    The Store provides access to downloadable Plug-ins which will add various features to the Android-based Theta V, including wireless streaming, automatic uploads, and an automatic face blurring feature for anonymizing people captured in 360-degree imagery.

    Read our impressions of the Ricoh Theta V

    Press Release:

    RICOH THETA Plug-in Store Goes Live

    RICOH THETA V owners can now “customize” their 360-degree camera with new functionality via downloadable plug-ins from new online marketplace

    TOKYO, July 23, 2018 – Ricoh today announced the RICOH THETA Plug-in Store has gone live. The new, online marketplace makes available downloadable software plug-ins that provide new functionality for the RICOH THETA V fully spherical camera, such as wireless live streaming, remote camera control, automatic image uploads and much more. Starting today, plug-ins created by Ricoh and such organizations as Sony, NTT DOCOMO and HoloBuilder can be downloaded from the site.

    The plug-ins are being created by members of the RICOH THETA Plug-in Partner Program, which allows third-party developers to create their own Android™-based software plug-ins for the RICOH THETA V, a camera capable of capturing fully-spherical 4K-equivalent video and high-resolution still images. Based on the open-architecture Android operating system, the RICOH THETA V is unique among 360-degree imaging cameras in that its functionality can be further expanded by installing plug-ins.

    “The new THETA Plug-in Store helps us serve our customers with technology solutions that directly impact their bottom line,” said Mostafa Akbari, CEO of HoloBuilder, which joined the Plug-in Partner Program to build innovative, secure and user-friendly applications for the construction industry. “We are thrilled that Ricoh is providing this flexible, customizable system for developers to get 360-degree technology solutions out quickly and proud to announce our first RICOH THETA Plug-in: HoloBuilder 360 SiteStream. This is the world’s first 360-degree livestreaming application that helps general contractors and owners monitor construction site progress from a first-person perspective, in real time.”

    Ricoh kicked-off the RICOH THETA Plug-in Partner Program last month, with a website that provides easy access to tools and online support. Since then, many developers have joined the program, and five third-party plug-ins are currently available from the store. Three new plug-ins developed by Ricoh are also available.

    Ricoh intends to continue to add capabilities to the development environment to meet the needs of consumers and businesses.

    New Plug-ins created by third-party developers

    1. Device WebAPI Plug-in

    Developer:

    NTT DOCOMO, INC. (Development framework provider) (https://www.nttdocomo.co.jp/english/)

    GClue, Inc. (Application developer) (www.gclue.com)

    NTT DOCOMO has created new functionality for the existing WebAPI plug-in (developed by GGlue) that enables it to collect information from and control the function of the RICOH THETA V’s built-in sensor. The Device WebAPI Plug-in conforms to OMA GotAPI specifications, which builds a WebAPI on the RICOH THETA V device and enables function access via a common WebAPI on other devices such as smartphones.

    1. MESH plugin for RICOH THETA

    Developer: Sony Corporation (www.meshprj.com)?

    MESH is a platform of app-enabled smart triggers that can transform everyday objects into smart devices that can be controlled from a phone or tablet. The new MESH plugin for RICOH THETA enables direct control of the RICOH THETA V via a MESH block.

    1. EVRYPLACE Sync

    Developer: EVRYPLACE (www.evryplace.com)

    EVRYPLACE Sync allows for seamless uploads of images created using RICOH THETA V camera and the EVRYPLACE app. Using the plugin, individuals using the EVRYPLACE editor can get instant updates on their projects. They can choose 360 images on RICOH THETA V, open the EVRYPLACE app, and then upload these directly from the camera to their project. EVRYPLACE is ideal for real estate sales, delivery documentation, insurance documentation, training material updates and more.

    1. HoloBuilder 360 SiteStream

    Developer: HoloBuilder, Inc. (www.holobuilder.com)

    HoloBuilder’s 360 SiteStream plug-in gives construction companies 24/7 access to view construction sites in 360° through livestreaming (Livestreaming duration depends on usage environment). Users can set up a RICOH THETA V in mission-critical locations on a construction site and then remotely zoom into the project from anywhere to see what is going on in real time. The plug-in allows adding an infinite number of 360-degree livestreams. The plug-in is part of HoloBuilder’s reality-capturing solution, which enables integration of livestreams into existing HoloBuilder projects to combine all visual site documentation.

    1. Fita

    Developer: Everywoah (www.fita.io)

    Fita is a plug-in suite that enables RICOH THETA V owners to connect to Google Cloud Storage. As an onboard RICOH THETA V camera plug-in and a companion Android or iOS app for your device, Fita allows the RICOH THETA V to upload media to a connected Google Cloud StorageTM account for optimal workflow and team collaboration for 360-degree photo and video workflow over Wireless LAN.

    New Plug-ins from Ricoh

    1. Wireless Live Streaming: allows for wireless fully-spherical live-streaming on YouTubeTM
    2. Automatic Face Blur (Beta): provides facial recognition and enables faces to be blurred for privacy/security reasons
    3. File Cloud Upload: automatically uploads images saved on the RICOH THETA V to Google PhotosTM via a router

    You can learn about the other plug-ins that Ricoh is planning to upload in this web page:

    http://theta360.com/en/about/theta/v/roadmap.html

    Articles: Digital Photography Review (dpreview.com)

  • Leica Noctilux-M 75mm F1.25 ASPH: more fun than a Nissan Versa

    Leica: the crazy diamond of the photography world. In an industry increasingly dominated by dull moments, it’s always nice to see a company consistently doing something brightly, colorfully different. Even when – or maybe especially when – that company appears so gleefully unconcerned with what their peers (it doesn’t quite make sense to say competitors) are up to in the meantime.

    Noctilux-M F1.25 75mm ASPH key specifications

    • Leica M mount
    • Manual focus
    • Maximum magnification ratio: 1:8.8
    • Minimum focus: 0.85m
    • Optical construction: nine elements in six groups (two aspherical)
    • 67mm filter thread
    • Built-in extending hood
    • Length / Diameter: 91mm x 74mm (3.6 x 2.9in)
    • Weight: 1.05 kg (2.33 lb)

    Only Leica could have made the Noctilux-M F1.25 75mm ASPH – a manual focus prime lens that weighs more than a kilo and costs as much as a new car (no, really). Inevitably, a lot of the responses to our coverage of this lens so far (and indeed of pretty much all Leica hardware) focus on the price, but at this point, this mode of criticism misses the point. Yes, Leica stuff is expensive. It always has been. Sure, there are cheaper alternatives, and there always have been – see also: organic avocados, brand-name printer ink, fancy chocolate (you know the stuff by the self checkouts, in the fancy gold paper that mum likes, with the sea salt) and cars that aren’t the Nissan Versa.

    Using the 75mm F1.25 on the Leica M10

    The 75mm Noctilux is not an everyday kind of a lens. Designed for use with the company’s digital rangefinder cameras, for starters there’s the small matter of its focal length. 75mm has always been a bit of a weird fit for Leica’s rangefinders, occupying an awkward position between the long-established standard 50mm and 90mm focal lengths. Mounting a 75mm lens on a Leica rangefinder brings up the 50mm framelines, with 75mm indicated roughly by a dotted rectangle just inside them.

    Personally, I’m so used to ignoring the inner dotted lines when shooting with a 50mm that un-ignoring them when I actually want to shoot at 75mm is surprisingly difficult. Then again, I try to get into my apartment using my car keys at least once a week, so maybe you shouldn’t take anything I say too seriously.

    All of Leica’s rangefinder cameras since the M4-P of 1980 have included 75mm framelines, indicated by broken lines inside the main (outer) 50mm framelines. As you can see, the massive 75mm F1.25 blocks a large portion of the frame. This view shows the maximum occlusion, which occurs at the minimum focus distance of 0.85m, with the built-in hood extended.

    And then there’s the issue of viewfinder blockage. Regardless of the focus or hood position, as you can see from the picture above (taken through the viewfinder of an M10) the 75mm F1.25 obscures a very large portion of the frame, almost as far as the focusing patch. This is one of the reasons why Leica recommends the 75mm F1.25 should be used in live view mode, and preferably with the aid of the optional electronic viewfinders available for recent M-series digital cameras.

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    The other reason for using live view is focus accuracy. You can have the best technique in the world, but nailing focus on a short telephoto prime wide open at F1.25, with a rangefinder, isn’t easy. I did try Leica’s 2X screw-in magnifier, but it didn’t help my hit-rate much (and obviously it had no effect on the substantial viewfinder blockage).

    Shot in relatively dim conditions, I selected F2 for this portrait because I was having so much difficulty getting accurate focus at F1.25 using live view on a Leica M10. Critical focus is acceptable here, but it’s still a hair away from where I was aiming.

    Leica M10 | ISO 800 | 1/250 sec | F2

    Focus peaking and magnified live view don’t guarantee accurate focus, but they certainly make it easier. Even with these aids, however, the razor-thin depth of field and the sheer bulk of the lens both work against the rangefinder shooter. When taking photographs hand-held, it’s difficult to support the weight of the lens without shifting the focus ring. I’ve found that this often forces me into a loop of focus checking, recomposing, focus checking again, recomposing again (etc.). Especially when shooting portraits, the potential for slight subject movement adds yet another variable, and leads to yet more focus checking, recomposing, and checking again…

    The Leica 75mm F1.25 weighs more than a kilo and its wide diameter mean that the M10 can’t lie flat on its base with the lens attached. For these reasons the lens has its own tripod mount.

    Disabling automatic live view magnification helps avoid the need for constant recomposing, but the secret to accurate focus on an M10 with the 75mm F1.25 is bracketing: shoot a lot of photos, and bracket focus as you go. When you get a sharp result, trust me – the extra effort will have been worth it. Things are easier if you set up on a tripod, and the heavyweight 75mm Noctilux actually has its own tripod screw in the base, to avoid putting too much strain on the camera’s lens mount.

    Using the 75mm F1.25 on the Leica SL

    Despite being a native M-mount lens, the 75mm F1.25 handles very nicely on the SL. Arguably, in fact, it’s more pleasant to use on the larger, chunkier camera. Obviously the combination is heavier but the weight is better distributed, making the whole package feel balanced and notably less front-heavy than it does on the lighter (and grip-less) M10. Crucially, the SL’s large handgrip means that you don’t need to support the Noctilux’s weight entirely from the lens itself, which makes it less likely that you’ll accidentally nudge the focus or aperture rings when composing a shot.

    On the Leica SL, things get a bit easier, partly thanks to the substantial grip and DSLR-style handing of the larger camera. This portrait was shot hand-held at F1.25.

    Leica SL | ISO 100 | 1/4000 sec | F1.25

    The SL’s viewfinder makes for a better framing and focusing experience too, by virtue of the SL’s full-time live view and more DSLR-styled ergonomics. Leica’s M to L adapter is relatively slim, doesn’t add much extra weight and communicates the 6-bit code from the lens to the camera body just as it would on a digital M-mount camera.

    Image quality

    As far as the results are concerned, hopefully our gallery of sample images speak for themselves. Contrast across the frame is high and sharpness at F1.25 is pretty stunning. Longitudinal chromatic aberration is present if you go looking for it in areas where focus is just falling-off, (around the edges of my subject’s sunglasses in this shot is about as bad as it gets) but it’s generally inoffensive, and the bokeh at wide apertures is (I happen to think) delightful.

    Shot wide open on a Leica M10, this portrait demonstrates the 75mm Noctilux’s key selling-points: creamy smooth bokeh, great sharpness and razor-thin depth of field. There’s a hint of longitudinal chromatic aberration in our subject’s hair as it goes out of focus, but it’s far from objectionable.

    Photo by Wenmei Hill.

    Leica M10 | ISO 100 | 1/350 sec | F1.25

    While accurate focus at F1.25 is a challenge, the incredibly thin depth of field opens up creative possibilities foreclosed by the older, slower, but generally more practical 75mm F2 Summicron. You could shoot the Noctilux at F8 but what would be the point? If you’re prepared to pay this much for a lens you’ll probably want to shoot it wide open.

    Leica Noctilux-M 75mm F1.25 ASPH real-world samples

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    Personally, I don’t gravitate to medium telephoto lenses. I tend to shoot mostly at 35mm, often at 28mm, and sometimes at 50mm. I have a 90mm, which mostly (weirdly) gets used for landscapes and urban details. Using the 75mm F1.25 hasn’t converted me to that focal length by any means, but its rendition is so unique that while I might not have enjoyed some of the experience of shooting with it, I do feel that the results go some way to justifying the awkward handling.

    Ultimately, the 75mm Noctilux won’t be made in large numbers and it won’t be owned by many people. It isn’t a magic lens – there are plenty of excellent alternatives available for much less money, albeit of course for other systems. Leicaland is a different country, and one that will remain foreign for most photographers. But hey – it’s a fun place to visit, from time to time. Plus ça change, as the Germans don’t say.

    Regardless, it would be unfair to dismiss the Noctilux as a ‘stunt’ lens that exists only to show off the expertise of Leica’s optical and mechanical engineering. It’s more than that – and it’s priced accordingly.

    Articles: Digital Photography Review (dpreview.com)

  • How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    When you look at a white wall, how does it make you feel? Dingy? Cold? Warm and radiant? Modern? Sophisticated? Clean?

    White and light gray, sometimes referred to as “neutral tones”, are some of the most powerful colors in the spectrum. We can distinguish many shades of white, and bounced light from a neutral source influences the tint of every other color nearby.

    Neutral tones set the mood of an image more than any other colors. You’ve probably transferred a photo to your computer where the white balance was noticeably off: a night shot where everything was too green and cool, or an indoor photo that was orange. White balance is an easy fix in most photo editing software, but neutrals don’t end there: by tweaking them creatively, you can take your photos to the next level.

    Sella towers - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    What are the sources for neutral tones?

    It’s possible to have a photo without white and grays, but most of the time scenes are full of them. These are some of the more common sources in landscape photography.

    Clouds

    Those water-saturated cotton balls do a great job of reflecting light. On a sunny day they tend to be slightly warm, while storm clouds are a fantastic source for chilly gray tones. However, clouds are not a good source for neutrals when shooting after golden hour or before sunrise.

    Overblown sky

    When shooting after sunrise and before sunset, the sky will typically be overexposed if you properly expose the rest of the image. It’s not usually desirable, but in a few instances an overblown sky is a good source of white.

    Sass de putia - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    Water

    Lakes and shorelines are my favorite method to introduce strong neutral tones to landscape photos. You can use bodies of water to reflect an overcast sky, and along the coast, you can shoot a long exposure to blur the white foam from the waves.

    Both tend to create pure neutrals, so you can completely change the mood of an image with tiny adjustments.

    Man o war - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    Fog

    The most powerful way to introduce mystery and dreariness, fog is often the largest source of gray tones in your image.

    Hohenwerfen castle - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    Snow

    Winter photography enjoys the most magical source for neutral tones. Tinting snow just a bit cooler or warmer profoundly impacts the scene’s mood.

    Mount hood - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    Moon and stars

    When shooting astrophotography, the stars tend to cast a cold white light, and the moon a warmer light.

    Gimmelwald - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    Haystack rock - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    Architecture

    Man-made structures that ought to be white or gray such as; lighthouses, white-washed brick houses, winding gravel roads, and expansive castles — are often the subject of an image. Consequently, they make a compelling neutral source.

    South stack lighthouse - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    Why are neutral tones important?

    Out of the camera, even after editing, your neutral tones may not really be neutral. They may be heavily tinted. Introducing off-white into your neutral sources is an important technique for crafting compelling edits.

    Keep in mind that the viewer will expect those subjects to look neutral, so if you push the white balance too far or don’t balance the warms and cools, it will begin to look over-edited. A tiny change in neutrals has 10 times the power of changing your colors and blacks.

    So, in general, start with subtle adjustments and revisit the photo often under different lighting conditions. Some of the most common ways to pollute neutral tones are:

    • Pushing saturation or vibrance.
    • Over-saturating an image shot at a high ISO.
    • Shifting the white balance too far from pure white to bring out colors in the sky or a dark foreground.

    With those caveats in mind, here are four ways your neutral tones can support the rest of the image.

    Strumble head lighthouse - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    1. Neutral tones root an image’s color palette

    With strong neutrals, viewers can believe almost any edits in an image: sunsets that pop, overly blue skies, or glassy teal water. But the moment you introduce color into an element that should obviously be white or light gray, the image’s believability disintegrates.

    This is why split toning is rarely a magic pill for making a great photo. Toning the highlights and mid-tones often ends up tinting your neutral sources.

    The foam in this shot of Spirit Falls (below) is pure white, but the rest of the image has been significantly warmed and tinted green to bring out the beautiful colors. The contrast between the pure white foam and warm greens creates the impression that the water is refreshingly chilly.

    Spirit falls - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    2. Neutral tones help you resurrect the colors you remember

    After shooting a stunning sunset, it can be disappointing to open the RAW image in your editing software and find that the colors are missing. In most cases, the detail and colors are there, but it’s up to you to revitalize them. Neutral tones will help.

    Start by identifying elements in the photo that ought to be white or gray, then adjust white balance and tint accordingly. This will give you a great starting point.

    It may still be underwhelming, but now that your neutrals are about right, start selectively bumping the saturation, temperature, and tint on the colorful subjects in your composition. You might add a graduated filter to the sky portion of the image and warm or cool it to help them pop.

    Roads end - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    Sunsets create a powerful contrast between the warm sky and cool shadows. The image of Road’s End above is primarily cool since the most of the image is in shadow.

    However, the sea foam reflects both the warms and cools, so in post-production, I played with the global white balance until both tones came out. Afterward, I introduced a strong magenta cast to bring out the pinks in the sky and foreground.

    3. Neutral tones set the overall mood

    In reality, neutral tones are rarely neutral. By slightly tinting neutrals, you can communicate aspects of the scene. Here are some examples.

    Time of day

    Night photography is typically cooled, while sunset or midday photos are warmed. This shot of Mount Bachelor was taken after during civil twilight, so the only source of warm light was the grass in the foreground and hints of alpenglow on the snow. Everything else was left cool.

    Mount bachelor - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    Temperature

    An overly warm image can communicate a hot day, and on chilly days, the overall white balance can be left cool. This is especially powerful if your image has a small, warm light source to draw the viewer’s eye.

    Morning fog over this lake in Snowdonia introduced a neutral source and warming the color raises the perceived temperature.

    Snowdonia - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    Weather

    Clear days can be tinted slightly pink to warm the scene, while an incoming storm should incorporate a greener tint.

    Oregon is rich with various biomes, and Smith Rock State Park feels like a desert on a clear day. The strong magenta cast brings out colors in the rocks and reinforces the cloudless sky.

    Smith rock - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    Clarity

    When the fog rolls in, it tends to chill the image and evoke mystery. A hazy day adds depth and layers to an image and tends to warm the image at golden hour.

    In this shot from Bavaria, the haze on the mountain range adds warmth and communicates just how distant the mountains are.

    Geroldsee - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    4. Neutral tones help to bring out or tone down a region

    Neutrals don’t have to be the same color or white balance! They can help root the mood and color palette of a local section of the image.

    For example, snow beneath some trees in the foreground should be cool, and snow on a mountain under sunrise should be warm.

    The different white balances communicate the temperature contrast between the foreground and background. Furthermore, since cool colors recede while warm colors pop forward, the warm snow in the background entices the viewer’s eye up from the ice-covered lake in the foreground.

    Lost lake -- How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    What if my image doesn’t have any neutral tones?

    It’s not impossible to realistically edit images without strong neutrals. But since your viewer has no neutral reference to root the color palette, you will need a compelling balance of warms and cools to convince the viewer you didn’t artificially crank up the white balance.

    This shot from the village of Brunate (below) doesn’t have any substantial neutrals. Although the fog could be considered a neutral source, it strongly reflects the colors in the sky. However, the overpowering warmth in the top left sky is balanced by cooler tones in the rest of the image, which keeps the white balance from being entirely warm and pink.

    The contrast also draws the viewer’s eye from the village in the foreground to the beautiful sky in the background.

    Brunate - How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos

    Conclusion

    Crafting realistic edits in landscape photography is a subjective experience. But by carefully preserving your neutrals, you grant yourself almost unlimited creative liberties in the editing process.

    So next time you want a fall photograph to feel like a shot from Rivendell, identify the sources of neutral tones in your image and apply these techniques.

    The post How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos appeared first on Digital Photography School.


    Digital Photography School

  • “Really moldy” Hasselblad 500c cameras and 80mm lenses listed on eBay

    A new eBay listing offers two “really moldy” Hasselblad 500c cameras with 80mm planar lenses and backs, as well as three extra backs and a mixture of exposed and unexposed film. One camera, the listing explains, has a prism finder, and there’s also mention of a functional speed focus handle.

    Needless to say, the entire kit is being sold as-is with an allergy warning for potential buyers who are sensitive to mold. The auction ends on Thursday, July 26, and currently resides at a price of about $ 18 USD.

    Via: eBay

    Articles: Digital Photography Review (dpreview.com)

  • What are your greatest fears as a photographer?

    In light of two big losses in the creative space – first that of Kate Spade and then that of the much loved and idolized Anthony Bourdain, there are a lot of questions being asked in the creative industry around success and personal happiness.

    Why did this happen? What could have triggered these terrible tragedies? How many more are silently suffering? Is there such a thing as too much success? And alternatively what does success truly mean to us creatives?

    Taj hotel Mumbai India at Sunrise - What are your biggest fears as a photographer?

    Before I go any further with this article I have to make some things very clear. This article is not intended to make light of the situation(s) that lead to the demise of either Kate Spade or Anthony Bourdain. If anything, I really want us, the creative industry, to really sit up and take notice of the challenges and difficulties we all face in achieving our own levels of success.

    I still use my Kate Spade wallet. In fact, it was the first wallet I gifted myself when I landed my corporate job 15 years ago. There was something about the Kate Spade brand that really resonated with me at that time – it symbolized femininity, freedom, success, and achievement.

    Anthony Bourdain inspired me to dream big dreams and instilled a love of travel and people unlike anyone else I had ever seen. The fact that both of these global icons were lost in such similar situations really pushes us to ask those difficult questions around success, hustle, and challenges that go hand in hand.

    So let’s start by addressing some of the most common fears that we photographers face on a day to day basis.

    Fear #1 – How to make money as a photographer?

    Let’s deal with the elephant in the room – I don’t think there really is a correct way to answer this question. Just as there are hundreds of genres of photography – from the super-niche to the really broad – there are hundreds of ways to make money with your photography.

    Some of the most commonly explored ones are around consumer photography services, photography education, product sales, commercial photography, visual branding, etc.

    I am of the opinion that diversifying your portfolio to include a few different revenue streams is a smart way to do business as a photographer. Diversification not only gives you the creative freedom to explore different genres of photography but also encourages you to learn new techniques and skills.

    Additionally, earning a steady income during the off-season helps reduce the anxiety around money.

    Moody Summer Florals - What are your biggest fears as a photographer?

    Florals as images for digital screensavers as well as postcards and thank you cards are a nice way to sell prints and diversify your photography income.

    Fear #2 – How to learn all the required technical stuff?

    Photography is as much a science as it is an art form. If you don’t believe me just take a look at your camera user manual. To really get good at the art of photography you need to understand the technical terms as well as the soft skills like composition, posing, communicating, etc. There is a lot of stuff to learn and understand to really excel in this craft.

    Luckily there are many online classes as well as in-person workshops that teach and train you in various aspects of photography. While you can really learn a lot from free courses, articles, and videos, there is a lot of value to be had in workshops and classes. Not only do you get to connect with professionals in the areas that you want to specialize in, you also get to meet others who are in the same boat as you.

    Don’t view other photographers as your competitors. Instead, view them as your peers. These are the people who understand you and the passion you have for this field because they have it too. Focus on building your community of friends, peers, and people who you can connect with when you have difficulties and challenges.

    Having a strong support system is really important especially in creative fields.

    Fear #3 – That you don’t have the right gear

    Let’s break this down into one simple question. What does one need to create an image? The answer is a camera!

    It truly does not matter what camera you have. Just google iPhone photography and you will find some amazing artists who are creating phenomenal work with just their phones. Similarly, if you search for photographers who use entry-level DSLR cameras, you will find many great photographers who still work with a basic DSLR camera and a kit lens!

    You don’t need the latest full frame or mirrorless camera and pro-grade lens to create great images. Focus more on learning and understanding the technical skills than on the gear.

    When you are just starting out, experiment with different cameras and lenses to see which ones feel right. Rent or borrow gear from other photographers so you can become good at creating great images no matter the gear.

    For the first two years of my business, I only had one camera and one lens. I rented the gear I needed depending on the job which helped me keep my costs low. There are many ways of being successful without going broke.

    Pelican Flying over the water -

    You will need different gear to photograph wildlife than you would to do food photography for a restaurant. But that does not mean you need to go buy all the gear out there for each and every genre. Use the basics first and then add on when you are ready!

    Fear #4 – That your work isn’t good enough

    In any field of work, the only way to produce great work is to do the work. There truly is no such thing as overnight success. You might look at someone who seems to have achieved a lot (which is really subjective by the way) and think that they have it easy.

    But you don’t see the true reason for that success. You don’t see the late nights, the hustle, the constant planning and execution, the anxiety over money, the failures, the challenges and the struggles. You don’t see them because they are generally not talked about openly.

    So before you question how to produce great work, go ahead and consistently do the work. Get out there and photograph even when you don’t want to. Photograph in different lighting situations to understand light. Work with different subjects so you know how to interact and communicate to get the look you want.

    Reach out and connect with other creatives and collaborate on projects. Everyone who wants to make it big is willing to do the work, are you?

    Sunset on the water with a cruise ship

    Great work – work that you are proud of – takes practice. So get out there and practice everyday.

    Fear #5 – Not getting any clients, inquiries, and bookings

    You can have the best portfolio, the best website and the perfect studio space. But it all means nothing if you are not getting a steady stream of inquiries and clients.

    The only way to really get clients and bookings is to actively go seek them. One way to seek new clients is to put yourself out there as a photographer/creative artist. Network with people from different industries, pitch your work to your ideal clients, market your work effectively and the inquiries will come.

    Sure this will take time but if you are in this industry for the long game then take the time to make a mark with your work.

    Japanese temple in San Francisco

    Fear #6 – That your portfolio isn’t diverse enough

    Look, we all start somewhere and there is no shame in that. I remember when I first started building my portfolio I had a ton of pictures of my kids and those of my friends and family. I would practice every opportunity I would get with people I knew.

    Slowly I started getting confident about my work and made it known that I was an aspiring family photographer. I didn’t focus on the sale but instead on building a network of clients. I networked with other photographers via in-person meetings as well as online forums and learned as much as I could about the business of photography.

    Moody white flowers photos

    So when you are just starting out, put yourself out there. Ask friends and family if you can practice your photography skills on them. Reach out to others and see if you can collaborate.

    There is no lack of ways to build your portfolio – you just have to get comfortable with asking.

    Fear #7 – Not knowing how to market yourself

    We live in a very different world now more than ever. Everything is online and everyone is online. Traditional forms of marketing like print ads, radio, and TV don’t do as well as online and social media marketing.

    Since social media and online presence seems to be the new status quo, make sure you have an online presence. And remember social media is all about being social! So make sure you are being social online by sharing a little bit about you and not just your work. Work on building a relationship with clients and potential clients because people will only buy from brands (and people) that they know, like and trust.

    Invest in social media marketing and advertising as well as traditional forms of marketing. A lot of my work still comes from word of mouth and referrals, so make sure you are taking advantage of those channels as well.

    Wedding couple against Chicago riverwalk background

    Sharing and promoting your best work as part of your marketing campaigns is a great way to grow your reach and your business.

    Conclusion

    I hope these tips were helpful and shed light on some of the commonly expressed fears that others including myself regularly experience.

    Please remember that you are not on an island without any help and nor are you the only one going through all these emotions and feeling of anxiety around your work. We all face these same issues time and time again.

    The key is to objectively work through them and come out strong. If you are truly passionate about photography and want to make it a career, keep up the hard work and the fruits of your labor are bound to be as sweet as can be!

    The post What are your greatest fears as a photographer? appeared first on Digital Photography School.


    Digital Photography School

  • Peak Design announces 45L Travel Backpack and new system of ‘Packing Tools’

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    Peak Design has announced a fresh travel-oriented product line that centers around a 45L carry on-sized Travel Backpack that can be yours for a reduced price through Kickstarter (starting today). Also in the line is a set of set of ‘Packing Tools’ to help keep your gear and personal items organized on the go.

    The 45L Travel Backpack has all the bells and whistles of a high-end pack: a weatherproof nylon canvas shell, a rugged bottom liner, a luggage pass-through, full rear and side access, a laptop compartment, luggage handles and tons of organization pockets. It can also be expanded or contracted to fit 35L or 45L worth of stuff.

    The 45L Travel Backpack officially hits stores this holiday season for $ 299.95 and will be available in either black or sage

    The Packing Tools bring a nice level of versatility and modularity to the 45L Travel Backpack (though could easily be used in any pack). They come in a variety of forms including general packing ‘Cubes’ – useful for items like clothing (available in two sizes) – and ‘Camera Cubes’ for your precious gear (available in three sizes). There are also packing tools specifically for tech odds and ends, toiletries and shoes.

    The 45L Travel Backpack is projected to officially hit stores this holiday season for $ 299.95 and will be available in either black or sage. The Packing Tools range in price from $ 24.95 – $ 89.95 and will also be available for the holidays.

    Look for a full review of the 45L Travel Backpack on DPReview soon. In the meantime, read our review of the Peak Design Capture Clip V3.

    Press Release

    Peak Design’s Travel Line Reinvents One-Bag Travel

    Travel Backpack 45L and Packing Tools Offer Infinite Customization

    San Francisco, CA (July 23, 2018) – Peak Design, the leader in crowdfunding and best-in-class carry solutions, is proud to unveil the first products in their Travel Line: the Travel Backpack 45L and complete system of Packing Tools. With a focus on versatility, organization, and access, the Travel Line aims to satisfy a simple design directive: no two trips are the same, so the best luggage should adapt to them all.

    Peak Design was founded during a trip and has grown into a team of prolific travelers who understand life on the road. The Travel Line combines Peak Design’s travel experience with their expertise, innovation, and design philosophies honed through their massively successful photography and everyday bag lines.

    The hero of the Travel Line is the Travel Backpack 45L, a carry-on-sized backpack that boasts a collection of best-in- class travel functionality. In addition to full rear access for easy packing, the bag features dual side access, top access to laptop/tablet, and a dedicated front-access organization panel for smaller items. Beefy shoulder and waist straps stowe instantly beneath a magnetically sealed back pad. Expansion zips allow the bag to grow to 45L check-in size, while an innovative compression snap system shrinks the bag down to a 35L daypack. Thoughtful details include 360-degree grab handles, a duffle/luggage carry handle, theft-deterrent zips, hidden passport pockets, a soft- lined sunglasses pocket and tuck-away external carry compression straps. The Travel Backpack comes with a weatherproof 400D nylon canvas shell made from 100% recycled plastics and available in black or sage colorways.

    Peak Design Founder and CEO, Peter Dering, rarely stays in any one place longer than two weeks: “From day one, travel has been a primary inspiration to us as photographers, designers, and adventurers. Living on the road is part of our DNA as a brand, and we couldn’t be more excited to have built a set of travel gear that truly adapts to the endless variety of trips we take.”

    Accompanying the Travel Backpack is a feature-rich system of Packing Tools that provide endlessly customizable organization and protection of clothes, shoes, toiletries, tech items and photo/video gear. Designed to fit perfectly in Peak Design travel bags, each cube or pouch offers easy access, thoughtful organization, durable materials and a consistent aesthetic cleanliness.

    Each Packing Tool was designed from the onset as a standalone product, intended to push their respective category forward with unique patterns, features and innovation. Art Viger, Lead Designer at Peak Design, commented on the system: “When you travel, the things you carry become your home on the road. Each and every one of the pouches and cubes are designed to work as a fluid ecosystem that can be easily re-configured for any type of trip.”

    The new Travel Backpack (MSRP: $ 299.95) and Packing Cubes, will be available on Kickstarter (peakdesign.com/ks) for a pre-sale discount beginning July 23, 2018. The system will then be available for purchase online at peakdesign.com and through major retailers in time for the 2018 holiday season.

    About Peak Design

    Since 2010, Peak Design has been building innovative carry solutions with a simple overarching design directive: make the best things. The idea for our first product was born on a motorcycle trip through Southeast Asia and has since expanded to include a cross-functional ecosystem of bags, pouches, slings, straps, and clips. We’ve won applause along the way, but we’re most proud of the fact that we’re 100% crowdfunded and 100% employee-owned. We’ve raised $ 15.6 Million through 8 Kickstarter campaigns, allowing Peak Design to stay investor-free and focused on the things that matter most: designing great products, fostering happy employees, and taking care of our customers and the natural environment. Learn more at peakdesign.com.

    45L Travel Backpack

    MSRP: $ 299.95
    Available on Kickstarter for a Limited Time: $ 235

    Access

    • Full back panel-load access for packing
    • Dual zippered side hatches for instant camera access
    • Quick tablet & laptop access
    • Dedicated front organization panel
    • Soft-lined sunglasses pocket
    • Hidden passport/document pockets
    • Bag sits upright on floor when packed or empty

    Expansion & Compression

    • Maximum international carry on size in normal 35L state
    • Expansion zip gives additional 10L of storage (45L max)
    • Compressible down to 30L day bag size
    • Expandable side pockets for water bottles, tripods
    • Tuck-away external carry compression straps

    Organization

    • Rigidly supported sidewalls for easy packing
    • Zippered dividing panel separates bag into 2 compartments, or stows away for 1 large volume
    • Front organization panel contains 4 zippered mesh pockets for smaller items
    • Mount Camera Cubes (sold separately) internally for back or side access to photo, drone, or video gear
    • Protected luggage tag holder

    Comfort & Portability

    • Magnetic strap storage system
    • 360-degree grab handles
    • Full-size padded hip belt with additional pockets and attachment points for Capture & Range Pouch (sold
      separately)
    • Axial strap attachments for shoulder & hip straps give constant comfort for all body types and carry loads
    • Proprietary sternum strap
    • Luggage pass-through and duffel grab handle
    • Back panel folds under for increased ventilation & comfort

    Security

    • 400D weatherproof 100% recycled nylon canvas shell
    • DWR impregnated, PU-coated interior for water resistance
    • Oversized #8 (front, side) and #10 (back) main zips are weatherproof and lockable
    • Rugged 900D weatherproof bottom liner
    • Ultralight padded foam provides security, structure, and aesthetic cleanliness around entire bag

    Packing Cubes (sold separately):

    Packing Cubes (MSRP: Sm – $ 29.95, Md – $ 39.95) – Compressible, easy to access, and dividable, Peak Design Packing Cubes are available in 2 sizes. A tear-away main zip lets you access contents instantly, and an internal divider allows separation of clean and dirty clothes. An expansion/compression zip doubles available space or compresses clothes so you can fit more in your bag.

    Wash Pouch (MSRP: $ 59.95) – Dedicated, easy-to-clean pockets for toothbrush and razor. Hangs or sits upright on sink for easy access in tight spaces. Unique folding pocket layout keeps toiletries neatly organized and easy to find.

    Tech Pouch (MSRP: $ 59.95) – Designed to store small items like cables, cards, batteries, and travel essentials, Tech Pouch’s unique origami-style pockets create enormous spatial efficiency. Pack more into a smaller space, yet keep all items organized and easy to find.

    Camera Cubes (MSRP: Sm – $ 49.95, Md – $ 69.95, Lg – $ 89.95) – Camera Cubes provide protection, organization, and instant access to camera, video, and drone gear. Securely mount Camera Cubes inside the Travel Backpack and access your gear via the rear or side zips. Tuck-away lids let you access camera gear from outside of the bag via a single zip, while a system of intelligently designed dividers allows for endless organization and customization.

    Shoe Pouch (MSRP: $ 24.95) – An ultralight, durable, weatherproof pouch for shoes or additional clothing storage.

    Rain Fly (MSRP: $ 29.95) – Provides complete waterproof protection to an already weatherproof bag. Rain Fly is made of durable, ultralight 200D rip-stop nylon, adjusts via cinch cord for snug form-fit, and stuffs into a convenient storage pocket.

    Articles: Digital Photography Review (dpreview.com)