In the first part of this series, I talked about shooting Kilauea's lava surface-flows using a drone. In the second part, I talked about shooting the lava with a DSLR from the ground. In the third, I talked about shooting from a dedicated lava-viewing boat. I'd like to finish this series with a short article about shooting the lava from a helicopter.
I will also try to sum up the lava shooting part of my Hawaii trip, and survey how it ended up being published.
I was very excited for my lava helicopter flight. After my amazing hike to the surface flows, where I also used (and melted) my drone, and after the sail a few days before, I had already gotten many epic shots and had much less pressure to produce something exceptional. My friend and I decided to only take a (relatively) short 1-hour flight, to experience another way of shooting the lava.
There are several helicopter providers available in Big Island, and they can easily be found online. Remember to schedule your flight several days (a week is recommended) in advance to make sure you get the time slot you want. We chose a sunrise shoot.
Our iPhone X camera review is nearing completion, so naturally we've been doing plenty of shooting with it. With the full review on the horizon, here's a healthy dose of new sample images in the meantime.
We've also done plenty of Raw and Portrait mode shooting on the iPhone, so click through the gallery to see the side-by-side comparisons.
Photographer Anita Sadowska likes to set up "challenges" on her YouTube channel, and when she sent us her most recent one, we knew we'd want to share it. Unlike most of her challenges, where you get to compare different photographers, in this one you're comparing different mediums: Anita shot with her Canon 5D Mark IV, while her challengee Alex Hutchinson shot on either a Pentax 67 or Nikon N80.
Anita shared the final shots with us (and you) for comparison, and you'll be able to browse through them in the gallery below, but the most interesting part of the video for us was not actually the resulting images. The most interesting part was to see how differently Anita and Alex approached the shoot.
Alex—because he was shooting 120 film that cost him about 8 Euro (~$9.75 USD) per roll— was taking several light measurements, fixing all of the minute styling issues he could see, and snapping only a couple of shots per pose. Anita, meanwhile, had as many frames as she could possibly want, and post-processing to fall back on for all the stray hairs and other minor tweaks that might need to be done.
To mix things up, after the first round of photos, Anita covered up her LCD screen, limited herself to just 10 shots, and began shooting all manual focus as well—imposing the same challenges on her digital workflow that Alex was already dealing with shooting analog.
This editorial was originally published on Medium, and is being republished in full on DPReview with express permission from Samuel Zeller. The views and opinions in this article are solely those of its author.
Unsplash is a website where photographers can share high resolution images, making them publicly available for everyone for free even for commercial use. It was created in May 2013 by Stephanie Liverani, Mikael Cho and Luke Chesser in Montreal, Canada.
Four months after creation they hit one million total downloads, and a year after they had more than a million downloads per month. Now there are 400,000+ high resolution images hosted on Unsplash, which are shared by 65,000+ photographers from all around the world.
Last month 2,400 photographers joined Unsplash and shared 25,000 new images (not just snapshots, some really good photography).
Here are a few examples:
Visitors in the last month viewed 4 billion photos and pressed the download button 17 million times. The average Unsplash photo is viewed over 600,000 times and downloaded over 4000 times. No other social network can give you those numbers.
Unsplash is massive, and it’s (currently)...
During its October 2017 event, Google surprised the camera world by introducing a small AI-powered lifelogging camera named Google Clips. And now, thanks to some uncovered FCC documents, it looks like we're getting close to an official release date.
Google Clips is an interesting concept. Unlike other cameras that require a bit of input from the user, Google said Clips could analyze situations and automatically capture memorable moments, growing smarter over time—just place it on a shelf and it would 'learn' to capture your most important moments as they unfolded. Several months later, however, we still haven't heard anything from Google about a release date. We know it'll cost $250 USD when it launches, and the Google Clips product page offers prospective buyers the option to join a waitlist, but Google hasn't revealed anything more.
That's where the eagle-eyed folks at Variety come in. Earlier this week, they noticed that the camera recently passed through the FCC, indicating that a launch is imminent. In other words: if you're holding out for the Google Clips, your wait is almost over.
Aurora Aperture has just introduced a very interesting little piece of photography gear: the world's first variable graduated neutral density filter. Variable NDs are fairly common, as are graduated NDs, but until now nobody had thought to (or at least managed to) mix the two ideas into one.
Enter the Aurora PowerGXND: a variable hard transition graduated neutral density filter with continuously variable range of up to 5 stops (ND 0 - 1.5). Here's a quick intro video to get you familiar with the new filter family:
And a 4K demo video that shows the filter in action:
Aurora has introduced, and is funding, this filter family through Kickstarter, where the PowerGXND is being offered in three sizes and with a variety of mounting accessories. You can get the filters in Large (105mm), Medium (82mm), or Small (62mm) sizes, which can be mounted onto a camera using either a "slim lens adapter" or a square filter holder adapter plate.
The filter also features hard stops at either end of the scale, multi-layer nano coatings to repel water, oil and dust, and a direct reading scale to help you dial in the exact stop value you're looking for.
To learn more about the Aurora PowerGXND, head over to the Kickstarter campaign where you can...
Confused about what all those layer blending modes do in Photoshop? Well, you don’t need to be any more. Jesus Ramirez of the Photoshop Training Channel has made an excellent short video tutorial that explains each mode in simple and easily-understood terms, so even beginners will get the picture.
His 8-minute Crash Course uses a gray tone chart over a normal photograph to show how each blending mode alters the way the chart appears. Jesus also demonstrates how different brightness values blend together, and how to use layer blending to control color density and saturation. Finally, he also explains why the modes are grouped into six sections on the drop-down menu, so you can quickly find the mode you need depending on the situation.
Check out the full video above. It’ll only cost you eight minutes of your life, and you'll almost certainly learn something new unless you're already a Photoshop expert.
With smartphone displays getting larger and moving to an 18:9 (or 2:1 if you prefer) aspect ratio and display bezels shrinking at the same time, there is hardly any space left at the front of new devices for physical controls or other components.
Physical home buttons and fingerprint readers have already largely disappeared from the front and moved to the rear or edges of devices; however, moving the front camera to the rear isn't really an option (for obvious reasons) which is why devices like the iPhone X or the Essential Phone have ended up with unsightly notches at the top of their displays.
A new patent by Samsung could offer a solution: moving the front camera and other components, such as the earpiece and proximity and ambient light sensors, underneath the screen. A camera that can see through the display would also offer an additional advantage, allowing manufacturers to place it towards the center of the screen so that the camera and the face of the person you're talking to would be roughly in the same spot.
While Samsung's idea definitely looks like an elegant answer to the space limitations at the front of modern smartphones, nobody has built a suitable camera yet. That said, an earlier patent that has been...
Now that we've spent some time with Panasonic's video-centric Lumix DC-GH5S, we've added it to our 'Best Cameras for Video' and 'Best Cameras over $2000' buying guides. When our review of the GH5S is complete – and if we think it's the best camera in one or both of those groups – the guides will be updated again.
Hello dear NikonRumors readers!
My name is Christophe Anagnostopoulos and I’ve been reading Nikon Rumors everyday for a long time now!
I’m very happy to present you my first personal night sky time-lapse project named “Keep Looking Up” which I filmed for over a year using mainly Nikon cameras and lenses.
I began filming on May 2016 until September 2017 with a lot of effort, as my main job at that period was demanding in terms of time and I only had one or two days per month to film. So I had to plan everything in detail before even leaving home, so as to make the best use of the time I had in my disposal:
The filming locations were some of the darkest places in Greece and chosen carefully as I tried to split the sceneries between mountain and sea locations.
THE FROZEN HELL - Nikon D750 with Nikkor 20mm f/1.8 lens in -75°F temperatures
On Saturday, January 6th, 2018, my friend Nathan and I climbed New York's seconds highest mountain, Algonquin Peak (5,115 ft) in the Adirondack Mountains to experience some of the coldest temperatures on earth. On this day, most of America was frozen over by the coldest weather of the season yet. The ambient temperature on the top of the mountain was -36°F with a 45 mile per hour wind, making it -75°F on the summit. It was by far the coldest experience I have ever had in my life. When something is hot enough, if you touch it, you can be burned easily. That was the same thing with this weather except the opposite. It was so cold that not only did I get wind burns on my face (I had goggles), but I burned my hand from touching a metal shovel that was connected to my backpack.
Below are photos from the journey taken with my Nikon D750 and Nikkor 20mm f/1.8. There is also a video attached, a documentation of the trip itself...