Photograph: The Magazine No. 4

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Photograph

Inspiration

Tips

Travel

Interviews

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SOMETIMES I ARRIVE JUST WHEN GOD'S READY TO HAVE SOMEONE CLICK THE SHUTTER -Ansel Adams-


Editor's note


4

• I S S U E •

HELLO

COMRADES

Summer is on and the fourth issue of our beloved Photograph the magazine is here. ''August it is like the Sunday of summer'' so for this month's topic I chose Landscape photography. Landscape photography is typically capture the presence of nature but can also focus on manmade features or disturbances of landscape. The objects that can be captured in landscape are a lot but the most common is to recall a personal observation or experience while in the outdoors and especially when travelling. This is the cause I choose this topic. Welcome and enjoy the ride!

Cheers,

Laurie

E D I T O R ' S

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07 TOP 10 11 INSTAGRAM TOP 10 16 TIP 20 HOW TO... 24 REVIEW

P H O T O G R A P H I S S U E

4 42 EDITOR'S PICKS 44 TRAVEL 49 INTERVIEW 60 NEWS & EVENTS

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TOP 10


@kpunkka

@miguelcarrizo

@miguelcarrizo


@jacob

@mingey

@wired


@nochancenanc

@natgeo

@guyfattalphotography


@jontaylorsweet


TIP


LANDSCAPE

10 QUICK TIPS

1. The Magic Hour

PHOTOGRAPHY

2. Composition

Composition is key to successful landscape Beautiful landscape photos are often photography, and if you don't know where defined by the quality of light they were to start, use the 'rule of thirds' to get taken in. As a consequence, photographers things going. Perhaps the king of all tend to shoot early in the morning or beginner landscape photography tips, it's during late afternoons when the sun is an easy principle to apply - simply divide lower, less contrasty and often displays a your frame into imaginary thirds on both subtle colour palette of moody hues. For the horizontal and vertical axis. Now simply this reason, the hours after dawn and place areas of interest at the points at before dusk are known as the 'magic which the lines intersect or - in the case of hours'. If rising at dawn doesn't sit well a horizon - along one of the lines. However, with your idea of a relaxing weekend, don't don't be afraid to throw away the rule panic - there are plenty of great landscape book and totally disregard the conventions opportunities throughout the day. of composition.

3. Get out there

4. Polarising filters

There's no substitute for putting in a bit of groundwork before embarking on a photographic adventure. Research and find the best photo locations, get a map, a compass and remember that you'll probably have to get out of the car and walk to get the best shots.

Most landscape photographers will have a circular polarising filter in their kit bag. There are many uses for filters like this, but for the landscape photographer the two key characteristics are their ability to cut out reflections and nasty glare from a scene and the increased colour intensity, saturation and contrast they create. You'll really notice the effect in clear blue skies.


5. Depth of field

6. ND grads

Many landscape photographers desire an image that appears sharp throughout the scene, so that elements of foreground interest, such as a rock in a lake, look just as sharp as the distant horizon. This can be achieved relatively easily using the principles of depth of field, whereby the smaller an aperture you use, such as f/22, the greater the area both before and beyond the point of focus also appear to be sharp. This principle can be taken one step further with hyperfocal distance focusing. Generally, when you're using small apertures you'll need to compensate with slow shutter speeds, so it is essential to (know how to) use a tripod.

One of the great problems for landscape photographers is the difference in brightness between the sky and the land. While the human eye is capable of perceiving detail across this tonal range, a digital sensor isn't capable of recording it. So ND Grad filters (neutral density graduated filters) were created and have been avidly used by landscape shooters ever since. Their gradual transition from clear to dark neutral density allows the photographer to balance the exposure between the sky and the land to make a more even exposure in which detail remains in both the highlight and shadow areas. An alternative to this is exposure blending, where different exposures are made of the scene and combined in software later.

7. Man and the Landscape Great landscape photography is not necessarily about hunting out the most picturesque scene, in the most wonderful light and at the most perfect time of day. Indeed, there are many aspects of the world's landscape that are less glamorous, such as the effects of heavy farming, rapidly expanding suburbs and sprawling industrial wastelands, that can make a poignant subject for the concerned photographer. Take a look at the effects of man on the landscape near your home and use them as photographic subjects.

8 RAW To maximise on quality and also to allow you to edit your original images non-destructively, always shoot raw files when taking landscapes. RAW processing software, such as Adobe Camera Raw, is now so sophisticated that unless you want to significantly manipulate your image you rarely need to switch to traditional imageediting software, such as Photoshop.


9. Slow exposure

6. ND grads

Slow exposures are regularly used by landscape photographers, whether it's to optimise depth of field with a small aperture or to create smooth and milky seascapes by taking long exposure pictures of the sea. Exposures can be seconds (rather than fractions of a second) long, so a sturdy tripod is a must. To further minimise camera movement during the exposure consider using a cable release or your camera's self-timer, as well as locking the mirror up.

There are many great landscape photographers to draw inspiration from, as a simple Google search will prove. However, it's worth looking at the work of Ansel Adams, who is often considered the old master of landscape photography and one of the best photographers of all time. If you get the chance to see his work in a gallery, make sure you go! Closer to home, the work of Fay Godwin reveals aspects of man's influence on the land in a unique way. And, of course, the work of favourites such as Joe Cornish, Charlie Waite and David Noton is sure to inspire‌


How to...


How To Take Your Nature Photography to the Next Level!

Landscape photography is a favorite with professional and amateur photographers alike. There awaits a wealth of natural landscapes filled with beauty and drama, always changing with the seasons. To avoid taking bland images, follow these key tips below.


1. Create Depth When you are taking a landscape photograph, try creating a sense of depth by keeping all the different elements of the image in focus. To do this you need to use a small aperture, from f/16-f/22 because this keeps objects in the foreground and background sharp. Place your camera on a tripod (this will eliminate camera shake) when using a small aperture, as less light will be entering the lens.

2. Use Wide-Angle Lens Wide-angle lenses are preferred for landscape photography because they can show a broader view, and therefore give a sense of wide open space. They also tend to give a greater depth of field and allow you to use faster shutter speeds because they allow more light. Taking an image at f/16 will make both the foreground and background sharp. Remember to try some interesting angles with the photograph.


3. Use Photographic Filters To get the best possible images, you can make use of two filters in your landscape photography. Polarizing filters darken the sky and therefore bring out the blues in contrast to the white of the clouds. Neutral Density (ND) filters prevent too much light from entering the camera. This is useful on bright days, when the camera is unable to give you a slow shutter speed (you may want to capture the movement of the sky or water for example).

4. Capture Movement If you are working with moving water you can create a stunning white water effect by choosing a long exposure. One way to do this is by using TV or S (Shutter-Priority) mode and choosing an exposure of 2 seconds or longer. You can also use AV (Aperture-Priority) mode and choose a small aperture like f/32 (which generally requires more light). If working with bright daylight you must use an ND filter to reduce the amount of light hitting the camera, and this way the camera will allow you to have a longer shutter time. You must always use a tripod for this kind of shot so everything else remains sharp.


5. Use Water as a Mirror Water in subdued light can create beautiful effects and reflections. The best time for this kind of shot is during the two “golden hours” which are the first hour after sunrise and the last hour before sunset. Put your camera on a tripod and set the mode dial to TV or S (Shutter-Priority) mode. Choose a slow shutter speed and allow the camera to choose the correct aperture. If you struggle to get a sharp image you can push the ISO up although ISO 125 is a good starting point.

6. Take Account of People A landscape isn’t just about nature; so why not include people? A beautiful landscape can be complemented by a cute child or by a beautiful girl running or jumping through the flowers. Remember the rule of thirds and place the person in an off-center position to create interest. Choose a fast shutter speed if you want to freeze the action or a slower shutter speed if you want to capture movement.


7. Compose in Thirds To use the rule of thirds, imagine four lines, two lying horizontally across the image and two vertical creating nine even squares. Some images will look best with the focal point in the center square, but placing the subject off-center or on one of the intersections will create extra interest as it creates a pleasing layout. When a photograph is composed using the rule of thirds the eyes will wander the frame. A picture composed by the rule of thirds is more interesting and pleasing to the eye.

Notes Recommended Settings When shooting during the day you can afford to use a smaller aperture of f/22 to capture a super sharp detailed image. If you are trying to capture movement of water or of people and birds, then use a filter to reduce the amount of light going in and experiment with the shutter speed. For water you want to choose at least 2 seconds or more and for moving animals or people start from 1/60. You should always use a tripod for these types of landscape images.

Recommended Equipment In bright light you should always use a lens hood to prevent flaring. In addition, you may use a neutral density filter or a polarizing filter to reduce reflections and bring out the sky. A tripod is essential if you want to take very sharp photographs and if you want to capture movement. A beanbag is also useful to experiment with angles (such as shooting a landscape from the ground up). The use of flash will help illuminate shadowy areas in close range.


REVIEW


Sony

Îą

6300 Review

The Sony a6300 is the company's latest mid-range mirrorless camera. Like the a6000 it still offers 24MP resolution but the autofocus ability, video capability, build quality, viewfinder resolution and price have all been increased.The most exciting change from our perspective is the a6300's new sensor.


KEY FEATURES: 24MP Exmor CMOS sensor 425 phase detection points to give '4D Focus' Hybrid AF 4K (UHD) video - 25/24p from full width, 30p from smaller crop 2.36M-dot OLED finder with 120 fps mode

Dust and moisture resistant magnesium-alloy body Built-in Wi-Fi with NFC connection option Built-in microphone socket

A HIT­FOR­SIX, SLAM­DUNK, HOME­RUN? If it's successful in its attempts to step up from the performance of the a6000 then the a6300 could be sensational. However, there are three questions that we'd like to see addressed. The first relates to handling: why does a camera costing this much only have one dial that you can access without changing the position of your grip? The rear dial isn't the worst we've encountered, but at this price point, we'd usually expect to find a dial under the forefinger and another under the thumb while maintaining a shooting grip. The second relates to lenses. Sony is bundling the a6300 with the 16-50mm power zoom that's far more notable for its convenience than its optical consistency, a move that's likely to raise the question of what other lenses to fit. Sony offers a handful of reasonably priced APS-C-specific prime lenses as well as some more expensive FE-compatible full-frame primes. However, in terms of standard zooms, you're currently limited to the inexpensive 16-50mm, the older 18-55mm at aftermarket prices or considerably more expensive options such as the 18-105mm F4 or the 16-70mm F4 Zeiss that costs around the same amount as the camera again. The success of Sony's full frame a7 cameras is only likely to improve third-party lens availability but there's a risk that Sony's focus will be on those full frame users for the foreseeable future. Our final concern is the lack of joystick or touchscreen to re-position the AF point. This may be mitigated during stills shooting if the lock-on AF system works well enough starting AF tracking and then recompose your shot in the knowledge that the AF point will stay where you want it), but it appears to be a real omission for refocusing while shooting video. The a6300 is improved over previous models, in that pressing the center button on the four-way controller toggles into AF point selection mode, a decision that's retained even if you turn the camera off and on again. We'll see how significant all these concerns turn out to be, as the review unfolds.



BODY AND HANDLING The a6300's body looks almost identical to the a6000, but those appearances are deceptive if you place the two side-by-side. The a6300 features more substantial-feeling magnesium alloy construction and is a fraction deeper than the older camera. It seems Sony has created a totally new set of tooling but tried to make it look as similar as possible. The dial on the rear face of the camera is much less impressive. It's one of the better examples of its type and can be moved the number of steps you require with only a slightly raised risk of over-turning or accidental rotation. However, it still requires you to reposition your right hand away from the shooting grip in order to make a change something that shouldn't be necessary on a camera costing this much. The majority of its rivals, be they DSLR or mirrorless, have two dials accessible from the shooting position.

IN THE HAND The a6300's grip has been slightly redesigned, with a slight inset for fingertips on its inside edge. Other than that, it sits just as comfortably in the hand as the a6000 did. It may be small and light, but it's easy to get a good grip on.

ELECTRONIC VIEWFINDER The a6300 has the same apparent viewfinder specification as many previous Sony cameras. There's an eye sensor just to the right of the finder, which means that the camera can automatically switch between the finder and the rear screen. There's also a fairly deep rubber hood around both, which does a good job of keeping stray light out (though glasses wearers will still have to shield the light coming in between their face and their glasses if the camera's -3 to +4m-1 diopter correction isn't sufficient to let them use the finder directly). The big news, though, is the ability to run the finder at 120 frames per second, rather than the standard 60 fps.



REAR SCREEN AND GAMMA DISPLAY ASSIST The rear screen is a 16:9 (widescreen) aspect ratio panel featuring 920k dots, which usually means around 640 x 480 resolution. The Gamma Display Assist setting is another feature cribbed from the a7S II. This allows the user to apply a gamma correction curve to the monitor when shooting with a very flat Picture Profile modes, meaning that you can shoot very low-contrast footage to give flexible results when post-processing, but get a meaningfully contrasty preview while you work.

BATTERY LIFE The a6300 uses the same NP-FW50 battery as used on previous E-mount cameras. The good news is that the battery life is slightly improved compared to the a6000. The a6300 is rated as getting 400 shots per charge when using the rear screen and 350 when using the EVF (per CIPA standard testing). This is an appreciable step forward from the 360/310 figures the a6000 achieved.

OPERATION The a6300's controls and user interface are continuations of the ones used in the existing a6000. We've mentioned before that the Sony menu system is beginning to be overwhelmed by the number of functions it contains (even more than is the case for other manufacturers). The settings are grouped into their broad categories sensibly enough but when some of the five top-level tabs contain eight or nine pages of options, it becomes very difficult to remember where a particular setting lives. Sony has made some effort to simplify the menu, grouping together the HDMI output options under a single heading, for instance, but even after extensive use we still found it difficult to find things in the menus. Thankfully, the camera offers a level of customization that minimizes the need to dip into the full menu.



AUTO ISO Sony's Auto ISO function seems to get better with every camera. The a6300 gains the ability to set a minimum shutter speed threshold at which the ISO will be increased (something missing from the a6000), as well as being able to set upper and lower limits to the ISO settings it'll use. What's more, this minimum shutter speed setting is assignable to a custom button, allowing for direct access to it. The camera also features five automatic threshold options (Slower Faster), that maintain a shutter speed threshold related to focal length. This is behavior we'd consider to be best practice.

VIDEO QUALITY The a6300's 4K detail level is pretty impressive. It's rather over-sharpened in comparison with the Panasonic GH4 and appears to show a little more aliasing at the center of the Siemens Stars, but certainly very detailed (you can adjust the sharpening in the 'Detail' section of Picture Profiles). You don't lose much in the way of detail if you use the slightly smaller 30p crop, and, other than a tiny bit more aliasing, there doesn't appear to be a big difference. The quality is such that some people have tested whether it reaches the professional standard of broadcast quality. And, although it doesn't quite do so, that testing makes clear it's exceedingly capable for non-professional applications. 1080 footage is really disappointing, by comparison. We weren't necessarily expecting it to match the Sonya7S, which appears to filter capture from a 4K region of its sensor, then intelligently downscale to produce 1080 footage with no aliasing, but since its 4K is so good, we weren't expecting this rather low-detail result that appears to be sampling a lower vertical resolution than it's capturing horizontally. It feels odd to get such consumer stills camera 1080 from a device with such good 4K, suggesting it's either sampling the sensor differently or is downscaling in a really simplistic manner. We'd suggest sticking to 4K mode and using your own software to downsample: it'll look so much better.



IMAGE QUALITY JPEG PERFORMANCE The a6300 shows detail capture and sharpening very similar to those offered by the a6000 and most of its other 24MP peers. Color rendition is fairly neutral, sitting somewhere between the slightly magenta hint of Nikon's JPEGs and the likeably warm Canon rendition. The a6300 shows similar amounts of moiré to the Nikon D7200, which suggests it has an extremely weak AA filter, if it has one at all. Compare with the Canon EOS 80D, which is clearly filtering these high frequencies that the camera cannot correctly reproduce. Noise reduction at high ISO settings is well judged, showing more detail than most of its rivals. Fine low-contrast details is convincingly rendered, and saturation only starts to drop off once you move above ISO 12,800. The context-sensitive noise reduction seems to be effective and not so heavily applied that you can see the joins between areas of high and low noise reduction. Along with the Fujifilm X-Pro2, this is one of the best APS-C performances we've seen.

RAW PERFORMANCE

There's no big difference in sharpness between shooting with the electronic first curtain shutter and the full electronic shutter. This leaves it looking a lot like the Nikon D7200 and slightly sharper than the EOS 80D, whose AA filter is apparent through its slight reduction of sharpness and lower levels of false color. Noise-wise it looks a fraction better than the Nikon D7200, though the slight softening of the noise pattern suggests some noise filtering is being applied in the Raw files at ISO 12,800 and above. This performance is enough to keep it well ahead of the Canon. The similarity to the Fujifilm X-Pro2's output seems noteworthy. There appears to be a slight noise cost in the deepest shadows at the highest ISOs, for using the electronic shutter (which switches the camera to 12-bit output), but it's extremely minor.



EXPERIENCES & OPINIONS SHOOTING EXPERIENCE by Dan Bracaglia Sonyinvited us to come out to Miami and field test the company's new a6300 mirrorless camera. With 4K video capabilities, an overhauled AF system and a new 24MP APS-C sensor, I was more than eager to put the a6300 to the test. The Sony a6000 was a massive hit. Not only is it the best selling mirrorless camera of all time, but also the best selling digital interchangeable lens camera of all time (according to Sony's data). These two bits of information were presented to a group of about 30 journalists (including myself) at the start of our first evening in Miami. And regardless of what parameters were considered when the above conclusions were drawn, one thing is clear: Sony anticipates the a6300 to be another top seller.

SHOOTING BURSTS The a6300 can shoot bursts as fast as 11 fps with AF or 8 fps with both AF and a live feed. As I mentioned, going into this shooting excursion, what I was most curious about was how easy it would be to follow very fast moving action with the a6300 while firing a burst at 8 fps. I've shot sports, both extreme and team, on DSLRs over the years. And while I thoroughly embrace mirrorless cameras and the benefits they offer over DSLRs, I've found them difficult to use for sports photography. Fortunately, the very first shooting event in Miami was at a wakeboard park, the perfect place to put burst shooting and the a6300's 425-point on-sensor phase-detection AF system to the test. I rigged a Sony RX100 IV up to shoot 120 fps video through the EVF of the Sony a6300 while I fired several series of bursts (incidentally, the a6300 can refresh the EVF at 120 fps as well, bringing it closer to an OVF experience). This should give you an idea of just how easy it was to follow the action, especially considering the fact that I was framing the subject using the RX100 IV's LCD as I rolled video.


Of course, once I ditched the RX100 IV rig and used the a6300 with the EVF to my eye, I found following the action to be even easier. Nearly as easy as following action with a DSLR, except for the fact that in bright daylight, as a glasses-wearer, even the nicest EVF's can be difficult for me to keep an eye to for an extended period of time (as is often necessary when shooting sports or action). Still, the a6300's live feed during burst shooting is a massive improvement over every other mirrrorless camera I've ever used.

VIDEO EXPERIENCE by Richard Butler 'I don't care about video' is an opinion I see expressed fairly often in our comments, and it's one that always leaves me a little disheartened. There's nothing wrong with focusing on what you love, but there's also a lot to be said for trying something new. I very much consider myself an amateur photographer first and foremost, but the need to test cameras' video features, along with the enthusiasm of my more video-savvy colleagues has encouraged me to learn about and experiment more with video. Video has the same requirements of managing light and exposure as stills photography, but it adds its own complexities: you don't have to just worry about keeping the camera steady for that one fraction of a second, you're much more limited in your choice of shutter speeds and, in most cases, you're probably having to work with limited bit-depth footage. It also takes time. The shoot, the edit, the kicking yourself for not giving enough thought to audio. It all takes time.

AND... ACTION

The a6300 not only offers 100Mbps 4K video but also 1080p at up to 120 fps, extensive phase-detection autofocus coverage and a dizzying array of 'Picture Profiles' designed to capture video that can be graded to give a professionallooking result. I planned my project to make sure I covered all these. I packed the camera, a 16-70mm F4 OSS lens, the Sigma 30mm F1.4, a tripod, a couple of mics and a handful of batteries.



The first concern I encountered was with the camera's weather sealing. As forecast by both my calendar and map apps, it started raining as soon as I turned up at the brewery. The a6300 is meant to be environmentally sealed, but the port door doesn't have much in the way of gasketing and I'm not sure it would be very effective, anyway, when the door's held open by the external mic lead I had connected. Still, the bright-but-overcast nature of the weather presented a great opportunity to use the 'S-Log2' gamma curve: a very flat tone curve designed to squeeze a wide range of tones into the limited dynamic range of a video file. The a6300 also offers the still-flatter S-Log3 option but I had very little faith in my ability to 'grade' it back into punchy footage, given my lack of skill with the tools available in Final Cut Pro. I have no doubt that professional shooters have much to gain through the use of the S-Log options, especially for higher contrast scenes, but I was glad of my decision to switch to a less-extreme gamma curve designed to fit the ITU 709 standard, mid-shoot: it doesn't capture as much dynamic range as S-Log2, but it's much easier for a beginner like me to make use of. My inexperience plus S-Log2 didn't end up being a great combination. Throughout this process, I used the camera's zebra highlight warnings to set exposure. With shutter speed held at 1/50th, this left me with aperture and ISO as the means of controlling exposure. Only at the end of the day did I discover the option to set a lower threshold for zebras, so found myself using an unfamiliar system where the camera indicated only the region of brightness around the specified brightness level. This prompted me to set zebras to 95% and ensure that only the very brightest tones in each shot were flashing, which would help me minimize clipping. With the exception of that one S-Log2 example, this approach seemed to work pretty well (though I look forward to more experienced videographers pointing out that this approach is idiotic.)


Editor's Picks


Fresh Photography Finds Ivation Pro3 Portable Rechargeable Smart DLP Projector

Now you can stream bright, vibrant video and display stunning visuals from your Android or iOS device with Ivation's portable smart DLP projector. This palm­sized, lightweight, selfcontained unit features a built­in speaker, a rechargeable battery, and state­of­the­art wireless technology, enabling you to stream and project content from multiple sources in real time without any bulky equipment or wires. Control the show with the provided remote or download the free app (App Store/Google Play) for incredible convenience.

Leica D­LUX (Typ 109) Digital Camera (Solid Gray)

The Leica D­LUX TYP 109 is the compact camera choice of professional photographers. With a new fast, Leica DC Vario­Summilux lens and manual operations, it offers photographers a compact and sturdy camera with a full metal housing. With a high­speed shutter and focus peaking features, it also offers 4k video. It is available in black and features integrated Wi­Fi and Near Field Communication (NFC), plus a fast lens and an integrated high resolution electronic view finder. The camera also comes with a LEICA CF D Flash.Compact and sturdy design with a full metal housing. It is easy to use under any light conditions. Wi­Fi & NFC in the Leica D­Lux (Typ 109) provides remote access from a smartphone/tablet allowing the user to see a live image. It is extremely versatile and ideal for any type of photography. Featuring electronic View Finder for easy viewing.

Hasselblad Stellar Special Edition White Padouk with White Leather Strap

The Stellar combines the size of a point­and­shoot camera with the craftsmanship and attention to detail that one would expect from Hasselblad. Along with its attractive hand grip, it also features all metal operation controls, a 20.2MP 1" Exmor CMOS sensor to produce high­resolution still imagery and full HD 1080i/p video, and an f/1.8 10.4­37.1mm Carl Zeiss Vario­Sonnar T* lens. The lens has a 35mm equivalent focal length of 28­100mm, which covers both wide­angle and telephoto perspectives, allowing you the versatility to shoot in many situations. The wide aperture of f/1.8 enables the camera to shoot in difficult lighting, and can isolate your subject from the background. Optical SteadyShot image stabilization helps minimize the appearance of camera shake when shooting with slow shutter speeds or long zoom magnifications.

Syma X52C Nano Quadcopter with 2MP 720P HD Camera and Bonus Battery

Nano (smaller) size Syma quadcopter. Smaller, lightweight size for easier maneuverability and more fun indoors! Intelligent Orientation Control/Headless ­ The X52C features "Headless" (IOC) flight mode, which makes flying much easier than before. Headless mode eliminates the need for a "nose", as it can be flown in any direction regardless of which end is in front or back. 2MP HD Camera: The Syma X52C Nano Quadcopter comes with a 2MP 720P HD camera. Ideal for taking aerial photos and videos for fun footage while playing. 6 AXIS GYRO: The latest 6­axis flight control system is easier than ever to control, with stronger wind resistance, and greater stability. LED Lights Now fly your quad at night, and easily keep track of your quad with the attractive bright and fun light display


Travel


Photography in Iceland Text by: Nanna Gunnarsdóttir

Iceland is known for its otherworldly beauty, a landscape that includes extreme contrasts, all in one melting pot. Iceland is a photographer’s dream destination. With every turn of your head, you’ll feel like taking a picture. No matter what you like to photograph; nature, animals, people, daytime, nighttime, midnight sun, northern lights… you’ll be sure to find your picturesque opportunities in Iceland! The country may be small but it is very rich in nature and culture and filled with contrasts. Imagine a black sandy beach and crashing waves on peculiar rock formations. Next to it are green fields dotted with colourful flowers – and to top it off, a shimmering white glacier as a backdrop.

For amateur photographers as well as professionals, Iceland is the location that can present you with some of the most amazing photo settings you’ll ever witness! We have some photography tours and workshops available as well, if you really want to hone your skill! Take note, if you don’t like the weather, stick around for a few days. The weather is constantly changing, giving you a different look of the same view every day. Let’s take a closer look at photography in Iceland.


Landscape photography in Iceland Most people come to Iceland to admire the nature - and it's no wonder why! There are picturesque glaciers, rivers and waterfalls just a stone throw away from colourful beaches, lush valleys and deserts. Even volcanoes underneath glaciers and hot springs surrounded by ice. The best thing is, the distances between wonderful locations are short and the landscape is ever-changing.

Wildlife photography in Iceland For wildlife photographers, Iceland boasts a rich birdlife, puffins are exceptionally popular as photographic models. Stunning birdcliffs can be found around the country with breathtaking sunsets over the sea in a distance. Next up are the Icelandic horses, famous for their extra gait, as well as their beauty. Or if you want to focus on the sea, you can spot whales over the summer months and seals playing near the shores. If you’re feeling more like capturing domestic animals, then there are also plenty of sheep and cows. If you’re lucky you might spot wild foxes, especially in Hornstrandir – or go to the East fjords and capture the grace of some reindeer.


Portrait / people and culture photography in Iceland If capturing images of culture, food, architecture or people, then Reykjavík is known for its quirkyness, colourful houses, arts and great nightlife. Dotted around the coastline of the country are a few towns and numerous small fishing villages, some of them very remote and in idyllic settings. The Icelandic nation is mostly a mix of Scandinavian heritage as well as Irish, so people have white or ginger complexions – and there tends to be quite a lot of beard growth. The women are known to be fair and the men strong.

The golden hour photography in Iceland Perhaps most spectacular of all is the 24 hour daylight in the summertime, in contrast with the dancing Northern Lights in wintertime. Many photographers like to capture moments happening in ‘The Golden Hour’, when the sun bathes everything in a golden glow just before sunset. When there is a 24 hour daylight in the summertime and the whole country enjoys the midnight sun, this golden ‘hour’ turns into golden ‘hours’. The sun takes a long time to set and when it has almost set, it starts rising again. This also leads to some breathtaking sunrise and sunset photo opportunities.


The further north you go in Iceland, the bigger the contrast between the length of the days. In Akureyri and around Lake Mývatn the days are longer than in Reykjavík and south Iceland in summer, but shorter in wintertime.

Northern lights photography in Iceland When it is dark and the sky is clear, sometimes the Northern Lights put on a spectacular show overhead. It can be quite tricky to capture the beauty of the Northern Lights and it requires a good camera where the exposure can be controlled. Capturing multiple images of the Northern Lights with long exposure can result in pictures that can be merged into a time-lapse video.

Photo tours and photo workshops in Iceland Guide to Iceland can get you in touch with the talented Iurie Belegurschi, a fully licensed tour operator in Iceland. He is probably the most popular landscape photographers of Iceland. Iurie Belegurschi is a fantastic photographer that has years of experience in photographing Icelandic nature and both organizes phototours and workshops in photography. The workshops are small and personal and include information about long exposure methodology, concepts of landscape photography, visual design and composition, working with filters, post processing for web and prints, basics of timelapse and more.


Interview


Interview with Landscape Photographer Sankar Salvady ­ by Vidhu S ­

Sankar Salvady is an avid travel photographer based in California. He is passionate about capturing candid moments in people’s lives, landscapes, weddings, and wildlife. He was raised in a small town in the foothills of Western Ghats in South India in a landscape dotted with lush green farmlands, perennial rivers, tropical forests, green attired mountains ranges, and copious waterfalls, and here is where his first love for nature, and photography started. The journey has taken him close to nature, close to humanity, and even more so close to himself !


1. How long have you been doing photography? I bought my first Point and shoot camera in 1999, and my first SLR in 2001. But I had to wait until 2010 for my interest to become a passion, and 2011 for it to become an obsession.

2. Did you start photography as a landscape photographer, or you later changed into one? No, I have never restricted myself to landscapes; I love travelling and try to record anything of interest from the places I travel to. At this point I am travelling to a few places in the US whose landscapes appeal a lot to me. So you might find more landscapes than others among my recent work. But when I travel in India, I shoot a lot of environmental portraits, street life and some documentary work. These genres appeal a lot to me as well.

3. What inspires you to take landscape photography? An unbounded love for Mother Nature, complemented by a passion to travel. There are few moments in life where you would feel so enraptured about being in a moment and place that nothing else in life matters – watching the orange ball of sun tear the veil of darkness and rise up the horizon, Alpen glow over snow­capped mountains, chirping of birds waking up in their nests, first drop of rain in my face, laying on the ground and gazing at the mysterious night sky dotted with countless stars – these and many more.

4. How do you prepare before going for a shoot? Check weather forecasts. A detailed look of the location in Google maps to get a broader idea of the location Check for inspiring images from the location taken by other photographers. Check Sunrise and sunset times, road conditions etc. Prepare camera gear the previous night. Pray for dramatic weather.

5. How do you know you got the shot you wanted? It’s hard, in fact it’s one of the biggest challenges I face. But on the flip side , because of this I end up trying a lot of compositions and after coming home, the picture I thought was the best while shooting might turn out mediocre and vice versa.



6. What is the most important advice you would like to give others for making a good landscape photographs? Look beyond Facebook for feedback. Facebook is a network of friends and well­wishers, who mostly have only good things to say about your pictures, and this can easily lead to complacency. Spend time studying good pictures of others. Try to understand what makes it stand apart from many other images that you have seen of the same place.

7. What is your favourite place for landscape photography, and why? Where do you like to go next? Western Ghats, India. Apart from the beautiful place that it is, it’s partly because I grew up in her arms and I feel a connection with nature and divine there far more than elsewhere. Alaska and Montana are my other favourite places. Himalayas and north­eastern India are two regions I have been longing to explore. I hold a strong belief that these regions have a lot more to offer than the world knows of.

8. Please share 5 quick practical tips for landscape photography? Patience pays, sometimes a lot. Learn to differentiate good light from bad light. Reach a location early to scout around to find a good location. More often than not, the best locations are not always the most easily accessible locations. There are bad days in every job; same goes with landscape photography. Don’t let a bad day or a few bad ones affect your motivation. Don’t photograph a place because others photograph it, do it because you love it. Your photo conveys your love for a place more than you think it does.

9. People get awed by seeing your photographs because of its vibrant colours, lights etc. What is the prime factor that helps you in making those images? Thank you so much. To avoid repeating myself, each of the pointers (1) to (5) above has a role to play for that.

10. From a landscape photographer’s point of view, can you tell us what differentiates a photographer from an artist? A photographer composes with his eyes, an artist with his heart.



11. Some people might think that landscape photography is boring or repetitive. What is your opinion on that? I am not into landscape photography for that long to comment on that. But occasionally I have seen it happen to me when I travel to the same location multiple times – boredom kicks in once the excitement and the mystery associated with the location is gone. But I get it all back when I travel to a new location, or when the conditions are dramatically different from what I have seen of the location I have visited. This might also occur if your biggest motivation to shoot landscapes is not the love for your subject but the technical challenges associated with it, because you will master the techniques sooner or later, and you might find landscapes boring after that.

12. Is there any challenges you face in making landscape photographs, and what are they? Impossibility to always plan your travel based on weather, physical fitness required to hike long distances and tough terrains lugging your entire gear with you, motivating yourself to wake up at 3AM when it’s still dark and freezing outside, are a few. While overcoming the above are beyond your photography skills, challenges like — (a) obtaining a good and unique composition (b) taming the dynamic range (DR) can be overcome by good techniques and practise. For example in the picture below, shot in Santa Cruz CA, I faced both comp and DR issues. The arch shaped rock in the picture and the rock to its left were in shadow, so it would be rendered dark if I expose the picture for the sky. Also being a popular location this picture has been clicked so much that finding a unique composition was a challenge. To tame the dynamic range, in this particular case, I had to apply a +1 EV of exposure compensation so that the shadows don’t go dark, and at the same time the sky doesn’t get burnt out. Later in post processing, I worked with the exposure of the sky and the rocks in shadow so that they all looked as they did to my eyes. If the sky were a couple of stops brighter than this, this technique might not have worked. I might have resorted to HDRs which are very common in landscape photography. Regarding composition, getting a good one in this location was not difficult as it’s a popular spot, but getting a unique composition was. I had to scout the location a bit and try different compositions, when I found these sea weeds deposited in the shore by high tides and ended up with this picture.



13. What equipment do you use now? And what did you start with? How did change in equipment help you in your photography? I am using Canon EOS 5d Mark III now. I started my foray in digital with Canon 30D. Compared to 30D, features like Live view, histogram, improved weather­sealing capabilities, electronic level indicator, improved dynamic range etc. in recent DSLRs are a boon to photographers shooting landscapes.

14. As a photographer, where do you see yourself in five years? Build a portfolio which is 10% as good as Steve Mc Curry. He has been my biggest inspiration in photography.

15. You must have come across or asked to review hundreds of photographs. What is the biggest mistake, you think, others make in landscape photographs? Shooting in bad light. Avoid the temptation to shoot a picture just because you are in a beautiful spot. If the light is not right, the picture would not do justice to the beauty of the location. So, wait until the light becomes good. If not, come again another day if that’s feasible.

16. Please explain your post processing workflow? Do you have any special workflow you would like to share with us? I shoot only in RAW format, import the pictures using Lightroom 4, where I primarily do lens correction (like Chromatic aberration, distortion correction) and Camera Calibration. For images taken at high ISO, I sometimes start my workflow with Digital Photo Professional instead of Lightroom, for its impressive noise reduction capabilities. Then I export the RAW files as TIFF and proceed with the rest of post­processing in Photoshop. My workflow in Photoshop has not matured yet to follow a specific pattern as yet. While each picture dictates a different workflow, recently I find myself using the custom actions using Luminosity masks developed by Tony Kyuper, a lot. I highly recommend other landscape photographers check it out as well.

17. How far do you go in post-production? How important post processing is in making a landscape photograph? At this point, not a lot; as most of my photos are displayed only in the web. Post processing is absolutely essential in landscape photography and if you are not doing it, you are forgoing one of the most important advantages that digital offers you.



18. Thank you so much for giving us this interview. Anything else you would like to share with us? Go out and take photos. No amount of reading or discussing photography in forums help as much as taking photos. And, thank you so much for this opportunity, Shutterstoppers. Wishing you all at Shutterstoppers, all the best.


News & Events


News Nikon’s New Waterproof Point and Shoot is Built with Family Fun in Mind

We’re not sure if the new Nikon W100 is waterproof and shockproof because it’s a standard “tough” camera, or because its target audience is fun-loving 8-year-olds. Whatever the case, Nikon’s newest “rugged” cam was definitely designed with the whole family in mind. Most tough cameras are marketed to the adventurous type—the kind of user GoPro has (or used to have) locked down. But the colorful W100 is not that camera. Ergonomically ‘friendly’ looking and packed with fun little features, this is a vacation camera through and through. In the tough department, the camera is waterproof to 10m (~33ft), dustproof, freezeproof to -10°C, and shockproof from 1.8m (~6ft). Those features make sure the 1/3.1-in CMOS sensor can keep on capturing 13.2MP shots and Full HD video whether you’re making your way down a ski slope or following a whale shark around:



In addition to the tough features, the camera also boasts 3x optical zoom, Nikon’s Snapbridge connectivity for wireless image transfer, and “a multitude of shooting and retouch functions” that let you add fun frames or cartoon effects to the final shots. Even the camera’s welcome screen is “fun”—in that it changes based on time of day, how often you use the camera, and more—and you can select from a child or adult menu depending on who’s going to be using it. Here’s a look at the silver version from all sides, but keep in mind this camera also comes in bright blue, yellow, pink, and a multi-colored underwater theme pattern. No word yet from Nikon on when the W100 officially arrives in stores or how much it will cost when it does. But for reference, its precursor, the Nikon S33, is currently selling for $110.

Instagram Will Soon Let Users Filter and Moderate Comments: Report

Instagram is preparing a big release. According to a report by The Washington Post, the photo sharing app will soon let users moderate the comments on their photos, or even turn off the ability to comment altogether.


The Post spoke to Instagram about upcoming comment moderation features following rumors that high-profile accounts (most prominently Taylor Swift) were already being given access to certain moderation tools. Without naming names, Instagram basically confirmed as much. “We have slowly begun to offer accounts with high volume comment threads the option to moderate their comment experience,” a spokesperson told the Post. “As we learn, we look forward to improving the comment experience for our broader community.” Moderation tools such as setting up certain word filters will apparently launch to high-profile accounts in “the coming weeks,” with the rest of us getting them in “the coming months.” The option to turn off comments on a post-by-post basis is also mentioned, although Instagram seems uncertain about releasing this feature to everybody.

Your Photos Could Be Illegally for Sale on Amazon


The Internet has become the wild wild west of copyright infringement, and the fact that so many photos are illegally republished around without permission and/or attribution makes enforcement tough for the photographers behind them. If you’ve ever shared your images on the Web, there’s one big-name place they could show up for sale without your permission: Amazon.com. Austin, Texas-based photographer Beverly Guhl found this out recently when she stumbled upon several Amazon listings for a copyrighted headshot she took of actor Marco Perella.

Your Photos Microsoft Pix is an iPhone Camera App Packed with AI For Perfect PhotosBe Illegally for Sale on Amazon

Microsoft today launched Microsoft Pix, a new smart camera app for the iPhone that uses artificial intelligence features to help you shoot better photos. From the moment the app is launched, it begins analyzing what the camera is looking at, automatically updating your camera settings to capture an optimal picture of your scene or subject. It takes into account backlighting, motion, light levels, and other scenarios.


“It puts the skill of a professional photographer in your pocket,” Microsoft says. Every time you press the shutter with Pix, a burst of 10 frames are captured — including some frames from before you actually pressed the shutter. AI them examines those images and selects up to 3 of the best, unique shots from the bunch. The other shots captured are then used to help remove noise and edit the features of the chosen photos. And all of that happens in about a second. If Pix detects that there’s interesting movement in the frames, it will automatically create a looping video within the photo, creating a “Harry Potter-esque effect called Live Image.” What you get is also known as a cinemagraph. The app is designed to be stupidly simple to use: there are no modes and settings to select, and everything is done for you behind the scenes. To get started with Microsoft Pix, you can download the free app from the iTunes App Store.


Photographer Suing Getty Images for $1 Billion

Renowned photographer Carol M. Highsmith is reportedly suing Getty Images for $1 billion, claiming that the stock photo company committed copyright infringement through the “gross misuse” of 18,755 of her photographs documenting America. PDNPulse first reported that the 70-year-old Highsmith filed her lawsuit on July 25, 2016, in the Federal Court of New York, claiming that Getty has been charging licensing fees for the use of her photographs without her consent. Highsmith has spent many years photographing in every state of the United States, creating an enormous visual record of the early 21st century. What likely complicates this dispute is the fact that Highsmith has donated her lifetime archive of photos to the Library of Congress, which the library calls “one of the greatest acts of generosity in the history of the Library.”


The photographer’s photos are listed on the library’s website as being in the public domain with “no known restrictions on publication.” However, Highsmith says she never abandoned her photo copyrights, and says she found out about Getty Images charging for her photos when she was sent a letter from Getty that demanded she pay for her own photo that was being displayed on her own website. In addition to accusing Highsmith of copyright infringement involving her own photo, Getty reportedly also sent similar demand letters to other people using Highsmith’s public domain photos. “The defendants [Getty Images] have apparently misappropriated Ms. Highsmith’s generous gift to the American people,” the lawsuit reads. “[They] are not only unlawfully charging licensing fees…but are falsely and fraudulently holding themselves out as the exclusive copyright owner.” While the statutory damage liability for Getty in this case is $468,875,000, PDNPulse reports that Highsmith is seeking $1 billion based on the precedent of photographer Daniel Morel’s lawsuit against Getty, in which he was awarded $1.2 million for the widespread infringement of one photo.


Events The Mexican Suitcase Rediscovered Spanish Civil War Negatives by Capa, Chim, and Taro The Mexican Suitcase gives the public an opportunity to experience images drawn from this famous collection of recovered negatives. In December 2007, three boxes filled with rolls of film, containing 4,500 35mm negatives of the Spanish Civil War by Robert Capa, Gerda Taro, and Chim (David Seymour), ​ which had been considered lost since 1939,​ arrived at the International Center of Photography. These three photographers, who lived in Paris, worked in Spain, and published internationally, laid the foundation for modern war photography. Their work has long been considered some of the most innovative and passionate coverage of the Spanish Civil War (1936​ ­1939). Many of the contact sheets made from the negatives are on view as part of the exhibition, which look closely at some of the major stories by Capa, Taro, and Chim as interpreted through the individual frames. These images are seen alongside the magazines of the period in which they were published and with the photographers' own contact notebooks. The exhibition is organized by ICP Curator Cynthia Young. La Caixa Cultural ­ São Paulo, Brazil ­ (Jul 23, 2016 – Oct 02, 2016)

Visa pour l'Image

Arles 2016: Les Rencontres De La Photographie The Rencontres d'Arles (formerly known as the Rencontres Internationales de la Photographie d'Arles) is a summer photography festival founded in 1970 by Arles photographer Lucien Clergue, author Michel Tournier and historian Jean­Maurice Rouquette. The Rencontres d'Arles’ policy of programming almost exclusively new work has earned it a world­wide reputation. In 2013, there were 96000 visitors to the festival. The exhibitions, often co­produced with both French and foreign museums and institutions, are given on various heritage sites, suitably stage­designed for the purpose. Some sites (for example, 12th century chapels or 19th century industrial buildings) are open to the public only for the duration of the festival. Many photographers have been discovered as a result of the Rencontres; a sure sign of the festival’s importance as a springboard for photographic and contemporary creative talent. For its depth and reach the programme draws on the points of view of numerous specialists – around twenty each year – from different fields. Sometimes part of the programming is entrusted to an artist, examples including Martin Parr in 2004, Raymond Depardon in 2006, Arles­born couturier Christian Lacroix in 2008 and Nan Goldin in 2009. July 4, 2016 to September 25, 2016 Arles ­ France

Berlin School of Photography | Street Art Tour

Visa pour l'Image international photojournalism festival established in 1989, which takes place every year in the entire city of Perpignan, from late August to mid­September for a period of 15 days. This is the main and most important festival of photojournalism in France. This festival not only offers exhibitions spread across the city, but also conferences, international meetings and discounts prestigious global photographers rewarding the best stories. The most famous photographers around the world will visit the festival. August 27, 2016 to September 11, 2016 Perpignan, France

Explore together with a professional photographer Berlin Kreuzberg, the greatest hotspots of streetart in Europe. You have the chance to photograph the work of well known street artists. After the tour we will view and discuss your work in a small cafe, which is one of the sweetest double­decker bus in the Berlin. Participants need to supply their own camera equipment, memory card and a fully charged battery. Please note, depending on the demand, we would like to keep it flexible wether the tour is held in English or in German. Further details & dates on the BSP website! August 5, 2016 11:00 am ­ 2:00 pm Rosenthaler Straße 72, Berlin, Germany


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