Backlight And Silhouettes Assignment Winner Garry Everett

Congratulations to Garry Everett for winning the recent Backlight and Silhouettes Assignment with the image, “The Morning Routine.” See more of Garry Everett’s work at www.gelandscapephoto.com.

View the winning image and a selection of submissions in the image gallery below. And check out our current photography assignment here and enter your best shots!

[See image gallery at www.outdoorphotographer.com]

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Photo Of The Day By Daniel Plumer

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Nikon’s NIKKOR Z 85mm f/1.8 S Is A Fast Prime For Portraiture

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Take Better Travel Photos

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Take Better Travel Photos

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reCOMPOSE Podcast 060: Lightroom Tips With Katrin Eismann

In this episode, reCOMPOSE continues its ongoing Lightroom Series, this time clarifying the offline use of Adobe Lightroom and Photoshop—what to do when you’re traveling and don’t have internet access—plus a ton of Lightroom information and tips from author, educator and photographer Katrin Eismann.

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Photo Of The Day By Gene Putney

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Photo Of The Day By Neil Williams

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Develop An Eye For An Eye In Portraiture, Part 3

In part 1 and part 2 of this three-part series, I covered numerous considerations of how to develop an “Eye for an Eye” in portrait photography. In this final installment, we’ll take a look at how to make the light work for your portraits, no matter if your subject is people or animals. 

My business motto is, “It’s All About The Light.”  When it comes to this critical aspect, I could write volumes of information. Generally speaking, the easiest source with which to work is soft light produced by bright overcast light. The light wraps around the subject and softens the edges of facial features, which allows the photographer to make great portraits at any time of day. The contrast range between highlights and shadows is low and a nice soft highlight is shown in the eye. The sun’s contrast is cut by a canopy of clouds, which creates even and diffused results. Facial contours are wrapped in a cloak of soft light that creates a natural look. Additionally, it’s bright enough to use a low ISO that results in cleaner, less noisy files.

Another benefit to shooting in bright overcast conditions is the person isn’t subjected to the bright sun that results in the discomfort and unappealing look of squinting. People aren’t their most attractive when they contort their eyes as they deal with the sun’s brightness. Even if the subject is tolerant of the sun’s intensity, eye sockets go dark and ugly shadows are created under the nose and chin. This is also true with wildlife subjects.

Obviously, I love bright overcast conditions to make portraits, but living in Colorado and leading safaris to the Serengeti has taught me how to deal with intense sunlight when I make headshots. Fill flash and a MagMod fresnel system have become my biggest allies. I also utilize collapsible reflectors or diffusers but usually limit their use to macro subjects that I can approach closely. Complex mathematical calculations once required to obtain successful fill flash photos are ancient history. Modern SLRs with dedicated flash units make the task as simple as mounting the flash to the camera, turning both on and dialing in the proper amount of fill. Although my camera body has high-speed synch capability, flash power is cut drastically when it’s engaged, so I try to synch the amount of daylight with fill flash to 1/250th of a second or slower. Along with the MagMod, I can add light to shadow areas of wildlife subjects that are relatively far away.

The amount of fill is determined by contrast ratios. I strongly encourage you to test out different lighting situations to dial in proper combinations. When you perform these tests, cover everything from full sun to full shade. For each situation, in one-stop increments, dial in different ratios of fill from minus two stops to plus one stop. As the frequency with which you work with fill flash increases, you’ll find yourself fine-tuning it in one-third stop increments to produce the exact effect you want. It does take some time to get it down pat, but the effect of fill flash is unobtainable using software. Yes, shadows can be brought up, but because I profess “It’s All About The Light,” if I add flash and bring up the shadows in post-processing, the results are drop-dead gorgeous! I’ve made very successful images using fill where otherwise I wouldn’t even press the shutter if it weren’t for the supplemental light.

When the sun is intense and strong shadows are evident, I’ve used flash as my main light. I power it up to override the intensity of the sun. This creates a situation wherein the exposure is governed by the flash. For example, the ambient light gives me a reading of ƒ/8 at 1/250th second, but the subject is illuminated with contrasty light. I power my flash to go off at ƒ/11 and rotate my aperture ring to ƒ/11. As a result, my subject is accurately exposed by the flash. Shadows are tamed and I effectively darken the background by one stop, which allows the subject to stand out more prominently.

Reflectors can have similar results, but they’re not as precise nor are the results. Also, the angle of the sun limits their use and the distance the light can be thrown is much more limited. Additionally, they often require an assistant, especially if it’s windy. The advantages are that they come in a gold tone to add warmth, they’re a lot cheaper than flash and they don’t eat up batteries. They do work well if you can get close to a subject and precisely aim the bounced light.

Developing an “eye for an eye” is fun and challenging. For every session, my goal is to have every photo be a keeper. Although this may seem unrealistic, it keeps me striving for perfection. It keeps me in practice trying to capture the decisive moment. It keeps me looking for better ways to improve compositions. It keeps me on my toes looking for ways to improve the light. Most importantly, my love of nature is nurtured and keeps me in the field, endowing me with the richness and intrigue of all wildlife species. 

Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.

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Photo Of The Day By Linn Smith

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Photo Of The Day By Anna Berger

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Embrace Your Obstacles In Photography

An exercise that I often do when I find myself in a creative funk is to review all of the photos that I’ve worked on and shared in one form or another, starting with the oldest. Many times, I’ll pick up on a theme or evolutionary change that invariably sparks my creativity and gets me out of that funk. One revelation I had during such an exercise was how far I’ve come with appreciating obstacles in my frame.

The photographer I was a decade ago would look at scenes like these and immediately walk right by them. “There are too many damn trees in the way!” is something that I’d likely bark to myself. I suppose that’s a natural progression of growth for me. I usually start with something laid out in a clear, sensical way and work on that until a visual jump occurs.

I don’t think there is a particular amount of time that has to elapse, or a certain number of photos that have to be taken, before your outlook on such things change, but I am sure that a change does occur. It affects the way I see things now. What used to be obstacles and chaos now resembles more of a narrative—you just have to arrange it in the right sequence.

It’s also really refreshing to begin seeing in this new way because it opens up an entirely different area of opportunity to create unique photos in locations that I have visited frequently. I’m not trying to say that you have to ostensibly accept obstacles just because it illustrates my own growth, but there is an underlying theme of being able to identify what those obstacles mean to you. Your obstacles can be wholly different than mine and they can be more figurative than my very literal ones. The general key is to see whether you can translate them into something creative.

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See more of Brian Matiash’s work at matiash.com.

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Photo Of The Day By Angie Strader

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How To Plan A Milky Way Photo Shoot

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How To Plan A Milky Way Photo Shoot

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Sony RX100 VII Compact Camera Shoots At a9 Speed

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Using Juxtaposition In Your Photos

Juxtaposition, or the act of placing two things side-by-side to compare them, is a very powerful compositional tool to consider whenever you’re shooting. I’m a big fan of finding ways to allow compositional elements to contrast against each other. One of my favorite examples of this, especially with my landscape photography, is to pit natural pathways against man-made ones. There is an irresistibly charming, and sometimes sobering, aspect to doing this, which is why I often hunt for the opportunity.

As I’ve practiced looking for such scenes, I’ve found that some resonate more clearly with me than others. If the juxtaposition feels forced or trite, I usually abandon the composition or I look for more unique ways to contrast these elements. In most cases, the contrasting subjects are streams and waterways forged by nature and bridges built by men. Aside from the obvious comparison of how the pathways were formed (by nature or by man), another contrasting element that I absolutely love is the difference of “material” used.

In nature’s case, the material is of itself. That is to say, these paths are naturally forming over time, erosion and other elements. The paths are chaotic and follow no rational order. Man-made paths, on the other hand, are made of formed wood and metal and concrete. They serve a very particular purpose and are not nearly as organic and warm as nature’s paths. In all, this practice of juxtaposing natural and man-made elements has been one of my favorites while exploring the wonderful outdoors, and I hope you consider it on your next shoot, too!

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Photo Of The Day By Stan Bysshe

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The Art Of Seeing, Part 2

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Motivational Moments Assignment Winner Abe Blair

Congratulations to Abe Blair for winning the Motivational Moments Photography Assignment with the image, “4^th Dimension.” See more of Abe Blair’s photography at www.abeblair.com.

View the winning image and a selection of submissions in the image gallery below. And check out our current photography assignment here and enter your best shots!

[See image gallery at www.outdoorphotographer.com]

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The Art Of Seeing, Part 2

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Photo Of The Day By Max Foster

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A Multitalented Lens For Storytellers

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Tips For Great Sunburst Photos

Who doesn’t love to see a beautiful, sharp sunburst in a photo? It’s a compositional element that almost always draws wide-eyed reactions from viewers, and for good reason. The inclusion of the sun can be a very powerful element to add impact to your photos, especially when you have fun with it. But first, a few things to consider would be its placement within your frame and the capabilities of your lens.

In most cases, the examples of sunbursts in frames occur when the sun is just breaking the horizon at sunrise or sunset. The angle of the sun can play an important factor with regard to the quality of the sunburst, but sunrise and sunset aren’t the only options—you can get some cool sunbursts when the sun is still high in the sky. In those cases, you’ll likely need to incorporate a neutral density filter to drop your exposure sufficiently.

Often times during a sunrise or sunset shoot, after I’ve gotten my fill of photographing that event, I’ll begin a hunt for unique ways to include a sunburst in my frame. In my experience, the strongest and most pleasing results occur when I can place the sun against a high-contrast edge, like the horizon or through some trees. There are many ways to get creative with how you include a sunburst. As with many other aspects of photography, experimentation is key.

The other factor to consider is your lens, specifically the blades that form the diaphragm of the aperture. The quality of your sunburst will partially be determined based on the number of blades that your lens uses to form the aperture, as well as the build quality of those blades. There are tons of online articles that discuss which lenses are best suited to get a sunburst, but, again, I recommend you experiment for yourself. Just be sure not to use a wide-open aperture, like ƒ/2.8. You need to stop down to smaller apertures—I tend to hover between ƒ/13 and ƒ/16—to create the sunburst effect. 

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See more of Brian Matiash’s work at matiash.com.

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Photo Of The Day By Jessica Nelson

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Develop An Eye For An Eye In Portraiture, Part 2

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Photo Of The Day By Clayton Peoples

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Photo Of The Day By Dean Cobin

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Try A Photo Study To Focus On Finer Details

I moved to southern Utah a few months ago and one of the things that I’m most excited about is being able to explore the myriad slot canyons in this area—once the daily temps aren’t high enough to where you can literally fry an egg on the pavement. Of all the slot canyons here, perhaps the most famous are the Upper and Lower Antelope Canyons. These slot canyons are completely mesmerizing and offer limitless opportunities for landscape photographers to refine their eyes. In most cases, you may be inclined to stick with a wide-angle lens in order to capture the “floor-to-ceiling” beauty of these locations. And who could blame you?

But the truth is that there is as much amazement to be found using longer focal lengths. In fact, I was compelled to leave all of my wide lenses in my bag after experiencing the pure delight of finding compositions using my longer lenses. At the time, I used my 70-200mm lens and was swiveling all around, finding new photos in nearly every direction. The truth is that it’d be easy to create a focused study solely using a telephoto lens in these areas.

If I had to pinpoint why I find such a concept so appealing, it’s because of what it forces you to see, especially outside of the obvious wide shots. While I was composing my photos for this series, I paid extra attention to the concept of “elegance” and “flow” with respect to the surrounding walls. The more time I spent appreciating these oft-overlooked qualities, the more in love I became with the idea of this study. Suddenly, an entirely new world opened up and I was seeing these slot canyons in a whole new way.

Truly, I was like a kid in a candy store. There were so many layers to juxtapose and elements to consider. In this direction, you had sharp angles versus wavy undulations. In that direction, you had striations of one color pitted against an entirely different kind.

The idea of a focused study built atop the foundation of longer focal lengths allowed me to explore and appreciate Antelope Canyon in a way that I never had before.

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See more of Brian Matiash’s work at matiash.com.

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Photo Of The Day By Lemelin

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Photo Of The Day By Kim Hang Dessoliers

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Beautiful Bokeh Assignment Winner Jessica Nelson

Congratulations to Jessica Nelson for winning the recent Beautiful Bokeh Photography Assignment with the image, “Plum Blossoms.” See more of Jessica Nelson’s photography at www.thegagglephotography.com, and on Facebook and Instagram.

View the winning image and a selection of submissions in the image gallery below. And check out our current photography assignment here and enter your best shots!

[See image gallery at www.outdoorphotographer.com]

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Get Creative With Natural Frames In Your Photos

For many years, especially in my early photography days, I didn’t give much thought to the relationship between my primary point of focus and its surroundings. In most cases, it never had much of an impact (or at least I don’t think it did). However, as I grew into landscape photography, the idea of finding relationships between my primary subject and its surroundings became more important. It was no longer enough to simply present a waterfall, for example, to my viewers. I wanted to create a sense of interest and exploration. That’s where natural frames come into play.

Nowadays, instead of bee-lining it to my main subject, I take extra time to explore the surroundings. Usually, that involves walking away from the subject to find out whether there are other natural elements that can surround  or flank it. In almost every case, this requires some luck in finding a series of trees or other objects and an opening large enough through which to frame the subject. It also means that the subject will usually take a less prominent role in the composition, which becomes an “ensemble” of sorts. The trees, branches and sky all become key actors alongside the main star, the waterfall.

Of course, you can have plenty of fun with this type of practice. In fact, the more unorthodox you allow yourself to get, the more fun I think you’ll have. On a recent trip to northern Norway, I found myself photographing on a rocky outcrop complete with massive wooden pylons used to hang fish to cure. I had already taken a series of photos that were “fine,” but not exceptionally impressive. It wasn’t until I allowed myself to have some fun and incorporate those pylons into my frame that I ended up getting some of my favorite photos from the shoot.

This concept of incorporating natural frames isn’t limited to landscapes. It can prove very useful with portrait photos as well. In my opinion, the key to this requires you to find a way to naturally include objects to frame your subject. Like with anything in photography, if it feels forced, it probably will fall flat with your viewers. But it’s a technique worth considering when the elements come together.

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See more of Brian Matiash’s work at matiash.com.

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Photo Of The Day By Douglas Croft

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reCOMPOSE Podcast 059: Interview With Marc Muench

In this episode of the reCOMPOSE podcast, Andy Williams interviews his new co-host for the podcast, Marc Muench.

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The Sony a7R IV Has A 61-Megapixel Sensor

“R” stands for resolution, and the new Sony a7R IV pushes that spec further than ever before for the Alpha series, with its 61-megapixel back-illuminated sensor. That’s massive resolution for a full-frame camera, but there’s more. For still subjects like architecture or even landscapes in calm weather, the a7R IV offers a Pixel Shift Multi Shooting mode that takes up to 16 full-resolution images, moving the sensor in 1- or one-half-pixel increments between exposures, which can then be composited into an incredibly-detailed 240-megapixel final image using Sony’s Imaging Edge desktop software.

[See image gallery at www.outdoorphotographer.com] The camera’s EVF also boasts a boost in resolution. The 5.76 million-dot UXGA OLED Tru-finder EVF is Sony’s highest resolution EVF yet, and while this spec is perhaps less tangible than sensor resolution or other top-line features, it’s an important one when it comes to your actual shooting experience.

Dynamic range is improved in the a7R IV, with up to 15-stops of range when shooting at “lower sensitivities”—Sony does not officially state the upper ISO limits of this capability.

The a7R IV can capture those 61-megapixel images at up to 10 fps, with full autofocus and autoexposure tracking, and can do so for continuous bursts up to about 7 seconds. The camera also offers an APS-C crop mode which creates 26.2-megapixel files (still quite sizable), and in this mode, the camera can buffer up to about 21 seconds of continuous shooting at 10 fps.

The focusing system in the a7R IV is a hybrid system with 567 focal-plane phase-detection AF points and 425 contrast-detection AF points. The intelligence behind the AF system is also upgraded in the a7R IV, with advanced Real-time Tracking plus Real-time Eye AF for still image recording and—for the first time in a Sony camera—Real-time Eye AF for movie recording.

The a7R IV will be available in September with a list price of $3,500. For more information, see the press release below.

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Sony Electronics Introduces High-resolution Alpha 7R IV Camera with World’s First 61.0 MP Back-illuminated, Full-frame Image Sensor

Unprecedented Highest Resolution and Widest Dynamic Range for α- Alpha System, Combined with High-speed Performance and a Lightweight, Compact Body  

• World’s first[i] 35mm full-frame 61.0 MP[ii] back-illuminated Exmor R CMOS image sensor with latest-generation BIONZ X image processor
• 15-stop[iii] dynamic range at low sensitivities, resulting in smooth, natural gradations ranging from deep shadows to highlights
• High-speed continuous shooting at up to 10 fps[iv] with full AF / AE tracking for approximately seven seconds[v] in full-frame mode with an increased buffer memory, and approximately three times as long in APS-C mode
• 567 focal-plane phase-detection AF points covering 74% of image area and 425 contrast AF points
• Debut of Real-time Eye AF for movie recording[vi] and advanced Real-time Tracking[vii] plus Real-time Eye AF for still image recording
• Features an APS-C crop mode delivering stunning high resolution images of 26.2MPii
• 76 million dot UXGA (Ultra-XGA) OLED Tru-Finder electronic viewfinder with outstanding detail, brightness and contrast
• Upgraded connectivity and operability including high-speed Wi-Fi support, wireless PC remote connectivity[viii], FTP wireless transfer, faster data transfer via USB and more
• Professional 4K movie recording functionality including full pixel readout with no pixel binning in Super 35mm mode[ix], S-Log3, HDR workflow support
• Multi Interface Shoe with digital audio interface delivers the high-quality sound recording with Sony’s new microphone and XLR microphone adaptor
• Additional enhancements to the body design include an improved grip and button layout for improved control with compact, lightweight body

NEW YORK —July 16, 2019 —Sony Electronics Inc. today announced the latest addition to its acclaimed Alpha 7R series full-frame mirrorless camera line-up: the extremely versatile, powerful Alpha 7R IV (model ILCE-7RM4). 

Sony’s highest resolution full-frame camera ever, the new Alpha 7R IV delivers stunning image quality with high resolution and wide dynamic range while maintaining outstanding focusing performance, high-speed continuous shooting and much, much more.

“We are continuing to drive innovation, break boundaries and redefine the expectations of digital camera performance,” said Neal Manowitz, deputy president of Imaging Product and Solutions Americas at Sony Electronics. “The new Alpha 7R IV combines medium format-level image quality with high-speed shooting, extremely fast focusing and an extensive list of upgrades to design, connectivity and usability. This will allow professional photographers, videographers and all other types of creators to capture content in ways that were simply not possible before.”

A New Level of Image Quality

The new Alpha 7R IV features a newly developed 35mm full-frame, back-illuminated CMOS image sensor with a resolution of 61.0 MP [ii], the world’s first of its kind. The new sensor’s back-illuminated structure and effective noise reduction techniques combine to deliver extremely low-noise and high-sensitivity performance, ensuring the absolute maximum image quality. The camera also boasts an impressive 15-stopiiidynamic range at low sensitivities, resulting in smooth natural gradations ranging from deep shadows to highlights, and utilizes algorithms from many of the latest Alpha cameras to maintain outstanding color reproduction. 

This new full-frame model is equipped with an innovative 5-axis, optical in-body image stabilization system that has been fine-tuned to support its high-resolution shooting capacity, resulting in a shutter speed advantage of 5.5-steps[x]. Additionally, the shutter unit assembly has been carefully redesigned to reduce even the slightest movement that may cause blur.  

The Alpha 7R IV also includes Sony’s highest resolution viewfinder ever, a 5.76 million dot UXGA OLED Tru-finder EVF. About 1.6x the resolution of the EVF in the Alpha 7R III, this new viewfinder provides an extremely accurate, true-to-life depiction of the scene being framed.  The display quality can be set to ‘Standard’ or ‘High’ mode, and to either 60 fps or 120 fps refresh rate to best match the subject and shooting conditions. 

Additionally, the new camera features an evolved Pixel Shift Multi Shooting[xi]mode that composites up to 16 full-resolution images. In this mode, the camera precisely shifts the sensor in one pixel or half-pixel increments to capture 16 separate pixel-shifted images containing a total of 963.2 million pixels of data, which are then composited into a 240.8 million pixel (19008 x 12672 pixels) image using Sony’s “Imaging Edge” desktopapplication[xii]. Ideal for photographing architecture, art or any other still life subject, this enhanced mode produces photographs with a level of detail and color accuracy that is simply stunning. 

Shooting and Focusing Speed

The innovative new Alpha 7R IV full-frame mirrorless camera can shoot full resolution images at up to 10 fps with continuous, accurate AF/AE tracking for up to approximately seven seconds in full-frame, full-resolution mode (JPEG / RAW), and approx. three times as long in APS-C crop mode delivering 26.2MP mages. These high-speed options ensure that fast moving subjects can be captured with extreme accuracy and incredible image detail. 

The upgraded focusing system of the Alpha 7R IV is comprised of 567 focal-plane phase-detection AF points that cover approximately 74 percent of the image area. There are also 425 contrast AF points that add extra precision and reliability for low light and other situations that are best served by contrast AF. The higher AF sensor density and refined tracking algorithms of the new camera produce a notable improvement in tracking performance, allowing complex subject motion and sudden subject movements to be reliably tracked with greater precision than ever. 

The Alpha 7R IV also supports Real-time Eye AF, which employs artificial intelligence to detect and process eye location data in real-time, locking and maintaining focus on the subject’s eye with extreme precision. This is available for both animal and human subjects, with either animal or human Eye AF mode selectable depending on the shooting situation.  Real-time Trackingviiis available as well, which utilizes a newly developed subject recognition algorithm to ensure the ultimate subject tracking and persistence of the focusing system. There is also an anti-flicker shooting mode, which automatically detects the presence of fluorescent or artificial lighting in a shooting environment to minimize any impact on the final image. 

Enhanced Connectivity for Professional Workflow

Sony’s new Alpha 7R IVfull-frame camera is equipped with a variety of advanced connectivity features designed to enhance professional workflow. The new model includes wireless LAN functionality to support the conventional 2.4 GHz band, as well as a high-speed 5 GHz band for faster, more stable data transfer. Wireless PC remote connectivity(wireless tethering shooting) is also available on the newAlpha 7R IV, a first for Sony cameras. Requested by many working professionals, this allows for much more freedom in studio and location shoots, letting the photographer move around freely and without restriction.

In addition to high-speed Wi-Fi^®and wireless PC connectivity, the new full-frame camera is equipped with a SuperSpeed USB (USB 3.2 Gen 1) USB Type-C connector that supports extremely fast wired data transmission, with almost doubled data transfer speed achieved in combination with Sony’s Imaging Edge software (compared to the Alpha 7R III). It also supports FTP data transfer with background transfer capability, allowing photographers to send images to a specified FTP remote server while they are still shooting or reviewing images. 

To support an efficient, high-speed, connected professional workflow, Sony has announced version 2.0 of its “Imaging Edge” desktop applications (‘Remote’/’Viewer’/’Edit’). The ’Remote’ application allows users to control cameras and monitor live shooting on their PC screen; the ‘Viewer‘ application is used to quickly preview, rate and select photos from large libraries; and the ’Edit‘ application can develop RAW data into high-quality photos for delivery.

To maximize convenience in image transfer, when utilizing the latest version of Sony’s Imaging Edge Mobile application, the camera can now transfer images to a connected smartphone even if the camera’s power is set to OFF. 

High-resolution 4K and Professional Filmmaking Features

In addition to its impressive still image capabilities, the new Alpha 7R IVperforms exceptionally well as a serious filmmaking tool, offering 4K (3840×2160 pixels) video recording across the full width of the image sensor, and full pixel readout without pixel binning in Super 35mm modeix. This ensures high-quality 4K footage with exceptional detail and depth. S-Log 2 and S-Log 3 are also available to maximize color grading flexibility, with S-Log 3 offering a total of 14-stops of dynamic range.  Hybrid Log-Gamma (HLG) is also available on the Alpha 7R IV to support an Instant HDR workflow.

For video autofocus, the versatile new full-frame camera utilizes a refined Fast Hybrid AF system that achieves faster, smoother, more stable autofocus during video shooting – even if an object temporarily moves in front of the intended subject. The camera also includes Touch Tracking functionality during movie shooting, allowing the user to simply touch the screen on their intended subject for instant acquisition.

The new Alpha 7R IVdebuts Real-time  Eye AF for movie shooting, a first in any of Sony’s cameras. When activated, the eye of a subject is automatically tracked with high precision and reliability, allowing the shooter to focus on the content itself as opposed to what is in focus or not. The aforementioned Touch Tracking functionality will also automatically initiate Eye AF when a human subject is selected. 

 Another notable video feature is the addition of a digital audio interface to the camera’s Multi Interface Shoe (MI Shoe), allowing a direct, digital connection from the new ECM-B1MShotgun Microphone or XLR-K3M XLR Adaptor Kit for clear, low-noise and high-quality audio recording. Interval shooting for creating time-lapse videos is available, as well as full HD recording at up to 120 fps, Slow and Quick Motion functions and much more. 

Enhanced Build, Design and Customizability

The new Alpha 7R IVhas several upgrades to its design and usability, with many adjustments being implemented directly from the voice of Sony’s professional community. 

To maximize durability, the new Alpha 7R IV features upgraded dust and moisture resistance, with additional sealing provided at all body seams, battery compartment cover and media slots. The camera is built with an extremely lightweight and durable magnesium alloy and also has an upgraded six screw, extra-firm lens mount.

Additional enhancements to the body design include an improved grip for greater comfort and a more sure hold within the hand; an increase in the diameter and feedback for the ‘AF-ON’ button; a new multi-selector joystick design for improvised control; an exposure compensation dial lock button; and a redesigned shape and new position for the rear dial. A strong request from many professional users, the new camera also includes two UHS-II compatible media slots, allowing for higher overall capacity and faster read/write speeds.

For added convenience, camera setting registration is expanded. Now, almost all camera settings can be saved to, and read from, an inserted memory card. Up to 10 combinations can be saved to any individual cardand loaded into any camera body of the same model. 

Despite its increased pixel count compared to the Alpha 7R III, the battery life has been improved with a CIPA measurement of up to 670 still images per change using LCD monitor, or 530 images with EVF.  For even more uninterrupted operating time, the new optional VG-C4EM Vertical Grip holds two NP-FZ100 batteries, and the optional Multi Battery Adaptor (NPA-MQZ1K) can hold up to four Z batteries. The body can also be powered via the USB connector.

New Accessories

Sony has also released a variety of new accessories to compliment the new Alpha 7R IVcamera, including:

• VG-C4EM Vertical Grip– Provides same operation, handling and design as the Alpha 7R IVcamera, including upgraded dust and moisture resistancexx; doubles battery life and allows USB battery-charging via the camera body
• ECM-B1M Shotgun Microphone–Eight high-performance mic capsules and advanced digital signal processing provide three selectable directivity patternsin one compact microphone of approximately 99.3mm (4 inches) in length with Super-directional pick up; when connected to the Alpha 7R IVvia its Multi Interface Shoe with digital audio interface support, audio is directly transferred to the camera in digital form so that the highest possible quality is achieved without noise or degradation
• XLR-K3M XLR Adaptor Kit–Two XLR/TRS combo connectors and one 3.5mm stereo mini jack for microphone and line input, with extensive control that helps facilitate the post processing workflow; connected to the Alpha 7R IVvia its Multi Interface Shoe with digital audio interface support, audio is directly transferred to the camera in digital form so that the highest possible audio quality is achieved without noise or degradation; supplied extension cable for Audio provides extra flexibility for camera attachment with rig, cage or bracket
• SF-M series TOUGH – Ultra-Tough UHS-II SD card with ultra-fast speed up to 277MB/s (read) is ideal for shooting under severe circumstances, and streamlines the post-shooting workflow; supplied with file recovery software (supports both mac OS and Windows)
• MRW-S3 – Fast USB for PC hub with UHS-II SD/microSD reader, supporting USB 3.1 Gen 2 and 100W USB Power Delivery (USB PD), contributes to efficient workflow by ultra-fast, stable backup to PC or SSD

 Pricing and Availability

The new Alpha 7R IV Full-frame Interchangeable Lens Camera will ship in September 2019 for approximately $3,500 US and $4,500 CA. It will be sold at a variety of Sony’s authorized dealers throughout North America.

The new VG-C4EM Vertical Grip will ship in September 2019 for approximately $400 US and $530 CA.   

The new ECM-B1M Shotgun Microphone will ship in September 2019 for approximately $350 US and $470 CA.

The new XLR-K3M XLR Adapter Kit will ship in October 2019 for approximately $600 US and $800 CA.   

[i]As of July 2019, based on Sony survey of digital cameras with a full-frame image sensor

[ii]Approximately, effective

[iii]Still images. Sony test conditions

[iv]Up to 10 fps in continuous “Hi+” mode, and up to 8 fps in continuous “Hi” mode  Maximum fps will depend on camera settings

[v]In JPEG (Extra fine / Fine) or compressed RAW mode

[vi]This function does not track animal eyes

[vii]“Tracking” in the menu. This function does not track animal eyes

[viii]Image Edge desktop application Ver. 2.0 or later is required

[ix]Super 35mm 4K recording results in a slightly narrower angle of view

[x]CIPA standards. Pitch/yaw shake only.  Planar T* FE 50mm F1.4 ZA lens. Long exposure NR off

[xi]The Imaging Edge (Remote/Viewer/Edit) desktop application Ver. 2.0 or later is required for compositing.  Image compositing may not be successful if camera or subject movement causes blur.  Some restrictions apply to flash and other device

[xii]‘Remote’/’Viewer’/’Edit’ version.2.0 will be released in August 2019

[xiii]Only 100 Hz and 120 Hz flicker is detected. Continuous shooting speed may decrease.  Flicker-free shooting is not available during silent shooting, BULB exposure, or movie recording.

[xiv]Models sold in some countries/regions support IEEE 802.11b/g/n (2.4 GHz) wireless LAN only. 5 GHz communication may be restricted in some countries and regions

[xv]Imaging Edge Mobile version.7.2 will be released in July 2019

[xvi]Imaging Edge Mobile Ver. 7.2 or later is required.  “Cnct. during power off” setting in camera must be turned ON and the camera and smartphone must be paired using Bluetooth® technology via the Imaging Edge Mobile application

[xvii]Connect this product to an HDR (HLG) compatible Sony TV via a USB cable when displaying HDR (HLG) movies

[xviii]Sound not recorded. Class 10 or higher SDHC/SDXC card required

[xix]Not guaranteed to be 100% dust and moisture proof

[xx]A battery must be installed in the body when power is being supplied via the USB connector

[xxi]Refer to the Sony support page for details and camera compatibility information https://ift.tt/2lwwM03

[xxii]Refer to the Sony support page for details and camera compatibility information

https://ift.tt/2lDr24J

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Photo Of The Day By Jeff Nigro

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Cover Shot, August 2019

Our August 2019 issue of Outdoor Photographer gets you ready for summer photo adventures with tips for shooting outdoor sports like mountain biking, taking a once-in-a-lifetime photo safari in Africa and chasing monsoon storms in the American Southwest for incredibly dramatic images.

On the cover is a breathtaking—pun intended—image made by adventure sports photographer Grant Gunderson. It’s not just an awesome shot of a mountain biker, it’s also a beautiful landscape photo. Here’s the story behind the shot.

“Farstad, Norway, is in the heart of what may be one of the most scenic road trips you can make. While the road itself provides an immense amount of beauty, photographers are well rewarded if they invest the time and effort to climb the trail above the town of Farstad to the summit of the nearby rocky bluffs that overlook Atlantic Ocean Road, which happens to traverse one of the most dramatic landscapes on earth, carved by glaciers over the eons and resulting in numerous fjords and islands dotting the landscape.

“The area is known for its damp and misty conditions, but for those patient enough to wait for the sun to make an appearance, the most dramatic coastal light is possible. That is exactly what happened for us on the day this image was made. It had been raining for a week straight, and the forecast was for a chance of clearing that evening, so we did a three-hour climb to get to the top of the peak. Luckily, the weather cooperated, and we were treated to a spectacular sunset. Witnessing the dramatic light show resulting from the sunset, combined with the departing storm clouds, rider Jonathan Maunsel and I knew we were experiencing a special moment and raced to shoot several variations of the top section of the trail before the sun disappeared below the horizon.

“In order to balance the exposure, a Schneider 0.9 Soft Grad ND filter was used to hold back the sky, along with a large collapsible reflector to provide a bit of fill light on Maunsel.”

–Grant Gunderson

The August 2019 issue is available now in a variety of digital formats including Apple News+ and will be on newsstands beginning Tuesday, July 30.

Outdoor Photographer Plus and VIP members get full access to all of the content on outdoorphotographer.com, plus print and digital editions of the magazine, as well as other great benefits. Learn more about our membership options.

 

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Amazon Prime Day: Get More Storage

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Photo Of The Day By Hank Libby

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Develop An Eye For An Eye In Portraiture, Part 1

Throughout the history of the art world, major changes and advancements have occurred. During the evolution, it’s seen both revolution and realignments. Regardless of the changes, one aspect has remained constant—portraiture has remained a common subject.

Starting with petroglyphs of hunted animals to the hypnotic eyes and haunting smile of the Mona Lisa to snapshots of your loved ones to wildlife portraits made in the bush, all are created to capture and preserve facial expressions and emotions. As photographers, we strive to press the shutter at the decisive moment to make this happen.

In a fraction of a second, photographers can preserve what takes painters and sculptors months to bring into existence. Imagine going to the Serengeti and hoping the lion or cheetah cubs pose while you chisel the image in stone or set up your oils and easel to capture the moment. A camera is a wonderful tool that permits us to preserve a decisive moment that would otherwise just be a memory in our minds.

Whether wildlife or people are your primary focus, the same tips and techniques can be applied, so this week’s tip is a twofer! Bonus time. Regardless of the subject, both technical and creative guidelines should be adhered to in order to create a successful portrait.

Technically, the subject should be tack sharp and the exposure spot on. Aesthetically, the composition should be pleasing, have an attractive tonal range, depth of field should be used strategically and the light should complement the subject. Expression and emotion should be highly addressed. Putting all the ingredients into a pot to create a successful meal is easier than you think if you adhere to the following concepts.

The technology incorporated into today’s cameras has eased the burden of attaining proper focus and exposure. What used to be a challenge is now a photographer’s luxury. The accuracy with which autofocus allows sharp photos to be made has evolved exponentially. The same holds true for in-camera metering systems. 

Even with all the advancements, by no means are cameras foolproof. As with any tool, it needs to be used properly. Make sure the autofocus point is squarely placed on the most important part of the subject, most often the eye.

I once overheard a conversation between a disgruntled customer and salesperson about how the $2,000 camera body he just purchased doesn’t focus properly. He had with him a photograph of his two kids to “prove” his point. The horizontal image had an out of focus son on the right and an out of focus daughter on the left. What was in focus was the background. The photographer failed to realize the centrally located focus sensor was placed between his children and the camera focused precisely where it should—on the background. Operator error!

Camera manufacturers put a lot of thought into the production of their products to ensure photographers get the perfect shot. Cameras have autofocus lock buttons that allow the photographer to hold a focus point and then recompose the picture. Additionally, back button autofocus is gaining popularity. Either would have worked in the above example of the two kids.

This also holds true in tricky lighting situations. Exposures can be locked in. Take a reading off the most important section, press the shutter down halfway and recompose. With the shutter pressed halfway, the exposure remains locked.

As your photography evolves, you’ll find yourself wanting to override the camera’s automatic settings because you can make better decisions than the camera’s “Auto” settings.

Check out next week’s Tip of the Week for detailed information and settings to control the overall look of your portraits so you can develop more of an “Eye for an Eye.”

Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.

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Make A Wide Shot With A Tele Lens

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Photo Of The Day By Connie Shearer

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Photo Of The Day By Beth Mancuso

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Photo Of The Day By Lorenzo Cassina

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Sigma Introduces Its First Full-Frame Mirrorless Camera And L-Mount Lenses

At Photokina 2018 last fall, Sigma, Leica and Panasonic announced the L-Mount Alliance, a joint venture between the companies to develop full-frame mirrorless cameras and lenses based on a new L-mount. Today, Sigma has introduced its first camera and three lenses for the system.

The Sigma fp is positioned as “the world’s smallest and lightest ‘pocketable full-frame’” camera, and it is indeed compact and light at 0.82 pounds and approximately 4.4×2.8 x1.8-inches. It will feature a back-illuminated 24.6 megapixel full-frame sensor, and can capture up to 18 fps with its electronic shutter (there’s no mechanical shutter).

Several accessories will be offered, including a Sigma Mount Converter MC-21 allowing the use of Sigma’s SA mount and Sigma Canon EF mount lenses.

Pricing and availability of the Sigma fp and accessories will be announced “this fall.”

Along with the fp, Sigma is announcing three L-mount lenses, which will also be offered in E-mount versions for use with Sony full-frame cameras:

• Sigma 14-24mm F2.8 DG DN | Art; available in “late August” for $1,399
• Sigma 35mm F1.2 DG DN | Art; available in “late July” for $1,499
• Sigma 45mm F2.8 DG DN | Contemporary; available in “late July” for $549.

For more information, see this page at the Sigma America website:

https://www.sigmaphoto.com/article/sigma-fp-press-release

A “concept movie” of the camera’s development can be seen on the Sigma Global site:

https://www.sigma-global.com/en/cameras/fp-series/

Check out the slideshow below for additional images of the Sigma fp.

[See image gallery at www.outdoorphotographer.com]

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Photo Of The Day By Joshua Snow

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The Canon RF 24-240mm F4-6.3 IS USM Is An Important Milestone

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A Love Letter To My Fisheye Lens

Next to the tilt/shift lens, I’d wager that the fisheye lens is the most underrated piece of glass, especially when it comes to landscape photography. Sure, it’s probably an unorthodox choice and one that falls pretty low on the list. As landscape photographers, we’ve been conditioned to grab our holy trinity of lenses—the 16-35mm, 24-70mm and 70-200mm (or 100-400mm)—and there is nothing wrong with that. They’re tried and true for a reason. However, one of the easiest ways to get bored or become fatigued with a particular location, especially if it’s one that you visit often, is to use the same lenses over and over. That’s where a novelty lens, like my beloved fisheye, can prove invaluable.

I know myself pretty well and the sad truth is that I have a very short attention span. I get bored of things rather easily and I’ve found that the onset of this boredom occurs more frequently when I use traditional lenses and focal lengths. Don’t get me wrong; I wholly appreciate the importance and standing of these landscape photography staples. It’s just that I also appreciate experimenting when it comes to beautiful nature scenes. I want to portray them to my viewers in ways that they may not have expected or imagined. There is a certain serendipity in that and it breeds inspiration.

When it comes to using a fisheye lens, the one thing that you not only have to consider, but embrace, is the dramatic radial distortion that will be added to your compositions. I know, I know. Distortion is one of those byproducts that we go to great lengths to mitigate and remove.

However, radial distortion can add a truly amazing quality to a photo if you have the right elements.  I tend to over-exaggerate those elements, such as a fallen tree trunk or a curvy stream, by filling the frame with them.

As you could imagine, this requires a bunch of experimentation and patience, but I’ve always found the results to be far worth the effort and I think you would, too.

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See more of Brian Matiash’s work at matiash.com.

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Photo Of The Day By Abe Blair

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Extreme Angles Assignment Winner Tom Elenbaas

Congratulations to Tom Elenbaas for winning the recent Extreme Angles Assignment with the image, “Secret Slick Rock Sunset.” See more of Tom Elenbaas work at www.tomelenbaas.com.

View the winning image and a selection of submissions in the image gallery below. And check out our current photography assignment here and enter your best shots!

[See image gallery at www.outdoorphotographer.com]

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Photo Of The Day By Tom Elenbaas

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Try A Telephoto Lens For Landscapes

I had the good fortune of visiting Italy’s Dolomites region in early 2019 to photograph the winter conditions of that most-impressive mountain range. Historically, my kneejerk reaction to photographing mountains has been to grab a camera and my widest lens available. It makes sense, after all, because mountains are generally gigantic and a wider focal length will yield a higher probability of fitting everything within my frame.

However, what I hadn’t considered was the amount of bright white snow that I’d have littered all over the place. Despite its undeniable beauty, it made things quite complicated because of how prevalent it was within each composition. In some cases, it’d be a welcome addition, especially if I was focusing on minimalism and negative space. However, my mind was elsewhere during the trip and the snow required me to take a different approach.

Before leaving for this trip, I had received a strong recommendation from several photographer friends to pack a long telephoto zoom lens. It was the sort of tip that ended with, “Trust me.” Fortunately, I listened to my friends and packed my Sony 100-400mm zoom lens, which ended up being used for about 95 percent of my photos during that entire trip.

In all honesty, I didn’t expect to enjoy using such long focal lengths with these landscape shots, but I’m so happy that I did. Extending out to 350mm or 400mm (and beyond, thanks to my 1.4x teleconverter), I was able to capture all of the intricacies of these formidable rocky facades.

I would have absolutely missed out on some of my favorite photos from the entire trip had I not been able to extend to such long focal lengths. On one particularly frigid morning, during sunrise, a weather system passed by the mountain range, intermittently enveloping the area in thick clouds. Had I only used a wide-angle lens, I am certain that my photos would be far less impactful because the bulk of the frame would be grey from the cloud cover. However, because I could tighten up on particular areas of mountain that were clear, I was able to capture them with exceptional beauty and detail, thanks to the layering.

I know that this article sounds like an ode to my telephoto lens, and it sort of is! If anything, my hope is that you read this article and get inspired to consider alternative lenses and focal lengths on your next landscape shoot. You may find yourself quite surprised with the experience and results.

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See more of Brian Matiash’s work at matiash.com.

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The Sony FE 35mm F1.8 Is A Light, Compact Prime For Full-Frame

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Photo Of The Day By Brandon Wales

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Tips For Great Aurora Photos

Of all the naturally occurring phenomena that one could photograph, aurora photos are perhaps the most awe-inspiring. It’s even more impressive when you get a better idea of what this natural light show is all about and where it occurs. In the most basic sense, the aurora is a natural event that occurs when electrically charged, gaseous particles released by our sun hit our planet’s atmosphere. The variance in colors that you’ll see dancing in the sky change based on the types of particles that hit our atmosphere. On top of that—and contrary to popular belief—this brilliant spectacle isn’t only visible from overly-touristed winter destinations like Iceland and Norway. In fact, you can see the aurora quite readily in both the northern and southern hemispheres. The “northern lights” are referred to as Aurora Borealis, whereas the “southern lights” are referred to as Aurora Australis.

Location & Weather For Aurora Photos

There are a number of factors that you will be best off researching and paying attention to whenever you intend on photographing the aurora. First and foremost is that you need to be at a location where this event can be visible. The further north or south you go towards the planet’s respective poles, the greater your chances are of seeing the lights. However, being present doesn’t guarantee a light show. You’ll also need a clear, or partly clear, sky. If you get skunked out with a “socked-in” sky, you won’t have much success. With that said, I find that having some clouds adds a lot to my compositions, as they provide a layering effect and contrasting element to the lights and stars.

Timing

A few additional things to know is that not all aurora light shows are created equally, nor do they run on a set schedule. Just because you take that flight to Iceland and find a beautiful location with a clear sky does not guarantee you a light show. One of the most important factors to consider is the geomagnetic activity level, represented by a KP number, at or around a particular time of night. The higher the KP number, the crazier the light show. Anything above (and including) Kp5 is classed as a geomagnetic storm, and in that event, the sky will light up so brightly, you’d think the sun turned green.

Exposure

One final thing to consider is that there aren’t many rules to follow when it comes to exposing for the aurora. These light shows vary by the second and you may find that one exposure required 30 seconds and the next one only required 2 seconds. Keep a close eye on your camera’s meter because it’s very easy to blow out your photo even though it may seem like it’s very dark outside.

When framing your shots, it also helps to have some foreground elements in your aurora photos. They provide a sense of place and depth for your viewer, and will ultimately lead to a more interesting photograph.

Finally, lest you need to be reminded, don’t forget that tripod!

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See more of Brian Matiash’s work at matiash.com.

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