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Friday, April 30, 2021

Photo By Lorenzo Cassina

Today’s Photo Of The Day is “Flamingo Heart” by Lorenzo Cassina. Location: Flamingo Gardens in Davie, Florida.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Sony’s full-frame mirrorless camera lineup includes a variety of models aimed at the unique needs of different users. The Sony a7R series provides the highest resolution, the Sony a7S series has the highest sensitivity and pixel-for-pixel 4K video, and the Sony a9 offered the fastest autofocus and continuous frames-per-second shooting when it was introduced.

For my work, that meant I typically traveled with a7R series cameras for portraits and landscapes and an a9 for action. Switching between them was a reminder of the tradeoff between resolution and speed. Because of this, none of these cameras was a true “flagship” camera.


[See image gallery at www.outdoorphotographer.com]

That’s the beauty of Sony Alpha 1. Its 50-megapixel sensor nearly matches a7R IV’s 61-megapixel resolution while at the same time offering extremely fast continuous shooting and, in my estimation, the best autofocus on the planet.

Sony Alpha 1: Resolution & Speed

With the Alpha 1, Sony shooters no longer need to choose between resolution and speed. The Sony a1 uses an all-new 50-megapixel Exmor RS backside-illuminated CMOS sensor capable of capturing fine detail yet with twice the readout speed of the previous best-in-class a9 II, virtually eliminating rolling shutter, so subjects like flapping wings won’t be distorted when using the electronic shutter.

The updated 30 fps electronic shutter offers silent, vibration-free performance and also supports anti-flicker shooting for working under fluorescent, LED or other flicker-prone types of artificial light, even while shooting at 30 fps. Alpha 1 also offers a newly designed 10 fps mechanical shutter. A large buffer permits recording up to 155 compressed RAW frames or 165 JPEGs in a single burst at 30 fps.

Processing Power

Improved processing power rarely grabs the headlines, but the BIONZ XR processors in the Sony a1 are like adding superchargers for lots more horsepower. With up to 8x faster image processing, this aids in greatly reduced rolling shutter and in enabling fast, continuous shooting speeds and AF calculations.

Image of a chimpanzee taken with the Sony Alpha 1.

Chimpanzee at the Los Angeles Zoo, California.
Sony a1, Sony FE 600mm F4 GM OSS G Master with Sony FE 1.4x teleconverter at 840mm. Exposure: 1/80 sec., ƒ/5.6, ISO 500.

Autofocus & Tracking In Sony Alpha 1

Alpha 1 performs up to 120 autofocus and exposure calculations per second for faster, more responsive tracking and accurate results. At its top shooting speed of 30 fps, the camera is actually recalculating focus and exposure four times between every single frame—and considerably more at slower shooting speeds.

The Hybrid AF system covers 92 percent of the sensor with 759 phase-detection points along with 425 contrast-detection areas for quick and precise focusing under a wide variety of lighting conditions, with sensitivity down to -4 EV. Phase-Detection AF is active all the way down to ƒ/22, allowing you to lock onto moving subjects quickly with Real-time Tracking, which uses AI-based technology. The camera’s touchscreen LCD also enables touch tracking for manual selection of the subject.

You can fine-tune how the focusing system performs. Seven-step AF transition speed and five-step AF subject shift sensitivity controls let you refine how quickly focus shifts from point to point and how smoothly focusing shifts occur. This enables you to decide whether focus remains “sticky” on the subject if something passes in front of it.

Real-Time Eye AF For Birds

For a portrait photographer, Real-time Eye AF has been a game-changer. Previous cameras offered Eye AF for both humans and animals, but as Sony continues to expand Eye AF, Alpha 1 adds Real-time Eye AF for Birds. When Wide focus area is selected, Bird Eye AF will search the entire frame for a bird’s eye. I generally prefer to select Spot M, Expand Spot or Tracking: Expand Spot to tell the camera where to search. These modes allow you to select the bird to be tracked, and the camera will automatically detect the bird’s eye and track it, whether the bird is stationary or in flight. My only suggestion is to avoid Spot S—it’s simply too small.

Image of a snowy egret at Malibu Lagoon State Park.

Snowy egret at Malibu Lagoon State Beach, California. The a1 introduces Real-time Eye AF for Birds.
Sony a1, Sony FE 600mm F4 GM OSS G Master with Sony FE 2x teleconverter at 1200mm. Exposure: 1/1250 sec., ƒ/8, ISO, ISO 1000.

Since Human, Animal and Bird Eye AF are three separate modes, you may want to assign this function to one of the many Custom Buttons on the camera since there’s no AI yet that switches between the modes. This is not entirely a bad thing. If a man, a horse and a bird walk into a bar, this allows you to pick the eye to follow.

For this review, I wanted to test Eye AF on wide variety of animals and birds, so I visited the Los Angeles Zoo as well as Malibu Lagoon State Beach. These locations gave me the opportunity to test out the effectiveness of the system on a wide range of animals and birds.

Sony Alpha 1 Feature Highlights

In-Body Image Stabilization

As with all Sony mirrorless cameras since a7 II, the a1 provides 5.5 stops of 5-axis image stabilization during handheld shooting of stills and video. Because the system is built into the camera, it enables stabilization with any lens—even adapted lenses. Additionally, the 5-axis image stabilization works in conjunction with compatible native and third-party lenses that include Optical SteadyShot (OSS) by allowing the lens to control two axes while the camera controls the rest.

High ISO Capabilities

Noise is in the eye of the beholder, and those of us who started photographing in the film era remember rather massive grain in anything over ISO 400. My best-known sports photo was shot on ASA 1600 color negative film with grain the size of boulders. Sony Alpha 1 actually looks cleaner at ISO 51,200.

Image of a Speke's gazelle at the Los Angeles Zoo.

Speke’s gazelle at the Los Angeles Zoo, California.
Sony a1, Sony FE 600mm F4 GM OSS G Master with Sony FE 2x teleconverter at 1200mm. Exposure: 1/80 sec., ƒ/8, ISO 500.

Whenever possible, I try to shoot at the native ISO 100 for lowest noise and widest dynamic range. It’s important to know that many recent Sony cameras have a second ISO point where gain is added to the signal. In my experience with the a1, this boost occurs at ISO 500. While this is not true “Dual Native ISO” like that found in Sony’s cinema cameras, ISO 500 has slightly lower noise and wider dynamic range than ISO 250. For this reason, I recommend jumping from ISO 200 straight to ISO 500 when you need more speed, and I have no qualms going up to 12,800 or higher if needed. You can clean up noise in post, but a hopelessly blurred image resulting from too slow of a shutter speed will remain so for eternity.

Fast Flash Sync

Alpha 1’s newly designed mechanical shutter is capable of flash sync up to 1/400 sec. in full-frame shooting or 1/500 sec. with an APS-C crop. Thanks to extremely fast readout speeds, electronic shutter flash sync is possible up to 1/200 sec. This is extremely welcome news to photographers who shoot outdoor location portraits with flash since higher flash sync speeds make it easier to overpower harsh sunlight.

In addition to allowing faster flash sync, this new mechanical shutter is also much quieter than previous generations. To my tastes, this strikes the perfect balance. It’s barely audible yet just enough to give that subtle feedback of each exposure. Though wildlife photographers will probably want to enable silent mode, I definitely prefer audible feedback when I shoot. So even when shooting with the electronic shutter, I generally disable the silent option, so that I hear a sound with each exposure.

Lossless Compressed RAW

Another user request that Sony engineers addressed is the addition of lossless compressed RAW. With the a1, you have three RAW options: Compressed, Lossless Compressed and Uncompressed. I find that in most instances, there is no visible difference between the three modes—other than file size. And that’s important because shooting 50-megapixel images at 30 fps can quickly translate to big storage consumption.

The Compressed format will yield a RAW file of approximately 51.2 MB, while a Lossless Compressed file will be only slightly larger at approximately 57.6 MB. Compare these to Uncompressed, which will produce a RAW file of approximately 98.5 MB. That’s nearly double the file size of the compressed formats.

Compressed allows the fastest shooting speed. Lossless Compressed is a good all-around balance when you don’t need the maximum 30 fps. (The max speed drops to 20 fps with Lossless Compressed and Uncompressed.) If you’re shooting star trails or extremely long exposures with heavy ND filters, you may want to choose Uncompressed.

Image taken at El Matador State Beach in Malibu, California.

El Matador State Beach in Malibu, California. The Sony a1 is an excellent choice for landscape photographers with its wide dynamic range and 50-megapixel resolution.
Sony a1, Sony FE 12–24mm F2.8 G Master at 12mm. Exposure: 0.8 sec., ƒ/22, ISO 50.

21-Megapixel APS-C Crop Mode

When shooting with APS-C crop, the Sony a1 yields a 21-megapixel image. That’s another advantage of the sensor’s native resolution—you still get a relatively large file even when cropped. This can be handy when you need an extra 1.5x magnification beyond the reach of the lens you’re using. If you wish to apply this on the fly, assign this mode to one of the custom buttons on the camera or the customizable focus hold button on the lens.

Pixel Shift Mode

Landscape photographers seeking the highest resolution will want to check out Pixel Shift Mode. Working in conjunction with the sensor-shift image stabilization, this mode slightly moves the sensor while making 16 consecutive exposures that can be merged together using Sony’s Imaging Edge desktop application into a file with approximately 199-megapixel resolution. It also offers greater color accuracy and detail than possible with a single exposure, since the fractional movements of the sensor allow each pixel to capture red, green and blue signals separately. You’ll get the best results when both your camera and subject are completely still, so use a tripod and understand that it may not work well on a windy day or with moving subjects.

Video

The Sony a1 offers 8K 30p and 4K 120p video in 10-bit color. S-Cinetone can be used to deliver distinct colors and healthy-looking skin tone rendering that matches the Sony FX9 and FX6 cameras and is based on technology from the professional Sony Cinema Line cameras, such as the VENICE. This color profile offers natural mid-tones, soft colors and well-controlled highlights. The camera features a passive cooling heat sink to help prevent overheating when shooting extended clips.

Groundbreaking Electronic Viewfinder

Alpha 1 features a 9.44 million-dot QXGA OLED EVF with 0.9x magnification for exceptionally bright, clear and detailed eye-level viewing. It has an incredibly fast 240 fps refresh rate for smooth motion rendering and blackout-free viewing, producing a viewing experience that’s as close to a true optical viewfinder yet in an EVF.

Image of a gorilla at the Los Angeles Zoo taken with the Sony Alpha 1.

Gorilla at the Los Angeles Zoo, California.
Sony a1, Sony FE 600mm F4 GM OSS G Master with Sony FE 1.4x teleconverter at 840mm. Exposure: 1/400 sec., ƒ/5.6, ISO 500.

New Menu Interface

With the a7S III, Sony introduced an update to their user interface with a more intuitive color-coded menu system, which is used in the a1 as well. If you’ve felt lost in Sony menus in the past, this will come as very welcome news. For longtime Sony shooters, it may take a little time to find where Sony has moved some of the settings, but the changes quickly make sense. The menu system also works in conjunction with the touchscreen LCD.

Anti-Dust Shutter Close

Sony reports that many photographers have requested the option to close the shutter to cover the sensor when changing lenses in dusty conditions. Sony has resisted this in the past because shutters are very delicate and expensive to repair, while sensors are easy to clean, but with that warning, Sony has added an Anti-dust Function menu setting that closes the shutter when the camera is powered down. With shutter close enabled, the camera goes into a shutdown mode when you turn it off, and the shutter will close three seconds after it’s powered down.

Dual Memory Card Slots

The a1 can accept either CFexpress Type A or SD-type memory cards, and both of the card slots are rated to support UHS-II memory cards for optimal transfer speeds. CFexpress Type A cards offer the fastest transfer speeds, allowing the buffer to clear more quickly, and are required to get the camera’s maximum continuous shooting rates. You can choose simultaneous redundant recording to both card slots, set recording to roll over from Slot 1 to Slot 2 or split files between the two slots for options like recording RAW to one slot and JPEG to the other.

Image of a giraffe taken with the Sony Alpha 1.

Giraffe at the Los Angeles Zoo, California.
Sony a1, Sony FE 600mm F4 GM OSS G Master at 600mm. Exposure: 1/1250 sec., ƒ/4, ISO 500.

Durability & Weather Sealing

As you’d expect from a $6,500 flagship pro camera, Alpha 1 has excellent build quality, with a magnesium alloy chassis for rigidity, durability and stability while remaining lightweight. The lens mount has been improved to better support heavy lenses, and the grip has also been improved.

The camera includes extensive weather protection, including enhanced sealing around the battery cover, terminal cover and chassis joints to resist dust and moisture for reliable operation in harsh weather conditions. 

Check the current price of the Sony Alpha 1 at B&H.


See more of Brian Smith’s work at briansmith.com.

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Thursday, April 29, 2021

Congratulations to Jemma Lee for winning the recent Leading Lines Assignment with the image, “Grandeur of Nature to Resemble a Castle.”

Canon EOS 7D Mark II. Exposure: 1/160 sec., f/16, ISO 400, 10mm.

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

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Photo By Jeremy Janus

Today’s Photo Of The Day is “The Waves of Antelope Canyon” by Jeremy Janus. Location: Near Page, Arizona.

“Shooting in Antelope Canyon was harder than I was expecting,” says Janus. “This was actually a blend of four different shots to get the right exposure for this intriguing landscape.”

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Wednesday, April 28, 2021

Photo By Clayton Peoples

Today’s Photo Of The Day is “Moonset over Mt. Whitney” by Clayton Peoples. Location: California.

“Since capturing the moonset near the Whitney Crest in my photo ‘Transition,’ I had hoped to get a photo of the moon directly above Mt. Whitney itself—particularly given that it’s the tallest peak in the contiguous 48 states,” says Peoples. “After a lot of research, I chose this particular weekend to attempt the shot. Although the first morning didn’t deliver the composition I was seeking, the second morning produced nearly perfect conditions—including this moment when the moon was just above Mt. Whitney, on its way down.”

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Tuesday, April 27, 2021

Sigma today announced a fast new prime lens in its DG DN line of lenses for full-frame mirrorless cameras. Available in L-Mount (Leica, Panasonic and Sigma) and Sony E-Mount, the Sigma 35mm F1.4 DG DN | Art is similar to the Sigma 35mm F1.4 DG HSM | Art introduced in 2012 for DSLRs, but redesigned for mirrorless systems and updated with Sigma’s latest optical and mechanical technologies.

Image of the Sigma 35mm F1.4 DG DN | Art

Sigma 35mm F1.4 DG DN | Art

As an Art series lens, it’s one of Sigma’s premium lenses in optics and construction. It has a minimum focusing distance of 11.8 inches. Sigma states that the optical design controls sagittal coma well, even at its largest apertures, for those interested in using this lens for astrophotography. The lens also features weather sealing for dust and moisture resistance.

Availability of the Sigma 35mm F1.4 DG DN | Art is expected in “mid-May” and will be priced at $899. For more details, see the press release below.

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Sigma 35mm F1.4 DG DN

The evolution of a classic

The 35mm F1.4 Art is reborn

  1. Exceptional optical performance
  2. Fast and quiet AF in a compact body
  3. Professional feature-set

Superb optical performance and usability power up the most popular focal length.

An “Art F1.4 35mm” reborn for mirrorless and empowered through SIGMA’s technology to date.

The existing 35mm F1.4 DG HSM | Art was SIGMA’s first GLOBAL VISION lens. Released in 2012, it set the standard for all of SIGMA’s subsequent Art-line lenses, and thanks to its exceptional image quality it is still the 35mm prime lens of choice for many professional photographers. Nine years on, the 35mm F1.4 has been redesigned from the ground up specifically for mirrorless cameras, and is the culmination of much of the optical design expertise and advanced production techniques gained over the past decade of GLOBAL VISION lens development. As with all of SIGMA’s lenses, the 35mm F1.4 DG DN | Art is built entirely at its sole factory in Aizu in Japan, where the standard of craftsmanship is of the highest level.

As is true with all SIGMA lenses, class-leading optics are right at the heart of the design concept of this new 35mm F1.4 DG DN | Art. Despite being significantly smaller and lighter than the existing 35mm F1.4, it displays an outstanding level of sharpness right to the edges of the frame at all apertures, as well as exceptionally smooth and attractive bokeh and remarkably well-controlled optical aberrations.

Designed exclusively for use with mirrorless cameras, the 35mm F1.4 DG DN | Art is light enough to feel perfectly balanced on a compact mirrorless camera, yet is packed with an array of professional features including ultra-fast AF, a de-clickable and lockable aperture ring and a customizable AFL button. This gives the lens operability and portability without compromise, making it as ideal for professional projects as it is for casual outings, and as well-suited to video as it is stills.

SIGMA is delighted to introduce you to the new gold standard in wide-aperture 35mm primes.

Key features

  1. Exceptional optical performance

Central to the design of the 35mm F1.4 DG DN | Art is its sophisticated optical performance, which is consistent with the development of all Art line lenses. The lens incorporates 15 elements in 11 groups. With two Special Low Dispersion (SLD) elements, an Extraordinary Low Dispersion (ELD) element, an ‘F’ Low Dispersion (FLD) element and two aspherical elements, and as well as other high-performance glass, the lens’ advanced optical construction utilizes SIGMA’s state-of-the-art optical design technology, minimizing all types of aberration including axial chromatic aberration, which cannot be corrected in-camera.

In spite of having a very wide aperture of F1.4, the lens is able to control sagittal coma flare extremely well even wide open, stopping bright points of light from flaring out near the edges of the frame. This will be particularly appealing to night sky photographers.

Owing to its 11 rounded diaphragm blades, the lens displays smooth, round bokeh so that out-of-focus areas are not distracting. This makes the 35mm F1.4 DG DN | Art well-suited to portraits, supported by its ultra-sharp image quality and minimal color bleeding. It also performs very well in backlit conditions thanks to SIGMA’s anti-ghosting and anti-flare technology that it has cultivated through countless simulations and real-life testing in our many years of lens development. This keeps shots high contrast and free of excessive flare even when working in difficult light.

  1. Fast and quiet AF in a compact body

The focusing mechanism in the SIGMA 35mm F1.4 DG DN | Art features a stepping motor. This motor controls a focusing lens group composed of a single, lightweight element, which means AF is responsive and quiet, and is able to keep track of moving objects very effectively. Manual focusing is smooth and precise, but with the right amount of resistance for film-makers. Certainly, this lens has a focus mode switch on the body.

The SIGMA 35mm F1.4 DG DN | Art wholly embraces the Art line concept, which is “designed with a focus on sophisticated optical performance”. This—paired with its advanced autofocus performance and the convenience of a compact size—makes for a lens that raises the standards.

  1. Professional feature-set

On the body of the SIGMA 35mm F1.4 DG DN | Art is an aperture ring that allows aperture to be controlled via the lens, or when set to Auto, using the camera. An aperture lock switch on the lens body allows the aperture ring to be locked in Auto so that it’s not accidentally knocked during shooting. A big plus for film-makers, the aperture ring can be de-clicked, allowing users to seamlessly adjust exposure. Also on the lens barrel is a focus mode switch and an AFL button, which can be customized to a desired function from within the camera menu (depending on the model). The switch is ergonomically positioned to be controlled by the thumb during use.

A petal type lens hood is included in the box, which helps reduce flare and offers the lens added protection if dropped. The hood has a lock mechanism that keeps it attached securely to the lens, and its rubberized grip makes it quick and easy to attach and remove.

On top of this impressive array of features and elegant exterior, the body of the 35mm F1.4 DG DN | Art offers an exceptional level of durability that helps it withstand long-term professional use as well as individual operating parts that give a good fit to the hand. The dust and splash proof structure provides sealing on buttons and along joins between constituent parts, and there’s a rubber gasket around the mount. There’s also a water and oil repellent coating applied to the front element ensures that photographers can rely on it in any conditions.

Additional features

  • Lens construction: 15 elements in 11 groups, with 1 FLD, 1 ELD, 2 SLD and 2 aspherical elements
  • Internal focusing
  • Compatible with high-speed autofocus
  • Stepping motor
  • Compatible with lens-based optical correction

* Function available on supported cameras only. Available corrections may vary depending on the camera model.

  • Super Multi-Layer Coating
  • Water and oil repellent coating (front element)
  • Aperture Ring
  • Aperture Ring Click Switch
  • Aperture Ring Lock Switch

*When turned ON at the position A, the aperture ring is locked at A. When turned ON at a position other than A, it is locked within the range between the maximum to minimum apertures and will not engage at the position A.

  • AFL button
  • Focus Mode Switch
  • Support DMF, AF+MF
  • Dust and splash proof structure
  • Petal type hood with lock
  • Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
  • Designed to minimize flare and ghosting
  • Every single lens undergoes SIGMA’s proprietary MTF measuring system “A1”
  • 11-blade rounded diaphragm
  • High-precision, durable brass bayonet mount
  • “Made in Japan” craftsmanship

To learn more about SIGMA’s craftsmanship, please visit SIGMA website at

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Key specifications

The figures below are for L-mount

Lens construction: 11 groups, 15 elements (1 FLD, 1 ELD, 2 SLD and 2 aspherical lens)

Angle of view: 63.4 °

Number of diaphragm blades: 11 (rounded diaphragm)
Minimum aperture: F16

Minimum focusing distance: 30 cm / 11.8 in.

Maximum magnification ratio: 1:5.4

Filter size: φ67 mm

Dimensions (Maximum Diameter × Length): φ75.5 mm × 109.5 mm / φ3.0 in × 4.3 in

Weight: 645 g / 22.8 oz

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Photo By Tom Elenbaas

Today’s Photo Of The Day is “Galactic Eruption” by Tom Elenbaas. Location: Sedona, Arizona.

“The COVID pandemic and resulting travel restrictions put the kibosh on most of my planned adventures this summer, but my brother and I did sneak away to Sedona over the Memorial Day weekend to do some night photography,” says Elenbaas. “Social distancing is easy at 3 a.m. Here, the Milky Way appears to be erupting from Bell Rock.”

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Monday, April 26, 2021

Photo By Ross Stone

Today’s Photo Of The Day is “Lake Tahoe Orangey Sunset” by Ross Stone. Location: Lake Tahoe, Nevada.

“Summer Sunset in Lake Tahoe is a thing of beauty and this is only one of the many places to photograph layers,” explains Stone.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Steady that long lens

When you go out to make images of wildlife, magnification is essential for a number of reasons. Most obviously is that it allows the animal to be captured full frame. Unless you always create environmental portraits, many wildlife photographers live by the adage that bigger is better. A second reason is that you keep your distance. This allows the animal to go about its regular business. This increases the likelihood that you arrest the behavior it wouldn’t perform if it’s in fight or flight mode. Magnification is also beneficial as it provides cleaner backgrounds. The narrower angle of view potentially reduces the number of distractions. Finally, their wider apertures help throw the background out of focus since the depth of field is narrowed. 

Use Vibration Reduction

I love my 80-400mm with built-in stabilization. It provides a fantastic range that allows me to make everything from an environmental portrait to a frame-filling headshot. When attached to a digital body with a crop sensor, the 400mm length is equivalent to 600mm on a full-frame camera. Because they’re light and come with VR, they can be handheld. The rule of thumb is to shoot using the reciprocal of the focal length to obtain a sharp image. For instance, at 600mm, use at least 1/600th shutter speed. But with VR switched on and careful holding technique, this shutter speed can be sliced in half. Be aware of subject movement as slower speeds record the subject’s motion. It goes without saying that faster speeds provide more insurance.

Steady that long lens

Support Your Long Lens With A Bean Bag

Animals have become accustomed to vehicles, which has led to many images shot from inside a car. It’s almost impossible to set up a tripod around seats, center consoles and steering wheels. It’s with this in mind that a bean bag comes to the rescue. With a window slightly rolled up, it fits over the lip and is steadied by a section that butts up to the inside panel of the door, creating a solid platform for a long lens. Be sure to shut off the engine. A running motor imparts vibration, which translates to images that won’t be sharp. Additionally, if there are other people or photographers in the car, have an understanding that movement is restricted to times when a warning is given. When I run my safaris in Tanzania, all we use are bean bags. I’ve shot my 600mm on a crop sensor with shutter speeds as slow as 1/100th and attained tack-sharp photos.

Supports Your Long Lens With A Beefy Tripod

Big telephoto lenses are long, heavy and expensive. An investment in one also dictates an investment in a heavy-duty tripod for two key reasons. If you mount a super-telephoto to an inferior tripod, the end result will be a blurry photo. The tripod isn’t adequate enough to dampen the movement and magnification of the lens. Secondly, saving a few bucks on an inferior tripod could cost you big bucks in the end. If it’s not beefy enough to support the setup and winds up toppling to the ground, ouch.

Steady that long lens

With your rig mounted on a good tripod, a good technique to incorporate is to lay your left hand on the barrel of the lens and slightly push down while you press the shutter. This technique steadies the setup as pressing the shutter creates an upward movement that’s countered by the left hand resting on the barrel.

To learn more about this subject, join me on one of my photo safaris to Tanzania. Please visit www.russburdenphotography.com to get more information.

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Sunday, April 25, 2021

Photo By David Connel

Today’s Photo Of The Day is “Window Into Infinity” by Arches National Park, Utah.

“I spent two weeks in the Moab, Utah, area photographing night scenes in August,” explains Connel. “I slept during the heat of the day and spent all night shooting the stars. I knew the North Window arch had a lot of potential if the Milky Way would line up properly. Patience through hours of waiting finally paid off. I composed the scene with my camera on a tripod and climbed up into the arch. I communicated with my wife using a flashlight, and when I was in the proper position, she snapped the picture.”

Exposure: 20 sec., f/2.8, ISO 3200.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Saturday, April 24, 2021

Photo By James Day

Today’s Photo Of The Day is “Curious Cubs” by James Day. Location: Lake Clark National Park, Alaska.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Friday, April 23, 2021

Photo By Jody Partin

Today’s Photo Of The Day is “Mono Lake Blues” by Jody Partin. Location: Mono County, California.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Congratulations to Ross Stone for winning the recent Telephoto Landscapes Assignment with the image, “Shine Down On Me.”

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

[See image gallery at www.outdoorphotographer.com]

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Thursday, April 22, 2021

Tamron today introduced two new Di III series zooms for Sony, a super-tele for full-frame cameras and a wide zoom for APS-sensor models. Both will be available in June.

Tamron 150-500mm F/5-6.7 Di III VC VXD (Model A057)

Tamron 150-500mm F/5-6.7 Di III VC VXD (Model A057)

The Tamron 150-500mm F/5-6.7 Di III VC VXD (Model A057) is a relatively compact super-tele that will especially appeal to wildlife and sports photographers. Its closest competitor in Sony’s own lens lineup is arguably the FE 200-600mm F5.6-6.3 G OSS, and though the Tamron’s range is shorter, the lens is more compact even when fully extended to 500mm and priced about $600 less than the Sony.

As a full-frame model, the lens can also be used with APS-sensor cameras, providing an equivalent range of 225-750mm. The lens includes Tamron’s Vibration Compensation system, but the press release doesn’t specify the number of stops of image stabilization provided. It can focus as close at 23.6 inches at the wide end of its range and 70.9 inches at the telephoto end. List price is $1,399, and availability is expected on June 10.

Tamron 11-20mm F/2.8 Di III-A RXD (Model B060)

Tamron 11-20mm F/2.8 Di III-A RXD (Model B060)

For APS-sensor Sony cameras, the Tamron 11-20mm F/2.8 Di III-A RXD (Model B060) is equivalent to approximately 16.5mm-30mm, giving it a versatile range for wide-angle landscapes, architecture and general travel use. The lens is roughly comparable to Sony’s E 10-18 mm F4 OSS, but it’s a full stop faster and priced at $829, about $70 less than the Sony.

The lens can focus as close as 5.9 inches at 11mm, extending out to 9.4 inches at the 20mm end of the range. It’s expected in stores on June 24.

For more details on both of these lenses, see the press releases below.

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TAMRON Announces Compact 500mm Ultra-Telephoto Zoom for Sony E-mount Full-Frame Mirrorless Cameras

150-500mm F/5-6.7 Di III VC VXD Model A057 High-speed, high precision AF and TAMRON’s VC make comfortable handheld photography with a compact 500mm zoom a reality.

April 22, 2021, Commack, NY – TAMRON announces the launch of the 150-500mm F/5-6.7 Di III VC VXD (Model A057), an ultra-telephoto zoom lens for Sony E-mount full-frame mirrorless cameras on June 10, 2021 at approximately $1,399 USD. Due to the current global health crisis, the release date or product supply schedule could change.

The 150-500mm F5-6.7 is TAMRON’s first ultra-telephoto zoom lens for full-frame mirrorless cameras that reaches the 500mm focal length and when used on APS-C mirrorless format cameras, the zoom range is an approximate 225-750mm full-frame equivalent. Even when extended to the 500mm telephoto end, the lens is still compact enough for comfortable handheld shooting. This zoom lets users enjoy casual shooting with steady performance and high image quality in the ultra-telephoto realm where conventional wisdom once dictated a tripod. To support handheld shooting in the ultra-telephoto range, the 150-500mm is equipped with VXD (Voice-coil eXtreme-torque Drive), a linear motor focus mechanism that delivers excellent quietness and agile performance, and TAMRON’s proprietary VC (Vibration Compensation) mechanism for high-level image stabilization. At the 150mm end, the lens offers an MOD of 23.6” for powerful and dramatic close-ups.

PRODUCT HIGHLIGHTS

  1. A hand-holdable full-frame 500mm lens that defies conventional wisdom

The 150-500mm F5-6.7 is just 8.3” long with a maximum diameter of Ø93mm, an astoundingly compact size for a 500mm-class ultra-telephoto zoom for full-frame mirrorless cameras. Even when extended to the 500mm telephoto end, the lens is still remarkably compact at only 11.1”. The lens zooms from 150mm to 500mm by rotating the zoom ring through an arc of just 75° — less than one-quarter of a turn. This feature enables rapid adjustment to the desired angle of view with minimal movement, avoiding missed opportunities and facilitating intuitive composition. TAMRON’s renowned VC mechanism also significantly improves handheld performance by counteracting camera shake.

  1. Amazing high image quality despite its compact size

The optical construction features 25 elements in 16 groups. The generous and effective use of special lens elements including one XLD (eXtra Low Dispersion), five LD (Low Dispersion), and two Hybrid Aspherical lens elements thoroughly controls aberrations including axial chromatic aberrations. This 150-500mm F5-6.7 ultra-telephoto zoom lens is designed and constructed with strong emphasis on compact size and usability without compromising image quality, so users can enjoy exceptionally high resolving power across the entire image. 

  1. VXD AF motor provides high speed, high precision, and excellent quietness

The 150-500mm F5-6.7 features the same highly acclaimed VXD linear motor focus mechanism that was first introduced in the 70-180mm F/2.8 Di III VXD (Model A056). VXD delivers extreme high-speed and high-precision movement and ensures exceedingly responsive performance. Even when shooting at the ultra-telephoto end with a focal length of 500mm, the 150-500mm provides fast, comfortable and accurate focusing at all shooting distances, from near to far.

Focus tracking has been vastly improved to facilitate capturing fast-moving subjects like sports, birds, and aircraft. This ensures that those dramatic, action-packed moments are never missed, whether shooting still photos or video. Additionally, the linear motor also reduces drive noise and vibrations produced during focusing (as compared to a conventional drive system), making it ideal for shooting both still photos and video in low-noise environments.

  1. TAMRON’s acclaimed Vibration Compensation delivers excellent image stabilization

The slim, compact 150-500mm F5-6.7 is equipped with TAMRON’s VC mechanism. The lens features a VC mode selection switch with three settings (Mode 1: Standard, Mode 2: Exclusively for Panning, and Mode 3: Framing Priority) so the ideal VC mode can be invoked to match shooting conditions. This functionality delivers excellent image stabilization performance, enabling efficient reduction of image blurring caused by camera shake.

  1. Exciting telephoto macro focuses as close as 23.6”

The 150-500mm F5-6.7 offers excellent close-up shooting capabilities for an ultra-telephoto lens. The MOD is 23.6” at the 150mm end and 70.9” at the 500mm telephoto end. The maximum magnification ratio at 150mm is exceptionally high at 1:3.1. Users can shoot powerful telephoto-macro images of subjects including flowers and insects while maintaining a reasonable shooting distance — closer than you can get with conventional ultra-telephoto zoom lenses.

  1. Additional features for greater convenience

– Arca-Swiss compatible tripod mount with strap attachment holes included

– Lens hood with flexible, protective front portion

– New switch design for improved operability

– FLEX ZOOM LOCK mechanism to support greater usability

  1. BBAR-G2 Coating minimizes ghosting and flare
  1. Moisture-Resistant Construction and Fluorine Coating provide extra protection
  1. Compatible with many camera-specific features and functions, including Fast Hybrid AF and Eye AF

SPECIFICATIONS

Model : A057
Focal Length : 150-500mm
Maximum Aperture : F5-6.7
Angle of View (diagonal) : 16° 25′-4° 57’ (for full-frame mirrorless format)
Optical Construction : 25 elements in 16 groups
Minimum Object Distance : 23.6“ (WIDE), 70.9“ (TELE)
Maximum Magnification Ratio : 1:3.1 (WIDE) / 1:3.7 (TELE)
Filter Size : Ø82mm
Maximum Diameter : Ø93mm
Length* : 8.3“
Weight : 60.8 oz. (without tripod mount) / Tripod mount 5.5 oz.
Aperture Blades : 7 (circular diaphragm)**
Minimum Aperture : F22-32
Standard Accessories : Round-shaped hood, Lens caps, Tripod mount
Compatible Mounts : Sony E-mount

* Length is the distance from the front tip of the lens to the lens mount face.

** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.

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TAMRON Announces World’s First Compact, Lightweight F2.8 Ultra Wide-Angle Zoom Lens for Sony E-mount APS-C Mirrorless Cameras

11-20mm F/2.8 Di III-A RXD (Model B060)

April 22, 2021, Commack, NY – TAMRON announces the launch of the 11-20mm F/2.8 Di III-A RXD (Model B060), a fast-aperture ultra wide-angle zoom lens for Sony E-mount APS-C mirrorless cameras on June 24, 2021 at approximately $829. Due to the current global health crisis, the release date or product supply schedule could change.

The new 11-20mm F2.8 zoom is the world’s first[1] ultra wide-angle zoom lens for Sony E-mount APS-C[2] mirrorless cameras that features an aperture of F2.8. Despite its fast F2.8 aperture, the lens is very small (3.4”) and feels perfectly balanced attached to a compact APS-C mirrorless camera body. It is the ideal ultra wide-angle lens for regular use. At the 11mm ultra wide-angle end, the lens exhibits stunning close-range shooting performance, achieving an MOD (Minimum Object Distance) of 5.9” and a maximum magnification ratio of 1:4. This feature invites wide-angle macro shooting that exploits the creative effects of naturally occurring distortion that only ultra wide-angle lenses can provide.

The new zoom is protected by Moisture-Resistant Construction and Fluorine Coating in consideration of outdoor shooting. Its Ø 67mm filter size is identical to TAMRON’s 17-70mm F/2.8 Di III-A VC RXD (Model B070) fast-aperture standard zoom lens for Sony E-mount APS-C mirrorless cameras and nearly all TAMRON’s lenses in the series of full-frame mirrorless cameras that sit nicely on APS-C cameras as well. Compatible with many of the features that Sony builds into its cameras, including Fast Hybrid AF and Eye AF, the lens is packed with features that support comfortable shooting. The highly practical features let photographers enjoy the superb image quality of this ultra wide-angle, fast F2.8 aperture lens.

PRODUCT HIGHLIGHTS

  1. The world’s first F2.8 ultra wide-angle zoom lens for APS-C mirrorless cameras

The 11-20mm F2.8 is a bona fide ultra wide-angle zoom lens with an aperture of F2.8 across the entire zoom range. Meanwhile, it is compact, lightweight and very practical. You can enjoy the unique and powerful world of ultra wide-angle photography at the 11mm end (the full-frame equivalent of 16.5mm). Ideal for regular use, the 20mm focal length (the full-frame equivalent of 30mm) is well suited for casual snapshot photography such as street shooting. With its usefulness rooted in its compact, lightweight design and fast F2.8 aperture, the 11-20mm F2.8 provides an exciting shooting experience with greater freedom in diverse shooting situations. 

  1. Compact and lightweight for superior usability

The 11-20mm F2.8 is only 3.4” in length and weighs just 11.8 oz. For a fast-aperture F2.8 ultra wide-angle zoom lens, this is remarkably compact and light. When used with an APS-C mirrorless camera body, it enables photographers to enjoy a responsive image capture system without being hindered by the size or weight of the lens. It provides a comfortable user experience for still photography and for shooting video using a small tripod or gimbal stabilizer.

  1. Outstanding optical performance

The 11-20mm F2.8 construction includes 12 elements in 10 groups. Two precisely located GM (Glass Molded Aspherical) lens elements assure high resolution across the entire image, from edge to edge. In addition, the 11-20mm F2.8 incorporates one XLD (eXtra Low Dispersion) and two LD (Low Dispersion) lens elements to produce sharp images with optical aberrations highly corrected. It also features the BBAR-G2 (Broad-Band Anti-Reflection Generation 2) Coating that suppresses ghosting and flare to a minimum level and reveals the minute details of objects even when the subject is backlit. The combination of features harmonizes to provide sharp images with natural colors and rich saturation.

  1. MOD of 5.9” at the 11mm focal length

The 11-20mm F2.8 boasts an MOD (Minimum Object Distance) of 5.9” at the 11mm focal length setting and 9.4” at the 20mm end. This results in better and more versatile close-range shooting performance than existing ultra wide-angle zoom lenses at their widest focal length. At the widest 11mm setting it has an astonishing maximum magnification ratio of 1:4 to provide wide-angle macro photography that parlays the perspective unique to ultra wide-angle lenses, while also leveraging the expressive bokeh provided by the fast, bright maximum aperture of this lens. 

  1. A user-friendly unified Ø67mm filter size across the series

The 11-20mm F2.8 is so light that the total weight of it and the 17-70mm F/2.8 Di III-A VC RXD (Model B070) standard zoom lens for Sony E-mount APS-C mirrorless cameras together is only approximately 30.3 oz. The combination of these two lenses covers an extreme range of focal lengths from 11mm to 70mm (equivalent to 16.5mm to 105mm on full-frame cameras) with a fast, wide-open aperture of F2.8 at every focal length, thereby enabling the size and weight of an entire mirrorless system to be massively reduced without sacrificing capabilities. Just like nearly all of TAMRON’s lens models for Sony E-mount cameras, it has a unified Ø67mm filter size that allows reciprocal sharing of filters such as PL and ND, and lens caps.

  1. The RXD (Rapid eXtra-silent stepping Drive) stepping motor unit is exceptionally quiet and perfect for video use
  2. Moisture-Resistant Construction and Fluorine Coating provide extra protection
  1. Compatible with many camera-specific features and functions, including Fast Hybrid AF and Eye AF

SPECIFICATIONS

Model : B060
Focal Length : 11-20mm (16.5-30mm full-frame equivalent field-of-view)
Maximum Aperture : F2.8
Angle of View (diagonal) : 105° 20′-71° 35’ (for APS-C mirrorless format)
Optical Construction : 12 elements in 10 groups
Minimum Object Distance : 5.9“ (WIDE), 9.4“ (TELE)
Maximum Magnification Ratio : 1:4 (WIDE) / 1:7.6 (TELE)
Filter Size : Ø67mm
Maximum Diameter : Ø73mm
Length* : 3.4“
Weight : 11.8 oz.
Aperture Blades : 7 (circular diaphragm)**
Minimum Aperture : F16
Standard Accessories : Flower-shaped hood, Lens caps
Compatible Mounts : Sony E-mount

* Length is the distance from the front tip of the lens to the lens mount face.

** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.

[1] Among interchangeable F2.8 ultra wide-angle zoom lenses for Sony E-mount APS-C mirrorless cameras (As of March, 2021: TAMRON)

[2] Di III-A: For APS-C format mirrorless interchangeable-lens cameras

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Photo By Robert Henderson

Today’s Photo Of The Day is “Yellow-Billed Oxpecker Conference” by Robert Henderson. Location: Serengeti National Park, Tanzania.

“The two juvenile yellow-billed oxpeckers are looking for a handout, but to no avail,” explains Henderson. “They’re going to have to find their own tasty ticks for dinner. Everyone who visits East Africa has pictures of these ubiquitous birds on their favorite animals, but I really like the way the stripes of the zebra swirl and focus attention on the birds.”

Canon EOS 7D Mark II, Canon EF 100-400mm f/ 4.5-5.6 IS II USM lens at 560mm, Canon 1.4X III teleconverter. Exposure: 1/1000 sec., f/8, ISO 800.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Wednesday, April 21, 2021

Photo By Kim Hang Dessoliers

Today’s Photo Of The Day is “Lancaster Super Bloom [2019]” by Kim Hang Dessoliers. Location: Lancaster, California.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Image "Arrow Dynamic" by Erin Babnik

Arrow Dynamic. The relationship that sand verbena have with dunes is truly remarkable. Somehow this hostile, wind-blasted environment is exactly where the delicate pink blossoms thrive. As someone who spends most of her time in wilderness environments, I felt a strong affinity for the small, vulnerable plant toughing it out in an inhospitable area.

Not every photographer can pinpoint specific moments in life that helped to steer their creative sensibilities. The development of a personal approach typically looks fairly messy in hindsight, and usually photographers experience a random progression more than anything especially deliberate. When it comes to tracing a creative trajectory, a photographer’s body of work often has to speak for itself. So, I may be something of an oddball in that I can credit my background as an art historian with some very specific experiences that directed my interests and methods as a photographer.

One of those experiences remains especially vivid in my memory as a formative moment. It occurred while I was still in graduate school studying the history of ancient Mediterranean art, a time when I frequently moonlighted as an assignment photographer to fund the camera gear that I needed for my academic work. Initially, I had the singular goal of producing a substantial archive of photos for my own teaching and research, but enough people in the academic world wanted bespoke photographs for their publications to keep me quite busy in a photography side business that became a slippery slope.

A Challenge Of Interpretation

Landscape photos in my portfolio started out primarily as views of ruins at archaeological sites, but frustration with access issues and tripod bans increasingly caused me to gravitate toward wilderness environments for my personal endeavors. For a long while, however, I continued to take every assignment that I could get. I enjoyed the free travel, and those new lenses that I wanted would have to pay for themselves somehow, I figured.

One of those assignments brought me to a reception room of a stately government building in Athens, Greece, where the director of one of the country’s most prestigious museums gave me five minutes of his time for an “interview.” The instructions that I had for the meeting were simple: get the necessary clearance to carry out my client’s wishes. He had arranged the meeting through his personal connections, and his high profile had gained me easy access to numerous museums and sites in the past. The director had recently instituted a strict policy against photography of any sort, and I was requesting permission to photograph a long list of antiquities using a professional camera and lighting gear.

To my great surprise, the director started out by saying that he did not see any good reason for me to be granted access for photography. All of the antiquities on my list had been documented thoroughly by some of the most famous German archaeological photographers of the 20th century, he noted. Technically superb photographs existed of each item, with all sides of each object rendered with the most descriptive lighting and the most objective focal lengths possible. With these excellent photographs readily available for licensing, why should there be any need for me to create new ones?

Image "Gold Rush" by Erin Babnik

Gold Rush. I’m probably not alone in seeing the form of a castle at the end of a road here. My imagination also cast the central, backlit tree in the role of a guard on lookout duty.

My reply to his very reasonable question came forth without any preparation because I had assumed that the meeting was merely a formality. Being caught utterly off guard, I was forced to think on my feet. After a moment of reflection, I remembered what my client had said about why he was sending me to Greece for this assignment. My photographs, he explained, helped to tell the stories of the objects. Thanks to my academic specialization, I understood what scholars of the day wanted to emphasize—what was historically and culturally relevant about the antiquities that I photographed. With all of the confidence that I could muster, I offered the director an example in response to his challenge. I replied, “Your bust of Alexander the Great is presented in those photographs at eye-level, but the original statue on its high base would never have been viewed from that angle. Photographed straight on, the forms of the face make Alexander look like a shy boy. Seen from below, however, your great king resembles a lion.” (Alexander’s “leonine” countenance was legendary in ancient literature, and, of course, the director knew this.)

Over the years, that urge toward interpretation has done a lot more for me than simply securing the occasional photography pass, as it did on that day in Athens. Learning to analyze images for art historical purposes has forever changed the way that I see the world. For better or worse, it has baked into me a habit of comparison and contextualizing that guides my interests and creative decisions. I cannot see a mountain, a tree or a grouping of flowers without thinking of them as abstract sculptures of a sort, characters in a setting that are waiting for me to tell their stories. The (happy) challenge for me is always to find photographic solutions for expressing whatever ideas nature’s elements might suggest. What was most significant about that meeting in Athens was the realization that it forced. Having articulated a photographic approach to the museum director, I suddenly had a key that seemed to unlock potential everywhere that I went with my camera.

Not long after that experience, I began making regular trips to the Dolomites of northern Italy as an antidote to the frustrations of photographing in highly controlled museums and archaeological parks. Out in the mountains, nobody would tell me that I was forbidden to use a tripod or that I had to limit my photography to the midday hours. In those days, the Dolomites were still relatively off the radar for most landscape photographers outside the region, so I rarely saw another photographer and had the same sense of peace that I enjoyed on those rare occasions when I was allowed special access to photograph ruins outside of visiting hours. Equally enjoyable was having a sense of direction that had been missing previously. There always had been a gravitational pull of sorts, a feeling that “there is something here” that transcended my aesthetic impulses when composing a photograph. Once I better understood the workings behind those instincts, making decisions in the field became much more fruitful.

Image "Afternoon Delight" by Erin Babnik

Afternoon Delight. For me, this scene was all about the corridor in the rocky landscape leading to the majestic peaks beyond. Flooded with light and populated with small flowers, the corridor seemed symbolic of a journey that was about to reach a glorious conclusion. I was especially charmed by the shape that the central peak takes from this angle, lending it a noble quality that seems to reinforce the idea of accomplishment.

The Pursuit Of Meaning

The rewards of pursuing meaning in nature quickly became addictive. Working mainly in the Alps, I took every opportunity to explore further, to hike higher and to spend longer periods of time in search of expressive subjects. As these were the days before the era of social media, few photographs were available to offer me any inspiration, but I became very adept at consulting topographical maps to target areas of potential interest.

Learning which types of features tended to occur in which environments and at what elevation was extremely helpful. Once I knew what to expect in a particular combination of circumstances, I could extrapolate from that knowledge to find similar areas at a different massif or in a different mountain range. My favorite zones were those right on the edge of the tree line of an area, and preferably with some water elements mixed in. In those types of settings, there were an abundance of potential “characters” that seemed ripe for photographic storytelling.

Image "The Lost Ark" by Erin Babnik

The Lost Ark. After years of photographing ruins in the Mediterranean and Middle East, I could not help but see an archaeological theme in this scene. I was lying on my stomach in order to get a very low angle that would make the sand tufas look like grand, exotic monuments, when, in fact, they are only a couple of feet high.

Although my experience in Athens provided some much-needed clarity, it was years before I could articulate what I was doing beyond recognizing this notion that every interesting feature in the wilderness was a potential protagonist. The next big “a-ha moment” in honing my approach came shortly after I made the transition to a full-time career in landscape photography. Perhaps “transition” is too generous of a term for what was essentially a precarious leap of faith, following some agonizing soul-searching that caused me to step away from a plum situation in academe. With no financial safety net, no guaranteed income and a great sense of indebtedness to my former advisors and colleagues, I departed from the academic world feeling massively conflicted. Such was my mindset during a particularly auspicious trip to a remote area of Death Valley National Park, where I photographed my first rainbow images.

The rainbow day came about a month after I had last photographed in this part of the park, an area far from any services or campgrounds and reachable only through hours of trundling along rough dirt roads. Because the journey was not exactly trivial, I always allotted numerous days for each visit and had logged about two weeks there across several trips.

During the last of those prior visits, I had found a composition in a playa of cracked earth that captured my imagination. A rounded form with a diagonal line jutting out of it looked to me like a giant dial, and it pointed right to the full moon that was setting when I first knelt down to assess the foreground. Alas, I failed to catch exactly the right balance of light that morning because I discovered the composition too late. Unable to let go of the idea, I returned to it repeatedly over the next couple of days, but, of course, the moon was no longer in position during the morning twilight and was absent at sunset. In the end, I came away from the “moondial” idea empty-handed. Determined to try again, I returned a month later, when the moon alignment would be optimal again.

Image "Moondial" by Erin Babnik

Moondial. To my mind, the giant “needle” pointing to the moon in this scene strongly suggested a device designed for the reckoning of time. A couple of years later, I produced a companion piece featuring the sun in a similar setting titled “Sundial.”

After mooching a ride from a friend with a 4×4 vehicle, I made it back out to that white whale of a composition. To my absolute delight, everything went perfectly on the morning of the moon alignment, which was the first morning of what would become a very productive adventure. On the second morning, I found a composition with a lone tree that charmed me immensely, situated about a mile away from the moondial, and that’s when my good fortune really started kicking into high gear.

Traversing that mile between the moondial and the tree allowed me to spot numerous possible “characters” in the desert that I hoped to photograph. Consequently, when a rainbow appeared on the second morning, it set in motion a whole chain of photographic opportunities. While I was set up to photograph the tree composition, the rainbow dropped right down into my frame as if on cue, positioned exactly where I would have put it if I were painting the scene from scratch.

Before that moment, my experience of trying to photograph rainbows had been a comedy of errors, always involving a mad dash and framing up the shot just as the rainbow decided to vanish. This time, however, the rainbow came to me. Even more incredible, it stuck around. Certain that it would disappear as soon as I moved, I made my way anxiously through the points of interest that I had noted in that magic mile between my primary compositions. Through some freakish generosity of nature, the rainbow held out the entire time.

It was one of those intermediate compositions that provided the most profound experience of the trip. The scene consisted of a pair of opposing cracks in a smaller playa of dried mud that combined to form an arc, and, directly above them, the rainbow echoed that shape. This beautiful, fortuitous alignment of sky and land seemed to cry out for interpretation, for a meaningful synthesis of the parallel elements. To my mind, this composition was positively burgeoning with possible stories that derived power from the similarities in form.

Image "Twinsies" by Erin Babnik

Twinsies. When two different features in a photo have similar forms, I call it an “echo composition.” Such similarities invite a synthesis of ideas about them, often with a wide range of possible interpretations. In this case, a viewer might see a message as allusive as “old versus new” or “revival following destruction,” or someone simply might enjoy the nature story of rain and sun combining to form arcing shapes both in the sky and on the ground.

The most obvious story was the one about how the mud playa was formed—the natural story. Through the interaction of rain and sun, both the rainbow and the cracked mud came into being. On a more emotional level, I saw a summary of where I was in my life at the time—the personal story. All of those mud tiles in the playa were like the pieces of a puzzle representing my life, now finally forming into something quite wonderful and resonant after changing careers to follow my dreams.

Beyond both of those narratives, I saw one that was more universal—the metaphorical story. We all seem to have a fractured past in some way, partially broken and worn, like the cracked mud, but the colorful moments of life are like a rainbow bringing renewed joy after a storm. The scene was definitely “speaking” to me.

That rainbow lasted most of the day, periodically dimming, only to gain vibrancy again as it slowly revolved around the valley, propelled by the movement of the sun. With ample time to photograph this spectacle in a variety of settings, I continued to reflect on the great potential for meaning in landscape photographs. I realized that the three types of stories that had occurred to me—natural, personal and metaphorical—could apply to any nature image. Although I had spent years thinking in terms of characters in their settings, landscapes could communicate through a variety of paradigms. Moreover, all nature images had a wonderful open-endedness in how they might suggest different stories to different people.

Image "Octopus's Garden" by Erin Babnik

Octopus’s Garden. I named this photo after the Beatles song because of my whimsical imagination seeing what looked like a cultivated garden exposed by the low tide. I reckon that if an octopus could have a garden, it would look something like this!

Expression Beyond Words

Dwelling on this idea further, I remembered the book Art and Its Objects by the philosopher Richard Wollheim, a standard text for any advanced student of art history. Wollheim explains (over the course of many pages) that artists will always intend more than viewers will see, and viewers will always see more than artists intend. That reality is what makes art so potent, and it underscores why landscape photographers do not need to communicate with any amount of specificity to have a voice. If viewers find a photograph compelling enough to ponder it, stories will emerge for them. That whole train of thought made me feel as though I had found the missing link between my motivations to study art history and everything that had lured me into landscape photography. Art, I realized, is a special brand of expression that no amount of language can replace.

Once again, I returned from a photography trip with greater clarity of purpose and even greater enthusiasm for landscape photography. My love affair with the desert had deepened, and it ushered in a period of sustained activity in Death Valley that has produced about half of the portfolio images that I count among my favorites. Along the way, the habit of interpretation has kept on giving, sometimes in the field and sometimes down the line while curating or post-processing images.

Image "Smooth Move" by Erin Babnik

Smooth Move. A high percentage of my images that include a sky also feature some kind of interaction or “dialogue” between sky and land. At this moment, the connection between the illuminated line in the clouds and the serpentine line of the dune provided me with exactly the finishing touch that makes a scene come alive for me. In this case, there seems to be a wonderful symbiosis going on, as if the dune and the sky are drawing energy from each other.

Oftentimes stories present themselves quite spontaneously, so it’s usually not a process of invoking the imagination through conscious effort. I have learned to lean into the idea of storytelling consciously only when it won’t interrupt other creative impulses. If some muse or other is singing loudly, I don’t change the channel, so to speak. The initial spark might come from some compositional impulse that is more aesthetic in nature (and my sensibilities on that front likewise evolved out of studying art history), or from weather conditions or even technique. Any number of interests might induce that special state of creative flow that all landscape photographers crave and would not want to spoil with too much conscious analysis.

The time always comes, though: With every image, there is some point in the process when making creative decisions becomes a conscious effort. It is in those moments of uncertainty when I always turn to interpretation as a compass. I find it to be an invaluable and teachable approach that I have been sharing in articles, talks and workshops for years now. Like anything else, practice leads to fluency. When the imagination is allowed out to play on a regular basis, stories will emerge with greater power to illuminate the way forward. 


See more of Erin Babnik’s work at erinbabnik.com.

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