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Wednesday, June 30, 2021

Congratulations to Sandra Rust for winning the Spring Mammals, Amphibians And More Assignment with the image, “Cedar Waxwing eating a Crabapple Blossom.” See more of Sandra Rust’s work at jolietcommercialphotographer.com.

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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Photo By Ross Stone

Today’s Photo Of The Day is “Cotton Candy Dreams” by Ross Stone. Location: Big Pine, California.

“The sunrise on the last big snowstorm of the season in the Eastern Sierra,” describes Stone. “As a kid, I used to fish from this riverbank and now I take photos from it. The good spots will always be good.”

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 of the Nikon Z fc

Nikon Z fc

You might remember Nikon’s Df retro-styled DSLR released in 2013. Today Nikon has introduced a new take on that classic design for its mirrorless Z system. The 20.9-megapixel Nikon Z fc is a DX-format (APS-sensor) camera that inherits its vintage looks from the iconic Nikon FM2 film SLR, but jumps into the future with 4K video, Eye-Detection AF and a Vari-Angle touchscreen LCD.

Image of the back of the Nikon Z fc

The Nikon Z fc features a Vari-Angle touchscreen LCD that can swivel for selfies.

In keeping with the retro design, the camera features mechanical dial controls on the top panel to adjust shooting modes, ISO, shutter speed and exposure compensation values directly. The overall package is slim and lightweight, and underneath the exterior is a magnesium alloy frame and weather sealing. Though the Z fc is not positioned as one of Nikon’s top tier models in terms of performance, it can capture a respectable 11 frames per second at full resolution when shooting in continuous mode.

Image of the top panel of the Nikon Z fc

Mechanical dials give you direct control of key camera settings.

For photographers who want even more personality beyond the vintage styling, the camera can be ordered in one of 6 colors beyond the standard black. Only the black colorway will be available at retailers—to choose a color you’ll need to purchase directly from Nikon at nikonusa.com.

Image of color options for the Nikon Z fc

In addition to the standard black-and-silver body, the Z fc will also be offered in limited edition colors of white, coral pink, mint green, natural gray, amber brown and sand beige.

Along with the Z fc, Nikon also announced three new lenses, two of which are styled to complement the new camera. The first is the NIKKOR Z DX 16-50mm f/3.5-6.3 VR, which isn’t a new lens optically, but is being offered now in silver finish to match the Z fc. This is the primary kit lens sold with the Z fc.

Image of the silver NIKKOR Z DX 16-50mm f/3.5-6.3 VR

The silver version of the NIKKOR Z DX 16-50mm f/3.5-6.3 VR to match the Z fc camera.

Next is the NIKKOR Z 28mm f/2.8 (SE), a compact FX-format prime that also features classic NIKKOR lens styling to pair with the Z fc, but which can be used with Nikon’s full-frame Z system cameras, too. The SE refers to this being a special edition of the lens which will initially be released exclusively in a kit with the Z fc but will be offered in a standard edition available separately later this year.

Image of the NIKKOR Z 28mm f/2.8 (SE)

The new NIKKOR Z 28mm f/2.8 (SE) also features retro styling to match the Z fc.

The final lens announcement if the development of the NIKKOR Z DX 18-140mm f/3.5-6.3 VR, a versatile zoom for the Nikon’s DX-format mirrorless cameras, with an equivalent focal length range of 27-210mm. The lens is expected to be released this year, but additional information about this lens, including specs and price, were not revealed.

Image of the NIKKOR Z DX 18-140mm f/3.5-6.3 VR

The NIKKOR Z DX 18-140mm f/3.5-6.3 VR to be release later this year.

The Z fc in black will retail for $959 for the body only, or in one of two kits: with the NIKKOR Z DX 16-50mm f/3.5-6.3 VR for $1,099 or with the NIKKOR Z 28mm f/2.8 (SE) for $1,199. The color variants of the Z fc will only be offered in a kit with the NIKKOR Z DX 16-50mm f/3.5-6.3 VR for $1,199—pricing the upgrade to color at $100. The kit lenses sold separately are priced at $299 each. For additional details, see the press release below.

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ICONIC STYLE, CUTTING-EDGE PERFORMANCE:
THE NIKON Z fc FUSES TIMELESS DESIGN WITH MODERN MIRRORLESS TECH

Nikon’s Newest Mirrorless Camera Complemented with an Assortment of New Compact NIKKOR Z Lenses

MELVILLE, NY (June 29, 2021) – Today, Nikon announced the Z fc, a DX-format camera that combines the latest mirrorless technology with classic design and functionality. It’s the compact and lightweight everyday companion that evokes both the urge to create and to take the time to embrace the moment. Featuring a heritage-inspired design, satisfying analog controls and craftsmanship that’s both unique and functional, the Z fc is built to be a thoroughly modern camera that’s simply a joy to use for everything from stunning street snaps, self-portraits, vlogging or 4K UHD video content. Nikon has also announced two stylized lenses to complement the compact nature and aesthetic of the camera, plus additional NIKKOR Z lenses coming this year with a focus on small size and big performance.

“The Z fc is the kind of camera many have been waiting for, and that only Nikon could create. It’s exceptionally slim, yet offers superb image quality and features, with iconic styling and precise tactile controls. It’s a joy to carry and use for casual street photography, streaming, or just living in the here and now,” said Jay Vannatter, Executive Vice President, Nikon Inc. “It’s no coincidence that we are also announcing a variety of compact lenses alongside the camera to perfectly complement the iconic aesthetic.”

Fusion of Classic Design + Z Series Technology

  • The Z fc embraces both Nikon’s heritage and our future with the powerful Z mount to create something truly beautiful; it’s a distinctly designed camera that has the performance to keep pace, but also serves as a reminder to appreciate the moment.
    • An Iconic Design: Inspired by the popular Nikon FM2 film SLR, the camera affords shooting with analog tactile dials with satisfying clicks for precise control. The compact and lightweight camera gives enthusiasts and casual photographers alike the option to explore their creativity and go fully automatic or manual with mechanical dials for shutter speed, ISO and exposure compensation.
    • Meticulously Crafted: The exterior of the camera is wrapped in a leather-tone material that offers an impeccably premium feel with a thoughtful blend of black and satin silver elements. It’s a familiar design that focuses on the harmony of style and functionality, with intricate details like carved aluminum dials, engraved lettering and a circular eyepiece surrounding the bright electronic viewfinder.
    • Explore New Angles: The Vari-Angle touchscreen LCD flips out to face the user and automatically adjusts for self-portraits, working on a tripod or holding at waist level for creative angles.
    • High Resolution: 20.9-MP CMOS sensor is paired with the EXPEED 6 engine to provide clean, professional quality videos and stills, even in low light. From a sunny hike or twilight cityscape, users will appreciate exceptional clarity, magnificent color reproduction and minimal noise in nearly any situation.
    • Focus Fast: The 209-point hybrid AF system has you covered, recognizing approximately 87% of the frame horizontally and 85% vertically for precise focusing and tracking throughout more of the frame. Rapid Eye-Detection AF for people and animals enable users to sharply capture the eyes of people and pets, even when they’re moving. Eye-Detection AF is also now available in the wide-area AF (L) mode, making it easy to select the area to prioritize focus.
    • Advanced Video Features: The Z fc has convenient video features creators want, like 4K UHD video and a variety of frame rates. Focus is rapid yet smooth, with full-time AF that locks onto eyes and faces in the frame. Slow motion can easily be created with the 1080p/120p setting or the 4x/5x in-camera slow motion modes. A built-in interval timer also allows for the convenient creation of 4K timelapse movies.
    • Keep Streaming: When connected via USB-C, the camera receives power, giving the ability to operate the camera continuously, which is beneficial for streaming, video production, timelapse creation and more. The Nikon Webcam Utility is available as a free download for all users of the Z fc and many other Nikon cameras.
    • The Z fc is Designed Around Nikon’s Revolutionary Z Mount: The widest lens mount of any comparable camera system means more light, and more light means more sharpness, contrast, accurate focus, low light performance and image quality.
    • Low Light Ability is at Your Fingertips: When operating the dedicated ISO dial, discover photos and videos with minimal noise, clear details and texture. The ISO sensitivity ranges from 100 up to 51,2001 (expandable up to 204,800), allowing for faster shutter speeds in lower light to reduce blur and reveal striking nighttime visuals.
    • Creativity Made Easy: The Z fc can operate in fully automatic mode, and users can use the exposure compensation dial in auto mode to quickly adjust brightness for a custom look. Users also have access to 20 picture controls to add creative or dramatic flair and emphasis to images and video.
    • Always Connected with Nikon SnapBridge2: Automatically send photos and videos to your phone or tablet for sharing, or use Nikon SnapBridge app as a remote control. The camera’s firmware can also be updated directly from the app.
    • Premium Construction: The classic design is built with a lightweight magnesium alloy frame with consideration to dust and drip resistance. The extraordinarily small and flattened profile is convenient to carry and fits easily into bags. The controls are well thought out, with most settings available at a glance, including aperture through the top display panel.
    • Choose Your Style: In addition to the retro black and silver, the Z fc will be available in six additional color options to vibe with any personal style; white, coral pink, mint green, sand beige, amber brown and natural gray.

More NIKKOR Z Lenses

As the family of NIKKOR Z lenses rapidly expands, Nikon is releasing a variety of small, high performance FX and DX-format lenses. These lightweight lenses are easy to carry every day, and pair perfectly with the new Z fc as well as other Z series cameras.

  • • NIKKOR Z DX 16-50mm f/3.5-6.3 VR: This is a stylized version of Nikon’s smallest lens, created with a satin silver finish to complement the Z fc. It’s an ultra-thin DX-format lens with a convenient wide-to-standard zoom range from 16mm to 50mm (24-75mm equivalent). It serves as a great walk-around lens for a wide variety of scenes ranging from landscapes, snaps, and portraits to tabletop photos.
    • NIKKOR Z 28mm f/2.8 (SE): Nikon’s first ultra-compact and lightweight NIKKOR Z prime checks all the right boxes – it’s fast, fun and affordable. The NIKKOR Z 28mm f/2.8 (SE) will be first released as a special edition lens for the Z fc. This is the lightest FX lens yet, with a design inspired by classic NIKKOR glass to match the Z fc’s unique finish. The lens offers a standard angle of view (42mm-equivalent when attached to a DX body) that is ideal for shooting portraits and still photography with gorgeous, blurred backgrounds and excellent low-light performance. A standard edition of this lens is planned to be available within the year, along with the 40mm f/2.0 compact prime that is currently in development.
    • Development of NIKKOR Z DX 18-140mm f/3.5-6.3 VR: Nikon is pleased to announce the development of the NIKKOR Z DX 18-140mm f/3.5-6.3 VR, a high-power 7.8x zoom lens for APS-C format (Nikon DX-format) mirrorless cameras. The lens is scheduled for release during 2021. This will be a versatile lens for users looking to capture wide-angle to telephoto focal lengths as well as at short distances.

Pricing and Availability

The Nikon Z fc will be available in classically styled black and silver starting late July 2021 (US) in a variety of kit configurations; the body-only will be available for a suggested retail price (SRP)* of $959.95, or paired with the silver NIKKOR Z DX 16-50mm f/3.5-6.3 VR lens for $1,099.95 SRP. The silver NIKKOR Z DX 16-50mm f/3.5-6.3 VR lens will be available separately starting in late July for $299.95 SRP.

The NIKKOR Z 28mm f/2.8 (SE) special edition lens will be available in a kit with the Z fc camera for $1,199.95 SRP starting in late July, and sold separately starting in fall 2021 for $299.95 SRP.

The six additional color options will be available in limited supply as a kit with the silver NIKKOR Z DX 16-50mm f/3.5-6.3 VR for $1,199.95 SRP and will be sold exclusively through nikonusa.com.

For more information about the latest Nikon products, including the new NIKKOR lenses and the entire Nikon Z series, please visit nikonusa.com.

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Canon today debuted a new wide zoom for its EOS R full-frame mirrorless cameras, the RF14-35mm F4 L IS USM. Priced at $1,699 with expected availability in August, the lens is a more affordable and compact alternative to the faster RF15-35mm F2.8 L IS USM which retails for $2,299.

Image of the Canon RF14-35mm F4 L IS USM

Canon RF14-35mm F4 L IS USM

Comparing the two wide zooms, the new zoom is lighter by more than half a pound, and has a closer minimum focusing distance of 7.9 inches (11 inches for the 15-35mm F2.8). The new lens also has slightly better image stabilization with up to 5.5 stops of correction from the built-in optical stabilizer (versus 5 stops with the 15-35mm F2.8) and up to 7 stops with compatible cameras via what Canon calls Coordinated IS. Both lenses are designated as Canon’s premium L-series optics, so the key advantage of the more expensive zoom is its faster maximum aperture.

The RF14-35mm F4 L IS USM is threaded to accept 77mm screw-in filters, noteworthy for a lens with a focal length as wide as 14mm. For more information, see the press release below.

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Canon Introduces New RF14-35mm F4 L IS USM Lens Broadening Imaginative Possibilities For Still And Video

MELVILLE, NY, June 29, 2021– Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the RF14-35mm F4 L IS USM lens. This dramatic new lens brings 14mm, ultra wide-angle coverage to full-frame EOS R-series users. On top of the ultra-wide capabilities, the 14-35mm zoom range is the broadest ever in a Canon wide-angle zoom for full-frame AF cameras. For many Canon users, one single lens can potentially handle all wide-angle needs, from vivid, creative ultra-wide imagery to traditional street photography.

The new wide-angle lens is designed for use within the expanding family of EOS R full-frame mirrorless cameras, including the upcoming EOS R3, currently in development. Whether you capture stills, video, or like many creatives today – both – this new wide-angle lens from Canon can help elevate users’ content game when capturing images or video in a wide variety of situations, such as landscape, architecture, and travel.

A compact overall design, and extremely modest overall weight of just 1.2 lbs. — along with excellent balance, during hand-held or even gimbal-mounted operation — add to RF14-35mm F4 L IS USM inviting character. A key feature, sure to appeal to many landscape and nature photographers, is this lens’s ability to accept conventional, 77mm screw-in filters. This is especially noteworthy on a lens for full-frame cameras with 14mm ultra-wide coverage. Additionally, the lens’s close-focusing capability is exceptional for an ultra-wide zoom of its type.

Image Stabilization further enhances the RF14-35mm’s appeal for low-light still imagery, and for steady yet striking wide video footage. Up to 5.5 stopsiof optical Image Stabilization is built-in, and Coordinated IS with cameras such as the EOS R6 and EOS R5 delivers up to 7 stopsii of shake-correction. This can mean sharper hand-held images in low light, even at extremely slow shutter speeds.

The Canon RF 14-35mm F4 L IS USM lens features a bright, constant f/4 maximum aperture, L-Series optical construction — highlighted by three UD-glass elements, and three Aspherical elements — and many of the company’s most advanced proprietary lens coatings, including Sub-wavelength Structure Coating (SWC) and Air Sphere Coating (ASC). These superb lens coatings help minimize ghosting and flaring. Lens placement and coatings are also optimized to help users get clear, high-contrast images, even when there is a bright light source either in, or immediately outside, the frame. Additional features of the Canon RF14-35mm F4 L IS USM include:

  • Compact design — Approximately 1.2 lbs. in weight.
  • Minimum focusing of 7.9 inches at all focal lengths and a maximum magnification of 0.38x at 35mm zoom setting.
  • Optical Image Stabilizer with up to 5.5 stopsiof shake correction.
  • Up to 7 stopsii of shake correction when paired with Canon EOS R series cameras that feature In-Body Image Stabilizer (IBIS).
  • High speed, smooth and quiet autofocus with Canon’s Nano USM.
  • Control Ring for direct setting changes of aperture, shutter speed, ISO speed and exposure compensation.
  • Superb dust and weather-resistance on par with other Canon L-series lenses.

Pricing and Availability
The Canon RF14-35mm F4 L IS USM lens is scheduled to be available in August 2021 for an estimated retail price of $1,699.00*. For additional information, please visit usa.canon.com.

*Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.

[i] Based on CIPA (Camera & Imaging Products Associations) standards. Testing performed at focal length of 35mm, using the EOS R camera.

[ii] Based on CIPA (Camera & Imaging Products Associations) standards. Testing performed at focal length of 35mm, using the EOS R5 camera.

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Tuesday, June 29, 2021

Photo By Clayton Peoples

Today’s Photo Of The Day is “Flower Bokeh” by Clayton Peoples.

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, June 28, 2021

Capture the picture in the picture

What’s a “big glass” landscape? What is your “go-to” lens to photograph scenics? Are you sure you have a polarizer for your 400mm lens? Wait—in some way these three sentences imply one should use a telephoto lens to make scenics! Yes—it goes against the norm to photograph a scenic with a wide angle, but just because everyone else uses a wide angle all of the time, there’s no reason to follow the flock. Somewhere along the line while you were growing up, I’m sure you heard your parents state, “If all your friends jumped off the Brooklyn Bridge, would you follow them?” (Or something to that effect.) With this in mind, stay alive and attach a 200mm or longer lens to your camera and make some scenics. 

Capture the picture in the picture

Camera Technique

Telephoto lenses bring subjects closer since the angle of view is narrower and also magnified. Because the subject size gets magnified, this necessitates a critical camera-handling technique. It’s essential you use a sturdy tripod to acquire a sharp image. The longer the lens, the sturdier it needs to be. An electronic cable release will help ensure you obtain a sharp photo as it allows an image to be made without touching the camera to release the shutter. The simple pressing of the shutter does impart movement to the body. To further ensure zero movement is introduced, engage mirror lockup. When the shutter is released, the mirror has to move to the up position so the image gets recorded onto the sensor. The movement of the mirror creates vibration. Mirror lockup comes in especially handy when shooting at shutter speeds between 1/2 and 1/30th of a second. 

Capture the picture in the picture

Exhaust All Possibilities

The way I got into making long-lens landscapes is because of one of my business tag lines: “Exhaust All Possibilities.” For every subject that allows me the time, I make a vertical, horizontal, wide and telephoto image. In the early days, I questioned my own motivation when I broke out the telephoto to capture the long image but soon discovered it’s the lens I’d gravitate to initially. At that point in time, I knew I was on to something. I continued my pursuit and began to look at all scenics with “300mm eyes.” To this day, I don’t leave a scenic location until I’ve made the telephoto image as I want to leave no photo behind.

Capture the picture in the picture

Isolate

Somewhere within every scene lies an additional scenic gem. Don’t refrain from zooming in close to capture an abstract, a pattern or simply isolate a portion. With your long lens attached to your camera, study the scene to discern where these hidden gems reside. Break out your 80-400mm, zoom it to 300mm and look for the shot. Loosen up the head and scan the environment as if it were a grid. Be sure you cover every section as you go from left to right and also top to bottom. Add in a variable and zoom to 400mm or back off to 200mm if you see something that intrigues you. Inevitably, you’ll find that small section that all along was calling your name.

Capture the picture in the picture

Zoom in to find the PIP: At every iconic location, attach your telephoto and capture the “picture in the picture.”

To learn more about this subject, join me on a photo safari to Tanzania. Visit www.russburdenphotography.com to get more information.

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Photo By Robert Henderson

Today’s Photo Of The Day is “Serengeti Getting Green” by Robert Henderson. Location: Serengeti National Park, Tanzania.

“All of the animals in the Serengeti National Park, including the elephants, are visibly pleased as the long dry season finally ends and the first rain in November begins to fall,” explains Henderson. “The Serengeti short-grass savanna in early November is dry, brown and has been cropped by grazers almost down to the ground. If you happen to be there, you can see it turn green almost overnight. The sky becomes brilliant as well, with fleecy white clouds that leave afternoon shadows on the green grass and happy herds. The matriarch leading her family in this image is a favorite of mine. We’ve seen her multiple times, always recognizable by the backward tusk, which I am told she has had all of her long life.”

Canon 7D, EF 28-135mm f/3.5-5.6 lens at 41mm. Exposure: 1/250 sec., f/18, ISO 400.

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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Sunday, June 27, 2021

Photo By Heather Nicole

Today’s Photo Of The Day is “Sunday Stroll” by Heather Nicole. Location: Alaska.

“Mom takes her young cubs on an early-morning stroll to look for the best clams for breakfast,” explains Nicole.

See more of Heather Nicole’s photography at momentsbyheathernicole.myportfolio.com.

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, June 26, 2021

Photo By Beth Holmes

Today’s Photo Of The Day is “Purple Rain” by Beth Holmes. Location: Grand Teton National Park, Wyoming.

“A second summer storm begins to roll in just after sunset in Grand Teton National Park, creating interesting lighting,” explains Holmes.

See more of Beth Holmes’ photography at www.bethholmesphotography.com.

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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Photo By Beth Holmes

Today’s Photo Of The Day is “Purple Rain” by Beth Holmes. Location: Grand Teton National Park, Wyoming.

“A second summer storm begins to roll in just after sunset in Grand Teton National Park, creating interesting lighting,” explains Holmes.

See more of Beth Holmes’ photography at www.bethholmesphotography.com.

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, June 25, 2021

Photo By Theresa Ditson

Today’s Photo Of The Day is “In a Flash” by Theresa Ditson. Location: Grand Canyon National Park, Arizona.

“Life can sure change in a flash,” says Ditson. “After going from anticipating a wonderful moment about to happen for months in advance to experiencing utter disappointment when that moment came this week that almost made me want to give up, I escaped to the Grand Canyon late in the day to shoot some monsoon storms there. My car almost died on me several times and suddenly wouldn’t accelerate at all the wrong moments, such as in the middle of a turn at a busy intersection where surrounding cars weren’t slowing down for me, but eventually, I got there.

“By the time I arrived, it was pouring down rain—so hard that I had to pull off the road and wait it out for a bit as I could not see a thing. Finally, it slowed a bit, and I got my camera set up and was about to put my lightning sensor on (since it was still daylight and it’s much, much harder to capture lightning without it during the day) when suddenly I realized, my cable to connect it to the camera was missing! That had never happened to me before. I was trying to mentally retrace my steps with it, and due to the other negative event preoccupying me during the early part of the week, I hadn’t shot in a few days (which is unusual for me).

“By that point, it almost seemed like the icing on the cake of a string of disasters and I just didn’t even have any further emotional reserve to react to this finding, where normally I might have become very angry with myself over having misplaced a vital piece of equipment and panicked at what could have happened to it. When you feel you have no further negative reaction to muster, I realized It was a moment of feeling utter defeat.

“But time wasn’t waiting for me, so instead, I stood there against the raging winds and shot lightning the old-fashioned way—with gut instinct on the timing, camera settings optimized for capture and many missed bolts as well. FINALLY, I captured…just one. Then the rains became too steady and strongly blowing to allow me to protect my lens from the drops, so I had to stop. I waited till sunset, but it was still very dreary and actively raining. It was a long drive back and forth in a matter of just several hours, but I was grateful to have captured at least one bolt. Hopefully, you can appreciate it as well.”

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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Astrophotography image taken with a Sony FE 14mm F.18 G Master lens.

Having lived in cities most of my life, astrophotography has not been one of my main focuses, but that changed recently for a couple of reasons. For one, when the pandemic hit, my wife and I moved to our “summer” house in the Catskills in New York full time. Up here in the country, there are quite a few nice spots to photograph the stars without having to worry about the effects of light pollution. And secondly, I recently got my hands on a test unit of Sony’s FE 14mm F1.8 G Master lens for its Alpha E-mount cameras and have found it to be a wonderful tool for astrophotography, landscapes and even macro work.

As someone who tests camera gear for a living, I’ve grown to appreciate keeping things simple for a shoot. Sure, there was a time when I’d fill my photo bag with every camera, lens and accessory I had in house for testing, but I eventually found that to be too cumbersome—and counterproductive. I’d end up fiddling with everything instead of focusing on the shoot itself. With the compact and lightweight Sony FE 14mm F1.8 G Master attached to a Sony a7R IV, I just grabbed my travel tripod and headed out. Measuring only 3.4 x 4 inches and weighing just slightly over 1 pound, the Sony FE 14mm F1.8 G Master is half the size and weight of similar wide-angle lenses in its class.

Image of the Sony FE 14mm F1.8 G Master attached to a Sony a7R IV camera.

The Sony FE 14mm F1.8 G Master is very compact for a fast ultra-wide lens.

The lakeside location where I tested the lens is beautiful by day but a little eerie at night, and I appreciated having minimal gear in case an unexpected bear showed up. It also made hikes with the lens while scouting landscape photos less burdensome. For wide-angle macro work of wildflowers, where the lens’ fast aperture produced beautiful bokeh of the surrounding woodlands, I could easily lean down on one knee and compose the shot on Sony a7R IV’s fold-out LCD screen.

The Sony FE 14mm F1.8 G Master really shines for shooting stars thanks to its ability to virtually eliminate sagittal coma flare, which is an aberration that makes pinpoint lights look like wings. Even when shooting at Æ’/1.8, the stars in my night sky photos looked like stars and not bright birds. The lens corrects for sagittal coma flare using two XA (extreme aspherical) elements and one aspherical lens element in its optical design. Also helpful for astrophotography was the lens’ fast maximum aperture, which let me shoot the stars using shorter exposure times than I would need with a slower lens. For my night sky shots on a tripod, I experimented with 10-second exposures at Æ’/1.8 but found that made the sky too bright; 5-8 seconds produced better results.

Other things I liked about the lens included its fast and quiet autofocus, which is powered by two XD (extreme dynamic) Linear motors that decrease vibration. As mentioned earlier, the bokeh at Æ’/1.8 was gorgeous thanks to the lens’ nine-bladed aperture that cuts down on the unwanted “onion-ring” effect. And for close-up shots, the lens’ 9.8-inch minimum focus distance came in handy.

Overall, I really enjoyed my time with the Sony FE 14mm F1.8 G Master. It helped ignite an interest in astrophotography in me. I plan on returning to the lake for more night sky shoots and hopefully the bears continue to allow it. List price: $1,599. Contact: Sony, sony.com.

Check the price and availability of the Sony FE 14mm F1.8 G Master at B&H.

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Thursday, June 24, 2021

Congratulations to Hi il Lee for winning the recent Spring Showers Photography Assignment with the image, “Spring Waltz.”

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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Photo By Nick Paoni

Today’s Photo Of The Day is “Keeping a Toe Hold” by Nick Paoni. Location: Seaside, Cardiff State Beach, 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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Wednesday, June 23, 2021

Photo By Zeralda La Grange

Today’s Photo Of The Day is “Into the Badlands” by Zeralda La Grange. Location: Badlands National Park, South Dakota.

“I visited the Badlands National Park while exploring South Dakota,” says La Grange. “I captured this shot of the gorgeous rock formations in the park.”

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, June 22, 2021

Photo By Christopher Baker

Today’s Photo Of The Day is “Mantis” by Christopher Baker. Location: Bankhead National Forest, Alabama.

“I was photographing a waterfall in Bankhead National Forest when this praying mantis appeared on a nearby rock,” explains Baker. “I didn’t have a macro lens with me and the mantis was shaded under a rock ledge, so I decided to incorporate the brightly lit, colorful background and set up a nice silhouette.”

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, June 21, 2021

Photo By Gene Putney

Today’s Photo Of The Day is “Hold That Pose” by Gene Putney.” Location: Estes Park, Colorado.

“On a May afternoon, a red fox kit was sitting on this rock patiently waiting for its parents to return to the den,” says Putney. “The kit was in the process of taking care of an itch, scratching vigorously. It struck this pose as it paused motionless for a few seconds to observe its surroundings before continuing.”

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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Storm photography

I love it when the sky is filled with drama as ominous clouds boil in fury and thunder. This frequently occurs as huge thunderstorms move into an area. Likewise, as a storm wanes, a crispness and vivid sense of cleansing occurs. Both provide dramatic circumstances for storm photography. Constantly monitor weather stations and satellite radar to be prepared when changes in sky conditions are forecast. Be it an impending storm or the end of a snow squall, it’s at the cusp of these events that spectacular natural phenomena occur.

Storm photography

To watch a storm roll in is a multi-sensory experience. Visually, skies begin to darken and clouds thicken. Bands of rain can be tracked in the distance as they build in intensity. There’s something very invigorating about a threatening sky about to create a downpour across the landscape. The air takes on a distinct musty odor that warns most to take cover. As a photographer, it’s a signal something amazing is about to unfold. Auditorily, a bizarre quietness brought on by the stillness in the air envelopes the surroundings. The silence is broken by distant rumbles of thunder that get closer and closer until vibrations can be felt. The sky grows more and more dramatic. It’s essential to capture these events as they produce unique images since no two storms ever form in identical ways.

Storm photography

It’s imperative you stay safe when you’re on a storm photography mission and lightning is in the area. As much as possible, photograph the drama from the safety of your car. If for some reason you get separated from your vehicle, crouch down as close to the ground as possible. Keep your feet close together and try to balance on the balls of your feet to minimize contact with the ground. Don’t use your tripod as a balance support. When the electrical activity subsides, seek shelter.

Storm photography

As a storm dissipates, a sense of freshness fills the air. The precipitation scours the atmosphere, which removes pollutants. The repercussion is heightened visual acuity as everything is sharper to the eye. The smell is fresh and alive and the sounds of birds and other animals can be heard as they emerge from hiding places. Witnessing this transition always inspires me to make a myriad of images.

When the sun is low on the horizon, an added bonus of an impending or waning storm is the possible formation of a rainbow. Rainbows form when the sun is 42 degrees or lower from the horizon and there’s moisture suspended in the air directly opposite the sun. A polarizer can enhance the intensity of a rainbow, but it can also eliminate it. The effect is visible through the viewfinder, so fine-tune it as you see fit.

Storm photography

To learn more about this subject, join me on a photo safari to Tanzania. Visit www.russburdenphotography.com to get more information.

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Sunday, June 20, 2021

Photo By Denis Dessoliers

Today’s Photo Of The Day is “Alabama Hills” by Denis Dessoliers. Location: Near Lone Pine, 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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Saturday, June 19, 2021

Photo By Rom Savage

Today’s Photo Of The Day is “Shrine Pass” by Rom Savage. Location: Sawatch Range of central Colorado.

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 of a crowd of people on an overlook in Grand Canyon.

Crowds gather at a scenic overlook in Grand Canyon National Park. Notice the steep cliffs—this is not a place to push the boundaries for an Instagram selfie.

Our national parks are popular, and with those crowds come folks unprepared for the hazards and sometimes lacking common sense, increasing the risk of accidents. People falling from cliffs trying to take “selfies” is far too common an occurrence at places like Grand Canyon, and at Yellowstone, more than 20 people have died (and many more have been injured) when illegally leaving the boardwalk and falling into the park’s famous hot springs. These are just a few of the potential dangers you may encounter in the national parks, but tragedy can be prevented through preparedness for the conditions. With proper planning and situational awareness, you can avoid foreseeable problems and enjoy the incredible views. These national parks safety tips will help ensure you have a wonderful experience—and return home with the photos to prove it.

Familiarize Yourself With Park Services

Image of a national parks safety map from Yellowstone.

Detailed park maps are available for free at the National Park Service cartography site, www.nps.gov/carto.

The beauty of our national parks is their wildness, but that’s also their greatest danger. While they do offer varying levels of infrastructure, on-site services and emergency personnel, your safety in the national parks is ultimately up to you.

Before heading into the wild, study park maps to know where emergency services are located if you need them. Detailed park maps are available at the National Park Service website. Plan your route in advance and make note of the nearest facilities.

It’s also wise to save the park’s emergency communications center phone number to your contacts in case you are in range of cellular service and need help. If you’re planning a multi-day backpacking adventure into the backcountry where you’ll be away from your car and park services for extended periods, consider renting a satellite phone for the trip.

Park services can also advise you of specific hazards you may encounter in a particular park. These may be year-round or seasonal concerns. Be sure to check the National Park Service website for the park you’ll be visiting to learn about potential dangers, road closures and more.

NPS also offers smartphone app guides for many of the parks, which can be handy, but we recommend downloading and printing or picking up a printed map at an information center—you don’t want to rely on an app for vital information if you’re out of cellular service range.

Drive Extra Carefully

Wildlife leaping onto the roadway. Rain-slicked or icy pavement. Winding, cliff-hanging mountain passes with steep drop-offs. Other drivers maneuvering or stopping suddenly. These are just some of the hazards you might encounter on national park roads. While your car may feel like a safe haven in the wilderness, vehicular accidents are actually the most common cause of fatality in some parks.

A park ranger stops vehicles while a bull elk crosses the road near Mammoth Hot Springs, Yellowstone National Park. When driving in parks, be alert to the possibility of a sudden stop for wildlife—there won’t always be a ranger nearby to direct traffic. Also be ready for other cars to abruptly pull over to view herds of wildlife from the roadside. Photo courtesy National Park Service/Jim Peaco.

Slow it down, stay at or below posted speed limits depending on the conditions, and keep your eyes on the road. Pull over and park in a safe place off the road if you want to look at the scenery. Proceed with extra caution when you see a group of cars pulled to the shoulder to view wildlife or a special vista to avoid a car door abruptly swinging open into your lane.

It may be tempting to press the accelerator when you’re chasing a sunrise, but don’t. Missing peak light is a minor regret compared to possible alternatives.

Stay On Trails

Image of a national parks safety sign in Denali National Park prohibiting hiking off road.

Obey posted signs and boundary restrictions—even the rustic ones like this in Denali National Park. Photo courtesy National Park Service.

It’s a rule that’s made to be broken in some wilderness areas, and “local conditions prevail,” but by default, stay on trails—especially if you are unfamiliar with an area or in places with heavy vegetation obscuring your steps. Even minor injuries like a sprained ankle can become a serious medical emergency when help is not nearby. Getting that perfect perspective for a photograph is not worth risking your safety or calling in rescue services. Falls are the No. 1 cause of fatalities in the parks.

Veering off trails may also be forbidden in some areas of the park, not just for your safety but also to preserve the habitat and natural beauty for the park’s visitors and its wild inhabitants alike. Respect for the environment will help ensure you and everyone else can enjoy the park.

Know Your Physical Limits

As a nature photographer, you likely have a strong sense of adventure and an instinct to explore, but for your safety and the safety of those with you, it’s really important to be honest with yourself about your physical fitness. In some environments, simply being there without significant exertion can quickly lead to exhaustion. Learn about the area’s conditions—average climate, elevation, weather patterns—when planning your trip.

You don’t have to go off-trail to find stunning photo locations in our national parks. Pothole Point is an easy self-guiding trail in the Needles, Canyonlands National Park. Photo courtesy National Park Service/Neal Herbert.

Some terrific photo opportunities may be found roadside, just a short distance from your car. Others may be several miles from the trail head with major elevation changes over narrow and rugged paths. Choose trails and routes that you know are well within your physical limits, and don’t try to do too much in one day.

Be sure you leave yourself plenty of time to hike in and back out at a pace that’s comfortable for you, and remember to account for the time you’ll likely spend photographing or just enjoying the surroundings.

Stay Hydrated & Pack Snacks

How much water do you need to bring with you on the trail? A general guide for adults is two cups of water per hour. Double that for hot or humid climates. So, for an eight-hour day in the field, you’ll need at least one gallon of water per person or even two gallons in more extreme environments.

That’s a lot of water when you’re already burdened with photo gear, so plan accordingly to be sure there’s room in your pack to carry it, especially if you’ll be far from park services. Better to leave a lens or two behind or take a shorter excursion than to find yourself dehydrated far from trustworthy water sources. 

Don’t forget snacks, even for short day hikes. There’s a reason it’s called “trail mix.” Energy bars are a compact, pack-friendly option, too.

Watch The Weather

Image of a sudden monsoon storm in Grand Canyon.

During the summer months, Grand Canyon’s monsoon season brings sudden thunderstorms with exciting lightning displays that are photogenic if you’re thoughtfully prepared but can pose a significant danger if you’re not.

You need to know what to expect from the weather and plan accordingly. Depending on the season and location, you might need to be prepared for an unexpected storm, for example. If extreme temperatures or a sudden downpour are a possibility, be sure you’re properly equipped to protect yourself and your photo gear. Be especially careful around rivers and streams, which can swell suddenly when the weather changes.

As mentioned above, the National Park Service website is a valuable resource for planning your trip, with general park information in addition to seasonal alerts for issues like extreme condition warnings.

Dress For The Occasion

Proper footwear should be the first item on your packing list. Trails and pathways in the national parks range from paved roads and sidewalks to wide and well-maintained trails to narrow, sketchy paths that caution even experienced hikers.

Don’t assume a pair of sneakers will cut it. A blister, wet feet or a twisted ankle may not seem like a big deal at home, but on the trail, potentially miles from your car or park services, anything that reduces your mobility can become an emergency. Invest in a pair of quality hiking boots that provide good traction, padding, waterproofing and moisture-wicking. Wear them first at home to be sure they’re comfortable and to get any break-in blisters out of the way, and be sure to pair them with high-quality socks designed for hiking that provide additional padding and moisture control.

Technical apparel is also recommended. Since you’ve already studied the weather to expect on your trip, pack gear that’s as lightweight as possible while providing the protection you’ll need. Dressing in layers gives you the flexibility to adjust if temperatures vary widely throughout the day. And though it may seem counterintuitive, in hot climates, long pants and long-sleeve shirts of lightweight fabrics that provide UV protection may be a better choice than shorts and short sleeves. Technical garments from premium outdoor clothiers aren’t cheap but are usually worth the expense when it comes to your comfort in the field. And don’t forget your hat!

Image of a view through Turret Arch with a dusting of snow in Arches National Park.

Turret Arch and North Window are two of the massive stone arches at the Windows Section in Arches National Park. The National Park Service website describes Arches as “a ‘high desert’ region that experiences wide temperature fluctuations, sometimes over 40 degrees in a single day.” Research the park you plan to visit and know what to expect from the weather so you can dress accordingly.

Carry Safety Gear & First Aid

The list of safety gear to carry with you depends on the season and location of your trip, but there are a few items that are always useful. A headlamp is one, for early-morning and late-evening trail illumination. A multi-tool is another. You should also carry sunscreen and a basic first aid kit to address scrapes, blisters and cuts to reduce the opportunity for minor injuries to become an emergency.

Also take into account potential wildlife hazards. For example, bear repellant is recommended in parks like Yellowstone and Grand Teton. In desert parks like Grand Canyon, a snake bite kit could be a literal lifesaver if you accidentally stumble across a rattler. Insect repellant is another basic safety item to consider carrying depending on the location and time of year.

Bring A Buddy

Maybe you’re the photographer in the family, and your loved ones would rather sleep in, linger over brunch or browse the gift shop back at the lodge. Don’t go it alone. Convince a like-minded friend to take the trip with you or plan your photo adventure as part of a workshop with instructors and guides. Ranger-led hikes are also available at some national parks.

Ranger-guided hikes are offered at many national parks. Here, a ranger leads visitors through a tight spot in the Fiery Furnace, Arches National Park. Photo courtesy National Park Service/Andrew Kuhn.

Heading out in solitude may be appealing—there’s nothing more distracting for photographers than companions who’d rather be anywhere else—but solo excursions in the field greatly increase your risk. You don’t want to find yourself in need of help and alone.

Listen to your companions in the field and speak up if you are feeling tired. You may not want to spoil the adventure and just “press on,” but pay attention to what your body is telling you. It’s better to take a rest stop or head back before reaching your intended destination than risk over-exerting yourself and becoming a problem.

Be Respectful Of Wildlife

It’s tempting to get closer for a better shot, but you need to keep your distance from wildlife, especially those that pose a danger when they feel threatened. The National Park Service recommends stopping at least 300 feet from predators like bears and wolves and at least 75 feet from bison, elk and other large mammals. Use a telephoto lens to observe and photograph wildlife courteously and safely.

If any animal shows signs of alarm or distress due to your presence, back off slowly. You’re in their home, so act as a considerate guest. Never feed wildlife—you’re not helping—nor bait wildlife for the sake of a photograph. Animals that are fed by humans become accustomed to it quickly, and this leads to behavior that’s dangerous to both them and to us. Great wildlife photography starts with good field ethics.

Keep Your Wits About You

It’s rather easy when you’re composing a photograph to become immersed in the moment, your camera settings and tripod position. Being very familiar with your camera and gear operation before heading into the field means less fussing and fumbling with equipment.

A search and rescue team at Yosemite practices an evacuation. You don’t want to be the one on the stretcher—take your time, watch your step and prioritize your safety over your photography. Photo courtesy National Park Service/Dave Pope.

No matter how compelling the light and the scene in front of your camera, maintain situational awareness. Don’t allow yourself to get so caught up in your own creativity that you lose track of what’s happening around and behind you. Watch your step as you move about to frame your photograph so that you don’t trip or twist an ankle on uneven ground or step on wildlife habitat.

Slow down, take your time and put safety first. Your photography will be better for it.

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