I took this shot back in 2009 when visiting in Las Vegas for NAB from the top of Paris Las Vegas. It’s one of many shots, but this was the moment that I had been waiting for — the sky filled out beautifully with what was left of the sunset, while being pushed out by the impending night.
Shot with Canon 50D + Canon EF 16-35 f/2.8L — f/5.6, 1/10, ISO 800 @ 16 mm.
Austin Mann, on his blog:
Twenty years ago today (May 6, 1998), my dad walked into my classroom on the last day of school holding an inkjet print. He handed it me and said, “You’re going to want one of these!” On this piece of paper was the just-announced Bondi Blue iMac […]
Today, after a few months with the iMac Pro, I can say in many ways it stays true to its original ancestor. It packs a powerful punch and continues to deliver on its promise to be a simple yet powerful tool that unlocks creative potential in people.
Screw the iMac Pro review (just kidding, don’t) and look at his shots from Antarctica!
Royal Łazienki Park in Warsaw is not only one of the most beautiful parks in Europe, it is also home to many squirrels and peacocks.
Shot with Canon 10D + EF 70-200 mm f/2.8L IS: f/2.8, 1/125 s, ISO 100 @ 200 mm.
Taking this shot at sunrise turned out to be a bad idea. I quickly found that most of the beaches in the Seychelles have sand flies, to which I am slightly allergic. They’re mostly active at sunrise and sunset, and they seemed to have a taken a liking to my smell/blood, which meant that I returned with over 20 bites. The itching started a few hours later and it was torture — much worse than a typical european mosquito
Shot with Sony A7R II + FE 28 mm f/2: f/8, 1/400 s, ISO 100.
I took this photo on the day we arrived in Agra, a day before we went to see the fantastic Taj Mahal — we caught a taxi at the train station and asked him to take us to our hotel, which was around 1.5 km away from the aforementioned landmark. Unfortunately, the driver had no clue where our hotel was and as it turned out, it wasn’t where Google said it was. We found it half an hour later, not more than 300 metres from the Taj Mahal entrance gate, in an electric-vehicle-only zone. As we walked to check in to the hotel (calling it that is a stretch), I saw a rickshaw driver taking a nap under a tree — he struck my emotions, obviously exhausted from working in the heat of the day.
Shot with Nikon D700 + Nikkor 35 mm f/2D: f/2, 1/4000, ISO 200.
Michael Zhang, on PetaPixel:
World Press Photo announced the 2018 winners of its prestigious photojournalism contest last week, and most of the winning photos (97 of 129) were accompanied by details of the cameras they were shot with. This year, Nikon took the lead from Canon.
Quite frankly, I’m more interested in the people who took those photos than the cameras themselves. You don’t rank pots and pans (to the best of my knowledge) when chefs take part in a contest — you interview the people behind the recipes. Realistically, the camera is just a tool and I’m sure the photographers would have gotten as near as indistinguishable results whatever gear they used.
My winter trip to the Auschwitz-Birkenau concentration camp located in Oświęcim, Poland was a spontaneous one. It was also my first visit there and 13 years later I can still remember everything that I felt. Just a few minutes in, I was overcome by the depth of the tragic events that occurred there, as if the people felled on the grounds of the camp were still watching and making sure such events never take place in the world again. It was an acutely sobering experience.
Shot with Canon 10D + EF 24-70 mm f/2.8L: f/8, 1/640 s, ISO 100 @ 70 mm.
View more of my photos from Auschwitz →
We had the good fortune to be able to see the rock archways at Legzira Beach in Morocco before they collapsed in September 2016. This photo was taken in May 2015 and the weather was horrible on that day — windy and very chilly.
Shot with Fuji X100T: f/8, 1/680 s, ISO 400.
This photo was taken from the Castle of Bodrum, which has a fantastic view of the city, marina, and bay from its walls. Unfortunately, it closes early, so sunset shots are out of the question at the time of year this was taken (September, 2017). If you’re ever in Bodrum, make sure to spend a few hours touring the castle.
Shot with Sony A7R II + FE 28 mm f/2: f/8, 1/200 s, ISO 100.
Lars Rehm, for DPReview:
We’ve only had a few days with the Huawei P20 Pro but that has been long enough to say it is the most advanced smartphone camera to date. General image quality is very good, with good detail, very low noise levels across all light levels and excellent dynamic range. In terms of those parameters the differences to other flagship smartphones, for example the Google Pixel 2 or Samsung Galaxy S9 Plus aren’t massive, however.
Where the P20 Pro really leaves the competition behind is zoom. The dedicated 3x tele-lens provides a real advantage in the zoom department and makes this device the best current smartphone for zooming. The triple camera is also capable of creating a natural looking bokeh simulation, and in video mode the image stabilization is up with the very best, creating an almost steady-cam like effect.
While I consider Apple’s software manipulation of the iPhone camera’s shits to still be superior to its competition, I wish they’d try to use physically larger sensors. Portrait Mode should improve at a faster rate, too. I wouldn’t mind a third lens either — an 85 mm equivalent to join the current 28 mm and 56 mm lenses.
When travelling around Calabria in December 2017, we happened upon the small city of Scilla, which stole my heart away. If you’re ever even remotely close to it, make sure to spend a day there. Don’t forget to have an espresso on the promenade!
Shot with Sony A7R II + Zeiss ZF 100 mm f/2 Makro-Planer T*: f/2, 1/160 s, ISO 100.
I took the iPhone X to Finland and got a few good shots from it, despite the extreme cold (it did not turn off in temperatures below -20° C). The one above is from our trip back to the airport in Rovaniemi, taken an hour or so after sunrise, with the 56 mm lens. I didn’t shoot RAW — this is a JPG straight from the iPhone with the Photos’ Vivid filter applied.
Shot with iPhone X @ 56 mm: f/2.4, 1/883 s, ISO 16.
I spent a few days in Lapland, Finland towards the end of 2017 — I believe this was the third time I was there now — and I still can’t get used to the fact that the sun barely rises above the horizon in the winter. If there was less cloud cover, it would light up the sky like in the shot above all day long (a few hours in this case).
Shot with Sony A7R II + FE 28 mm f/2: f/8, 1/60 s, ISO 250.
Despite knowing how trusting the squirrels in Royal Łazienki Park in Warsaw are, I’m still surprised every single time they decide to not wait for people to bend down to feed the and instead shorten the distance to their favourite delicacy.
Shot with Sony A7R II + Zeiss ZF 100 mm f/2 Makro-Planer T*: f/2, 1/160 s, ISO 1250.
I published a technically flawed shot of the Santuario di Santa Maria dell’Isola a few weeks ago, but I just loved the storm in the background, with eight or nine lightning strikes visible (you have to zoom in). This photo was taken one and a half hours earlier, on the same day, before the storm began.
Shot with Sony A7R II + FE 28 mm f/2: f/8, 13 s, ISO 100.
We spent these last few days in Italy, travelling between Lamezia Terme, Tropea, and Scilla — the surprisingly poor (for Italy) but beautiful region of Calabria. The weather wasn’t perfect, but we did get a few sunny days. I also finally had one of my dreams come true — to be right next to a storm, but just far enough to be out of the rain.
Setting up, I never thought I’d get the shot of the storm that started brewing during our dinner in one of the many small restaurants in the old part of Tropea… It’s not perfect, unfortunately — the bright light shining on the island itself is blown — but at the time I was certain there would be enough latitude in the RAW files, to save that part. I was wrong — lesson learned.
Shot with Sony A7R II + FE 28 mm f/2: f/4.5, 30 s, ISO 100.
While sightseeing around the marina in Bodrum, I saw this cute cat, lying down in front of a Harley-Davidson (or whatever it was). The bike’s owner was just getting ready to ride off, but the cat was in the way. Even after a huge roar from the engine, it didn’t budge.
Arrogant? Definitely. Very trusting though.
Shot with Sony A7R II + FE 28 mm f/2: f/2.2, 1/6000 s, ISO 100.
I’m writing to you from a small hotel room in India having just experienced a magical adventure in western India orchestrated by friends at Ker & Downey. I’ve shot thousands of images and countless portraits with the iPhone 8 Plus and I’m excited to share what I’ve learned.
While the iPhone 8 Plus looks essentially the same as the phone we’ve had since the 6 Plus, there are some new features in the 8 Plus which really impact creative pros across the board — most notably Portrait Lighting, along with a few other hidden gems.
I know what I can achieve with my iPhone. While I’m sure the 8 and 8 Plus have great cameras, Austin is the one that can use them to create art, instead of just simple snapshots. Amazing work, as usual — make sure to go to his site to see all of his shots.
Photo credit: Austin Mann
David Cardinal, writing for DxOMark:
The Apple iPhone 8 Plus has a main camera system truly worthy of a flagship phone. Similar to the iPhone 7 Plus, it features two cameras — a wide-angle 12MP main camera, and a 12MP telephoto camera with a slower lens for zooming in on subjects and for special effects such as Portrait mode. Comparing the camera datasheets of the older iPhone 7 Plus and the new iPhone 8 Plus make the two look almost identical; however, under-the-hood upgrades have given the 8 Plus an image quality and camera performance boost in almost every one of our tested categories.
I’m still curious as to the exact physical changes in the camera system — Phil Schiller said that the sensors are now larger, but what are their sizes? While the latter certainly helps, it appears that the greatest advances in the near future will be made on the software side.
Some of you asked me for a wallpaper of my recent shot of the Q22 “skyscraper” in Warsaw, Poland — you can find it below in three different flavours, for the desktop, tablet and smartphone.
Continue reading →
Shot from a Boeing 777, with a Sony A7S and 35 mm f/1.4 lens, Sales Wick created this masterpiece on the way from Zürich, Switzerland to São Paulo, Brazil. You can find more details about the flight on BeyondClouds.
Watch the time lapse→
We had a 7-hour layover in Abu Dhabi, on our way back from the Seychelles, so naturally, we had to go see the city, with the Sheikh Zayed Mosque being our first stop. I still remember when I first saw the city over 30 years ago, basically, a village in the desert — the contrast is amazing — but this place of religion is simply stunning to behold.
Shot with Sony A7R II + FE 28 mm f/2: f/6.3, 119 s, ISO 100.
I waited 18 days and 18 nights to get this shot. I was planning to do a lot of night sky photography before arriving on Mahé and Praslin, but unfortunately, my plans were for nought. Firstly, the full moon was a huge problem — it was bright enough to cast a shadow. Secondly, the night sky was almost always covered with clouds, which usually dispersed in the morning. Lastly, there is a surprising amount of light pollution on the island — I did not expect this at all.
The shot above is unfortunately far from perfect — you can see one of the ends of the Milky Way on it. Had I waited for the centre of the Milky Way to rise above the horizon, the bright moon would have joined it, ruining the shot. Hope you like it nonetheless.
Shot with Sony A7R II + FE 28 mm f/2: f/2.8, 15 s, ISO 3200.
While I consider the beach on Curieuse island to be the most beautiful in the world, there is one in the southwestern part of Mahé — Anse Intendance, home of The Banyan Tree — that comes in second place. Absolutely stunning.
Shot with Sony A7R II + FE 28 mm f/2: f/8, 1/640 s, ISO 100.
Having spent two weeks over here, I have been fortunate enough to see many beaches on the islands of Mahé, Praslin, La Digue, and Curieuse. All of them are beautiful in their own way, but the southern beach on the last of the aforementioned islands is my favourite — calm and peaceful, with crystal clear waters, lazy and colourful fish… It’s as close to perfect as I could imagine.
Shot with Sony A7R II + FE 28 mm f/2: f/8, 1/640 s, ISO 100.
Giant tortoises can be found on two islands (that I know of) in the Seychelles — on La Digue in a closed off park and running wild (not the perfect phrasing, but you know what I mean) on the small island of Curieuse. They can be fed with various leaves and other shrubs that grow on the island and are quiet friendly. Just don’t put your fingers in their mouths — they will bite it (off?).
Shot with Sony A7R II + FE 28 mm f/2: f/2.8, 1/800 s, ISO 100.
We took the scenic route through one of mountain passes on Mahé today, the one second closest to the capital city of Victoria. Since my Sony FE 28 mm wasn’t wide enough to capture the scene above, I decided to try to make a panorama, consisting of 12 individual shots. It came out better than I expected and has around 102 MP after cropping.
Since the JPG at full resolution weighs in at almost 100 MB, you can view the original on 500px. I also posted a 100% crop after the break below.
Shot with Sony A7R II + FE 28 mm f/2: f/8, 1/250 s, ISO 100. Total of 12 shots.
Continue reading →
I am currently traveling and away from all forms of communication, which I have come to consider ubiquitous. I was a bit surprised that connecting to the internet is no simple task over here, despite me being in the middle of the Indian Ocean. I did however want to share this amazing sunrise — one of many — to which we awoke a few days ago. The beauty of this place is that the sun and sky give a unique and equally grand performance every single day.
Shot with Sony A7R II + FE 28 mm f/2: f/10, 30 s, ISO 100.
This is probably the most fantastic architectural marvel I have ever seen. Its sheer size is truly breathtaking, while the design details in the inlaid marble are exquisite.
Shot with Nikon D700 + Nikkor 14-24 mm f/2.8G: f/8, 1/320, ISO 200.