#it’s not a photograph but I have a real picture that looks the same Dx | Explore Tumblr posts and blogs

miikrokkosmos · 4 years ago

Text

jimin x reader: disney date headcanons!

Anonymous asked: hiya! Idk if this would be more weird than enjoyable for you to write, but I wanted to ask for hc about going on a date with jimin in the happiest place on earth! Esp since you worked there, right? Only if you want to though! I figured you might have some date tips and ideas or park knowledge that not everyone would think of anyway ;)

_______________________________________________________________________

a/n: omg not weird at all, I LOVE this request so much you have no idea. Idk if I have a lot of special insight or tips, but I hope you enjoy! Also I’ll be writing for the Orlando parks bc that’s what I know, and I also know celebrities often go backstage to avoid ppl but for the sake of this post it’s just a normal date out with Jimin and no celebrity treatment J Besides, who better to go to WDW with than the Disney Prince himself??

_______________________________________________________________________

· waking to a very excited Jimin flopping on top of you, embracing you close enough to him so he can half-whisper in your ear that “it’s time to waKE UP :D”

· you playfully pushing his head away with a whine to glance at the clock on the bed side table in your resort room – 6:55 am

· “jimin wtf this is supposed to be a vacation day, where u, u know, take it easy and sleep in”

· “but baby…the parks open in two hours”

· “right…two hours…so let me sleep another half hour”

· “NO D:” he practically shrieks, he’s full on pouting now, tugging your arm to help sit you up

· “I mean…we need the extra time to do our hair and coordinate our outfits :((((“

· you sit up and rub your eyes to fully take in his pouting form, eyes as big and sweet as you’ve ever seen them

· “well…I can’t argue with that”

· spending the next hour picking outfits that are comfortable for a day in the parks but complement each other nicely

· both of you styling and putting product in your hair mostly just to take cute selfies together and pics in front of the castle bc you know it’s all gonna get destroyed after an hour in the florida sun

· when you turn the corner on Main Street and see the castle and both just stop and stare with wide, happy grins for a few moments

· jimin giving you a toothy smile and sweetly grabbing your hand to get in line for castle pictures

· after one (1) silly pose jimin ignoring the photographer’s ideas for different poses bc he just wants to take pics in front of the castle with his arm around your waist and his lips on your cheek bc he knows the blissful, eye-closing grin that brings to your face and he wants as many pictures of that as he can have to keep forever

· then going back and getting in the long starbucks line bc neither of you ate breakfast in the two hour period you used completely to prep for the day and you need your caffeine to make the most of your park day

· sitting down on the hub grass in front of the castle to make some last minute adjustments to your fast pass selection for the day

· rock paper scissors bc you want to fastpass haunted mansion and he wants the many adventures of winnie the pooh (but it doesn’t really matter bc you both know you’ll wait in the standby line for the losing person’s ride anyway :)))

· giggling to each other whenever you get to use your magic bands bc you both specifically ordered matching ones

· jimin lightheartedly grumbling at how the splash on splash mountain was much bigger than he expected and just flat out ruined his hair and won’t believe you no matter how many times you tell him he still looks amazing (but that doesn’t mean he’ll try to stop you from continuously telling him that either)

· screaming your head off on space mountain which just makes jimin uncontrollably giggle behind you the entire ride so the ride pic ends up with your face like DX and his like XD

· having way too much fun in the gift shop after you ride pirates of the Caribbean trying on different pirate gear and taking goofy pics of each other

· jimin posing in his chest-out, hands on hips good boy pose for you with a big fluffy pink pirate hat on which you promptly make your new lockscreen

· grabbing a dole whip and rushing over to the people mover so you can just take a breather and enjoy views of Tomorrowland

· you have a soft spot for alice in wonderland and get on the teacup ride only for jimin to have WAY too much fun aggressively spinning the ride as fast as possible to get a rise out of you

· you feel a lil sick but his childlike giggliness is too adorable for you to not take snaps and video of on the ride

· “my love, I’m feeling kind of hungry”

· “me too…wanna get hot dogs at Casey’s??”

· “mmm...i was hoping we could make our dinner reservations at Be Our Guest?”

· “JIMIN WHAT RESERVATIONS THEY WERE BOOKED EVERY TIME I CHECKED”

· “that’s bc you didn’t try to reserve them as early as I did months ago…”

· somehow you’re not sure if you’ve ever felt more in love with him than in this moment but you’re okay with that

· playfully smacking his chest before jumping forward and smashing your lips against his, holding his face tight to yours

· jimin giggling right after, dimples on display and then hiding his face in your neck bc he can’t handle the cuteness that comes out in you when at your favourite place (but excuse u sir have you seen yourself)

· once you’re sitting at the restaurant “jimin does this mean we can please order the grey stuff for dessert” “of course, lovely, I’ve heard it’s delicious”

· you make a stop at Prince Charming’s Carousel after supper and jimin ends up just standing next to you on your pony, an arm around your waist as you enjoy the ride (since he gave up his horse next to you for a very little princess who really just had to have the same horse he chose)

· you pretty much just gotta stare into his eyes the whole time tho bc you can’t believe how beautiful he looks, grinning, all lit up with the night sky in the background and the carousel lights glowing in his eyes beaming at you

· you can’t really wrap your head around the fact that you are, in fact, dating a real life Disney Prince

· taking sneaky candids of him after the ride with the carousel as the backdrop bc you wanna remember how beautiful and happy he looked in that moment forever

· making your way to the front of the castle as fast as possible to get the best viewing spot for the fireworks

· jimin grabbing your hand right when the lights go down for the show to start

· you know the fireworks always make you emotional but you weren’t expecting for the waterworks that burst forth from within you this time

· there’s a difference between enjoying a fireworks display lighting up a real life castle and enjoying it when you’re deeply in love

· jimin sensing your emotion and the weight of the moment

· you being just a complete mess by the time “I See the Light” from Tangled is playing so he tilts your chin back with his finger, places a hand behind your neck and claims your mouth with his own, fireworks ablaze in the background

· you’re fully self-aware of the cheesiness of the moment but you really could care less and really wish you could just stay there and hold on to the happiness you feel in that moment, with jimin, forever

#jimin x reader #jimin imagine #bts fluff #bts x reader #bts imagines #thanks for the request!!#my stuff #jimin #pt

35 notes · View notes

thegloober · 6 years ago

Text

Sagittarius Rising – Long exposure photography from the stratosphere

One of the most frequently asked questions I get is how I shoot long-exposure photos from the cockpit and how they end up sharp, despite flying at roughly 950kmh / 500kts through the air. I will try to answer that question in more detail, going through the process and challenges step by step. Hopefully it sheds some light (pun intended) on the techniques I use and for the pilot-photographers among us some valuable and easy-to-use tips for your next night-flight.

How it began

Back in 2006, when I started flying the Boeing 737 all over Europe for Transavia, I was fascinated by the world at night that passed by my windows at an altitude where we would overfly most of the European weather. A perspective and tranquility that was unparalleled from what I’ve seen before and that simply asked for to be captured.

It was not just the mesmerizing view of countless of city lights of the sleeping world below that fascinated me; also the moonlight on the snow-covered Alps, the constellations above and the other wonders of the night that are simply unique when seen from a pilot’s perspective.

In an attempt to capture those wonders of the night sky, I used my very limited funds to buy the Nikon D80. A beginner-model DSLR camera that gave relatively satisfying results by day. At least it was better than the compact camera I had before.

By night though, the D80 was having a hard time to cope with the lack of light so by logical reasoning, I decided to invest in a lens that would offer the widest angle and had the largest lens-opening for light (aperture) so even my little D80 could achieve at least something at night.

Enter; the Nikkor 10.5mm f/2.8 Fisheye lens. Buying this lens was a huge risk considering the steep price, my very restricted financial means and the rather limited-use of Fisheye lenses in general. You will often see those lenses ending up on eBay or second-hand marketplaces after owners found that their use is too limited or even useless in normal photography due to their extreme distortions.

For me though, this little lens has proven to be a unique asset to my unique position above the clouds and even today, nearly 12 years later, I carry that same objective with me. A few scratches, lots of stories and adventures later, she’s always close at hand. Looking back, buying this tiny Fisheye lens was one of the best investments I have ever made.

How it evolved

In a small space like the cockpit of an aircraft the Fisheye lens proved to be a winner, but the camera was clearly a limiting factor. Soon, my holiday-money was invested in the Nikon D200; a slight step up the camera-ladder and my photography took another small step forward.

But it wasn’t until I was starting to fly the Boeing 747 in 2011 that my night-photography started to get serious. With flights all over the world and through all time-zones, I was getting more and more interested in capturing the next challenging thing; the moonlight reflected on the clouds, the tender light of a sun long gone below the horizon or even the wonders of the northern lights or falling meteorites.

Finally, my finances (barely) allowed me to invest in my very first full-frame DSLR, the Nikon D800. Only now I started to reap the benefits of using a prime f/2.8 lens on my camera and the real experimenting began.

The balance between shutter-time, aperture and ISO (sensor)-sensitivity became more and more a second nature. Just a glimpse out of the window will tell me what settings are needed without too much ado. Factors like the phase of the moon, amount of lights from the ground, strength of the Northern Lights or intensity of nearby thunderstorms all led to the point that I started to get a good intuitive feel for the camera settings needed at any time.

Sharp images

Many people have asked me how I manage to get sharp images despite the fact that the airplane is flying at high speeds through the atmosphere. There are a few factors at play here, and I’ll try to cover them all with as few words as possible.

– Airplane movement;

The airplane is flying at nearly 950km/h or 500kts through the atmosphere. When taking pictures with a long shutter-time (anything between 3 and 30 seconds), you are bound to get some blur from the lights that pass by. But what is the actual movement? Sure; the lights on the ground pass by noticeably, resulting in streaks or lines of light. But what about the stars? Don’t they move?

Well think about it.. the stars are literally light-years away. Many billions of miles/kilometers. The movement of the aeroplane relative to the stars is nil, nothing. We can easily fly a thousand kilometers an hour; but the stars so extremely far away simply don’t move.

Besides the lack of relative moment, with shutter-times over 30 seconds you will see the movement of the stars ever so slightly, but that is simply because of the rotation of the earth. Then again.. for shutter-times of anything above 15 seconds you will need to have an extremely stable atmosphere to get a sharp shot and you have to be lucky to get any sharp shot anyway. The movement of the stars is your least concern with those very long shutter-times.

– Turbulence:

The eternal and unpredictable spoiler. Whenever I see something incredible that requires a longer shutter-time, I grab my camera and… turbulence starts. Just as predictable as when getting a fresh cup of coffee filled to the brim, or starting to fill out the fuel-calculations on the paperwork; turbulence. Sure to make my handwriting look like Japanese characters with an Okinawa accent.

Long story short; there is nothing I can shoot with turbulence and perhaps its nature’s way of telling me to just enjoy the view without being able to share it with the rest of the world.

I have been unable to shoot some of the most amazing views of Northern Lights and moonlight because of this.. frustrating but hey, what can you do but to simply enjoy it in all silence.

Apart from those annoying moments, most of the times I simply wait for a few minutes when the air is stable enough to just get my camera out and hope for the best.

Fortunately, the Boeing 747 is one of the largest planes in the world and due to its size and weight, the machine is very stable by nature and not easily tossed around. Another benefit of flying the most iconic and beautiful machine in the world.

– Fixation of the camera:

No tripods or other equipment are used. There is simply no room in the small cockpit for those things, neither are they practical to carry along during a 3-4 week trip.

The most efficient way is placing the camera on the glare-shield (the cover of the instrument panel up to the front windows) where I simply put the camera and press the trigger, hoping the air is stable enough.

To fix the camera a notch up or down I use simple stuff like my glasses-case, agenda or lens-cover to stabilize the camera position.

For the window-shots I hold the camera by hand and push it into the corner of the window frame and hold it there. The camera is quite bulky and this allows a relative easy fixation in a position somewhere in the window frame.

– Wide-angle lenses:

One other trick to get sharp images in-flight is using a wide-angle lens.

The further you zoom out (use wider angle view), the less any eventual movement will show in the photo. Imagine; let’s say you zoom in with a tele-lens on the moon or a star and use a long exposure. Even the slightest movement of the camera, air or tripod could blur the image. Now imagine using a wide-angle lens to cover the entire sky.

A slight tremble of the tripod or camera becomes nearly unnoticeable in the general photo. The same applies for cockpit photography; use a wide-angle lens and cover as much as you can from the sky as possible. This gives you a bit of leeway for any tremble or movement of the aeroplane.

– Window reflections:

Next to turbulence, reflections are my worst enemy.

In general, I found that dimming the cockpit lights as much as practically possible helps in reducing the ambient light pollution of my images. Another trick is to place the lens-opening as close to the window as I can. You’ll see that if you press the camera nearly against the window, the reflections are more or less disappearing from immediate view.

Unfortunately, there will always be some reflections and here comes another benefit of the 45MP sensor of the Nikon D850; you can crop a lot of the image out and still end up with a very high-resolution image. A definite advantage of the D850 or any other high-end camera.

From the passenger cabin:

‘Well Mr. Pilot; its all nice and dandy that you’re shooting images from that fancy cockpit but how about us passengers, bound to the inflight-entertainment of a wing-view, crying children and a few peanuts?’ Fear not my friends, for I have often taken my photos through the small windows of airliner-cabins as well and I know the limitations of life and photography from the passenger cabin.

Basically the same principle apply; try to fix the camera as close to the window and prevent any reflections. One way to do that is to try and block the camera body between a seat and the window, if possible. Or just press it against the window with any means possible and keep it as still as possible.

In order to reduce the amount of reflections and ambient light, ask for a blanket and try to cover as much of the area around the window as possible. You might get a few frowns from other passengers, but after a few tries you might end up with that awesome shot of the stars, northern lights or moonlight finally.

What’s in the bag.

Today I always carry the Nikon D850 in my flight bag, together with the following lenses.

– Nikon 10.5mm f/2.8 fisheye lens. Even though this is a DX lens (designed for crop sensors) I love the sharpness, speed and reliability of this little lens. Ideal for long exposures from the flight deck and easy to carry with me due to its small size and low weight, I always have it at hand while I’m flying.

– Nikon 14-24mm f/2.8. By far, one of the very best wide-angle lenses that Nikon has to offer at the moment. The 14mm’s are just perfect for long-exposures and shots, both day and night.

– Nikon 24-70mm f/2.8. Even though its relatively heavy and I do not use it that often, the 24-70 is perfect for daylight use and air-to-air photos.

Conclusion

To take sharp night-images from an airplane (both cockpit and cabin) you need to keep the following things in mind; – preferably, use professional equipment that can handle low-light conditions – use wide-angle lenses – place the camera as close to the window as possible – cross your fingers and hope for a smooth flight!

About the Author

Christiaan van Heijst is a pilot, born and raised in The Netherlands. He is flying as a Senior First Officer on the Boeing 747-8 and -400 Freighter, and combining his passion for flying with the passion for photography. His job allows him to see many beautiful places, and he has captured many different parts of the planet with his camera.

If you’d like to see more of Christiaann’s work, make sure to visit his website, Instagram, Facebook page, 500px, and follow him on Twitter. This article was also published here and shared with permission.

Source: https://bloghyped.com/sagittarius-rising-long-exposure-photography-from-the-stratosphere-2/

0 notes

pauldeckerus · 6 years ago

Text

Long Exposure Photography from the Cockpit of a 747

One of the most frequently asked questions I get is how I shoot long-exposure photos from the cockpit of an airliner and how they end up sharp, despite flying at roughly 950kmh/590mph/500kts through the air. I will try to answer that question in more detail, going through the process and challenges step by step. Hopefully it sheds some light (pun intended) on the techniques I use and for the pilot-photographers among us some valuable and easy-to-use tips for your next night-flight.

How it Began

It was not just the mesmerizing view of countless of city lights of the sleeping world below that fascinated me; it was also the moonlight on the snow-covered Alps, the constellations above, and the other wonders of the night that are simply unique when seen from a pilot’s perspective.

In an attempt to capture those wonders of the night sky, I used my very limited funds to buy the Nikon D80, a beginner-model DSLR camera that gave relatively satisfying results by day. At least it was better than the compact camera I had before.

By night though, the D80 was having a hard time coping with the lack of light, so logically I decided to invest in a lens that would offer the widest angle and had the largest lens-opening (aperture) for light so that even my little D80 could achieve at least something at night.

Enter the Nikkor 10.5mm f/2.8 Fisheye lens. Buying this lens was a huge risk considering the steep price, my very restricted financial means, and the rather limited-use of fisheye lenses in general. You will often see these lenses ending up on eBay or second-hand marketplaces after owners found that their use is too limited or even useless in normal photography due to their extreme distortions.

For me though, this little lens has proven to be a unique asset to my unique position above the clouds and even today, nearly 12 years later, I carry that same lens with me. A few scratches, lots of stories and adventures later, she’s always close at hand.

Looking back, buying this tiny fisheye lens was one of the best investments I have ever made.

How it Evolved

In a small space like the cockpit of an aircraft, the fisheye lens proved to be a winner, but the camera was clearly a limiting factor. Soon, my holiday money was invested in the Nikon D200, a slight step up the camera ladder and my photography took another small step forward.

But it wasn’t until I was starting to fly the Boeing 747 in 2011 that my night photography started to get serious.

With flights all over the world and through all time-zones, I was getting more and more interested in capturing the next challenging thing; the moonlight reflected on the clouds, the tender light of a sun long gone below the horizon, or even the wonders of the northern lights or falling meteorites.

The balance between shutter speed, aperture and ISO became more and more a second nature. Just a glimpse out of the window will tell me what settings are needed without too much ado.

Factors like the phase of the moon, the amount of light from the ground, the strength of the Northern Lights, or the intensity of nearby thunderstorms all led to the point that I started to get a good intuitive feel for the camera settings needed at any time.

Sharp Images

Airplane movement

The airplane is flying at nearly 950km/h or 590mph or 500kts through the atmosphere. When taking pictures with a long shutter-time (anything between 3 and 30 seconds), you are bound to get some blur from the lights that pass by.

But what is the actual movement? Sure; the lights on the ground pass by noticeably, resulting in streaks or lines of light. But what about the stars? Don’t they move?

Well think about it: the stars are literally light years away. Many billions of miles/kilometers. The movement of the airplane relative to the stars is nil, nothing. We can easily fly a thousand kilometers an hour, but the stars are so extremely far away that they simply don’t move.

Turbulence

Long story short; there is nothing I can shoot with turbulence and perhaps its nature’s way of telling me to just enjoy the view without being able to share it with the rest of the world. I have been unable to shoot some of the most amazing views of Northern Lights and moonlight because of this. It’s frustrating but hey, what can you do but to simply enjoy it in all silence.

Apart from those annoying moments, most of the times I simply wait for a few minutes when the air is stable enough to just get my camera out and hope for the best.

Camera Stabilization

No tripods or other equipment are used. There is simply no room in the small cockpit for those things, neither are they practical to carry along during a 3-4 week trip. The most efficient way is placing the camera on the glare-shield (the cover of the instrument panel up to the front windows) where I simply put the camera and press the trigger, hoping the air is stable enough.

To fix the camera a notch up or down I use simple stuff like my glasses-case, agenda or lens-cover to stabilize the camera position.

For the window shots, I hold the camera by hand and push it into the corner of the window frame and hold it there. The camera is quite bulky and this allows a relative easy fixation in a position somewhere in the window frame.

Wide-angle Lenses

One other trick to get sharp images in-flight is using a wide-angle lens. The further you zoom out (use wider angle view), the less any eventual movement will show in the photo. Imagine; let’s say you zoom in with a telephoto lens on the moon or a star and use a long exposure. Even the slightest movement of the camera, air or tripod could blur the image. Now imagine using a wide-angle lens to cover the entire sky. A slight tremble of the tripod or camera becomes nearly unnoticeable in the general photo.

The same applies to cockpit photography; use a wide-angle lens and cover as much as you can from the sky as possible. This gives you a bit of leeway for any tremble or movement of the airplane.

Window Reflections

Next to turbulence, reflections are my worst enemy. In general, I found that dimming the cockpit lights as much as practically possible helps in reducing the ambient light pollution of my images. Another trick is to place the lens-opening as close to the window as I can.

You’ll see that if you press the camera nearly against the window, the reflections are more or less disappearing from immediate view. Unfortunately, there will always be some reflections and here comes another benefit of the 45MP sensor of the Nikon D850; you can crop a lot of the image out and still end up with a very high-resolution image. A definite advantage of the D850 or any other high-end camera.

From the Passenger Cabin

“Well Mr. Pilot; it’s all nice and dandy that you’re shooting images from that fancy cockpit but how about us passengers, bound to the inflight-entertainment of a wing-view, crying children and a few peanuts?”

Fear not, my friends, for I have often taken my photos through the small windows of airliner cabins as well and I know the limitations of life and photography from the passenger cabin.

Basically, the same principles apply. Try to fix the camera as close to the window and prevent any reflections. One way to do that is to try and block the camera body between a seat and the window, if possible. Or just press it against the window with any means possible and keep it as still as possible.

What’s in the Bag

Today I always carry the Nikon D850 in my flight bag, together with the following lenses.

Nikon 10.5mm f/2.8 fisheye lens. Even though this is a DX lens (designed for crop sensors) I love the sharpness, speed, and reliability of this little lens. Ideal for long exposures from the flight deck and easy to carry with me due to its small size and low weight, I always have it at hand while I’m flying.

Nikon 14-24mm f/2.8. By far, one of the very best wide-angle lenses that Nikon has to offer at the moment. The 14mm’s are just perfect for long-exposures and shots, both day and night.

Nikon 24-70mm f/2.8. Even though its relatively heavy and I do not use it that often, the 24-70 is perfect for daylight use and air-to-air photos.

Conclusion

To take sharp night-images from an airplane (both cockpit and cabin) you need to keep the following things in mind:

Preferably, use professional equipment that can handle low-light conditions, use wide-angle lenses, place the camera as close to the window as possible, and cross your fingers and hope for a smooth flight!

About the author: Christiaan van Heijst is a 747 cargopilot, photographer, and admirer of natural light. The opinions expressed in this article are solely those of the author. Van Heijst’s work was published as a photo book titled Cargopilot in 2016. You can find more of his work on his website, Twitter, Facebook, 500px, and Instagram. This article was also published here.

from Photography News https://petapixel.com/2018/10/10/long-exposure-photography-from-the-cockpit-of-a-747/

0 notes

sumitgulati-trappedinfocus-blog · 8 years ago

Text

5 Reasons Why you need a fisheye lens

Introduction

I too was bit sceptical before buying a fisheye lens. I don’t understand why many photographers run away from fisheye lenses, I have seen many landscape and cityscape photographers hesitating in using fisheye lens.

What I found that people see these lenses as a problem and found them boring but to me it is totally contrary because when I saw the first picture from fisheye lens on facebook, I was amazed but at the same time I didn’t know the secret. My curiosity forces me to ask the photographer about the EXIF details and then only I discovered fisheye lenses. I would like to share few immediate questions that came to my mind, why this image is looking different, what happens to the foreground and why is the background so far from the main subject lying at the front and many other questions like this.

Second step was to find the right fisheye lens and my research ended at Samyang 12mm f/2.8 fisheye lens for FX camera as I use Nikon FX camera Nikon D750. Samyang also produces the same lens with same field of view for DX camera that is 8mm f/3.5 lens. (with a crop factor of 1.5 equivalent to 12mm of FX).

One of the famous landscape photographer saw me shooting with this lens during my photography tour with FOTOFOYER in Nubra Valley of Ladakh region and he was trying to convince me that the effect or distortion (explained below if you are new to this term) created by these lenses is an error. His point was if at all this error can be corrected in post processing then what is the point of shooting an image with an error and then waste time in correcting this error. In short he was not in favour of using fisheye lenses for any kind of photography. We had a long discussion on this topic for about an hour and we were trying to convince each other. I decided then and there only that I will definitely write a blog so that others would also know about the creativity of these type of lenses.

I am sure after reading this blog few photographers would definitely like to try their hands on fisheye lenses.

Having said lot of things here are the five reasons that you should consider using a fisheye lens or if you already have then use these reasons to take the most out of it.

1) Distortion2) Wide Angle3) Depth of Field4) Astro Photography5) Creativity / Point it down

_________________________________________________________________________________________________________

1) Distortion:

What is Distortion? Any sort of deviation from rectilinear projection is called Distortion. It is basically an optical abnormality or irregularity.

Barrel Distortion: Optical Aberration when straight lines visibly curved towards inwards, especially towards the extreme edges of the frame. We commonly face barrel distortion in photography when we use wide or ultra-wide angle lenses because the field of view of the lens is much wider than the size of the image sensor and hence it needs to be “squeezed” to fit. As a result, straight lines are visibly curved inwards, especially towards the extreme edges of the frame.

Pincushion distortion: When straight lines are curved outwards from the centre and this type of distortion is commonly seen on telephoto lenses, and it occurs due to image magnification increasing towards the edges of the frame from the optical axis.

I like images from fisheye lens as they produce pictures with high barrel distortion and that is what makes the scene unique. Initially I felt that this lens is very difficult to use and one needs to spend more time to learn the art of using high distortion but in a right way in my images. I use this lens in almost 90 percent of my landscape photography, there is purely one reason for that, the close objects which we called foreground in landscapes become more dominant in the scene than the background or distant objects, this way we can emphasize on the foreground.

2) Wide Angle / 180 Degree Field of View:

Wide angle lenses have a local length of less than 35mm, Fisheye lenses are considered to be ultra-wide angle lenses as their focal length ranges from 8mm to 16mm. why and when we need these type of lenses?

Capturing landscapes and seascapes are definitely the best reason to put a wide angle lens on camera. Sometimes or I would say every time when we visit a popular place we look forward to create a different perspective than everyone else’s if that is the case then you are at the right blog, unique perspective and interesting results, this is what a fisheye lens will bring to your photography. I use Samyang 12mm fisheye lens and this lens has a view of 180 degrees.

But, important point here to mention that including more space into the frame is not so creative if you don’t create good compositions and with 180-degree field of view is takes lot of time and practice to create meaningful composition. While setting your composition right you also need to scan the full frame that you need to take care is that you are not including unwanted items along the corners like your tripod leg or your own leg or your own shadow. It’s always good to scan properly the entire frame to ensure only the items you want are in your image.

3) Depth of Field / Focusing:

Definition: In optics, particularly in photography, depth of field (DOF), also called focus range or effective focus range, is the distance between the nearest and farthest objects in a scene that appear acceptably sharp in an image.

Source: https://en.wikipedia.org/wiki/Depth_of_field

First we need to know how f-stops works, small number that is f/2.8 will corresponds to a larger or wider aperture, which results in a shallow depth of field and conversely a large f/11 results in a smaller or narrower aperture size and therefore a deeper depth of field.

With fisheye lenses creating a deeper depth of field is very easy, you just need to set your aperture around f/11 and move your focus ring towards infinity. However, if you know the distance of your subject (foreground) then use the DOF calculator to know the hyper focal distance, set your focus ring to that distance to get the tack sharp foreground and in addition, there will be an area just in front (one-third) of and behind (two-third) that will appear reasonably sharp. http://www.dofmaster.com/

4) Astro Photography:

I highly recommend Samyang or equivalent brands like Rokinon fisheye lenses for astrophotography. Why is would like to use this lens for astrophotography because they’re wide, cheap, sharp, and fast.

These lenses are all manual focus only require more patience than your normal autofocus lenses but their optics exceed the quality of expensive lenses of Canon or Nikon and at one fourth of the price..

Here are the lenses I highly recommend for astrophotography:

Rokinon 8mm f/2.8(APS-C)

Rokinon 14mm f/2.8(Full-Frame or APS-C)

Rokinon 16mm f/2.0(APS-C)

Rokinon 24mm f/1.4(Full-Frame or APS-C)

Rokinon 35mm f/1.4(Full-Frame or APS-C

5) Creativity / Point it Down or Up:

I always say that our camera gears are important but just to capture the moment, the real creativity is in the person standing behind the camera. Fisheye lenses are great only if somebody is capable of use them to their potential. Fisheye lens is famous for creating images that wouldn’t have been possible with other lenses. I guarantee you that you will stunned by seeing the images on your camera LCD compared to what you see with naked eyes.

There are two things that you need to balance when composing an image, distortion and perspective, pointing this lens slightly up or down will make your horizon a curve. We should try to use this feature in a creative way, don’t go too far low or up, try to keep the sky and the land balanced in the composition. There are many software’s available for free such as DxO optics or Photoshop to de-fish the image reducing distortion to a minimum.

0 notes

thegloober · 6 years ago

Text

Sagittarius Rising – Long exposure photography from the stratosphere

How it began

How it evolved

Sharp images

– Airplane movement;

– Turbulence:

Long story short; there is nothing I can shoot with turbulence and perhaps its nature’s way of telling me to just enjoy the view without being able to share it with the rest of the world.

I have been unable to shoot some of the most amazing views of Northern Lights and moonlight because of this.. frustrating but hey, what can you do but to simply enjoy it in all silence.

Apart from those annoying moments, most of the times I simply wait for a few minutes when the air is stable enough to just get my camera out and hope for the best.

– Fixation of the camera:

No tripods or other equipment are used. There is simply no room in the small cockpit for those things, neither are they practical to carry along during a 3-4 week trip.

To fix the camera a notch up or down I use simple stuff like my glasses-case, agenda or lens-cover to stabilize the camera position.

– Wide-angle lenses:

One other trick to get sharp images in-flight is using a wide-angle lens.

– Window reflections:

Next to turbulence, reflections are my worst enemy.

From the passenger cabin:

What’s in the bag.

Today I always carry the Nikon D850 in my flight bag, together with the following lenses.

– Nikon 14-24mm f/2.8. By far, one of the very best wide-angle lenses that Nikon has to offer at the moment. The 14mm’s are just perfect for long-exposures and shots, both day and night.

– Nikon 24-70mm f/2.8. Even though its relatively heavy and I do not use it that often, the 24-70 is perfect for daylight use and air-to-air photos.

Conclusion

About the Author

Source: https://bloghyped.com/sagittarius-rising-long-exposure-photography-from-the-stratosphere/

0 notes