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  • Feature Friday

    • Post in Travel Photos Challenge
      Capturing the beauty of a mountain lake in Switzerland under the Milky Way was an unforgettable experience. As the sun set and darkness enveloped the landscape, the stars began to emerge, revealing the breathtaking expanse of the Milky Way. It is easy to find dark places in Switzerland and therefore a good destination for astrophotography. 
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    • Post in Your go to prime lens?
      I do a lot of Real Estate photography and live by my Zeiss FE 4/16-35. There are many cases when it's nice to go really wide. It makes rooms look bigger, and landscapes look vast. I found the trick to hiding the distortion is to look for shots with a lot of curves. But it's hard to justify carrying a very wide prime lens with me; it feels like a specialty lens.
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    • Behind The Shot: Intentional Settings for a Storytelling Landscape
      Angie Purcell is a landscape and nature photographer based in northeast Pennsylvania. She enjoys photographing everything from grand landscapes to tiny macro details. She is especially fond of experimenting with shutter speed to produce different qualities and feelings in her landscape photos. Angie shared this stunning shot in our recent Golden Hour Challenge and we immediately wanted to learn more about the story behind the image! Keep reading to hear Angie's perspective. 

      I was on a trip to Acadia National Park in Maine and took a side trip to Portland, Maine along the way. I was aware of this lighthouse, the Portland Head Light and knew I wanted to photograph it while I was there. Since it faces east it was an obvious choice to shoot at sunrise. 

      I used my Sony Alpha 7RIII because of its capabilities for high dynamic range and resolution. It's a great camera to handle nearly any light Mother Nature may throw at you. The Bright Monitoring feature was helpful in arranging my shot before the sun rose. I used the Sony 16-35mm GM lens because I wanted a wide angle shot to capture the lighthouse, ocean and sun but enough zoom to be able to adjust my composition to my liking.

      My Sony Alpha 7RIII and Sony 16-35 GM were mounted on my tripod and I began by using Bright Monitoring to compose my shot. I utilized Photopills to double check sunrise time and the sun position within my frame. The morning was calm and still and I decided I wanted to try to capture that peaceful feeling so I elected to apply a circular polarizer and a 6-stop ND filter to slow the motion of the waves. I selected a focal length of 29mm to capture all the elements I wished to include. I set my aperture to F22 and ISO 100 to produce a sunburst on the horizon and keep my image free of noise. After some experimentation I settled on a shutter speed of 20 seconds to produce a dreamy blur in the water but still be able to see some slight motion lines on the break. 

      To edit the photo I utilized Adobe Lightroom to make minor adjustments in vibrance and white balance and Adobe Photoshop to edit out some dust spots.

      Thanks for sharing more about how you created this shot @apurcell!

      And make sure you check out our latest photo challenge here!
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Community Activity

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  1. Today
  2. Karlie Place @karlieplace is a travel and adventure content creator who uses stunning visuals to tell stories of places and empower others. You can check out some of her work on her TikTok. It’s our pleasure to announce that Karlie will be participating in a text based AMA here on the forums on July 17th at 6pm ET!! Karlie will be answering any questions about content creation, building an online community, storytelling, editing, and more! If you’d like to ask a question ahead of the event, post it in this thread and our forum moderators will make sure that they’re posted for Karlie to answer during the event. We hope to see you here!
  3. Yesterday
  4. I am able to use an external flash (slow to recharge) with Alpha Focus Bracketing, by setting the right shots delay.
  5. Photogrammetry (3d models reconstruction) is another interesting application for focus stacking You can do focus bracketing on older camera with your smartphone if bluetooth is supported by your camera
  6. You may workaround the issue by using the app Alpha Focus Bracketing (for iOS and Android)
  7. Last week
  8. If I could have checked more than one, they would have been Wildlife and Landscape. Lately, I've been taking photos of musicians on stage. I take my cameras for a walk every morning through an environmentally sensitive protected area on beach and surrounding area. Sometimes I'll swing through a town nearby. I'm usually out for a couple of hours or more. Favourite: Probably Wildlife, but that's hit 'n miss as I'm marching around, and I'm just as happy shooting landscapes. I carry two bodies Good light A1 with FE 200–600 mm F5.6–6.3 G OSS A7 IV with FE 70-200mm F2.8 GM OSS II When the light is not good: I'll swap the FE 200–600 mm F5.6–6.3 G OSS for one of these, depending on the weather and my mood FE PZ 16-35 MM F4 G FE 24-105mm F4 G OSS FE 50mm F1.2 GM
  9. Hi everyone, I am encountering file transfer speed bottlenecks and was hoping if anyone has a way to speed up transfer speeds? Hardware I am using: Asus Zenbook Duo UX8406 (2 x Thunderbolt 4 ports (40Gbps)) SanDisk Professional Blade Transport with 4 TB (20 Gbps) Sony CF Express Type A Reader Model: MRW-G2 (10 Gbps USB 3.2 Gen 2) Angel Bird 1 TB CF Express Type A (R: 820 MB/s W: 730 MB/s) Cables: 1 x Thunderbolt 4 @ 40Gbps capability and 1 x SanDisk USB-C 20 Gbps cable My assumptions is that the bottleneck should be at 820 MB/s (6.5 Gbps) because of the memory card being the slowest link... However, I am only reaching 45 - 50 MB/s transfer speed on Windows 11 when I copy 1 TB (several thousand files) from the CF Express Type A 1 TB card to the San Disk 4TB Any advice on how I can speed up the transfer speed would be much appreciated!
  10. Use Bridge and Photoshop and has worked fine with my A7RIII. Just took 250 photos with the A7R5 and when I put the card in my reader, hooked up to my Apple iMac Bridge is not seeing the SD card. Tried moving all the photos to an external, portable hard drive and Bridge is not seeing the hard drive. I can pull individual photos up with Photoshop, but not Bridge. No clue what I am doing wrong.
  11. Just starting to play with the A7R5, so no real world experience with birds. Did come across this video.
  12. Earlier
  13. AGZ my set up is exactly the same static stuff ok ISH but birds in flight absolutely rubbish!!! I'm so disappointed with Sony for how this has happened to the flagship camera and the 200-600. I was out the other day photographing owls which flew 20 feet away and only got 2 max useable images all the rest where rubbish. The eye autofocus doesn't work and tracking is a waste of time now absolutely gutting.
  14. I am with you that my AF was not set properly. In the camera I can only select Human or Animal eye AF, no possibility to select bird. Here the settings used: AF-C, Focus area: flexible spot, Face/eye priority in AF: ON, Subject detection: Animal, AF tracking sensibility: 5 (responsive)
  15. Thank you very much for the highlight and the opportunity.
  16. This was the 4th of July celebration in Harrisburg, PA. F8, 6 sec, ISO 160
  17. "New" camera showed up A7RV. Another little test, shot taken from 1.2 miles away. A7RV, 200-600, 1.4 teleconverter. One is original pic take at 600m, next is 200% crop run through Topaz sharpen. In bright light, subject with lots of contrast felt the autofocus with the teleconverter was pretty good.
  18. Menk

    TimeCode A7iv

    Can the USB port be used for this purpose?
  19. I was rushing through Inhambane, Mozambique, to get to our lodge to capture this photo. I luckily made it just in time. 🙂 No two sunsets are alike, but that is especially true in Africa.
  20. I noticed that after acquiring focus, then viewing depth of field visa a custom button (Aperture Preview), the lens then re-focuses. This is detrimental for so many reasons. Anyone know what's going on?
  21. I have, like all, tons of images from different trips... but one I remember quite fondly is one I did in the middle of december to the mountains to cover the Geminid meteor shower last year. I spent the entire night there with temperatures below 15c, or 5f. You can see me here preparing some specialty coffee, before doing a 360 panorama and timelapses all night. Truly, a beautiful night.
  22. Hi Gegjrphoto, thanks so much for your answer. It feels nice to know I'm not the only one out there who likes to bring coffee and has a hard time organizing this whole thing hahaha. I'm still designing my own backpack, my mother in law knows how to actually do one, so, is just a matter of get things going. Who knows? Maybe in the future you will find my backpack out there in stores, aimed exclusively to coffee and astrophotography lovers 🙂
  23. Thanks so much for joining us today. Please feel free to reach out to me if you have any questions or if I can be helpful to you. Wishing you all the best on your photography journey!
  24. Hello Ms. Fruth, My name is George. I grew up in a small southern Indiana town during the 50s. Where I grew up baseball was like Friday night football in Texas. Everyone was at the ballpark Friday night and, Saturday day and night. I played the game from pre-kindergarten through the end of high school and then some (American Legion League). My question is where are you typically located during the game or do you move around the park? With all the equipment (lenses) I can't imagine you move around too much, or does someone watch your equipment while you roam around the park? I used to shoot studio portrait photography as a semi-professional as well as some event and wedding photography. I am mostly retired now and mostly shoot as a hobbyist. I primarily shoot wildlife (birds mostly) and landscape with a sprinkling of my grandkids sports photography who range in age from elementary school to college. It's mostly basketball and track & field. Mostly stills with occasional video. I also go to the local MILB games with my camera and one lens because I typically don't have anyone that watches my equipment. If you had to take one lens what focal length (zoom I presume) would take? I typically take my Tamron Piezo Drive 18-270 f/3.5-6.3 non-VC since it's for Sony camera (which btw I still shoot ILCA 99M2 and 77M2) or if I intend to be stationary I take the 70-400 f/4-5.6 G2. I am reluctantly considering purchasing a ILCE-A7M4 primarily for animal and human eye-AF. I hear it's quite good and my eyes and steadiness aren't what they used to be. I look forward to your AMA on the 6\27. Thanks for taking time to read my lengthy post. Best Regards, George, aka GEGJr and OP (short for old papa)
  25. This AMA is over, but we have one with Jean Fruth happening tomorrow!
  26. The Sony ZV lineup of cameras has something for everyone. In this video, Sony Artisan @MiguelQuiles takes us through the highlights with video samples for each so you can find out which one is the right one for you. Watch as he takes a closer look at the Sony ZV-1F, Sony ZV-1 II, Sony ZV-E10 & Sony ZV-E1. Sony ZV-1F The Sony ZV-1F a big step up coming from a smartphone. “First things first, you’ve got a one-inch sensor which is much bigger than what you would find in a smartphone,” Quiles explains. “You’ve got a fixed 22mm f/2 lens. So really bright, great for shooting stuff outdoors. Great for shooting stuff in low light situations. Really, really nice camera to get you started if you’re coming from using a smartphone for shooting your vlogs and shooting your videos.” He continues, “Of course with this camera you also get Sony’s Eye Autofocus feature which is going to make sure that you, as the person who is being filmed, that you’re in focus, that you’re sharp. And so that’s one of the things that really shines in the Sony ZV family is the autofocus features.” Sony ZV-1F You can also use the Sony ZV-1F for livestreaming by plugging it into your computer or laptop to use it as a webcam. “That’s really going to step up the quality of your livestreams, of your Zoom calls,” he says. “So it’s a very versatile camera – you can use it for your vlogging and use it for your livestreams.” Another important highlight for the Sony ZV-1F is the ability to use S-Log3. “If you’re new to video, especially if you’re coming from a smartphone, S-Log3 is going to allow you to capture a flat looking video but then in post-production you could actually bring out the details in the shadows, bring out details in the highlights.” Having this ability in an entry-level camera gives you the ability to start working with that S-Log3 footage to get experience as you move up the ZV line. Learn more about the Sony ZV-1F HERE. Sony ZV-1 II Like the Sony ZV-1F, the Sony ZV-1 II has a one-inch sensor. It also has a 20.1 megapixel resolution for stills, but there is one major difference between it and the Sony ZV-1F. “Which is that you have an 18-50mm f/1.8-4 zoom lens,” reveals Quiles. “So now you have the ability to create some different compositions. You can get a lot wider than you can with the ZV-1F and you’re able to zoom in which is really great.” Another big difference with the Sony ZV-1 II is that it has a hot shoe on it, so you’re able to pair it with things like external flashes. “I will tell you that even though this is a vlogging camera, I love shooting stills with it,” Quiles says. “It’s one of my favorite everyday walkaround stills cameras, so don’t discount it just because it’s considered a vlogging camera because all of these cameras in the lineup are fantastic for shooting stills.” Sony ZV-1 II A major highlight you get with the Sony ZV-1 II is the built-in ND Filter. “If you plan on shooting at those wide open apertures, now you have the ability to be able to use the electronic ND that’s built into this camera to get you the correct exposure.” “I think if you’re looking for something that’s compact, that has flexibility in being able to get you different focal ranges – the ZV-1 II is going to be a fantastic option.” Learn more about the Sony ZV-1 II HERE. Sony ZV-E10 With the Sony ZV-E10, you’re stepping into a camera with a bigger sensor. “You get an APS-C sized sensor. It is 24.2 megapixels, which basically is going to mean that you’re going to get a much better looking image. You’re going to get much better looking stills. And with that bigger sensor you’re going to get better sensitivity in low light as well compared to that one-inch sensor.” The Sony ZV-E10 is a step up to a more professional vlogging camera, because it also gives you the ability to change lenses unlike the previous ones discussed with fixed lenses. Quiles likes to shoot with the Sony 10-20mm f/4 G PZ lens because not only is it great for vlogging, it also provides a compact setup when paired with the camera. Sony ZV-E10 The Sony ZV-E10 is also the first camera in the lineup that gives you a headphone jack in addition to the microphone jack, so you can monitor your audio while you're recording. “Another thing that’s notable here,” explains Quiles, “Is that this is the first ZV camera in the lineup that we’ve talked about today that has the digital audio interface. So with that multi-interface hot shoe that’s on top of the camera, you now have the ability to use some of Sony’s microphones. And what’s really great about these microphones is that you can put them on to the hot shoe, you don’t have to hook up any type of microphone cables or anything like that. You’re getting power through the hot shoe. It’s transferring the audio digitally through the hot shoe which is just fantastic. It’s really going to step up the audio in your videos.” With this camera, you also get a bigger battery. “Compared to the ZV-1 II and the ZV-1 F, you’re going to have the ability to shoot for a little while longer because you do have a much bigger lithium ion battery.” Learn more about the Sony ZV-E10 HERE. Sony ZV-E1 The Sony ZV-E1 is the top-of-the-line in the ZV lineup. “You’ve got a 12 megapixel full-frame sensor, very similar to the one found in the Sony Alpha 7S III. And as you already know, that camera is highly touted for its ability to shoot in low light. Amazing dynamic range. So in terms of low light capabilities, this is going to be the very best that you can get in the ZV lineup.” “But it doesn't end there,” Quiles continues. “You see now you’re stepping into high-quality video recording. You have the ability to shoot up to 4K 120p. You can do that with 4:2:2 10-bit color, which is unbelievable. Once again, if you’re trying to get that professional, cinematic look, you could definitely do it with those other cameras in the ZV lineup, but the very best quality that you could possibly get and the most versatility that you could get, is definitely going to be in the Sony ZV-E1." Another major feature of the Sony ZV-E1 is the inclusion of a dedicated AI-processing chip, which brings some really amazing AI features to the camera. This includes the ability for the camera to keep a wide variety of subjects, like humans, cars, trains, planes, insects, animals, in focus. You also have an AI Auto-Reframing feature. “So you can actually take the camera, put it on a tripod, you could walk around and it’s actually going to keep you in the frame. It’s going to follow you, it’s going to zoom in. And it’s going to make it look like you actually have somebody behind the camera. So it’s providing a little bit of an additional level of professionalism and quality to your productions without actually having to have someone behind the camera doing it for you.” Sony ZV-E1 Another big highlight of the Sony ZV-E1 is Dynamic SteadyShot, a fairly rare feature amongst Sony cameras. “You get this very smooth, gimbal-like quality to your shots.” Again, Quiles says this adds another layer of professionalism to your videos. The Sony ZV-E1 also gives you the ability to choose from a variety of full frame Sony lenses. In this video, Quiles pairs it with the Sony 16-35mm f/4 G PZ. “With this particular camera body, it actually has a rocker switch where I could actually control the zoom either on the lens itself or I can use the camera body to control the zoom.” The camera also has the bigger Z-series battery. “If you plan on going out for the day and you want to have a camera that’s going to give you the most battery life in the ZV lineup, without a doubt it is going to be the battery that is inside of the ZV-E1.” You also get the multi-interface show with digital audio capabilities, so you can use external microphones. “So the ZV-E1, I think, is the tippy-top of the line in that vlogging series of cameras. It basically does everything that a serious vlogger would want to do.” Learn more about the Sony ZV-E1 HERE.
  27. Pocket Wizards are what we use in sports photography to trigger remote cameras:
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  • Product Highlight - Alpha 7R V

    • Summer is the season for fireworks, and as we near Independence Day you’re sure to see image after image of fireworks as you tap through your Instagram stories or scroll through your feed. Some of the best memories are made during this time of year, and preserving the tradition of fireworks in those memories through photography can be a challenging task. Flashes of light in the night sky that are colorful, moving and unpredictable don’t make for the easiest of subjects to capture, but with a few simple steps you can create an image that will instantly take you back to that moment when you view it. Check out our five powerful tips for better fireworks photography below and whether it be at the bays, beaches, parks or fairs…give it a try at the next fireworks show! 1. Gear Selection – Pack A Wide Zoom When packing your gear for the fireworks, make sure that in addition to your Sony Alpha camera (like the Sony Alpha 7R V, Sony Alpha 1 or Sony Alpha 7S III) you pack a wide zoom lens. (Also a tripod - but more on that later.) You want something wide so you can show context and also ensure the fireworks fit in the frame, plus a zoom gives you the versatility to adjust on the fly. Try something like the Sony 24-70mm f/2.8 G Master II, Sony 70-200mm f/2.8 G Master II or Sony 24-105mm f/4 G to make sure you’re covered for capturing just about any scene.  Photo by Mike Meyers. Sony Alpha 1. Sony 24-70mm f/2.8 G Master II. 5-sec., f/7.1, ISO 100 2. Gear Setup – Arrive Early & Bring A Tripod Firework shows always bring crowds of spectators, so arriving early to claim your spot where you will be setting up is important. Once you’ve established your location, set up your camera on a tripod. Why? It’s important for your camera to be stabilized on a solid tripod because any camera movement will cause those beautiful streaks of light to blur. If you have a remote trigger for your camera, even better. Use it to minimize any camera shake even more so you can nail a sharp shot.  3. Compositions & Perspectives – Give Your Image A Sense Of Place It’s important to pay close attention to your composition when photographing fireworks. You can make a really interesting photograph by including something in the background or foreground to give your image a sense of place. Just be careful with your framing because sometimes fireworks explode higher than you might think. The versatility of the wide zoom you packed will play a large role in helping you get a variety of compositions and perspectives in a more-than-likely crowded area. Photo by Ira Block. Sony Alpha 9. Sony 70-200mm f/2.8 G Master. 7-sec., f/8, ISO 160 4. Back Button Focus – Set It To Easily Transition From Auto To Manual You want to set Back Button AutoFocus so you can easily transition between autofocus and manual focus. This way you can photograph the fireworks without the camera refocusing every time you press the shutter button. Since you’re shooting from a distance and will have a lot of depth of field from a smaller aperture, you should be able to mostly set it and forget it unless you zoom in or out or change lenses. Just hit the focus button periodically to confirm that your focus is still set. You can learn more about setting Back Button Autofocus on your Sony Alpha camera HERE. 5. General Camera Settings – Dial In Your Exposure Through Trial & Error When photographing fireworks, you want your camera to be shooting in manual so you can really dial in your exposure, and in RAW so you have plenty to work with in post-processing. You can also avoid any delays in snapping your next frame by turning off your camera’s Long Exposure Noise Reduction. As for finding the proper settings, sometimes trial and error is the best way to go. We recommend using some of the earlier fireworks to help you dial in your exposure. A good starting point is to have your ISO around 100, aperture around f/11 and shutter speed for 1-2 seconds. If you want to capture longer streaks of the fireworks exploding in the error, you can drag out your shutter speed longer and reduce your aperture. You can also use the camera’s Bulb Mode to control your exposure manually. Experiment with your settings to see what you can create! Photo by Mike Meyers. Sony Alpha 7R II. Sony 24-70mm f/2.8 G Master. 1/100-sec., f/2.8, ISO 4000 We'd love to see some of your fireworks photos here in the forums!
    • "New" camera showed up A7RV.  Another little test, shot taken from 1.2 miles away.  A7RV, 200-600, 1.4 teleconverter.  One is original pic take at 600m, next is 200% crop run through Topaz sharpen.  In bright light, subject with lots of contrast felt the autofocus with the teleconverter was pretty good.
    • I was rushing through Inhambane, Mozambique, to get to our lodge to capture this photo. I luckily made it just in time. 🙂 No two sunsets are alike, but that is especially true in Africa.
    • Hey guys, My friend and I go often on birding escapades and we both shoot on the Sony 200-600mm G OSS but I have the newer Sony A7R V and he has the older A7R III. We both shoot handheld and we are often without a stabiliser in any sort. But for some reason, his shots are more crisp and detailed and mine tend to be blurred a bit. We tried using the same settings in terms of ISO, f stop, Shutter speed and also stabilising on the lens but no prevail. I also took the extra measure of handing my camera and getting him to take a couple of shots but it is still not as detailed and crisp than the photos from his older A7R III I am guessing, it has something to do with the focus settings and the new AI feature. Does anyone have a similar issue and a workaround or tips to help me get over it? Thank you in advance 🙏🏼 Best, Raoul Rutnam  
    • FYI, in the end I have decided to sell my A7 III and purchase the A7RV and take advantage of the ability to crop to fill the frame.  I will probably buy the 1.4 tele to use with the 200-600 even though some feel the autofocus is less than perfect.  On those rare occasions I can alway go "old school" and manually focus, lol.
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