Three of Peter Eastway's Tales By Light prints are available for purchase on his website.
Inspired by the television series Tales By Light, Peter Eastway has released a series of special prints featuring the locations he visited in Antarctica.
"As I explain in the show, for me there's nothing better than creating a beautiful print. These three images were all produced as part of Tales By Light, but then I've taken each one and continued to refine them until they present everything I want to say."
They are printed with a generous white border on a warm, matte paper measuring 594x420 mm. Each print is priced at just $350, including delivery, which is a considerable saving. However, the catch is that these prints are only available for the six weeks while the Tales By Light television series is on, after which they will be withdrawn and not be available again.
For more information and full details, visit Peter's website at www.petereastway.com.
Art Wolfe is one of the world's leading wildlife and travel photographers with a reputation that is legendary. And while a sprightly 63-years-old today, Darren Jew could hardly contain his excitement to be sitting on the stage next to one of his childhood heroes. Darren explained that when he was young, he used to buy photography magazines and just hope there was at least one photo by Art inside!
And here Darren was, a few decades later, sitting next to his hero on stage at the press launch of the Tales By Light series, produced by Canon and presented by the National Geographic Channel. Along with director Abraham Joffe, Peter Eastway and Richard I'Anson, only Krystle Wright was missing from the podium (she was shooting overseas at the time).
Although produced by Canon, the series is not an advertorial for Canon cameras. Yes, the photographers are using Canons, but at no stage do they talk about equipment. It's all about the photography and the experiences.
Darren Jew's photographs of whales are amazing and this isn't even the best one!
Check out the 'whale run' this Sunday night and you'll see what we mean!
You can see the first episode this Sunday on the National Geographic Channel starting at 8.30 p.m. It features Darren Jew and his amazing underwater photographs of whales and wrecks, but they're not shipwrecks! You'll have to watch to see what we mean!
Some of the footage that Abraham has captured is simply mind-boggling and the places they have been will really surprise you. For more information just tune in on Sunday!
Harvest in Bhutan, 2014. 20mm wide-angle lens.
Travel photography is all about telling a story and in this image, I've tried to show what working on a farm in Bhutan was like in 2014. Bhutan is changing so rapidly that even between the two times I have visited, I could see substantial differences. And yet it remains one of the most poetic and delightful countries to visit.
Using a wide-angle lens, I've walked in close to the harvested crops laid out neatly on the ground. I've filled the foreground with the main subject. In the background I have positioned all the other information - the tall mountains, the buildings and the workers. The workers are colourfully dressed and while typical today, you can see that much of their clothing has been imported from India or China. It's little clues like this that place the photograph in a particular time. In a few years, I expect the clothing may be different again and perhaps the harvesting will be mechanised.
Nothing in the image has been altered except the tonal range and I've warmed up the colour a little to match what I remember. The yellows and oranges in the fields are really dominant.
One suggestion for my next visit is to take some Wellington boots or even just some old ones! The ground was distinctly muddy where I was standing! A city-slicker like me has a lot to learn.
Fujifilm's XF90mm has a maximum aperture of f2 and is weather-resistant too!
Available from July, Fujifilm has released a mid-telephoto for its X-Series cameras, the Fujinon XF 90mm F2 R LM WR, which is roughly equivalent to a 135mm full frame lens. The lens weighs 540 grams, focuses down to 60 cm, and incorporates a newly developed Quad Linear Motor that delivers fast, quiet, accurate autofocus.
The XF 90mm also features a weather and dust resistant structure with seven seals on the lens barrel that protect it from rain, dust and splashes of water when shooting outdoors. The lens can also tolerate temperatures as low as -10C (but we are guessing it will go a lot lower than this).
Maximum aperture is f2.0 and optical construction comprises 11 elements in eight groups (including three ED glass elements). The bokeh, we are told, is beautiful and ideal for portraiture. We're looking forward to reviewing one soon!
For more information visit www.fujifilm.com.au.
Macaroni penguin, Cooper Bay, South Georgia.
I think his name was Christian, but there are around 2 million of them, so I might be
confusing him with his brother. Canon EOS-1D X and 200-400mm 1.4x lens.
Why do photographs made with the same size sensor look so different? For instance, your smart phone or compact camera might have a 20-megapixel sensor, but the photos it produces don't look nearly as good as those taken with a 20-megapixel DSLR sensor.
Yet when you are printing, the literature talks about needing so many pixels per inch or centimetre to make a 'good print'. However, what's really being discussed here is 'aliasing' or the jaggies!
This is a non-scientific explanation.
For digital photography, we want lots of pixels so when we make a print or display an image, we don't see jagged or 'stepped' diagonal lines (the errors are called 'aliasing').Think of a chessboard with its squares and imagine what would happen if you tried to use these squares to draw a diagonal line. You'd see all the steps. Now imagine that same board with one million squares. When you draw a diagonal line, the steps are still there, but they are so small you can't see them. Following this logic, a 20-megapixel image from any camera will hide the 'jaggies' pretty well.
However, there's more to making a quality image than just eliminating the jaggies. You need high quality pixels as well and the answer lies in the physical size of the sensor, not just the number of pixel sites on the sensor.
Larger sensors can hold larger pixel sites, and larger pixel sites generally mean better image quality. A 20-megapixel, full-frame DSLR sensor physically measures 36x24mm and each sensor or pixel site might be, say, 6 microns in size. In comparison, a 20-megapixel sensor on a compact camera or a smartphone is much, much smaller and each pixel site might measure, say 2 microns.
This is one of the reasons there is a quality difference. A 2 micron site can't hold as many photons of light as a 6 micron site, so there is less information to work with when it comes to mathematically turning the photons into pixel information. Also, with such small sites, it's easier for the light to 'overflow' from one site to another, contaminating image quality. So, while a compact camera or a smart phone might have as many pixels as a DSLR, the quality of those pixels is not as good (with today's technology). They can look great on a small LCD screen, but as the reproduction size increases, the lack of quality becomes more apparent.
There are a lot of other factors that go into the final image quality as well, one of the main ones being lens quality, but I'll save that discussion for another day.