Ep. 310: Sony Raises Its Bar yet Again – and more

Ep. 310: Sony Raises Its Bar yet Again – and more

Episode 310 of the PetaPixel Photography Podcast.
Download MP3 –  Subscribe via iTunesGoogle Playemail or RSS!

Featured: Parachūt cofounder, Melissa Niu

In This Episode

If you subscribe to the PetaPixel Photography Podcast in iTunes, please take a moment to rate and review us and help us move up in the rankings so others interested in photography may find us.

Show Opener:
Parachūt cofounder, Melissa Niu, opens the show.  Thanks Melissa!

– Get 20% off the Sekonic Flashmate L-308X-U or anything at Sekonic.com with code PetaPixel20
– Get 20% off at BenroUSA.com with offer code PetaPixel20
– Get FreshBooks cloud accounting FREE for 30 DAYS by entering PetaPixel in the “How Did You Hear About Us?” section at FreshBooks.com/PetaPixel
– More at LensShark.com/deals.

Sony announces the a6400 and debuts new features. (#)

Will Canon’s next massive megapixel camera be mirrorless-only? (#)

Sony to roll out new features to existing bodies via firmware. (#)

Canon takes the #1 spot. (#)

Lasers could be increasing damaging to your camera. (#)

Flying drones at night and/or over people might be a thing. (#)

Connect With Us

Thank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on TwitterInstagram and Facebook (all @LensShark) as we build this community.

We’d love to answer your question on the show. Leave us an audio question through our voicemail widget, comment below or via social media. But audio questions are awesome!

You can also cut a show opener for us to play on the show! As an example: “Hi, this is Matt Smith with Double Heart Photography in Chicago, Illinois, and you’re listening to the PetaPixel Photography Podcast with Sharky James!”

Source: PetaPixel

Ep. 310: Sony Raises Its Bar yet Again – and more

Capturing the Eye-Popping Density of Hong Kong’s Tower Blocks

Capturing the Eye-Popping Density of Hong Kong’s Tower Blocks

Hong Kong is one of the most densely populated areas in the world, with an overall density of an estimated 6,300 people per square kilometer. More than 7 million people live on about 1,108 square kilometers (427 square miles) of land, and 29.1% of the Hong Kong population lives in public rental housing estates.

To start off a 3.5-week trip and before heading to Southeast Asia, my friend Michael Sheffels and I stopped in Hong Kong for 4 days to see the area and explore the Kowloon side as well.

This was our last, longest and most urban stop before heading into the quiet country. For years I have seen amazing pictures and series of these public housing/apartment tower blocks being built and knew that they were something I wanted to see and document for myself. Rather than just creating stills from these, I went with the goal of taking abstract videos and displaying them more like art, showing off their true scale.

Please enjoy my short film above as well as a few of my favorite stills captured:

All the images are shot with either the Canon 5DS R or the Canon 1D X Mark II with Canon 100-400mm and the aerials are shot with the DJI Mavic Pro 2. The video was all shot with the DJI Mavic and Polar Pro ND Filters.

We only visited a tiny blip of these housing areas and complexes. After only being there for a short time, there is so much more I want to see. I can’t wait to go back.

P.S. You can view this full project and purchase prints on its webpage.

About the author: Toby Harriman is an aerial director who lives in San Francisco and Alaska. The opinions expressed in this article are solely those of the author. You can find more of Harriman’s work on his website and Instagram.

Source: PetaPixel

Capturing the Eye-Popping Density of Hong Kong’s Tower Blocks

The Pros and Cons of Syndicating Your Photos

The Pros and Cons of Syndicating Your Photos

For a while now, I’ve wanted to cover the topic of syndication as it was a major factor in my work gaining widespread exposure and for the full-time career that I have now as a fine art, commercial, and editorial photographer.

I had no knowledge of the world of syndication at the time I was approached by an editor with an offer to promote my work that way. So maybe there will be something in my experience that will be value-added to other photographers who might be considering syndication of their images.

I sometimes speak with photography students at art colleges (and more frequently get e-mails with questions from students of photography) and a common ask has to do with strategies about making one’s work stand out in an extremely crowded market. It’s always a difficult and complicated answer: beyond warning people to avoid gimmicks, it’s to focus on an area of photography that they love and to approach a subject of your work for the long game.

Usually I get the sense that students are eager to make a living in the field of photography and they want some kind of insight into how to replicate my success. But as an “accidental visual artist” who studied English in college, I’m limited in my capacity to advise them as I feel in most respects that this is a career that found me. But I do always advocate for the benefits of a broad, liberal arts education in helping one to know how to respond to doors of opportunity as they open (even though it means that I tend to not get asked back to speak by schools that are more than happy to have students majoring in Photography as undergrads).


My Big Appetites photographs (which I first called ‘Disparity’) were something that I had been doing for almost nine years by the time they were first published. To be honest, I really needed a lot of that time too as I was an intuitive, self-taught photographer, more accustomed to shooting for journalism, travel, and portraiture. It took me a while to understand how to light for macro food photography and thereby run the roadblocks of my own shortcomings as a photographer.

These images with tiny figures were a tiny percentage of my total creative output. The key was really that I just didn’t give up on the idea. I kept pecking away at it whenever an idea came to me, from the time I made initial test images in December 2002 to the spring of 2011 when everything changed dramatically. Like many other photographers, I put my work online in those early days. But other than one of my young nieces who enjoyed the images, no one really cared or took notice.

I can’t recall now all of the places I had my images online. I’m sure I must have published some on various websites, blogs and iWeb accounts I had over time. I do know that I had images up on a photography website called Zooomr back in the day (a site I enjoyed a lot and that introduced me to the impressive work of Thomas Hawk) and later on Flickr (which I liked a lot less and that also contributed to my work being misappropriated). Making images available online was just the easy part. One still has the challenge of making them stand out on those sites where they exist among many millions of other photographs of pets, insects, flowers, hot air balloons, people’s kids, etc.


What catalyzed widespread notoriety for my work was a website called 500px based in Toronto. From the start, I perceived that the site seemed to be better curated by the other photographers putting their work there (fewer people were using it as a repository for pictures of their pets and family photos).

What I particularly enjoyed about 500px was that, since the site had been founded by Russians, it seemed to have a better balance of photographers from Russia and Europe opposed to mainly North Americans. So there was a discernible cultural difference that had a bearing on the look of the images.

Of course, like many other photography sites, there was a social aspect to it that would aid in building a following through a system of comments and ratings from peers. Though I don’t know that I’m all that talented in doing whatever I have to do to organically build a robust following. There are plenty of photographers who are very good at playing that game and understanding how it all works.


For me, it was just about putting up my best images, taking care to edit myself as best I could, and then being humble and grateful when people would comment or rate my work. I would also not be shy about commenting on and admiring those who I thought were doing work that inspired me. Beyond that, I really had no agenda about scheming to get my work “out there” or to market myself in a way that would bring me income.

I don’t recall how long I had been on the 500px site when (maybe around April 2011) I received a direct message out of the blue from an editor in Europe who pitched me the idea of syndicating my images. Knowing nothing at all about syndication I thought it might be a scam and my knee jerk reaction was to have reservations about sending twelve high-resolution images to a complete stranger on the other side of the world. But after some thought and discussion with my best friend, I decided to give it a shot.

What I learned is that worldwide media is hungry for interesting content for their publications. So syndicators will buy a group of images, will package it with a story, and will offer it to a range of publications. Once the content is in their system they will offer it to a network of syndication partners in other countries who will do the same.

The syndication agency I started with was Caters News, which placed my images in a handful of publications in the United Kingdom in May 2011. Although it wasn’t the first time my images had been in print, syndication was a completely new experience in many respects. I expected that I’d get a little bit of money. What actually happened is that my images quickly spread.

After appearing in England they were in Scotland. Then in France, Greece, and Italy. Then Pakistan and Australia. The photographs of tiny figures and food that I had worked on in obscurity for almost a decade were suddenly everywhere online. My inbox was flooded with comments and e-mails asking where people could buy prints. There were interview requests from editors and requests to use images that went on for months. I was even contacted by a book agent at a top agency, suggesting that the work would make a great book.

And there were galleries reaching out to ask if I would be interested in selling my photographs as fine art prints. Interest was suddenly raining down from the sky and I was running around with a paper cup trying to do my best to catch it.

That summer the work took off like a rocket, completely exceeding my expectations. What came first was just the attention. No one was writing me checks overnight. The money would come long after the notoriety. Big Appetites would go on to be published as a book but not until two years later. And I did start signing with fine art galleries. But that had its own process too.

For the purposes of the subject at hand, I think it is best to focus the rest of this post on the pros and cons of syndicating your images. We’ll start with the positive.



Broad exposure

Syndication is a powerful way to introduce your photography to the world. I can obviously speak only from my own experience and results may vary. But on the whole, syndicating my images got my work into a range of publications around the world, expanded knowledge of my photography very quickly and broadly, and brought me opportunities that I may not have been able to realize through other means. Doing two or three syndication deals, one after the other, for six months to a year at a time, resulted in my photographs being published in around 100 countries without me having to do much of the work in getting them there.

A little bit of money

Depending on the details of the syndication arrangements, the syndicator generally will split the profit with the photographer. So if the publication offers $250 for the content, you get $125. Some publications pay less, some more.

Awareness leading to opportunities

Many people have used the term “going viral” in reference to the way my Big Appetites photographs ricocheted around the Internet. And at a certain point, the notoriety did seem to have an organic power of its own. Though to be fair, much of the momentum had to do with the significant work that I did to keep it going. This involved finding a design house to put together a website for me, posting on social media, working very hard to continue the photo series by shooting a lot of new images, doing endless interviews via both e-mail and telephone.

I’d say the first six months or so were the most intense. Due to the widespread interest in my photography from around the world, I was often working on behalf of Big Appetites from very early in the morning to late at night. It is one thing to have doors of opportunity open. It is another to be prepared in a way that helps you figure out the best way to go through that door.



Lack of transparency

I found that syndication networks were less than clear about where my work was being used. Nor did they readily identify the other syndication networks they partner with. So while they would generate intermittent reports about where images were published, sometimes it was evident — like on the NBC Today Show website or InTouch magazine — and other times it would be some obscure Belgian print publication I had never heard of and that was identified in the payment report merely by way of an incomprehensible acronym. Which leads us to….

Copyright infringement

Certainly it is no surprise to any visual artist who uses the internet to promote their work that it is easy for others to take and republish images without permission. So as my photographs spread through the syndication networks, they just as quickly began to pop up on many (many!) websites of publications that had absolutely no right to use them.

I could write volumes about my experiences with copyright infringement. I’m not talking here about teenagers who discovered some of my images, found them funny and entertaining, and decided to post some of them to social media. I’m referring to mainstream news publications, which generate revenue from subscriptions, newsstand sales, and advertising, who just helped themselves to my work and used it as free content to enrich themselves.

The percentage of this activity probably comprised better than 40% of where my images went online. In some cases, it could be curtailed or stopped. But in many other cases (Turkey, Russia, Brazil, China, Argentina, just to name a few) the publications rampantly steal content with impunity.

I’ve frequently seen comments from amateur photographers who seem to like to assign me the blame for the image theft I’ve had to endure simply because I didn’t watermark my work before putting it online. The truth is that you can’t so readily sell your work with big, ugly watermarks on them. You most certainly can’t do that if, say, The New York Times or Washington Post is hiring you to create an editorial commission.

My experience has demonstrated that the world is full of entitled people with no respect for artist rights and they are more than happy to take your work and use it to gain attention/interest/traffic. This is not just news publications either, but commercial brands who take and use images without permission as they engage with customers on social media. But I digress. There is much to say about copyright at another time. I’ll just finish by saying that the lack of transparency and clear accounting from the syndicators makes copyright enforcement tricky.

Slow payment

Having done editorial commissions I can tell you that print publications are not well known for paying contributors quickly. Working through syndication networks as no exception. Do not undertake syndication arrangements if you are expecting to collect payment swiftly or to generate a living wage. If you are patient, however, and view this income as part of an overall plan as a working photographer, then you’ll be fine.


Unexpected uses

Read your syndication contracts carefully to avoid getting yourself in a situation in which your images are being offered in a way that you’re not comfortable with. For example, you might be thrilled to see your pictures used in a large feature spread in a major magazine or newspaper. But you might not be OK with your images being offered to stock agencies as well, especially when you couldn’t potentially make a lot more by directly licensing your work on your own (to audiences who might be outside of the contract, like commercial entities).


I think I worked with three different syndication agencies over a period of a couple years, but none simultaneously of course, as contracts require exclusivity. In my experience they ask you to commit for a certain amount of time, I’d say at least six months. So be sure you are OK with sticking it out. Business generally works better when professionals abide by their contracts.

It’s a volume business

Certain publications seem extremely hungry for syndicated content. I’ve had my work featured in major newspapers in the UK only to have them see my work somewhere else six months later and come back to me to ask if I’d like to be featured in their publication. They have so many different photo editors and churn through so much content that it’s likely they don’t remember that they’ve already published my work. I do take care to offer them fresh content and new text (if they’re looking for it). And here is but one reason this is on the list of cons:

My work at left. The work of a shameless copycat photographer on the right. These were some of the images he sold to the same paper that published my work three different times.

There was the time a copycat amateur photographer in Italy replicated the exact same composition of about a dozen of my images and managed to sell a feature story to a UK daily newspaper. As if that weren’t creepy enough, he even went so far as to do an entire interview about the work, pretending that the idea was his, and sourcing most of the answers about his inspiration from the text on my own website. I only learned about the feature when the fine art gallery in London that was representing my work altered me to it.

The paper immediately removed the story when I brought it to their attention and, likely understanding their liability in the matter, offered to pay me. I declined their payment, accepting their apology and the removal. The point was made. It did drive home how eager they are to fill column inches, not to mention how so many unethical photographers out there will happily bask in the attention and accolades for their “creativity” and “originality” when they’ve totally cribbed the idea from someone else.

Sometimes it is hard to turn off

I generally had positive experiences syndicating my images through Caters News and Rex Features.

Syndication arrangements with Barcroft Media were initially positive during the time I did business with them but were later severely tarnished in a significant breach of trust when, more than a year after our arrangements had expired, my photographs we discovered as still being offered for sale through one of their syndication partners. They apologized, saying they did everything they could to inform their syndication partners that they were no longer authorized to offer my work for sale. They claimed that it was a simple mistake.

I accepted their adamant assurances that it would never happen again and then moved on, only to discover four years later that yet another of their syndication partners still had my images available for licensing. I was less willing to overlook this as a mistake and saw it for the gross negligence and infringement of my copyrights that it was.

This should be an instructive lesson in the way that a lack of transparency on the part of a syndication company may result in your images still being offered or sold for years after the contract ends, simply because you have no way of knowing yourself which partner companies might still have your images as the main syndication company won’t reveal it to you.

In summary, syndication can be a powerful way to gain notoriety for your work. Though it comes with some serious drawbacks that can temper the benefits. Overall, the exposure of my work through international syndication was the kindling on which I built the fire that is a full-time career in fine art, editorial, and commercial photography that is keeping my hearth warm to this day.

About the author: Christopher Boffoli is a fine art, commercial and editorial photographer based in Seattle, Washington. The opinions expressed in this article are solely those of the author. Boffoli is best known for his Big Appetites work, which features tiny figures posed against real food landscapes. In addition to his commercial and advertising work for brands large and small, his fine art photographs may be found in galleries and private collections in the United States, Canada, Europe, and Asia. You can find more of Boffoli’s work on Instagram. This article was also published here.

Source: PetaPixel

The Pros and Cons of Syndicating Your Photos

The New Sound: Maverick Sabre Nominated by Jorja Smith

The New Sound: Maverick Sabre Nominated by Jorja Smith
As the Discovery Issue, V117 features our cast of the latest and greatest ahead, as nominated by the cultural forces of now. This feature appears in the pages of V117, our Spring Preview 2019 issue, on newsstands today!
Those unfamiliar with Maverick Sabre, born Michael Stafford in Ireland in 1990, might take his medieval-sounding pseudonym (a riff on his initials) to be that of a Viking or a Game of Thrones character. But the moniker is in fact a relic ofMyspace. “I was 14, thinking …

Keep on reading: The New Sound: Maverick Sabre Nominated by Jorja Smith
Source: V Magazine

The New Sound: Maverick Sabre Nominated by Jorja Smith

V Girls: Tati Gabrielle Nominated by Zendaya

V Girls: Tati Gabrielle Nominated by Zendaya
As the Discovery Issue, V117 features our cast of the latest and greatest ahead, as nominated by the cultural forces of now. This feature appears in the pages of V117, our Spring Preview 2019 issue, on newsstands today!

On a rare day off from filming the second season of The Chilling Adventures of Sabrina, Netflix’s gothic reincarnation of the sitcom Sabrina the Teenage Witch, Tati Gabrielle is indulging in yet another work of ‘90s nostalgia: She’s in the middle of watching I,…

Keep on reading: V Girls: Tati Gabrielle Nominated by Zendaya
Source: V Magazine

V Girls: Tati Gabrielle Nominated by Zendaya

Google Search Could Ditch All Photo Thumbnails Under EU Copyright Law

Google Search Could Ditch All Photo Thumbnails Under EU Copyright Law

In September 2018, the European Parliament voted in favor of the highly controversial EU Copyright Directive, which aims to “harmonize” copyright law across Europe. But critics argue the law could destroy the open Web, and now Google is showing an eye-opening look at what its search results could soon look like.

The final language of the directive is set to be made public next week. In the current form, Article 11 would force Google and other news aggregators to pay non-waivable licensing fees when photo thumbnails and article excerpts are displayed — things that are generally considered fair use under US copyright law. Article 13 would require platforms like Google to actively screen all uploads for potential copyright infringement or they could be held liable.

While these two Articles may sound like a good deal for photographers and other copyright owners, critics argue that they could increase censorship and break how the Internet works.

“Article 11 could change that principle and require online services to strike commercial deals with publishers to show hyperlinks and short snippets of news,” Google News VP Richard Gingras wrote last month. “This means that search engines, news aggregators, apps, and platforms would have to put commercial licences in place, and make decisions about which content to include on the basis of those licensing agreements and which to leave out.

“Effectively, companies like Google will be put in the position of picking winners and losers.”

Search Engine Land reports that Google has been conducting an experiment to show the impact the proposed EU Copyright Directive could have on its search engine. Screenshots first published by Search Engine Land show “denuded” search engine result pages that contain site titles and links without any photo thumbnails, article titles, or article excerpts.

“In fact they look like pages that have failed to completely load,” Search Engine Land writes.

Thumbnails are currently commonly used on Google (and other search engine) result pages to provide an easy-to-understand preview of what the user is clicking. Here’s what a current search result page looks like with photo thumbnails intact:

Google doesn’t currently pay any licensing fees to display these low-resolution thumbnail previews, as they were ruled to be fair use in US courts over a decade ago. But if Google is soon forced to pay licensing fees for all thumbnails and excerpts starting in 2021 if/when the new law takes effect, Google search result pages may begin looking a lot emptier.

Source: PetaPixel

Google Search Could Ditch All Photo Thumbnails Under EU Copyright Law

What I Learned from Seeing ‘The Eye of Sauron’ in My Night Sky Photo

What I Learned from Seeing ‘The Eye of Sauron’ in My Night Sky Photo

Roughly two years ago, I bought my first decent DSLR camera. I was overprotective, cleaning every bit of dust I could see and adding extra padding in my bag to avoid any possible accidents whenever I carried it around.

After being in photography for a while and going through every single tutorial I could lay my hands upon, I discovered the magic of astrophotography.

Astrophotography can be so mesmerizing, and it doesn’t take much to get hooked. After a week of intense research, I knew the fundamentals of what was needed to take a decent nighttime picture.

  1. Go as far as possible from city lights, to avoid light pollution.
  2. Get yourself a decent, sturdy tripod.
  3. Use Manual mode.
  4. Point to the stars for more than 10secs with the widest possible aperture of your lens and…
  5. Voila…
This is my first, accidental picture of the night sky. I was testing out a friends’ camera when I thought what would happen if I focus to infinity and leave the shutter open for quite some time. We were at the beach so I balanced the camera on my bag and blindly pointed it to the starry sky. I wasn’t expecting much, but the end result was fascinating, for me at least. You can also, faintly, see the milky way spanning from the top left down to the middle of the image.

And that’s what I set out to do. Being in a village for Easter at the time, I didn’t have to worry much about point number one. So I packed everything meticulously and headed off to a nice vantage point on the terrace of a public building with a clear view of the night sky and the village.

Step by step, as a ritual, I started setting everything up trying not to forget any important step. When my setup was ready, I was eager to apply what precious knowledge I had learned, but it was quite dark and I struggled to find a decent composition, so I opted to take a test shot of the sky at first and work my way around it afterward.

So I nervously clicked the shutter of the camera and waited 20 seconds for my first image.

3… 2… 1 and the rear LCD screen flashed in a greyish blue color of the night sky illuminated by the setting moon. I was quite satisfied, I mean I had a somewhat decent image in my first try but when I looked closely at the picture something weird appeared.

My first image of the night. Backlit clouds from the moon, and some trees in the foreground. And of course the weird red line.

An odd red line I had never seen before. It seemed like a digital glitch because it wasn’t that visible with the naked eye, so I tried taking another picture with slightly different settings but the same red vertical line appeared again. I started getting nervous, I didn’t know what I had done wrong. I couldn’t notice it in the dark sky so I must have messed up somehow, or broke my camera.

After resting my eyes a bit and not looking at the bright LCD screen I tried looking at the night sky again to see if something indeed was out there. After a minute and lots of squinting, there it was: a faint red vertical line blinking in the dark cloudy night sky. And after looking even closer, a few more were visible in the sides parallel to the big one. So I took another picture this time zoomed in.

At first I was satisfied that there was no issue with my camera but on the other hand It was a bit frightening, to say the least — all these stories and movies suddenly came to mind and being completely alone on a rooftop in the middle of the night with no signal on your phone doesn’t quite help to think rationally.

After I calmed down and all those thoughts were eliminated I tried to rationalize the problem and solve it. Just as I would do with any other given problem I encounter. Break it down to simpler problems.

The possibility of it being a digital malfunction was excluded so it was something that was occurring in front of me. Which led me to think that it was either something physical like a meteorite, an iridium flare, a distant airplane/satellite, or an illusion. But all of the above have a clear beginning and end, you can see them evaporating, shining, or moving. What I was seeing was there constantly, hovering in the night sky…

So I thought of taking multiple exposures of the same scene (with slightly boosted exposure to gain more information) to see if there was any movement whatsoever. And after playing back the images in rapid succession…

You can see above the 3 consequent exposures. The brightness of the scene may vary because I shifted some settings, but the bright lines remain at the same geographical position.

The clouds were moving but the weird red lines were intact they were at exactly the same spot.

So as a final deduction I thought of moving slightly to get a different angle of the phenomena but the glowing lines were at the same position as I was. That was the final deduction that made me 100% that what I was looking was, indeed an optical illusion.

I didn’t know if it was common or rare. I just enjoyed the remaining moments and was satisfied that I had some evidence so I could share it with others.

The excitement of heading home and finding out exactly what it was in combination with the cold made me leave a few moments later. I headed back home and after a few minutes of research, I found exactly the name of the phenomena I had just witnessed: it’s called light pillar.

The above for me was an eye-opening experience, especially while taking my first steps in a completely new field. I learned not to panic, break down the problem with what knowledge I already had, evaluate calmly the facts and test case different scenarios. And later, in the comfort of your home, you can throw yourself into research and actually discover something you never knew existed.

About the author: Serafeim Zormpas is a photographer, filmmaker, computer engineering student, and trainee at the European Astronaut Centre. The opinions expressed in this article are solely those of the author. You can find more of Zormpas’ work on his Instagram. This article was also published here.

Source: PetaPixel

What I Learned from Seeing ‘The Eye of Sauron’ in My Night Sky Photo

Camera Not Tethering to Capture One? Cloud File Syncing May Be to Blame

Camera Not Tethering to Capture One? Cloud File Syncing May Be to Blame

Is your Sony camera not tethering to Capture One Pro or any other software on your Mac or Windows computer? I had this issue for quite some time and thought there must be some issue with my system, or camera, or wire — nope. I decided to write a message to Capture One and get a fix but no one could help me.

Almost no one seems to know about this issue. There were a few people who had the same issue, but they never shared any solution to it. It was just get a new camera, laptop, tether tool wire, or maybe stop tethering.

Anyhow, last few month I stopped shooting because I couldn’t tether and I don’t enjoy my shoots if I can’t tether. I was going mad trying to fix th eproblem, and today I have the solution.

Every time I connected my camera, this is what the camera showed:

Capture One Pro was clueless and gave me messages like this one:

And other times it showed nothing at all:

What I discovered is that this was caused by Google Drive Backup & Sync. All you need to do is…

Yes, that’s right: simply Quit your Google Drive Backup & Sync and it should start working perfectly. I’m not much of a technical person, but I really think this is the stupidest thing that I have ever come across. There shouldn’t be a connection at all, so I still don’t understand what’s happening.

About the author: Shreyans Dungarwal is a fashion and commercial photographer working in Mumbai. The opinions expressed in this article are solely those of the author. You can find more of Dungarwal’s work on his website, Twitter, and Instagram. This article was also published here.

Source: PetaPixel

Camera Not Tethering to Capture One? Cloud File Syncing May Be to Blame

Beat Winter Sun With Elevated Shades

Beat Winter Sun With Elevated Shades
They say you the true test of someone’s style is how they dress for the cold, but finding the right sunglasses for winter weather is often lost in the transition from summer sun to snowy glare. Whether you’re shredding it in the alps or braving Snowpocalypse in the city, V has got you covered with a selection of ice-cool shades. Take a look.


Kaleos’s limited edition Edwards, seen here on luxury fashion Vasquiat’s cofounder and fashion director Blanca Miró feature ultra-light 3D …

Keep on reading: Beat Winter Sun With Elevated Shades
Source: V Magazine

Beat Winter Sun With Elevated Shades

This Photo of Earth and the Moon Was Shot from 71 Million Miles Away

This Photo of Earth and the Moon Was Shot from 71 Million Miles Away

Here’s a new photo that shows Earth and the Moon from a whopping 71 million miles away. It was captured by NASA’s OSIRIS-REx, which is currently on a mission to obtain a sample from a near-Earth asteroid and return it to Earth.

The photo was captured on December 19th, 2018, using the spacecraft’s NavCam 1 camera. Earth and the moon can be seen on the bottom-left side of the photo. The much larger white object in the upper-right side is asteroid Bennu.

A crop of the Earth and Moon in the photo.

Earth is 71 million miles (114M km) away in the photo, while Bennu is just 27 miles (43 km).

Earth and the Moon were able to be captured in the photo by overexposing the asteroid with a 5-second exposure.

Launched back in September 2016, OSIRIS-REx is scheduled to return Earth with its samples from Bennu on September 24th, 2023.

(via OSIRIS-REx via DPReview)

P.S. The most famous photo of Earth shot at a great distance is arguably Voyager-1’s Pale Blue Dot photo captured in February 1990. That photo was shot from a distance of 3.7 billion miles away.

Image credits: Photographs by NASA/Goddard/University of Arizona/Lockheed Martin Space

Source: PetaPixel

This Photo of Earth and the Moon Was Shot from 71 Million Miles Away