This is What a Solar Eclipse Looks Like to a Weather Satellite

This is What a Solar Eclipse Looks Like to a Weather Satellite

Yesterday, we shared what a total solar eclipse looks like to a weather balloon floating in near space. If you want to zoom out even more, check out this amazing video captured by a weather satellite from outer space.

The video, released by scientists at UW–Madison’s Space Science and Engineering Center (SSEC), was captured by the GOES-16, one of the world’s most advanced weather satellites.

The satellite photographed the Earth once every five minutes during the eclipse, and the resulting timelapse video shows the shadow of the moon crossing the United States from west to east.

But that’s not all. GOES-16 has another camera system on board that can capture single-channel, near-infrared images that detect the presence of lightning. Using this camera, the satellite also created a timelapse video showing the moon’s shadow passing through severe weather formations filled with flashes of lightning.

“The first instrument of its kind in geostationary orbit, GLM observes total lightning (both in-cloud and cloud-to-ground), and offers a constant vigil for lightning flashes day and night across the Western Hemisphere,” NOAASatellites writes. “Rapid increases of lightning are a signal that a storm is strengthening and could become more dangerous.”

An Ultimate Guide to Every B&W ISO 400 35mm Film on the Market

An Ultimate Guide to Every B&W ISO 400 35mm Film on the Market

I’m photographer Andrew Branch, and this is my 400 speed, 35mm black-and-white film guide. In this guide, I will be comparing every 400 ISO black and white film which is actively being produced and readily available to the U.S. market, that I know about.

Before we get into it, you should know that I am a film enthusiast, but a novice in every sense of the word. Experienced film shooters will likely find my film review a bit naive and maybe insufficient. That’s fine, I’m not doing this for them. I’m making this guide because I haven’t found anything else out there that does this sort of in-depth comparison, which includes the new films released in 2017. The moment a more seasoned film expert decides to make a better one of these, I will gladly point people to her or his guide. But in the meantime, I’ll do the best I can and appreciate would patience from those who are more experienced.

Table of Contents

1. Methodology (2:38 in the video)
2. Film Histories and Characteristics (5:34)
3. Blind Test (17:57)
4. Analysis and Conclusions (41:14)

You should also know that this will not be a short guide. We’ll proceed like this. I’ll first explain how I conducted the testing for this guide, as transparently as possible. Next, I’m going to talk about the history and characteristics of each one of these emulsions. If you’re going to skip a section, this might be a good candidate, although, some may find this fascinating. After that, we’ll get to the most important section, and that is the blind testing to help you and I figure out what type of film we find most appealing. Finally, I’ll give you my own analysis, for those who are interested.

Now, you should know that the way any of these films look, both grain, contrast, sharpness, tonality, etc can all be drastically affected by your choice of developer, your development technique, and your scanning technique. The good news there is that, within reason, you can probably make most any film, developer, scanning, and post processing combination get you results you’re very pleased with if you experiment long enough. And any experienced film photographer would tell you that that’s exactly what you should do.

Pick a film and a developer that works for your budget and workflow, and start experimenting with developers, development times and methods. But, we all need a place to start. I’m hoping this guide will give you a point of departure. If it sparks your interest in a specific film or introduces you to a film you’ve never tried but decide you’d like to try, to me that makes the whole thing worth it.

Methodology

So let’s talk about how I did this. I wanted to start with four different photos that were taken in exactly the same conditions for each film. To do that I setup a tripod in the center of my living room and setup four different scenes to shoot. One shot through the window at a tree, a fence and a mountain on a bright, cloudless, summer day, one shot at a naturally lit metal art that I proudly welded myself, and then two portraits, one with some nice rim lighting against a white backdrop and the other against the dark interior of my home. As I progressed through each film I shot each scene with each film.

So I’ve given a lot of disclaimers so far, and I want to add yet one more, but this is probably the most important disclaimer. Except in the case of one film (which we’ll get to later), I used the same developer: Kodak HC 110.

For development times I stuck with times recommended in the Massive Dev Chart. Now, plenty of people will criticize my choice of developer and/or, the Massive Dev Chart. But for the purposes of this guide, we have to start somewhere, and testing each of these emulsions with even several of the more popular developers would be completely unrealistic. I spent a lot of time considering this and ultimately decided on Kodak HC 110 for a lot of reasons. HC 110 has been around forever and is known for being reliable and being able to produce predictable results.

In fact, this is the one Ansel Adams himself recommended for those learning the zone system. It has a long shelf life and it’s cheap to use as one-shot. It’s not great for pushing, but we’re not doing any of that for this test. At box speeds, I feel like it’s a strong choice for most of these films. For many of these films, people will argue that other developers would be better to start out with. I’m not disagreeing with that, but again, I had to start somewhere and I certainly can’t test all of them.

Additionally, several of the films I’m going to cover, people will claim are not “true 400-speed film.” People will say “the box says ISO 400, but everyone knows it works better when exposed with at 200 exposure index or blah blah blah. Look, that may be true of several of these films. However, if the box says it’s a 400-speed film, we’re going to treat it like a 400-speed film. Any film can be developed at a different ASA to yield different results. Just because you may like Foma developed at 200, for instance, doesn’t mean it’s invalid to develop it at the marketed box speed of 400. And that’s exactly what we’re going to do.

For scanning, I used the Epson V800 with the same settings for each scan. It’s important to note that a scanner acts like an on board image processor in a digital camera and will absolutely have an effect on the look of a film. Again, there’s just no way we can test a wider set of options. I think you’ll find that my scan probably adds a bit more contrast than what you’d get if we’d just have enlarged these. And I think that’s important to note.

Phew! That was a lot of disclaimers. Maybe I should have had you sign a waiver. But with the fine print out of the way, let’s start looking at the history and characteristics of these films.

Film History and Characteristics

We’ll start with the cheaper or what I would call the budget films. These are films typically used by students or the budget conscious photographer. And, weighing in at a pretty nine cents per frame (again, in USD), the cheapest of all of the films is Ultrafine Xtreme 400. I couldn’t find a lot of information on the history of this film. Though it is labeled as being produced in Europe, and many believe it to be another film simply rebranded, I can’t find any hard evidence to substantiate that claim.

It seems safe to assume that Harmon (maker of Kentmere and Ilford films) does the coating/finishing of this film, but I wouldn’t go so far as to say that this emulsion is simply Kentmere or HP5 as many claim. Regardless, this film, to me, is surprisingly high quality for one so cheap. It has low contrast with good latitude (define latitude), and I’d say a medium to fine grain. It dries flat and is great for scanning.

Next up is Fomapan, which, is also Arista EDU Ultra, which, is also HOLGA. It’s all the same emulsion. Fomapan 400 has been produced for by Foma, Czech company, for almost a hundred years. It is Europe’s popular budget-friendly brand. I’ve found that prices vary between its various brands, so I’ll usually watch and compare these prices and get the version which happens to be the cheapest at any given time.

Currently, Foma can be purchased in the states at the cost of 11 cents per frame. Fomapan’s grain is quite fine for an ISO400 traditional cubic grained emulsion. I’d call it a medium to strong contrast film which renders a bit on the soft side, with a bit more halation than, say, Kentmere. This halation, or retro film glow, is probably why the HOLGA version of this film exists, as this is usually seen as a virtue in the toy camera market. Unfortunately, it also scratches easily and some say becomes brittle after development. But it dries extremely flat and is super easy to scan.

Kentmere is owned by a Harman, which also creates the Ilford films. Kentmere represents Harman’s budget or student film and costs 11 cents per frame. Kentmere is a plastic-based film known for being soft and it scratches easily as a result. It dries fairly flat, though as a bit more bounce to it than Ultrafine Xtreme and Fomapan. It has very fine grain. It is sharp, medium contrast, but its grain tends to be clumpy and the film, in general, can yield unpredictable results. It definitely has lower quality standards than it’s Ilford cousins.

The next two films are what I would consider mid-range films preferred by documentary style photographers, where high quality and predictable results are important, but going through rolls and rolls of it necessitates keeping the price point low.

Like Kentmere, Ilford HP5+ is a product of the Harman technology company. It is a lower contrast film. It has good shadow detail and well-separated mid-tones with sharp grain. Although the contrast is low, there is a great deal of latitude in this film, which makes it great for pushing or flavoring the curves and contrast to taste, after scanning. Selling for about 14 cents per frame, currently, it might be less sharp than some films, but it will provide predictable and reproducible results. Like Kentmere, there is a bit more bounce to this film after drying. As a side note, I’ve found HP5+ fans to be some of the most loyal and enthusiastic in the community, more so, than perhaps, any of the other films that I’m talking about.

Next, we’ll talk about the oldest and arguably the most beloved black and white film, Kodak Tri-X. Introduced in 1940, to this day, Tri-X remains the world’s best-selling black and white film. When photographers combined its high-speed with the small 35mm form factor, it revolutionized photojournalism. It was used by most photojournalists for over three decades.

Tri-X has undergone a number of minor engineering changes during its long history. The modern version has smaller grain than the original. It’s known for its unique grain characteristics. It is the reason that many prefer film to digital. It’s also a cost-effective film, at 14 cents a frame. Tri-X is also known for its deep contrast. It’s a forgiving film, it’s accurate, consistent, has good tonal range, and scans well and sharp. Unfortunately, when Tri-X dries, it becomes difficult to scan, unless using glass film holders, owing to the lateral, rather than length-wise, curling.

With Agfa APX we need to emphasize that this is New Emulsion, which is not to be confused with the old emulsion which was much-loved by a loyal group of photographers until Agfa officially closed its doors in 2014. A European company, Lupus, purchased the trademark, but not the technology. With the name Agfa APX only for their film, I couldn’t figure out where their film technology came from. This film is considered inferior and cheaper than the original emulsion. It is known for being milky, faded, or having low contrast tonally. It does retain highlights well, but it’s also known for being unforgiving if exposure or development times are not nailed. This film is also a bit more pricey in the U.S. at 19 cents a frame. One redeeming quality of this film is how flat it dries. In my testing, it’s probably the flattest of all the emulsions.

Whereas Lupus may have inherited the Agfa APX name, Rollei inherited the technology. Most agree that Rollei RPX is the successor of the old Agfa APX. Rollei RPX is known for its high dynamic range and holding details in the shadow. It is fine grained and shows some high contrast. Allegedly, this film was designed to be pushed. While it was introduced as a low-cost film eight years ago or so, it currently sells at more on the expensive end at 18 cents per frame, in the US. Rollei RPX is a bit more challenging to scan than some, as it does have some significant curling after drying.

Rollei Retro 400S is the successor of Agfa Gevaert Aviphot which is an aerial film. It is considered an excellent fine art film and is characterized by high-contrast and tightly packed grain. With a bright red anti-halation layer (which you’ll see rinse away in development) it has extended infrared sensitivity, so you’ll see increased sensitivity to foliage, greenery, as well as red tones. The IR sensitivity enables penetration of haze in landscape photography. This film is unique among the other film types we’re looking at in that it’s a transparent film. The drawback here is that flaws and dust will appear much more easily in scanning. And speaking of scanning, this film has amongst the worst curling, making it rather difficult to work with. It’s also on the expensive end, at a current price of .25 cents per frame in the US.

The next two films we’ll be discussing are exciting to me since they are both new films. With the last few decades seeing film after film company shutters its windows, it really is encouraging to see two new films come out in the same year.

First up, we have the Bergger Pancromatic 400. It incorporates a dual emulsion design that gives it some of the tonality seen in some finer grain emulsions, but with a lot more forgiving results, which also allow for a wide range of pulling or pushing. Bergger claims this film will work well with virtually any developer. But, as a new black and white film, developed for a modern era, it has a flat profile which makes it a great choice for custom curves at scan time or in your favorite processor. This is an affordable film, at .14 cents per frame, in the US. About the only negative thing you can say about this new emulsion is that it dries with that same frustrating bowing you get from Tri-X.

This next film was also newly released in 2017 by a name familiar in the film resurgence movement of the digital age Bellamy Hunt, otherwise known as the Japan Camera Hunter. Bellamy was able to reproduce this film from an old discontinued surveillance film technology, which was originally made by AGFA. Having it put back into production, he has named it StreetPan 400. Streetpan is a flexible and forgiving, with higher than usual contrast. Similar to Rollei 400s Retro, it has some sensitivities to infrared and thus has good haze and fog penetration. The emulsion is coated onto a transparent polyester base. It is a thin emulsion and it dries flat. The one drawback of this film is its price in the US, weighing in at a whopping .27 cents per frame.

We’ll conclude with two films which are called T-grain films. Up until this point, we’ve been talking about classic or cubic grain structure. But a more modern development in film photography has been the t-grain emulsions. Without getting very technical (as I’m already outside of my comfort zone in this guide without delving into the science) I’ll just say that T-grain film is uniform in its grain characteristics. It allows for grain which is more predictable, more even, and also a lot less obvious than the classic or cubic grains of the other films we’ve been discussing, so far. T-grain is often compared to digital. It’s preferred by those who don’t like the grainy characteristics of most film. T-grain films are also more sensitive to variations in developer temperature, time, dilution, agitation etc. They are going to be less forgiving than classic films.

The first t-grain film we’ll discuss is Kodak T-MAX and Lady Gray (which is the same film). This film is very linear, tonally. It has very fine grain. The T-grain emulsion, as I mentioned, high sharpness and very high-edged detail. T-MAX is a great choice if you don’t like grain. The T-MAX base has a pink tint to it. Like Rollei Retro, T-MAX is also extremely curly upon drying but is also currently fairly affordable at .15 per frame.

Ilford Delta 400 is very comparable to T-MAX. And, while many will say, it’s not technically a t-grain like T-MAX, it uses a similar technology, and most just group them together as t-grain emulsions anyway. Like T-MAX, it is characterized by high sharpness, T-grain characteristics, wide latitude, linear tonality with not much contrast. The results you’ll get with Delta 400 are absolutely predictability but it also commands a higher price at .21 cents per frame. Delta is also a joy to scan, drying as flat as Ultrafine Xtreme and AGFA APX.

Finally, we have a bit of a black sheep in the 400 speed, black and white film comparison. And that is another Ilford film, the XP2 Super. XP2 is unique from all the rest in that it is not developed with black and white development processes, but rather, C-41, or color development chemicals and process.

Now, if you don’t ever plan to develop your own films, this will matter to you not at all. I’m not even sure the cost will be different if you take this to your local developer. However, if you do your own development, it matters. C-41 process is a bit more complicated than black and white. Black and white processing can be a lot more forgiving, with temperatures more of guidelines rather than die-hard rules. But with C-41 chemical temperatures matter a lot more and so does precision. Any miscalculation in your chemical measurements can screw things up a lot faster than with black and white. Now I don’t want to scare you away, I mean, I do both types of development, and if I can do it, trust me, you can do it.

But if you’re a beginner to film processing, I’d absolutely recommend starting with any of the films I’ve mentioned previously and not this one, as you’ll have an easier time of it. With that disclaimer out of the way, let’s talk about this film.

XP was released by Ilford in 1980 but has since progressed through a number of improvements. Like most Ilford films, Kodak had a competing product in BW400CN. In 2014 Kodak announced the discontinuation of BW400CN, which means that Ilford XP2 Super is the only black & white film on the market that can be developed using the C-41 process.

As, technically, a color (or chromogenic film), XP2 has what many consider an extremely strong advantage over all other traditional black and white films as it allows you to use Digital ICE during scanning.

Digital ICE is a feature in scanning software which can automatically remove dust and scratches because they have strongly contrasting infrared signatures. It becomes fairly easy for products like Silver Fast to remove a lot of this junk with one click. But since all other black and white films produce silver halides during the development, there is no infrared information, and thus, no Digital ICE. But XP2 Super does, giving it a distinct advantage for those who wish to make use of this feature when scanning. Additionally, XP2 has a similar exposure latitude to color negative film, so it can be exposed with an exposure index from ISO 50 to 800 on a single roll and be developed in traditional C-41 processing. This film is extremely sharp and is very smooth, tonally. Its grain is extremely subtle.

Blind Test

Now I know you’re probably anxious to dive into the actual photos. But first I’d love to share with you a tool I built to help myself to determine which film I want to commit to, long term, for myself. If this can also help you, then I’m happy to share it.

This spreadsheet is based on the split 10 decision-making process, though simplified a bit and customized to fit, specifically, to our blind film test.

If you’d like to use this template, all you need to do is go to this URL and then make a copy of it. Since this version is read-only, you won’t be able to make changes to it. To make your own copy, you can do this by downloading it as an Excel spreadsheet, if you’d prefer to work on your desktop, or go to “File > Make a copy” to create an editable version you can work with in your own Google Drive.

Once you’ve got a copy that you can edit, the first step is to rate your priorities when it comes to film in this second row here. Now keep in mind, I built this for myself and factors I consider when evaluating these films. You may have your own criteria and, as such, you may need to do some refactoring of this spreadsheet to get it to reflect this. But showing you to change the business rules on this spreadsheet is beyond the scope of this tutorial, so you’re on your own if you choose to go that route.

But assuming you’re ok with my own set of criteria, what you’re going to want to do first is to go through each of these criteria and rate how important each one is to you personally on a scale of 1-5, with 1 being not important at all and 5 being extremely important.

Once you’ve prioritized the various factors, the next step will be the actual blind test. To proceed with the test you can either follow along with the video, as I show you the result of the each of the 13 films in each of the scenes. Or you can download the contact sheets here and evaluate them at your leisure.



Analysis and Conclusions

Phew! That was a lot of work. So with the blind test out of the way, now comes the big reveal. Here are the film names associated to their letters:

A Ilford XP2 Super
B Foma
C Kentmere 400
D JCH StreetPan 400
E Kodak Tri-X 400
F Bergger Pancro 400
G AGFA APX 400
H Rollei Retro 400S
I Ilford HP5+
J Kodak T-MAX 400
K Ilford Delta 400 Pro
L Ultrafine Xtreme 400
M Rollei RPX 400

For those of you who used your own methods to evaluate these films, you’re done. Please let me know in the comments what your results were. I’m really curious to hear if they met your expectations or not and what you learned from this experiment.

For those who are using my spreadsheet, we do have a bit more work to do. First off, the way to reveal the actual names of the films is to expand column B (the easiest way to do this is to right click, go to “Resize column” and enter 160 pixels). After that, we need to complete the evaluation for the more empirical factors of price, scanability, scratch sensitivity, and infrared sensitivity.

For most of these numbers, you may be able to just use mine. Here is another link to a second version of this read-only spreadsheet. This one has my results, and you are welcome to copy numbers from the sections here which apply.

When it comes to price, if you live in US and it’s still 2017 you could probably just trust my numbers. If you don’t, what you’ll want to do is figure out the price per frame, as some of these films come in 24 frames in a roll and others 36. Here are the prices per frame in the US as of the time of me filming this video:

Ultrafine Xtreme 400 $0.09
Arista EDU Ultra 400 $0.11
Kentmere 400 $0.11
Ilford HP5+ $0.14
Kodak Tri-X 400 $0.14
Kodak T-MAX 400 $0.15
Bergger Pancro 400 $0.17
Rollei RPX 400 $0.18
AGFA APX 400 $0.19
ilford xp2 $0.19
Ilford Delta 400 Pro $0.21
Rollei Retro 400S $0.25
JCH StreetPan 400 $0.27

Next, you may just want to use my numbers here for scannability. These are based on how flat these films were able to lie for me when I scanned them.

Next, I have scratch resistance. After everything else, I ran a quick, not super scientific test to see how well these films hold up to being scratched with this plastic fork like object. After scratching I scanned them again and just studied how well these films held up against this scratching and rated them as best I could.

Finally, for infrared, I put 1s on everything but the three films which are particularly sensitive to infrared, and then on BW > c41, obviously you’re going to either have 12 1s and 1 5, or 12 5s and 1 1.

And here are my results. These results are super surprising to me. For those who watched my first version of this test, these results are extremely different. Part of the reason for this is that this time, I am taking into account things like scannability and price into the equation. But even more than that, I just think I had a better process of development and scanning this time.

At any rate, I am really amazed that the results, at least for me, aside from Ilford Delta, point to several films working best for me that I just never would have chosen without conducting these tests. As you may have picked up in my review of each film earlier on, I consider AGFA APX, Foma, and Ultrafine to be inferior films, for various reasons. And yet, here they are topping my personal charts next to Delta. I guess the good news here is that Ultrafine is extremely cheap. As I start shooting more seriously with this film, though, time will tell if it’s going to provide consistent and reliable results and if it provides my blind test results seem to think it has.

So what were your results? Does this test change anything for you? Has it sparked your interest in a new film? I’d love to hear about it in the comments?

Also, what can I improve in these tests? What would you like to see me change or do differently in the next one? I definitely have plans to do more of these, and I would love to hear what can make them better.

As hopefully is evident, these tests represent a lot of work and also some expense. I truly hope you found it valuable and that you’ll subscribe and support what we’re doing on our YouTube channel.


About the author: Andrew Branch and his wife Denae are a husband and wife photography team. You can find more of their work on their YouTube, Instagram, and Twitter.


Source: PetaPixel

An Ultimate Guide to Every B&W ISO 400 35mm Film on the Market

Photographer Turns Sick and Disabled Kids into Justice League Superheroes

Photographer Turns Sick and Disabled Kids into Justice League Superheroes

Photographer Josh Rossi spent $1,500 last year turning his 3-year-old daughter into Wonder Woman, and the photo series went viral. This year, he did another passion project for a great cause: he photographed kids with diseases and disabilities as Justice League superheroes.

“The whole idea was to take the things that are weaknesses for the kids such as cancer and other diseases and turn them into strengths,” Rossi tells PetaPixel. “I worked with 6 kids under the age of 8 and completed a movie poster style image for each of them.”

The custom replica costumes created for each of the kids were valued at over $10,000, but each one was donated for this good cause. Once the photos were planned, shot, and edited, Rossi created giant framed prints and surprised each child on camera.

“It was amazing seeing the excitement on their faces!” Rossi says. Here are each of the kids, their superhero portraits, and the video of them receiving the print:

Kayden Kinckle as Cyborg

Kayden is a 5-year-old who was born with omphalocele, which caused his internal organs to grow outside his navel. To save his life, doctors had to amputate both of his legs.

Sofie Loftus as Wonder Woman

Sofie is a 3-year-old fighting a rare cancer of the connective tissues called embryonal rhabdomyosarcoma.

Teagan Pettit as Superman

Teagan was born with only half a heart, a condition known as hypoplastic left heart syndrome. He has had 3 open heart surgeries and several additional ones “to tune him up.” He wears oxygen at night, takes a lot of medication, and only recently had his feeding tube removed.

Mataese Manuma as Aquaman

Mataese is a 2-year-old with a rare form of cancer called acute megakaryoblastic leukemia.

Zaiden Stolrow as The Flash

Zaiden is a 7-year-old with severe ADHD.

Simon Fullmer as Batman

Simon is a 5-year-old with a rare form of nerve cancer called neuroblastoma.

“The kids that my team and I chose have been through hell and back and have real superhuman strength!” Rossi writes. “It is exactly their weaknesses that make them strong! Together they form The Justice League!”

You can find more of Rossi’s work on his website, Facebook, and Instagram.


Credits: Digital artist and photographer Josh Rossi. Costume designer Julie Whiteley. Wonder Woman costume designer Mcgrew Studios. Cyborg model digital artist Mike Campau. Producer Roxana Rossi. Second shooter for Aquaman Richard Meade. Prints provided by Nicols Photo Lab


Source: PetaPixel

Photographer Turns Sick and Disabled Kids into Justice League Superheroes

This is the Best Photo Ever Shot of a Star Other Than Our Sun

This is the Best Photo Ever Shot of a Star Other Than Our Sun

Astronomers using the ESO Very Large Telescope have created the most detailed photo ever of a star other than our own Sun. The subject of the photo is the supergiant Antares, visible to the unaided eye in the constellation Scorpius.

“To the unaided eye the famous, bright star Antares shines with a strong red tint in the heart of the constellation of Scorpius (The Scorpion),” the ESO writes. “It is a huge and comparatively cool red supergiant star in the late stages of its life, on the way to becoming a supernova.”

Antares has 12 times the mass of the Sun and a diameter 700 times larger. Here’s an artist rendering of what the star might actually look like:

Image by ESO/M. Kornmesser.

The team of astronomers was led by Keiichi Ohnaka of Chile’s Universidad Católica del Norte. They used the Very Large Telescope Interferometer (VLTI), which can combine light gathered from four different telescopes to create the equivalent view of a telescope with a 200-meter mirror. This setup allows scientists to see details that are currently impossible to capture with a single telescope.

The team’s findings have been published in the scientific journal Nature.

(via ESO via Engadget)


Source: PetaPixel

This is the Best Photo Ever Shot of a Star Other Than Our Sun

Camera on Balloon Captures the Total Solar Eclipse from Near Space

Camera on Balloon Captures the Total Solar Eclipse from Near Space

Self-proclaimed “armchair aeroscience geek” Liem Bahneman managed to capture the Great American Eclipse from an unusual and amazing perspective: he loaded cameras onto a high-altitude and shot what the total solar eclipse looks like from the edge of space. The 9-minute video above is what one camera recorded over Central Oregon.

Bahneman used a total of four cameras on his near space stratospheric balloon: three still cameras (including a Ricoh Theta 360) and a GoPro shooting video.

He launched the balloon shortly before totality pass over the state. As you’ll see in the video, the cameras were able to capture the shadow of the moon creeping across the land and plunging everything into darkness for minutes during totality. At around 5 and 7 minutes, you can hear the sounds of jets flying over the mountains below.

“This is the edited video, showing launch, the shadow of totality passing, and the last 40 seconds or is the last of the footage before the battery died,” Bahneman writes.

(via Liem Bahneman via DPReview)


Source: PetaPixel

Camera on Balloon Captures the Total Solar Eclipse from Near Space

Humans of New York to be Made into a Facebook TV Show

Humans of New York to be Made into a Facebook TV Show

The massively popular photo blog Humans of New York is getting a 30-minute episodic TV series on Facebook’s recently launched “Facebook Watch” platform.

Brandon Stanton, the creator of HoNY, announced the deal on Facebook, saying that he has been filming content for the past 4 years with the help of cinematographer Michael Crommett. Over that time, they have amassed a collection of over 1200 interviews, which they will be turning in to a television show.

“Early on I realized that video would add a deeper layer to Humans of New York,” Stanton writes. “At the heart of all these posts are the conversations themselves. I’m often deeply moved by the people I meet. Or they make me laugh. Or they make me think. And I always do my best to recreate the experience through photos and words. But I always knew that video would provide the closest thing to ‘actually being there.’”

The show is set to take the Humans of New York concept, which Stanton began on his own blog back in 2010, to a more global audience. It will launch next week on Facebook Watch, but for now you can watch the trailer above, or find more info at the HoNY Facebook page.

(via Humans of New York via DPReview)


Source: PetaPixel

Humans of New York to be Made into a Facebook TV Show

Get Our Taylor-Swift-Approved Snake Hoodie

Get Our Taylor-Swift-Approved Snake Hoodie
Like a slithering snake ready to strike, Taylor Swift is clapping back at haters by utilizing the reptile to convey her own message to the public with her just announced new album that features the motif. In honor of her album announcement, mirror her snake-like style with one of our Danielle Guizio-designed snake hoodies made exclusively for V Magazine.
Grab one of the Taylor Swift-themed hoodies below for a cool $100 at the V Magazine online shop.
 
 

Keep on reading: Get Our Taylor-Swift-Approved Snake Hoodie
Source: V Magazine

Get Our Taylor-Swift-Approved Snake Hoodie

What to Know Before Covering a Hurricane

What to Know Before Covering a Hurricane

Photojournalists in south Texas are prepping to cover Hurricane Harvey―a Category 2 storm that meteorologists are predicting will bring as much as 35 inches of rain into the region with winds of 100 mph, according to the National Weather Service.

For those covering the storm, we’re sharing the NPPA Safety & Security Task Force’s Hurricane Coverage guidelines, which are outlined below and can be found in full here.

1. Turn around, don’t drown.

Half of all flood-related drownings occur when a vehicle is driven into hazardous flood water, the NPPA guidelines note. It is never safe to drive into flood waters.

2. Pack your go-bag with essential items, things you’ll need besides your camera gear.

Think clothes for bad weather, appropriate footwear, medication and toiletries, first aid kit, vehicle emergency supplies including at least one five-gallon gas jug. Consider chest waders, a life jacket and a length of rope if you plan to walk in flooded waters.

3. Before you go, do your research.

Check and see if there’s a public notification alert option for the area where you plan to go. Look for the “Emergency Management” website of the area you will be covering. Bookmark these sites on your phone and laptop and learn how to quickly search for updated information to have all the necessary information to make safe decisions. Check the National Hurricane Center.

4. Bring cash.

Don’t rely on credit cards or ATMs. The NPPA suggests that $600 per person should be okay.

5. Communicate and navigate.

Have a plan for communicating with—and checking in with— your loved ones and editors. Don’t rely on cellphone service. By now, most journalists heading towards the storm should have arranged to use satellite phones, two-way radios, multiple cellphone providers, satellite tracker messaging devices, etc.

Source: NPPA.org

 

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Source: PDN Pulse

What to Know Before Covering a Hurricane

Lightning Strikes Feet Away from Man While His Camera is Rolling

Lightning Strikes Feet Away from Man While His Camera is Rolling

A man in Norway has captured what it’s like to have a lightning bolt strike just feet away. Watch the 1.5-minute video above to see the terrifying experience from his perspective (warning: turn your speakers down because it’s extremely loud).

TV 2 reports that on Monday, 38-year-old Daniel Modøl was standing on his terrace in Gjerstad, Aust-Agder, and shooting lightning flashing in the horizon. Without warning, there was a deafening crack as a lightning bolt struck less than 20 feet away on the other side of the terrace.

While the bolt itself wasn’t caught on camera, we do see rocks and dirt flying through the air and a smoldering spot piece of ground.

Modøl wisely decided that he wouldn’t stay outside to see if he could catch a second close strike on camera. He immediately headed for cover indoors, where he found his ceiling fan off and burn marks around an electrical outlet where his modem was.


Source: PetaPixel

Lightning Strikes Feet Away from Man While His Camera is Rolling