Capturing the Milky Way Over Yosemite National Park

Capturing the Milky Way Over Yosemite National Park

Back in June of 2018, I was fortunate enough to make a 9-day trip to Yosemite National Park, California to capture the Milky Way galaxy over Half Dome. My entire trip revolved around capturing this image since I had captured nearly this same panorama two years prior during my first ever trip to the park in 2016.

It wasn’t until mid-2017 that I discovered that the panorama I had photographed in daylight in 2016 lined up perfectly with the Milky Way in May and early June. Immediately I knew that this pano was one that I would have to perfect, whatever I had to do in order to capture it with maximum detail.

Having improved my knowledge and technique for photographing the Milky Way and keeping clean foreground significantly since my 2016 trip, I knew that in order to keep the foreground free of noise I would have a few options.

  • I could photograph the scene in roughly five images in vertical orientation as single exposures and stack five or more frames per section.
  • I could blend the foreground from blue hour by photographing the foreground an hour after sunset using a little bit of atmospheric light to illuminate the foreground and then wait to photograph the Milky Way
  • I could photograph the foreground as single exposures and stack them under starlight, then track the sky to preserve the maximum sky detail and blend them back together.
  • Or finally I could photograph the foreground under starlight as long exposures at a higher aperture giving me more sharpness all the way through the image and use a low ISO to give me less noise. Then track the sky and blend them back together using a one image single exposure panorama beforehand with the alignment to use as reference.

After considering my options, I decided to go with the final method of capturing the foreground with longer exposures. This method would allow me to capture the foreground under natural starlight and maintain the natural colors and illumination of this time, and minimize the noise using a low ISO. This method also guaranteed I would have a sharp image throughout using a higher aperture and depth of field. I wanted to maximize the quality and resolution of this image to make it as large as possible for a potential future print.

Using the 45-megapixel Nikon D850 DSLR would give me an insanely large file that could be printed in large dimensions. The final panorama would be 27,500 pixels wide, and the final edit and crop was roughly a 350-megapixel image.

Original foreground panorama 500% crop RAW
Final Edit, 500% crop.

I would do this by setting my camera on my tripod in vertical orientation, making sure that my ball head was completely level, and waiting until I was under complete starlight.

Example of my Camera in vertical orientation during a trip to Death Valley, March 2018.

Having photographed the foreground panorama once before back in 2016, I knew that I would need 5 vertical images at 15mm to capture everything I needed, and having captured countless Milky Way panoramas, 4–5 images would give me a good view of our galaxy at 15 to 20mm.

In order to keep my exposures steady and keep my shutter open for long enough to capture all the light in a clean foreground image, I would need to use a shutter release remote so I wouldn’t bump the camera by pressing the shutter button. Using a remote would also allow me to program the exposure time for each frame.

Yosemite was a 1,000-mile trip one way for me from home (on the most boring stretch of road in the whole united states), so I planned my trip carefully ensuring I would be there during proper moon conditions, allowing me a window to photograph the sky without any moonlight.

Using the app PhotoPills, I carefully projected my alignment and opportunities to shoot the Milky Way while visiting the park. Once I had my plan together I started my preparations for a 9-day trip to make the most of my time there.


Doing a little experimental time lapse here from Olmsted point in Yosemite during my first night in the park. Having come from Nevada I found myself entering Yosemite from what I would call the back of the park and being able to see new parts of it I didn’t see in 2016.

Now if you are familiar with any of the stories of how I captured any of my previous images, you will know that coming prepared has never been one of my strengths. However, for a trip 1,000 miles from home and camping out in the desert alone, I made sure to create a rigorous checklist of things I would need. In an attempt to stay on a budget I decided to pack all the food and water I would need and blow up an air mattress in the back of my vehicle so I would be able to sleep periodically for short periods while photographing some kind of night sky image.

Included on this list of things was sunscreen, bug spray, and a shutter remote (of course). I ended up stopping for the first night of the trip roughly halfway to my destination somewhere in the Nevada desert, where I had an incredible dark sky to photograph. Already almost 500 miles from home, I discovered that though I had packed 4 shutter remotes and a whole pack of AAA batteries, I had left this insert for my pack somewhere at home, leaving me without any reasonable way of triggering my camera’s shutter remotely. Sadly the Nikon Snap bridge app would only allow me to program 30″ exposures.

Too far to turn back, I began photographing just 30″ tracked images to use for later images and dug through my gear for any kind of remote I might have from the past. Sadly I didn’t find any remotes, but I did happen to have a cool little device my father (an avid programmer and electronic project enthusiast) had made using an Arduino programmed to do various exposure types. Luckily for me, this device connected to any 1/8″ audio jack and I happened to have a spare cord for that. Also fortunate for me was the fact that the device had a bulb option.

Sunset fades to Star light in Yosemite National Park.

Once inside the park I was greeted by the unbearable summer heat, walls of mosquitoes so thick you could use them as shade, and of course unbelievable crowds of people. Despite all of this the park was spectacular and seeing it again was just as jaw-dropping the second time as the first. Absolutely nothing about this park is boring.

Having felt that I was prepared, I brought a bottle some kind of all-in-one sunscreen bug repellent spray. Immediately upon visiting the park I needed both, as the early summer heat and pooling water in the valley attracted millions of mosquitoes and the heat was almost unbearable in direct sunlight.

My first night in the park I broke out in some kind of terrible rash. Something I had not experienced since I was very young. Hives covering my arms, neck, and body made for a very uncomfortable stay. Thinking I had some kind of mosquito bite that had initiated the rash, I began applying more of this bug spray sunscreen mix. The cause of my terrible full body rash was sadly unknown to me. So from day one I was a little irritable and had a hard time standing the conditions of the trip. Also unfortunate to my trip itinerary, I planned to stay a full 7 days and saw no need to buy new sunscreen or bug spray and assumed it was anything from some kind of plants in the area to something I was eating.

I had planned to do all my shooting in new locations and scouting first and save my Milky Way panorama over half dome from Glacier Point until the last two nights of my stay so I would force myself to endure the entire trip knowing I would not allow myself to give in a go home until I had completed that image. Reserving my final two nights, since the image would likely take several hours of shooting just to complete the pano for the foreground and several hours of shooting just for the sky.

Night sky over Yosemite National Park

When the time came to capture my panorama I went to Glacier point almost 6 hours early just to get a parking spot. The lot at the top of the road for the popular overlook is often heavily crowded and has very few actual parking stalls. When I arrived there weren’t any so I ended up driving in circles for about two hours waiting on an opportunity to park. Once I parked, I quickly began packing my gear to go watch the sunset and set up for my image.

In my excitement and hurry to finally get out to the spot and quickly dying sunlight, I managed to lock my keys inside my car. Having done this multiple times in the past I have a habit of checking for keys as I am walking away from my vehicle and realized I had locked them inside. I spent the next two to three hours trying to find a way to get into the car. I had no service in that area so I would have to hitch a ride with someone all the way down to where I would get service to call AAA. I actually went and found a sick and managed to pry the passenger side door open just a little and tried to slip thin sticks in and flip the lock switch. After seeing the apparent damage I was doing to the seal on the door I went to back pop out windows.

I noticed that these windows had a small latch that could be pressed out so that the windows could angle outwards but no open all the way. I figured if I could break this small plastic latch I could crawl in through this window and unlock the car. But after prying just a little too hard, I shattered the window and glass went all over me and the parking lot.

You can see the small black latch next to the seat belt in the left corner.

Needless to say, I missed the sunset. And once I was inside my car and covered in glass, I wasn’t in the most inspired mood, but after cleaning up the glass in the parking area as best I could, I moved out to my spot for the image.

I began by focusing on the foreground, and realized that once I had my camera set up in the proper position, the Arduino remote’s programmed bulb mode required me to hold the button down for the duration of the exposure. There was no programmable time setting in its programming, meaning I would need to sit and hold the button down until the exposure was done.

I’m not going to lie: it’s fortunate that only my good friend the Milky Way was there to hear what I said next. Interestingly enough, yelling to a large beautiful vista is actually quite therapeutic, but I was quickly distracted by the beauty of the Milky Way rising over the Yosemite Valley.

Glacier point provides one of the most amazing views of Yosemite. Looking head on half dome, you can see an insanely large vista. Waterfalls, peaks, and large cliff faces into forested valley’s. The scale of this place is simply indescribable.

Once the Milky Way started to appear I took a quick test exposure, f/2.8 ISO 12,800 30″ and focused on a bright star to make sure I was getting infinity focus throughout. In my f/28 image, it looked like most of the image was sharp so I decided just to increase my aperture slightly. I started out by trying an image at f/5 but after holding down the button for so long and seeing I made a mistake I decided to stop back down to f/3.2. Once the test exposure was complete I used Photopills exposure calculator to calculate the images exposure time needed if I were to use f/3.2 at ISO 800. I figured this would give me a clean foreground image without me losing too much time to each exposure before sunrise.

Single test exposure, f/2.8 ISO 12,800 30″

This gave me an exposure time of roughly 13 minutes per frame. So I set a thirteen-minute count down timer in Photopills and sat with my finger on the button until the alarm went off.

759″ exposure f/3.2 ISO 800

Unfortunately for me, I didn’t realize that the red light from the homemade remote was casting onto the rocks in front of me, so I photographed this first exposure a second time.

792″ Exposure f/3.2 ISO 800

Unfortunately, I had bumped my tripod or ball head somehow without noticing and the image had tilted slightly. Tired and irritated, I battled with the idea of using this image but ended up deciding to realign and try again.

759″ Exposure f/3.2 ISO 800

I finally had the first of five images correct. I carefully reviewed the image for noise and detail at 300% zoom.

759″ f/3.2 ISO 800, 500% crop

Aside from a few hot pixels from the long exposure and warm weather, and a little noise on the surface of the peaks the image looked sharp and mostly clean.

Third (middle) image of pano, 759″ ISO 800 f/3.2

The following two images went smooth, though my thumb was getting a little tired from holding down the button to keep the shutter open. That was until the fourth image.

Hikers head lamps and flash lights illuminate the Trail between Nevada and Vernal falls. 439″ f/3.2 ISO 800

I stopped this exposure early when I noticed some hikers with flashlights creating some trailing. This could have easily been cloned out in post but I didn’t want to risk it so I started over.

Finally, after a few more images I had the complete foreground merge. Due to technical problems, bumping my tripod during a couple and starting over, It was astronomical twilight shortly after completing the final image in the pano.

5 vertical image Stitch, Adobe LR. RAW

Once all the images had been stitched and the distortion corrected and image compositionally balanced this was the foreground result. Now all that was left was to photograph the sky! I returned the following night to set up my tracker from the location where I shot this pano, however using a tracker requires a clear view of Polaris, the northern star, to calibrate the tracking. Sadly I was unable to see Polaris from this location due to all the tree cover.

I began searching for nearby locations with absolutely clear horizons and discovered Taft point, an overlook just back down the glacier point road. This seemed like the closest sure-fire location with clear skies.

I quickly hiked out to the location during sunset and promptly set up my tracker to capture my sky panorama.

477″ tracked f/2.8 ISO 400 19mm

One of the single images tracked from Taft Point.

Taking several attempts to get the sky right and clean with as little foreground as possible I had my sky after shooting all night.

And once twilight hit I was so ready to be done with shower less, rash-ridden, mosquito-infested forests that I packed up and hiked straight to the car to start the long journey home. My image was finally captured and it was time to get back to the desktop and start putting the pieces together.

250″ f/2.8 ISO 800 Tracked

And with that my 9 day trip to the incredible Yosemite came to end, and after a long and boring drive through the deserts of Nevada, I would be able to review my images to see how I did.

“Galactic” Yosemite National Park, 2018

Thanks for reading! I hope something in this was beneficial to you, or maybe at least you won’t make some of the mistakes I have and never buy all-in-one bug spray and sunscreen…

P.S. If you’d like to learn more about photographing the Milky Way you can check out some of my one-on-one and group workshops hosted across the western United States on the techniques and tricks I use personally. Or if you would like to know how I post process my images, consider checking out my paid post processing Instructional courses for Adobe Photoshop.

About the author: Derek Sturman is a landscape and night photographer. The opinions expressed in this article are solely those of the author. You can find more of Sturman’s work on his website and Instagram. This article was also published here.

Source: PetaPixel

Capturing the Milky Way Over Yosemite National Park

Kodak Unveils New Smile Line of Instant Cameras and Printers

Kodak Unveils New Smile Line of Instant Cameras and Printers

The company C+A Global has announced a new line of Kodak instant cameras and printers called Smile. The new products are designed to help the masses shoot and share Zink instant photos.

The Kodak Smile Classic Instant Print digital camera (shown above) features a Polaroid-style design consisting of a pop-up viewfinder and automatic single strobe flash. There is a built-in microSD card slot as well as a 10-second timer. Photos can be printed onto 3.5×4.25-inch Zink photo paper, and you can pair your phone to the camera via Bluetooth.

The new Kodak Smile Instant Print digital camera (shown below) is a matte-black and yellow-accented 10-megapixel digital camera with a microSD card slot, an LCD viewfinder, a 10-second timer, and an automatic flash. And in addition to capturing digital images, the camera can also print them onto Zink paper.

Finally, the Kodak Smile instant digital printer is paired with your phone before the companion app for iOS and Android lets you print photos onto Zink paper.

All three devices will be launching in 2019, and they’ll cost $150, $100, and $100, respectively.

(via The Verge)

Source: PetaPixel

Kodak Unveils New Smile Line of Instant Cameras and Printers

Experiments in Antique USSR Film

Experiments in Antique USSR Film

Want to hear a communist joke? Well, they are only really funny if everyone gets them, but if you still want to hear it, then Soviet: A worker standing in a liquor line says: “I have had enough, save my place, I am going to shoot Gorbachev.” Two hours later he returns to claim his place in line. His friends ask, “Did you get him?” “No, the line there was even longer than the line here.”

Some things date better than others, and jokes rarely stand up against the test of time. But how about film?

My first test was two years ago, when Anna picked up a box of expired film from Siberia, the youngest of which expired in 1991. It was this 50 ISO ORWOChrome color slide film:

Unfortunately, the chemical process to develop this film as transparency no longer existed, so the only option was to cross process in C-41. But none of the labs I went to wanted this film in their machines at the risk of damaging their chemistry or other customers rolls.

When film gets old, its gelatin coating can get weak, and in a warm C-41 processor, it can simply fall apart. A few years out of date is no problem, but some mystery film from pre-wall West Germany has a big question mark above it. So I developed myself with one of those Tetenal packs and fortunately, some of them worked:

I was pretty amazed that the despite being cross processed, the film had a pretty natural looking color to it in the raw scans. They may not be your cup of tea, but I love an experiment, especially with weird and wonderful film types. Coming up to the 2 year anniversary of the ORWO experiment, Anna’s brought us yet another lot of cheap, old Soviet film, so we gave it another go.

This time it’s a mixed bag of black and white film, which is much easier to develop. There’s no temperature sensitivity and the chemicals are really easy to source. The hard part is going to be just getting the film ready to shoot.

Most of you probably don’t know how lucky you are having your film pre-loaded into canisters. Back in the USSR, photographers DIYed it by loading it into reloadable shells with a bulk loader. We didn’t have reloadable shells or a bulk loader, so we had to recycle some spent canisters that we picked up from a local lab and reattach the film to them in the dark. We also didn’t have a dark bag, so I used a backpack and sweater turned inside out. Works just as well, but just to be safe it’s good to do it in under a blanket and in a darkish room.

So the film comes in these little cardboard boxes, wrapped in black paper:

This may not seem like the most secure method of storage, but so long as they had been kept at a fairly low temperature and kept dry, they should still be usable. The paper has been wound tight, and the best thing about this method of storage is that because they are not stored in metal canisters they have not built up annoying static electricity, which makes them so curly that it can be almost impossible to wind onto a Paterson tank.

So here’s the procedure I used to transfer them into the blanks (of course, you do this in the dark):

The thing about shooting expired film like this is because the results can be so unpredictable, it’s recommended that you lower your expectations because if it doesn’t work out the way you expect it, it’s a massive disappointment. It’s best to shoot somewhere close to home or like what we did, at home, and go through a roll quickly, with a range of settings to get something that works. Exercise caution by overexposing the hell out of it and never shoot in poor light. Old film loses an enormous amount of shadow detail so it will only pick up your brightest highlights.

For the test we used Anna’s Contax T3; so here are the results of our first roll, which is 32 ISO TACMA (pronounced Tasma) film. We developed all rolls in Kodak X-Tol for 9 minutes and 30 seconds with minimal agitation.

Here are the results :

This was my first roll and I was unsure whether it would work at all. The grain as you can see is bad, especially for such a low ISO film, and I didn’t go to any length to keep the dust off it. Also note: don’t even bother using squeegee tongs on film this old — you will just scratch the hell out of the base (see pictures 1 and 2)

But it worked, so I decided to give another roll a go. This time I shot the oldest stuff in the box:

The translation reads “Medium Sensitivity – GOST 64 (ISO 65); Emulsion No. 5670; Anti-Vignette; Normal; Develop by April 1959; Developing Time 12 Minutes.”

It states that it has “‘medium sensitivity” but I metered it at 12 ISO to compensate for age, powered up my flash to full and used the fastest lens I had (f/1.1 7Artisans) to see what I can pull out of this antique roll:

I was very surprised with this roll and much prefer the sharpness and contrast to the Tasma. The grain is extraordinarily fine and it has this really nice tone to it, with the added special effect of the ‘spider webs’ and water marks (this is where the gelatin had completely been stripped off the base).

So these are my preliminary tests with this kind of film. Three of the other rolls that I have tried have been completely blank — either they were completely exposed or the emulsion just fell of them when they were developing it, so ironically shooting is a bit like playing Russian Roulette. But if they do manage to work, the images are unlike anything else I have shot, so now I have a spare film body I’m going to keep a roll loaded and shoot some stuff outside of my apartment.

About the author: James Cater is a digital and analog photographer, film lab operator, and model. The opinions expressed in this article are solely those of the author. You can find more of Cater’s work on his website and Instagram. This article was also published here.

Source: PetaPixel

Experiments in Antique USSR Film

Blind Bride Gets Tactile Wedding Photo Album to Remember Her Special Day

Blind Bride Gets Tactile Wedding Photo Album to Remember Her Special Day

If you’re a wedding photographer, how do you serve a client who has absolutely no eyesight? A photographer and videographer over in Australia recently teamed up to create a special tactile wedding photo album for their blind bride.

Photographer James Day and videographers Shaun and TJ of Lemon Tree Film House shot the wedding of a couple named Steph and Rob.

Steph has a condition called Cone Rod Dystrophy. It’s an inherited eye disorder that progressed until she became completely blind shortly before she first met her future husband, Rob.

To create a wedding video Steph could cherish, Lemon Tree Film House worked to capture as much audio and narrative on the wedding day as possible.

“James and ourselves would describe, as much as possible, every little detail to Steph from the direction of the sun, to the landscape, expressions on loved ones faces, how beautiful Steph looked in her dress,” the videographers say, “and every time we described a scene to Steph we were reminded just how lucky we are to be able to see those details with our own eyes, how we take our vision for granted every day as we look into our lover’s eyes, watch our children grow, ocean waves roll and the sun rise and set each day.”

Day also came up with the idea of presenting Steph with 10 pieces of fabric throughout the day that were each infused with a different essential oil. By feeling and smelling the fabrics afterward, Steph was instantly brought back to those special moments during her wedding.

Several weeks after the wedding, the creatives got Sony Australia to fly the couple to the company’s private cinema to screen the wedding film for the first time.

Day’s gift to the couple were textured prints by Vision Australia and a tactile wedding album.

“[T]extured prints by Vision Australia allowed Steph and [her blind mother] Linda to run their hands over the prints and feel the raised outlines and shaded areas so that they could truly envision the scenes presented in the images,” Shaun and TJ say. “Though they couldn’t see the colors, they could imagine them as they touched the raised arc of the rainbow that appeared on the wedding day.”

The tactile album was something that took months to build, and it caters to nearly all the human senses: smell, touch, sound, and sight.

Inside the album are the 10 pieces of fabric along with 10 bottles containing the essential oils that were used. The moments they helped capture were carefully matched with photos and audio snippets by Day, allowing the couple to both remember their favorite moments together while enjoying the book.

“Needless to say, they were absolutely overcome with emotion,” Shaun and TJ say. Here’s a video of the day the gifts (which were provided for free) were revealed:

On the day of the wedding, Day asked Steph what she wished sighted people could learn from her journey in life so far.

“I wish sighted people could learn to be more appreciative for what they’ve got,” she replied. “I think so many people take things for granted, like sight for instance. Even though I don’t have sight, I’m not breakable, I’m not made of glass and that you can overcome any adversity.”

The creatives say the experience of getting to know Steph and shooting her wedding has changed their outlook on life.

“Though we can’t give Steph back her sight, she’s absolutely opened our own eyes and made us see more clearly just how lucky we are,” Shaun and TJ state.

You can find more work by the photographer and videographers on their websites.

Source: PetaPixel

Blind Bride Gets Tactile Wedding Photo Album to Remember Her Special Day

Ep. 309: Nikon and Canon Get Serious – and more

Ep. 309: Nikon and Canon Get Serious – and more

Episode 309 of the PetaPixel Photography Podcast.
Download MP3 –  Subscribe via iTunesGoogle Playemail or RSS!

Featured: Beauty photographer, Tina Eisen

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:
Beauty photographer, Tina Eisen, opens the show. Thanks Tina!

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Nikon to bring compelling new features via firmware. (#)

Nikon updates its Nikkor Z lens roadmap. (#)

Canon makes a big decision on its EF mount glass for 2019. (#)

ProGrade Digital announces a speedy new card reader. (#)

Olympus teases a new flagship body…and why they’re not going full-frame. (#)

Apple appears to be adding another camera. (#)

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. 309: Nikon and Canon Get Serious – and more

This Guy Makes Creative Reversed Videos by Talking Backwards

This Guy Makes Creative Reversed Videos by Talking Backwards

Lithuanian filmmaker and musician Saulius Jegelevičius has a creative and unusual YouTube channel called Backward Picnic. Instead of complex editing or effects, each of the videos is simply footage played backwards… and Saulius talks backwards while recording to speak “forwards” English in the videos.

For example, here’s a video in which Saulius removes a nail from a wooden plank using a “statically charged hammer”:

And here’s the original video he actually recorded before reversing it for the version above:

Here’s another one showing how to build a house of cards without using your hands:

And here’s the forward version:

Here are some other of the more popular videos Saulius has created so far:

You can follow along with Saulius’ ongoing project by subscribing to the Backward Picnic YouTube channel.

(via Backward Picnic via Laughing Squid)

Source: PetaPixel

This Guy Makes Creative Reversed Videos by Talking Backwards

Is Balenciaga’s Instagram Wacky Genius?

Is Balenciaga’s Instagram Wacky Genius?
V think it’s about time to acknowledge the ingenious works of @Balenciaga. It’s no secret that since Demna Gvasalia has taken the reins as creative director of Balenciaga, things have gotten weird in the most wonderful way. He’s pushed the status quo of what high-fashion means, paved the way for the come up of streetwear, and has had a heavy hand in shaping what fashion looks like on Instagram. If you’ve paid their IG any mind, you know that their feed is the complete opposite of what…

Keep on reading: Is Balenciaga’s Instagram Wacky Genius?
Source: V Magazine

Is Balenciaga’s Instagram Wacky Genius?

New Lana Del Rey Song Channels Sylvia Plath

New Lana Del Rey Song Channels Sylvia Plath
Indie pop queen Lana Del Rey has released a new song following a week-long game of Instagram tease. After posting a clip of the song last week, the queen of emotional detachment ruthlessly deleted it, before later announcing that her new album, Norman Fucking Rockwell, is finished and set to drop March 29.

The new song, breathlessly titled “Hope Is a Dangerous Thing For a Woman Like Me to Have, But I Have It” is the second single off the forthcoming album to be released, following the 9…

Keep on reading: New Lana Del Rey Song Channels Sylvia Plath
Source: V Magazine

New Lana Del Rey Song Channels Sylvia Plath

Lexar Launches the World’s First 1TB SDXC Memory Card

Lexar Launches the World’s First 1TB SDXC Memory Card

Lexar has just a new SDXC memory card that packs a whopping 1 terabyte of capacity. It’s the first 1TB SDXC card to be available on the market.

SanDisk was the first to announce a 1TB SDXC card back in 2016, but that memory card never materialized and still has yet to hit the market. Lexar’s new card is available for purchase starting today.

The new Lexar 1TB 633x SDXC UHS-I card features a read speed of up to 95MB/s and a video recording speed class of V30.

“Almost fifteen years ago, Lexar announced a 1GB SD card,” says Lexar Senior Marketing Manager Joey Lopez. “Today, we are excited to announce 1TB of storage capacity in the same convenient form factor.

“As consumers continue to demand greater storage for their cameras, the combination of high-speed performance with a 1TB option now offers a solution for content creators who shoot large volumes of high-resolution images and 4K video.”

With this latest announcement, Lexar is back to pushing forward into the future of memory card storage. It was only less than two years ago that the brand had been discontinued by its parent company Micron before being sold to the Chinese company Longsys in late 2017. Longsys then announced the return of Lexar cards in late 2018.

The new Lexar 1TB SDXC card has a suggested retail price of $500, but B&H seems to have it currently listed for $400.

Source: PetaPixel

Lexar Launches the World’s First 1TB SDXC Memory Card