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My Photos of Kyrgyzstan, The Hidden Gem of Central Asia

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I just returned from 3 weeks in Kyrgyzstan. As a landscape photographer, I have traveled to lots of countries in the world so I guess I can say I am ‘used’ to beautiful landscapes. Until recently, however, Central Asia was unknown territory for me.

I always love to explore countries that are not really on the radar of photographers and travelers in general. It inspires and pushes my creativity. The most important reason for visiting Kyrgyzstan was to meet my girlfriend’s family. But other than that I was triggered by the beauty of its nature.

As a photographer and nature lover, you know that feeling when you see that untouched beauty? Crazy mountains with open valleys? It triggers you somehow. That’s what Kyrgyzstan did to me.

Kyrgyzstan doesn’t require a visa to access. It’s fairly easy to travel to if you’re willing to transfer somewhere. It doesn’t really offer direct flights from most places. You’ll be flying into the capital Bishkek, which is already surrounded by crazy mountains. It starts right there.

Upon entering the city you already see high snow-capped peaks around you. Basically, this whole country has crazy heights and insane mountains. It’s on another level than what I’m used to in Europe, especially living in the Netherlands below sea level.

Being on an altitude around 3,000m is fairly common here with peaks over 7,000m and occasional hikes to 4,000m+. I had a bit of trouble with the altitudes at the beginning of my visit but this disappeared after a while.

Nature in Kyrgyzstan is really untouched and lots of locals live like nomads. The countryside roads are rather bad. I was actually surprised that most are marked as roads on Google Maps because an ordinary rental car would never be able to drive there. You need at least a high 4×4. But with some effort (driving ‘bad’ roads and hiking steep paths) you’ll be able to see some of the most beautiful untouched nature you’ve ever seen.

Endless valleys with huge mountains around you, crystal clear turquoise lakes, wild eagles, canyons, you name it. This country has it all. I was surprised by its variety of landscapes in a rather small area. Just a few hours driving would bring me from snow capped mountains to landscapes that looked like the moon with red canyons and unearthly textures. Americans will know this as ‘Utah’.

Because of the remoteness of the areas, there is literally zero light pollution here. During the night looking up you will see the brightest Milky Way in the sky you’ve ever seen.

When you’re exploring the valleys, you’ll see the locals from time to time. They live in Yurts. Yurts are small ‘houses’ that look like a big tent.

These people are mostly shepherds taking care of cattle in the summer. You’ll see hundreds of sheep or horses with glaciers in the background. It’s a really impressive sight.

These shepherds live without the luxury of things like electricity or a toilet. All of the locals I met in the mountains were friendly. They didn’t speak English much but I think they enjoyed some variety of company as they’re in the mountains for months without much conversation. It’s life at its simplest.

It got me thinking if these people actually need more. They’re just living day by day, with their cattle, not worrying about anything in the world. Literally disconnected from the world and living in their own small world. Just surviving.

During my travels, I visited Bishkek, Chaek, Song-Kul, Around Isskyl-Kul lake and Karakol. There are still a lot more places to explore for me so I hope to return soon. I’d like to mention that despite lots of people think the ‘stans’ are ‘dangerous’ to travel to, I’ve never really felt unsafe. Especially in the mountains where no one really cares that you’re walking around with expensive gear.

I slept a lot in tents, vulnerable to robbery, but nothing ever happened to me. I was often accompanied with locals though, either my girlfriend (and family) or people from Visit Karakol, a travel agency from Karakol that helped me a lot in getting to places that I normally wouldn’t be able to go to by myself. Kyrgyzstan is an amazingly beautiful country with lots of really untouched nature and I would definitely recommend visiting it.

I tried my best to capture a general overview of the beauty of the country. As I am a landscape photographer I focus on the beauty of the country mainly regarding nature.

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About the author: Albert Dros is an award-winning Dutch photographer. His work has been published by some of the world’s biggest media channels, including TIME, The Huffington Post, The Daily Mail, and National Geographic. You can find more of his work on his website, or by following him on Facebook and Instagram.

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August 27, 2018 at 09:46AM

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Samyang Unveils an 85mm f/1.8 Prime for Mirrorless Cameras

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Samyang has just announced its new 85mm f/1.8 compact prime lens for mirrorless cameras with sensors smaller than 35mm full frame.

Also to be sold as the Rokinon 85mm f/1.8, the new lens features 9 elements in 7 groups, an ultra multi-coating (UMC) to reduce chromatic aberrations, manual focus control, a 62mm non-rotating filter mount, a reversible lens hood, and a 9-blade rounded aperture for beautiful bokeh.

“The compact and light-weight design of this fast telephoto offers excellent portability and comfort that is perfect for travel, candid, portraits, and close up photography with mirrorless cameras,” Rokinon says.

The new lens will be equivalent to a 128mm lens on an APS-C Sony E or Fuji X camera, a 136mm on Canon M cameras, and 170mm on Micro 4/3 cameras.

The new Samyang/Rokinon 85mm f/1.8 will be available starting in September 2018 for $399.

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August 27, 2018 at 09:14AM

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The photographic process is a grand illusion from top to bottom. Think about it. Everything about the process is visual trickery. Photography provides a reasonable facsimile of real-life perception, and luckily, your brain’s visual cortex is very forgiving and willing to play along with this ruse.

Here’s what I mean.

Your brain is pretty smart; way smarter, adaptable and intelligent than we sometimes give it credit for. Human perception takes place on a completely different level than photography (or even videography). But photographic science and advanced camera functions do hold certain advantages over nature’s system. Here’s a look at a comparison of the two systems.

Motion / Still Life

Your camera is able to capture slices of time and literally freeze motion in its tracks. Camera shutter speeds slice and dice life into instances of time lasting just thousandths of a second each. Only when we fail to set the shutter speed and (ISO) sensitivity properly are objects in motion recorded as a blur.

Your eyes, on the other hand, have rarely seen anything absolutely still, unless it is a rock formation or building. Even then, our view is constantly changing simply because our body moves continually.

While your eyes capture thousands of frames each second, they process the images quite differently than your camera. They stream high-speed snapshots to your brain’s visual cortex – two at a time (right and left views) providing dimension and shape. And they do this all day, every day. No batteries or memory cards are required.

Your eyes shift and refresh their view thousands of times every second to paint complete three-dimensional moving scenes in your mind. This is perpetual “streaming” at the speed of light.

Video

The illusion of moving pictures (or movies) comes close to replicating what human eyes perceive as motion. The action portrayed in motion pictures is accomplished when single-frame images are flashed onto a screen sequentially at the same speed that they were recorded. The process works effectively to simulate what the human eye processes at much higher rates.

The major difference is the processing speed. Specific video codecs (computer word for the compression and decompression process) involve industry-standard capture/playback speeds (frames-per-second) designed to match the processing power of various playback systems. Videos are recorded and played back at speeds up to 60/fps to trick the eye into perceiving motion instead of seeing individual frames flickering by.

Autofocus and Blurred Backgrounds

The camera focuses on a single plane or depth of field and blurs the rest of the picture. You have the option to automatically focus on all subjects in the scene or select specific pinpoint areas.

If you set the camera to autofocus, you must remember that the camera always seeks and focuses on the objects with the highest contrast ratio in the scene. To control this you may select between face detection, autofocus tracking, multiple focus points (zone focus) or overall scene settings to tell the camera your preference.

Camera focus is all about managing the blur; making the eye concentrate on a particular part of the scene.

Your eyes don’t really see blurs at all. They automatically focus on the single subject of your attention and gradually defocus and separate the view of the non-subject areas. This is quite different than camera “bokeh.” Close one eye and view a scene in the room, then switch eyes and notice how the background shifts.

The human eye displaces subjects in the background while the camera attempts to blur them. We’ve been conditioned to accept photo blurs as if they are a part of real life, even though they aren’t!

Two Versus Three-Dimensionality

Single lens cameras capture only two-dimensional images; with height and width. Items in focus are limited to a single defined “plane,” or distance from the camera. The dimension of depth is simulated by blurring objects which are not in perfect focus.

Your eyes never observe scenes in only two dimensions; they see every scene in three dimensions, through two converged horizontal viewpoints, your left, and right eyes. Your eyes adjust and shift focal length almost instantaneously. Only recently has Hollywood caught onto the 3-D trick.

Dimension, like depth, is perceived visually by slightly defocusing and horizontally shifting the two scenes behind the object in focus. This differs significantly from the camera’s method of simply blurring and softening the background. While depth can be simulated, dimension cannot be. Dimension requires a process called parallax, a word derived from the French “parallaxe” meaning “fact of seeing wrongly.”

Depth of Field

The camera uses its single lens to capture subjects from a direct frontal view. With the camera, you can also determine how much of the scene you want in focus by a managing the depth of field (DOF); blurring both the foreground and background for emphasis.

You can’t do this with your eyes. If you concentrate on an object close to you, pretty much everything behind the subject will automatically be defocussed.

Each of your two eyes sees that same subject from a slightly horizontally-offset angle, which is a very good thing! This overlapping, crisscross view allows you to see enough of the sides of each subject to sense dimension, judge distances, and safely navigate your way around obstacles. When the eye’s two views are combined, they provide a unique depth and dimension to your perception.

Try walking around when viewing the scene ONLY through your camera’s viewfinder and you’ll notice the difference.

Sphere of Focus

Camera lenses all have one thing in common. When they focus on an object a measured distance from the lens, everything else in the scene (the same distance from the lens) is also in focus. The optical nature of the spherical shape of the lens makes this happen. When you employ a wide angle lens, you can see everything in the scene in near-perfect focus.

The human eye is quite different. Our focus on a subject is actually limited to a very small radius of view, between 7-10° wide. Everything outside that window appears defocused; not blurred, but just out of sharp focus.

While our peripheral vision spans nearly 180°, only a very tight circle of view appears totally focused. The way we perceive entire scenes by our eyes is constantly shifting and sending patches of focus to the cerebral cortex, which paints a momentary scene in our mind.

Try staring at one word on this screen. You’ll notice that unless your attention shifts slightly, the words on either side of that word aren’t really “in focus.” The real magic is that both of your eyes have this agility and they both work in perfect unison, viewing the same exact spot and shifting together at precisely the same moment.

Monochrome

All digital cameras are able to record images using only the luminosity channel producing “black-and-white” images. Monochrome photographic images remove all chrominance (color) information and rely only on single color contrast (luminance) to portray the scene.

Photography’s earliest roots are in black and white photography as the development of film emulsions were able to capture only luminance (monochrome) values with the light-sensitive silver halide particles. Even color films used this same monochromatic process but added color filters to capture individual RGB light waves.

Your eyes have never experienced this phenomenon except in photographic reproduction. The eye’s rods and cones that make up the image receptors interpret every scene in full color. Red, green, and blue receptors in your eyes perform this same service for your vision.

This characteristic of photography is perhaps the most bazar example of visual forgiveness, though the eye’s rods (more receptive to the green frequency of light) are most able to perceive forms and shapes under very low lighting conditions. This is why identifying colors in low light is so difficult. Not coincidentally, the green channel of color digital photography captures the most realistic monochromatic information.

Zoom, Wide Angle, and Telephoto

You probably own either a zoom lens, a fixed-focus telephoto, or a wide-angle lens for your camera. These variable distance lenses allow you to capture scenes either closer or farther away than your eyes typically see. Your human eyes are “fixed” on a 1:1 or “real-time” vantage point.

If you want to see a subject at a different distance, you have to adjust your personal distance to the subject or view the world through magnifying lenses like binoculars.

Resolution

Here’s another area where photographic systems hold an advantage over human vision. When ultra-sharp lenses are coupled with high megapixel image sensors, the number of pixels available to publish a photo far exceeds the size and magnification capabilities of human vision. When pixels are displayed small enough to escape detection (roughly 100 per inch), image projection and reproduction sizes are nearly limitless.

Autofocus

Your camera can capture a scene in which everything is in near-perfect focus. From an object just feet away to a mountain five miles away, everything is sharp and clear. It is impossible for your eyes to view entire scenes in perfect focus, though photographic prints depend on the brain’s forgiving acceptance of this abnormal interpretation.

Y0ur eyes very rarely maintain the same focus for any period of time. Your brain stays hungry for visual information and your eyes know how to satisfy that appetite. Your eyes shift their attention rapidly to maintain their focus on moving objects.

Try staring at this page for more than 15 seconds and you’ll probably notice your eyes shifting briefly before returning to the word you were reading. Your eyes and brain have an insatiable visual appetite and a boundless curiosity.

Pixels, Dots, and Spots

And then there’s the whole pixel/halftone illusion itself. Your eyes register nature’s colors as continuous tones, colors that have no stages or gradations. A feat we graphic illusionists have never been able to reproduce. Every image we reproduce has to be broken down into minuscule particles of color so small that human vision cannot readily identify them individually (I’ve exaggerated the pixels and halftone dot sizes for those who don’t know the trick).

Something to think about

For all the similarities between the camera and the human eye, there are just as many (if not more) differences.

But in spite of those differences, we would be much the poorer without the precision of the human eye and the features of the digital camera. Appreciate both systems for what they add to your perception of life.

The post The Illusion of Photography and the Miracle of Sight appeared first on Digital Photography School.

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August 27, 2018 at 09:10AM

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Canon and Nikon’s Rivalry Heats Up in the Full-Frame Mirrorless Space

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You didn’t expect Canon to sit back and stay silent did you?

Rumors are being bandied about that Canon plans on challenging its rival Nikon in the full-frame mirrorless space with a new piece of kit dropping possibly as early as next year if the whispers collected by Canon Rumors prove true.

Of course this news comes on the heels of the debut of Nikon’s full-frame mirrorless, the Z6 and the Z7.

Similarly, Canon Rumors theorizes that there will be two responses from the company in relation to these new models with each being distinguished by the unit's performance. A top-of-the-line model could use a 30.4MP sensor with the lower-end model using something less with a staggered release for both occurring some time in 2019.

Canon Watch reports on a few more speculative details about the specs for the two models, dual pixel autofocus, IBIS (in body image stabilization), 10fps shooting, 4K (30fps)/ 1080P (60fps), a 28MP full-frame sensor and a sub-$2k price tag. Again, Canon Rumors is reporting on two models, one of which sports a 30.4MP sensor and Canon Watch is offering a model with a 28MP full-frame sensor. These could be the two models but again nothing is definite.

These new camera models could even make an appearance at Photokina in September according to Resource Magazine.

Of course we can expect announcements of new gear to ramp up over the coming months and it is almost a certainty that Canon will have more than a few cards up its sleeve in time for the holiday bonanza.

Many people eagerly await a flurry of new product announcements from the company, beginning before, during, and even after Photokina. These new products include everything from new lenses to new camera models. Basically this means that Canon fans will have more than enough stuff to look forward to as the year goes on and that is less speculation and more of a certainty.

We’ll keep you updated on new Canon gear as it arrives.

The post Canon and Nikon’s Rivalry Heats Up in the Full-Frame Mirrorless Space appeared first on Light Stalking.

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August 27, 2018 at 08:49AM

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August 27, 2018 at 08:24AM

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August 27, 2018 at 08:24AM

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Nikon Z 7 sample gallery updated from New York and Japan

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August 27, 2018 at 08:04AM

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66 Striking Images Of Black And White Mountains That Will Astound You.

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Images of black and white mountains are arguably in photography's DNA. Ever since the masterful photographs of Ansel Adams, photographers have flocked to emulate his dramatic black and white photographs of mountains.

The trouble is, in the age of the DSLR we need to convert to black and white. Of course, great black and whites start in camera, but the biggest challenges in black and white photography lie in knowing which images will work well in black and white and in understanding the important role post-processing plays in controlling tone and contrast when converting a photo to black and white.

If the idea of taking striking black and white photographs of amazing peaks raises you to new heights (pardon the pun), and you want to learn how to emulate the masters, please take a look at Kent DuFault's Better Black And White Guide.

But for now, let's see what you can do with black and white conversions! We hope these 66 striking images of black and white mountains will inspire you.

 

 

 

 

 

 

 

 

 

Convert Your Mountain Images To Dramatic Black And White

Studying these striking images of black and white mountains is a way to get inspiration and to get your creative juices flowing.

The Better Black And White Guide – will ensure you get images that are timeless. You'll get more out of your landscapes, and you'll represent the drama of the awe-inspiring peaks that you're lucky enough to be photographing in a timeless fashion.

If you are interested, this guide will teach you everything you need to know about controlling tone and contrast to get the images you want. Click here now to check it out.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Have You Been Inspired By These Striking And Timeless Images Of Black And White Mountains?

Make sure you take a look at Kent DuFault's Better Black And White Guide. This is a complete step by step guide to creating stunning black and white conversions – including teaching you everything you need to know about controlling tone and contrast to get the image you want.

If you missed out on your copy last time, it is available again, and on sale right now.

Click here to take a look…

The post 66 Striking Images Of Black And White Mountains That Will Astound You. appeared first on Light Stalking.

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August 27, 2018 at 08:03AM

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Ep. 295: Nice Try Nikon, but…No. Just No. – and more

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Episode 295 of the PetaPixel Photography Podcast.
Download MP3 –  Subscribe via iTunes, Google Play, email or RSS!

Featured: Boudoir photographer, Magdalena Iskra

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:
Boudoir photographer, Magdalena Iskra opens the show. Thanks Magdalena!

Sponsors:
– Get 20% off at KupoGrip.com with offer code PetaPixel20
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Stories:
What Nikon got right (and wrong) with their Nikon Z mirrorless system. (#)

Lexar comes backs from the dead, but will they be the same? (#)

The top cameras, lenses and other gear of the year. (#)

Patti…is a new tripod. (#)

You can buy liability insurance for short periods of times. (#)

Kodak’s making Ektachrome happen again. (#)

Outtake

My other podcast with Brian Matiash, the No Name Photo Show.

Connect With Us

Thank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on Twitter, Instagram 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!”

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August 27, 2018 at 07:29AM

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Photographer and Lightroom author Sean McCormack, (who also writes the Maximum Workflow column in Lightroom Magazine) has released a great, to-the-point, video about the new features introduced in last week’s Lightroom Classic update), and in particular he covers the new magazine feature added to the books module, along with some of the other new features. Very well done, and definitely worth checking out:

Sean is also the author of a number of Lightroom books, including ‘The Responsible Guide to Lightroom CC” (from Rocky Nook Publishing), and authors the “LightroomBlog” (link).

Sean’s latest installment of his “Maximum Workflow” column in the Aug. 2018 issue of Lightroom Magazine (published 10x a year for KelbyOne Pro members), is on a “Compositing Workflow” using Lightroom and Photoshop. Pro Members can read it in the KelbyOne Mags app for IOS or Android, or follow the link from the Members dashboard to read it online.

And that wraps up awesome Sean McCormack day today here on the blog.

Have a great Monday, everybody!

-Scott

P.S. Over on my daily blog today I have a photo challenge for you might really enjoy. 

The post Great Video on the New Book Features in the Latest Lightroom Update (and more) appeared first on Lightroom Killer Tips.

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August 27, 2018 at 03:37AM