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Eclipsed by aurora: How one photographer combined two celestial events

Digital Photography Review news -

A still shot from Zafra's timelapse of the event.

Photo: Dan Zafra

Capturing the total lunar eclipse is special enough, but one photographer took things to the next level. Dan Zafra saw the forecast for a period of high solar activity during last week's lunar eclipse and traveled from his Las Vegas home to the Alaskan Arctic to capture the rare event.

Aurora trips are typically best with a new moon because it ensures the darkest possible skies, enhancing the aurora's visibility. This time was an exception, though the eclipse yielded a similar result. "The total lunar eclipse meant that the Moon would darken, allowing the northern lights to shine even brighter," Zafra said.

Photo: Dan Zafra

Getting the timing and location right was a significant challenge, Zafra said. He had to calculate where to be to ensure both the Moon and potential aurora were in the same composition. Location scouting was part of this process, though the subzero temperatures added to the challenge. He finally settled on a frozen lake south of Fairbanks, Alaska, which offered an unobstructed horizon.

The weather made things challenging the night of the event, too. Zafra had to contend with -23°C (-10°F) temperatures, requiring he switch between thin glove liners for dexterity and thicker gloves to keep feeling in his fingers. Cold temperatures also drain batteries quickly. He kept spares in his jacket, swapping them out as needed. He says he used six batteries in total between his three cameras.

Adding to the difficulty was the predictably unpredictable aurora. "At one point, my timelapse framing was completely off—the aurora surged higher in the sky than I expected," Zafra said. "I had to quickly reframe the shot mid-sequence, all while monitoring my other cameras."

Photo: Dan Zafra

Despite the challenges, Zafra managed to capture multiple shots of the event. A telephoto image, created using a 400mm telephoto lens on a Benro Polaris start tracker, enabled a close-up view to show detail on the surface of the Moon. On the opposite side of the spectrum, a 20mm wide-angle lens allowed him to capture a wide view of the entire scene, showing how grand the aurora was. He also created a timelapse of the event to show it all in motion, which you can see below.

Due to the extreme contrast between the Moon and the surrounding aurora, the final images involved some post-processing. Zafra says he bracketed multiple exposures during the shoot. He then used PixInsight to extract details from the Moon and Photoshop to blend them together with the aurora background. The wide-angle image required less editing, with a single exposure for the Moon and one for the landscape. The timelapse was processed with LRtimelapse.

Zafra says that of all of the images he captured that night, the telephoto shot is his favorite. "I’ve seen countless lunar eclipses and auroras separately, but never like this," he said. "It was as if the entire sky was working together to put on a show."

You can see more behind-the-scenes content and more of Zafra's incredible work on his Instagram page or website.

The Stark Varg SM may be the first proper electric Supermoto for the US

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I know many folks who dismissed Stark's initial announcement of the Varg, a 60–80 horsepower electric dirt bike intended to compete with conventional gas-powered motocross bikes, as just another ambitious EV project that would never reach the market.

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Category: Motorcycles, Transport

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Panasonic S1RII: Studio tests confirms image quality is up to par

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When you use DPReview links to buy products, the site may earn a commission. Photo: Mitchell Clark

As part of our ongoing review of the Panasonic Lumix DC-S1RII, we shot our standard test scene, to see how its sensor performs.

We're moving to a pattern of shooting test scenes together in batches, rather than risking delays to reviews, but the S1RII is a camera built around a sensor we've not seen before, so we rushed it straight into our studio to see how it performs.

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Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

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The results are pretty positive. In terms of detail capture, the S1RII performs as we'd expect, capturing less detail than the 61MP Sony a7R V but with no meaningful difference vs the likes of the Canon EOS R5 II, Nikon Z8 or its own predecessor.

There's a fair bit of moiré visible in various places suggesting there's no anti-aliasing filter. But it's not significantly more pronounced than in most of its rivals, suggesting we were just unlucky that we got to see some artefacts in one of our real-world shooting. If anything, looking around various high-frequency targets in the scene, Panasonic's JPEG engine seems to be doing a pretty good job of suppressing the effects of moiré.

In terms of color rendition the Panasonic looks a lot like its immediate peers, with no significant differences in most colors, compared with its peers. The light skin tone patch is perhaps a fraction more pink than Canon's rendering, but there aren't any nasty surprises: something backed up by our experiences of shooting with the camera.

Noise levels seem competitive at low to moderately-high ISO settings but it looks like noise reduction is being applied to the Raws at the higher ISO settings, with distinct blurring of the noise patterns. JPEG noise reduction strikes a pretty good balance between noise suppression and detail retention, but gets a bit overwhelmed at the highest settings.

Dynamic range:

The S1RII's sensor is a modern design with dual conversion gain; it has Panasonic's 'Dual Native ISO' function that lets you decide exactly where the switch in modes happens, but at default settings, it's at ISO 400 that the switch happens. Sure enough, if you brighten an ISO 320 image, you'll see it has slightly more noise than images shot at ISOs above that point, with the same exposure.

The further you venture into the ISOs from that low gain mode, the more noisy you'll find the very deep shadows (this is exactly the read noise that using the higher gain step minimizes). So the widest possible dynamic range is encountered at ISO 80, but if you're tempted to underexpose in low light, to protect highlights, you shouldn't venture below ISO 400.

The S1RII has a lower base ISO than its predecessor, so you can't make a direct comparison (the new camera receives 1/3EV more light), but even with that slight discrepancy, it's results seem comparable. It's a competitive result, even compared with the best of its peers.

Summary

It's pretty apparent that the Panasonic Lumix DC-S1RII is built around the IMX366 sensor from Sony Semiconductor. So we see a sensor with dual conversion gain giving lots of dynamic range at base ISO and well-controlled noise once you move to the second gain mode. Its BSI design means its high image quality should be maintained right to the corners of the image, as it means the pixels can reliably receive light from more acute angles than on older FSI sensors.

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It does this while being fast enough to deliver 8K footage at an acceptable rate (though not great by video camera standards), despite taking the unusual step of using a slower, 13-bit readout mode, which should give it a DR edge over its peers. We'll be looking more closely at that in the coming weeks. But on the stills side of things, the S1RII seems to be built on predictably firm foundations.

Clever tiny house maximizes space with flexible, storage-filled interior

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Tiny house firms are always trying to think up new ways of maximizing every inch of available space. Modern Tiny Living has hit upon a neat approach to this with its Shadow model, which features a living room that seats six, has lots of storage, and also doubles as a guest bed.

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Category: Tiny Houses, Lifestyle

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I wasn't prepared for how the Nikon Zf changed my shooting style

Digital Photography Review news -

Photo: Abby Ferguson

As a tech journalist and photography educator, I've been lucky enough to get my hands on a variety of cameras. While each differs somewhat regarding menu systems, button placement and ergonomics, they are mostly subtle differences that haven't drastically altered my shooting style or process. That was not the story with the Nikon Zf, though, which surprised me by how much it changed the way I photograph.

The Nikon Zf has been available since October 2023, but I only recently had a chance to use it for the first time. As someone who learned photography on film (with a Pentax K1000, to be precise) and still shoots film, I have admired the camera's looks since it was first announced. I'm a sucker for that vintage film camera vibe, after all. Plus, I like having physical dials for my exposure settings, mainly for nostalgia.

My first time using the Zf was on a hike. It was a last-minute decision to bring it, so I didn't put any thought into using it instead of my trusty Sony a7 III. I knew the physical dials would change how I interacted with the camera and assumed there would be an adjustment period, but that was all. I certainly didn't set out with the intention of using the camera differently or think that my fundamental process would change. I simply tossed the Zf in my backpack as I would any other camera and set off.

Almost immediately, though, I noticed that the way I interacted with the camera was altered. In many ways, it felt much more like using a film SLR than a mirrorless camera. For starters, I exclusively used the viewfinder, not the rear display, to compose my images. That hasn't been the case since I switched to mirrorless many years ago.

The more significant change, though, was that my process slowed down.

The more significant change, though, was that my process slowed down, and I was much more selective about what I took photos of. On that hike, I took less than half of the images I typically take on a hike of a similar distance. Of course, some of this could be attributed to the location and general mood that day, but I was also distinctly aware of a shift in my mindset.

When I take photos during hikes with my Sony, I snap away. I pay attention to composition and subject matter, but it's often a more rushed process. I'm willing to take a handful of shots to get the composition or exposure right instead of slowing down and getting one shot that does what I want. I even take quite a few photos while still walking and not looking closely at the display. With the Zf, though, I was much more intentional about getting the composition where I wanted it in the first frame. I also didn't take photos at all unless I was excited about the scene, and I didn't take any frames while walking.

Photo: Abby Ferguson

Overall, using the Zf was much more reminiscent of how I shoot with film when I have limited frames to work with, and each one costs at least a dollar or so. Whether it was the physical dials and their placement that made me slow down, the vintage design that tricked my brain into thinking I was shooting film or a combination of the two, I'm not sure. But it was truly surprising how a very modern mirrorless camera could shift my process so dramatically.

Of course, Nikon isn't the only camera company offering vintage design and dedicated control dials. It wasn't even the first. This design choice has been a trend in recent years, and cameras from other companies could indeed provide the same effect.

No matter what the cause, the Zf brought back a sense of mindfulness to my photography that I had missed when shooting with digital cameras. In fact, I recently came back to shooting film after years away because I missed the push to slow down. Whether or not this change is sustainable as I keep using the camera remains to be seen. It could also be that I can put that mindset into practice with other cameras without control dials now that I am more cognizant of the change. No matter what, it was a refreshing change that certainly made me more aware of my approach and how different tools can shape my process.

The Aerothrust propulsion system: An insanely great idea

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It might look dumb, but this little engine catalyzed the American Air Boat industry, and its legacy might yet have several more significant chapters in general transportation. Pusher engine technology can create very efficient vehicles, capable of doing things better ... maybe even for personal transport. Just not like this!

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Category: Urban Transport, Transport

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Married men have a big problem, large new study finds

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Men tend to be happier with life when they're married, as many studies have identified over the last few decades. But new research shows they also become fatter. In fact, they're more than three times more likely to be obese than men who remained unmarried.

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Category: Diet & Nutrition, Wellness & Healthy Living, Body & Mind

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Wild neo-vintage camper concept with zero-gravity tailgate up for sale

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Exhibition vehicles often make a big splash for a couple weeks, maybe months, then disappear quietly to never be heard of again. Not the case for the jaw-dropping Camper Schmiede "Marilyn Onroad" camper van. One of the most distinctively appointed camper vans ever concocted is now ready to travel far beyond the gates of any exhibition hall. The six-sleeper camper van features a delightfully vintage-grade interior with transformable spaces and more outdoor living amenities than you'll find at some parks.

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Category: Automotive, Transport

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This new SmallRig accessory helps keep your Canon R5 cool

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Image: SmallRig

When Canon released the R5, a common talking point was the camera's tendency to overheat when recording video. Canon improved those problems with the R5 Mark II, but all cameras overheat at some point, especially when recording long takes in high resolutions. To help cool things down, SmallRig has adapted its Cooling Fan, originally designed for Sony cameras, to work with the Canon R5 Mark II and R5.

The SmallRig Cooling Fan is more than just a basic fan. It features multiple layers to efficiently pull heat away from the camera body, including a silicone thermal conductive gel, a thermoelectric cooling (TEC) component and an aluminum alloy heat sink. The fan blades sit on top of those layers to blow away the camera's heat. The fan offers two levels: A Cool Mode with a 4500 RPM fan speed for quieter operation and an Ice-Cold Mode with a stronger 7000 RPM fan speed.

SmallRig claims that at 40°C (104°F), the fan can increase shooting time by 30% for 8K 30p recording. It also claims that when shooting 4K 60p at 25°C (77°F), the fan can completely prevent shutdowns from overheating.

The Cooling Fan is easy to use with quick snap-on installation. No tools are required, so users can pop it on or take it off as needed. There are some potential downsides, though. First, it attaches where the screen folds, so you have to operate the camera with the screen folded out. Additionally, it lacks a built-in battery, requiring an external power source via a 5V USB input. It is compatible with the SmallRig V-mount battery ecosystem, though, making it a convenient option for those already invested in SmallRig products.

While SmallRig made this version specifically for the Canon R5 and R5 Mark II, it is compatible with Sony cameras as well. SmallRig designed the fan's bracket to be removable so it can be switched back and forth if needed. It is available for purchase today for $60 through SmallRig's website.

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World's first 3D-printed train station to be built in just six hours

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3D-printed architecture continues to go from strength to strength, with all kinds of projects now being created with the burgeoning technology, including a Walmart, housing, and even a data center. The latest example comes from Japan, where a new train station will be built in just six hours.

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Shades of gray: did Ricoh just hint at a Monochrome GR?

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Ricoh's Mayumi Ueda, Kazunobu Saiki, Shigeru and Ryutaro Aratama

"We don't just want to focus on the results of photography: we want people to enjoy the photography process," says Kazunobu Saiki, general manager of the Ricoh Camera Business Division.

We spoke at the recent CP+ trade show in Yokohama, Japan, where he told us about the challenges of DSLRs, the reaction to reviving film, the future of the GR series and why they're not particularly focused on video.

"We have to put our resources into making sure supply catches up with that demand. That's the first priority as a brand"

"The total number of compact cameras has largely decreased over the years," Saiki says, "but for unique products, which can attract the creative people, especially from the younger generation, I believe the market trend is to increase." He's referring to the prospects for models such as the WG waterproof series and the GR APS-C compact: "GR users, globally, are increasing."

In fact demand for GR is so high that the company has found it difficult to build enough.

"Thanks to increased demand for the GR series, there's a slight shortage of supply on a worldwide basis. So we have to put our resources into making sure supply catches up with that demand. That's the first priority as a brand, we believe."

The market for DSLRs

The DSLR market is rather more challenging, Saiki says: "New product sales [of DSLRs] are still in rapid decline in comparison to the huge emerging market of mirrorless. But we do believe there is a still a certain group of DSLR lovers."

"A lot of DSLR users still exist, but they're use their existing DSLR, which they bought a long time ago. Also the second-hand market of DSLRs is really booming."

"If we only count new product sales numbers it looks like the user is rapidly disappearing, but we don't assume in that way. We believe there's a group of DSLR lovers who still want to see real light, right through their lenses. And also want to enjoy the handling of the DSLR shooting experience."

"We believe there's a group of DSLR lovers who still want to see real light, right through their lenses"

"We know the second-hand marker for Pentax interchangeable lenses. But one of the reasons is that some people have sold their DSLR systems and moved to mirrorless. This has happened with all the brands."

"But we have a lot of very specialized lenses, such as the Limited and Star series lenses, and we appreciate that a lot of users still like to purchase these as a new products."

"We will carefully research the market and then listen to our users and DSLR fans," says Saiki. "Then we'll draw our business roadmap."

The revival of film

Saiki says it's too early to say what lessons can be learned from the Pentax 17 film camera. "I think there's two ways to evaluate it," says Saiki: "In terms of brand value, I think it was good sense to release the Pentax 17, as the first new film camera fifteen or twenty years after the industry discontinued them."

"We wanted to show to smartphone users what the basis of photography is. In that sense, the Pentax 17 played a very good role in saying what Pentax stands for."

"On the business side the contribution of film cameras has been smaller than the GR business. It's not the same size as GR."

This doesn't automatically rule out future film models, Saiki suggests: "If we can generate more interest in film photography, we can consider how we could make a product group. Now is not the time to consider that, though because we have only just released the first film camera in fifteen years. We need time to communicate with our users and find out what they appreciate or were disappointed by. We need sufficient time to evaluate the usage of Pentax 17."

The future of the GR series

The Ricoh GR III was launched back in 2018 but a revival in interest in compact cameras has seen demand outstrip supply.

Photo: Barnaby Britton

However, Saiki says, sometimes user feedback can be hard to respond to; something they're finding in the process of planning a future GR model.

"Compactness, high image quality and responsiveness are the core of the GR brand, along with evolution, so everyone looks for improvements in these three areas. So we have to think about how to evolve from here."

'We have conducted a lot of research in many countries. A lot of research tells us many users request built-in flash and that they are using small flashes, including 3rd party products, because we dropped the flash feature between GR II and GR III. So we know that a lot of people want flash, if it can be packed into the very small size of the GR III."

"These things are in conflict, though. Because people want improvements in all three areas, plus flash. If we want to make the image quality better, the body might become bigger, or if we use a more powerful processor to improve the speed and responsiveness, that would require a bigger battery, but the battery endurance should also be longer. "

"But we know the requests from the users," he says.

The demand for a GR Mono

We ask whether he believes there's any potential interest in a monochrome GR model.

"The K-3 Mark III Monochrome got a nice reaction from users. To be frank, more than our expectations. We knew from the Leica M9 or M11 that there were certain photographers who love real monochrome cameras, and the K-3 Mark III has maybe caught some of this demand."

"We know that a lot of GR users are already using the monochrome filter modes on that camera. And one of the symbolic photographers who uses GR is Daido Moriyama, who's famous for monochrome photography."

"Our research says a lot of GR users are waiting for the release of a monochrome compact camera"

"I've visited local GR fan events all over the world and I've observed many times people using Leica monochrome cameras or the K-3 Mark III Monochrome alongside their GR."

"Our research says a lot of GR users are waiting for the release of a monochrome compact camera. Of course that dedicated number is smaller than for other products. But at the moment there's only Leica, which is extremely expensive. If we released such a camera, I think we can appeal to them."

On photography

Finally, we asked about the future of photography, in a time when it's the industry's video features that have been advancing most obviously.

"The speed of evolution in video has been very quick, and the part of the industry dedicated to still imaging is maybe smaller now," Saiki says: "Sony, Canon and even Nikon are following that technology as well."

"We value not only the results of photography... we want to provide an enjoyable process"

"But among our brands, both Ricoh and Pentax, we value not only the results of photography or the result of recording: we want to provide an enjoyable process for photo taking. That's why we don't want to get heavily involved in video features."

"Of course we don't ignore it, but taking for example, GR. The user, if they just walk around the city they become sensitive to what's going on. They focus on capturing the real moment of something that stands out to them, rather than recording all the time. We want to cultivate that street photography culture, that's why we're not so much concerned about video or recording technology."

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