Sony Alpha 7R IV, IVA Sample Pictures

Sony a7R IV and Epic Rocky Mountain National Park Milky Way The Sony a7R IV and Sony FE 24mm f/1.4 GM Lens teamed for an epic Rocky Mountain National Park Milky Way on this September evening. While chasing elk in rut was our top priority during the RMNP workshops, photographing the night sky was also on the to-do list and a clear RMNP night sky never fails to wow us.

For the Milky Way to reach down close to its reflection requires the reflecting surface to have little obstruction above it. Large bodies of water have distant shores and that distant perspective usually results in lower shoreline sky obstructions. Small bodies of water are more likely to have a calm surface than large bodies but trees and mountains typically get in the way of the little-obstruction requirement. Mountains often bring elevation gain that tends to bring reflection-erasing wind.

This particular small mountain lake is set high enough for the southern view to open up to the sky while being protected from the wind for the perfect combination. I love pointed spruce treetops and always welcome their great character on the horizon. Reflections can be counted on to double the value.

Rocky Mountain National Park is very scenic but some locations within the park have better environments for elk photography than others. Elk go where they want to and little will stop them from doing so, but I have some favorite locations and usually will pursue the elk found in these. This elk was in one of my go-to locations, featuring a low, clean foreground and rocky mountain base in the background.

Elk are very large animals and that means relatively long distances are required to fit them in the frame of a long lens (and for personal safety). Longer subject distances mean increased depth of field and that means the background will be less diffusely blurred. The 600mm f/4 focal length and aperture combination creating a three-dimensional effect that makes the subject stand out from the background is especially valuable when photographing large animals such as elk.

After seeing how sharp the Sony FE 600mm f/4 GM OSS Lens was (and experiencing how light it was), I opted to use this lens behind the ultra-high-resolution Sony a7R IV for all of my late summer and fall wildlife photography.

The bull in this photo was moving across the meadow in front of us and this great rut-characteristic chin-high pose was my favorite. The other images captured in this sequence provided a small additional amount of background that, with the lack of distracting details, I later decided to merge with the original image, creating a panorama. With the 61 MP resolution provided by the a7R IV, I didn't need the additional pixels. Moving back and cropping would have been easier from a post-processing perspective but moving back would have resulted in a missed opportunity in this instance (and the original framing would have been fine). Note that this capability likely exists in some of your images — be cautious when deleting the lesser images.

Images captured under a cloudy sky, including this one, usually readily accept some contrast increase and a modest amount was added to this image.

It is generally much easier to photograph deer in a field or meadow than in the forest where tree trunks and branches create obstructions and chaotic backgrounds. However, the forest is where many deer spend large amounts of their lives. Heading into the forest may reduce the odds of getting good images but the increased challenge makes a successful in-the-forest image more rewarding.

While a 600 f/4 lens is an awesome choice for obscuring a distracting foreground and background via blur, the narrow angle of view can be challenging to use in the forest due to the obstructions. A farther away view results in a higher chance of trees and branches being in the way. Despite having a Sony FE 100-400mm f/4.5-5.6 GM OSS Lens with me in Shenandoah National Park, I mostly used the Sony FE 600mm f/4 GM OSS Lens. The images this lens makes are hard to beat and once one acclimates to 600mm f/4 images, it becomes difficult to be satisfied with anything less.

All 600mm f/4 and similar lenses are very expensive but the high price has one advantage: it is a barrier of entry, making it harder for those without such a lens to compete with those having one. In a world with an unimaginable number of images being captured daily, this lens' image quality is a differentiator and those able to make the investment should frequently make use of their advantage.

I was working ahead of this buck (with a somewhat unusual drop tine), looking for openings it might pass through. He came into this opening and cooperated nicely, looking toward the camera. After quickly capturing a few images with the currently-selected focus point, I changed the focus point to a more optimal position in the frame and captured another burst of images before the buck turned its head. I selected the image with the best deer pose (both ears forward and looking toward me) and stitched another of the images captured using the other focus point for a slightly wider overall image.

This image was captured on a bright cloudy day. Clouds act as a giant softbox, eliminating the harsh shadows often encountered in the woods. Images captured in cloudy weather often appear slightly cool and low contrast is also normal for images captured under cloudy skies. Adding a small amount of contrast and saturation and warming the color balance slightly brings the image to life.

The increased challenge, increased reward concept applies to many genres of photography. Welcome ways to increase your challenge!

The day before my arrival, still late summer, Rocky Mountain National Park received a wintry weather blast that included a snowstorm. With a clearing storm forecasted for the next morning, heading to a high elevation mountain lake for a dramatic landscape image seemed the right plan. That excitement ended abruptly. Instead of an amazing set of landscape images, I was delivered dense cloud cover, continuous snow, and brutal winds.

However, the sunset conditions easily made up for the AM troubles. The wind became still, and the remaining clouds took on great color.

There are times in the field when you know that you are capturing an image that you will be excited about. This was one of those times. I quickly shot a variety of images from my rock perch, capturing bracketed exposures, varying the focal length, and fine-tuning the composition. This selected image was a single exposure captured at an extremely wide 12mm focal length, enabling the large rocks on the lower right side of the frame to be included along with the high clouds and their reflections. A fully-level camera keeps especially the trees on the left side of the frame straight.

What do I like least about this composition? The wide-angle focal length makes the distant mountain appear small in relation to the foreground. I decided that there was enough valuable supporting detail in the frame to offset that deficit (and I zoomed in to capture that image also).

Unknown to me this evening was that the snowstorm had cleaned the air of wildfire smoke and that this would be the last time I would see an even marginally photogenic sunrise or sunset for the duration of my time in Colorado.

Smart people told us long in advance that the planet Mercury was going to pass in front of the Sun for many hours on 11/11/2019 and that the transit was going to be visible across a huge swath of the world, including my location on that date, falling during my Shenandoah National Park Workshop.

My first thought regarding photographing this event was that I could take a picture of the Sun anytime and simply use the paint brush tool to drop in Mercury planets wherever desired. While the result would look fine, it wouldn't be nearly as fun or as phsychologically rewarding as experiencing the event firsthand and capturing the real thing. Photographing the Sun is easy and a little black dot in front of it was going to be equally easy to capture so, I packed the required solar filter for the trip.

The Sun was not going to be our primary subject on this day, we didn't have time to shoot throughout the entire many-hour transit, and the cloudy sky made photographing it challenging during the few times we attempted to do so. Still, I wanted to show the entire transit in the final result. To fulfill that goal, I pieced a number of images together and then duplicated a Mercury planet to fill in the entire path across the Sun.

While the Mercury transit does not rise to the level of amazing as the recent solar eclipse, it was still fun to see and photograph.

When photographing the Sun, everything else in the frame is black unless there are clouds being brightly lit while darkening the Sun enough to even out the dynamic range. With black periphery being easy to create during post processing, framing the Sun a tightly as possible becomes the goal. Still, the Sun will not come close to filling the frame even at 1200mm, the longest most photographers will use, on a full frame camera. In a focal length limited scenario, higher pixel density on the imaging sensor means more resolution remaining after cropping and the Sony a7R IV has that. The Sony FE 600mm f/4 GM OSS Lens and FE 2x Teleconverter were used to gain the 1200mm focal length.

Among the many images captured were some with a cloud-caused fiery haze surrounding the Sun. Adding some of these images into the Photoshop stack provided the option of including the haze in the final image as shared here.

Here is a question for you: Since I watched Mercury transit the Sun in an electronic viewfinder, did I really see it?

On this day's schedule was giving some great gear a workout and the Sony a7R IV and Tamron 17-28mm f/2.8 Di III RXD Lens combination were chosen. These were packed in MindShift Gear BackLight 18L along with a Really Right Stuff TVC-24L Mk2 Carbon Fiber Tripod with a BH-40 Ball Head mounted and the very early AM hike to Dream Lake ensued.

I don't like to be the second person at a popular location and some may say that I arrived too early for this one. The extra time ensures adequate setup time with some starry sky photography included. The extra time also means that very warm clothes were needed, especially with the wind often encountered here.

I love perfectly still water surfaces in the shade and the mirror reflections those surfaces create. This morning did not provide such and the mentioned wind was relentless.

Between reviewing long exposure, high ISO image captures and the light becoming bright enough for the foreground rocks to be visible, this composition was settled on. I wanted the closest round rock centered between the mountain peak reflections with a clean border around it and the other foreground rocks. The camera was leveled for both roll and pitch. I seldom want a camera that is not leveled for roll when photographing landscape and in this case, I also chose to avoid an upward or downward camera angle that would have caused the straight tree trunks to tilt inward or outward respectively. The focal length was selected to be inclusive or exclusive of details in the scene and the camera height was selected for the final composition. The color balance disparity of the warm first light of the day hitting the mountain mixed with cool shade in the valley below is natural and I love it.

The final image is the result of combining two images using manual HDR blending. As is often the case, those exposures were different with the sunlit areas captured darker (f/11, 0.4 seconds, ISO 100) and the shaded areas coming from brighter settings (f/11, 30 seconds, ISO 200).

As you likely noticed, the longer exposure is dramatically longer and includes a 2x-brighter ISO setting. This exposure was needed to compensate for a 6-stop Breakthrough Photography X4 ND filter (great gift idea) being used. The longer exposure this filter permitted allowed the water to be smoothed, averaging out the reflection details in the lake surface ripples, giving the mountain reflections some definition. A third image (another darker one) was pulled in because some of the trees were less motion-blurred than in the primary image.

The aforementioned gear all performed excellently. It was a superb choice for this event. Of course, the bottom line is that Dream Lake and its rocks rock!

Looking for a lens to carry while hiking? You likely want a compact and lightweight model but do not want to substitute image quality to get those properties. The Tamron 17-28mm f/2.8 Di III RXD Lens and its sibling 28-75mm f/2.8 Di III RXD Lens are great choices and both are quite remarkable lenses overall.

This afternoon in Acadia National Park found the 17-28 RXD along with a Sony a7R IV in a MindShift Gear BackLight 18L on top of Bald Mountain anticipating a great light show at the end of the day. Unfortunately, that show mostly did not happen. The weather forecast did not hold true and as can be seen in this image, thick clouds ruled the sky.

Just when we thought there was no hope for seeing a sunset, a tiny hole appeared in the clouds and awesomeness shined through. I dropped the tripod into the nearest location that looked compositionally promising and shot a several frame bracket, ensuring that one image had bright foreground detail captured at f/11 and the darkest of two others had a tiny bit of color remaining in the sun. The latter two images were captured at f/22. While f/22 results in softer image quality than f/11, it delivers a larger, better quality starburst effect and the clouds nicely hide the softness in the portion of f/22 capture used in the final image. Note that changing the aperture changes the starburst including the orientation of the star points. When bracketing such images, be sure that most of the images containing the starburst are captured at the same aperture to avoid an awkward appearing composite.

By the end of the first bracket capture, the warm sunlight was no longer reaching the foreground and after a second bracket at a slightly adjusted camera position, the sun was completely cloud-blocked again. The foreground lighting was better in the first set of images and cropping those from the bottom gave me a result similar to those captured in the adjusted camera position.

I seldom use ISO settings above 100 when photographing daylight landscape but you will notice that a setting of 800 was used for this image. Along with the heavy clouds came very strong winds and I was estimating the exposure duration that could be tolerated between gusts. The Really Right Stuff TVC-24L Mk2 Carbon Fiber Tripod and BH-40 Ball Head held solid and I probably could have used longer exposures — though sun time may not have permitted that.

Everyone loves lighthouses and lighthouse images, right? After awaking to a 4-something AM alarm for three days in a row, I was finally treated to some morning sunlight at the Bass Harbor Lighthouse. While some cloud drama would have been welcomed, the white sky created by the solid cloud cover present on the previous two mornings was not as photogenic.

When the sky is clear at sunrise/sunset, there are some expected parameters for landscape photography. One is that the first/last light will be very warm in color and another is that pastel colors will show in earth shadow and the Belt of Venus above it low in the sky opposite the rising/setting sun. These two parameters combine very nicely.

I don't always require myself to use a completely level camera (tilt and roll) for landscape photography but did so in this case, primarily to keep the sides of the lighthouse from leaning. Adding to that compositional constraint was the desire to have the reflections availed by the foreground tidal pool included in the frame. The lighthouse reflection was the primary interest and it was very tightly framed between the surrounding rocks, further limiting the camera position to within that narrow line. With the rocks being indicative of the Maine coastline, having them close and emphasized seemed logical and led to this final camera position.

Should circular polarizer filters be used for all landscape photographs? While CPL filters are easily my most-used filters and I very frequently use them for landscape photography, this was a time when using the effect provided by this filter was a detriment to the final look. Cutting the reflections on the rocks and in the tidal pool created a dark, flat, lifeless look to the foreground rocks and water, detracting significantly from the result. It didn't take long to determine which look was preferable.

Wet dark-colored rocks absorb a lot of light even without a CPL filter and two exposures were combined to ensure that details were retained in those rocks in the final image.

No, post-processing was not used to create that perfectly-placed shadow. Outdoor photography is often about being at the right place at the right time. On this day, my timing was about perfect for the shadow of a large university field house to fall across the lanes of the outdoor track next to it, shading all but the first lane.

Also aiding in emphasizing the "1" was the perspective. With the 20mm lens positioned closer to the "1" than the other numbers, the "1" becomes the largest in the frame and therefore the most prominent. Everyone loves number "1" and there are far more uses for an emphasized "1" than any other number.

The Sony FE 20mm f/1.8 G Lens is very fun to walk around with, letting your creativity take over. The results from this lens are quite impressive.

It had been two years since I photographed this bull elk and he was #1 on my list of subjects to find on this trip to Rocky Mountain National Park. He didn't let us down.

This year, Mr. Incredibull was a 7x7 (referencing 7 points on each antler) with remarkably long G3s (the third point on each side) and long swords (G4s, the fourth point on each side). This morning found the huge elk in my favorite meadow, with short grass and a clean background ideal for photographing in.

While the Sony FE 200-600mm f/5.6-6.3 G OSS Lens is not the ultimate choice for blurring the background (compared to the Sony FE 600mm f/4 GM OSS Lens for example), it's zoom range has very strong benefits. The 600mm prime does not do 500mm, the focal length needed for this image.

This bull was not moving fast and permitted a large number of images to be captured. I chose this one as a favorite in part due to the leg position, showing nice separation and a bent front leg conveying a sense of action.

I like as many tines as possible to show in antlered animal images. With this bull's head tilted up, the tail of the left antler is hidden by the body. However, I'd rather capture the desirable bugling pose and there is not much that can be done about partial missing antler in this situation. One tine is hidden on the right antler but the shadow brings that one to light. Antler shadows are great.

A university administration building had caught my eye. It seemed a perfect subject for the Sony FE 20mm f/1.8 G Lens I was reviewing and photographing it was on this evening's to-do list. During the blue hour is a great time to photograph architecture and starting with a shooting direction away from the sunset provides the earliest brightness balance between the building lights and the sky. As the sky darkened, the light balance on the other side of the building, looking toward the sunset (brighter sky), improved and that was the direction the camera was facing for this image capture.

To get a level camera for this perspective required fully extending the Really Right Stuff TVC-24L Mk2 Carbon Fiber Tripod legs and positioning the feet as close together as possible without risking stability. The camera was well above head height but the tilt LCD enabled proper leveling and composition. The low geometric distortion of this lens makes it a great option for photographing subjects with straight lines along the edges of the frame.

This was a single RAW image (not an HDR) captured with the brightest areas of the image somewhat too bright. In post, utilizing the Sony a7R IV's excellent dynamic range, the highlights were pulled back and the shadows were boosted for a balanced appearance.

Want all of the windows to appear square in the frame? You need a camera leveled for roll to avoid the perspective distortion issue and leveled for pitch to keep them straight. In this case, a very tall tripod setup was required.

A cow elk gives her calf a bath while standing in a lake in Rocky Mountain National Park.

Long telephoto lenses were meant for times like these. This was a scenario where I couldn't get any closer – wetter was not an option I was willing to accept. Not only did this lens's 600mm focal length make the animals substantial in the frame but the f/4 aperture created a blurred background even at this long distance, making the subject stand out.

I am considering a return to Rocky Mountain National Park in September. Let me know if you want to be part of this trip!

This old buck has its eyes on the doe it is pursuing.

I like some animal leg positions better than others. In this case, the lifted-high front leg and corresponding raised back leg show that the deer is in motion. When I have the mental wherewithal to time image captures with the ideal leg positions, I do. When I don't, that is what a fast frame rate is for.

While the beautiful early morning sunlight gives the image a warm look, the frost-covered whiskers indicate the true scenario. This was a very cold day. While I was functionally challenged by the heavy gloves (and my breath freezing on the camera), the Sony a7R IV worked flawlessly in these low temperatures.

It only takes a short amount of time with a great subject in a great scenario to generate a large selection of good images. Selecting a single image to share from such a situation becomes the next challenge. I opted to share two images (for now) of this buck, the other illustrating the lip curl behavior.

Sometimes, an ultra-wide-angle lens becomes a requirement to get the shot. Sometimes, a wide aperture is also required. Both were requirements down in Monument Cove, Acadia National Park, on this night. The Sony FE 12-24mm f/2.8 GM Lens had the credentials to get the job done.

As I climbed down into the cove, the plan was to capture the monolith in front of the milky way. Upon arrival, I decided that the rock on the other side of the frame also had great character and wanted it included in the image. Even at the extreme 12mm full-frame angle of view, keeping everything seen here in the frame meant my back was against the rock wall.

The milky way is typically photographed against a black sky. However, if the sky is dark and the milky way is in view, it can be photographed at the end of the blue hour. This image was captured about 7 minutes after "nautical end." Despite a bit of light showing in the sky, it was very dark in the cove, and the f/2.8 aperture proved very helpful, keeping the ISO setting down to a still-high 8000.

The lip curl (Flehmen response) is a deer behavior especially common during the rut, exposing the vomeronasal organ (Jacobson’s organ) to scents, especially those of a doe in heat. While this behavior is not unusual, it is different from the many images captured of the same old buck simply standing and looking.

The bokeh buck is a want-to-be contender. He doesn't stand a chance against this clearly superior buck.

As I mentioned in the other photo of this buck, a few minutes with the right subject in the right light and location scenario can result in a lot of nice images on the memory card.

Sean's recent Filming an ISS Transit of the Moon article reminded me to check for an upcoming locally-viewable International Space Station transit. Amazingly, there were two ISS solar transits scheduled for the next week, with my back yard being the perfect location for the alignment I wanted for both transits.

Sean's How to Photograph an International Space Station Lunar Transit article was directly applicable, with a solar filter being an additional requisite.

Only the sun was going to be illuminated in the frame, and the space station is especially small. I combined the longest focal length lens combination I have, the Sony FE 600mm f/4 GM OSS Lens and Sony FE 2x Teleconverter, with the highest resolution ILC camera available, the Sony a7R IV. This combination was then mounted to the most solid tripod and head in my kit, the Wimberley WH-200-S Sidemount Head on a Robus RC-8860 Vantage Carbon Fiber Tripod.

The ISS moves across the sky very rapidly, leading me to select a 1/2000 shutter speed to avoid motion blur. With the transit duration predicted to be a mere 0.52 seconds, timing the shot was crucial. From testing, I knew this camera with a V60 SDXC card loaded would capture an over-four-second burst before the buffer filled. At just under two seconds before the transit start time, I pressed and held the release button on the Vello ShutterBoss Remote Switch.

The a7R IV's high speed+ mode netted three images that included the ISS in front of the sun. That count seemed a little weak in the composite (the space stations were "spaced" too far apart), so some additional space stations were cloned into the final image.

Much is said about using photography to tell stories, but another great aspect of photography is creating stories. I'm not talking about deceptive reporting and the like, but setting the goal to be photos, and enjoying an adventure unfolding, the story, while capturing them.

There was an exceptionally long off-trail hike in north-central PA involving a couple of deep canyons and lots of waterfalls that I had been planning to take for a long time. The schedule for this spring looked favorable for making that adventure happen, and I selected what appeared to be the perfect waterfall photography day. The weather forecast indicated full cloud cover and some light rain could be expected.

Then my youngest daughter asked if she could go along, and after my enthusiastic, positive response, I was then asked if three of her friends could also come along. After warning them over the duration and exertion this hike entailed, all were set on going. All four of the girls were distance runners, so I expected they were physically up to the hike. They were advised to bring the appropriate gear and supplies for an entire day that could include rain, and I welcomed the additions to the adventure.

We arrived at the start location late in the morning, and a beautiful waterfall greeted us a short distance into the forest. I hurriedly set up the camera (four girls were waiting for me), established the right settings, and captured some nice images. We then bushwhacked, rock-hopped (including creek crossings), and hung on the side of very steep terrain for, according to my daughter's Garmin watch, three miles until we arrived at another impressive waterfall. I captured more images, and we ate lunch.

That was the last time the camera came out of my MindShift Gear BackLight 26L. The rain started and quickly exceeding the forecasted slight-chance volume. The sky became very dark, and the rain didn't relent until it was nearly dark out.

Waterfalls require a cliff for the water to fall over, large falls require big cliffs and the falls that we continued to encounter had larger-than-needed cliffs. Getting around waterfalls meant moving downstream a distance until the wet sides were climbable (without ropes). How steep were the canyons, and how much time did we spend on them? At the end of the adventure, the girls were complaining that their arms hurt more than their legs, a sure sign that a good adventure happened.

At about 8 miles into the hike, a key landmark was missing. I had spent hours researching the hike, but this missing landmark was a key to finishing the hike as planned. There was no signal to locate ourselves via a smartphone, so I relied on a previously downloaded topographic map and a conventional compass to continue our route. While I knew we wanted to go east, I was not precisely sure how far north we had traveled. If I didn't guess correctly, we could miss the canyon we needed to find. Hedging enough to be safe, we walked southwest across the vast, densely forested, flat mountaintop. Note that walking through such terrain under a cloudy sky without a navigational aid is a sure way to get lost.

About 2 miles into the compass-directed portion of the dark and rainy adventure, the girls were becoming nervous, and one member of our team was staying immediately behind me. Eventually, we encountered a swampy area with a little flowing water, and I relented to traveling due east following that flow as the water had to be going down into the canyon we were hunting.

After a considerable distance down the steep mountain, we arrived at the targeted creek. While there was some relief among our group, deep, forested canyons are dark, and the what if we don't make it out before dark question began to be raised — repeatedly. I assured the group that we would light up the dark (I like the Black Diamond Spot 325 Headlamp BTW), and that we had the supplies necessary to make it out.

Still, the challenge of hiking the sides of the waterfall canyons increased while the light levels decreased. Finally, I declared that everyone had to begin wading across the streams. Yes, building rock bridges was fun, but it was time-consuming, and darkness was approaching.

Amazingly, we arrived back at the first waterfall at the precise time I had guessed to the group to expect to return. My distance estimate was not quite as accurate, with the Garmin indicating 13.1 miles of distance with 3,500' (1.07 km) in elevation change. The excitement brought on by the accomplishment and relief hitting the girls simultaneously made the adventure worthwhile, and all were ready to sign up for the next adventure. Interesting is that the next day their arms were sorer than their legs — due to holding onto trees and rocks while navigating the steep terrain.

No girls were harmed in the creation of this image, but photographically, the adventure was not so productive, with most of the waterfalls being from the sky. However, I know where some great images are, and will likely return for at least a partial repeat hike.

What will your story be? Use photography as a purpose for creating a story!

Here is one of the last photos I captured on this journey: Girl on a Waterfall Adventure.

A camera leveled for both tilt and roll is often a good choice when photographing a waterfall.
 
A very still girl is also a good choice when the shutter speeds reach 0.6 seconds.
 
The mid-day darkness foretold of the incoming weather that brought water falling from the sky for much of the day.

As long as the correct exposure and basic compositional skills are applied, it is hard to take a bad picture of the milky way.

Here is a list of steps for photographing the milky way.

1. You need to be able to see the milky way, and it is not always visible. Find that schedule. The Photographer's Ephemeris and similar apps are useful for this. Mid-late summer is ideal.
2. You need a dark sky. Dark as in no city lights, even in the distance, is most important, and no moon or a small moon is also helpful. Plan for the dark sky location and moon schedule.
3. You need a clear sky. Heavy cloud cover is a milky way photography show-stopper.
4. A camera is required. Most modern interchangeable lens cameras will work fine, but with equivalent lenses, the full-frame models have an advantage.
5. The camera requires a lens, and lens selection is critical. The lens needs a wide aperture to create a bright enough image in an exposure short enough that star trails do not appear within the acceptable ISO range of the camera. Think f/2.8 as a minimum, and f/1.4 is awesome. A wide-angle focal length is needed to get enough of the milky way in the frame. While 35mm can work, go with 28mm and wider (full-frame equivalent). Stars are pin-sharp and you want a lens that renders them pin-sharp fully into the corners at the wide-open aperture. That lens does not exist, but some lenses are considerably better than others for this purpose.
6. Mount the camera and lens on a solid tripod and head.
7. While the milky way looks great without any other supporting environment, an attractive foreground can make such an image stand out, as illustrated in this image.
8. Focus the camera. If the moon or another very distant light is visible, autofocus on it, and then switch to MF. Otherwise, or alternatively, use manual focus (pick a bright star and fully zoom in to focus manually).
9. Set the camera to manual exposure, and remember that your LCD is going to appear very bright in the dark.
10. Use a wide-open aperture.
11. Set the shutter speed. Basically, use the longest possible shutter speed that does not create offensive star trails. Consider starting at 20 seconds for a 24mm lens on a medium resolution imaging sensor. Higher resolution imaging sensors more readily show star trails and require shorter exposures for equivalent pixel-level results. Review the shot until the ideal duration is established.
12. Set the ISO. Too high is the setting most often needed. At f/2.8, ISO 12800 is probably needed. At f/1.4, try ISO 3200 or 6400.
13. Set the drive mode to 2-second self-timer.
14. Frame the scene as well as possible (it will be very dark), capture an image, adjust the camera, and repeat that process until perfection is achieved.
15. When the composition is just right, cue the meteorite to streak through an ideal area of the composition. Want a meteorite in the frame? The odds for any given frame to have a meteorite in it is low, but selecting a date within a known annual meteor shower, such as the Leonids, greatly increases the odds. After establishing the perfect shot, set the camera's drive mode to high speed, plug in a remote release with a locking button, lock the remote's shutter release down, and walk away. Tending a second camera setup is a good use of this time. If available, a bowl of ice cream is also entertaining. Come back to adjust the composition for the milky way's movement across the sky (I know, the earth is what moves).

Amazingly, and out of the norm for me, was seeing a meteorite streak by while the shutter was OPEN, without using the continuous drive mode technique. While I welcome meteorites, I do not fancy satellites. They get removed (this is easy with Photoshop's healing brush and clone tools).

As mentioned, the earth rotates, causing the milky way to move across the sky like everything else up there. On this evening, I followed the heart of the milky way around Bear Lake in Rocky Mountain National Park until Hallett Peak was a foundational element in the composition. Despite the 4:30 AM alarm, it was well after midnight before exhaustion overcame excitement.

What is my favorite milky way lens? Currently, the Sony FE 24mm f/1.4 GM Lens holds that title for me. The 24mm focal length fills a significant portion of the frame with the heart of the milky way. The f/1.4 aperture is extremely wide, permitting lower ISO settings for less noise. This lens's image quality at f/1.4 is excellent. The size is compact enough that I can take it along as a lens dedicated to this purpose.

The annual Christmas tree photo session was late this year, but ... I'll take satisfaction that it happened before Christmas.

Our space calls for an ultra-wide-angle focal length, and a wide max aperture lens typically makes the starburst effect from individual lights pronounced at narrow apertures. Last year, the impressive Canon RF 15-35mm F2.8 L IS USM Lens got the call for this job. Another impressive lens, the Sony FE 12-24mm f/2.8 GM, was a recent addition to the kit and a perfect choice for this year. That lens choice made the Sony a7R IV the easy camera choice.

When shooting the same scene every year, the composition selection tends to become established, and I didn't get too creative this year vs. last year, choosing again to utilize the wall unit as a right-side frame to the full room scene. The straight vertical lines of the wall unit lead me to a level (for pitch and roll) camera as those lines need to be straight along the edge of the frame (or they can be angled enough to appear intentionally so). The leveled camera position then determines the composition.

Note the lack of geometric distortion in this uncorrected 12mm capture.

With the close foreground, this composition requires f/16 for adequate depth of field, and narrow apertures produce larger starbursts. However, f/16 is considerably narrower than the a7R IV's DLA (Diffraction Limited Aperture), meaning that the image becomes very noticeably soft at f/16. Since this lens produces nice starbursts at f/11, I opted for this aperture for the base image and composited the closest subjects and the candle starbursts from an f/16 image via layers in Photoshop. Otherwise, this image is right out of the camera.

With that, another Christmas tree photo is in the archives.

When reviewing a lens, I'm always looking for ideally suited subjects to photograph. The Sigma 100-400mm f/5-6.3 DG DN OS Contemporary Lens is a great option to have on hand. It is perfect for wildlife photography, and this amazingly-colored blue jay timely volunteered a moment to pose for me.

When this bird showed up, providing a unique scenario, I was in full reactive mode. This fleeting opportunity was not expected, leaving no opportunity for preparation.

Working quickly with the Sigma telephoto zoom lens mounted to the Sony a7R IV, I first switched to Av mode. The overall scene was not especially dark or bright, so letting this competent camera determine the exposure was a logical, fast move.

A cloudy day meant that the late morning lighting remained soft and that the sun angle held little relevance. The camera could be positioned for the ideal bird angle, sideways or slightly facing the camera.

A cloudy day also meant somewhat dim lighting that called for a wide aperture. Not so fortunate is that wide open isn't especially wide for this lens. Very fortunate is that this lens is very sharp wide-open.

An additional benefit to this lens's specific wide-open f/6.3 aperture selection at 400mm is the relatively strong background blur, making the subject stand out, yet providing adequate depth of field for this close subject. Birds are seldom still, and ISO 400 seemed the immediate logical guess to go with this aperture, providing an adequately short shutter 1/160 speed.

After quickly capturing some insurance shots, the next move was to continue to work the scene, optimizing the composition. In this scenario, optimizing the composition included juxtaposing the background elements with the primary subject, primarily avoiding distractions around the bird's head and adjusting the camera elevation. More specifically, I moved to the left and slightly down.

With the next round of images on the card, moving closer seemed the next best option, and as close as the lens would autofocus was the subject distance for this image. While the entire bird was not close to fitting in the frame at this distance, I liked how much of the frame was filled with this bird's incredible colors. Of utmost importance is keeping the head entirely in the frame and providing some breathing room around the head. That concept meant cropping the tail out of the picture.

The next move was to rely more heavily on the Sigma and Sony coordinated optical stabilization, reducing the ISO setting to only 100. The bird was still enough for some of those images to be rendered sharply, but my eye preferred this overall composition better.

Those looking for a compact, lightweight, highly affordable telephoto zoom lens for Sony (or Leica) cameras should seriously consider the Sigma 100-400mm f/5-6.3 DG DN OS Contemporary Lens.

The warm early morning sunlight breaks through a small hole in the clouds at Monument Cove.

As is typical with landscape photography, being at the right place at the right time was the key to this image capture. While it is easy to control the when and the where, timing the clouds is a bigger challenge, one that often involves going home without the targeted image.

When photographing a large body of water, wave action is another image quality factor involving timing. Every wave is different, and the brightness caused by air in the water changes as the wave approaches, breaks, crashes, and recedes.

This image was captured at 28mm, well within the comfortable range of angles of view provided by the Sony FE 16-35mm f/2.8 GM Lens. When creating a composition, determine the elements that are helpful to an image and frame to include only those.

On this day, the sky was extremely bright and not especially photogenic. Therefore, I chose a downward camera angle combined with a focal length long enough to include only a small amount of sky, just enough to fit the ocean horizon.

As you likely guessed, I pressed the shutter release many times while this window of light availed itself. This image made the cut for the wave position and the shadow of a small cloud creating uneven lighting on the far edge of the boulder beach. The latter helps the monument to garner more attention.

The top of a mountain in Acadia National Park is a great location to take in a sunset. Better still is to extend that sunset photography opportunity into night sky photography.

It is hard to make a bad composition of the milky way, but adding an interesting foreground usually improves nightscapes. My eye is naturally drawn to mountain peak markers, and the Bald Peak marker was available.

The next step in composing this image was determining the ideal balance of the marker with the milky way, and the camera position illustrated here seemed optimal of the accessible shot locations.

The Sony FE 24mm f/1.4 GM Lens is one of the best nightscape lenses ever made. While the ultra-wide f/1.4 aperture is one of this lens's key nightscape advantages, the 24mm f/1.4 depth of field is shallow, too shallow to keep this sign and milky way sharp. Thus, this capture required an image focused on the peak marker and another focused on the stars.

Post-processing the two image stack was simple. The images were layered into a Photoshop file, and a layer mask was added to the top layer. Painting the mask black reveals that portion of the layer below, the peak marker and rocks in this case.

When two wide-angle f/1.4 lenses promoted as ideal for photographing the milky way (an addicting pursuit) show up in the same box with a dark, cloudless sky predicted for the next evening, you drop everything and drive hours to the darkest sky location in the region. In this case, that location was Cherry Springs State Park, an International Dark Sky Park, near Coudersport, PA. After a few hours of sleep and especially after loading the photos from the memory cards, you forget about arriving home at 2:30 AM.

This image was captured with the Sigma 24mm F1.4 DG DN Art Lens, and the Sigma 20mm F1.4 DG DN Art Lens opened up the angle of view slightly. The 20 and 24mm ultra-wide-angle focal lengths are ideal for framing the heart of the milky way, and the ultra-wide f/1.4 aperture allows sufficient light to reach the imaging sensor in the exposure time necessary to prevent star trails.

Here is the Cherry Springs State Park Milky Way at 20mm.

My family and I wish you a very Merry Christmas! As always, we hope that your Christmas season is filled with great meaning, great memories, and of course, great images.

Our Christmas tree represents a huge amount of work (primarily for my girls), and the results of their effort deserve preserving in a high quality image. After photographing the annual Christmas tree in the same location for 25 years, I have a few go-to shots dialed in.

An ultra-wide-angle focal length usually gets the selection. In addition to fitting the tree and surrounding space in the frame, this angle of view makes the room appear big, creating a more dramatic look.

There seems to be an outstanding ultra-wide angle lens choice introduced each year, and I seldom capture the tree photo with a lens previously used for that task. The Sony FE 12-24mm f/2.8 GM Lens captured the Christmas 2020 tree, the Canon RF 15-35mm F2.8 L IS USM Lens captured the 2019 tree, and, going a bit narrower for a different look, the Canon RF 28-70mm F2L USM Lens took in the 2018 tree.

Which lens got the call for 2021? The impressive Sony FE 14mm f/1.8 GM Lens.

At this time of the year, I know that I need to take pictures bracketing 5:15 PM by a few minutes to have deep blue sky color showing through the windows with the exposure balanced for the Christmas lights inside. No, I can't remember this time from year to year, but a calendar item reminds me (and EXIF information from the prior year's photos can be referenced).

F/16 images from any current digital camera, and especially from cameras with ultra-high pixel density, show a slight softness due to diffraction. However, I like the starburst effect that narrow apertures, such as f/16, create from point light sources, such as the candles in the windows.

Yes, compositing pictures taken with different apertures, f/8 and f/22 for example, could provide larger starbursts and sharper images, with still adequate depth of field. However, the points on the star rotate as the aperture is changed. This means that each entire starburst must be carefully contained to only one of the images during compositing in order to avoid misalignment.

Getting technical: if in-camera focus shift correction is combining with focus breathing, one image may be slightly magnified relative to the other, further complicating the compositing process.

Using f/16 with a little extra sharpening keeps the process simple — and the results are still very nice.

With only the tree and other decorative lights on, the exposure needs to be long — 30 seconds at ISO 160. The exposure duration means that only a few images can be captured during the perfect deep blue sky time.

Long exposures also mean that the tree ornaments must be still to avoid motion blur, and the floor vibrates when walked on, making the ornaments swing. One person walking across the room at the wrong time could eliminate one or two exposures from that short period. Thus, the photo day is (usually) selected for when I am home alone at 5:15 PM.

Setup starts about 30 minutes prior to the optimal shooting time. Due to lack of space for this composition, some furniture was moved out of the camera position. The LED thermostat light is blocked with sticky notes, oOttoman wheel tracks in the carpet are pressed out, etc.

The vertical lines in the windows (or sometimes a wall unit) on the right side of the frame look best when running parallel to the edge of the frame. Thus, a camera position leveled for both tilt and roll is usually selected. In this case, the Sony FE 14mm f/1.8 GM Lens especially impresses with its lack of geometric distortion (no correction was applied to this image), rendering the window frame straight.

I am fortunate to have a range of tripods to work with, and holding the Sony Alpha a7R IV and FE 14mm f/1.8 GM Lens combination steady indoors is not a support challenge. However, when shooting on carpet, I prefer a tripod with some weight (or spikes) to press into the carpet fibers, decreasing movement. The Really Right Stuff TVC-34L Mk2 Tripod and BH-55 Ball Head handled this job nicely.

With that, another Christmas tree photo is in the archives.