Octopus coming to Maymont nature center in Richmond

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Octopus coming to Maymont nature center in Richmond


© Provided by WRIC Richmond
Octopus coming to Maymont nature center in Richmond

RICHMOND, Va. (WRIC) — An octopus will soon be sashaying its way into the Robins Nature Center at Maymont.

The squishy friend will make its debut on Friday, March 17, joining the 70 species of fish, reptiles, amphibians, crustaceans and other water-based wildlife. In conjunction, a free screening of the award-winning documentary, “My Octopus Teacher” will be shown at 6:30 p.m. as part of the 13th Annual RVA Environmental Film Festival.

Leslie Jones stops by Richmond record store before headlining at the National

“We are so excited to expand Maymont’s aquatic collection with such a fascinating creature,” said Krista Weatherford, Director of Programming and Community Engagement for Maymont. “It will help our educators teach about the differences between vertebrate and invertebrate species, animal adaptations both physical and behavioral, and human impacts on their habitats.”

The octopus will remain on display for up to a year in the Robins Nature Center — the largest facility of its kind in Central Virginia — where it will serve to enhance the environmental education for youth programs, local schools and other Maymont visitors.



  • The squishy friend will make its debut on Friday, March 17, joining the 70 species of fish, reptiles, amphibians, crustaceans and other water-based wildlife. (Photo courtesy of Maymont)


    © Provided by WRIC Richmond
    The squishy friend will make its debut on Friday, March 17, joining the 70 species of fish, reptiles, amphibians, crustaceans and other water-based wildlife. (Photo courtesy of Maymont)


  • In conjunction, a free screening of the award-winning documentary, “My Octopus Teacher” at 6:30 p.m. as part of the 13th Annual RVA Environmental Film Festival. (Photo courtesy of Maymont)


    © Provided by WRIC Richmond
    In conjunction, a free screening of the award-winning documentary, “My Octopus Teacher” at 6:30 p.m. as part of the 13th Annual RVA Environmental Film Festival. (Photo courtesy of Maymont)


  • The octopus will remain on display for up to a year in the Robins Nature Center — the largest facility of its kind in Central Virginia — where it will serve to enhance the environmental education for youth programs, local schools and other Maymont visitors. (Photo courtesy of Maymont)


    © Provided by WRIC Richmond
    The octopus will remain on display for up to a year in the Robins Nature Center — the largest facility of its kind in Central Virginia — where it will serve to enhance the environmental education for youth programs, local schools and other Maymont visitors. (Photo courtesy of Maymont)

For more information on the Robins Nature Center, visit the Maymont website.

Copyright 2023 Nexstar Media Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

For the latest news, weather, sports, and streaming video, head to WRIC ABC 8News.

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Shooting the night sky with Samsung smartphones by Jose Antunes

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Shooting the night sky with Samsung smartphonesPhotographers using the Samsung S22 Ultra for astrophotography will discover the smartphone has a sky guide built-in, helping them to find the right targets. It has some bugs too…

It may not be able to rival images captured with a conventional camera, but astrophotography has become a passion for many smartphone users, thanks to the tools included, that help to make more accessible what was once an experience only a few tried, especially with negative film or transparency. Digital has made astrophotography easier, but smartphones really took the whole experience to a new level.

Samsung has gone as far as giving users interested into capturing the night sky a guide built-in one of its apps, Expert RAW, which must be downloaded by users of “old” smartphones but is now part of the software included in the new Samsung Galaxy S23 Ultra. With the sky guide, which guide indicates the location of constellations, nebulae, and star clusters, it’s easier to define what to photograph and… in which direction to point the camera.

While smartphone photographers keen on astrophotography are used to have an app in their devices that shows the night sky, it’s good to have a camera app that offers some of the essential information, without having to jump between apps. This makes for a faster workflow in an experience where every minute counts.

Conventional astrophotography requires a complex process that includes searching for astronomical objects, define the composition, set the camera as required, shoot the subject and finally do all the post-processing the create the final images. It can take hours in the field and hours at the computer, and the more complex setups include tracking systems which works with cameras to follow celestial bodies during the long exposure time.

Shooting the night sky with Samsung smartphonesA guide to the night sky

According to Samsung, the astrophotography function in its cameras provides all these processes as a software solution. The sky guide helps to define the position of celestial bodies after which the camera captures the movement of stars by taking several pictures for a set period of time according to the movement of the celestial body. The result using advanced AI segmentation technology and multi -frame processing boasts outstanding quality as if it were shot with high-end professional equipment.

While I’ve some difficulty believing that part, the truth is that the presence of the sky guide helps as a starting point, and the guiding suggestions included will help those lucky enough to find a place without light pollution – something hard to discover in the region where I live – to explore the potential of their smartphones for astrophotography.

The astrophotography section of the Expert RAW app is identified by a small icon on the top right of the screen. Press it and a menu appears, with the option to show or hide the sky guide and a suggestion of exposure time… which are all beyond what the normal operation of the smartphone allows. Recording times are 4, 7 and 10 minutes, chosen using the slider on the screen. Once you’ve selected your exposure, press the shutter, be it on the screen or using a remote, which is the better way if you want to keep vibration to a minimum.

Shooting the night sky with Samsung smartphonesMoon shot at 100x… it’s marketing

It’s also possible to use a timer, although a remote is the most sensible solution if you intend to do a lot of astrophotography. If you do not own a remote shutter (which uses Bluetooth to “talk” with the smartphone) but have a Samsung Galaxy S22 Ultra, or the new S23 Ultra, here are the good news: the S Pen included doubles as a remote shutter. That’s some valuable information that many photographers seem to forget.

Here are the instructions to activate the S Pen as a remote:

  • Open the Settings of your phone.
  • Enter Advanced features.
  • Tap S Pen.
  • Swipe to turn on the remote control.

The S Pen offers a series of options you may want to explore, through its Air actions. Besides being used as a remote shutter it can also be used to open the Camera module, simply by pressing the button on the pen for a couple of seconds. You can also select which actions are available for the Gallery, besides other options associated with other apps. And yes, the S Pen can also be used to write notes, even on top of your photographs.

Besides using the Expert RAW app, there are other ways to capture images of the night sky using a smartphone. Using the Night mode – or Nightography, as Samsung names it – mode of the main camera is one of them. In the base Camera mode chose night, pick the exposure time you want – from those offered – and shoot. Remember, due to the long exposure time, a tripod is recommended. In fact, it’s necessary for astrophotography.

If you dare to take control of things, then the Pro Mode in the Camera app and the Expert RAW app open new possibilities, allowing you to control both ISO and exposure time, as well as the colour temperature. Depending on the sky you may have to vary your ISO along with the exposure time. For a normal dark sky start with 800 ISO, which will help to keep noise values under control. Suggested exposures times are 30 seconds for the ultrawide lens, 20 seconds for the wide (which is the main camera in the S22 Ultra), 15 seconds for the 70mm Tele and finally 4 seconds for the 230mm lens.

The value above should give you a starting point from where to adjust exposure. Colour temperature may also be adjusted, but you can leave it in Auto, as you’ll probably have to do some postproduction to get the best results. For this reason it is best to shoot in RAW, as you’ve a base file with more information to tweak to reach the final photo.

Still, take all the promises from Samsung with a grain of salt. A Moon shot at 100x? It’s pure marketing. The image you get may look OK on the smartphone’s screen, but in no way competes with the results of a conventional camera with a similar focal length. Open it in your computer and check… There is a reason why the Expert RAW app and the Pro mode of the Camera app only allow the lens to go to 20x digital zoom… and even there you’re already beyond the real capacities of the smartphone and its optical lenses.

Shooting the night sky with Samsung smartphonesA bug Samsung forgot to tell you about

Now, before you go and grab your camera for a night out looking at the sky, here is a crucial piece of information that Samsung has not shared widely but is important for all those who may want to use the Astrophotography mode in Expert RAW. The Astrophotography mode has a bug and if you, like me, use the highest resolution for your smartphone’s screen, it will crash as soon as you try to view the sky guide.

After the Astrophotography mode was introduced, and because I could not use it, as my S22 Ultra crashed, I sent feedback to Samsung and was told to put the app to “deep sleep” – lingo for… don’t use it – which was not exactly what I expected to get from the company. But hey, they still have not told me where I can buy the filter support they announced months ago…

Now, for the Astrophotography mode the solution came from one user, through the US forums, who revealed that by reducing the resolution of the S22 Ultra screen from WQHD+ (3088 x 1440) to FHD+ (2316 x 1080) solved the problem. Apparently, there are other apps affected by the same bug.

This important note about the bug was revealed October last year, and it was suggested that Samsung should find a solution. He are now in March 2023, a handful of updates later, and still no sign that Samsung has squashed this bug – I just changed the screen pm my smartphone to WQHD+ to test and the app stopped working – or has issued any official information telling those who may face the problem how to solve it.

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Inside A Professional Photographer’s Kit Bag: Rob Pugh, Weddings

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Our series profiling professional photographers and the gear they keep in their kit bag continues. In these articles, sponsored by MPB, and how they know when it’s time to move on to a new camera or lens. Next up, wedding photographer Robert Pugh tells us what go-to gear is always in his kit bag, what gear he has sold over the years and how he knows when it’s time to move on from a camera or lens.

When did you make the leap and become a professional photographer?

I went full time in photography back in 2011. The reason I went full time is that I could no longer sit behind a desk. It was getting too stressful. I was an area manager of a big company, and I was off with stress for a month at one point. I decided that things had to change. I got a phone call from a school asking if I was available to cover a big sporting event. I said yes, and that launched my career to the point where I still shoot all their events to this day. That supplied me with the budget I need to start the business.

What camera are you using right now?

I use the Sony A1. I started life out with Sony and the A99. I liked it, but their hotshoe was a bit of a nightmare to use. I switched to Nikon, but I found the cameras a bit heavy and bulky. So I moved to Olympus and used it for about 8 years, but I felt that I wasn’t getting the depth, the bokeh I wanted. I needed to go back to full-frame. Going into the shop and testing out various cameras, and I ended up back on Sony. I wanted something that is ergonomically comfortable in hand, light and small but still packs a punch.

What is your go-to gear that you keep in your kitbag?

This comes on every single shoot:

  • Sony A1
  • Sony 50mm f/1.2
  • Sigma 85mm f/1.4
  • Sony 35mm f/1.4
  • Sony 24mm f/1.4
  • Profoto A1X flash
  • As a backup body, I take another A1. I don’t use it; I’ve only got it with me in case something goes wrong.

How often do you sell your gear?

I don’t keep anything I’m not using. I give a camera three years. I’m a limited company, so it helps with corporation tax. Investing in new gear helps me keep tax down. To be honest, the way technology is advancing, after three years a camera becomes pretty outdated anyway. Sony likes to do this thing where you can have two iterations of a camera in one year. With the pro bodies, they do need to be upgraded to take advantage of new tech like AI. Doesn’t matter if it’s a laptop or camera, you have to keep them updated for processing power.

The problem with the A1 is if you go buy one it’s £6500.

How do you know when it’s time to sell your gear?

I was an Olympus Ambassador for 8 years and they supplied the cameras and lenses. So I was spoiled where I didn’t need to sell or buy anything. I got all the latest cameras and lenses. That was a real blessing. And I was under contract so had to use their gear. I wanted to branch out though so eventually invested my money in a Sony system.

Robert Pugh Olympus Ambassador

“That’s a lot of money just to be sitting in a bag! It’s not earning you anything.”

I know people who hold on to all their lenses, and I’ve done workshops where people come out and they have all the gear. People say, Well I might need it. But in the last month, there’s usually just a small group of kit that they use. That’s a lot of money just to be sitting in a bag! It’s not earning you anything. I feel like a camera and lens have to earn their way into your kit bag, otherwise I can invest that money into new equipment.

How do you make sure the next gear you purchase is right for your needs?

It’s a bit easier for me because I really only shoot with three lenses across the board. 35mm for all documentary. 50mm for close up detail. 85mm for headshots. My whole career has been with those lenses. I don’t like zooms. I feel they make you lazy and you’ll probably take six types of shots from one position. With a prime you zoom with your feet and find better angles by moving around.

What’s your advice for new photographers who might be looking to sell their beginner gear?

My biggest advice is don’t rush into anything. All these camera shops are more than happy to help you make the right choice. Go to shows and get hands on with cameras. Try various brands and see what the difference are and what system of lenses they offer. Don’t make an impulse buy. The worst is that you follow a photographer on YouTube and he shoots with a camera that you buy and it’s not right for you. Utilise the camera shows to try before you buy.

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Will Davies shares insight into winning Landscape photo

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Developing an instinct for when the light will be good is one of the secrets of creating dramatic landscape images, Landscape Photographer of the Year 2022 winner Will Davies tells Damien Demolder

It might be considered by some to be a poor show of manners to win the top prize in the Take A View Landscape Photographer of the Year competition on the first time of entering. But perhaps Will Davies’ move to the USA has made him forget about gentlemanly sportsmanship and fine traditions. His only saving grace perhaps is that the winning image shows God’s own South Wales in glorious sunlight and describes the gently undulating countryside spread out before him from Pen y Crug with great show of patriotic adulation. Beating thousands of more seasoned landscapers to the top spot, Will’s photograph carries a number of hallmarks of his developing style and shows us both the way he works and the elements that catch his eye.

Getting into photography

Although Will grew up in Wales in his teenage years he was more interested in golf, pubs and rugby than in the spectacular landscape that surrounded him. It was a move to East Africa with the international development organisation he worked for that opened his eyes to the natural world, and to photography.

‘I live in Washington DC at the moment,’ Will tells us, ‘where the immediate landscape and wildlife opportunities are a little limited, but when I was 27 I moved to Ethiopia. It was about 2007 and a couple of years after digital SLRs had become a bit more mainstream. I wanted a camera to take on trips, so got myself a Canon Rebel XT (EOS 350D in the UK). I’d moved there on my own, so I had plenty of time at weekends to do what I wanted – and I wanted to travel around to see the country.

I also wanted to be able to capture pictures of the people, the landscape and the wildlife to share with people at home. It’s pretty easy to take good pictures in Ethiopia as the high-altitude scenery is stunning, and once I started to get a few decent pictures of it I really got the photography bug. From there I moved to Kenya, which is where things really took off for me and wildlife photography. When you can drive to the Maasai Mara at the weekend it’s hard not to get a little bit obsessed with photography.

Acacia tree silhouette against a dramatic sunrise – Masai Mara, Kenya

Acacia tree silhouette against a dramatic sunrise – Masai Mara, Kenya. Image credit: Will Davies

‘I’d had a film camera as a child but I wasn’t very interested. The instant feedback you get with a digital camera though made a lot of difference to me. I could see what I’d just shot and would occasionally say ‘Wow – that’s pretty good!’ I could see when I made mistakes and immediately see what was wrong, which gave me the chance to correct things and to learn a lot more quickly. It was the first time I was taking pictures that got me excited and which I felt I could share with other people. It helped that the standard of postcard and travel photography in Ethiopia at the time wasn’t very good at all, so it gave me a lot of confidence in what I was creating.

At the time there wasn’t much tourism in the country, and most people associated the country with poverty, but the scenery and the history was, and is, amazing. There are churches from the 12th century carved out of the rocks that are beautifully conserved and it’s a really fascinating place to travel. There are gelada baboons in the Simien Mountains too, that sit on the edge of 2000-metre-high cliffs and which are almost tame. They just sit there and let you photograph them – so it’s very easy. I visited them a few times and was gradually getting into wildlife photography before I moved to Kenya and before I started buying half decent camera gear.’

Wildebeest cross the Mara river during the great migration, Kenya

Wildebeest cross the Mara river during the great migration, Kenya. Image credit: Will Davies

First time lucky

‘I hadn’t entered Landscape Photographer of the Year before, not because I didn’t want to or didn’t know about it,. But because I didn’t have anything I thought was worth putting in. Most of my pictures were taken in Africa and I only had a few snaps taken in Pembrokeshire from holidays. During The Pandemic I spent a lot of time back in the UK and had the chance to photograph the countryside around where I come from.

I would walk in the hills and take the camera, and when we could travel I went to Scotland and to North Wales to take pictures too. I got a decent number of good pictures together, and thought I had enough to make it worth a shot at the competition. I wouldn’t have entered unless I thought I had a chance obviously, but really I was just hoping to get into the book. I really didn’t expect it was possible for me to win. There are a lot of really good UK landscape photographers and the standard is always very high.

Landscape photographer of the year overall 2022 winner William Davies - Brecon In Winter Location: Brecon Beacons National Park, Wales Canon EOS 5DSR, EF 70-200mm f/4L

Landscape photographer of the year overall 2022 winner. William Davies – Brecon In Winter. Location: Brecon Beacons National Park, Wales Canon EOS 5DSR, EF 70-200mm f/4L

‘Winning gave me a big confidence boost, and has motivated me to shoot a lot more than I did in the past. It has also put me in touch with other photographers, and got me the attention of magazines and websites. So it’s been great that way too. I’ve had to make my own website and join Instagram so that people can find me. It would be easy to feel a lot of pressure to do well next time too, and to keep up the success, but I try to put that to the back of my mind. Fundamentally I do this for the joy of it and my love of being outside.

‘Even though I grew up in South Wales there were a lot of places I didn’t know so spending time there with my camera during lock-down has really opened it up. I used to just go off to explore and to see what I’d come across without doing any research at all. I knew some places that would have photographic potential and head in that direction, but I came to realise it was a pretty inefficient method of finding locations.

Going in blind of course meant that I wasn’t copying anyone else and I wasn’t going to be influenced by other pictures I’d seen, but it really does pay to do some research. The first guide book I bought was Drew Buckley’s Explore and Discover South Wales, which showed me so many places I just didn’t know about – even though it was my part of the country. If I’m going anywhere now I get a guidebook to find out where the best locations are, if only just to get me started.’

Fields in the mist - Monmouthshire, Wales

Fields in the mist – Monmouthshire, Wales. Image credit: Will Davies

Instinct for the moment

‘The excitement comes before you get the camera out, doesn’t it?’ Will points out. ‘There are certain days when you just have that feeling as you’re driving to wherever you’re going or walking, and you know the conditions are going to be exciting. I mean it could be that you’re out in autumn, the colors are beautiful and it’s one of those mornings where the mist is just sitting amongst the trees – there’s going to be an opportunity. You know when the sun rises you’ll get a stunning and misty landscape. Or it could be that it’s just snowed and you can see the clouds are clearing and you have a feeling that at sunrise there’s going to be some magical light. You start to develop a bit of an instinct for when it’s going to be good.

‘For me it’s all about the light. A lot of photographers say they’re ‘chasing the light’ and I think for me that’s also true. In those moments on a cloudy day when the light just breaks through and hits a part of the landscape and brings it to life. It can create huge contrasts between the the sunlit parts of the scene and a background that’s maybe full of storm clouds. It’s the same when you get that first light hitting the mist as it’s just lifting off the trees in the morning. Those are good days, and sometimes there are so many great photos to be had it’s almost stressful deciding which to shoot. It can be hard to relax and focus instead of running around trying to get all the angles, views and opportunities.

I take a lot of photos – that’s kind of my approach. I don’t usually go out to shoot a particular scene or a very specific composition. I may have certain shots in mind but I try to adapt according to how the light is hitting the landscape.’

A magical winter's morning in the Brecon Beacons, Wales. will davies

A magical winter’s morning in the Brecon Beacons, Wales. Image credit: Will Davies

Light and lenses

Will says he likes to simplify the scenes in front of him to make them compelling, but without losing the drama that often comes with the complexity of the natural landscape. Part of his method for doing this involves using a telephoto lens to isolate distant areas, such as in his winning shot of Brecon Beacons in Winter. ‘Using a telephoto lens makes it much easier to limit what’s in the frame, and to help the viewer focus on what you want them to see. It also gives the scene a bit of compression between the foreground and the background that can help to bring the drama out.

It’s hard to shoot with a wide angle lens in the Brecon Beacons. Compared to Essex it’s mountainous, but it isn’t the Dolomites or Iceland. It’s rolling hills by those standards, so with a wide lens it can look a bit flat while a long lens in good conditions can bring out a sense of drama.

‘At the coast it’s a different story though, and I almost always want to shoot with a wideangle, as there are usually interesting foreground details and cliffs in the background. You need a wide just to get everything in the frame. With a wide angle the importance of the foreground becomes more pronounced so you have to make sure there is something in the foreground to see or that it fits into the wider landscape itself.

Buachaille Etive Mor - Glencoe, Scotland. will davies

Buachaille Etive Mor – Glencoe, Scotland. Image credit: Will Davies

‘I like the contrast between light and shadow in the landscape, but I really like it when the light is on the foreground and the background is darker and moodier. I like that look as it’s the opposite of what we usually see – where the foreground appears a bit too dark as it’s against a bright sky. Shaded mountains with a bright foreground is always something I’m on the look-out for as it feels like nature is flipped, and you have this lovely light drawing you into the image.

‘I think one thing I’ve learned is to know when I’m going to get the right conditions at different times of day and in different situations. If you’re in the Brecon Beacons there’s much less point going out before sunrise or after the sunset because you really need that sunlight – you need something to create that drama. If you’re on the coast though it’s quite hard to take good photos when there is direct sunlight. It’s those kind of pre-dawn or twilight moments when you get the reflections and the colours in the sky. That I’ve learned from trial and error. I need to be aware of how different types of conditions will fit different scenes in different ways.’

See our guide to outdoor light in photography here.

Long exposure of rocky coastline and waterfall near Southerndown, Wales.

Long exposure of rocky coastline and waterfall near Southerndown, Wales. Image credit: Will Davies

Will Davies – Camera kit

‘I don’t shoot much wildlife these days, so most of my kit is aimed at landscape work. I use a Canon EOS 5DR which I got because it was the highest-resolution full frame Canon camera at the time. I have three zoom lenses to cover 17mm to 200mm, though I do still have my Sigma 300mm which cost more than my other three lenses together.

A mother and lion cubs, members of the marsh pride in the Masai Mara (of BBC Big Cat Diaries fame). taken by will davies

A mother and lion cubs, members of the marsh pride in the Masai Mara (of BBC Big Cat Diaries fame). Image credit: Will Davies

‘I discovered in Iceland recently that I need a better tripod that can hold the camera still in the wind and that doesn’t just slide along on the ice – so that’s my next upgrade.

‘For my landscapes I tend to use f/16 all the time. I don’t really see any reason not to have focus throughout the whole image. I’m not into selective focusing, so I pick my focus point and stop down. I rarely shoot any other way. Of course for wildlife the opposite was true. I’d use a wide aperture to get a shallow depth-of-field, but I like my landscapes to be sharp front-to-back.’

The Eystrahorn mountain, Iceland.

The Eystrahorn mountain, Iceland. Image credit: Will Davies

See the best cameras for Landscape Photography here.

To see more of Will’s work visit his website and Instagram.

This year’s Landscape Photographer of the Year is now open for entries until 31st May 2023. Submit your photos here.

See more of the best competitions to enter here.

Featured image: Castle Stalker, Scotland. Will Davies

Need further landscape photography guidance? Check out our landscape technique guides here, including our complete guide to Landscape Photography.

You can also improve your landscape photography by joining us on one of our upcoming photography trips. Tours include Faroe Islands with Serkan Günes, 22 – 27 August 2023. See all photography tours and vacations in partnership with Zoom Photo Tours.here.

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Top tips for award-winning landscapes from LPOTY 2021 winners

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The top 20 best landscape photographs

The best landscape photography books for inspiration

Follow AP on Facebook, Twitter, Instagram, and YouTube.



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4 astrophotography tips for out-of-this-world night shots

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Watch video: 4 astrophotography tips

Just because the sun goes down doesn’t mean you should pack up your gear and head home! Some of the most fun you can have with a camera happens after dark. From shooting starry skies and capturing whirling star trails to painting with light, you can get creative – and even shoot the elusive Northern Lights if you’re far north enough to see them. 

After-dark photography is a great string of techniques to add to your bow, and I will help you get that hang of shooting in low light, mastering settings such as high ISOs and fast apertures, and getting to grips with wide lenses, shutter release cables and tripods.

• If you want to get stargazing, you’ll need the best cameras for astrophotography

In this project, I’ll run through four of my favorite techniques to try when the skies are clear and the stars are out… 

1. Pin-sharp stars

You want the stars to appear as little pin-points of light, but if your exposure is too long then you’ll record the motion of the Earth’s rotation – which will turn your stars into streaks. 

To keep the stars sharp, use the ‘500 rule’. This is where you divide 500 by your focal length, such as 16mm – which would give us a shutter speed of 30 secs, and lets us know that an exposure longer than this is likely to turn our stars into trails. You’ll need to adjust this value if you use a cropped sensor camera, due to the crop factor increasing the equivalent focal length. We also like to use the Spot Stars mode on the PhotoPills smartphone app to calculate the exposure time.

2. Shoot a star trail

A star trail image is a photograph of the night sky taken over an extended period, with the main aim to capture the movement of the stars thanks to the rotation of the Earth. The best way to create these is to take a series of consecutive images over time – at least an hour – and then merge all the images in software, such as StarStaX, for epic star trails.

Set up your camera with a shutter speed of 30 secs, then open your lens aperture to f/2.8 or f/4, dial in an ISO of 3200 and take a test shot. If the image is too bright or dark, you’ll need to lower or increase the ISO respectively. Use your camera’s continuous burst mode and plug in your cable release, then lock it down so it takes 120 images back-to-back for an hour.

• Check out the best camera remotes and cable releases

3. Paint with light

While star-filled images can be a sight to behold, adding in a complementary lit-up foreground can really take your pics to another level. We’ll use the same settings as the first tip, but this time paint with a torch facing towards the camera to draw text such as our “Iceland”. It will take a few attempts to get used to writing backwards, as it’s not as easy as it seems!

You could take separate exposures for each letter of your word, to make sure they’re not joined together. Another use for your torch would be to shine it on your foreground, to illuminate it and bring out some details. There’s loads of ways you can get creative with painting with light; even standing in the scene and pointing your torch up is effective.

4. Photograph the Northern Lights

The Northern Lights occur when a strong solar flare hits the atmosphere. They are usually strongest in particular parts of the Northern Hemisphere, yet you can see the Aurora Australis in the Southern Hemisphere. Drew has managed to capture it a few times, even in Wales! 

The technique is again similar to the first tip, for pin-sharp stars, using a fast wide lens, although keep checking the exposure. If the aurora is motionless, you may want a long 30-second exposure; if it’s moving quite quickly, you may only want 10 seconds, which will require a higher ISO.

Shoot Raw and keep checking your shots, and keep taking photos until the display is over so you have plenty of chances to capture a cracking shot. It’s also worth shooting at regular intervals, so you can turn your images into a time-lapse video.






© Provided by Digital Camera World


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You might like the best photo editing software and the best photo-editing laptops. Check out these landscape photography pro tips, too.

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Stock Photography Market 2023, Top Factors that Will Boost the Stock Photography Market

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The MarketWatch News Department was not involved in the creation of this content.

Mar 13, 2023 (The Expresswire) —
Stock Photography Market Size 2023-2029 | New Report (101 Pages) | Analytics | In This Reports Stock Photography Market Provides Top Stock Photography Companies (Stocksy United, Adobe Stock, 123RF, Dreamstime, Zenfolio, Imagedb, Getty Images, Shutterstock, Veer, Thinkstock, iStock, Smugmug, Pixpa, Photos of India, Pixabay) with the best facts and figures, and its business scene, significant issues, answers for relieving the upgrading risk, methodologies, future lookout, and possibilities, Other than the standard design reports, definitions, SWOT and PESTAL analysis, expert opinions and the latest trends around the world.

To know How COVID-19 and Russia-Ukraine War Influence Will Impact This Market/Industry–Request a sample copy of the report-:https://www.researchreportsworld.com/enquiry/request-covid19/20677366

Moreover, the Stock Photography Market Report includes data on research and development, New product launches, product feedback from global and regional markets by key players. This structured analysis provides a graphical representation and strategic breakdown of the Stock Photography market by region.

Who are the key players in the Stock Photography market?

List of TOP KEY PLAYERS in Stock Photography Market Report are: –

● Stocksy United
● Adobe Stock
● 123RF
● Dreamstime
● Zenfolio
● Imagedb
● Getty Images
● Shutterstock
● Veer
● Thinkstock
● iStock
● Smugmug
● Pixpa
● Photos of India
● Pixabay

Get a Sample PDF of the Stock Photography Market Report

Stock Photography Market Analysis and Insights

This report aims to provide a comprehensive presentation of the global market for Stock Photography, with both quantitative and qualitative analysis, to help readers develop business/growth strategies, assess the market competitive situation, analyze their position in the current marketplace, and make informed business decisions regarding Stock Photography.

The Stock Photography market size, estimations, and forecasts are provided in terms of and revenue (USD millions), considering 2023 as the base year, with history and forecast data for the period from 2017 to 2029. This report segments the global Stock Photography market comprehensively. Regional market sizes, concerning products by types, by application, and by players, are also provided. The influence of COVID-19 and the Russia-Ukraine War were considered while estimating market sizes.

“The Research Report includes specific segments by region (country), by company, by Type and by Application. This study provides information about the sales and revenue during the historic and forecasted period of 2017 to 2029.” Ask for a Sample Report

For a more in-depth understanding of the market, the report provides profiles of the competitive landscape, key competitors, and their respective market ranks. The report also discusses technological trends and new product developments.

The report will help the Stock Photography companies, new entrants, and industry chain related companies in this market with information on the revenues for the overall market and the sub-segments across the different segments, by company, product type, application, and regions.

Get a Sample PDF of the report at –https://www.researchreportsworld.com/enquiry/request-sample/20677366

What segments are covered Stock Photography Market report?

Product Type Insights

Global markets are presented by Stock Photography type, along with growth forecasts through 2029. Estimates on revenue are based on the price in the supply chain at which the Stock Photography are procured by the companies.

This report has studied every segment and provided the market size using historical data. They have also talked about the growth opportunities that the segment may pose in the future. This study bestows revenue data by type, and during the historical period (2017-2023) and forecast period (2023-2029).

Segmentby Type – Stock Photography Market

● Free ● Paid

Application Insights

This report has provided the market size (revenue data) by application, during the historical period (2018-2023) and forecast period (2023-2029).

This report also outlines the market trends of each segment and consumer behaviors impacting the Stock Photography market and what implications these may have on the industry’s future. This report can help to understand the relevant market and consumer trends that are driving the Stock Photography market.

Segment by Application – Stock Photography Market

● Scientific Research ● Books, Newspapers ● Website Building ● Advertising ● Other

Enquire before purchasing this report –https://www.researchreportsworld.com/enquiry/pre-order-enquiry/20677366

What is the Stock Photography market Share?

Stock Photography Market Shareby Company Type Report is designed to incorporate both qualify qualitative and quantitative aspects of the industry with respect to each of the regions and countries involved in the study. This report also provides a balanced and detailed analysis of the on-going Stock Photography trends, opportunities/high growth areas, Stock Photography market drivers which would help the investors to device and align their market strategies according to the current and future market dynamics.

The Global Stock Photography Market Share report is provided for the international markets as well as development trends, competitive landscape analysis, and key regions development status. Development policies and plans are discussed as well as manufacturing processes and cost structures are also analyzed. This report additionally states import/export consumption, supply and demand Figures, cost, price, revenue, and gross margins.

Which region has the largest share in Global Stock Photography Market?

Regional Outlook

This section of the report provides key insights regarding various regions and the key players operating in each region. Economic, social, environmental, technological, and political factors have been taken into consideration while assessing the growth of the particular region/country. The readers will also get their hands on the revenue and sales data of each region and country for the period 2017-2029.

The market has been segmented into various major geographies, including North America, Europe, Asia-Pacific, South America, Middle East and Africa. Detailed analysis of major countries such as the USA, Germany, the U.K., Italy, France, China, Japan, South Korea, Southeast Asia, and India will be covered within the regional segment. For market estimates, data are going to be provided for 2023 because of the base year, with estimates for 2023 and forecast revenue for 2029.

This Report lets you identify the opportunities in Stock Photography Market by means of a region:

● North America ● Europe ● Asia-Pacific ● South America ● The Middle East and Africa

COVID-19 and Russia-Ukraine War Influence Analysis

The readers in the section will understand how the Stock Photography market scenario changed across the globe during the pandemic, post-pandemic and Russia-Ukraine War. The study is done keeping in view the changes in aspects such as demand, consumption, transportation, consumer behavior, supply chain management, export and import, and production. The industry experts have also highlighted the key factors that will help create opportunities for players and stabilize the overall industry in the years to come.

Reasons to Purchase this Report:

● Strong qualitative and quantitative market analysis based on the segment breakdown within the consideration of both economic as well as non-economic factors. ● Market evaluation based on market value (Data in USD Billion) for each segment breakdown. ● Indicates of the region and segment breakdown that is expected to witness the fastest growth rate and acts as market dominant. ● Analysis of geography highlighting, the region vice consumption of the product/service and an indication of the factors that are affecting the market within each region. ● The competitive landscape encompasses the market ranking of the major market competitors, new service/product launches, partnerships, business expansions, and acquisitions in the past five years of companies profiled. ● The company profiles section provides an understanding of the company overview, company insights, product benchmarking, and SWOT analysis for the major market players. ● Current as well as the future market outlook of the industry with respect to recent developments (which involve growth opportunities and drivers as well as challenges and restraints of both emerging as well as developed regions). ● In-depth analysis of the market through Porter’s Five Forces Analysis. ● Provides insight into the market through Value Chain. ● The understanding of market dynamics scenario, growth opportunities of the market for the period of forecast. ● 6-month post-sales analyst support.

Key questions answered in the report:

● What is the growth potential of the Stock Photography market? ● Which product segment will take the lion’s share? ● Which regional market will emerge as a pioneer in the years to come? ● Which application segment will experience strong growth? ● What growth opportunities might arise in the Stock Photography industry in the years to come? ● What are the most significant challenges that the Stock Photography market could face in the future? ● Who are the leading companies on the Stock Photography market? ● What are the main trends that are positively impacting the growth of the market? ● What growth strategies are the players considering to stay in the Stock Photography market?

Detailed Table of Content of Global Stock Photography Market Research Report 2023

1 Stock Photography Market Overview
1.1 Product Overview and Scope of Stock Photography
1.2 Stock Photography Segment by Type
1.3 Stock Photography Segment by Application
1.4 Global Stock Photography Market Size Estimates and Forecasts

2 Stock Photography Market Competition by Manufacturers
2.1 Global Stock Photography Market Share by Manufacturers (2017-2023)
2.2 Global Stock Photography Revenue Market Share by Manufacturers (2017-2023)
2.3 Global Stock Photography Average Price by Manufacturers (2017-2023)
2.4 Manufacturers Stock Photography Manufacturing Sites, Area Served, Product Type
2.5 Stock Photography Market Competitive Situation and Trends
2.6 Manufacturers Mergers and Acquisitions, Expansion Plans

3 Stock Photography Retrospective Market Scenario by Region
3.1 Global Stock Photography Retrospective Market Scenario in Sales by Region: 2017-2023
3.2 Global Stock Photography Retrospective Market Scenario in Revenue by Region: 2017-2023
3.3 North America Stock Photography Market Facts and Figures by Country
3.4 Europe Stock Photography Market Facts and Figures by Country
3.5 Asia Pacific Stock Photography Market Facts and Figures by Region

4 Global Stock Photography Historic Market Analysis by Type
4.1 Global Stock Photography Market Share by Type (2017-2023)
4.2 Global Stock Photography Revenue Market Share by Type (2017-2023)
4.3 Global Stock Photography Price by Type (2017-2023)

5 Global Stock Photography Historic Market Analysis by Application
5.1 Global Stock Photography Market Share by Application (2017-2023)
5.2 Global Stock Photography Revenue Market Share by Application (2017-2023)
5.3 Global Stock Photography Price by Application (2017-2023)

6 Key Companies Profiled

Get a Sample PDF of the Stock Photography Market Report

7 Stock Photography Manufacturing Cost Analysis
7.1 Stock Photography Key Raw Materials Analysis
7.2 Proportion of Manufacturing Cost Structure
7.3 Manufacturing Process Analysis of Stock Photography
7.4 Stock Photography Industrial Chain Analysis

8 Marketing Channel, Distributors and Customers
8.1 Marketing Channel
8.2 Stock Photography Distributors List
8.3 Stock Photography Customers

9 Stock Photography Market Dynamics
9.1 Stock Photography Industry Trends
9.2 Stock Photography Market Drivers
9.3 Stock Photography Market Challenges
9.4 Stock Photography Market Restraints

10 Global Market Forecast
10.1 Stock Photography Market Estimates and Projections by Type
10.2 Stock Photography Market Estimates and Projections by Application
10.3 Stock Photography Market Estimates and Projections by Region

11 Research Finding and Conclusion

12 Methodology and Data Source
12.1 Methodology/Research Approach
12.2 Data Source
12.3 Author List
12.4 Disclaimer

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Samsung Galaxy S23 Ultra makes pro-level star photography possible and I’m floored

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© Future / Lance Ulanoff
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Images that make people go, “wow”. That’s what I’m going for, whether I’m choosing to photograph a bird on a branch, or the moon in the night sky. Up until recently, the only way to elicit that kind of reaction was with images taken with my trusty Sony DSLR. However, over the last few years, I’ve been turning to Samsung’s impressive line of best Galaxy phones, especially in the astrophotography space, and with the Samsung Galaxy S23 Ultra, I think we have another breakthrough smartphone photography moment.

I’m under no illusion that Samsung didn’t exactly reinvent its flagship smartphone line with the Samsung Galaxy S23, S23 Plus, and the formidable S23 Ultra. Camera specs on the S23 and S23 Plus are (almost) the same as what you’ll find on the Galaxy S22. At least the Galaxy S23 Ultra, which also features a refined chassis, has that new 200MP sensor. Plus, the entire S23 line is backed by the new Qualcomm Snapdragon 8 Gen 2 mobile CPU, which means that they all have better image processing.

It’s that combination of more pixels and image processing performance that takes some aspects of S23 photography to the next level.

As a star and moon photography nut, I couldn’t help but focus on the new Nightography capabilities, including one impressive trick that recreates images and videos you typically find on the Instagrams of talented professional astrophotographers. Perhaps you’ve seen these photos of the night sky where brilliant stars spin around a central point. I assumed that the only way I’d ever be able to recreate such an image was with much better camera equipment and many hours of free time. Turns out I was half-right. 

All Samsung Galaxy S23 phones are capable of this kind of photography, but the journey from some decent-yet-not-quite-there results to that perfect celestial spin around Polaris (the North Star) took a combination of the phone, patience, third-party software, some equipment, and more than a few attempts.

Whichever Samsung Galaxy S23 handset you own, the process for capturing stars streaking across the night sky is the same:

  • Open the Camera app.
  • Swipe over to “more” in the menu.
  • Select “hyperlapse”.
  • In the controls at the top, swipe to the left and select 300x.
  • Select the “star streak” control on the lower right-hand corner.

It’s important to note that this does not grab a single time-lapse image. Instead, it’s a video but one from which you can grab stunning and shareable images.

The in-phone setup is just part one.  

Next, you do need a tripod because grabbing the best star trails takes not only an incredibly steady hand but literally hours. No one is standing perfectly still, let alone in one spot, for 2-to-3 hours.

If you don’t have a tripod-friendly smartphone clamp, you can find a decent one on Amazon for $15.

You also need a clear night sky or, as I often found, one that’s mostly clear. Passing clouds won’t completely ruin the effect.

The next step is setting up your shot. During my first few tries using the Samsung Galaxy S23, I clamped the phone onto the tripod (pro tip: position your phone so the clamp is not pressing any of the side buttons) and pointed the rear camera array so it pointed almost straight up at the night sky.

In order to use the on-screen controls during setup, I had to extend my tripod high enough so I could step under my phone and touch the screen. You’ll probably be working in the dark, so I recommend you double-check that you’re using the camera pointed at the sky and not the ground. One of my early Nightography hyperlapses was 20 seconds of the ground. 

I tried different lenses but the best one for an expansive view of the night sky is the Samsung Galaxy S23 Ultra’s 12MP ultrawide camera.

One consistent bit of advice I can give you for these images is to leave yourself at least two hours to get something exciting and usable. For me, this meant setting up the Samsung Galaxy S23 Ultra on a night when I knew there wasn’t a chance of rain and when I assumed no one could wander into my backyard and steal the tripod and expensive phone.

My first couple of captures were mostly successful. The videos, which are under a minute long (most under 30 seconds), showed some cloud cover moving across the frame and then, as the sky darkened, pinpoint stars streaking diagonally across the sky. I could also see all the airplanes taking off from JFK airport; they appeared as much brighter streaks on top of the stars.

Naturally, I was hooked. Still, what I wasn’t seeing was that iconic circular pattern I’ve noticed with so many other spectacular astrophotographs. I forgot that if you want a circle of stars, you must point your smartphone camera at the North Star (Polaris) because everything in the night sky revolves around it.

By now, I’d switched from the Galaxy S23 to the Galaxy S23 Ultra, mainly for its bigger battery (the 12MP ultrawide is the same across the S23 line). This time, however, I was determined to find the North Star and point the Galaxy S23 camera right at it. To do so I used one of my favorite apps, StarWalk 2 (available on both iOS and Android). The benefit of the app is that it lets you point your phone at the sky and it can geoposition and illustrate every celestial body in the night sky.

I searched for “Polaris” and the app guided me to its current position. 

With this information, I positioned the Samsung Galaxy S23 so that it was pointed directly at that star. Since I live in a crowded suburban neighborhood, I made sure to extend the tripod above the fence line and point it above surrounding homes. If you can get somewhere out in the wilderness where you have a lot more open sky and less light pollution, do so. Still, the Samsung Galaxy S23 Ultra does an excellent job of beating back a lot of that unfortunate night light.

With everything in place, and the tripod secured so a gust of wind didn’t blow it over, I left the phone alone for the next three hours, after which I stepped outside, tapped the photo button to stop recording, and dragged my gear back inside.

The image at the top of this story is a capture from the final 41-second video. the GIF just above is just a bit of the full video.

The final video shows some cloud cover streaking in, but then it clears away and, as I hoped, the stars appear and all start circling around a bright center point: the North Star. 

I still can’t believe I can do this with a smartphone, but I have to hand it to Samsung, it’s really setting the bar for astrophotography. It’s time for Apple to step up.

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35 Innovative Packaging Designs That Will Blow Your Mind

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Here are the 35 innovative packaging designs that will blow your mind. Packaging design has come a long way over the years. In today’s market, where consumers have access to countless products, brands are constantly looking for ways to stand out from the competition. One of the best ways to do this is through innovative packaging design.

In this article, we’ll take a look at 35 innovative packaging designs that will blow your mind. These designs are not only visually stunning, but they also offer unique functionality and features that make them stand out.

Scroll down and inspire yourself. Check Design Therapy Instagram account for more work.

#1 Just Laid Eggs

Innovative Packaging Designs

#2 Trident Gum

Innovative Packaging Designs

#3 ButtCheeks Swimwear

Innovative Packaging Designs

#4 Ford Ranger Extreme Matchbox

Innovative Packaging Designs

#5 Chinese Peaches

Innovative Packaging Designs

#6 Note Earphones

Innovative Packaging Designs

#7 Goldfish Tea Bags

Innovative Packaging Designs

#8 Festina Waterproof Watches

Innovative Packaging Designs

#9 Sugar Cube Puzzle

Innovative Packaging Designs

#10 NYC Spaghetti

Innovative Packaging Designs

#11 Parmesan Pencils

Innovative Packaging Designs

#12 Literal Fruit Juice Packaging

Innovative Packaging Designs

#13 Oven Cupckaes

Innovative Packaging Designs

#14 Teepee Amerindian Herbal Teas

Innovative Packaging Designs

#15 Gnome Bread Packaging

Innovative Packaging Designs

#16 Beer Can

Innovative Packaging Designs

#17 Hanger Tea

Innovative Packaging Designs

#18 Germanium Body Soap

Innovative Packaging Designs

#19 Thelma’s Cookies

Innovative Packaging Designs

#20 Shumensko Beer

Innovative Packaging Designs

#21 Fruit Toilet Paper

Innovative Packaging Designs

#22 Kleenex

Innovative Packaging Designs

#23 Fit Buns

Innovative Packaging Designs

#24 Pasta

Innovative Packaging Designs

#25 Truie Air Fresheners

Innovative Packaging Designs

#26 Blossom Cava Sparkling

Innovative Packaging Designs

#27 Blood of Grapes Wine

Innovative Packaging Designs

#28 Handy Nails

Innovative Packaging Designs

#29 Beehive Honey Squares

Innovative Packaging Designs

#30 Poilu Paintbrushes

Innovative Packaging Designs

#31 Bla Bla Biscuits

Innovative Packaging Designs

#32 The Bees Knees Honey

Innovative Packaging Designs

#33 Japanese Pastry Packaging

Innovative Packaging Designs

#34 Smirnoff Caipiroska Peel-able Bottle

Innovative Packaging Designs

#35 Butterfly Tea

Innovative Packaging Designs

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A MagSafe grip for better photos and videos

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Man holding the ShiftCam SnapGrip which is attached via MagSafe to a Google Pixel 7 Pro with the Moment (M) Force case

Rita El Khoury / Android Authority

Modern flagship camera phones like the Pixel 7 Pro, Galaxy S23 Ultra, and iPhone 14 Pro are edging closer and closer to the photography experience of a proper standalone camera. Putting aside the physics of small lenses and sensors, there’s no denying that having an excellent camera in your pocket is awesome, but what if you wanted the “feel” of a real camera too? Well, let’s take MagSafe accessories, photography, and a Pixel 7 Pro — three of my favorite topics to talk about — and mix them together. What we get is the ShiftCam SnapGrip, a MagSafe grip that attaches magnetically to your phone and gives it DSLR-like ergonomics.

About this ShiftCam SnapGrip review: I tested the ShiftCam SnapGrip Creator Kit for two weeks. The unit was provided by ShiftCam, but ShiftCam had no say in the direction or published content.

A comfortable MagSafe grip with a few extras

ShiftCam SnapGrip attached via MagSafe to a Google Pixel 7 Pro with the Moment (M) Force case, side view

Rita El Khoury / Android Authority

My Pixel 7 Pro often sits in a Moment (M) Force case, which opens up an entire world of MagSafe accessories to me, like the SnapGrip. Even if I didn’t have this case, ShiftCam provides a metallic adapter for any phone. You just stick it on your phone or case and you’re good to go. My iPhone doesn’t need an adapter to use the grip, but a MagSafe iPhone case helps strengthen the magnetic bond while protecting the phone.

Any time I want to use the grip, I just get it close to the back of my Pixel or iPhone and the MagSafe magnets will snap it in place. Simple and easy. Better yet, it doesn’t block any port or button on the phones, unlike other grips that clasp to the sides and end up turning off the screen or messing with the volume.

Yes. All you need is a MagSafe adapter, which can either be a thin round metallic plaque or integrated into a MagSafe-compatible magnetic phone case. Moment, Mous, and Pitaka make some of these MagSafe cases for Samsung Galaxy and Google Pixel phones, but more case brands are jumping on board.

Whatever adapter you choose, you should be able to attach a MagSafe accessory magnetically to your Android phone and use wireless charging if your phone supports it.

In the future, this may be a moot question because Qi2 promises a standard for both charging and magnets, and we know it should work with older MagSafe accessories and phones too.

ShiftCam SnapGrip bottom side with USB-C port and reset pinhole

Rita El Khoury / Android Authority

The grip itself looks like it got cut off of a DSLR or mirrorless camera. It has a large protrusion that your hand fits snugly around with a natural place for your index finger to rest on, letting at least two or three other fingers wrap around the back. It’s very ergonomic to hold for long periods of time — way more than clutching a thin smartphone slab will ever be.

I have super steady photography hands (years of taking clear 2MP pics of medicine leaflets to study at home helped me develop that), but still, I love the freedom of not having to worry about balancing my phone while tapping the on-screen shutter button. Instead, I can just physically press the shutter button below my index on the SnapGrip and snap, photo! You can’t argue with that kind of tactile feedback.

You can’t argue with the ergonomics of a camera handle and the tactile feedback of pressing a physical shutter button.

My main gripe? Each time I used the camera grip, I wished it had zoom buttons. Given how excellent the Pixel 7 Pro‘s telescopic lens is, I rely on its zoom to better frame most of my photos. Switching to the touchscreen to adjust that and then going back to the grip feels unintuitive and disruptive. Tactile zoom in/out buttons would make this a lot better for the Android zoom champions of the world — less so for the iPhone.

In my tests, I loved how solid the entire setup felt, even though the grip and phone are two separate entities held together by MagSafe magnets. I wouldn’t trust the grip with my Pixel 7 Pro over a bridge, a body of moving water, or any dangerous void, but I did use it in everyday photography. Streets, tourism, parks, expos, fun events; it can be great for all of them. If you have pets or kids and you’re running after them, this would be ideal; you just need to pair it once over Bluetooth and it’ll automatically connect each time you turn it on.

But the grip does more than just give you a better grasp of your phone. It can be a good vertical or horizontal stand. It also houses a 3,200mAh power bank that can charge the phone wirelessly while it’s attached. LED lights indicate the remaining battery.

The ShiftCam SnapGrip also acts as a stand and a wireless power bank, giving you extra battery life as you snap pics and record videos.

Charging is limited to 5W, but that was enough to keep my Pixel running while I walked around and snapped pics. Again, 10W or more would be better here, but the idea is to avoid draining the battery too fast instead of completely charging your phone.

More MagSafe accessories

ShiftCam SnapGrip Creator Kit, all MagSafe accessories on a white background

Rita El Khoury / Android Authority

If you opt for the Creator Kit, you’ll get three more accessories with the ShiftCam SnapGrip. All of them can be used alone or together in any kind of combo for maximum versatility. Again, the beauty and simplicity of magnets.

My favorite is a round MagSafe LED light and mirror that opens up, allowing you to point it back at whoever you’re taking a photo of, flip it up towards you for a selfie, or snap it onto any metallic surface or tripod to provide an additional source of light. It just has a USB-C port for charging and a button to switch the LED’s brightness between five different levels.

The MagSafe LED light with USB-C charging and five different intensity levels is an awesome little gadget.

The mirror is a minor but genius addition to help people frame and check themselves before you take a pic of them. Another bonus: You get a case to carry both the grip and light with you.

Woman taking a selfie on the Google Pixel 7 Pro by holding it with the ShiftCam SnapGrip, with the SnapLight popped up

Rita El Khoury / Android Authority

There’s also a small plastic desk tripod, which does the job on relatively flat surfaces but that I wouldn’t use in unstable environments, plus a MagSafe tripod holder that lets you snap your phone, light, or both. I found this perfect for night and astrophotography because no matter how steady my hands are, they’re not as stable as a phone tripod for long exposure shots.

ShiftCam SnapGrip review: Should you buy it?

The flexibility of all these elements is what makes this setup interesting, especially because all you have to do is snap them together. No plugs, clasps, screws, or anything time-consuming. This puts them among the best smartphone photography accessories for me.

Magnets make this entire setup very flexible. It’s easy to use everything separately or combine two or more elements together.

I’ve used the SnapGrip alone with my phone at times and with the light at other times; I’ve used the tripod holder to prop up my phone with and without the light; and I’ve used the light on the tripod to brighten a scene I was shooting with my phone on the grip. Add the flip-ability of the light for selfies and regular photos, then the stand and wireless charging, and you have a versatile setup that helps with a lot of on-the-go creative photography and videography from streets to people, nature, and astro.

ShiftCam SnapGrip attached via MagSafe to a Google Pixel 7 Pro with the Moment (M) Force case, top view, next to the ShiftCam SnapLight

Rita El Khoury / Android Authority

aa2020 recommended

My two biggest concerns with the ShiftCam SnapGrip are price and spontaneity. You either have to plan ahead and carry this MagSafe grip with you when you know you’ll be doing a lot of photography, or you have to keep it with you at all times. When we start adding this many accessories to our phones, we may as well carry a mirrorless camera instead, right?

Pricing also feels prohibitively expensive for what this is at its core: a wireless power bank in a grip shape with a circular magnetic element and a Bluetooth shutter button. $70 for that and $120 for the Creator Kit with the light, tripod, and pouch feels like a stretch. The Apple tax is very real, but hey, you’re getting multiple products in one, which can help justify the investment.

Shiftcam Snapgrip Creator KitShiftcam Snapgrip Creator Kit

Shiftcam Snapgrip Creator Kit

Ergonomic grip • Wireless charger • Versatile accessory set

A MagSafe camera grip that works with any iPhone or Android phone plus several extra accessories

The ShiftCam Snapgrip is a MagSafe camera grip for iPhones and Android phones that gives you a DSLR-like ergonomic handle with a physical shutter button. It can also act as a stand and a portable wireless charger. Extra accessories in the Creator Kit (light and tripod) add more versatility for all your photography and videography.

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Photography invented by British not French, Bodleian Library exhibition claims

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William Henry Fox Talbot, considered to be the true inventor of photography, at his studio - Hulton Archive


© Hulton Archive
William Henry Fox Talbot, considered to be the true inventor of photography, at his studio – Hulton Archive

Photography was invented by an Englishman from Dorset, not a Frenchman, who was previously thought of as the father of photography, Bodleian Library exhibition has claimed.

The Bright Sparks exhibition, which opens on Friday, has waded into a long-running debate over who first mastered the medium.

It contends that while French inventor Louis Daguerre is often seen as the father of the photograph, it was in fact Englishman William Henry Fox Talbot who made the first and most significant breakthroughs.



William Henry Fox Talbot is recognised to have produced the first negative


© Provided by The Telegraph
William Henry Fox Talbot is recognised to have produced the first negative

Mr Daguerre developed a chemical process to produce ‘daguerreotypes’ in the 1840s, a rudimentary form of photography that became popular across France in the following years.

However, the new exhibition lays out how it was Mr Talbot’s intervention to produce the first negative in the 1830s which was the most significant step forward, and allowed photographs to be reproduced multiple times.

“Fox Talbot did invent photography, we can say that, but while his claim is as strong as anyone else’s, what he alone really gave to photography is the idea of the negative, the reverse image, used to create more prints,” Phillip Roberts, curator of photography at the Bodleian Library, told The Guardian.

John Hannavy, a photography historian and academic, told The Telegraph that he was surprised that there was any question or doubt over who invented photography.

He said: “He invented the idea of the ‘negative’ from which countless prints could be made, and his earliest negative was made in 1835.



One of the early photographs by William Henry Fox Talbot, which is of a man seated beneath an ash tree in Ugbrooke Park, Devon


© Provided by The Telegraph
One of the early photographs by William Henry Fox Talbot, which is of a man seated beneath an ash tree in Ugbrooke Park, Devon

“He wrote a note alongside what we now believe to be his earliest surviving negative – made in August 1835 – drawing attention to one of the many features of photography which all Victorians would have found especially remarkable.

“That unique characteristic was the camera’s ability to miniaturise without sacrificing detail, the one immediately obvious distinction between photography and painting.”

Putting name to invention

However, unlike Mr Daguerre who went on to put his name on his invention, Mr Talbot, whose images became known as calotypes, opted not to. 

His work in developing photographic techniques went far beyond these initial inventions too, with the rest of his life spent developing photographic technology and techniques.

The exhibition will display these early calotype experiments as well as the British inventor’s whole archive, including examples of his early attempts at making images using a glass electric discharge wand.

The exhibition will also showcase how Talbot’s work has inspired future artists, alongside photography works from other notable contemporary photographers such as Hiroshi Sugimoto, Martin Parr and Alison Rossiter, as well as ones from the past Julia Margaret Cameron.

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