Super Blood Wolf Moon

The lunar eclipse of Jan. 20-21, 2019 is the last total lunar eclipse visible across the United States for the next 18 years.
The lunar eclipse of Jan. 20-21, 2019 is the last total lunar eclipse visible across the United States for the next 18 years.

I hosted a lunar eclipse party for the so-called Super Blood Wolf Moon Sunday night, Jan. 20 into the early morning hours of Jan. 21. I felt it went exactly as I had hoped, with between ten and 20 in attendance, some watching, some making pictures.

The earth's moon is visible in the upper left portion of this frame as it becomes eclipsed by the shadow of the earth Sunday night, Jan. 20, 2019. The constellation Orion is visible in the upper right section of the frame, shot from the Pontotoc Technology Center in Ada. I made this images with my aging but excellent AF Nikkor 20mm f/2.8.
The earth’s moon is visible in the upper left portion of this frame as it becomes eclipsed by the shadow of the earth Sunday night, Jan. 20, 2019. The constellation Orion is visible in the upper right section of the frame, shot from the Pontotoc Technology Center in Ada. I made this images with my aging but excellent AF Nikkor 20mm f/2.8.
My old 400mm f/3.5 Nikkor isn't a telescope, but it can make decent pictures of the moon.
My old 400mm f/3.5 Nikkor isn’t a telescope, but it can make decent pictures of the moon.

The evening was cold and got colder as the wind gradually picked up. My entourage stuck around in their camp chairs and blankets until the moon turned reddish with a touch of purple and blue, then packed up and went home as the wind continued to increase. The cold got sharp enough that I got my camp coat, the warmest garment I own.

I made the tight images of the moon in its phases with my 1985-vintage Nikkor 400mm f/3.5 IF-ED, mated to its excellent Nikon TC-14 teleconverter. On my Nikon D7100, a camera with a 25mm x 15mm sensor, the full moon still  fills up less than a sixth of the frame.

A group of intrepid sky gazers brave cold temperatures as they watch as the lunar Eclipse of Jan. 20, 2019 at the Pontotoc Technology Center.
A group of intrepid sky gazers brave cold temperatures as they watch as the lunar Eclipse of Jan. 20, 2019 at the Pontotoc Technology Center.

As the totality approached, exposures changed drastically, from the bright-daylight values of the moon in total sun, to brightness values so dim it wasn’t always easy to find the moon easily.

Details are visible in this images as the Earth's shadow creeps upwards on the face of the moon Sunday night, Jan. 20.
Details are visible in this images as the Earth’s shadow creeps upwards on the face of the moon Sunday night, Jan. 20.

This eclipse had a different look to it than the last lunar eclipse I photographed in 2015, which was yellow and orange, and more contrasty against the night sky.

I was so glad I was able to host an event like this.

The moon moves into the shadow of the earth in this 75-minute composite image of the lunar eclipse Sunday, Jan. 20, 2019, viewed from the Pontotoc Technology Center in Ada.
The moon moves into the shadow of the earth in this 75-minute composite image of the lunar eclipse Sunday, Jan. 20, 2019, viewed from the Pontotoc Technology Center in Ada.
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The Basics

You would think the nature of basic camera operations like aperture and shutter speed would be fundamental to teaching photography, but a surprising number of students, even college students who have had a photography class, know next to nothing about them.
You would think the nature of basic camera operations like aperture and shutter speed would be fundamental to teaching photography, but a surprising number of students, even college students who have had a photography class, know next to nothing about them.

My newspaper and I had another intern the last couple of weeks, a nice young college kid named Ashlynd. She is very enthusiastic about becoming a journalist, and we can already tell she’s going to be a good writer.

Ashlynd told me she didn’t much care for her college photography classes, echoing a number of students who came to me over the years needing help with very basic photographic skills, skills they should have gotten from previous instructors.

Yes, I understand that college is held to a different standard than other fields of instruction. At the same time, I wonder how college students get into photography classes without demonstrating some understanding of their prerequisites. I remember being vetted by an instructor in college before I was allowed to get into her class, though I don’t know how a lot of my classmates managed to get in.

Seriously. Students tell me all the time, “That professor didn’t tell me about aperture or shutter speed or ISO or…” You get the idea.

I appreciate the idea that the purpose of college is to educate at the next level, but I also appreciate that if you don’t learn the very basics, it’s difficult to advance. I also appreciate all the really great college photography instructors who can set aside their egos and cater to their students. The students and their families, after all, are paying for it.

Making a simple portrait of our neighbor's dog seems like very basic photography, but people come to me all the time asking me how I did it, and I'm happy to help them.
Making a simple portrait of our neighbor’s dog seems like very basic photography, but people come to me all the time asking me how I did it, and I’m happy to help them.

I’ve been teaching since 2007. When I teach Intro to Digital Photography at the Pontotoc Technology Center, I start at the beginning. That’s the only way it can work. Almost everyone in those classes is holding a camera that is set to shoot the way it was when they opened the box, attached a lens, charged the battery, and started shooting. In the biz we refer to this setting as “green box mode,” since most cameras have a big green box or icon on the exposure mode dial, often marked with an “A” or the word “Auto.” This setting essentially takes over almost all the settings, making a potentially powerful camera into a point-and-shoot.

Is there a solution to college kids who don’t get what they need from classes? Is there such a thing as remedial photography?

I’ll marry this idea to one I experienced in Santa Fe, New Mexico in 2013. Oklahoman photographer Jim Beckel and I were photographing the historic plaza when we came across a group of photographers shooting with some very expensive, very new-looking equipment, who seemed to be struggling to express what they were seeing. They asked us to make a group photo for them when they told us they’d just taken a class from someone (I don’t remember his name or the name of the class or school.) They all rolled their eyes simultaneously, and one of them said, “He was quite a character!”

I hope no one I am instructing ever refers to me that way.

Finally, I am a firm believer that students who are having fun taking pictures are dramatically more likely to remain engaged, and retain more of the craft we are teaching.

A young photography student named Jennifer takes pictures in my class at the Pontotoc Technology Center a few years ago. I hope I gave her what she needed.
A young photography student named Jennifer takes pictures in my class at the Pontotoc Technology Center a few years ago. I hope I gave her what she needed.
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And the Moon Shall Become as Blood

I have a revelation for you: the night of January 20 into the very early parts of January 21, all of North America that has clear weather will be able to see, and photograph, a total lunar eclipse. I hope to photograph it myself, as does my wife Abby.

The moon takes on various shades of amber during the September 2015 total lunar eclipse. The dim, red light is created by sunlight refracting through earth's atmosphere.
The moon takes on various shades of amber during the September 2015 total lunar eclipse. The dim, red light is created by sunlight refracting through earth’s atmosphere.

Here are a few tips and tricks…

  • Longer is better. If you have a telephoto lens, consider that despite its impressive appearance in the sky, the moon is actually quite small, about 0.5 degrees, smaller in apparent size than your fingernail held at arm’s length. To fill up the frame with the moon, you need as much telephoto as you can get. If you have a 300mm, you will probably be disappointed at how small the moon is in the frame. Adding a teleconverter can help, but a cheap teleconverter can rob so much sharpness, the image ends up much worse.

    As formidable as this combination of the Nikkor 400mm f/3.5 and its TC-14 teleconverter looks, it's still not really long enough for photographing objects the size of the sun and moon.
    As formidable as this combination of the Nikkor 400mm f/3.5 and its TC-14 teleconverter looks, it’s still not really long enough for photographing objects the size of the sun and moon.
  • If there is an astronomy club near you, consider joining. You will have shared access to real astronomical telescopes that eclipse (pun intended) photographic lenses.
  • The moon moves surprisingly fast across the sky. Exposures of more that a few seconds will likely result in the moon appearing as an oval blur instead of an amber disc. Larger apertures and higher ISO settings are your friend, but the next level is to put your camera on a telescope with a drive mechanism that tracks objects across the sky, leaving you free to use lower ISOs and longer shutter speeds for maximum sharpness.
  • It’s January. It will probably be cold outside. Bundle up. You’ll probably spend some time standing around waiting unless you’re lucky to live in a dark area…
  • Find a dark area. The full moon is quite bright, but by the time it’s in full eclipse, it might be dim enough that you have trouble locating it; I did a couple of times three years ago. If you are in the city, it might be difficult to get around all the light pollution.
  • Don’t believe the absurd things you hear about eclipses and other stellar phenomena. Eclipses aren’t omens. Mars will never look as big as the moon. Asteroids are not going to crash into the earth. There are no space ships hiding behind comets. The world is not flat… eclipses are obvious proof of that. Before you spread bad memes, learn some good science. And have fun photographing the eclipse next month.
This is an assembled composite from seven images made at 20-minute intervals of the Sunday, Sept. 27, 2015, lunar eclipse.
This is an assembled composite from seven images made at 20-minute intervals of the Sunday, Sept. 27, 2015, lunar eclipse.

Find out when and where to photograph the next lunar eclipse here (link). 

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Geotagging, Selfies, Crowds, and the Menace to Nature

I last visited the majestic, awe-inspiring Horseshoe Bend of the Colorado River south of Page, Arizona in 2015. I don't anticipate seeing it again, at least not when it's crowded.
I last visited the majestic, awe-inspiring Horseshoe Bend of the Colorado River south of Page, Arizona in 2015. I don’t anticipate seeing it again, at least not when it’s crowded.

An article on Petapixel recently brought to my attention the fact that due to recent invasions by huge numbers of tourists at an easy-to-access but previously only sparsely visited location, Horseshoe Bend, which I have visited twice, now has a new $750,000 steel railing at the overlook.

My experience with Horseshoe Bend is the same as anyone else's: I was part of a very large number of people trying to enjoy the experience of a very beautiful natural place.
My experience with Horseshoe Bend is the same as anyone else’s: I was part of a very large number of people trying to enjoy the experience of a very beautiful natural place.
Abby and I got married at Arches National Park's beautiful and evocative Delicate Arch, which, fortunately, was not at all crowded on that October morning. This image was made six years later, on a sunny afternoon, packed with visitors.
Abby and I got married at Arches National Park’s beautiful and evocative Delicate Arch, which, fortunately, was not at all crowded on that October morning. This image was made six years later, on a sunny afternoon, packed with visitors.

I’ve been aware for some time that crowds are discovering and choking places that were once only inhabited by a few dedicated naturalists or photographers.

The worst of these, in my opinion, has to be Antelope Canyon, which I saw in 2012, and to which I have no intention of returning. It has been taken over by geotaggers and their phones, and because it is so popular, holds little appeal to me. On that visit, a women in our tour group put away her camera halfway through the tour. When I asked her why, she said, “This isn’t relaxing.”

Geotagging is using the GPS coordinates to mark the location associated with your photos, allowing others to easily find it and visit it.

It is also significant that locations swarming with visitors dilute the value of photos you might make there: sure, you have a nice image, but so do all the hundreds or thousands of people huddled around you. Instead of creating a unique image, you are part of a group of stenographers.

Visitors make pictures at Antelope Canyon in 2012. This is a splendid example of a beautiful natural phenomenon being crassly commercialized.
Visitors make pictures at Antelope Canyon in 2012. This is a splendid example of a beautiful natural phenomenon being crassly commercialized.

Even our beloved Delicate Arch in Utah’s Arches National Park, which I have had the privilege of visiting nine times,  including when  Abby and I got married there in 2004,  may soon have restricted visitation or even require a permit.

Then, to make matters worse...
A pair of artworks by renowned painters Salvador Dali and Francisco Goya were damaged over in Russia after a group of girls posing for selfies accidentally knocked over the structure on which they were being displayed.
While it is true that our National Parks belong to all of us, such privilege also comes with it an implicit mandate of responsibility to protect and respect the natural world. This image was made at Mather Point at Grand Canyon National Park in April 2015.
While it is true that our National Parks belong to all of us, such privilege also comes with it an implicit mandate of responsibility to protect and respect the natural world. This image was made at Mather Point at Grand Canyon National Park in April 2015.

There is a little bit of good news, though: if it takes a fair amount of physical effort, like hiking 10 miles for example, most of the population are too lazy and out of shape to do it.

A friend photographed me on the Joint Trail at Canyonlands in 2016. It is a moderately difficult, moderately long day hike, and unlike features close to roads and cities, we had it nearly to ourselves.
A friend photographed me on the Joint Trail at Canyonlands in 2016. It is a moderately difficult, moderately long day hike, and unlike features close to roads and cities, we had it nearly to ourselves.

So what is the essential cause of this issue, why does it matter, and what can we do? Is this just a symptom of an Earth with 7.7 billion people on it? Do we have the internet to blame? Social trends? The selfish selfie scene?

By their very nature, people are destructive to many of the natural phenomena we hold in high regard, not just by their appearance, but also by their consumption and erosion of natural features. Their footfalls and Twinkie wrappers are far more damaging than their appearance in our images.

A truth to remember, though, is that we all want to create beautiful photographs, we all want to record and preserve our memories, and we all want to show off our experiences. It’s hard to be too critical of tourists and photographers while being one of them.

What can we do to both protect and experience these beautiful places?

  • Visit during off-peak seasons
  • Visit when the weather discourages visitors, like when it’s super-cold
  • Get to the trail head before the sun comes up, and get off the trail before the crowds start to thicken
  • Obey and defend the Leave No Trace paradigm

Despite some locations being “discovered,” there are still wild, unspoiled spots in the world, worthy of our exploration and our respect.

In 2014, I photographer Delicate Arch in Arches National Park on a cold pre-dawn October morning. As a result, I had beautiful, unique light, and was completely alone at an otherwise crowded location.
In 2014, I photographer Delicate Arch in Arches National Park on a cold pre-dawn October morning. As a result, I had beautiful, unique light, and was completely alone at an otherwise crowded location.
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30 Years at The Ada News: Evolution and Revolution

Portions of this entry are from my Saturday, Oct. 20, 2018 column in The Ada News.

This was one of the first images I made at The Ada News in October 1988, shot with my Nikon FM2n and my 300mm f/4.5 ED-IF Nikkor at Hayes School. It ended up winning an Oklahoma Press Association award for feature photos.
This was one of the first images I made at The Ada News in October 1988, shot with my Nikon FM2n and my 300mm f/4.5 ED-IF Nikkor at Hayes School. It ended up winning an Oklahoma Press Association award for feature photos.
This is the page-sized process camera in the office directly below mine. It was once served by a dumbwaiter, and was made obsolete by the 1998 addition of an imagesetter.
This is the page-sized process camera in the office directly below mine. It was once served by a dumbwaiter, and was made obsolete by the 1998 addition of an imagesetter.

I started at The Ada Evening News (The Ada News since 2012) October 24, 1988, 30 years ago today. In that time, a lot has changed, mostly for the good. A few notes…

  • In the 1980s and most of the 1990s, all my newspaper photography was on film, most of it black-and-white…
  • Most of those images were printed using a system invented in the 1950s, the Kodak Ektamatic processor, which used activator and stabilizer with papers that had developer incorporated into their emulsions, like Ektamatic SC, which…
  • …was a single-weight, fiber-based photographic paper offering very fast turnaround at the expense of quality and longevity. Although there are literally thousands of Ektamatic prints in within my reach as I write this, none are worth saving.  Additionally, because the prints had only been stabilized, not washed and dried, they smelled like vinegar.
This is the Kodak Ektamatic processor in my darkroom at The Ada Evening News in 1989.
This is the Kodak Ektamatic processor in my darkroom at The Ada Evening News in 1989.
I happen to think the Ada area is home to many great sports traditions, and for me, shooting celebrations and dejections is as important as shooting the action. In this image, Ada softballers Amory Morgan and Taryn Jack celebrate an extra-innings score at the Ada High Softball Complex in 2010.
I happen to think the Ada area is home to many great sports traditions, and for me, shooting celebrations and dejections is as important as shooting the action. In this image, Ada softballers Amory Morgan and Taryn Jack celebrate an extra-innings score at the Ada High Softball Complex in 2010.
  • Sometimes sports photography, like sports itself, comes down to a few critical seconds. In this image from a February 2002 area playoff basketball game at Wilburton, Latta Panther players and fans celebrate a go-ahead score against Haworth with just 1.2 seconds remaining in the contest. Latta won the contest to advance to state.
    Sometimes sports photography, like sports itself, comes down to a few critical seconds. In this image from a February 2002 area playoff basketball game at Wilburton, Latta Panther players and fans celebrate a go-ahead score against Haworth with just 1.2 seconds remaining in the contest. Latta won the contest to advance to state.

    When I first came to The Ada Evening News, we had no capability to reproduce four-color images on our own, and had to send images to an Oklahoma City first to have color separations made, so having a color photo in the paper was relegated to holidays and special events. In 1991, we inherited a primitive color separator (its software was stored on a microcassette), and could then have a color picture on Sunday.

  • A lot of more of my shooting in the film era involved flash photography for the simple reason that we couldn’t change ISO settings like we can today. I would shoot two or three assignments on one roll of film, usually T-Max 400.
  • The digital era began for me in 1998, when my newspaper bought a 35mm film scanner (a Nikon LS-2000) and a computer (an Apple PowerMac G3,) which had a floppy drive, and a Zip® disk drive, but only a CD-ROM, so I was unable to archive scanned images from that era. The editor during that period was too cheap to buy Zip disks for archiving, which was very seriously short-sighted,

    though we still have the negatives on file.

I made this image of Boy Scouts presenting the colors at an Ada Cougars home football game at Norris Field in my first week at The Ada Evening News, in October 1988. It later placed in the Oklahoma Press Association's Photo of the Year contest in the "character study" category.
I made this image of Boy Scouts presenting the colors at an Ada Cougars home football game at Norris Field in my first week at The Ada Evening News, in October 1988. It later placed in the Oklahoma Press Association’s Photo of the Year contest in the “character study” category.
  • Music legend Mae Boren Axton presses her handprints into cement at the McSwain Theater in the 1990s, not long before her death. I am honored to record this kind of history for our community.
    Music legend Mae Boren Axton presses her handprints into cement at the McSwain Theater in the 1990s, not long before her death. I am honored to record this kind of history for our community.

    It was around this time that my newspaper got its first imagesetter, a device that printed the page-sized negatives of newspaper content, replacing the downstairs process camera and fundamentally advancing our layout, design and publishing methods.

  • In 2000, I asked for and received a Minolta medium format film scanner, which I used as often as I could, but which gave poor color scans.
  • My first digital camera was the Nikon D1H, purchased by my newspaper in August 2001. Despite its 2.66 megapixel sensors, the D1H was a great addition to my toolbox, and despite having film cameras and scanners in my bag, digital became increasingly prevalent in my work. My last photographic negatives were made in 2005.
  • By the middle of the 2000s, the scanners we had slid into obsolescence due to their SCSI interfaces, which stopped being supported my modern operating systems. Although I could scan with USB-based flatbed scanners, I was never able to get a true high-resolution film scan again.
  • Since 2007 I have been teaching photography at the Pontotoc Technology Center, and I hope being a news photographer has made me a better teacher, and that teaching has made me a better news photographer.
If you lived in Ada in the spring of 2000, you remember when the mill burned in the middle of the night in downtown Ada, and how it smelled for a month afterwards.
If you lived in Ada in the spring of 2000, you remember when the mill burned in the middle of the night in downtown Ada, and how it smelled for a month afterwards.
  • We sold our press in 2012 or so, and began printing our product at our sister paper, The Norman Transcript, and delivering it by mail. With the departure of our press crew and our carriers, our building became mostly vacant. Portions of it were so poorly cared for that they are probably beyond rehabilitation, and will remain closed off and used as storage.
The Ada Cougars claim a state championship trophy at Owen Field at Oklahoma University in 1994. Since I have been at The Ada News, the Cougars have brought home five football championship trophies.
The Ada Cougars claim a state championship trophy at Owen Field at Oklahoma University in 1994. Since I have been at The Ada News, the Cougars have brought home five football championship trophies.
  • One of the best developments in these three decades has been my relationship with the community. While it’s true that bosses and coworkers have been unkind to me on occasion over the years, the public is overwhelmingly glad to see me, impressed with my work, and regards me as the face of The Ada News.
  • According to a count by a few long-lasting co-workers and me, in my time at our newspaper, there have been eight publishers and 14 managing editors.
Not all news is good, as in this image of a firefighter frustrated that he can't get water to his hose during a snowstorm at the scene of a fatality house fire north of Ada in January 2010.
Not all news is good, as in this image of a firefighter frustrated that he can’t get water to his hose during a snowstorm at the scene of a fatality house fire north of Ada in January 2010.
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What’s Missing from Your 4K Camera

A huge selling point for cameras in recent years has been their video capability. This is a result of the megapixel war being over, and manufacturers perceiving the need to sell their products with some magic number. For a while it was “full HD” (high definition) video, but now it’s “4K.”

For those of you who don’t know, 4K doesn’t express resolution the same way “megapixel” is supposed to express resolution in a still camera; it represents the fact that the long dimension of the recorded and projected image is approximately 4000 pixels.

Cue the eager reviewer in Hong Kong or Istanbul or Las Vegas, talking about bit rates and autofocus and color styles and F-log. Cue millennial in skinny jeans and pretentiously-ironic Fedora, leaping from the railing in a parking garage in super-slow-motion, super-high-resolution. The reviewer’s voiceover says something like, “If it weren’t for the better XYZ in the PDQ, I could recommend this camera for it’s striking 4K video.”

What’s missing from all of these reviews? All of them? A script.

Essentially, 99.99% of all 4K video is demo reels that don’t tell any story of any kind. It’s another seriously misplaced priority in the imaging world.

Take the following video as an example: In 1992, I bought some surplus VHS video cassettes at the Ada Public Library. Three of them were called Best of the Fests, which were collections of films from film festivals. On one of those was a 1988 short film called Spartacus Rex. It was the best of the Best of the Fests, and I have been enjoying it and occasionally quoting ever since. It was made by Loch Phillipps and Caroline Skaife. It’s brilliant, not because it’s HD or 4K (I think it was 16mm actually), but because it has a script…

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My Ten Dollar Camera Collection

I made this image with an Olympus Camedia C-750 digital camera, which dates back to 2003. I was very happy with the result.
I made this image with an Olympus Camedia C-750 digital camera, which dates back to 2003. I was very happy with the result.

Long-time webizens know that the controversial Ken Rockwell has a lot to say. He is both revered and reviled on the web, but remains popular in any case.

One concept he explored years ago was “futuretrash,” the idea that technology is inherently inclined to advance so fast that almost all tech machinations will be obsolete in a short period of time, like months or just a few years.

The article is ten years old, but it’s just as relevant today, particularly after I half-jokingly got on Ebay and bought 22 untested old digital cameras for just $10. They arrived a couple of days later, and my wife Abby and I have been playing with them ever since.

Here are $5000 worth of digital cameras reduced to a $10 Ebay grab.
Here are $5000 worth of digital cameras reduced to a $10 Ebay grab.

The oldest camera of the bunch appears to be from 1998, a Kodak DC210 Plus. The front of the camera brags “MegaPixel,” and the web confirms that yes, it is a one megapixel camera. The web also indicates that this behemoth originally cost $899. No, I am not making that up; that’s almost $1400 in today’s dollars.

Abby holds the 20-year-old Kodak DC210 Plus digital camera. It actually works.
Abby holds the 20-year-old Kodak DC210 Plus digital camera. It actually works.

Just for the record, one of these cameras, a Nikon Pronea S, is a film camera from the APS era.

The price of digital cameras fell for years, in accordance with Moore’s Law, so by 2008, this camera had been replaced with much better, much cheaper technology. Still, even the newest and best of this batch of untested cameras must have cost at least $300. To get them all for just $10 says this: what was once valuable is now garbage.

About a third of these cameras work. Some of them take AA batteries, while some require proprietary batteries I don’t have. Most of them use the ubiquitous SD card, while a few take CF cards. Two of them take SmartMedia, which I don’ t have, and one requires an SD Picture Card, which was in it when it arrived. A Sony Cybershot had a Memory Stick in it.

But I didn’t buy them to take pictures. I certainly have enough modern cameras for that. I bought them to ponder what we really value in a capitalist/merchentilist society from the perspective of someone in my area of expertise. Are we really asking the human race to throw away college savings, mortgage payments, health care, retirement, and any number of other once truly valuable things so we could take 20 or 30 1.2-megapixel digital photographs of our niece’s graduation?

Flash forward 20 years to now, and the real reason these cameras are in a pile in a box at the bottom of the coat closet is this: we have been brainwashed to believe we need to take tens of thousands of photographs of our lives with increasingly complex and sophisticated tools (iPhones for example), instead of living our lives?

Hawken the Irish Wolfhound was so curious about my woods walk that he got tangled up in a vine alone the south fence.
Hawken the Irish Wolfhound was so curious about my woods walk that he got tangled up in a vine alone the south fence.

Yes, I see this all the time: people watching their children grow up on the screens of their phones. And I can’t be certain, but my guess is that only a tiny fraction of these images and videos are ever seen again.

So, Richard, photographer and photography instructor, what is your bottom line? Quality over quantity? That we should all be artists? That we should turn off our phones and smell the marigolds once in a while? All this and more. Life is worth living instead of watching, and while photography can be a powerful tool for recording our lives, it shouldn’t take the place of our lives.

I made this image of a thistle plant in our pasture last night with the 2005-era Kodak Easyshare Z740. Possibly regarded as inadequate by today's standards of technology, the image is, nevertheless, lovely.
I made this image of a thistle plant in our pasture last night with the 2005-era Kodak Easyshare Z740. Possibly regarded as inadequate by today’s standards of technology, the image is, nevertheless, lovely.
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Funniest Repair Ever

This is the Gorilla Glue that squished out when I reattached a thumb grip on my D700.
This is the Gorilla Glue that squished out when I reattached a thumb grip on my D700.

When I bought my D700, it was missing the rubber grip for the right thumb. Some weeks later one of my D200s died, and I stripped it for parts. The thumb grips aren’t the same, so I trimmed it with a scissors and glued it on, and it worked fine.

Ten days ago, though, it came unglued, so I decided to glue it back, only more aggressively than before. I put a fair amount of Gorilla Glue on the spot, pressed the rubber grip into place, and put a book on it to hold it down while it dried. Apparently, the pressure from the weight of the book caused the glue to ooze out at a couple of spots.

I laughed hard when I saw the result. Of course, I can just cut off the extra glue with a razor or sharp knife, but I’m halfway tempted to leave it on and tell people it’s some kind of an accessory, like the glue spots are pressure points or massage balls or something.

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Breaking Things Loose and Keeping Things Fresh

Black and white barbed wire: am I creating, or just brooding? Does it matter?
Black and white barbed wire: am I creating, or just brooding? Does it matter?

I talk all the time on this site and on my personal site about creativity.

“If I take one more picture of a leaf, I’m going to explode” ~R. E. in 2015, about a creative rut he experienced.

Lately I’ve been social media friending a lot of photographers at bigger newspapers on the coasts. Their work is amazing and inspirational, but seems to flow from a different source: regattas, refugees, politics, enormous sports events, current affairs; they live in states that have counties bigger than Oklahoma, so it’s a different worldview just based on what we see every day. I look at their lives with some incredulity: how can you deal with millions of people, their noise, their traffic, their smell. I live in a town that has fewer people in it than the staff at the New York Times.

You can piss and pout all day about this not being original or groundbreaking, which it's not. It's an image I love of something I love. Done.
You can piss and pout all day about this not being original or groundbreaking, which it’s not. It’s an image I love of something I love. Done.

I caught a recent YouTube video from a channel called DigitalRev (“Rev” being “revolution” I guess) about photographic cliche’s to avoid. In it, he mentions just about every kind of photo. I’ve touched on this idea before, and it is this: in a world of literally billions of images being made every day, stop trying to reinvent the wheel and start trying to express yourself. It’s a subtle concept, but one worth merit.

Looking at the work of other photographers will make you chase your tail. It’s all been done to death. Don’t believe me? Do a web search for “Hong Kong at Night.” I’ll wait.

See? What can you add to that? Next, do a web search for “YOUR NAME in pictures.” Now, what can you add to that?

Finally, I know I’ve said this time and again, but it bears a lot of weight: you can’t buy mastery, you have to earn it. Trust me on this: when I take my pistol down to the pond and my first ten shots miss, there’s nothing wrong with my pistol.

Sometimes your camera can make you look great, if you're willing to let it. I made this exposure entirely by accident.
Sometimes your camera can make you look great, if you’re willing to let it. I made this exposure entirely by accident.

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The Love of Teaching

My students and I had an excellent session last night.
My students and I had an excellent session last night.
During the golden hour we were able to use this nice edge light.
During the golden hour we were able to use this nice edge light.

As the years have passed, I find that there are few things I love as much as teaching photography.

It’s fun and interesting, and, like last night, full of “ah ha!” moments for all involved.

The team makes pictures under a pear tree.
The team makes pictures under a pear tree.
After the sun dipped below the horizon, we got a very nice, subtle, rounded edge light.
After the sun dipped below the horizon, we got a very nice, subtle, rounded edge light.

Last night we had a great golden hour, followed by an even better blue hour, followed by a fun indoor existing-light session.

We then finished the night with some after-dark light painting with flash and flashlights.

We all had so much fun we actually ran ten minutes long.

My crew takes time to set up under a pear tree. It yielded the best photographic fruits.
My crew takes time to set up under a pear tree. It yielded the best photographic fruits.
As we stayed out during the blue hour, we came across this tree and used it as a compositional element to create strong leading lines. We were very happy with it.
As we stayed out during the blue hour, we came across this tree and used it as a compositional element to create strong leading lines. We were very happy with it.
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The Rule of Thirds

The Las Vegas, Nevada, strip is an adventure in photography.
The Las Vegas, Nevada, strip is an adventure in photography.
I made this portrait in 1984 with my Nikkor 105mm f/2.5. It can be argued that we like the Rule of Thirds because it mimics the human face, but from that day until this one, I never used a "rule" of any kind to make portraits. I followed my heart.
I made this portrait in 1984 with my Nikkor 105mm f/2.5. It can be argued that we like the Rule of Thirds because it mimics the human face, but from that day until this one, I never used a “rule” of any kind to make portraits. I followed my heart.

Photography is a much more complex visual puzzle than its pervasiveness implies. Sure, everyone is a photographer, but not everyone is an artist. I might give the ratio of artists to everyone else as about 99:1. For every 100 people taking pictures, 99 of them are making pictures of their grandkids or the sunset or the deer in the pasture or the soccer match, while one of them has a real eye for the subtleties of imaging: composition, exposure, lighting, emotion, intimacy, storytelling, etc.

This isn’t a criticism of you and your pictures. The devil is in the details, and most people who want to take pictures are at the start of the journey toward art. If anything, this is a call to action. Look at images. Look at art. Look at the work of the masters. We all started in the same place. Maybe it’s time to put your camera down for a minute and look at the light, look at the human faces, feel the emotion of the moment. Time to grow?

What did I see when I made this image? Light, shadow, the looming shape, a messenger and potential harbinger, but no "thirds."
What did I see when I made this image? Light, shadow, the looming shape, a messenger and potential harbinger, but no “thirds.”

One of the more specious ideas about art, and thus photography, is that you can use tricks and rules to push your photography into an artistic state. One of the most common examples of this is the Rule of Thirds.

I saw this on a kiosk in a visitor center in a National Park. It isn't bad advice, but it isn't inspirational advice either.
I saw this on a kiosk in a visitor center in a National Park. It isn’t bad advice, but it isn’t inspirational advice either.

The conventional wisdom about the Rule of Thirds is that images are stronger if you divide your image area nine even squares, then try to place significant compositional elements within those squares. To me, the Rule of Thirds isn’t just bad advice, it is a restriction on creativity and self-expression that tells us to make images according to someone else’s vision of who we are. It isn’t a good route to the end goal of photography: storytelling.

You can reverse-engineer lots of photographs into the Rule of Thirds, but like this one, they didn't start with it.
You can reverse-engineer lots of photographs into the Rule of Thirds, but like this one, they didn’t start with it.
A wide angle lens on your wish list might be a solution in search of a problem if you imagine it will change how you compose photographs. Instead of a lens, consider movement and light.
A wide angle lens on your wish list might be a solution in search of a problem if you imagine it will change how you compose photographs. Instead of a lens, consider movement and light.

Consider a technique that I regard as far more valid than the Rule of Thirds: leading lines.

I use leading lines all the time, since I need to tell a story to an impatient readership, and want to keep them “engaged,” as we say in  marketing. I love the way we employ wide angle lenses for this, creating compositions that direct the viewer to the middle of the frame.

None of this matters if you cling to the idea that a piece of equipment will do this for you.

Instead of debating 18mm vs 35mm or large format vs APS-C, consider getting into better shape, being healthier, and once you are there, consider giving up your fear and prejudice and make a point to go the places you want to photograph.

Every photography makes suggestions. This one uses leading lines to suggest, "what's at the end of this path?"
Every photography makes suggestions. This one uses leading lines to suggest, “what’s at the end of this path?”
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Mirrorless: The Next Big Thing?

From the humblest cell phone camera to the priciest medium format digital, the pixel-based imaging sensor is at the heart of all digital photography.
From the humblest cell phone camera to the priciest medium format digital, the pixel-based imaging sensor is at the heart of all digital photography.
Four photographers with DSLR cameras shoot next to me last night at the Ada Cougar Activity Center.
Four photographers with DSLR cameras shoot next to me last night at the Ada Cougar Activity Center.

I have been adding more photographers to my social media list lately, hopefully to inspire my work, but also in an effort to distance myself from the young white girl latte scene. One of those photographers posted a link on Petapixel about long-time photojournalist David Burnett’s recent switch from Digital Single Lens Reflex (DLSR) to mirrorless.

First of all, despite its apparent surge in popularity, when most people hear this news, they ask, “What’s mirrorless?” In simplest terms, mirrorless cameras are interchangeable lens digital cameras that use their sensors as viewfinders, reading data instantly and showing it to us on the back of the camera or in an electronic viewfinder, eliminating the need for a mirror to redirect light into an optical viewfinder. No mirror = mirrorless.

Name that Product!
I find this choice of name to describe an entire class of photographic tool to be flawed: it’s named after what is isn’t. It’s like saying my car is dieseless, which it is, but that doesn’t describe anything about the car. I can rattle off a couple of better names (for example Direct-to-Sensor (DTS), but my impression is the name, like it or not, is here to stay.

In some important ways, these cameras are a fusion of the DLSR with the bridge/crossover/point-and-shot cameras we’ve had for years, which use the electronic viewfinder, but with a fixed lens. Smartphones use the same viewfinding scheme.

Tina Davis works with her Sony A6000 mirrorless camera last night. I tried it for a few seconds and found it had potential, though it didn't focus quite as fast as my Nikons.
Tina Davis works with her Sony A6000 mirrorless camera last night. I tried it for a few seconds and found it had potential, though it didn’t focus quite as fast as my Nikons.

The reason we have so many DSLRs instead of mirrorless is that electronic viewfinder technology has, until the last few years, lacked instantaneous feedback. There was a lag between the scene and the viewfinder; even a small lag can result in a completely missed photo. With a consumer point-and-shoot, lag wasn’t an issue because those kinds of cameras weren’t tasked with shooting action of any kind, so a little lag matched the photography.

Electronic viewfinder technology has caught up, and these viewfinders are virtually instantaneous.

A lot of web authors assert that mirrorless is taking over, but so far, I don’t see it in the field or in the classroom. Of the dozens or hundreds of photographers I know, only a few like Tina Davis and Doug Hoke seem to be shooting mirrorless every day. I had good talks with both of them about their mirrorless experience and both seem to love everything about them.

Bonus Time!
A surprise bonus of mirrorless is that because the distance from the lens to the sensor is much shorter, it allows many more lenses to be used with an adaptor. Beautiful optical glass that went idle at the end of the film era can have new life breathed into it on these cameras.

When I first wrote about mirrorless in 2011, those cameras of that era typically had micro 4/3 sensors, which were roughly half the size of a 35mm film frame, and in that infancy had some growing pains. Today, however, we are seeing surprisingly fast, capable mirrorless cameras with 36x24mm sensors, or in the case of Fuji and Hasselblad, 44x33mm sensors. Coupled with better viewfinder technology and faster hardware in the cameras, I am ready to retract at least some of what I said seven years ago about mirrorless, and proclaim that its era is, or is about to be, at hand.

Behind the lens in the DSLR camera is a mirror that flips out of the way to let light shine onto the sensor. It was inherited from the film SLR, and may be on its way to extinction.
Behind the lens in the DSLR camera is a mirror that flips out of the way to let light shine onto the sensor. It was inherited from the film SLR, and may be on its way to extinction.
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Teaching Old Glass New Tricks

Old camera and lenses, like this Exa with a 50mm f/2.8 lens from 1950s vintage, are fine, interesting and compelling machines that fire up my imagination.
Old camera and lenses, like this Exa with a 50mm f/2.8 lens from 1950s vintage, are fine, interesting and compelling machines that fire up my imagination.

Fellow photographer Robert and I were musing on the phone yesterday about the demise of “digital film,” a product that tried to gain traction in the late 1990s when the future of photography was still hazy. The idea of digital film was to manufacture a cassette that could be inserted into existing film camera so they could make digital photos.

inspiration...
For my birthday one year, my wife Abby bought nearly a dozen antique cameras and hid them around the house for me to find like Easter eggs.

It turned out that one company, Silicon Film, got as far as a prototype before camera makers managed to get the price of purpose-built digital cameras into the affordable range.

Despite my nostalgia for film and its creative potential, I watched a lot of people, mostly reporters, ruin a lot of film with bad technique. This piece of film was wound onto the developing reel with a clumsy hand, causing it to stick to another portion of the roll, preventing developer from getting to it.
Despite my nostalgia for film and its creative potential, I watched a lot of people, mostly reporters, ruin a lot of film with bad technique. This piece of film was wound onto the developing reel with a clumsy hand, causing it to stick to another portion of the roll, preventing developer from getting to it.

Why would anyone have gone this route instead of just buying a Nikon D1? Well, we all had tons of great 35mm film equipment sitting around, for which we paid a lot, and which was still working fine. What if, instead of shelving all those Nikon F100s and F5s and Canon ESO-1s, and shelling out $5000 for a D1 or 1D, we could insert a cassette with a digital sensor in place of a film cassette?

This is my Nikon F3 with my rare and excellent 25-50mm f/4 on it. I sold it about 15 years ago, and kinda miss it ever since.
This is my Nikon F3 with my rare and excellent 25-50mm f/4 on it. I sold it about 15 years ago, and kinda miss it ever since.

It turned out the idea was mostly vaporware, and while most people believe this was due to technical hurdles, I believe it was at least as much the fault of marketing and profitability obstacles: why sell accessories at small margins when we could be selling new cameras at huge markups?

Today we see more attempts at the concept like PSEUDO, I’m Back and Frankencamera (though RE-35 was a branding experiment and April Fool’s joke) and I wish them luck.

A Call to Action?
One concern that remains difficult to solve even after all this time is how to trigger the sensor so it knows when to record. My idea, which I haven’t seen iterated on the web, is a tiny infrared beam striking the shutter blade that switches on the sensor when the shutter begins to move.

Finally, with excellent, affordable digital cameras in abundance all around us, why would even be of interest in 2018? Answer: for the same reason lomography has it’s niche, to allow us to expand artistically. There are millions of idle film cameras sitting on shelves from our own home here in Oklahoma to the towering apartments of Hong Kong that could be put to use in some worthwhile endeavor.

Once upon a time, this 100-year-old Kodak camera was someone's brand new prize.
Once upon a time, this 100-year-old Kodak camera was someone’s brand new prize.

As an artist, I find this idea very compelling. As Robert and I talked, one question he asked was, “So are we talking about shooting with old glass?” Yes, I think so. Old lenses, though often not as sharp (since they were designed and built by hand in a bygone era) can create images with a unique and engaging character. Oklahoman photographer Doug Hoke does this all the time when he shoots 40-year-old lenses on his mirrorless cameras. Filters in smartphone applications like Instagram mimic the look of film and old lenses.

I love this idea, and not just for 35mm. My wife and I have more than a dozen old cameras sitting around of various formats, including a beautiful, working 100-year-old Kodak No. 2A Folding Cartridge Premo 116 format  conventional film camera making a 4.5 x 2.5 inch image, and a couple of Polaroids that make 4 x 5 inch images. If there were a way to make digital pictures with any or all of these machines, I would happily do so, and in doing, hopefully open up another artistic avenue for my work.

I found this exposed roll of 116 film in an antique camera my wife Abby gave me for my birthday. Although I don't know anyone who can process it, if I did, I would have it processed because it holds a mystery.
I found this exposed roll of 116 film in an antique camera my wife Abby gave me for my birthday. Although I don’t know anyone who can process it, if I did, I would have it processed because it holds a mystery.
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As Resolution Increases, Quality Falters

Amelia Holtzman wears pink sparkle makeup for "Pink Out Night" duriing pregame activities at the Ada football matchup against Bethany Friday night. At first she wanted to pose for me, but I asked her to watch the happenings. I thought it expressed Pink Out Night very nicely.
Amelia Holtzman wears pink sparkle makeup for “Pink Out Night” duriing pregame activities at the Ada football matchup against Bethany Friday night. At first she wanted to pose for me, but I asked her to watch the happenings. I thought it expressed Pink Out Night very nicely.

Some years ago I wrote “HD Garbage”  in which I talked about the commercialism of imaging and filmmaking, particularly the urge to buy more products to replace perfectly good products because their tech, especially their resolution (and by extension their perceived quality), is regarded as outdated. It’s part of a bigger aspect of mercantilism that insists we make foolish financial decisions in order to “upgrade” whether it’s really an upgrade or not.

One of the most disappointing aspects of technology is that it leads talentless people to generate content that is misperceived as good, which leads to the “my uncle” paradigm: “My uncle has a nice camera. He can shoot your wedding.”

This is an Ada High Color Guard member I photographed in 1989 whose name I think is Cheri Platt. I had a huge crush on her, since I was single and 26 at the time. Ask yourself: is this memory diminished or ruined in any way by being a "low resolution" film image?
This is an Ada High Color Guard member I photographed in 1989 whose name I think is Cheri Platt. I had a huge crush on her, since I was single and 26 at the time. Ask yourself: is this memory diminished or ruined in any way by being a “low resolution” film image?

In the biggest picture, we see commercialism selling us the idea that we need more, better technology to improve our entertainment, while at the same time we are a less-happy, less-healthy people, and most entertainment is not only unworthy of high definition, it is unworthy of being viewed. Another 72-inch super-high-definition television will never be able to make that scriptless $350,000,000 super-hero movie into a life-changing moment.

A friend of mine is a huge brand-name fanboy. He is constantly pining for the next big thing,  with still-frame and video resolution being at the top of his list. Yet I’ve never seen a single second of HD or 4K video from him. Not one.

Far and Away...
Last night at the game I saw what I see a lot: photographers with very expensive “full frame” (36mm x 24mm image sensor) cameras with the same lens I am using, a 70-200mm f/2.8 zoom.  As much as the photography world touts this sensor size as the answer, I find it ironic and annoying that these photographers are always 30 yards farther from the play than I am. I know what they are getting: tiny figures in the center of the frame with lots of grass below and sky above, and I sometimes confirm it by sneaking a peak at the backs of their camera. As far as I am concerned, smaller sensors, in my case 24mm x 15mm, are a solution, not a problem. My stuff looks great.
Justin McFarlane stiff-arms an opponent in last night's game against Bethany. I was about eight yards ahead of the play, which came toward me. At 200mm with my 24mm x 15mm image sensor, the frame filled up nicely. The "full frame" crowd was 30 yards down field, missing this image.
Justin McFarlane stiff-arms an opponent in last night’s game against Bethany. I was about eight yards ahead of the play, which came toward me. At 200mm with my 24mm x 15mm image sensor, the frame filled up nicely. The “full frame” crowd was 30 yards down field, missing this image.

On a more upbeat note, I love covering local sports, specifically high school sports. The reasons for this is the legitimacy of emotional investment: the chance that a college or professional athlete has any real connection to you is slim. I heard a comedian say recently about professional sports that, “You’re really rooting for the uniform.”

The kids I cover in our community, on the other hand, are the children of the kids I covered 25 years ago, and everyone on the sidelines or in the stands has a dog in the fight.

This video is from a thing Ada fans have been doing since before I came to The Ada News in 1988. At the start of the fourth quarter, the band plays a song called “Light Up,” and the kids all come down and dance, then at a specific point in the song, they rush together with the cheerleaders and cheer…

This video is a memory and a moment. Nothing about it is improved or destroyed by its resolution. The next time you consider if your video would be improved by a new phone or camera, take out your existing phone or camera and shoot with it. Take a film class. Watch how films are made. Learn how to storyboard and write a script. Only when you have accomplished this, and are making films, will you go beyond the fallacy of yearning to buy more.

Ada fans gather together in September 1989 in the exact same spot at Norris Field on the ECU campus as they did last night. No one enjoys moments or memories based on their technology.
Ada fans gather together in September 1989 in the exact same spot at Norris Field on the ECU campus as they did last night. No one enjoys moments or memories based on their technology.
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The Great American Eclipse: Until Next Time…

A total solar eclipse is a beautiful and inspirational sight. I was happy to bring my wife Abby and meet up with my sister Nicole and her husband Tracey to see and photograph it.
A total solar eclipse is a beautiful and inspirational sight. I was happy to bring my wife Abby and meet up with my sister Nicole and her husband Tracey to see and photograph it.
Abby uses her eclipse glasses to peek at the last crescent of the sun as the totality approaches. Behind her is my camera with my 400mm + TC-14 teleconverter.
Abby uses her eclipse glasses to peek at the last crescent of the sun as the totality approaches. Behind her is my camera with my 400mm + TC-14 teleconverter.

Readers of our travel blog saw that our trip to my mother’s hometown in Missouri to witness and photograph the total eclipse of the sun of August 21, 2017 was a complete success.

Photographically, the challenge for me was exposure. I’d never even seen a total eclipse before, and could only guess. The solar corona, an aura of energetic plasma that represents the most visible and photographable attraction of an eclipse, is as much as a million times dimmer than the photosphere of the sun. The internet was little help for numbers on this exposure, which surprised and annoyed me.

For this eclipse, the best exposure was f/8, 1/80th of a second at ISO 640.

My 400mm with its excellent TC-14 teleconverter stands ready to photograph the solar eclipse, just seconds before the totality.
My 400mm with its excellent TC-14 teleconverter stands ready to photograph the solar eclipse, just seconds before the totality.
This is the aperture ring on my 400mm. With the teleconverter on, the aperture values are actually (not "effectively") one f/stop smaller, so when it's set at f/5.6, it's actually f/8.
This is the aperture ring on my 400mm. With the teleconverter on, the aperture values are actually (not “effectively”) one f/stop smaller, so when it’s set at f/5.6, it’s actually f/8.

I used my Nikkor 400mm f/3.5 coupled with its well-matched TC-14 1.4x teleconverter to make a 560mm f/4.5, which I stopped down to f/8 for maximum sharpness and to tame this lens’s slight inclination toward chromatic aberrations. This lens is from the era before autofocus, but was build at a time when quality construction and expensive materials made a photographic instrument of unchallenged capability. In its day, sports photographers often thought and dreamed of little else than this “sweet piece of glass.”

My first frames were pretty dark, followed by two adjustments which resulted in the "correct" exposure to show off the beauty and elegance of the solar corona.
My first frames were pretty dark, followed by two adjustments which resulted in the “correct” exposure to show off the beauty and elegance of the solar corona.

I got my 400mm in 1997 from the long-defunct Photo-Fax.com, a service that catered to us, we who wanted to pay discount prices for top-dollar gear. It’s the longest lens I own.

With the teleconverter, the 560mm focal length was beginning to be long enough to fill the frame with the moon blocking the sun, showing the solar corona…

This is the totality right out of the camera, uncropped. At 560mm on a 24x15mm (APS-C) sensor, it filled up the frame adequately.
This is the totality right out of the camera, uncropped. At 560mm on a 24x15mm (APS-C) sensor, it filled up the frame adequately.

If you were building an eclipse camera on a budget from scratch, I might consider one of the new Sigma or Tamron 150-600mm lenses. Both companies make 1.4x teleconverters, which makes the 600mm into 840mm, but also robs the lens of a full f/stop of light. (Do the math: f/number = focal length ÷ aperture diameter.) Shooting at f/8.8 results in shutter speeds duing totality of 1/10 at medium ISOs. It’s also worth considering that most telephoto lenses aren’t incredibly sharp at full aperture, and the situation gets complicated.

A co-worker of mine has Nikon's newest 200-500mm f/5.6 lens, which could fill up the frame with an eclipse pretty effectively at 500mm.
A co-worker of mine has Nikon’s newest 200-500mm f/5.6 lens, which could fill up the frame with an eclipse pretty effectively at 500mm.

It probably goes without saying that a sturdy tripod is a must.

Alternatively, you could opt for renting a super telephoto. You can get a Nikkor 800mm f/5.6 AF-S for a weekend for $400 or so.

Don’t bother with the super-cheap 500mm catadioptric (mirror) lenses. They really are junk.

Finally, there are many fine astronomical telescopes with camera adaptors that will do the trick, but their prices are also astronomical.

In less than seven years, another total eclipse will cross the United States, and the path of totality will be even closer to home than this one. On April 8, 2024, Abby and I hope to be in the vicinity of Idabel, Oklahoma, just 148 miles from our home. With the experience I gained from this time, I will plan to expand my goals to include more cameras, more lenses, and more photographic schemes, and hopefully take the next eclipse to the next level.

The "diamond ring" effect happens in the brief moments when the sun begins to emerge from behind the moon. As you can see in this frame, the brightness of the photosphere is starting to overwhelm the lens and the sensor.
The “diamond ring” effect happens in the brief moments when the sun begins to emerge from behind the moon. As you can see in this frame, the brightness of the photosphere is starting to overwhelm the lens and the sensor.
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