Google has marked Earth Day 2026 with a genuinely clever homepage Doodle, turning the Google logo into a celebration of the planet itself by filling each letter with Google Earth imagery drawn from different corners of the world.

Launched on April 22, the annual Earth Day Doodle is described by Google as a showcase of Earth’s natural beauty and landscapes, and that is exactly what makes this one land so well.

What makes the concept especially smart is that this is not just a pretty piece of branding. It is a visual reminder that the geography of our world, its coastlines, terrain, textures, and natural contours, is powerful enough to become the branding.

Rather than using flat graphics or a generic greenwashing aesthetic, Google has built its own name out of the real shapes and surfaces of the planet, letting the landscape itself do the talking. Google says the rotating artwork uses Google Earth imagery to showcase diverse global landscapes and natural wonders inside each letter.

The breakdown of locations gives the Doodle even more weight. The first G features the United Kingdom in Europe, followed by an O made from Canada in North America, another O from Argentina in South America, a second G from Papua in Oceania, the L from Senegal in Africa, and the final E from Indonesia in Asia.

In other words, Google has turned its wordmark into a globe-spanning visual statement, with each letter anchored by a different region and a different expression of the Earth’s surface.

That is what makes this Earth Day Doodle more than a simple annual refresh. It works because it taps into something instantly recognizable: the strange beauty of the world when viewed from above. Forest edges, shorelines, land masses, and topographic patterns become the design language, and in doing so, Google cleverly suggests that the planet’s own geographic shapes are iconic enough to make up one of the most recognizable logos on Earth.

It is a sharp bit of visual storytelling, and a far more elegant way of making an environmental point than hammering users with a slogan.

There is also something fitting about Google using Google Earth as the engine behind the artwork. The company is effectively turning one of its own most powerful mapping and imaging tools into an Earth Day tribute, while also reminding people just how extraordinary the planet looks when seen at scale.

The Doodle page also credits imagery partners, including Airbus, Vexcel Imaging US, Inc., Data SIO, NOAA, the U.S. Navy, NGA, GEBCO, Maxar Technologies, Landsat / Copernicus, and CNES / Airbus, underscoring the huge imaging network behind a homepage graphic that, at first glance, looks effortlessly simple.

In the end, that simplicity is the genius of it. Google’s Earth Day 2026 Doodle does not need to overexplain itself, because the message is already there in the landforms, the textures, and the scale of the imagery.

This is a logo built from the world itself, and that makes it one of the more thoughtful and visually intelligent Earth Day Doodles Google has delivered in years.

A landmark giant tortoise reintroduction program on the Galápagos Islands used NASA satellite data and aerial imagery to help scientists pinpoint the perfect location for the reptiles’ release. It’s been roughly 180 years since the Floreana giant tortoise was driven to extinction due to over hunting and habit loss. The Floreana giant tortoise is famous for having been witnessed by Charles Darwin himself, where the species was already said to be in steep decline.

However, a long-term conservation program has put relatives of these incredible reptiles back on home soil for the first time since the mid-1800s. I say relatives, because they aren’t pure Floreana giant tortoises. Instead, they’re bred from descendants of the Floreana giant tortoise, first discovered by scientists including Dr. James Gibbs in 2000 at Isabela Island’s Wolf Volcano. Despite thinking that the Floreana line was all but extinct, these tortoises were found to have “significant Floreana ancestry.”

Fast forward to February 20 of this year and a total of 158 tortoises from the Santa Cruz Island breeding center were reintroduced to Floreana Island, some 180 years since the Floreana giant tortoise went extinct. But finding a suitable home for the tortoises on the archipelago wasn’t taken lightly. Scientists scrutinized the Galápagos Islands for the perfect locations to give the tortoises the best chance of thriving in their new home. That’s where NASA comes in.

Combining NASA satellite data with field observations, the team of scientists were able to map Galápagos’ environmental conditions, while also tracking the islands’ vegetation, moisture and temperature shifts. All vital information to ensure that the 158 reptiles could sustain themselves, longterm. Dr Gibbs, along with principal investigator Giorgos Mountrakis and their team used the data to form a decision tool to calculate habitat suitability and Floreana Island came out on top.

According to NASA, the scientists’ decision tool uses multiple NASA and partner satellite missions to gather data, as well as high-resolution commercial satellite imagery via NASA’s Commercial Smallsat Data Acquisition Program, used to identify potential locations prior to dispatching personnel for field observation.

But this data doesn’t just allow the scientists to pinpoint suitable locations now, it allows them to forecast the suitability of locations well into the future. This is crucial in providing the tortoises with the best chance of success. As Mountrakis told NASA: “This isn’t a one-year project. We’re looking at where tortoises will succeed 20, 40 years from now.”

And the work isn’t done. The Floreana Ecological Restoration Project aims to remove invasive predators and ultimately reintroduce 12 native species back onto the island, with NASA satellite data playing a crucial role in future conservation efforts.

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Mike Zalewski wasn't always sold on drones. "I was the stubborn old man when it came to the popularity of drones," he admits. But once he finally gave it a try, he was hooked. The unique, high-up perspective drones offer opened up a whole new world for his photography.

Mike captured Rhode Island's Favourite Drive in August 2017, using settings of f/2.2, ISO 100, and a 1/20 seconds exposure. Mike has been behind his camera for over 15 years, starting out inspired by BMX bike magazines back in high school. His works span everything from landscapes to weddings and family portraits.

Let's dive into the story behind this image and explore how Mike's drone gave him a fresh way to capture the world.

Image Analysis

Elevated perspective

Camera drones have become powerful tools that have unlocked a world of dynamic and captivating perspectives that were once out of reach. "A lot of people knew me for my landscape and sunset images, so adding a drone to the mix really allowed me to change my perspective and highlight Newport in a beautiful way."

Area characteristics

"I began by flying close to the rock and focusing on capturing the crashing waves. The rock almost appeared like some sort of large animal swimming in the water," Mike says. But as the narrow frame of a drone shot can quickly become abstract, Mike elevated the drone to capture additional elements.

"I decided to include the road as well, as it is a popular route among the locals and tourists around Newport, Rhode Island," he says. By capturing the wider area, the viewer gains a sense of the place within the vast beauty of the surrounding landscape.

Dividing lines

Capturing powerful aerial photographs requires a keen eye for composition so that it stands out. "When I compose the shot, I pay attention to how my view gets drawn into the scene. This helps with creating a balanced composition but one with a direction," says Mike.

"The cool blue waves lead me to the road, which leads to the green grass. On seeing this view, the separation of the ocean, road, and grass caught my eye as a unique composition. I shifted my frame so that the road wasn’t placed directly in the centre," he explains.

Sense of scale

Capturing a scene from a high vantage point reduces even the largest subjects in size so that they appear small. Here, Mike has attempted to include elements that give a sense of scale, allowing the viewer to better understand the size of the area depicted in the frame.

This way, the viewer is confronted with a comparison that highlights the impressive natural elements even more. For this reason, Mike chose to include the road in his composition; however, by showing this element without any cars, the road appears to blend in seamlessly with the landscape.

Gear Info

Mike captured this stunning aerial image using the DJI Mavic Pro, a compact yet powerful drone that packs advanced features once found in larger platforms. Thanks to its sophisticated flight control system – leveraging GPS, vision sensors, and ultrasonic range finders – the Mavic Pro navigates with precision and avoids obstacles effortlessly.

The Mavic Pro's 12MP camera, stabilized by a 3-axis gimbal, delivers smooth 4K video and sharp photos. Although the Mavic Pro is no longer in production (discontinued in April 2025), it remains a beloved choice for drone enthusiasts seeking a portable yet capable device. A comparable model would be the DJI Mini 4 Pro or the DJI Air 3S.

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"Niagara Falls sits on the border of New York State in the US and Ontario in Canada. I wanted to cover all angles so I arranged to take photos from the skies in a helicopter, and later at eye-level from a boat.

“I have past experience in aerial photography in Switzerland, Iceland and Bahrain, mainly terrestrial and alpine mountain shoots. I knew that it was important to select the right camera and lens combination. In this case, I chose a Canon EOS R3 which has a super-high speed burst rate to help me maximize my chances of catching the perfect moment, as well as the crisp and sharp Canon RF 24-70mm F2.8L IS USM lens which offered a lot of flexibility with its zoom range.

“I ensured that my shutter speed was high enough to counter any movement and vibrations caused by the chopper, trying to achieve around 1/1000 sec. For some angles I was shooting into the strong sunlight which was challenging and I needed to check my images regularly to make sure the highlights weren’t over exposed."

“I also wanted to take some pictures downstream from a boat to get a totally different perspective. The results from both were quite heartening. Shooting from the boat had its own set of challenges. Water spray was very high and this can cause severe damage to the lens and the camera, so precautions had to be taken. The rocking motion of the boat was also destabilising, but shooting with the EOS R3’s blisteringly quick burst mode helped ensure at least one of my images would be sharp and well composed.

“At close quarters it was difficult to squeeze in the vast falls into a single frame, but taking multiple images and stitching them into a panorama worked well. My top tip if you want to shoot Niagara Falls from the skies, or any location for that matter, is to make the pilot your best friend and the world below will be yours for the taking!”

Editors' Thoughts

Premjith has done a cracking job at capturing these stunning waterfalls by air and by water, he’s taken his photography to new heights – literally! He’s done a superb job at ensuring his images are nice and sharp, by masterfully focusing and opting for a fast shutter speed to counteract any movement from the boat or helicopter. His images are also beautifully sunny and colourful, as well as retaining some of the brighter details without them burning out. Our only slight issue is that his horizontal panorama from the boat looks a little squished and we think it just needs stretching ever so slightly to make the proportions of the falls look natural. This small issue aside, his waterfall shots are fit to appear on a postcard!

Hüseyin Karahan (AKA @hsynkrhn73) made a splash with this jaw-dropping runner-up image in the Photography category of 2024’s ViewSonic ColorPro Awards – captured from above with one of the best camera drones. The aptly entitled 'Swimming Race' earned Hüseyin a well-deserved second place in the competition and I was lucky enough to sit down with the photographer, who lives in Kocaeli, Turkey, to discuss this eye-catching entry.

The ViewSonic Color Pro Awards is now in its fifth year. The 2024 competition's theme was ‘Momentum’, with entrants encouraged to explore the meaning of the word “beyond physical motion, delving into emotional and symbolic dimensions”.

Hüseyin captured the image using a DJI Air 2S drone and a two-stop ND filter. He tells me that he shot at f/2.8 – the drone has a fixed aperture – and at ISO100. Due to the sunny conditions, he was still able use a shutter speed of 1/500 sec to freeze the moving swimmers.

The image was captured in Turkey's Kocaeli Bay at 10:51am. He tells me: "While taking the shot, I was careful to shoot from the opposite direction of the swimmers swimming. And I made sure to take different photos from different angles."

What really makes this photo stand out is that the swimmers are largely captured at equal distances apart. Additionally, the frame only includes the swimmers and the sea, there's no sand and very few gaps. The result is a fractal-like effect that suggests the repeating pattern of swimmers continues beyond the frame.

It was Hüseyin's daughter, Öyküm, that got him interested in photography. "The university my daughter studied at was in the Department of Radio, Television and Cinema and she was interested in photography. This interest in photography impressed me greatly and I became interested in the art of photography.

"I love taking photos with drones, as well as portrait photography. In fact, there is no fixed type of photography that I am only interested in… I just love taking photos, I care about them."

You can see more of Hüseyin's incredible work by visiting his Instagram (linked at the top of this article).

The next ColorPro Awards launches in spring. Find out more or follow the contest on Instagram: @colorpro

Check out previous Photo of the Day images, and the stories behind them. If you have an image you'd like us to consider for Photo of the Day, email it to us at digitalcameraworld@futurenet.com

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You'd be forgiven for thinking this stunning abstract was a close-up of a leaf, but it's actually an incredible aerial photograph of an estuary in the UK. The Gannel Estuary resides in the Cornish town of Newquay, a location drone photographer, David Ball (AKA @davidballphotography_), visited multiple times before various key conditions aligned: lighting, low tide, and calm enough winds.

• Do you have an image that should be Photo of the Day? Send your image to: digitalcameraworld@futurenet.com for the chance to be featured.

David's flying machine of choice is the DJI Mavic 3 Pro, one of the best DJI drones money can currently buy. He used the wide camera, with its 24mm (full-frame equivalent) focal length (at f/2.8) and a specialist polarizing filter to cut reflections from the water's surface.

If you've never used a drone to capture photos before, you might think the image-making process is very different. But David told me otherwise: "I believe you still have to nail a great composition, which can be very tricky at times. It's certainly not just a case of positioning the drone, pointing the camera down and taking an image."

This particular image was captured at 400ft, which (at the time of writing) is the legal limit for drone height in the UK. David spent plenty of time planning the shoot, ensuring that the wind speed, weather, and tides were suitable before heading out.

He scouted the location beforehand so he new exactly where and what he was shooting. This was essential, due to the short 10-minute flight time he had to work with. When asked if he would do anything different, were he to repeat the shoot again, he said: "I'd like to capture the same image during winter, maybe even with some ice or snowfall."

David's top tips for drone photography…

"Research the area beforehand and always make sure you're flying in a legal zone. I'd also advise not to just turn up with your drone and point and shoot. You still need to make a story and nail your composition, just like any other camera. And with a drone – in my eyes – that can be very difficult."

Check out previous Photo of the Day images, and the stories behind them. If you have an image you'd like us to consider for Photo of the Day, email it to us at digitalcameraworld@futurenet.com

Interested in drone photography? Check out the best camera drones and the best cheap drones.

A professional US photographer has died after walking into a propeller on 26 October at Air Capital Drop Zone, a skydiving company in Derby, Kansas.

Amanda Gallagher, 37, a photographer and keen skydiver, was taking pictures of fellow skydivers at the airfield when she accidentally backed into the active propeller, according to US media reports.

In a statement obtained by E! News, Lieutenant Eric Slay said:

"Sedgwick County Sheriff Deputies were dispatched to a public accident at [Air Capital Drop Zone], that occurred on October 26th at approximately 2:40 p.m. “Amanda Gallagher made contact with a grounded and stationary, but still running plane, and received critical injuries."

It’s clear from Gallagher’s Instagram account that she was an experienced skydiver and regularly took photos from the air and on the ground in active airfields. A post dated September 29 2021 shows the first time she completed a skydive from over 18,000ft saying, "I can’t even describe how amazing this was."

Earlier this month she completed her first solo skydive. Gallagher leaves behind her partner of three years.

NBC News reports that Air Capital Drop Zone released a statement, saying that Gallagher was at the location to take photographs of the skydivers.

"After the airplane landed, for unknown reasons, as the next group of jumpers were boarding, she moved in front of the wing, a violation of basic safety procedures. With her camera up to shoot photos as she did so, she stepped back slightly moving toward and into the spinning propeller."

Martin Myrtle, the company's owner, said that Gallagher was beautiful "inside and out" and that her death had a "profound" impact on the Drop Zone community.

Cook Airfield where the company operates from also issued a statement on its Facebook page:

"Our hearts go out to the family and friends of the young lady who died yesterday after a tragic accident with an airplane propeller on Cook Airfield. I wasn’t there when it happened, so I will not speculate on what could have or should have happened differently. Just please keep her family, her friends, and her Air Capital Drop Zone family in your prayers and thoughts."

A user on the airfield’s Facebook page wrote:

"How in the world does this even happen? ALWAYS, the airplane’s engines and propellers are to be off until crew and passengers are safely inside the plane. This is horrifying and was absolutely preventable."

Gallagher’s sister-in-law has started a GoFundMe page to raise money for her funeral. She writes:

"Amanda Gallagher was kind, adventurous, creative and beautiful inside and out. She was a loving daughter, sister, aunt and friend and will be greatly missed."

The page has currently raised $14,762, surpassing its target of $12,000.

As photographers, we’re always keen to find new perspectives on familiar subjects. American photographer Donn Delson is known for offering viewers a unique take – his typical workday involves being strapped into a ‘doors off’ helicopter and flying at heights of up to 12,000ft above to capture the world from a bird’s eye view. The absence of doors allows him to lean out and shoot scenes that inspire him from above without optical distortions, reflections and limited perspectives. 

During his visit to London for his exhibition ‘Visions Unbound: A Photographic Journey Through American Eyes’ at Cromwell Place, Digital Photographer had the opportunity to observe Delson in action. Before the helicopter ride, he emphasised that the experience is still just as exhilarating for him as it is for us first-timers, as catching a glimpse of the world’s beauty from above is extraordinary each time. Thankfully, the London weather was clear so we could enjoy the spectacular views.

Once in the air, Delson discussed his approach, explaining how he looks for symmetric patterns and textures that evoke a profound sense of balance, harmony and peace. It was deafening in the helicopter, but he was happy to answer our questions once we were safely back on the ground.

Interview

Merlin, the magician, was responsible for teaching Arthur about the ways of the world so that he would be a wise and benevolent ruler. He turned Arthur into various creatures so that he could experience the world from different perspectives. One such creature was a goose, which enabled him to fly above the world with no man-made or natural encumbrances, such as fences, borders, mountains, rivers or oceans. I was struck by the beauty of what that sight would have looked like as he became aware that the world he flew above was really one Earth. That romantic sense of oneness resonated with me. Little did I know that almost 60 years later, I would be drawn to experience a similar perspective from a doorless helicopter and be fortunate to be able to share that with others.

I’m also intrigued by the concept of appearance versus reality. At 75, I appreciate much more how one’s perspective can change everything. From above, things on the ground often take on an entirely new look from what they are in reality. I give many of the pieces whimsical titles for what they appear to be.

Donn's cameras

“My current choice focuses on the Fujifilm GFX 100 and Nikon D850 with prime and zoom lenses to adjust for altitude and image frame capture. I love both these bodies and use them extensively – the GFX’s huge file size (102MP) and the D850’s ability for low-light shooting make them a perfect combination.”

If you don't have a helicopter for your aerial photography, use one of the best camera drones instead!

Creating an important space for drone photography within the industry, the Drone Photo awards has announced the winners of the prestigious contest. 

Organized under the umbrella of the Siena Awards, it carves out a unique niche within the photography world, intentionally moving away from traditional formats. 

2024’s Photo of the Year was taken by Gilad Topaz for his image ‘Drifting in Space’. During an incredible adventure aboard an icebreaker in the freezing waters of the Baltic Sea in Sweden, Topaz and other passengers seized the opportunity to jump into the icy sea. Wearing special rubber suits to keep the cold at bay, they carved out a pool amid the ice, and almost resemble astronauts floating through space. 

In the ‘People’ category, this haunting and important image of body bags recovered from a mass grave in Bucha, Ukraine in April, 2022, won first place, captured by Carol Guzy. Investigators began the morbid task of lining the bodies up at a cemetery to assess evidence of war crime after Bucha was liberated from Russian occupation.

There are only about 300,000 sperm whales left in the world, and they have been considered endangered under the Endangered Species Act since 1973. Toby Nicol captured this drone image, for the "Animal" category, off the shores of Perth, Australia, while a tiger shark floats just above it.

This image of a skate park in Azpeitia in Spain by Alex Berasategi came in first place in the ‘Sport’ category. Taken in his hometown, Berasategi planned to take the image for use on the first anniversary of the new skate park. He focused on the layout and lines of the park to create this minimalist image. 

An incredible aerial view of nature’s artistry in Iceland’s highlands wins the top prize in the ‘Abstract’ category. Isabelle Tabacchi captured the mesmerizing image of the country’s grooves, rivers and vegetation in an image that looks more like a painting than a photograph. 

Paul Mckenzie won in the ‘Series’ category for his images of Lesser Flamingos. The birds thrive in some of the harshest environments on Earth, both searing air temperatures and caustic waters, ideal conditions for producing their staple food, cyanobacteria. Seen from above in their watery environment, the soda lakes provide a colorful backdrop, complimenting their vibrant animals. 

Yuriy Stolypin took first place in the ‘Urban’ category with his ethereal image of Europe's tallest skyscraper poking out of the clouds. This image of the Lakhta Center in Russia was the result of months of intense planning and waiting for the perfect weather conditions. 

The winner of the ‘Nature’ category is Xiaoying Shi, whose fascination with the unique and captivating geological formations of Factory Butte in Utah inspired him to buy a drone and capture its beauty in all its glory. It wasn’t until his third day of shooting that he finally witnessed the warm, low light he had been seeking to photograph a stronger and more textured landscape. 

Vlad Vasylkevych won in the ‘Video’ category for his stunning film '1 Million Bombs Before’, documenting the beauty of Ukraine before the Russian invasion. He travelled more than 70,000 kilometers across the country in four years, preserving thousands of scenes, landscapes, views, and spaces, many now changed or lost through war. 

He shared: 

"This video encapsulates my journeys through Ukraine. Initially, my intention was to present an uncommon, bird's-eye view of Ukraine's beauty—to showcase it from ABOVE. However, now I recognize that pain is intertwined with beauty. The land, mutilated by the enemy, with scarred forests and protected areas, will never resemble what I originally captured and etched into my memory."

In a slightly left field decision there is also a ‘Wedding’ category. Joanna Zdancewicz wins with her image of a birds eye view of two newly weds kissing in an original Volkswagen Beetle against a green background. 

Fancy getting in to drone photography? Why not check out our guides to the best camera drones, the best cheap drones, and the best drones for beginners. 

The nominations for the Drone Photo Awards, featuring five nominees in each of the nine categories, have been announced. 

The incredible aerial photographs allow viewers to get up close and personal with a sperm whale, skyscrapers above the clouds, and the surprising beauty of the cranberry harvest. 

The nominated works were selected from over 2,000 shots submitted from 113 countries, and the winner will be announced on 28 September 2024 at the Siena World Photography Awards ceremony at the Teatro dei Rinnovati in Siena, Italy.

One of the incredible images nominated in the "Abstract" category was captured by Jeroen Van Nieuwenhove during the 2023 volcanic eruption of Fagradalsfjall at Litli-Hrútur in Iceland. The lava temporarily formed the image of a dragon-like shape, only visible from the air.

Many of the best travel, nature or wildlife documentaries rely on drone footage these days – research to achieve shots that even the best professional cameras can’t achieve.

Native to Massachusetts, USA, the cranberry bogs are dotted about the landscape of the state's southeastern region, and are harvested annually in the fall. Brad Weiner's image is nominated in the "People" category.

There are only about 300,000 sperm whales left in the world, and they have been considered endangered under the Endangered Species Act since 1973. Toby Nicol captured this drone image, for the "Animal" category, off the shores of Perth, Australia, while a tiger shark floats just above it.

The unique and beautiful geological formations of Factory Butte, Utah, USA, were captured by drone by Xiaoying Shi, showing the incredible textures of the landscape's surfaces, for the "Nature" category.

Europe's tallest skyscraper, the Lakhta Center in Russia, is visible from the highest point, only achievable with a drone. It took months of intense planning and waiting for the perfect weather conditions by Yuriy Stolypin to submit his image in the "Urban" category.

Daniel Koszela took his photograph during the 2023 Polish Bieg Piastów Worldloppet cross country skiing competition, where over 4,000 athletes from 24 countries compete in 13 races in nine days. The colorful headlamps of the competitors look like Christmas tree lights in this festive drone image, submitted in the "Sport" category.

“Mariage au sommet” was taken by Alexandre Clair by drone, and is nominated in the "Wedding" category.

“Realm of the flamingo” by Paul Mckenzie is nominated for in the "Series" category. These images were taken of millions of flamingos using a drone at Lake Logipi, Kenya, and are nominated in the "Series" category.

Fancy getting in to drone photography? Why not check out our guides to the best camera drones, the best cheap drones, and the best drones for beginners. 

There are a lot of occasions where you can't use a drone. When a storm struck a few weeks ago, I wanted to check my roof and my neighbours, but I live near an airport in an urban area and it was still pretty windy so a drone was unacceptable for legal (and common sense) reasons.

I did, however, happen to have an Insta360 Extended Edition Selfie Stick and the Insta350 X4 camera to hand as they were with me for my review of the X4 camera. That turned out to be the ideal solution.

A large amount of roofing material 'appeared' on the street, causing damage to my home – my internet cable was dangling in the street – but I wasn't sure where it had come from.

At first, I thought the materials were from my roof because the guttering and – very irritatingly – fibre optic internet cable definitely was! People nearby had a mix of concern and, as the minutes passed, some desire to find out who was responsible for clearing the mess!

This is where the need to check things came, but as mentioned I couldn't fly my drone in the high wind.

Max resolution wasn't essential – it'd be easy to see a roof with that much material missing – and the wind couldn't have carried it too far, so I headed upstairs with the Extended Edition Selfie Stick that happened to be included with the accessories provided for the X4 review.

The retracting pole, which shrinks to just 36cm (just over a foot) and extends to 3m (9.8ft) is great for all kinds of activities. I've seen someone using one as a way of capturing video over a crowd at an Easter mass in Spain!

At full extension, there is a slight bend in the pole but it is still surprisingly rigid. It can be attached to any device, but fits in the base of the X3 or X4 series like the standard Invisible Selfie Stick, so images & video can be caught and re-positioned.

Insta360 even market the pole under the tag "no drone, no problem" and they might have a point, at least in this kind of scenario!

Both those cameras capture 360-degree stills at a resolution of 72 megapixels, and there are other options in our best 360-degree cameras guide.

I chose to capture stills using the 10-second self-time activated using the camera's screen. It might have been easier with a second person who could have held the pole in both hands (sensible in the wind) while I operated the camera using the app, but this was more than sufficient.

I could then crop the view, which might not have been a crystal clear image, but was enough to convince my neighbours to call in their builders.

It transpired that the roofing materials had blown off and landed on my fibre-optic cable, which was so strong as to have pulled my facia and guttering off the house with it!

The camera was useful because, with a lot of ageing roofing in the area, and most homes at the same height, a simple pole proved a quick way to solve the need for an emergency survey sooner than even a certified operator would have been able to secure permissions to fly. We didn't even need to wait for the wind to die down.

If you do fancy a drone, check the best camera drones and best beginner drones, and we keep a guide to the best selfie sticks too.

To mark the launch of this new drone photography book by leading pro photographer Fergus Kennedy, Digital Camera magazine is running a photo challenge over the next three months – send us your best drone photo and you could win a copy of the book worth $17.95/£12.99! You can read our four-part drone photography series in Digital Camera magazine, in issues 283-286.

To be in with a chance of winning, just tag your best drone photo #dcmdronechallenge on Facebook or Instagram.and follow us on @digitalcameramag. 

Editing should be kept to a minimum, and Generative AI is not to be used in any entries. 

The next winner will be judged by the Digital Camera team on July 20, and will be contacted shortly afterwards. Good luck, and we're looking forward to seeing your shots!

Terms & conditions

A. RELEASE FROM LIABILITY

Digital Camera Drone Challenge is being organized and managed by Digital Camera magazine. The Drone Challenge is in no way sponsored, endorsed, administered by, or associated with Facebook, Instagram, Threads, or [X]. By taking part in this contest, you agree to a complete release of Facebook, Instagram, Threads or [X] from any or all liability in connection with the contest.

B. ENTRY PROCEDURE

Entry is open worldwide to drone photographers of all skill levels and styles. Digital Camera Magazine will validate all entries and will determine, at its sole discretion, whether each artwork meets the entry criteria detailed herein for acceptance as an entry into the contest. Entries that are offensive, overly sexualized, mutilated, incomplete, illegible, inaccurate, forged, irregular in any way, or otherwise not in compliance with the official rules will also not be considered for the contest. AI should not be used in creating the photography. The opening and closing date and time for entries will be indicated on www.digitalcameraworld.com. Any entries posted using the monthly theme hashtag after the monthly deadline will be disregarded and will not be considered for the contest.

C. PHOTO SELECTION PROCEDURE

Once the monthly deadline has passed, the Digital Camera Magazine team will pick the winning photo. We (Digital Camera Magazine) have the final say if entries have met the criteria of the brief associated with the monthly contest. The selected photographers may be contacted to gain permission to use their photo to be printed in the magazine, we cannot pay for the use of the photo. Photographers in question will need to agree to the Digital Camera Magazine/Future plc non-exclusive licence terms below before we can print any photographic work.
In consideration for Future promoting you and/or the Material as agreed, you grant Future and its licensees a non-exclusive, irrevocable license to use the Material in print and digital publications and on all Future websites (including related, branded social media pages). Any reuse of the Material in the formats set out above shall be in the same context for which the Material was originally supplied. You warrant that you own or have the right to license the Material to Future and that Future’s use of it in accordance with this email does not infringe any intellectual property or proprietary rights of any third party. You agree to indemnify Future against all and any loss, damage, or costs sustained by Future arising out of any third party claim that the Material when used in accordance with this email infringes the Intellectual Property of a third party.

D. DATA PROTECTION

The data (real name, email) that is provided by the selected photographers when they submit their work will be held by Digital Camera magazine. Submitted photographers’ data will not be shared with or sold to any external parties or commercial entities.

E. COPYRIGHT

Digital Camera magazine bears no responsibility for any copyright infringement committed by individual artists. The competition’s aim is solely to inspire participants to produce original photos centered around a shared theme. Inquiries concerning specific pieces created for the contest should be addressed directly to the respective photographers. Photographers retain full copyright ownership of the photos submitted to the Drone Photo Challenge or Digital Camera Magazine at all times.

F. AI USAGE

AI will not be allowed in our Drone Photo Challenge. It should not be used at any stage of the photography process. Photographers that have used AI will not be picked to be featured in the magazine.

G. OTHER

Digital Camera magazine reserves the right to modify the Terms & Conditions/Rules of the contest at any time, including during and after the Photo Challenge has been launched each month. By taking part in this competition you agree to be bound by these terms and conditions, the competition rules at: www.futureplc.com/competition-rules/ and collection of personal data in accordance with Future’s privacy policy at: www.futureplc.com/privacy-policy/.

America was plunged into darkness yesterday as the rare full eclipse was viewed and photographed by millions – but of course, Red Bull gives us wings!

Sulfur Springs Texas was cast into shadow yesterday at approximately 1:40 pm local time and lasted roughly 4 minutes. This was the amount of time photographers Dustin Snipes and Mason Mashon had to shoot one of the most creative photographs of their careers as they photographed two Red Bull aerobatic planes flying in formation through the eclipse. 

• See our guide for the best camera for astrophotography

The duo spent countless hours planning the shot, researching lighting solutions, flight patterns, and positioning so that they could capitalize on the eclipse's short window of totality. To outline the planes and make them more visible to the cameras below, reflective tape was installed on the wings to assist in illuminating the aircraft.

Then when instructed by the photographers below, the two aerobatic pilots Kevin Coleman and Pete McLeod, met and flew in tight formation under the eclipsing celestial bodies. The aircraft zoomed past while flying at 1500 feet and – most daringly – only 4 ft apart to line up with the moon.

Pilot Kevin Coleman speaking on the project says, “Normally, this would be a manageable maneuver, but when you have the darkness from the eclipse, a flight angle that needs to be perfectly lined up with the sun, and only four minutes to take the shot while moving at 180 mph, it makes it incredibly challenging”.

Knowing the window of totality would not last long, for months leading up to the eclipse the photographers meticulously planned positioning and lighting scenarios, testing numerous pass-throughs, taking into account all variables. When showtime finally arrived the pilots had only 3 pass-throughs to get the shot, and thankfully for all involved, it resulted in a stunning and never again repeatable image.

Red Bull has not disclosed what equipment was used to capture the image, but behind-the-scenes images show an array of the best Sony and Canon cameras on the market, including the monster Canon RF 1200mm F/8L IS USM. It is certainly one of the lesser-seen Canon super-telephoto lenses as it will currently set you back $20K!

The project was developed to celebrate a rare celestial event and challenge pilots and photographers in new and unexpected ways. Pilot Pete McLeod says, “Unlike the high adrenaline and aerobatics I’m used to, this project is all about exact precision and planning... It’s all about teamwork to make this happen so it’s been incredible to be a part of it.”

Are you inspired to capture celestial bodies yourself? See our guides for more information on the best telescopes for astrophotography, the best deep space telescopes, and the best smart telescopes. 

The world's most stunning landscapes have been celebrated in the tenth International Landscape Photographer of the Year, as the competition winners are revealed. From over 4,000 entries spanning the globe, with photographers both professional and amateur showcasing their talent, Australia's Tony Hewitt was crowned the overall winner. 

Hewitt's portfolio consisted of four captivating images highlighting his rich visual storytelling and technical prowess. His abstract aerial images show the world in a unique, artistic manner capturing the beauty, colors and shapes that make up the varied landscapes of Earth. 

Following closely behind in second place was Andrew Mielzynski, from Canada, while Matt Meisenheimer from the USA clinched third place. Each photographer demonstrated exceptional skill in capturing the beauty and essence of the world's landscapes with a diverse view through their lens. 

In addition to the top honors, special awards were presented to photographers whose work excelled in specific categories. Jim Guerard from the USA received the Black & White Award, while Casey McCallister from the USA was honored with the Aerial Award. Canadian photographer Thomas Vijayan, Ciaran Willmore from Ireland, and John Seager from the UK were recognized for their outstanding contributions in the Snow & Ice, Seascapes, and Desert categories respectively.

The esteemed judging panel consisting of renowned experts in the photography world – including David Burnett, Tim Parkin, Benjamin Briones Grandi, Kaye Davis, and Jim M Goldstein – meticulously reviewed each submission, selecting images that captivated them the most. 

Reflecting on a decade of showcasing the world's finest landscape photography, chairman of judges Peter Eastway expressed gratitude to all the photographers who participated in the competition. He also extended appreciation to the panel of judges whose expertise and discernment ensured a diverse selection of images, ranging from classic to contemporary, and single captures to composite works.

The International Landscape Photographer of the Year competition continues to serve as a platform for photographers worldwide to share their vision and passion for capturing the beauty of nature's landscapes. 

As the tenth edition comes to a close, enthusiasts and admirers alike are invited to immerse themselves in the breathtaking imagery that defines this prestigious competition. Check out the full results and image gallery at the awards page.

Take a look at the best cameras for landscape photography, along with the best lenses for landscapes, and check out these landscape photography tips.

Aerial real estate photography is one of three key ways professionals can add value to property sales and so boost inquiries and speed up sales, according to a study by industry data.

The key stats shared by Ruby Home, a specialist in luxury real estate, are that professional photography in general speeds sales by 32%, while aerial photos make that 68% faster.

Even a modestly priced drone from our guide to the best beginners drones or best camera drones will take pictures that offer a unique perspective – a fresh viewpoint that traditional ground-based shots can’t match. It captures the property from above, emphasizing its surroundings, landscape, and overall beauty. This unique perspective helps listings stand out and catch the eye of potential buyers.

Aerial views allow realtors to showcase the property in its context. By shooting from various angles, you can demonstrate relative property sizes, proximity to amenities, and nearby features. For smaller homes, where outdoor photos are limited, aerial shots still help fill in the gaps. Drones excel, though, at covering large properties, whether it’s raw land or an expansive estate. They reveal the entire scope of the offering, which is often impossible with ground-based photography alone.

Interestingly, of the 61% of realtors who use drones, only 43% hire a pro – that speaks to how accessible the devices are; drones like the Mini 4 Pro are so light they don't even need registering.

Other modern tech can help too – drones can capture video as well as stills, and home listings with videos garner 403% more inquiries. Virtual tours, too, are popular – both in the form of an agent simply holding their phone camera and being guided by the customer and the more sophisticated click-through 360-degree images.

360-degree consumer cameras like the Insta360 X3 can be the basis of these tours. Inevitably these methods first hit their stride in the pandemic, but the approach is now established.

I'd strongly recommend the DJI Air 3 for this kind of work, and check my guide to the best 360-degree cameras.

This year the International Landscape Photographer of the Year competition celebrates its 10th birthday and more than 4,000 submissions were received on its first major milestone. Professional and amateur photographers alike are invited to enter the competition which celebrates some of the most breathtaking landscapes from all over the world. 

The coveted title of the 10th International Landscape Photographer of the Year is based on a portfolio submission of at least four images. Australian photographer Tony Hewitt earned the esteemed title with a selection of aerial photographs showcasing a selection of brightly colored abstract aerial photos of river beds and shorelines around western Australia. Runners-up included Canadian photographer Andrew Mielzynski and Matt Meisenheimer from the USA in third place.

• Check out the best cameras for landscape photography and get creative with nature's most beautiful scenery

For the single image category, the International Landscape Photograph of the Year 2023 was awarded to Blake Randall from Canada for his image Fire and Water taken at Abraham Lake in Canada. The depiction of a smooth, mirror-like lake with frosty colors and fiery red gives the image a true fantasy fiction feel. 

Aside from the two main awards, a winnr was also picked from the Black and White category which went to Jim Guerard from the USA for another image of a crisp reflection of trees on a lake taken at George L Smith State Park in Georgia, USA. The aerial award went to Caey McCallister for his monochromatic, minimalist image of birds on the shoreline of a lake in Colorado, Canadian photographer Thomas Vijayan claimed the Snow & Ice award for Austfonna Ice Cap which is composed of 26 images carefully stitched together to immortalize the transient beauty of the natural wonder.

Irish photographer Cieran Willmore landed the Seascapes award for a stunning long-exposure image taken on the Faroe Islands showing a stream that leads your eye to two freestanding stone formations known as the Petrified Witch and the Giant while John Seager from the UK won the Desert Category for his capture of a spectacular geological formation known as El Cono Arita I the vast salt deserts of Argentina. 

First, second and third place winners will take home anywhere between $5,000 and $500 plus a selection of photographic equipment, inclusion in the 2023 ILPOTY book plus their very own copy. Winners of each of the special awards will receive a one-metre-wide print of their photo, a trophy and inclusion in the ILPOTY book. 

Each of these photographers demonstrated exceptional skill and creativity within their respective categories and was selected by a judging panel comprised of esteemed professionals in the field, who played a crucial role in determining the winners. They included David Burnett, co-founder of Contact Press Images, Tim Parkin, On Landscape Magazine Editor, Benjamin Briones Grandi, 2022 International Landscape Photographer of the Year, Kaye Davis, NZIPP Grand Master of Photography and Jim M Goldstein, a fine Art Photographer and Author. 

Now celebrating its tenth year, the International Landscape Photographer of the Year Awards expressed gratitude to all the photographers who have contributed to this remarkable journey. The competition continues to showcase a broad spectrum of landscape images, from classic to contemporary, demonstrating the richness and diversity of this art form.

With entries from all over the globe, the ILPOTY will appeal to audiences worldwide and provide a platform for landscape photographers to elevate their work to new heights. To view the entire winner’s gallery and find out about entering next year’s competition, head to the ILPOTY website. 

You might also need one of the best camera drones if you fancy having a go at taking aerial shots of your favorite landscapes

Most people try to avoid the things that scare them, but British photographer Lucia Griggi has made a career out of her fears. Lucia falls into the camp of photographers that never really intended to be a photographer – it just sort of happened. For Lucia photography was a tool, a means to an end, a way she could travel and see the world without having to have a “real job” – but she found a niche and before she knew it, she was shooting with the pros. 

Having grown up in London before moving to Cornwall on the south coast, Lucia hasn't always been surrounded by water. As a keen swimmer, surfer, and traveler of the world, Lucia’s life goal was to find a way of living simply but with no ties. “Photography was never something that I studied, but I got into it when I was older as a way of having a purpose in what I crave, which is a very free life,” she tells me with sincerity in her voice. 

• These are the best Canon cameras – the latest mirrorless systems and classic DSLRs that are still loved today

Lucia never set out to be "super successful financially", she just wanted to earn enough to pay for her next adventure; a plane ticket here, a car rental there. She started taking photos of surfers in cool places and, before long, she started getting more commissions and recognition from bigger brands and magazines. 

"I had to start educating myself around the business side of things and actually start to take it all a little more seriously."

Lucia's photography career hasn't been plain sailing by any means. She might have got her big break under the waves but, like so many women in photography, she has felt the overwhelming effects of misogyny and at times she's struggled to gain the same respect and recognition as her male peers. 

"For most of my career, I was never respected for being a woman. There weren’t even that many female surfers when I started out, maybe five or six, but now there are loads of female surfers. There were never any female photographers out in the waves, and getting published at a serious level was male-dominated and political, so there was a huge struggle to get those images into the hands of the editors."

High-end, lifestyle surf shots ended up being the style of photos that got Lucia noticed. One particular shot she took of a diver in Bali was picked up by National Geographic, and from there her career flourished. Suddenly she was being published in global surf and adventure magazines, but getting to that point was "very challenging" and rife with inequality.  

More often than not, female photographers and surfers have been portrayed in the media wearing bikinis, rather than doing the role they're employed to do – namely, surfing or photography. Regularly magazines would feature 50 or so photographers in the credits without featuring a single woman, and while that is changing it's slow progress – and the women fighting for their place in that work are described as "brave" by Lucia.

Being a woman in photography isn’t all doom and gloom. It can also be a rewarding, humbling and transformative experience. Yes it can be difficult but, as Lucia explains, "If I wasn’t a woman, I probably wouldn’t have got to where I am now. I stood out and got noticed and people were like, 'Ohhhhh!'"

Throughout her career, Lucia has shot everything from polar bears and penguins to indigenous people and the icy landscapes of the Arctic. Her work has taken her deep beneath the waves and high into the sky, so the last thing I expected her to confess was a fear of open water and heights. 

But for Lucia, fear was a driving force and photography became a coping mechanism. "I love water, I swam all my life as a competitive swimmer but the ocean, I don’t know, it’s an environment where I don’t feel in control. But the camera really helps me push through, it focuses my mind and I think photography allowed me to start loving the ocean."

When she’s not underwater, Lucia hangs out of planes, capturing stunning shots of the Icelandic icefields or the braided rivers of the Arctic from above. "It’s such an amazing way to see the world. So even though I would struggle to go up to these heights by myself, I let the beauty overtake the fear so I’ve gotta focus and get the shot." 

Putting so much trust in other people is a massive leap of faith, but Lucia knows she is safe, the adrenaline dissipates and her love for seeing the world from under and above takes over. 

In 2020 Lucia became a Canon Ambassador, and since then she has had the opportunity to focus on the educational side of photography as well as explore her own photographic pursuits. 

"I really enjoy public speaking," she says, and I can tell she does because of how well she interviews. She’s passionate about supporting other photographers and in particular, other female photographers who want to a career in wildlife or adventure photography. 

"I think a lot of the time, the females in the group really do gravitate towards me. There aren't many of us doing this and access to ladies in the field is quite limited. I’m able to support more women to get out there and work in a predominantly man’s world."

Since her appointment as a Canon Ambassador, she's fully made the switch from DSLR to mirrorless trading in her trusty Canon EOS-1D X Mark III for a Canon EOS R3 as her main camera, and she uses Canon EOS R5 as her second camera. Combined with a range of telephoto primes like the Canon RF 400mm f/2.8L IS USM or the EF 300mm f/2.8L IS USM when shooting handheld, whether shooting underwater or in the air, she knows she can rely on the speed and precision of her kit to get the shots she needs. 

Lucia’s photography career is truly inspiring; it’s enabled her to fulfill her dreams of traveling the world and it has opened doors that she never thought possible. There have been blunders along the way (shooting a celebrity event with a fisheye lens is something she’ll never do again) but it’s also taught her massive amounts about herself and the things she is capable of when she puts her mind to it. 

When asked about the best bit of advice she could give, her reply was simple. "Don’t focus too much on what other people are doing. Although there's some inspiration in that, it can pigeonhole you. Don’t feel the need to compare yourself, you’ll get noticed when you find your own path." 

Lucia never set out to be a successful photographer and yet that’s how her life has ended up. The more I interview photographers, the more I realize that perhaps there is some real truth in never putting too much pressure on yourself to succeed; it might just happen when you least expect it. 

Why not check out the best Canon lenses or the best lenses for bird and wildlife photography

SkyPixel, one of the world’s most popular aerial photography communities, today announced the winners of the 8th annual SkyPixel Photo & Video Contest. Co-organized with DJI, this year’s competition attracted over 65,000 submissions – a 120% increase from last year.

The contest welcomed creations from across the community, which includes professional photographers, aerial enthusiasts, and many new talents, all inspiring each other to share their visual and personal stories all captured from the best DJI drones.

This year’s video judging panel, which includes award-winning cinematographers and directors of photography, chose Bashir Abu Shakra’s video, “Why I Travel the World Alone,” as the 2023 Grand Prize winner. 

Above: Bashir Abu Shakra’s video, “Why I Travel the World Alone.”

This autobiographical short film captures a mixture of sweeping mountaintop landscapes with Shakra’s childhood family recordings to share his personal journey, complete with every struggle and dream that he turned into reality.

This year’s photo judging panel, chose Khánh Phan’s photo, Floral Dress” for the stills Grand Prize. This bird’s-eye portrait reveals two women wading in a pond as they collect a harvest of water lilies, whose white and magenta blooms create a floating floral dress. Judge Anne Farrar notes: “A near-perfect color scheme with lovely waves of flowers moving across the frame, this beautiful image is so well-composed and balanced, it brings a sense of beauty and calmness.”

Captured in her hometown of Long An, Vietnam, Khán Phan wanted to share a time-honored tradition of her ancestors. “They have worked as water lily pickers for many years, having learned the craft from their mothers and grandmothers. I believe these women are most beautiful when working because labor creates value and happiness. They also let me express my mission to create what is hard to imagine, and I am truly grateful to them.”

With the distinction of Annual Best Work prizes, Bashir Abu Shakra and Khánh Phan will each receive over $15K (approximately £12,500 / AU$22,225) in prizes that include a Hasselblad 907X Anniversary Edition Kit, and a trophy.

Other notable entries:

The SkyPixel team is hopeful that these prizes will continue to encourage the winners to pursue their passion into a growing hobby or burgeoning career, and in turn, inspire the communities around them.

In addition to the Annual Best Works, the SkyPixel contest also awarded winners in the following categories.

To view all the photos and videos of these winners you can visit the official SkyPixel website . Taking a look at these amazing images and videos really does make you want to take flight with your drone and explore the world around you. 

If this article has been of interest why not take a look at the best camera drones on the market or if you want something a little different why not take a look at the best underwater drones, and if you want to give your loved one the gift of flight without spending too much money to get them started the best budget drones are a good place to start.

French photographer Armand Sarlangue has been named the overall winner of the Drone Photo Awards 2022, for his photo of a fissure that was taken a few hundred meters from the main crater of Fagradalsfjall volcano, Iceland.

Armand's winning shot was selected by the judges out of thousands of images – this year the popular international aerial contest saw 2624 participants entering from 116 countries. The annual Drone Photo Awards are a testament to the best camera drones, capable of capturing stunning photographs in their own right, but the sheer diversity in this year's winning and commended images show us just how far drone technology has come.

The winning volcano image sits among a myriad of other stunning aerial photographs across nine categories, including my favorite – two peeking polar bears captured by Russian photographer Dmitry Kokh in the storyboard category (below) – as well as an evocative landscape of the desert dunes and the South Atlantic Ocean photographed by Swiss photographer David Rouge, who won first place in the nature category.

The Drone Photo Awards are part of The Siena Awards Festival, which sees eight photographic exhibitions displayed in Siena from October 1 until November 20, 2022. Three collective exhibitions are dedicated to the Siena Awards contests: Siena International Photo Awards, Drone Photo Awards, and Creative Awards. 

There are also four solo exhibitions dedicated to Danish Siddiqui, killed in 2021 in Afghanistan during one of his reports; Ami Vitale, National Geographic photographer; Dan Winters, an icon of international photography and author of the most popular portraits of celebrities of the past 15 years, and Peter Mather, a member of the International League of Conservation Photographers.

Feeling inspired? See the full winners gallery from The Drone Photo Awards and find out more about aerial photography.

What is aerial photography? Put simply, it's imagery that's taken from the air, usually from an aircraft. Which has historically made it both expensive and difficult. However, with the advent of new technology, the genre has completely transformed. 

Once upon a time the answer to 'what is aerial photography' was 'photography captured from a plane or helicopter', making it the preserve of a very exclusive cabal of specialists. Thanks to the proliferation of camera drones, though, the genre has been radically democratized in recent years.

What started as a curiosity for the rich in the 19th Century has now become a commonplace pastime enjoyed by people all over the world. 

What is aerial photography?

The very first aerial photograph was captured in 1858 by Gaspard-Félix "Nadar" Tournachon, by taking a camera up in a hot air balloon and capturing images above the French capital. 

When the first World War broke out, specialist cameras were developed and mounted to aircraft in order to perform reconnaissance missions. This technology was expanded upon, post war, to perform commercial survey and cartography services.

Aerial photography quickly became a creative tool for the entertainment industries, with 'helicopter shots' being used to capture dramatic scenes for Hollywood films, and shots from aircraft used to embellish documentaries providing a unique perspective of the subject matter.

Amateur and professional photographers have traditionally employed light aircraft to capture images from the sky, chartering professional or private pilots to fly them over specific regions and using regular cameras with telephoto lenses to shoot.

However, an absolute revolution occurred in the field of aerial photography with the widespread adoption of affordable, easy to use and increasingly powerful camera drones. 

The helicopter shot has now been rendered virtually redundant by drones, and what was once an expensive technique only available to Hollywood filmmakers can be captured by anyone with a DJI drone, whether it's high-resolution photography or 4K video. 

Read more: 

Best camera drones
Best DJI drones
Best cheap drones
Best drones for beginners
Best drones for kids

I remember being taught that as a photographer you should do all you can to capture the best photo that you possibly can. But is that right?

I do not doubt in my mind that all photographers have at some point faced the dilemma of taking a photo when they shouldn’t. I’m not talking about the situations in which you can get yourself in serious trouble – like for example photographing military places. But more, in those scenarios where it may not be a serious act. But if you can get away with taking a photo when you shouldn’t, should you take it?

The reason I’m writing about this is that some time ago I become embroiled in an argument with another photographer at the Eilean Donan Castle in Scotland (one of the locations on my best places to visit in Scotland for photography). This photographer who shall remain anonymous was taking drone shots of the castle.

 • Read more: these are the best professional cameras

Anyone who has visited Eilean Donan Castle will have seen the signs that are posted that specify when drone photography isn’t allowed (drones are not allowed between 9 am – 6 pm). This photographer was going to get away with it, so why did it bother me that he wasn’t obeying the rules?

My main issue was that it is exactly this type of disregard for the rules that will eventually lead to a complete ban on drone photography at Eilean Donan Castle. And this of course affects all the photographers who comply with the rules. To be honest, I completely understand the rationale behind the specific times that Eilean Donan Castle allows drone photography which is basically outside opening times. Imagine if a drone fell and injured or worst still killed someone!

 • These are the drone rules: do you need to register your drone?

His response to me politely pointing out the sign was that “I don’t pay attention to stupid rules”. How incredibly selfish.

Don’t get me wrong, I have nothing against drones, in fact, I own a DJI Mavic Pro and have taken some amazing shots of Eilean Donan Castle from the air (see my photo at the top). But I do believe that as a photographer we have a responsibility to each other, the general public but also the environment as well.

Another example was seeing a photographer trample on bluebells to capture a photo, blatantly ignoring a sign that said, “stay on the path”. I’m sure he ended up with great photos, but he also severely damaged the environment. Is that worth it?

I don’t believe that it is. Because for every photographer out there who breaks the rules, there may be ramifications in the future for others.

But there might also be sensitive issues like religious reasons. For example photography inside a monastery, mosque, or other religious buildings might not be allowed. I can also understand if the reasons are because of the enjoyment of the general public (who wants to see a flash go off every few minutes inside a museum or a church). Then there's music photography and the "first three, no flash rule".

Now I hope, and I believe that most photographers will know that damaging the environment for a photo is not right. Or that taking a photo inside a religious structure is insensitive.

But what about those times when the rules are less black and white? For example, when a place says that photography is only allowed for personal reasons. Should you then sell that photo if you have the opportunity?

This is a bit more difficult because ultimately you are allowed to take photos but can’t make money from them. The argument is that again if enough people break the rules, photography might be banned altogether. I guess this is where photographers will need to use their judgement to determine if the rules are unreasonable or not.

For example, I recently wrote an article about London’s self-appointed tripod police. For me, this is where some rules should be broken because they are completely unreasonable. I’ll explain why…

These security guards around Tower Bridge always use the same line of “commercial photography is not allowed”. In other words, you shouldn’t sell your photos taken from there of Tower Bridge. But if you simply walk one hundred yards past the bridge and photograph it from the other side no one will even be there to question you. Or from London Bridge. So this is a completely ridiculous rule that can in no way be enforced.

Ultimately, every situation is different and each of us will have to make our own decisions about what is right and when to bend the rules to capture a photo. But I do believe that we all have a responsibility to each other and our environment. So maybe the concept of taking a photo at all costs isn’t quite right.

A pilot flying over the Atlantic Ocean shared a photo to Reddit after seeing a mysterious red glow coming from the clouds. While fans of Stranger Things may have instantly thought it's the upside-down and started humming Kate Bush's Running Up That Hill, there is actually a scientific explanation for it.

 • Looking for the best camera drones for amazing aerial views?

The pilot who goes by the Reddit name u/mohiemen posted to the Reddit channel r/Damnthatsinteresting and in the six days since he posted it's been upvoted 111K times and had an impressive 6.5k comments. Having never seen anything like it he took to Reddit in hope of finding out what the mysterious red glow was. While many of the people commenting were able to share some scientific information as to what the light source is, others joked that it was another Stranger Things PR stunt.

mysterious_red_glow_seen_over_the_atlantic_pilot from r/Damnthatsinteresting

Certain breeds of fish such as Saury which are also known as mackerel pike are attracted to red lights. Modern fishing vessels use red LED panels to draw the fish to the surface of the water making them easier to catch but from above it certainly looked otherworldly. For an unaware pilot who didn't know of such a fishing method, it definitely looked like it could've been the entrance to the upside-down as found in the middle of lovers lake.

Fishing lamps have long been used to lure fish to the surface but modern LED lamps are far more effective and much safer than halogen lamps as they produce less heat and ultraviolet than filament bulbs. 

• The best LED light panels for photography won't lure fish, but will improve your shots.

This isn't the first time mysterious glowing lights have been spotted by a pilot. In 2018, the International Space Station also captured a photo showing glowing green fishing lights coming from boats off the coast of Cambodia. 

It's a simple explanation for a bizarre thing to see and it'll surely be a flight the pilot won't ever forget.

There are many types of new technology being used to generate 3D graphics for models in the use of architecture, video games, and of course the big topic right now, The Metaverse. Photogrammetry is also used to measure points of interest in 2 dimensional space i.e. images. But how can this be used, why do we need to know about it and what can it actually do? Scroll down to find out.

What is photogrammetry and what is it used for?

There are two types of photogrammetry; Aerial photogrammetry and Close-range photogrammetry.

Aerial photogrammetry processes the utilization of aircrafts to produce aerial photography that can be turned into a 3D models or mapped digitally. Now, it’s possible to do the same work with a drone. Camera drones have made it easier to safely capture hard-to-access or inaccessible areas where traditional surveying could be dangerous or impractical.

Close-range photogrammetry is when images are captured using a handheld camera or with a camera mounted to a tripod. The goal of this method is not to create topographic maps, but rather to make 3D models of a smaller object. 

In essence photogrammetry is the science and technology of obtaining reliable information about physical objects and the environment around you through the process of recording, measuring and interpreting photographic images and patterns of electromagnetic radiant imagery and other phenomena. In simple layman's terms, photogrammetry extracts 3D information from photographs and then they are processed by taking overlapping photographs of an object, structure or space and converting them into 2D or 3D digital models to use on various projects in programs like AutoCAD or Autodesk.

Photogrammetry is often used by surveyors, architects, engineers and contractors to create topographic maps, meshes, point clouds or drawings based on the real world. However, as we move into a more digital age photogrammetry is now used within the gaming industry, Hollywood on feature films, it has been used to combine live action with computer-generated imagery in movies post-production; The Matrix is a good example of the use of photogrammetry in the film, these details are given in the DVD extras.

 Photogrammetry is also used extensively to create photorealistic environmental assets for video games, including The Vanishing of Ethan Carter as well as EA DICE's Star Wars Battlefront. The main character of the game Hellblade: Senua's Sacrifice was derived from photogrammetric motion-capture models taken of the actress Melina Juergens, this type of application is becoming for common in the gaming industry to make characters and surroundings appear for life-like, and soon for photogrammetry will be used for photography applications within the Metaverse.

Another area where photogrammetry is also commonly employed is in collision engineering, especially with automobiles. When litigation for a collision occurs and engineers need to determine the exact deformation present in the vehicle, it is common for several years to have passed and the only evidence that remains is crash scene photographs taken by the police. Photogrammetry is used to determine how much the car in question was deformed, which relates to the amount of energy required to produce that deformation. The energy can then be used to determine important information about the crash (such as the velocity at time of impact). - which is what you seen in common TV dramas like NCIS. Google Earth also uses photogrammetry to create its 3D imagery and is in use for the Street View function and for 3D Google Maps.

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Sometimes you see things online that you just have to share – and when we saw that a stunt team took the latest DJI Ronin 4D to the rooftops of Paris to shoot parkour, we simply had to share.

This collaboration with DJI and the Stunt Camera Crew, who describe themselves as action camera operators, took the DJI Ronin 4D to the rooftops to see what they could make with it – and you can see the full result below.

• These are the best cinema cameras

For two heart-pounding minutes, Rooftops of Paris follows a traceur racing up narrow beams, leaping over wide chasms, and hurling himself at the edge of danger – with a  split screen revealing an even more amazing sight: a filmmaker is matching his every move, just steps away from him, while holding the DJI Ronin 4D cinema camera in his hand. Through all this insanely dangerous action, the camera stays level and stabilized without any shudder or jarring footage whatsoever.

Within the video, the Stunt Camera Crew shows us what happens when you combine the acrobatics of urban parkour with the cinematic expression of filmmaking to deliver a true cinematic experience that you wouldn't able to capture before. 

SCC was created in 2005 to offer production houses a never-before-seen way of capturing dynamic scenes. The team brings together 20 years of parkour training, 10 years of film stunt performance, and specializations in rollerblading, free running, and even martial arts, which they use behind and in front of the camera.

The team’s mission is simple: “We aim to provide an efficient and creative way to capture those seemingly impossible moments through film. To captivate audiences and to keep them in suspense through the power of storytelling.”

The Stunt Camera Crew is challenging the conventional methods of action cinematography. This sentiment also resonates with DJI Ronin 4D – a camera that was created to revolutionize how filmmaking is achieved.

“We have often been on sets where camera operators have no experience with these movements,” says director Daniel Ilabaca. “We believe operators ought to be athletes themselves to know both sides of the camera.” 

In Rooftops of Paris, a single camera operator runs directly with the protagonist, played by parkour artist Johan Tonnoir, all while keeping a Ronin 4D in hand. A LiDAR focus module was used to maintains pinpoint focus on Johan through every move, by constantly creating a 3D cloud of everything in the frame to assess distance for accurate sharpness every second.

In one particularly daring take, the camera operator follows Johan up the scaffolding of a steel bridge, with the Parisian skyline perfectly positioned and vividly captured in the frame. “The ability to auto-track a subject whilst running is a breath of fresh air,” shares Dennis Weibel, who jumped from one roof to another, right behind Johan. ActiveTrack Pro enables agile cinematographers like Dennis to move freely while the camera assists by accurately following the subject.

Rooftops of Paris ends in a place that holds a special place in the history of parkour. In the closing shot, the protagonist stands still, admiring a tall, undulating sculpture with ledges and crags – it looks obvious what he has in mind. In reality this sculpture, the Dame du Lac in Lisses, France, is known widely as the birthplace of parkour. As he looks up to the sculpture, the camera moves back to reveal a camera operator pointing a DJI Ronin 4D at him, standing just as still.

It is remarkable when watching the full short how technology is changing the way in which we can physically produce a production of great quality, without the Hollywood budget and equipment usually involved with filming such actions sports at Parkour.

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The incredible winning imagery has been revealed for the 7th anniversary Aerial Photo and Video competition. Co-organized by SkyPixel and DJI, it attracted nearly 30,000 submissions from professional and enthusiast content creators from around 124 countries and regions. 

One of the most popular spaces for sharing aerial photography and videography with an engaged community, SkyPixel holds a vast collection and portfolio of aerial masterpieces representing themes the likes of nature, culture and architecture.

• Looking for the best camera drones?

The SkyPixel online community has attracted over 37 million aerial photographers, videographers, and content creators collectively from more than 140 different countries. This year’s contest represented the community with an overwhelming number of submitted entries showcasing the best in the field. 

The Grand Prize winner 2021 in the Photo Category was Zhu Jianxin, with their captivating shot of a frozen lake (below) after a heavy snow fell in the Taklamakan Desert. This otherworldly sight comes together in a change of perspective to reveal several cracks that form a portrait of an elegant orchid.

“Photography as an art form always comes from life. It is born from nature. I am amazed by how a drone changes my perspective and helps me capture the beauty of our world,” shared Jianxin. 

Member of the judging panel, Stefan Foster, also commented on the work: “The real art in photography is to capture a photograph people have to analyze longer than a few seconds to see what the picture really shows.”

This year's Video Category Grand Prize winner 2021 was Wenrui Ye, as director of 'Urban villages', a visual exploration of urban villages from the perspective of a dancer. 

“Urban villages show a unique way of urban inclusion,” said Wenrui. “I revisited Guangzhou, a city where I have lived for nearly thirty years, and explored it with my interpretations, memories, and a brand-new perspective. The dramatic contrast between the city and the villages looked almost surreal, and I can’t help thinking about the countless possibilities of Guangzhou in the future.” 

Alex Meliss, member of the judging panel, commented that the winning video has a "strong story and great editing overall. Really loved the creative use of the drone and the seamless integration of aerial shots in this video. Also color, transitions, and sound design are on point." 

Judge Yann Arthus-Bertrand added that, "the video as a short movie [is] nicely done, with a real story and a great image technique and usage of light”.

DJI and SkyPixel also announced the winners of the Mavic 3 Limited Award, along with the first, second, and third places in all 10 photo and video categories, the results of which can be found on the contest website as part of an image gallery. 

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Ever tried to find your mate's house on Google Maps? Or been captured at the wrong moment by the Street View car as it drives past? This new interactive and searchable tool from Historic England will enable you see areas of England captured with aerial photography over the past 100 years. Try to spot your grandparents! 

Changes to rural landscapes and the expansion of urban architecture are only a few elements that make aerial photographs so interesting. Searching for crop circles and hidden archaeology has never been so fun. 

• Read more: Best camera drones 

Historic England is an executive public body that helps others to enjoy, maintain and celebrate England's historic environments. This non-departmental body of the British Government uses its funds to award grants, support change, protect heritage, and in this case build online aerial photographic maps. 

Launching its new Aerial Photography Explorer, Historic England has created a tool that for the first time will enable users to search and explore areas in England through an online interactive map, comprising aerial photographs collected over the past 100 years. A fascinating insight into the country's development, the aerial explorer can also reveal striking discoveries. 

Over 400,000 images from 1919 to the present day have been added to the online tool, giving users immediate access to a nationally important collection of aerial photographs that covers nearly 30% (c.15,000 square miles) of the country. 

Historic England's Aerial Investigation and Mapping team was established in 1967 to discover new archaeological sites, create archaeological maps and monitor the condition of historic sites across the country by taking photographs of the nation from the air. Around 300,000 of the 400,000 images used have derived from work by this team.

The remainder of images have been provided by the Historic England Archive of Aerial Photographs collection, with a total of over six million images, including those of historical importance such as interwar and post-war images from Aerofilms Ltd and The Royal Air Force. 

By allowing this tool to be accessible by the public, Historic England hopes that users will wield it to make discoveries about their local areas. It will also in turn provide industry professionals and local authorities with a useful resource to help planning, heritage projects and archaeological investigation.

"I am delighted that our new online tool will allow people to access easily our wonderful collection of aerial images and enjoy the historic photography that our team uses every day to unlock the mysteries of England’s past," said Duncan Wilson, Historic England's chief executive.

"What better way to discover our shared history than through this fascinating new online tool which offers a bird's eye view of our past," adds MP Nigel Huddleston, Minister for Heritage. "I can't wait to discover more about my local area and encourage everyone to explore the thousands of English sites from the last century."

Over the next few years, Historic England plans to expand The Aerial Photography Explorer platform, as more of the six million aerial images in the Historic England Archive become digitized. 

For more information about Historic England's latest research, check out its website to discover the most important historic places in England.

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Having got the bug for aviation after a visit to the now-famous Mach Loop back in 2008, I decided that’s what I wanted to do. Somewhat easier said than done, though!

After leaving college, I managed to secure a freelance position shooting for a large track day company in the UK: it enabled me to pursue aviation as a hobby, eventually progressing into a career. 

After a lot of hard work, covering my own travel, advice from peers in the industry, and some luck, I was given my first break for the magazine that I now work for, Vertical. 

That was back in 2013; since then I have travelled across the world, photographing civilian, parapublic and military helicopter operators in a variety of roles. The rush of opening the door in-flight to shoot another aircraft in formation will never get old!

See more of Lloyd's work on his website or his Instagram. 

In an effort to keep pushing myself and to improve my shooting style, I have ventured into shooting video for the magazine. Having started towards the tail end of 2018, I would like to think that my video work has come on a lot, but the experience has also changed the way in which I shoot photos. 

It is the more cinematic-type images that really stand out; I’m not sure that change would have happened were it not for getting tangled up in video.

I'll usually venture out with my Nikon D850 as my main body with a 70-200mm lens, and also my Nikon D810 as a backup with a 24-70mm. Although I'm mainly using the long end of the 200mm while up in the air, the 24-70mm can enable me to get some decent shots from ground level.

Lloyd’s guide to shooting aerial photography

01 Give a sense of scale

I have been spoilt with backdrops. From the towering and imposing Swiss Alps to the skyline of London, being able to incorporate these is a fantastic way to give a sense of scale to the environment the aircraft is operating in. Of course it is easier when you have towering mountains to use, but even featuring people near to the aircraft while on the ground can help. 

02 Find unique angles

Finding new angles is what keeps work fresh. In the air, the key to doing this is first making sure everything is safe and well-briefed between the crews. On the ground, it’s best to experiment with depth of field, tight crops and trying to incorporate some motion if the aircraft is in flight.

03  Shoot landings and take-off

These moments can often produce the most dramatic photos, especially if you are restricted to being on the ground for the shoot. The rotor wash from the aircraft typically kicks up any dust or snow, and is a great way of showing some sort
of motion in your images. A head-on three-quarter angle works well. 

04 Capture atmosphere

Using the environment is key for this. If the aircraft is operating in snowy or dusty conditions, then you know during the landing or take-off phase that you will get some really unique patterns from snow or dust being kicked into the air from the rotor wash. The best photos typically come just before the aircraft is engulfed in a ‘whiteout’ or a ‘brownout’.

05  Aim to achieve crisp shots

When you’re on the ground, it’s certainly easier to get sharp shots: when you’re in the air, you are battling against the vibrations of the aircraft and the buffeting from the wind, due to the open door or ramp. Turning image stabilization on is essential, but so is positioning your body to try to soak up some of the vibrations.

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From a young age, I have always been fascinated with military aircraft. In addition, my father and grandfather were both into photography, and it seems that their enthusiasm has become a part of me.

At air shows, I find it best to use auto ISO, simply for the ease of not needing to worry about selecting the correct sensitivity – especially with all the action going on! I always set my maximum to ISO32,000 but I rarely get anywhere close unless the weather is awful. Using a variety of software, I will fine-tune my photographs during editing and find these programs incredibly useful for correcting any issues with high-ISO images.

Since 2018, I have taken my interest more seriously. I bought my first kit – a Canon EOS 1300D and a 75-300mm lens – purely for taking photos at the Royal International Air Tattoo. But it didn’t take me long to get the photography bug and before I knew it, I was taking photos of anything and everything. I loved exploring the use of different lenses for different genres of photography. I have now upgraded my camera to a Canon EOS 7D Mark II and a Sigma 150-600mm lens purely for aviation photography.

I don’t take lots of kit with me, but I always make sure I have my wide-angle lens, especially for taking photographs of static aircraft. In my bag there will also be a 150-600mm lens, ready for any flying displays. Sometimes I will deliberately stand towards the end of the runway so that I can capture a variety of angles.

Check out more of Ritchie's photography on his Instagram: @rkg_photography_uk

Four different ways to photograph aircraft

01 Fill the frame later

I don’t try to get too close by zooming in as far as possible every time, as this can cause problems further down the line. I’ve lost many potentially great photos due to the aircraft not fitting into the frame. I much prefer to crop photographs later when editing them. With the huge amount of megapixels packed into pretty much every camera on the market, the quality when you crop later isn't as greatly affected as it once was.

02 Capturing multiple aircraft

I will admit that photographing multiple aircraft can be tricky, especially prop aircraft. In this photograph I went with an f/8 aperture, which gives a decent depth of field, and shutter speed of 1/250 sec. This then captures the propeller blur but also keeps a good sharpness on the middle of the aircraft. 

03 Shooting faster subjects

Believe it or not, capturing faster modern jets is relatively easy if you have a fast shutter speed (minimum 1/1,000 sec) and you can then track your subject from afar. I like to start by using back-button focusing, a camera technique that separates focusing and shutter release to two separate buttons. It is a useful way to stop the camera's autofocus system from getting continuously engaged when the shutter is released.

04 Photographing smoke trails

Smoke trails can be a real pain. The day this photograph was taken, it was overcast and this did not help. The image came alive when editing, when the De-haze slider helped to bring out all the detail.

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We’re going to go out on a limb here and assume, if you’re want to get good imagery with a portable aircraft, you’ve got yourself one with a remote control which has a screen built in or borrows that of your phone. If you’re trying with a toy and can’t see where you’re shooting then we admire your ambition but you might want to read our Best camera drones list first – the tech needed to capture striking images needn’t cost the earth. 

Here are three rules and seven tips that will take your drone photography to fresh heights:

Rule 1: Be a pilot first, then a creative

We’ve seen a lot of enthusiastic photographers take their drone up for the first time, gingerly at first, then very quickly get far too enthusiastic with the controls – quite probably because of the rapidly changing view on the screen. The result is nearly inevitable; fly beyond your ability to see the aircraft and you’ll be left able to feel the controller in your hand (and the dent in your wallet) and you’re going to panic.

If this does happen, hit the ‘return to home’ button and you should be fine. Better, though, to avoid such a thing. Get a few practice flights in and familiarise yourself with the controls. If your drone has a ‘Normal’ speed setting, start there, but don’t push the sticks all the way at first.

Once you’ve got the hang of the flight basics, add the camera controls to your repertoire so you won’t waste time. Discover the settings lock function so you can shoot video without auto mode changing things mid-shot, but remember not to leave it on too long. It can be tempting to just leave the camera rolling but that can fill up cards fast and will produce less considered results you’ll regret later (we know…).

Rule 2: Visualize before you take off

There are a couple of reasons for this; firstly even with the best drones flight times are limited – in fact some of the more professional ones with heavier lenses manage less time aloft – so it’s a good idea to have an idea where you’re planning to go. Secondly some shots will require permission to be sought in advance, for example crossing a highway, so no matter how interesting a view you might get it might require a bit of planning. An extra tip from experience – if you do spend the time seeking approval, don’t squander it by flying slightly too high and, as a result, missing the opportunity to emphasize the size of the bridge pylons. You know, for example.

Rule 3: Don’t be a manual mode snob

A lot of drones come with semi-autonomous shooting which can track a subject, orbiting them and keeping the camera on them as the drone moves. DJI call these ‘QuickShots.’ Many photographers instinctively feel this kind of assistance is akin to cheating in some way, but the truth is that if you’re getting something which looks good, your viewers aren’t going to question it. Moreover, it isn’t like there aren’t creative controls with these features – you are choosing altitude, distance from subject and so on and merely letting the AI avoid making accidental wobbles of the finger.

Just as we would never argue against the benefits of understanding how aperture, shutter and ISO work together, it’s usually preferable to shoot in shutter priority or aperture priority.

Tip 1: Stay Low

Not every drone shot needs to be, or should be, taken from the legal ceiling. You’re usually dealing with a pretty wide-angle lens, so if you want to include people – with their permission – you’ll need to stay very near them to see faces.

In broader creative terms, a drone can often be thought of a kind of limitless tripod, giving you the option to hoist your camera above the obstacles which might ruin a shot at ground level – signs, fences – without needing to travel far enough up for the picture to scream aerial shot. You still get to look at a scene with a little bit of flexibility, like a painter might, but the viewer will be left admiring the subject, not pondering the method.

Tip 2: Use the weather

Photographers have long understood that rising early in the morning or waiting after others have gone might be essential, and that the weather is not under their jurisdiction. The same is true for aircraft, with the further concern that wind must be below the drone’s safety threshold; it’s rarely worth pushing this as the camera gimbal might well be the component most thrown around by gusts, running your shot anyway.

If you can maintain sight of your drone, perhaps by taking off from a position largely above it, then some fog can provide another interesting dynamic. Remember that you’re meant to be 120m (400ft) above the ground, not sea level, so if fog settles in a valley but you can still be above it, that’s OK, don’t miss a trick (but don’t got into the fog either; some sensors can be confused by tiny water droplets).

Tip 3: Everything spreads outward

You’ll inevitably want to capture some locations with the satellite look, and why not? It’s important to remember the physics of light are the same everywhere and – even with perspective correction – if you hover above a point, you’ll look down on it directly and see it ‘square’, while the closer to the corner of the frame you get the more objects will appear to lean out. The classic example is a shot of a forest looking down, but you’ll see the effect everywhere if you look closely. One way to use it to your advantage is to ensure you place structures either centrally or a reasonable distance off-centre so the image feels clean.

Tip 4: Shoot Raw

If you have the chance to edit in Camera Raw or Lightroom, take it. Many drones offer a Raw or Raw + JPEG mode; JPEG is great because it’s a relatively small file and will usually be processed onboard to look pretty good, but Raw stores every bit of detail which you can later bring out in your own way. Drones don’t always offer the time to consider manual settings, so the chance to decide whether you’ll exaggerating the contrast or emphasize tones without the battery dripping away or while your scanning the skies for risks is a wise one. It might come at the cost of needing a larger memory card.

Tip 5: Parallax

One of the easiest and most satisfying things to do with aerial video is to make use of the parallax effect, like 16-bit era platform games. Since a drone can fly straight in true in any direction, it is like an invisible camera dolly, which can be used to either track in and out (in a classic scene setting or ending shot), or sideways in a manner more designed to move things along. Since you can use a little altitude too, you can pick the perfect height so foreground and background objects move at different speeds, giving the shot an engaging depth. There’s no reason to go over the top; it can be tempting to use more than one direction of travel (i.e. mix a bit of altitude and rotation in) but ask yourself if you’ll be making the motion more obvious, and more jarring, in the edit.

Tip 6: Reveal the unseen

The phrase ‘unique perspective’ is thrown about all too often when talking about drones, but there are a few things that an aerial view will let you see which being on land will often not; looking straight down into water is a good example. Sometimes you should take the opportunity to unleash your inner photo-journalist. We’d be the first to admit the example here isn’t the greatest picture, but the angle affords a better view of the outflow pipe and broken concrete than you’d see through the water surface which makes it potentially interesting.

Tip 7: Get a landing mat

It might seem to be taking things a bit far, but if you don’t get yourself a drone landing pad, there is a good chance your lens – or even the mechanism – will be affected before you even get going. Shooting with a phone screen you won’t always see droplets on the lens which will be more obvious once you’ve landed, driven home and started editing. So, for the sake of a few moments – and a very little weight – keep a landing mat with your drone.

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• Mission: Capture evocative images of aviation at air events and museums
• Photographer: Nigel Wood
• Location: Worcestershire, United Kingdom
• Kit used: Nikon D7200, Tamron 100-400mm f/4.5-6.3 Di VC USD, Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary
  
  
  

"I got into aviation when I joined the Air Training Corps at 13 and soon visited my first air show. My dad was into photography, so I borrowed his camera and my journey into film stills started. I still have his Nikon F60 and AF 35-80mm f/4-5.6D (that still works well on my Nikon D7200). 

I took a long pause between 1995 and 2016, but redundancy gave me the opportunity to invest in my first DSLR, a Nikon D3200 with the AF-P DX 18-55mm f/3.5-5.6G VR and AF-S DX VR 55-200mm f/4-5.6G IF-ED. I took it to the Royal International Air Tattoo at Fairford and my passion was reignited.

I soon found I wanted more from my kit. The D7200 felt like a natural step up and has proven to be a trusty workhorse. The Tamron 100-400mm f/4.5-6.3 Di VC USD coupled with the D7200’s crop factor gives adequate reach at air shows. Its relatively light weight is another advantage when you’re carrying it around all day.

One of the hardest techniques to master in aviation photography is prop blur (second only to panning). A blurred propeller helps to convey a sense of motion (above), whereas a frozen propeller causes the aircraft to appear as if it’s suspended, stationary in the sky. Dropping your shutter speed is key, but this will make it harder to capture the rest of the aircraft sharp. I would suggest going to a local airfield and practising this technique as often as you can, it will really help improve your airborne shots.

Every location is different and no two events are the same. Capturing the atmosphere at an air show is all part of the excitement and helps you record the narrative. In this image (above) the two Edwardian aircraft in the sky, the period cottage in the background and the Spitfire in the foreground tell a story. This was the first time I used my Tamron 100-400mm on the D7200. It’s a much lighter lens than my old Sigma 150-500mm, which makes it easier to carry around during a long day out.

The hot air balloon was humanity’s first successful attempt at flight. That serene feeling on a still day as the balloon drifts along the air currents can make for some beautiful images (above). Shooting into the sun isn’t always easy but with a little patience and luck, the right trajectory and light can reward you with a beautiful photo. A variable ND filter can help take the glare off the sun and leave you with some beautifully defined clouds and gorgeous tones".

See more of Nigel's incredible work by visiting his Instagram.

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Organizing a styled shoot can be a little daunting, especially for Halloween, but careful preparation will give you the best chance of getting everything you want out of the shoot.

With a levitation-styled shoot being especially technical, planning was an absolute must. To start with create a mood board of make up, hair and clothing ideas, and send them to your team of creatives. Create a list of timings so that the shoot runs smoothly and you're shooting the right thing at the right time. 

Write down a shot list for yourself, too; it's crucial that you don't miss any element for the final edit. You might even want to go one step further and do a scout of the location (or even a small test shoot) and make sure there are no access issues. 

Once you've done all these things, you can then start to gather your props, costumes and various items for your model to stand or lay on. Below I'll go into some detail of how you can attempt this yourself with a few simple tips and tricks (or treats!).

Shooting a spooky levitation image

Perhaps this is obvious, but it is the essential factor of your overall image and entire shoot going well: set your camera up on a sturdy tripod, and do whatever you can to avoid moving it from this point onwards. 

It's even a good idea that other people in your team don't come too close to see the images and reduce the risk of knocking it from where you began. Make sure you have a fully charged battery, too, because you don't want to be removing the camera from the tripod head at any point.

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Change your camera settings to make sure that your shutter speed is fast enough to capture any movement and that is exceeds your focal length. Here I was shooting at around 24mm, and shot at f/4, ISO500 and a shutter speed of 1/250. You can now position your model in the middle of the frame and set your focus point on them. Then switch your lens focus to manual focus. Make a floor marker where your model is stood, so that they know where to stand in the frame. We made a line in the mud so it was easy for the model to see where she had to stand.

Ask your model to leave the frame so that you can take an 'empty' shot (making sure your lens is still on manual focus). Ask your model to come back into the frame and stand on the marker. Now you can set up and start going through your poses on your shot list. Make sure your model is wearing loose-fitting clothing and be sure to drape it over the edges of the props that they are sat or stood on. This is going to help make the shot look more believable and minimizes any sharp or flat edges.

When your model is posing, try to encourage them to have soft, "floaty" movements. If they are jumping up or jumping into the air, try to make it look like they are floating. Try to avoid doing the shoot in bright sunshine, as this will cause shadows on the ground that are harder to edit out afterwards. Take an extra 'empty shot' at the end of the shoot just to make sure you’re covered.

Photoshop post processing in 5 simple steps: 

1. Open up your first posed image along with the empty shot image

2. Copy and paste the posed image onto the empty shot image 

3. Add a layer mask to the posed image layer 

4. Select the brush tool, set your foreground color to black, and make sure that your opacity is at 100%

5. Now brush over the areas of the props on which your model is stood or sat, which will reveal the empty image underneath – et voila! 

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Over the last few years, drone photography has become increasingly popular. Drones offer photographers an alternative view of the world and no longer cost the earth. The Drone Photography Awards 2021 features some of the most beautiful aerial images from the last year.

Split into eight categories, each section has an overall winner, a runner up and a series of highly commended and commended images. The categories include Urban, Wildlife, Sport, People, Nature, Abstract, Wedding and Series.

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Tens of thousands of photos were submitted this year from 102 different countries showing the wide and varied use of drones. They’ve been used to shoot everything from wildlife behavior to ethereal cityscapes to abstractions of the world. 

The overall winning image for The Drone Photo Awards 2021 came from Norwegian photographer Terje Kolaas. Titled ‘Pink Footed Geese Meeting the Winter’ the photo shows a flock of thousands of pink-footed geese flying over the snow-covered ground towards Svalbard. 

The urban category showcases a selection of images featuring man-made objects and buildings against a background of nature. Sergei Poletaev took first place with a photo of a 500-year-old monastery in the Moscow region pictured with a large power plant in the background. Commended for the image ‘12.44’, Pal Szilagyi Palko produced an aerial view of a church in Geamana, Romania, flooded by toxic wastewater. 

Taking the top spot in the Wildlife category, Qasim Al Farsi documents the journey of a green turtle heading back to the sea after laying its egg on the coastline of Oman. Second place went to Igor Altune whose image ‘Fast Food’ depicts hyenas and vultures waiting to feed on the carcass of a buffalo in Zambia after it was killed by lions. 

Using drones to take photos of sports gives a fresh perspective of some of our most loved activities. Making the most out of the position of the sun, John Cowpland, Lampson Karmin Yip and Louis Du Pisani use interesting shadows to make theirs images of a cyclist, basketball player and skaterboarder stand out. The winning image portrays the surfer Ollie Henry escaping a monster wave at the end of a rainbow while off the coast of South West, Western Australia.

Humans are fascinating creatures and the People category documents an array of activities we get up to around the world. From sunbathing on ice in the Almaty region of Kazakstan to collecting water from dried-out river beds and harvesting red chillis in Bangladesh, the images in this category show the pleasures and struggles of everyday life. 

The Nature category includes jaw-dropping images that remind you of the power and beauty of mother earth. Martin Sanchez captured the moment a volcano in Iceland erupted and won first prize with the shot. Other astonishing images include  Lake Natron in the Great Rift Valley where salt-loving algae turn it bright red and half-submerged trees in the Zanzibar Archipelago at high tide.

If you’re looking for wedding photos with a twist, hire a photographer with a drone. These stunning shots capture a couple’s biggest day from a distance and yet feel so intimate. Winning photographer Matteo Originale set his couple against a backdrop of dramatic clouds as the bride was led by the groom into their 'happily ever after'. 

Finally, the Series category showcases a body of work documenting one subject or style of photography. It includes incredible abstractions of ice and minerals, colorful fields and beautiful abandoned buildings. Address Latif came first for his series ‘Blanketed in Fire Retardent” which illustrates the devastating effects of the 2020 Wildfires that raged across Oregon.

The overall winner won more than $50,000 worth of photography equipment, a 'Pangea Prize’ crystal statuette, work displayed at 'Above Us Only Sky’ exhibition, advertised in international press and in the online gallery. Prizes will be given during an awards ceremony at the Teatro dei Rinnovati in October. 

Scroll below to see some of this year's entries or head to the Drone Photo Awards website for the full gallery.

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England’s Seaside Heritage from the Air, a new book out today, illustrates England’s rich seaside heritage as few holidaymakers ever see it – from the air.

Published by Historic England, England’s Seaside Heritage from the Air is written by  tourism history expert Allan Brodie and features more than 150 aerial photographs of England’s best-loved seaside resorts.

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In an age where aerial imagery has become commonplace thanks to digital camera and drone technology, there is something reassuringly old-fashioned about the black and white coastal collection in England’s Seaside Heritage from the Air. The images were taken between the 1920s and the 1950s, when England’s coastal destinations were nearing the peak of their popularity, and form part of the Aerofilms Collection, held by the Historic England Archive.

Part coffee-table book, part social documentary, England’s Seaside Heritage from the Air tells the story of how England’s seaside resorts developed both as places of leisure and as working towns and offers an insight into traditional aerial photography, an art which has largely been consigned to history.

The new book particularly shines a light on England’s seaside towns during the interwar yeas, when resorts expanded rapidly and created new outdoor pools and entertainment facilities for millions of holidaymakers.

The photographs capture a wide array of traditional English coastal resorts,  including Morecambe, Blackpool, Walton-on-the-Naze, Weston-super-Mare, Clacton-on-Sea,  Southport and Weymouth, many of which have now changed almost beyond recognition.

Author Allan Brodie said: "The photographs in the book hopefully capture the joys of our coastal resorts, including some fascinating features that alas no longer survive, as well as passing moments in the story of our seaside holidays.” 

The Aerofilms Collection in the Historic England Archive was created by Aerofilms Ltd in 1919 and includes over a million urban, suburban, rural, coastal and industrial aerial photographs of Britain.

For more information or to buy England’s Seaside Heritage from the Air visit the Liverpool University Press website.

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The first ever Aerial Photography Awards has crowned the inaugural winners in 22 categories, with the $10,000 grand prize and overall Aerial Photographer of the Year title going to Belgian photographer Sebastien Nagy.

Among the highlight images of the contest – taken from drones, helicopters, kites, balloons and airplanes – were stunning aerial shots featuring the world's largest picture frame in Dubai, tennis legend Rafael Nadal, abstract cityscapes and many more fascinating subjects. 

• Read more: Best camera drones for aerial photography

The contest received thousands of entries from 65 countries, from which a total of 106 photographs were awarded in the 22 categories, with 11 photographers names in the 6 'master' categories.

Having photos awarded in three categories, Nagy took home the Aerial Photographer of the Year crown along with the $10,000 prize. "To be honest, I had never participated in a contest before, but I had heard about this one in a very positive way, so I took part in the game," he said.

"I didn't think I would win anything and it was mostly for fun. So I was very surprised when I heard the good news. It was a bit hard to believe at first as it was the Grand-Prix, but I did feel a real joy and pride. 

"To be named first in a contest where the theme is what we love most, our passion, is incredible and very satisfying! This award made me want to test myself in other things and why not, to be able to judge others in my turn one day.”

Below are some of the highlights from among the top photographs. To learn more about the competition and see all the winning images, visit the Aerial Photography Awards website. 

Architecture Category
'Abstract Greece' by Sebastien Nagy

Sports Category
'Ball up' by Brad Walls

"The physical motions of a tennis player against the clean abstract lineage of the court created a harmonious effect to the eye."

Daily Life Category
'The Lady of Sea' by Duy Sinh

"A fishing boat is dropping a net and accidentally the waves pull the edges of the net into a lady on the blue sea. An accident of creation."

Wildlife Category
'Flying flamingos' by Hua Shang

"The photos were taken in Lake Natron and Lake Mecca in Kenya. When I was in the helicopter with the door removed, whether it was flying very low over the lake at a high speed, or flying straight down when there was only a seat belt between 60 degrees and 2,000 meters down, I felt that this was a straight aerial shot. 

"I used a Nikon D850 for aerial photography. The lens was 70-200mm, and most of the focal segments were above 100mm. The main focal segment was 130-200mm to track and photograph the part of the pattern of flamingos floating salt over the lake. 

"Of course I also use a short focal length of 70mm, but only if the flamingos are flying very high and close to the helicopter; On the other hand, the large amount of small salt-floating patterns in Lake Mecca made me use the local composition in the medium telephoto shoot. In this way, the flamingos still have clear details when magnified to 100%."

Architecture Category
'Surrounded' by Suirong Huang

"This is a shot of one of the most iconic towers (International Financial Centre) in Hong Kong with height of 415m. I captured this shot during the low altitude sea of clouds season which only happens once a year. I chose this angle to emphasize the Architectural characteristic of this tower to make it look like an angry claw punching through the soft clouds."

Daily Life Category
'Harvesting grass' by Khanh Phan

"The field of grass under the wind looks like waves. Grass is more than one meter high. This is a land area of about ten hectares with abundant fauna. Snakes, frogs, frogs and fish live in the surrounding puddles. This grass was cut to feed cattle such as buffaloes and cows. Sometimes they use grass as fertilizer and moisturize the ornamental plants. People also raise ducks in the pasture."

Transportation Category
'Fairway of the Gulf of Finland' by Alexander Sukharev

Patterns Category
'Umbrella crossing' by Daniel Bonte

Industrial Category
'Energy storage' by Joel Jochum

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Watch video: Photo ideas – Look to the skies to capture stunning architectural photography

When we think of architectural photography we tend to imagine crisp, clean images of buildings that show the  main façade of a structure front-on. In this tutorial, though, we’re going to demonstrate how to add impact to images of tall buildings by shooting straight up at them, and blurring moving clouds as they pass overhead.  

Modern architecture, with its blocky shapes and heavy use of glass to create smooth, reflective surfaces, is the perfect subject for shooting  from this extreme perspective. Converting images to black and white also suits this technique, with the silvery tones giving images a futuristic look.

The key is to time your shoot for when there are fast-moving clouds passing overhead – the faster the clouds, the easier it will be to get that dramatic, streaky-sky effect.  

Once you’ve got your subject and sky sorted, you’ll need to blur the clouds, and to do this you need to set a long exposure. However, in daylight you may not be able to set an exposure long enough without running the risk of over-exposure, which is where neutral density filters come in. Here’s how it’s done...

Capture incredible architectural photography

Find a subject 

Find a tall tower block or similar building. Look for clean edges, such as the right-angle corners of a skyscraper, as well as clean glass walls which will reflect light, and brighten up parts of the building. Details in the facade will also help to add interest and texture. 

Take a corner

Set up close to the base of the building, opposite one of its corners. Place your camera on a tripod, and point it straight up at the edge of the structure. Compose your shot so that the frame is filled mostly by the building’s edge, with some space around the top for the sky.

Set a small aperture

In manual mode, set an aperture of f/16 at ISO100. Not only will this help to maximize depth of field, and so ensure the entire building is sharp, it will also reduce the amount of light hitting the sensor, enabling you to set slower shutter speeds for a correct exposure.

Switch to manual focus

To further maximize depth of field, manually select an AF point roughly a third of the way into the frame. In Live View, zoom in on different parts of the image to check for sharpness, then switch your lens to manual to lock the focus, and prevent the AF system from hunting.

Dim the lights

Next, attach a strong ND filter to your lens. We used an ND400 filter, which blocks out nine full stops of light. Once the filter is attached, you need to decrease the shutter speed until the exposure level indicator lines up with zero on the exposure scale. 

Check your speed

Take a test shot and check the histogram to ensure that none of the highlights are blown. If they are, you’ll need to set a faster shutter speed. If your image is too dark, you’ll need to set a slower shutter speed. Our speed of 30 secs was plenty long enough to blur the clouds.

Shooting in monochrome

To add impact to your shot, convert it to monochrome. Most cameras will allow you to do this in-camera by going into the camera menu, selecting Monochrome and applying this to your favorite image. You can also set the camera to shoot in monochrome using the Picture Styles – plus, if you shoot in RAW, you’ll still have all the color information if needed. 

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The winner of the Nature TTL Photographer of the Year 2020 has been crowned, with French photographer Florian Ledoux taking home the title with his incredible drone shot of seals taken over the ice floats in Antarctica. 

The inaugural international competition attracted 7,000 entries from wildlife, landscape and macro photographers in 117 countries around the globe – and the standard of entries definitely marks the contest as one to watch in 2021. 

“I am so excited to be chosen as the overall winner, I was never expecting this,” said Ledoux, who not only scooped the very first Nature TTL Photographer of the Year award, but also the £1,000 grand prize. “For me, it is very important to show the state of the Arctic and Antarctic regions, and to have an image from there win this award is important exposure."

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Fittingly, the Frenchman took the opportunity to reinforce the use of camera drones in a responsible and ethical fashion when photographing wildlife.

“It is important that anyone inspired by this style of drone image understands the importance of wildlife and being ethical in your approach. Ensure that your drone does not spook animals or disturb them, and always conduct yourself within accordance of local regulations.”

Will Nicholls, founder of Nature TTL and a professional wildlife cameraman and photographer in his own right, was quick in his praise of the winning entry. “Florian’s image provides a unique angle that is not often seen in wildlife photography. The judges had a tough choice to make, but the detail and strong composition of the seals surrounded by the broken ice made it stand out from the crowd.”

Also taking home a cash prize was Robert Ferguson, who found himself £500 richer for winning the People's Choice Award with his fabulous image of a pelican struggling to swallow a fish. 

Ferguson's photograph, along with the other category winners and a couple of our own favorites, can be seen below. The full gallery of commended and runner-up images, along with more information on the organization, can be found on the Nature TTL website. 

Winner – Landscape category
'Shadow game' by Marek Biegalski
Taken in: Italy
Equipment used: DJI Mavic Pro 2

"Aerial image taken in Tuscany in autumn light. Flock of sheep was hiding in the shade from the sun under the shadow of a tree."

Winner – Macro category
'Chinese Painting' by Minghui Yuan
Taken in: China
Equipment used: Nikon D7000, Tamron 180mm f/3.5 macro lens

"I was wearing a piece of waterproof overalls in the stream of Dabie Mountain, waiting to observe this Matrona basilaris (damselfly). Matrona basilaris is the king of the stream here. There is a male Matrona basilaris every 3 meters. They were waiting for the female to fly over its territory; the male chased away a male opponent and then stopped at the tip of the grass. Against the background of the sky, I discovered the connection between the lines of the grass and the subject. Nature itself is a simple painting."

Winner – Under 16 category
'Phoenix' by Saptarshi Gayen
Taken in: India
Equipment used: Nikon D7100, Nikon 200-500mm

"For the last 4-5 years I have seen that, at the end of every winter, farmers of this huge grassland generally burn the grass and reeds to clean the land for upcoming crops. When the fire spreads across the land, small insects start coming out. Then the brave Black Drongo starts capitalizing on such a moment by eating them and flying above the live fire. The birds usually sit on a branch fearlessly and watch the movements of the insects as the fire spreads into a new area, then it flies close to the fire for the catch. This is a full frame image, and the calmness of the Drongo reminds me of the Roman Emperor Nero."

Winner – People’s Choice Award
'I'm not going easy' by Robert Ferguson
Taken in: Singapore
Equipment used: Canon EOS-1D X Mark II, 200-400mm f/4

"This is the Great white pelican (Pelecanus onocrotalus), struggling with a non-native fish. These wonderful birds are free to roam, but have established a large colony on one of the artificial islands in the old Jurong park in Singapore. I had set up my camera to take some portraits and watch their behavior, and noticed one particular bird that had caught one of the big fish from the pond. 

"I watched, intrigued, as the bird swam in circles, dipping his bill, taking water, then raising his beak to attempt to swallow his large prey. But every time the fish extended its sharp spines on its fins - you can see it hooked on the beak here - and lodged itself firmly. This went on for over 20 minutes, with no sign of either party tiring. I was fascinated to see the intricate veins in the birds throat pouch, as the overcast day backlit the thin skin, and I had to move and crouch low to the ground to get the shot."

Highly Commended – Landscape category
'Coexistence' by Dipanjan Pal
Taken in: Iceland
Equipment used: DJI Mavic Pro

"This is a scene very close to one of the popular mountains of Iceland. While flying my drone to the mountain with my drone's camera pointed downward, I suddenly noticed this beautiful landscape with the blue river perfectly pop- ping against the black sand. The sun peeking through the clouds added more drama to the scene."

Runner-up - Macro category
'Mating red-eyed damselflies' by Robert Page
Taken in: UK
Equipment used: Nikon D7200, 500mm f/5.6 PF 

"I have observed and photographed damselflies on the ponds in my local park in London for years. Last summer, during the July heat- wave on an especially hot and muggy but overcast day, I went with the intention of trying to capture some shots using exposure compensation as I'd recently begun experimenting more with it. The damselflies were out in great numbers all over the surface of the water and due to the lack of direct sunlight I was able to shoot with a bit of positive compensation to leave the water white or near white. It then just became a question of looking for the most photogenic pairing and this group stood out due to the symmetry. This breeding behavior lasted exactly 1 day, as the next day I went back and the activity had already subsided for another year."

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The winners of the  Red Bull Illume Image Quest 2019 have been announced. The contest that looks for the best action photography and videography, has named its 11 category winners, and its overall winner. 

Taking home the grand title of Overall Winner this year is Ben Thouard with his mind-bending underwater image of Ace Buchan surfing in Tahiti. His winning image received an outstanding number of votes by the judging panel, which consisted of 50 outstanding photo editors and digital experts.

The Winners of adventure sports imagery contest were unveiled at a ceremony in the LUMEN Museum on top of the 2275m-high Plan de Corones in South Tyrol, Italy.

Taking home the grand title of Overall Winner this year is Ben Thouard with his incredible underwater image of surfer Ace Buchan, shot in Tahiti. His winning image was taken with a Canon EOS-1D X Mark II fitted with a 14mm lens.

Moving Image: Rupert Walker, Canada, for his precise shot featuring Brandon Semenuk and Ryan Howard riding down a custom built slalom line in Paso Robles.

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As CES 2019 gets into gear, we already have some new camera tech to get stuck into. 

Arriving today are three new airborne cameras from AirSelfie, following on from the original pocket-sized camera drone the AirSelfie, and its successor the AirSelfie 2.

The new models are the AIR 100, AIR ZEN and AIR DUO, all of which are designed for different users and boast different degrees of imaging tech to accompany their flight capabilities. According to AirSelfie’s briefing, the new cameras all come equipped with proprietary A.I.R. (Aerial Imaging Robotics) Technology and A.I.M. (Autonomous Imaging Mission) programming.

Let’s take a closer look at each of these three models in turn:

 AIR 100 

This is the affordable, entry-level version of the camera, aimed at novice photographers and videographers looking to take their first steps into airborne shooting. To this end, it shoots with a 12MP stills camera and is able to capture Full HD video, with a maximum flight time of six minutes. It can be paired with AirSelfie’s new One-Touch app (also debuting at CES) that allows users to capture, edit, view, and share their content.

The AIR 100 will start out retailing at $99.95 (£78.27).

 AIR Zen 

The AIR Zen is designed to have increased autonomy, able to fly and capture images and videos without the need for pairing with a smartphone. It can also track and follow subjects, thanks to AirSelfie Holdings’ Flight System.

It’s more technologically sophisticated than the AIR 100 across the board, with a water-resistant, carbon-reinforced body, and a 13MP camera with a 120-degree field of view. It also captures 4K video, as opposed to just Full HD, and all this extra tech doesn’t actually cost too much more – you’ll be able to get hold of one for $139.95 (£109.59).

 AIR Duo

This is a dual camera, aluminium-alloy quadcopter, which also has the autonomous flying system on board like the Zen. 

The AIR Duo comes with one 12MP camera with an 80-degree field of view, and another 12MP camera with a wider 110-degree field of view. Its maximum flight time is seven minutes, and like both other models, it can be controlled with the new smartphone app. This one retails for $229.95 (£180.07).

All three models will be available at some point during 2019, though precise dates are yet to be confirmed. 

The new cameras are expected to be available in the US, Canada, Spain, Portugal, Germany, UK, France, Republic of Korea, Japan, Russia, Turkey, Switzerland, Netherlands, Denmark, Norway, Sweden, Finland, Greece, Belgium and Luxembourg, though specific timings are yet to be confirmed. 

Keep checking out CES 2019 coverage for all the latest info on new releases from the show.

We recently spoke to aerial photographer Tommy Clarke about his passion for shooting on high. Clarke's work has seen him travel the world - from San Francisco and Mexico to the Canary Islands and Utah - in pursuit of the perfect picture. Here he explains all about the kit he uses and what he loves most about aerial photography... 

My work is about capturing the essence of summer. The way I’ve chosen to do this is from a height, unobtrusively by using helicopters and long lenses. Putting these two together means I can discreetly fly over wonderfully busy and colourful beaches, such as Amadores in Gran Canaria, and photograph the wonderful sights of the beach below me.

I have been fortunate to shoot all over the world, from Bondi beach in Australia to Mexico and, of course, the Canary Islands. I search out colour, texture and interesting landscapes; this gives me a great foundation to build from and document what I can find on that particular day.

Gallery: five of Tommy Clarke's aerial beach shots

I shot Amadores beach in 2015, but I’ve been shooting aerials since 2011. I’d always wanted to photograph both black sand and white sand beaches. In Europe my options were fairly limited, but Gran Canaria was perfect and gave me a fantastic opportunity to contrast the crisp white sand beaches against the dark volcanic tones of the black sand beaches.

There’s always a starting point for a project – a moment of inspiration. For my shoot over Gran Canaria I knew I’d be getting very colourful and busy beaches that would also be quite white. This would make a great canvas for the beautifully colourful beachgoers to pop off from.

The Canaries are famous for their high winds, so as you can imagine hanging out of a helicopter over busy beaches whilst being thrown around by the wind is quite challenging! 

A high shutter speed is also required to overcome the vibrations from the helicopter, but as I’m shooting downwards the relatively ‘flat’ plane means that depth of field isn’t too much of an issue; so I can use wide apertures and a low ISO for the best possible quality in photographs.

Shot on Nikon

I’ve shot every series of mine on Nikon cameras, from a D300 to a D3S and now I’m using – and loving – the D800E. Lens-wise the Nikon 70-200mm f/2.8 VR seems to be my go-to for aerial photography, giving me the telephoto reach I need. I’ve been using Nikon kit for nearly 20 years now, so I am very familiar with how the cameras and lenses are set up. After all, when you’re dangling out of a helicopter at 2000 feet it’s useful to know how to change any setting as quickly as possible. By sticking with Nikon I’ve been able to work faster and get some shots I wouldn’t have otherwise been able to get.

In my experience, creating a series is not just the taking of the photos; it goes all the way through to the exhibiting of it. So seeing how beautifully LUMAS have framed images like Amadores Beach is an utter delight. The most enjoyable moment is walking in to the LUMAS gallery on South Molten Street in London; seeing the images on the wall and remembering what I had to overcome to take them puts it all into perspective. 

LUMAS offers museum-quality art editions in over 40 galleries around the world, with more than 3000 works by 250 artists available as hand-signed originals.

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Yann Arthus-Bertrand is rightfully a legend. A filmmaker since the 1960s and one of the most prolific aerial photographers on the planet, he has become a pioneer of using sky-high photography to raise awareness of environmental issues, through his work for the United Nations as well as collaborations with National Geographic, Life and other important publications. 

His book ‘The Earth from Above’ has sold more than four million copies worldwide.

Now he is the first DJI Master, an ambassador and partner of one of the world’s leading commercial drone brands. The partnership is significant in other ways too, as this marks the first time the experienced aerial photographer has started using drones for his work, as he previously had been a stickler for helicopters and hot air balloons. 

Indeed, DJI told Digital Camera World that when Yann first tried flying a drone three years ago, he crashed it, and dismissed it as more of a gadget than a serious filmmaking tool. The DJI team had more luck introducing him to the technology this time around. 

In a video accompanying the news, DJI paid a visit to Yann on the set of his new film ‘Woman’, for which he is shooting with the DJI Inspire 2 drone and Zenmuse X7, the firm’s Super 35 cinema camera. You can watch the behind-the-scenes footage here.

The film, directed jointly by Anastasia Mikova and Yann Arthus-Bertrand, is described as a film about women all around the world, ‘an attempt to understand their lives, to measure the progress made but also what needs to be done.’

It’s interesting watching the BTS footage and seeing how the drone setup complements Yann’s style of filmmaking -- he describes himself as a director who works ‘spontaneously’, and the flexible drone setup seems to really add to his versatility and ability to improvise.

‘The sensation of flying a camera while staying on the the ground is a totally new and amazing experience for me,’ Yann said. ‘We are able to shoot aerial images from a completely new perspective, and I am convinced that I will continue using drone technology for my work in the future. I wanted to be as flexible as possible when filming the environment and the women who will be the true heroes of the movie. A drone is incredibly easy to use, which facilitated our work in this complex set-up significantly.’

Yann is the first inductee into the DJI Masters programme – Chilean cinematographer Claudio Miranda and New Zealand director Rodney Charters will also be featured, with videos to be released at a later date. 

Yann Arthus-Bertrand’s film ‘Woman’ will be released in 2019 – find out more here.

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Hot air balloons have a beauty that’s very different from other modes of flight. Shooting helicopters and planes can be exhilarating, but hot air balloons are much slower moving, as their movement is dictated largely by the wind.

We visited the Bristol Balloon Fiesta to get our images, but there are many balloon festivals worldwide. At the Bristol Balloon Fiesta over 100 hot air balloons take to the skies during the mass ascent, and with more than half a million people attending, getting a good vantage point is crucial.

Check the weather before you go, as often, if the wind is over 10 miles per hour, the balloons won’t take off. The wind will also affect the direction in which the balloons fly. Sometimes pilots can aim for certain directions using the burners in combination with thermals, but nothing is certain. Investigate the area around the take-off site, too, paying attention to the direction of the sun to see what will be lit up when you’re there. 

Most flights are in the early mornings and late evenings, when the air is still. On a fine day, cumulus clouds can start to form, and they look striking when they’re side-lit by the low sun. Depending on your luck and location it may be possible to capture valley fog, a type of low-lying cloud. Tall buildings often breach this ‘cloud’, making for a cinematic atmosphere.

Get to your location early so that you an shoot the whole process from inflation to flight. The appearance of the balloon changes rapidly during inflation, so you’ll get a wide variety of images in minutes. Try standing behind the inflater and at the other end of the balloon, and shoot inside if you can; looking for abstracts is an easy way to vary your images.

If you’re taking flight, wear warm clothing. The air gets colder as you ascend and wind speed can pick up the higher you go. You’ll probably land in a field and have to walk to a road to get picked up, so solid footwear can help. You might be able to squeeze a small camera bag into the basket, but there won’t be room for a tripod – not that you’ll need one if you’re using a high ISO and fast shutter speed. Read on for more on settings, and what else you need to consider, to get balloon shots that soar. 

On location: Best settings for hot air balloon photography

Versatility is key here, as you want to be creative without needing to change lenses too often.

Fast shutter speed

Although balloons move at a slow pace, you’ll want to use a relatively fast shutter relative to your focal length. Even if you have steady hands it will help to beat blur.

Mid-range ISO

Unless it’s a bright day, a medium-to-high ISO setting can help you achieve a fast shutter speed. Depending on how bright it is, try between ISO 400 and ISO 800 as a starting point.

Creative aperture

Use aperture creatively – to blur the background, stop down to f/2.8 and focus on something nearby, or increase to f/8, f/11 or f/16 if you want to keep everything in focus.

Wide and long

Changing lenses mid-flight means you can lose out on shots – or even drop a precious lens out of the basket! – so a superzoom is probably your best option.

Step-by-step guide: One fantastic subject, six ways to shoot it

Here are six ideas for taking creative images at a balloon festival. 

1. Static

Shoot the balloon on its side or from the top to get that melting look. Move quickly and keep shooting – you will probably only have two opportunities to get these images, at the beginning and end of your flight. Be safe at all times, and avoid tripping over the balloon ropes.

2. Inflating

Get inside the balloon or shoot through the fabric (symmetry can be suitable here, or the rule of thirds). If you’re lucky the balloon will be positioned into the sun and the fabric will be bright and colourful. Get a variety of landscape and portrait-oriented photos in this situation.

3. Inflated

Capture the fire roaring up into the balloon, but be careful not to over-expose. Use the Manual exposure mode here, as Aperture-priority or Shutter-priority modes will struggle to expose correctly as the flames flicker and burn different colours during the inflation.

4. Going up

If you’re taking pictures at a festival, try to capture the mass ascent – there’s something poetic about the repeated pattern of fiery globes soaring in the sky. Try zooming in on a tight cluster, or zoom out to include the landscape and reveal the bigger picture.

5. Bird's-eye view

Shoot up (or down) at higher (or lower) flying balloons. Most people never see balloons from this angle, so it offers a fresh perspective. Work with the sun as you rotate into the sky; side lighting looks beautiful on balloons.

6. Clouds and landmarks

If you’re fortunate enough to see them as you ascend, capture some striking clouds. You’re a slave to the weather, but think texture and complementing shapes. If you can combine the clouds with landmarks in the background (or even a factory producing a billow of steam), all the better.

Lay of the land

Research landmarks in the area before setting off. You could take a map – or map on your smartphone – to locate them if you’re not good at spotting them from the air. And remember, balloons fly in the direction the wind takes them, so you’ll need to check the map in all directions from your starting point; you can’t assume you’ll fly over the landmarks you’re keenest to photograph!

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