Series 1 of Tales by Light now on Netflix.
Canon Australia is proud to announce that Season One of the brand’s locally conceived and produced photography adventure series, Tales by Light is now available to the global Netflix audience.
Shot in stunning 4K resolution, Tales by Light Season One is a six-part series that follows five extraordinary photographers as they push the limits of their craft in little-known, little-covered and little-understood corners of the Earth. The photographers are Art Wolfe, Darren Jew, Krystle Wright, Richard I'Anson and Better Photography's own Peter Eastway.
“Having Tales by Light Season One available on Netflix is a wonderful acclamation of the quality and broad appeal of our Australian-made photography series and we are excited that it will now entertain millions of subscribers around the world,” says Canon Australia Director of Consumer Imaging and Executive Producer of the series Jason McLean. “This series is unique and started from our simple aim of celebrating the amazing visual storytellers who push the creative boundaries and it’s great that this concept resonates so well across regional divides.”
Prior to joining the Netflix documentary content line-up, Tales by Light Season One screened initially on the National Geographic Channel subscription network in Australia and New Zealand.
Prayer flags at Chele La, Bhutan.
Phase One A-Series IQ3 100MP, 23mm lens, 1/60 and 1/4 second @ f11, ISO 50
Another photograph from the remarkable Chele La in Bhutan, this one taken on our photo tour just a month or so ago on the night of 'that full moon'! Chele La is a 4000 metre pass and each time I visit, it's a little bit different. The flags have changed position or aged, the weather is different, or sometimes it's just me!
On this occasion, I loved the strong colour of the orange flag with the predominantly white flags behind. Using an ultra wide-angle lens, I moved in close to the orange flag (less than a metre distant) so it became a dominant element in the composition. However, I had two conflicting desires when it came to the exposure. On the one hand, I wanted to capture the writing and illustrations printed on the flag, which needed a fast shutter speed; on the other, I wanted to capture the blur and motion of the flags as they fluttered and crackled in the strong wind, in which case a slow shutter speed was required.
What to do? The solution was relatively easy, especially since my camera was mounted on a tripod. I took a series of photographs at different shutter speeds, using a 3-stop ND filter to slow down the shutter speed. I took a lot of shots because you can't always tell when the flag is going to be in an 'attractive' position.
To read how I handled the post-production in Capture One and Photoshop, click through to the website for the full article.
It's Christmas and to help you celebrate, we're offering $100 off our famous Landscape Photography MasterClass. It's the perfect gift for you, something to view and enjoy over the Christmas period! Normally $295, use the coupon code CHRISTMAS to ensure your $100 saving.
The latest printed issue of Better Photography magazine is not far away and will be posted soon. It will also be on sale in the newsagents. However, for online digital subscribers, you can login and download the magazine right now!
Issue 86 content includes:
The original image as presented for feedback.
Our Anonymous Photographer asks where should focus lie - and there are several ways we can answer this question. In terms of lens focus, the first question to answer is what is most important in the photograph? I imagine in this shot that the tuft of grass on the black sandy mound is key to the composition - if it weren't important, the photographer could have stepped forward and excluded it. So, in this case, critical focus should be on the grass and if the background mountains were a little out-of-focus, what does it matter, except to reinforce the importance of the grass in its environment?
In terms of compositional focus, the 'tonal mapping' of the photograph (the areas which have been lightened or darkened) creates a strong diagonal composition from bottom left to top right, but I feel the area top left is open and unbalanced. It's too light to balance the heavy foreground in the opposite corner. See the illustration below: