Clouds in Infrared and Ultraviolet – Seeing the Sky Differently

The same cloud in UV and IR

Clouds in Infrared and Ultraviolet – Seeing the Sky Differently

When we look up at the sky, we think we’re seeing “everything”. But of course, we’re only seeing a tiny slice of the electromagnetic spectrum — visible light.

With the right filters and camera modifications, clouds become completely different subjects in infrared (IR) and ultraviolet (UV) photography.

And if you enjoy science, sailing, or simply understanding the weather properly, this is fascinating territory.

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☁️ Infrared (IR) – The Dramatic Sky

Infrared photography records light just beyond red, typically around 720nm and above.

What happens to clouds?

• Blue sky becomes very dark (because Rayleigh scattering is reduced in IR)

• White clouds become brilliant and luminous

• Water vapour absorbs differently

• High-altitude clouds stand out dramatically

The result?
A sky that looks almost stormy — even on a pleasant day.

For sailing photography (and yes, this matters when filming at Upper Thames SC), IR can:

• Enhance definition of cloud structures

• Reveal moisture differences

• Make otherwise flat skies look powerful

• Highlight developing cumulonimbus before the eye really notices contrast

It’s almost like turning up the drama slider on the atmosphere.

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🌤️ Ultraviolet (UV) – The Scientific Sky

Ultraviolet photography is much harder.

Lenses, sensors and filters all behave differently in UV, and many modern lenses block UV entirely.

But when you capture it:

• Sky brightness changes significantly

• Haze becomes more apparent

• High-altitude scattering increases

• Thin cloud layers can show structure invisible in visible light

UV is particularly interesting for:

• Studying atmospheric clarity

• Examining pollution or aerosol effects

• Looking at subtle cloud layers

• Comparing scattering effects predicted by physics

If you teach GCSE or A-Level Physics, this is Rayleigh scattering in action — not just in a textbook, but in the sky above your head.

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🌦 Why This Matters

For photographers:

• Creative impact

• Unique landscape results

• Weather storytelling

For sailors:

• Better awareness of cloud development

• Spotting high thin layers before wind shifts

For science students:

• Real-world electromagnetic spectrum applications

• Scattering theory made visible

• Atmosphere physics you can photograph

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My Take

Having used multispectral cameras for science and sailing content, I’m always struck by how much information we ignore simply because our eyes can’t see it.

Clouds aren’t just white blobs.
They are complex optical phenomena interacting with wavelength, particle size, humidity, and solar angle.

And with IR or UV?
They tell a completely different story.

Crisp, Bright and Dry Days – Ideal for Drone Flying

 

Crisp, Bright and Dry Days – Ideal for Drone Flying

There’s something magical about a crisp, bright winter’s day in the UK.
The air feels cleaner. The sky seems bluer. The light has a clarity that photographers and videographers dream of.

For anyone flying a drone, these are the days you wait for.

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❄️ Why Cold, Dry Air Makes a Difference

1. Better Visibility

Cold air tends to hold less moisture. Less moisture means less haze.
That means sharper horizons, better contrast, and richer colours straight out of the camera.

For landscape work — especially over water like the River Thames — clarity makes a huge difference.

2. Stunning Low-Angle Light

In winter, the sun stays low in the sky all day. That gives:

• Longer shadows

• Greater texture in fields and rooftops

• More dramatic side-lighting

• Beautiful golden tones even at midday

For storytelling footage, that texture adds depth and atmosphere without any special filters.

3. Dramatic Contrast

Bright sun + frosty ground = natural high contrast scenes.
Fields sparkle. Roofs glow. Trees stand out against blue skies.

It’s cinematography without the lighting crew.

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🌬 The One Caveat: Wind

Crisp often means still — but not always.

High-pressure winter systems usually bring calm air, which is perfect for:

• Smooth tracking shots

• Stable hovering

• Clean reveal shots

• Slow, cinematic passes

But always check wind speed at height, not just at ground level.

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🔋 What About Battery Performance?

Cold temperatures can reduce drone battery efficiency.

Practical tips:

• Keep batteries warm before flying (inside your coat pocket works well).

• Don’t launch immediately after taking batteries from a cold car boot.

• Expect slightly shorter flight times.

• Avoid draining batteries to very low percentages in cold weather.

If you’re filming regularly — perhaps building content for YouTube, LinkedIn or your sailing blog — planning shorter, focused flights can improve both safety and footage quality.

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🌊 Perfect for River & Sailing Footage

For those of us filming on the Thames or around sailing clubs:

• Water reflections are clearer

• Mist patches can create cinematic atmosphere

• Frost outlines riverbanks beautifully

• Boats stand out sharply against darker winter water

If you're documenting winter sailing, restoration projects, or club life, these days give you footage that looks far more “produced” than it actually is.

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🎥 Why These Days Are Content Gold

For anyone creating:

• Educational videos

• Sailing content

• Environmental blogs

• Property or architecture footage

• Promotional clips

Crisp days mean:

✔ Less colour correction in post
✔ Sharper imagery
✔ Natural drama
✔ Professional-looking results

All without upgrading your camera.

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Final Thought

The best gear isn’t always a new camera.
Sometimes it’s simply stepping outside on the right day.

When the sky is deep blue, the air is sharp, and the wind is gentle — that’s your cue.

Charge the batteries.
Check the airspace.
And go flying.

 Do I Really Need a New Camera?

It’s the question that quietly creeps up on every photographer and videographer:

Is it time to upgrade… or am I just being tempted by shiny new kit?

In our studio we’re already using solid gear — cameras like the Canon EOS 5D Mark IV and even older bodies such as the Canon EOS 7D. Both still produce excellent images in the right hands.

And yet… cinema cameras like the Canon EOS C70 sit there whispering:

“Better dynamic range… built-in ND filters… superior codecs…”

So — do we really need a new camera?

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1️⃣ The Honest Question: What’s Not Working?

Before spending thousands, ask:

• Are clients complaining about image quality?

• Is autofocus genuinely holding you back?

• Are low-light results unusable?

• Is workflow inefficient because of codec limitations?

• Are you losing work because competitors offer something you can’t?

If the answer is “no” to most of those, then the issue probably isn’t the camera.

For example, many DSLR bodies still deliver:

• 4K video

• Excellent colour science

• Interchangeable lenses

• Reliable performance

For YouTube science demonstrations, sailing footage on the Thames, and even online tuition content, lighting and audio usually matter more than the latest sensor.

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2️⃣ Where New Cameras Do Make a Difference

There are real reasons to upgrade:

✅ Built-in ND filters

Massive time-saver for outdoor filming (especially sailing).

✅ Better dynamic range

Helps when filming bright skies and darker faces simultaneously.

✅ Improved autofocus

For single-operator shoots, this can genuinely change efficiency.

✅ Professional codecs

If you colour grade heavily in DaVinci Resolve, better codecs give more flexibility.

If your work has shifted toward more commercial video production, a cinema body may be justified.

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3️⃣ The Trap: Spec Sheet Envy

Camera companies are brilliant at marketing.

But:

• Viewers rarely know what camera you used.

• Students watching an A-Level chemistry video care about clarity — not bit depth.

• A sailing audience prefers a stable shot and good storytelling.

A well-lit scene shot on a five-year-old camera will look better than a poorly lit scene shot on the newest release.

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4️⃣ Upgrade the Bottleneck, Not the Badge

Instead of a new body, ask:

• Do you need better lenses?

• Better lighting?

• Better microphones?

• A more efficient editing workflow?

• A second camera for multi-angle shooting?

Often the biggest improvements come from:

• Lighting control

• Sound quality

• Camera positioning

• Storytelling skill

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5️⃣ A Simple Upgrade Rule

Only upgrade when:

The camera is limiting your creativity or income — not your curiosity.

If your current system:

• Produces clean 4K

• Handles colour reliably

• Matches your lens investment

… then it may still be perfectly fit for purpose.

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🎬 Final Thought

Sometimes the best upgrade isn’t a new camera.

It’s:

• Better composition

• Better editing

• Better storytelling

• Better teaching

Technology moves fast.

But skill ages very well.

When You Really Need to Pack Light – What Camera Gear Do You Take?

 

When You Really Need to Pack Light – What Camera Gear Do You Take?

There are days when you can roll out the full kit: multiple bodies, heavy lenses, tripods, lighting, audio recorders…

And then there are days when you can’t.

Sailing on the Thames. Hiking. Travelling hand luggage only. Filming at an event where you must move quickly. Or simply when your back says, “Enough.”

So what do you take — and what do you leave behind?

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1️⃣ The Ultra-Light Option – Smartphone

Weight: Almost nothing
Flexibility: Very high
Control: Limited (but improving)

Modern smartphones shoot 4K, stabilise beautifully, and edit on the device itself.

Perfect for:

• Quick social posts

• Behind-the-scenes clips

• Spontaneous sailing footage

• Fast turnarounds

But…

• Limited dynamic range compared to larger sensors

• Audio still needs help (add a tiny lav mic)

• Fixed lens limits creativity

For pmrsailing-style daily updates? A phone can be absolutely enough.

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2️⃣ The Compact Hybrid – Mirrorless Body + 1 Lens

A camera such as the Canon EOS R5 C (or similar hybrid body) paired with a single versatile lens — for example a 24–105mm.

Why one lens?
Because changing lenses:

• Slows you down

• Introduces dust

• Makes you carry more

With one good zoom you can:

• Shoot wide establishing shots

• Capture portraits

• Film mid-range action

Add:

• 1 spare battery

• Small on-camera mic

• Lightweight travel tripod or monopod

That’s it.

This is often the sweet spot between quality and portability.

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3️⃣ The “Serious but Sensible” Video Setup

If you’re filming something more structured — perhaps science demonstrations in your lab or a planned sailing shoot — you might bring a compact cinema body such as the Canon EOS C70.

But keep it disciplined:

• Camera body

• One zoom lens

• Shotgun mic

• 2 batteries

• No extras

No sliders.
No second camera.
No five-lens collection.

The rule becomes:

If it doesn’t earn its place in the bag, it stays at home.

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🎯 My Personal Packing Rule

For River Thames sailing days or family filming:

• One main camera

• One lens

• One microphone

• One support (mini tripod or monopod)

And that’s all.

The electric Whaly is already carrying safety kit, lines, batteries and camera mounts — so weight matters. The lighter the kit, the more likely it gets used.

And unused kit produces exactly zero content.

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💡 A Helpful Mindset Shift

The question isn’t:

“What might I possibly need?”

It’s:

“What will I realistically use?”

The lighter the setup:

• The faster you react

• The less tired you become

• The more natural your footage feels

Sometimes constraints improve creativity.

Filming and Editing Just With a Phone Most people do it… but is it really the best choice?

 

Filming and Editing Just With a Phone

Most people do it… but is it really the best choice?

In 2026, almost everyone has a 4K video camera in their pocket. Whether you're filming a GCSE physics explanation, a sailing manoeuvre on the Thames, or a quick sustainability tip for social media, the phone is often the first tool we reach for.

But here’s the honest question:

Just because we can film and edit entirely on a phone… does that mean we should?

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Why Phones Are So Popular

1️⃣ Convenience

The best camera is the one you have with you. Phones win every time here.
Spotted a perfect sailing moment? Quick experiment in the lab? Family reaction shot?
You’re already ready.

2️⃣ Integrated Workflow

Shoot → edit → upload → post
All on one device. No cables. No memory cards. No file transfers.

Apps like CapCut, Adobe Premiere Rush and LumaFusion make surprisingly polished edits possible.

3️⃣ Social Media Optimisation

Phones are designed for vertical video.
Platforms like TikTok, Instagram and YouTube (Shorts) reward speed and frequency over cinematic perfection.

If you're producing daily content — like many creators — speed matters.

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But Here’s the Catch…

🎤 Audio Is Everything

Phone microphones are decent… but not professional.
In education especially (GCSE & A-Level), clarity matters more than resolution.

A £30 external mic can transform results — but now we’re no longer “just using a phone,” are we?

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🎥 Control and Depth

Phones rely heavily on computational photography. That’s brilliant — until you need:

• Manual exposure control

• Reliable depth of field

• Clean low-light performance

• Interchangeable lenses

When filming science practicals, sailing footage on reflective water, or studio lessons, control matters.

That’s where hybrid cameras and cinema cameras (like the Canon EOS R5 C or Canon EOS C70) begin to justify themselves.

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🧠 Editing Limits

Editing on a phone works — until projects become:

• Multi-camera

• Long-form (20+ minutes)

• Graphics-heavy

• Colour-grade dependent

Software like DaVinci Resolve simply offers more precision for serious production.

For quick reels? Phone is fine.
For structured educational content? Desktop still wins.

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So… Is It the Best Choice?

It depends entirely on your goal:

Goal	Phone Only?
Quick daily social posts	✅ Absolutely
Behind-the-scenes clips	✅ Yes
YouTube educational lessons	⚠️ Maybe
Commercial-quality production	❌ Probably not
Long-term brand building	⚠️ Hybrid approach best

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The Real Question

Is your aim:

• To capture the moment?

• Or to build something that lasts?

There’s no shame in using a phone. In fact, it’s brilliant technology.

But when quality becomes part of your brand — especially in education, sailing instruction, or professional media — your tools begin to matter.

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My View

For spontaneous filming (like catching a perfect gust during a gybe on the Thames) — phones are unbeatable.

For structured lessons, controlled lighting, multi-camera studio work — dedicated kit still leads.

The smartest approach?
Use the phone when speed matters.
Use the camera when quality matters.

Not either/or — but strategic choice.