Tuesday, January 31, 2017

How to Take Amazing Night Photos

Have you ever been interested in taking night shots, but never known where to begin?

Night photography can be intimidating, even for seasoned photographers who are used to taking shots during the day.

Well, now you can learn how to take amazing photos from dusk till dawn with our brand new Night Photography video course – launched in the last few hours.

Night photography course eml 01

In this online video course by regular dPS writer Jim Hamel you will learn:

  • How to master exposure at night to take your photos from average to amazing
  • The secrets to finding the best subject matter and locations
  • The must-have gear to get these stunning shots
  • Detailed retouching techniques to make your photos pop
  • What to look for and how to set up your shot
  • All the technical aspects to nailing the shot

This is our biggest course ever – with 9 learning modules, 11 practical ‘field work’ videos and over 6 hours of videos so you can learn everything you need to know to take beautiful photos at night.

Here’s just a taste of what’s inside:

Best of all – if you pick it up today you can take advantage of a wonderful early bird offer.

Early Bird Offer – Save 50% and receive a Bonus

As part of our early bird special on this course, we’re offing 50% off the regular price. Normally $99 – today you can pick up our new night photography course for just $49!

In addition to that great saving we are also including a “The Complete Guide to Shooting the Night Sky”, a 40 page ebook dedicated to photographing stars. This great eBook is yours free if you buy but only for a limited time.

Discover the Secrets to Great Night Photography Today

We’re so excited to share this course with you today. Everyone we’ve shown it to loves what Jim teaches.

The early bird price and bonus is only available at this price for the next 3 weeks, so grab it while you can here and start your journey to learning how to take amazing night photography images.

We Guarantee You’ll Love this Course

Like all dPS products our Night Photography Course comes with a 60 day money back guarantee. While we’re confident you’ll love this course if for any reason you decide it isn’t for you please just contact our support team within 60 days and we’ll refund your money – you can even keep the bonus eBook as our gift to you for checking out the course.

The post How to Take Amazing Night Photos by Darren Rowse appeared first on Digital Photography School.

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3 Mistakes Film Photography Newbies Make and How to Avoid Them - PetaPixel (blog)

That's why I have decided to be more thoughtful and cautious in my approach to photography. From these bad experiences came the idea to compile the 3 biggest mistakes I made when getting into film photography so you can easily avoid them. Each mistake ...

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Defrozo Photography Website Solution from MotoCMS - CMS Critic (press release) (blog)

Do you have an irresistible passion for photography? Do you want to show the whole world your incredible pictures and promote yourself as a professional? If so, you definitely need your personal website to achieve this goal! Today we will talk about a ...

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PODAS International Workshop - Cuba

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The 2017 Phase One Digital Artist Series (PODAS) international photography workshops kick off in April with an all-expenses-included photo excursion to Cuba.

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5 Common Post-Processing Mistakes to Avoid

For today’s photographer, post-processing is a critical element of image making. Sure, when you first get started with digital photography, you might shoot in JPG mode and allow the camera to make decisions about things like color and contrast. But when you’re ready to take control of your images, it’s time to shoot in RAW format and make the important decisions about how you want your final image to look yourself.

Estuary in Campbell River BC by Anne McKinnell - 5 Common Post-Processing Mistakes to Avoid

When you first start shooting in RAW, you might think your images look a bit gray and bland. That’s because the decisions that the camera was making before are now left up to you. That can be a bit daunting! But here are some tips to help you avoid the most common post-processing mistakes and make sure you are helping your images and not hurting them.

Remember, the purpose of post-processing is not to fix bad photos, but to bring out the best in good photos.

Mistake #1 – Lightening shadows too much

Always try to get the best exposure possible in camera. You’ll get a better result when you start out with a good exposure rather than relying on the highlights and shadows sliders in post-processing to balance it.

That said, sometimes you will still want to use the shadows slider to lighten your shadows to bring more detail in the darker areas of your image. Just be careful not to overdo it, or you’ll end up with an image that no longer looks natural.

This is overdone, the shadows have been pulled too far here and it no longer looks natural. Notice it also introduced noise into the sky.

Convict Lake, California by Anne McKinnell - 5 Common Post-Processing Mistakes to Avoid

Shadow adjustment in moderation is better.

If you try to equalize the brightness of the highlights and shadows, you’ll end up with a photo that not only looks unnatural, but the lack of contrast will make the image look boring. Contrast is a good thing! This is especially true when you have a scene with a reflection. The reflection should always be darker than the scene it is reflecting, as it is in nature.

Mistake #2 – Over saturation

Another way to create an unnatural looking image is to over saturate everything. It’s a tempting thing to do because a little bump in saturation and vibrance makes such a big difference. Again, just don’t overdo it. A little goes a long way.

Before you touch those sliders, spend a bit of time thinking about your image and the colors in it. Sometimes adding saturation globally is not the best idea, especially if you have a scene that contains many different colors. Instead, consider using the HSL (Hue/Saturation/Luminosity) panel, choose Saturation, and use the target tool to add saturation to one color in your scene. For example, you might want to add saturation to the main subject to draw attention to it.

Over saturation leaves the colors looking odd.

Yellow flower with bee by Anne McKinnell - 5 Common Post-Processing Mistakes to Avoid

Better saturation levels.

Mistake #3 – Over sharpening

First of all, never use sharpening to try to fix a photo that is out of focus. It just doesn’t work. Sharpening cannot fix blur. However, if you have an image that is in focus, adding a bit of sharpening can make it extra crisp and realistic.

Again, consider adding sharpening locally (to one select area) not globally, especially if you have areas of your scene that are purposely out of focus, such as when you have a shallow depth of field. Also, the sky usually looks better when it is smooth, so you don’t want to add sharpening there. Keep in mind that adding sharpening will increase noise, which is another reason not to add it globally. Rather, just add it to the main subject or areas of your scene with a lot of detail.

This has been over sharpened, you can see artifacts throughout the image here.

Deer by Anne McKinnell - 5 Common Post-Processing Mistakes to Avoid

Better level of sharpening.

In Adobe Camera Raw, use the Detail panel to add sharpening. Then, hold down the option (or alt) key and use the masking slider. As you move the slider, the areas that appear black do not have sharpening applied and areas that are white do. This is an effective way to add sharpening to the areas of your image that have details. Another option is to use the adjustment brush to brush sharpening on where you want it.

Mistake #4 – Over cropping

The crop tool is a handy way to refine your composition, remove unwanted elements on the edges of the frame, and make sure your horizon line is straight. But don’t use it to remove all the “negative space” in your scene.

You don’t need to fill the frame with your subject. A little breathing room keeps the image interesting. Think about creating a balance between the space taken up by your subject and the space around it. This is not necessarily an equal balance.

Cropped too tight on the subject.

Bisti Badlands, New Mexico by Anne McKinnell - 5 Common Post-Processing Mistakes to Avoid

Cropped to leave negative space and lead your eye to the subject.

Mistake #5 – Too much Noise Reduction

Sometimes the nature of the light requires the use of a high ISO. Perhaps you need both a small aperture and a high shutter speed for your scene, so increasing the ISO is the only way to get a good exposure. That’s okay. The noise caused by using a high ISO can be reduced in post-processing using the noise reduction slider.

But nobody said that all images must have no noise. Not all images have to be perfectly smooth looking. Especially if there is a lot of detail and texture in your subject. Using too much noise reduction can create blurry splotches in areas that were previously sharp.

Too much noise reduction has been applied here and overall the image now looks blurry.

Kofa National Wildlife Refuge, Arizona by Anne McKinnell - 5 Common Post-Processing Mistakes to Avoid

Noise reduction scaled back.

You may have noticed a theme in these common mistakes. Don’t over do it! Small adjustments go a long way to bringing out the best qualities of your images, but taking it too far can just as easily ruin them.

After you process your image, take a break from it and look at something else. Maybe even give it a day to settle. Then, when you look at it again, it will be more obvious if you have taken the processing too far.

The post 5 Common Post-Processing Mistakes to Avoid by Anne McKinnell appeared first on Digital Photography School.

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How to Use Graduated Neutral Density Filters for Landscape Photography

Since the camera was invented, we have tried to copy one of the greatest wonders of our body; the human eye. Unfortunately, despite being over 100 years since the first time that we captured light, we are still far from overcoming Mother Nature.

Why? Because in the visible spectrum your eye sees much better than your camera.

How to Use Graduated Neutral Density Filters for Landscape Photography

Dynamic Range

The parameter that describes this behavior is called Dynamic Range. This basically defines the difference between the minimum and maximum value of brightness that a device (like your eye or the sensor of your camera) is able to record. In the real world, Dynamic Range defines the ability of your camera to see details in very dark areas and very clear (bright) areas of the scene.

If you’re wondering how much more your eye sees, the answer is staggering. Your eyes have about twice as much range that they can see and capture.

How to Use Graduated Neutral Density Filters for Landscape Photography

The problem

That’s why when you look at a marvelous sunset with your eyes you’re able to see all the details in the scene (in both the sky and the land). But as soon as you try to capture it with your camera, you’ll get an overexposed sky or a underexposed foreground. The Dynamic Range of your camera is only able to capture detail in one of those areas so you have to choose.

But if even the best cameras have a Dynamic Range which is only half that of the human eye. So how can we hope to shoot a beautiful sunset or a wonderful sunrise and capture all the marvelous details?

There are different methods to overcome this problem, but my favorite is the use of Graduated Neutral Density filters (GND).

graduated neutral density filters

What is a Graduated Neutral Density Filter?

A Graduated Neutral Density Filter is one made of two distinct parts; a completely transparent area, and a darker section. By setting the darkest part of the filter to correspond with the brightest portion of the scene, you can reduce the exposure difference (dynamic range) in the frame.

To reduce the exposure difference is to reduce the dynamic range of the scene, and thus allow your camera to simultaneously capture detail in both bright and dark areas of the scene. Basically, to make an analogy, GND filters are like a kind of sunglasses for your camera.

Types of GND filters

Graduated Neutral Density Filters are typically distinguished by the type of transition that exists between the transparent and dark areas of the filter. For this reason, we can identify three families of GNDs:

  1. Hard-edge filters, which are characterized by a clear boundary (it’s obvious where one begins and the other ends) between the transparent and dark areas. They are therefore used when the separation between the bright and dark areas of your scene is very defined, such as the horizon at sea.
  2. Soft-edge filters are characterized by a soft transition (they change from light to dark more gradually) and are therefore used when the transition between light and dark areas is not so clear. A classic example is a shot in a mountainous area.
  3. Reverse filters, which are nothing more than hard-edge GNDs with the dark area that fades away the more you move from the line of separation to the upper border of the filter (meaning it’s darker in the middle than on the edge). Basically, they were invented to better manage sunrises and sunsets, where the light is more intense on the horizon line (middle). If you love seascapes like me, this filter will be one of your best friends forever!

How to Use Graduated Neutral Density Filters for Landscape Photography

Which to buy?

Another distinction is between filters is the construction material. Higher quality filters are made of optical glass. Putting an inexpensive resin filter in front of a lens worth hundreds (or thousands) of dollars is not a great idea.

Finally, GND filters are distinguished by graduation, or their ability to block light through the darkest area. Essentially how dark they are at the extreme. Normally in landscape photography, this difference is between one and four stops during sunset and sunrise, depending on weather conditions. This is the reason why you will find these gradations almost exclusively on the market.

Shop for Graduated Neutral Density filters on Amazon.com or on B&H Photo Video’s site (they ship worldwide).

How to use a GND filter in the field

The use of GND filters in the field is very simple; try to take exposure readings in the darkest and in the brightest areas of the scene (usually the sky). The exposure difference will indicate the intensity of the filter to be used. Let’s assume that the light meter reading for the sky is 1/250th, and the one for the rocks in the foreground is 1/30th. The difference between those readings is three stops (250th > 125th > 60th > 30th), so to balance the exposure you must use a 0.9 (3-stop) GND.

At this point, just mount the filter with its dark side over the brightest part of the scene. This is why a GND screw-in filter does not make sense. You would not have the possibility to align the dark area in accordance with the scene as well as a drop-in style filter.

How to Use Graduated Neutral Density Filters for Landscape Photography

To avoid having to hold the filter with your hands (that could be a problem if you are going to use them together with other filters) you can buy a holder, that once mounted in front of your lens will do the job for you. There are many valid solutions on the market, but the best one (in my opinion) is the V5 Pro Holder by NiSi filters. This is the only one that lets you simultaneously install three different filters and a polarizer without any vignetting issues (as wide as 16mm on full frame cameras).

At this point, the limited Dynamic Range of your image will be just a bad memory!

How to Use Graduated Neutral Density Filters for Landscape Photography

The post How to Use Graduated Neutral Density Filters for Landscape Photography by Francesco Gola appeared first on Digital Photography School.

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Jarob Ortiz, the Next ‘Ansel Adams’ of the National Park Service

In December 2015, the Internet was abuzz with a National Park Service (NPS) job listing that was considered the search for “the next Ansel Adams”: a position for a black-and-white large format photographer with a salary up to $100,000 per year.

The full-time photography opening called for large format experience to document both features within the National Parks as well as “outside in the communities around the parks, sites that aren’t under the umbrella of the National Park Service but are still significant in American history,” according to Dr. Richard J. O’Connor, Chief of the Heritage Documentation Program.

The Historic American Buildings Survey (HABS), the Historic American Engineering Record (HAER), and the Historic American Landscapes Survey (HALS) – all parts of the NPS’s Heritage Documentation Programs – require large format photography for inclusion in their respective collections in the Library of Congress. In addition to providing much higher resolution than 35mm photography, large format allows the photographer to use shift and tilt controls to control the rendering of perspective, and the polyester-based large format film is more durable than the acetate used in 35mm roll film.

In July 2016, NPS announced that Milwaukee native Jarob Ortiz edged out nearly 5,000 applicants for the position, and Ortiz soon drove to the Washington, D.C. area to begin work.

Photographer Jarob Ortiz.

After spending time getting his darkroom in order, Ortiz went to work. He traveled around the country documenting landmarks like Frank Lloyd Wright’s Schwartz House in Two Rivers, WI, the Bloede Dam in Maryland, and the Baggage and Dormitory Building on Ellis Island, which led to a profile on CBS This Morning.

We spoke to Ortiz via e-mail.

There was a lot of buzz on social media when the Parks Service posted the job opening. I suspect a lot of people were interested but deterred by the large format photography requirement. What background did you have with this increasingly rare analog format?

My background in large format photography started at my photography program at the Milwaukee Area Technical College. There I was formally trained on how to use the view camera. I was taught what each camera movement is responsible for and how they can be utilized effectively to solve different photographic problems. I instantly fell in love with the system because I recognized how versatile the camera was for photographing architecture and landscapes; my two favorite photographic subject matters going into the photography program.

After graduating in 2013, I continued to regularly use the view camera for personal work and for a few commercial architectural jobs. During this period I was shooting a lot more color transparency film than black and white. I did this because I found color transparency to be much more challenging to work with than both b&w and color negative film. The limited exposure latitude constantly keeps me on my game and forced me to find a creative approach when capturing scenes with extreme contrast (deep shadows and bright highlights). It taught me how utilizing fill flash in a number of different situations – including some of my landscape shots.

Photo by Jarob Ortiz/National Park Service

While most of the world has gone digital, what are the reasons for the Parks Service to continue shooting film? Have there been any discussions about using equipment like the Phase 100MP system?

Here at the National Park Service we are still shooting film because the Library of Congress likes to have a tangible record of each documentary photograph. The negative serves as this tangible, unaltered record. If properly processed and stored, a negative will outlast a print by a few hundred years. It’s quite remarkable.

With that said, we have begun discussions with the Library of Congress to move the Heritage Documentation Programs into the digital era. I’m currently giving the 100MP Phase One system the most consideration for our transition, but before that can happen, we need to iron out the guidelines and standards for born digital photography as they relate to documentation photography. We are currently working hand in hand with the Library of Congress to have these ready by the end of 2017.

Photo by Jarob Ortiz/National Park Service

What type of gear are you using?

The cameras I use are a 5×7 Linhoff camera and a 4×5 Arca-Swiss F-Field C View camera.

The lenses I use are Schneider, Nikkor, or Rodenstock lenses. 72 mm; 90 mm; 121 mm; 150 mm; 240 mm; 300 mm; and 480 mm on the 5×7 camera. 65 mm; 72mm; 90 mm; 150 mm; and 210 mm on the 4×5. I always fit the lens with a b+w contrast filter (typically yellow).

For lighting I use two 1000ws Profoto D1 Air heads and two 500ws Profoto D1 Air heads fitted with various different sized Profoto softboxes and umbrellas.

The tripod I use is a set of Gitzo Moutaineer Series 3 Carbon Fiber Legs with an extra industrial head made just for the 5×7 Linhoff. To be honest, I have no idea where the NPS got this head. I think it may be an older, more robust version of the Manfrotto Deluxe 400 head, but not 100 percent sure on that. There’s no label on this thing anywhere. For the 4×5, I use a Manfrotto 410 Junior Gear head that’s been modified for exclusive use with the Arca-Swiss rail system.

Photo by Jarob Ortiz/National Park Service

I think many people think you spend your days shooting Yosemite or Yellowstone, but what has the reality of the first six months been like?

The reality of the first 6 months has been nothing but architecture. It’s what I shoot the most and it’s why I was hired for this job – because I was the only candidate in the pool that submitted a strong architectural portfolio comprised solely of large format images.

Photo by Jarob Ortiz/National Park Service

The average photographer traveling to a National Park or monument is probably thinking of taking a photo that will get the most “likes.” How do you conceive of an image, and what do you want your images to accomplish?

When I approach an area to photograph the first thing I consider is the most important historic element that needs to be recorded. I typically walk around the subject matter and analyze it from every visible side. I like to see how the natural light interacts with it and then determine whether or not that subject matter is fit to shoot at that moment or if I can complete another task while I wait for the light to shift.

Not every photograph is an eye-catcher. Sometimes the end photo can be quite mundane, but not any less important. The photo still serves as a historic record and must showcase all relevant information to help supplement the rest of the historic report (i.e. measured drawings, written history, laser scan, etc.).

Photo by Jarob Ortiz/National Park Service

Your career path didn’t include attending “name brand” schools with renown photography departments, yet you have scored what most photographers would consider a dream job. With all the discussion around the affordability of college, the demise of for-profit schools like the Brooks Institute, etc, why do you think you have been successful?

I think I’ve been successful because I knew exactly what I wanted from my school and from photography in general. Before I just jumped into a program, I researched all the photography programs in Wisconsin and the Chicago area. I wanted an affordable program that taught large format camera techniques in conjunction with the application of a working analog zone system. Thankfully that program was located right there in my hometown of Milwaukee at the Milwaukee Area Technical College.

Also, I definitely give my instructors a lot of credit for instilling an enormous amount of discipline into my everyday workflow. I really think that is the ultimate key to my success – the patience and discipline I need to exercise in order to execute large format film photography properly. Everything is very process[-oriented] with these kinds of cameras. The way you set up the camera, focus an image, set up lights, measure light, take notes, develop film, printing – every step has its own rules and they must be addressed in a certain order. It’s really all about patience and discipline.

Photo by Jarob Ortiz/National Park Service

You’re obviously still new to the job and relatively early in your career, but what sort of legacy do you want to establish with your photography with the National Park Service?

As far as my legacy is concerned – I’ve never really given it much though other than I want history to show that I did this job the best I could and with all of my heart day in and day out. Words cannot express how absolutely grateful I am to have been given this opportunity to work for the National Park Service. This is a dream come true.

About the author: Allen Murabayashi is the Chairman and co-founder of PhotoShelter, which regularly publishes resources for photographers. The opinions expressed in this article are solely those of the author. Allen is a graduate of Yale University, and flosses daily. This article was also published here.

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I Used a Smartwatch to Turn a Vintage Camera Into a Digital Slideshow

Last fall, in preparation for a fair for my wedding photography business in Helsinki, I wanted to create something out-of-the-ordinary that would attract attention to my booth. A friend of mine suggested a type of vintage camera that visitors could look through.

Vintage camera with a mini slideshow inside? Sounds like a plan!

Step 1: Acquire Camera and Screen

Now that I had an idea, I just had to figure out how to make it happen. The first step was to find a usable camera. I wanted something with a big enough viewfinder so that visitors didn’t have to put their eye right up to it. I found a Kodak Duaflex II twin lens reflex (TLR) camera locally for €25 that was perfect.

Once I had the camera, I had to figure out how to get a screen inside it. At first, I contemplated a thumbnail LCD screen–but screens like this would require some additional wiring for an HDMI port and then a separate computer to run the slideshow. That’s when I realized a smartwatch was the perfect fit for the Duaflex’s 1.63″ viewfinder.

After a quick search, I found a used Samsung Gear 2 smartwatch that would do nicely. It came with a charging dock that would fit in the camera, and I picked it up for a measly €35.

Step 2: Disassembly

Next, I had to figure out how to fit the watch into the camera. The wonderful thing about old cameras is that they can be fully disassembled within minutes using a single screwdriver.

Three minutes later:

After test fitting the Samsung Gear, I ditched some of the interior pieces while trimming others. I also needed to drill two holes in the camera’s body: one for the tripod and one for the micro USB cable that would be powering the watch.

Left: The partially reassembled camera, with trimmed pieces and drilled hole for the USB cable.
Right: The smartwatch in its place. It was a nice, tight fit for the Gear 2 with the charging dock. Left: The USB charging cable coming out of the camera (the hole has been insulated with Sugru)
Right: The partially reassemble camera, still waiting on the viewfinder mirror and hood. Another view of the partially reassembled camera. Step 3: The Finished Product The view through the viewfinder

I installed the viewfinder glass, mirror, and hood, loaded the smartwatch with a handful of tiny pictures (320 x 320 pixels), and set it on a tripod to test it out. Here’s how it looked:

Mission accomplished! At the bridal show, I ended up setting the camera up in the middle of my rustic-themed booth with a sign that said “Come closer and look in the viewfinder” (in Finnish, since the bridal show was in Helsinki).

It was a hit! People came up to check it out out of curiosity and stuck around to look at the other pictures and chat about wedding photography. Now that that mission has been accomplished, I can focus on my next project: figuring out how to do the same thing, but replacing the watch with a mini projector.

About the author: Aaro Keipi is a Helsinki-based wedding and portrait photographer who also frequently works out of Washington, DC. You can find more of his work on his website, or by following him on Facebook and Instagram. This article also appeared here.

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Genuine Moments Photography Competition Winners Announced

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Forces Mutual today announced the winners of their photography competition for the British Armed Forces community including Civilian Contractors and the wider Military family.

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Three Tips to Land a Photography Sponsorship - Fstoppers

Many of you have the makings of great photographers and sponsorships will only detract from your path as a creative entrepreneur. Focus on your personal endeavors first and realize that you probably do not need a sponsorship to achieve your goals.

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This is Not the Original Street Style Photography - W Magazine

The photographer Sy Kattelson grew up in Queens and the Bronx, but he spent the '40s and '50s wandering the streets of Manhattan, turning his camera toward the lower-middle class passersby on the streets of Midtown and Union Square that happened to ...

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Mom Who Quit Job For Photography Now Captures Daughters' 'Magic Moments' - Huffington Post

Buliga, who also has a passion for underwater photography, described the process of taking photos of her kids as “magic moments.” She has encouraging words for others who might also want to pursue a different passion: “Let the beauty of what you love ...

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This artist uses amazing Photoshop skill to transfer his subjects wherever they want to be

There are not many photographers left who don’t use Photoshop. Sometimes it’s just a tool for small enhancements, and sometimes it’s used to create a work of art and lead you into a world of imagination. Russian photo editing artist Max Asabin uses Photoshop to transfer the subject into any setting they like. Sometimes it’s […]

The post This artist uses amazing Photoshop skill to transfer his subjects wherever they want to be appeared first on DIY Photography.

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Apple Shows Off iPhone 7’s Low Light Ability in New ‘Shot on iPhone’ Ads

By now, you’re familiar with Apple’s “Shot on iPhone” ads: giant billboards and posters showing off high quality photos taken with Apple’s latest smartphone. But for their latest version of the campaign, Apple upped the ante, showing off the iPhone 7’s low light chops with a series of nighttime images.

The campaign was dubbed “One Night,” because every photo you’re about to see plastered on billboards across the globe was taken by a group of photographers on the night of November 5, 2016.

“For the latest ‘Shot on iPhone’ campaign, Apple enlisted a group of photographers to capture life from dusk to dawn using the low-light camera on iPhone 7,” writes Apple. “The people, sights and scenes they encountered over the course of the night resulted in a spectacular display of nighttime photography, which will be displayed in 25 countries.”

Here are a few of the images captured that night—from the streets of Shanghai to the ice caves of Iceland:

One of the iPhone’s biggest limitations as a camera is low light performance—the result of a smaller sensor with smaller pixels than you’ll find on ye olde DSLR—but the iPhone 7 is a step in the right direction. The brighter f/1.8 aperture lets in “up to 50 percent more light” and optical stabilization in both the Plus and regular models allow for “up to three-times-longer exposure” than the iPhone 6s.

Those things together mean that, while the iPhone will still fall short of that “serious” camera you own, Apple is doing its best to close that gap, inch-by-inch, until its barely recognizable.

To download high res versions of these images for pixel-peeping purposes, head over to the Apple Newsroom by clicking here.

Image credits: All photographs courtesy of Apple

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