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Saturday, June 30, 2018
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How to build your own home photography studio: Tips and tricks for creating the perfect workspace - imaging resource
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The pilot found dead in a small plane crash on Lake Mountain was working on a commercial photography project, authorities say.
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An engineer quit her job to pursue her dream—and became National Geographic's Travel Photographer of the Year - Quartz
The winning photo in National Geographic's 2018 Travel Photographer of the Year is a quiet shot of a humpback whale calf, swimming in the deep blue waters of Japan's Kumejima island. It was shot by a woman who, up until last year, worked as a ...
Stunning photos win 2018 National Geographic Travel Photographer of the Year contest CNN
This Whale Tail Took Grand Prize in the Photo Contest National Geographic
See the winners of National Geographic's Travel Photographer of the Year contest for 2018 USA TODAY
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Macro photography requires a unique set of skills, but along with these skills comes a new set of mistakes to overcome. Fortunately, many of these macro photography mistakes are easily fixed.
In this article, I discuss five common mistakes made in macro photography. Then I give you the tools to correct them in the field, which will result in instantly better macro images.1. Shooting in direct midday sunlight
The first mistake often made in macro photography is heading out when the sun is high in the sky (midday). While the light during this time is bright, it’s also very harsh and contrasty. Images taken at this time are difficult to expose well, and colors are far less saturated.
The angle of the sun causes additional problems. It beats directly down on your subject, causing the underside to become shadowy.
I try to avoid going out to shoot on sunny afternoons. This tulip image was taken on a cloudy spring day.
How can this problem be fixed?
You have a few options. First, try waiting until the evening, when the light is warm and soft. This will reduce contrast and light your subject more evenly. You could also cast a shadow on the subject yourself, or find a subject in the shade. This will reduce the extent to which your subject encounters the harsh and contrasty light.
These tulips were photographed in the evening, when the light was far less harsh.
Cloudy days are the third option. Then, the sky acts like a huge softbox, and the light is diffused across the subject.
Another photograph on a cloudy day: notice the soft, delicate feeling and more saturated colors.
If you do decide to go out in midday, you might consider bringing a flash or a reflector to add some punch to your images and reduce midday shadows. While this won’t negate the problems described above, it will reduce them.2. Shooting dying or dirty subjects
A second common mistake made in macro photography is shooting subjects that are either dying or dirty.
This isn’t really a problem with insect photography, but when photographing flowers, the condition of your subject is something to watch out for. If the edges of a flower are turning brown, I generally wouldn’t photograph it. Same thing if the center has some fraying stamens.
I searched through a number of dahlias until I found one in peak condition.
Flowers can also become dirty, especially if they are low to the ground. A few small pieces of dirt isn’t much to be worried about—it’s nothing that cloning can’t take care of—but too much dirt, and it becomes difficult to get a strong image.
How can this problem be fixed?
The first method just involves inspecting your subject carefully before shooting. If the flower is dying or dirty, find a different flower. You might also consider wiping away small pieces of dirt with your finger or shirtsleeve.
Checking the center of flowers is important; it’s easy to miss anthers that are on their way out. Fortunately, this rose allowed for a few images.
The second method is more difficult and involves hiding the dying parts of the flower through creative compositions. For instance, you can ensure that the wrinkled parts of petals are out of focus, or obscured by another part of the flower.
The outside of this flower was a bit worn, so I chose to emphasize the stamens instead.
This is a common mistake in all types of photography – placing your subject in the dead center of the frame.
While this might make sense from a visual perspective, it generally results in an uncomfortable, less-than-desirable image. The composition feels imbalanced or boring.
How can this problem be fixed?
Placing this flower off center allowed for a slightly stronger composition.
Instead of placing the subject in the center of the image, place it off to one side. Try using the rule of thirds. Additionally, you might add some dynamism to the composition by tilting your camera and placing the flower along a diagonal line. This will ensure a much more dynamic image that holds the viewer’s eye.4. Using busy backgrounds and foregrounds
A fourth macro photography mistake often made is using foregrounds and (especially) backgrounds that are messy.
For example, messy backgrounds might have splotches of colors, might be crammed with slightly out-of-focus elements, or have sudden transitions from light to dark or dark to light. Messy foregrounds, on the other hand, consist of branches, twigs, or other flowers that distract the viewer and get in the way of the main subject.
While this bleeding heart photograph may seem chaotic, it’s not particularly messy—there is a clear point of focus (the flower) that is not dominated by the background.
How can this problem be fixed?
I write about this a lot, but that’s because it’s such a common (and easily rectified) problem. It involves a bit of measured consideration before shooting. Simply make sure there are no distracting foreground or background elements. As discussed above, these include branches, twigs, or sticks. It also might simply be contrasting colors or dark spots.
Notice the smooth, uniform background in this flower image.
This final macro photography mistake is a bit less straightforward: capturing a subject as that subject.
What do I mean by this? In truth, it’s not all that complicated. Basically, macro photographers often see an interesting subject and attempt to photograph that subject efficiently. The problem is that the subject then lacks interest. It feels like it’s part of a snapshot when you want it to feel like a deliberate photograph.
How can this problem be fixed?
If you photograph a flower, don’t try to just capture it as a flower. Look for interesting aspects of the subject. What is it that made you want to photograph it in the first place?
Try to go beyond that basic “it’s a flower” essence, and communicate something about the flower. Does it have a photogenic center? Colorful petals? A beautiful shape? Emphasize this through your photography.
I chose to get extremely close to this dahlia in order to emphasize the pattern of its petals.
I have discussed five common macro photography mistakes, as well as a number of simple ways to fix them. By following these guidelines, you should be able to enhance your macro photography and ensure consistently better images.
Know any mistakes that I missed? Let me know in the comments!
The post Five Common Macro Photography Mistakes and How to Fix Them appeared first on Digital Photography School.
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Many people have problems with the color of their photos when they publish them online. There are several reasons why this might be so, but the most common culprits are the color space of the image and whether or not the profile is embedded. Both color settings can radically affect web browser color and how your photos look.
Let’s look at some of the potential pitfalls more closely.The Importance of Embedding the Color Profile
Whenever you edit your photos in an editing program like Photoshop, you are doing so using a specific RGB working color space. To be sure of preserving the color you see when you’re editing, you need to embed the profile before saving the image.
In simple terms, the ICC profile is a translator. It enables different apps and devices to interpret the color as you intended. If you get into the habit of embedding profiles into your images as you save them, you’ll reduce the chances of color looking wrong on the web or in print.
The rich color in this ProPhoto RGB image will look okay in many browsers despite not being sRGB as normally advised. If it looks muted and drained of saturation to you, it’ll be because you are viewing it in a non-color-managed browser. By embedding the profile, I’ve given it the best chance of looking as intended to the majority of people. On a wide-gamut monitor, the colors will pop a bit more.
Embedding the profile into an image adds about 3-4 kB to the file size, so the only time it makes sense to exclude it is when you’re uploading vast quantities of photos to the Internet.
If you must leave the profile out, making sure that the image is in the sRGB color space will limit any resulting damage. Two or three of the more popular browsers will still display the color faithfully because they automatically guess the profile correctly (i.e. sRGB).
Although most browsers have improved in their handling of color recently, it’s still good practice to embed the profile. Don’t leave it out without good reason.
Because the profile has been left out of this same ProPhoto RGB image, the brightness and color will look terrible in most browsers and on most monitors. By contrast, a missing profile for an sRGB file would be undetectable to a large number of people.
Embedding the profile into images is usually just a case of checking a box when you export the photo. If such an option doesn’t exist, the default will either be the predefined working space of the program, or it’ll be sRGB for web-specific output.
If you want to check the color of your web images before publishing, open them directly in a browser (preferably a reliable one like Chrome) and see how they compare to the original in your photo-editing program. Be a little wary of uploading images to platforms that strip out the profile, though these will not typically be photo gallery sites.
Embedding or stripping out profiles usually only requires you to check or uncheck a box when saving. This is the “save as” pane in Photoshop.
You can use “convert to profile” in Photoshop to create an sRGB image, which is the safest color space choice for the web. Be sure not to overwrite the original file and save it this way, because larger color spaces are a better choice for outputs such as inkjet printing.
Do not use “assign profile” for profile conversion, as it causes a color shift and is not meant for this purpose.
Using “assign profile” in Photoshop to convert between profiles will cause a color shift. Color in the right-hand image above has gone flat as a result of assigning an sRGB profile to an Adobe RGB image. You must use “convert to profile” if you want to create an sRGB version of your photo for the web.
Color management needs at least two profiles to work (image profile and monitor profile in this case). If you publish images without profiles embedded, you’re relying on the viewer’s browser to guess the color space correctly.
When color management is absent from the browser or app for whatever reason, the following statements are true:
- An Adobe RGB image looks roughly correct on a wide-gamut display.
- An Adobe RGB image looks muted in color on a standard-gamut display.
- sRGB images look roughly correct on a standard-gamut display.
- An sRGB image looks oversaturated in color on a wide-gamut display.
Note that an Adobe RGB image without a profile embedded looks muted in most situations and must be avoided. Browsers will guess the color space to be sRGB if they guess at all.
The graph above shows the difference between a standard-gamut Dell monitor (colored outline) and the sRGB profile (dotted outline). Even on a regular desktop monitor, some colors are quite likely to exceed the sRGB color space and look too saturated when viewed in Microsoft browsers.
In the monitor above, it’s reds that are most exaggerated in that situation. If you haven’t profiled your monitor or if the gamut of the screen is contained by sRGB, you won’t encounter this.Browser Behavior 2018
To understand color profiles, it helps to know how different browsers behave with color. I tested five browsers for this article to give you an idea of what to expect. Feel free to query this if you think any of these observations are wrong:Google Chrome
Chrome is a fully color-managed browser that assigns sRGB to any “untagged” images (i.e. those without profiles embedded). It reads all embedded profiles.Opera
Opera is a color-managed browser that automatically assumes photos to be sRGB if the profile is missing. Like Chrome, it reads all profiles, including Adobe RGB or ProPhoto RGB.Firefox Quantum
You can configure Firefox to assign sRGB to any untagged photo. It reads all embedded color profiles.
If you happen to run two monitors, Firefox does not maintain full color management across both of them. For optimum color, you must dial in one monitor profile then stick with that monitor. This only applies if your monitors have custom profiles.Microsoft Edge/Internet Explorer
Microsoft Edge has a half-baked solution to color management. It reads different color profiles and converts everything to sRGB for display. The main problem is that it doesn’t use the monitor profile. Thus, it works best if your monitor does not exceed sRGB in gamut. Otherwise, you’ll see wayward colors.Safari (for Windows)
Safari can read profiles in images and uses the monitor profile (unlike MS Edge or MS IE), but it does not assign a profile to an image if one is missing. In that situation, it displays color wrongly as Microsoft Edge does.
In Photoshop, you can use “Monitor RGB” proof colors to show you what the photo will look like in Internet Explorer on your own monitor. You’ll need to convert the image to sRGB first. If colors look brighter than they do without proofing, it means your monitor’s native gamut exceeds the sRGB profile.
A second experiment is to view the proof colors of an Adobe RGB or ProPhoto RGB image using “Internet Standard RGB”. This will show you how photos in bigger color spaces look on the internet if you omit the profile.Choosing sRGB for the Web
The reason why sRGB is a safer choice of color space for the web is that most displays or monitors are not wide-gamut. Thus, if the profile goes astray or is stripped out, or if a device or app doesn’t support color management, the color will still look okay. This is what Microsoft’s browsers rely on to work.
If you want the color of your photos to look “okay” to the widest possible audience you need only do two things:
- Make sure the image is in an sRGB color space either by using it as your working space or by converting to sRGB before uploading to the web.
- Embed the sRGB profile into the image before saving.
Photoshop’s “Save for Web” lets you convert to sRGB at the very last moment by checking a box. If you leave the box unchecked, the photo is saved in whatever color space you edited it in. You can’t strip the profile out with this checkbox: it’s purely for conversion.
Since most popular browsers are now color savvy, the possibility of using other color spaces on the web exists. You could, for instance, publish photos with an Adobe RGB or ProPhoto RGB profile embedded, and they’d still look good to most people. To a minority, they’d look better.
The color of wide-gamut monitors typically exceeds Adobe RGB in places. Hence, there is theoretically a reason for publishing photos in ProPhoto RGB. However, this is offset by the dire color that results when the profiles are missing or ignored. It’s high risk.
Adobe RGB is an interesting prospect for the web because it still benefits users of wide-gamut monitors. Importantly, it doesn’t look as bad as ProPhoto RGB when things go wrong. However, if you publish in Adobe RGB, you’ll still be doing so for a relatively small audience.
If you do use these wider-gamut color spaces for the web, you absolutely must embed the profile. As soon as that goes astray, the color in your photos will look a bit flat to many people. In the case of ProPhoto RGB, it’s likely to look awful.
This 3D diagram (above) shows the sRGB profile encompassed by the profile of a wide-gamut monitor. In particular, you’ll note the extended range of cyans and greens in the latter.
The idea of using larger color spaces on the web is appealing, especially if you’re a landscape photographer for whom these colors are often truncated. It means you’d be making more use of your camera’s capabilities. However, it’s inherently riskier and you’ll be playing to a relatively small audience. The safe choice is still sRGB.In Summary
Although modern browsers are more flexible, sRGB is still the safest choice of color space for the web. Again, this is because it roughly matches the gamut of most electronic displays. Using bigger color spaces risks draining your photos of color, especially on tablets or smartphones that may not be color-managed.
I hope this has been of some use. Feel free to ask questions if you need any clarification.
The post How to Choose the Right Color Profile For Sharing Images Online appeared first on Digital Photography School.
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I’ve been thinking about photography and personal style and the different ways to teach it. I’m trying to help, share and guide people along their way in finding their unique photographic style. Seeing if I can find that quick fix, that beaten path someone else has already made for us. Sadly over the many years of reflection and research, I’ve found that there is no blue pill.
Coming to terms with this, I’ve been looking inwards on how I found my own style. I’ve been sharing my experiences and how I came to it in hopes it will help someone else out there, but that is only one aspect of the puzzle. Teaching one person, myself is one thing, but teaching others is another.
Taking into consideration that we are all different, we are all unique in our own way with different personalities, religions, political views, sexuality, beliefs, morels, the list could go on till the end of time. What I’m saying is there is no one else like you. You are one in infinity.
So my dilemma is if you’re unique and I’m unique, how does one share with the other a way to find their own uniqueness? It’s almost a conundrum or paradox. But here it is, I’ll try my best to share with you how to be unique in your photography work.
Step one be yourself. Step two… there is no step two. The only way to find your own unique style in photography is to be yourself. Find out and know who you are down to the very last aesthetic and moral grain. I almost wish it wasn’t as simple as this, but it is.
The hard part is the slow grind, from the day in and day out. Making minor adjustments and changes to what you like about your work and developing it slowly over time. And that time self-reflecting on your work isn’t a weekend or in one workshop, it’s over a lifetime. Yes, you heard me right, finding your style in some respects takes a lifetime to develop.
This is because your style is a reflection of yourself. As an individual, you will slowly change and develop from experiences and interactions with the world around you. These experiences will ever so slightly or drastically change your photographic aesthetic. And through attention, practice and time your own unique style will slowly shin brighter and brighter.
There comes a point in time where you will have to stop looking at other peoples work and start looking at your own, and focusing on the things you like and dislike about your process. The hard part and will definitely deter people from being unique is diving deep into self-reflection. Understanding yourself and who you are, what you like, dislike, believe in and are attracted to.
Trust in yourself and all the decisions you make, because everything you do, try, and disregard will contribute to finding your style. Once you know yourself and all the positive and negative attributes you can start putting what you know about yourself into your work. I can’t tell you who you are, that’s up to you to determine and figure out. It’s one of the greatest things about being alive, the journey of self-discovery. Take your time, remember it’s the journey, not the destination that makes up our story.
What I’m saying is at this very moment, time and self-reflection are the best steps, methods, and magic pill that you can use to find and develop your own style. Because what makes your photographic vision unique… is you.
About the author: A.B Watson is a New Zealand photographer based in Auckland. The opinions expressed in this article are solely those of the author. To see more of his work, head over to his website or follow him on Facebook and Instagram. This post was also published here.
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Filmstro is something of a unique service when it comes to music. With plugins for both Premiere Pro and Final Cut Pro, you can pick your music and then use sliders to adjust the momentum, depth and power of that music throughout your clip. You can adjust any tune to match the mood of your scene […]
The post Filmstro releases over 1,000 tracks of free music to use in your YouTube videos appeared first on DIY Photography.
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International indigenous photography exhibition comes to Grace Hudson Museum in Ukiah - Ukiah Daily Journal
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Friday, June 29, 2018
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Grand prize, and 1st prize Nature category -- "Mermaid": Top prize in the 2018 National Geographic Travel Photographer of the Year Contest and first in the ...
This Whale Tail Took Grand Prize in the Photo Contest National Geographic
See the winners of National Geographic's Travel Photographer of the Year contest for 2018 USA TODAY
Winners of the 2018 National Geographic Travel Photographer of the Year Contest The Atlantic
IFLScience -CBS News -Express.co.uk -Travel - National Geographic
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Yes, that’s right Pentax shooters. The wait is almost over. The Pentax FA* 50mm f/1.4 SDM AW lens you’ve all been coveting is finally being released. Pentax says that this is the first new lens which follows a new set of standards for their top-of-the-line Star series lenses. New standards that will, they claim, help […]
The post The Pentax FA* 50mm f/1.4 SDM AW lens finally ships in July and will cost $1,199 appeared first on DIY Photography.
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New York-based architecture firm Cooper Robertson recently completed the latest addition to the New York Botanical Garden in the Bronx — the Edible Academy, a new LEED Gold-seeking facility that will teach the greater community about sustainable agriculture, healthy eating and the environment. Created as an expansion of the New York Botanical Garden’s Children’s Gardening Program founded in 1956, the $28 million state-of-the-art development covers three acres on the grounds of the existing Ruth Rea Howell Vegetable Garden. The facilities offer a wide array of programming as well as many sustainable features such as vegetated green roofs, composting toilets and geothermal heating and cooling.
Opened earlier this month, the Edible Academy serves as a year-round teaching center that celebrates New York’s native landscapes. The campus comprises a collection of gabled structures that blur the distinction between indoors and out. The structures are positioned to frame views from the city’s largest uncut expanse of old growth forest to the Bronx River and its waterfall. The buildings were placed around the teaching and display gardens with the re-imagined Ruth Rea Howell Vegetable Garden taking up a sizable portion of the campus. New gardens include the Meadow Garden with native perennial shrubs and herbaceous plants experienced through winding paths as well as the Barnsley Beds, a formal vegetable garden with ornament plantings, arranged around the Event Lawn.
The 5,300-square-foot green-roofed Classroom Building serves as the heart of the Edible Academy and boasts a child-friendly demonstration kitchen and technology lab. A connecting greenhouse doubles as a teaching space and a potting and propagation area. Outdoor lessons can be held in the shade under the Solar Pavilion, named after its rooftop solar panels, as well as in the 350-seat outdoor amphitheater carved from the site’s natural topography.
“With its combination of inventive and flexible spaces for gardening programs, classes and outdoor events, the Edible Academy offers a strong design framework for addressing the 21st-century needs and interests of schools, families and the public,” said Bruce Davis, AIA, LEED AP, a partner with Cooper Robertson. “With this dedicated three-acre facility, the Edible Academy also provides an innovative national model for other institutions and schools expanding their garden-based education programs.”
Images by Marlon Co / The New York Botanical Garden and Robert Benson Photography
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“Ugh, what did you take that photo with, a potato?” Well, the guys from Corridor Crew would answer this question with a yes. They literally made a camera out of a potato and even took some shots with it. In this fun video, they share the process of making, as well as some challenges they […]
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If it’s not parachutes for drones it’s airbags for phones. Humanity seems obsessed with things falling or being dropped these days. While we hope that drones falling from the sky doesn’t happen often, phones fall and get damaged all the time. Especially when scrambling around at a location trying to shoot photos with them. German […]
The post This phone case acts like a “mobile airbag” to protect your phone when dropped appeared first on DIY Photography.
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Thursday, June 28, 2018
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Are you new to photography? Here are 10 tips and tricks for improving your photos - imaging resource
Photography is like many other skills, it requires practice and experience. If you aren't happy with your photos, don't get discouraged, just keep shooting and trying to shoot with more purpose and intentionality. If you do that, look at and share your ...
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Back in March, Apple started showing an advertisement on UK TV for the iPhone X. It claimed “radically new cameras with Portrait Lighting. Studio-quality portraits. Without the studio”. Not everybody was impressed by this claim, and two filed a complaint with the UK’s Advertising Standards Authority. They alleged that the claim “Studio-quality portraits” was misleading […]
The post ASA rules that Apple can claim the iPhone X shoots “studio-quality portraits” appeared first on DIY Photography.
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Lighting brand Phottix has announced a new LED panel for videographers and stills photographers called the Kali600. Larger than the company’s hotshoe Nuada series, the Kali600 is designed for location and studio work and to be mounted on a stand.
The panel has 600 LEDs and can produce light across a range of 3200-5600K while offering a maximum brightness of 3000Lux. With a pair of battery plates the panel can be run from two optional Sony NP-type batteries or directly via the mains using the supplied AC adapter. A set of barndoors and a diffuser are included, as is a wireless remote that can be used to control the brightness and color temperature of the output.
The Phottix Kali600 costs $170 and is shipping straight away. For more information see the Phottix website.
Following the success of the Phottix Nuada series LEDs, Phottix is announcing a new LED lighting line-up: the Phottix Kali.
The new series will debut with the Kali600 model – a larger studio-style LED Panel for video and general studio and location photography.
- Excellent color rendering - CRI 95+
- Digital Power Control: 10% - 100%
- Digital Color Control: 3300K – 5600K
- Uses 2 Sony-compatible batteries or AC Adapter
The Phottix Kali600 will feature a maximum brightness of 3000Lux (36W). Being both mains and battery powered it can be used in the studio or on-location. The Kali600 offers power and color temperature control – via the panel as well as a wireless radio remote. Barndoors, white diffuser panel and AC Adapter are included.
- Kali600 LED Main Panel with Barndoors and Diffuser Panel
- Remote Control Unit
- AC adapter ( US & UK & AU & EU plug )
- Printed User Manual
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An interesting new patent application from Canon details a series of potential lens designs with an adjustable soft-focus feature.
Japanese patent application number 2018-97240 lays out the groundwork and schematics for four different full-frame camera lens designs that feature a dual-focus system: a 58mm F1.4, a 35m F1.8, a 105mm F2 and a 70-200mm F4.
According to the patent application, the first focusing module would be used for the traditional purpose of focusing on the subject matter. The other module, however, isn't for the sake of focusing, but to intentionally soften the image using spherical aberration.
The patent application details two specific challenges designing such a lens: trying to focus the lens, which is a challenge to do when spherical aberration is present in the image, and having variable soft-focus, so you can add as much or as little spherical aberration as you see fit for the scene—something not possible with past soft-focus lenses.
Below is the computer-translated text from the patent detailing how the soft-focus module would work:
A second arrangement state by which said 1st focus group and said 2nd focus group are arranged so that a second aberration amount which will be in a focusing state in the aforementioned predetermined object distance, and is different from said first aberration amount may be generated.
Regardless of whether or not one of these lens designs ever makes it to market, this isn't the first time a soft-focus lens has been made. In 1935, Leitz created the Thambar 90mm F2.2, a classic Leica lens renowned for its dream-like aesthetic. In fact, Leica released a modernized M-mount version of the Thambar 90mm F2.2 late last year as well.
As with all patents and patent applications, this design may never leave the metaphorical paper. But it's interesting nonetheless.
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Apple can claim to consumers that the iPhone X captures “studio-quality portraits.” That’s what the UK’s advertising regulator has concluded after it received complaints that Apple’s advertising was misleading.
Earlier this year, Apple launched a new ad campaign for the iPhone X that offered a behind-the-scenes look at how the company created a phone that “takes studio-quality portraits without the studio”:
The video suggests that the iPhone can replace a studio’s worth of expensive equipment and create similar-looking photos while fitting in the palm of your hand.
It seems some people — perhaps studio portrait photographers — took issue with Apple’s claims. At least two people or groups in the UK filed complaints with the Advertising Standards Authority (ASA), the nation’s independent advertising regulator, challenging “whether the claim ‘Studio-quality portraits’ was misleading and could be substantiated.”
After conducting an investigation, the ASA has just sided with Apple.
Apple argued that “studio-quality” is a subjective term and not one that has any kind of industry standard definition and that the company worked hard to study “light and depth” to provide users with a way to easily create studio lighting effects.
The 35mm equivalent focal length of the iPhone X was also a key argument Apple presented.
“Apple stated that the 50mm focal lens in the iPhone X was one of the most popular professional studio portrait lenses and the lighting options available on the phone mimicked what could be done in a studio,” ASA writes.
“We recognized that there were many effects, techniques and tools used in studio photography which played a vital role in capturing high standard images, many of which were not available to someone solely using the iPhone X,” the ASA continues. “However, we recognized the emphasis was placed on the significance of the lighting effects on achieving the quality of image the ad demonstrated, and we understood that those images shown were a true reflection of the capabilities of the iPhone X’s camera.
“For those reasons, we concluded that the ad was not misleading.”
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Taiwanese firm Emerge Architects has created a beautiful hotel in a remote coastal area of Yilan in northeastern Taiwan. Built into a large hill that overlooks the harbor, the Onyx Lit House is a contemporary jet-black tower with clusters of round windows that stream light into the interior. The bold tower, which becomes a glowing beacon at night, was inspired by the seaside landscape.
Located in the coastal area of Yilan, the Onyx Lit House holds court over the city’s bustling harbor area. According to the architects, the seaside environment served as an inspiration for the design. “Our first impression of Toucheng Village and Wishi Harbour in Yilan was the smell of salty waves, the sound of splashes on the glossy shingle beach and the sight of distant Guishan Island,” the firm said. “The image of dissolving waves and glittering sea foam became the source to the guesthouse’s design element.”
The hotel’s dark facade is punctuated with various round windows. During the day, pockets of natural light filter in through the openings and brighten the interior. At night, the tower becomes a glowing beacon on the outside, while the interior resembles a starry night sky.
The nearly 3,000-square-foot guest home spreads out over three floors. A narrow staircase connects the floors, all of which are decorated with a minimalist design. The common spaces are painted a stark white to contrast the black exterior. Every floor has an open-air balcony that lets visitors sit and enjoy the fresh sea air. The individual guestrooms are arranged to take advantage of natural light during the day and the starry-like atmosphere at night. The unique windows also provide stunning views of the sea and mountains in the distance.
Photography by Lucas K. Doolan via Emerge Architects
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Cityscape photography is becoming increasingly popular and can be a welcome change to capturing rolling hills and scenic vistas. Urban landscape environments can offer you, the photographer, attractive buildings, patterns and lines to capture stunning scenes and an alternative to the familiar nature shots found in the countryside.
Here are 6 elements you will want to consider to improve your photographs of cities:1. Shoot at different times of the day
Think about blue hour, golden hour, and daytime for your city images.
As the sun goes down and darkness falls, cities come to life when buildings and architectural details become illuminated and can make for some spectacular image opportunities. However, a common mistake people make when doing cityscape photography is to capture images too late at night when the natural light has disappeared and the sky is completely black.
Shanghai skyline at night.
Total darkness is generally not the best time to photograph buildings as they will appear less attractive with little detail.
If you intend to photograph in the evenings, I would recommend that you arrive at your location for sunset and wait for dusk to fall. You could shoot during blue hour, a period of twilight when the sun is at a significant depth below the horizon and when the sky takes on a predominantly blue shade.
Although it is called the blue hour, it usually occurs for a window of around 20-30 minutes, depending on your location and the season.
Golden hour is another good time for cityscape photography. During the early morning or late afternoon, you’ll have beautiful long shadows to work with, as well as soft golden light.
Daytime shot of the same city.
Alternatively, photographing during the day allows for a more interesting composition as scenes can be more crowded. Just add people in your frame that can make intriguing subjects combined with buildings.2. Use ambient light effectively
If you capture the final elements of ambient light in the sky before darkness falls and combine it with the artificial light of the buildings, this will usually result in good photographs.
Once the city lights come on there is usually a window of about an hour to capture pleasing cityscapes. Shooting scenes at this time will allow you to balance the sky with the artificial lights of the city.
3. Consider color
Look for patterns and blocks of color that may offset one another. Buildings may be painted in different colors that work well together, for example.
The cool blue sky of the blue hour complements the warm, golden, amber hues of street and building lights perfectly. The harmony of an image is apparent when colorful tones come together, such as this image of Oxford at night.
Also, the sun can create different colors as it strikes buildings and reflects off them.4. Consider composition
It is best to try and exclude any distracting and unwanted objects from the frame such as trash bins, signs, and any unsightly buildings that will make your image less attractive. Re-compose your image until it’s free of clutter and you are happy with the way the image looks.
Work with the light if you’re capturing cityscapes during the day. Usually, you will want to shoot with the sun lighting the buildings for the best results and to ensure everything in your view is illuminated.5. Experiment with exposure
Cityscapes often provide a great opportunity to experiment with your exposure. You will discover that after sunset, as the light fades, you will be less able to hand hold your camera to capture your cityscape scene. Recording long exposures in cityscape photography will create motion and that feeling of movement is only possible by using a tripod.
As twilight unveils, you can capture the low ambient light by using slow shutter speeds to create mobility within your image. The stillness of buildings contrasting the movement of clouds or light trails from traffic, for example, make for an interesting image and can add drama to your composition.
Using fast shutter speeds can help to freeze the motion of different objects in the scene. I recommend that you experiment with different shutter speeds to see what different moods this creates and see which style of image you like.6. Get creative
Add some beauty to your shot by capturing close up objects such as bridges or signs with the cityscape in the background. You could even try photographing people and the cityscape to show the full setting you are photographing within.
Don’t be afraid to get closer to your subject and focus on the action. I suggest that you play around with various angles to capture something truly unique and inspirational, one that you are proud of.
Cityscape photography requires a great deal of practice and you most likely won’t walk away with award-winning cityscapes overnight. Keep shooting and with these tips, you will become more adept at capturing urban imagery you can be proud of.
Now it’s your turn, please share your cityscape photography images and tips in the comments area below.
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A spec sheet has been leaked to the folks at Sony Alpha Rumors about a new Sony sensor. Of course, new sensors are released all the time, so what’s so special about this one? Well, it’s a 31MP resolution APS-C sensor with a global shutter that potentially offers 4K video at up to 108 frames […]
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The LitraTorch from LITRA has impressed us somewhat here at DIYP. For such a small light, it’s extremely durable and packs quite a punch when it comes to light output. We did a comparison of the LitraTorch against the Lume Cube not too long ago, which you can see down below. The LitraTorch is pretty […]
The post The tiny but powerful LITRA LitraTorch light is on sale today for less than $50 appeared first on DIY Photography.
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Starting a business is a struggle, as well as keeping it successful. When you’re just starting out as a professional photographer, you’ll face a lot of challenges and might make some mistakes that will cost you the business. In this video, Chelsea Nicole talks about three common mistakes that could potentially ruin your business. If […]
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Whether you want to create a blog, showcase a business or organization or sell items online, one thing is certain. You need a great website. SITE123 is one example of a website builder. And it’s different than most of the other options you’ll find for one key reason – it’s completely free.
Getting started – or even redesigning an existing website – can be intimidating. A website builder can be the solution. Website builders are a set of tools that help anyone create a website without a lot of coding or design knowledge. It’s a quick and easy way to get a website online.What is SITE123?
SITE123 is a free website builder that you can use to create a general purpose website, blog or online store. Use it to create a website using ready-made styles and layouts so that you know your design will look great even if you don’t have a lot of graphic design skills or time to work on a website.
What sets SITE123 apart from most other website builders is that it is free. (Seriously!)
The free website builder comes with 500 megabytes of storage, 1 gigabyte of bandwidth and a subdomain. Plus there are plenty of cool templates to help you build a sleek design that will work on any device.
All you have to do is upload your content and the “design wizards” behind SITE123 take care of the rest. (You don’t even have to deal with all those drag and drop module that many other website builders are based on.)All in One Website Builder
SITE123 is made for any type of website project. If you’ve been wondering how to start a blog or create an online store, this is the right tool.
Websites created with SITE123 come with everything you’d want in a website.
- Sleek, modern design
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SITE123 isn’t just for simple websites; you can create an online store as well. Whether you are new to ecommerce or a seasoned seller, the SITE123 ecommerce website builder can set your online store apart.
Key features of the SITE123 ecommerce option include:
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- Design your store to impress customers by starting with an easy to use template
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- Create coupons and promo codes
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- Sell physical or digital products
- Inventory management and analytics tools built right in
SITE123 might be one of the easiest available options to create a free blog. The blog builder includes all the tools you need to get content online with regular and reliable posts with a compelling and easy to read design. This combination is great to help users focus on your content.
Key features of the SITE123 blog site include:
- Plenty of blog templates so you can find a design that matches your content
- Blog design that looks great on any device
- Easy editing so you can make updates and changes on the fly
- A powerful commenting system with the option to auto-confirm comments for immediate engagement and a reply option
- Ability to integrate Facebook or Disqus for commenting
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- RSS feed integration so more people can access your blog content
What makes SITE123 so easy to use is that it is pack with free website templates. With designs grouped and made for different categories of websites, all you have to do to get started is pick a website template that matches your style.
Template options include free website designs for business sites, blogs, photography sites, music- or event-based websites, restaurants, resumes, landing pages and online stores.
Every free website template features a modern design. (Users won’t know how easy it was for you to create a website.)
And every SITE123 website template comes with these must-have features:
- Responsive web design (that means it works anywhere)
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So you get the picture, right? Even though SITE123 is a free website builder, it is packed with tools and features. Anything you can imagine creating or doing with a website is built right in.Get Started
If you need a website, there’s no reason not to try SITE123’s free website builder. You don’t have to pay anything to get started and you can have a website online in just three steps – pick a website template design, add your content and publish!
More than 1 million websites have already been created with SITE123. Is yours the next blog, online store or general purpose website to go live. Browse the templates and try SITE123 today.
Our thanks to SITE123 for sponsoring this post, and helping to support Design Shack.
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