Photography Part of the real-time news network Tue, 19 Sep 2017 21:11:37 +0000 en-US hourly 1 8657238 Random Excellence: Judy Dater Tue, 19 Sep 2017 20:40:15 +0000 0 169394 Pete Turner, 1934-2017 Tue, 19 Sep 2017 20:29:44 +0000 Continue reading "Pete Turner, 1934-2017"



By Rob Atkins

Pete Turner died in his sleep yesterday morning at his home in Wainscott, New York. Pete was many things to many people: mentor, teacher, icon, true innovator of color photography. He was all of these things to me, and more, but one role loomed far greater than the others. Pete was my friend. That will endure forever. The most profound lesson I learned from Pete was this: Color can be used to convey an emotion. Take his image “Road Song” as an example. It’s still a successful image when reproduced in black and white, with its graphic
and dramatic perspective. Though Pete began shooting while the sun was still up and the fence was lit with the last of the day’s sunlight, he waited until the “blue hour” to make his select image. It’s the blue cast that imbues the image with its moody and somewhat melancholy feel. It’s the use of color that creates the emotional impact. Turnerroad_song Pete’s work set me on a life course, that of being a photographer. It’s given me the best life I could possibly imagine. How could a debt like that be repaid?

Rob Atkins

©2017 by Rob Atkins, all rights reserved

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‘September Is the New August’ Tue, 19 Sep 2017 20:21:08 +0000 0 169398 Oprema’s New Biotar 58mm f/2.0 Lens Has a Record 17-Blade Aperture Tue, 19 Sep 2017 19:40:26 +0000 Continue reading "Oprema’s New Biotar 58mm f/2.0 Lens Has a Record 17-Blade Aperture"

Having recently succeeded in crowdfunding the revival of the Biotar 75mm lens, Oprema is at it again and is looking to bring back the “legendary” Biotar 58mm f/2.0… with an aperture containing a record 17 blades. Having only just got started with their crowdfunding efforts, the project has already surpassed the goal of $50,000. If it successfully funds and launches, the lens will be the only lens in the entire world with a 17-blade aperture. “We absolutely wanted to maintain the optical features of the lens. We wanted to keep its subtleness, its wonderful ability to catch lights
colors and, of course, its legendary center focus and the one and only Biotar bokeh,” writes Oprema. “In other words, we wanted to build a worthy continuation of the famous blueprint while maintaining the grace of the original design.” It’s all possible because of the lens’ fully manual design. Autofocus lenses have fewer blades to reduce the number of moving parts, but the Biotar doesn’t have to adhere to these limitations. The lens will have less than 1% distortion, a minimum focusing distance of 0.5 meters, a 58mm filter threads, and a weight of 410 grams. Here are some sample photos that show what the working prototype of this lens can do: Here’s a short video introducing this new lens:
The Biotar 58mm f/2.0 lens is on Indiegogo with a minimum contribution of $1,000 if you’d like to receive one of the first units. The lens will come in mounts for Canon, Nikon, Sony, Fuji, and Leica M. It’s expected in October 2018, and by that point will retail for $2,000. (via Indiegogo via Fuji Rumors)
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Instagram is testing a four-photo grid, and some users are freaking out Tue, 19 Sep 2017 19:03:00 +0000 Continue reading "Instagram is testing a four-photo grid, and some users are freaking out"

Facebook-owned image sharing behemoth Instagram (heard of 'em?) is testing a new change to its app, and the internet is collectively freaking out about it. According to some users, Instagram is already rolling out a new 4-across profile grid to replace the current 3-across setup that people know and (apparently) love. Not a huge deal, you might think, but many photographers and casual users alike use that 3-across grid to create interesting mosaics that help their profile stand out. And those people are not reacting well to news of the test:
Of course, by now Instagram is used to these kinds of reactions—it seems like every change they make is met by a deluge of fear, anxiety and threats of abandonment. The algorithmic feed has been a boon for the company, but it set the community into a panic; and even smaller changes like the ability to block comments automatically or by keyword are usually met with at least some skepticism. But for those photographers who have built their Instagram 'brand' in part by making creative use of the 3-across grid on their profile, this change would represent a swift kick to the mosaic.]]> 0 169379
Love of cars runs through two very different photographers across generations and styles Tue, 19 Sep 2017 19:00:58 +0000 Continue reading "Love of cars runs through two very different photographers across generations and styles"

For car fanatics, there is something special about the roar of an engine. It&#39;s not easy to point to what exactly makes cars special, and perhaps there are as many answers to that question as there are cars on the road. It could be the unique shapes, the incredible engineering or maybe just the flat-out speed of a supercar. No matter the answer, work of automotive photographer <a href="" >Easton Chang</a> is sure to inspire awe from even the most subdued car fan. Chang was recently featured by SmugMug Films and the video below shows us the... <br /><a class="readMore" href=''>(read more)</a> ]]> 0 169377
Zenit’s full-frame mirrorless camera will use components made by Leica Tue, 19 Sep 2017 18:45:00 +0000 Continue reading "Zenit’s full-frame mirrorless camera will use components made by Leica"

Following an announcement last month that camera maker Zenit would launch a full-frame camera in 2018, USSRPhoto claims the new Zenit model will be based on the Leica SL full-frame camera. Leica will reportedly make components for the Zenit based on the ones found in its Leica SL camera, but will tailor them specifically for the upcoming Zenit model. Little is known about Zenit's plans at this time. In mid-August, an announcement that Zenit would return with a new camera was reportedly made on Moscow Region Radio 1. No camera specifications were provided aside from the fact that it will a full-frame mirrorless model with a brand-recognizable design and an anticipated 2018 launch date. We know that the reborn Zenit company won't try to compete with the industry's biggest camera makers, and it was stated at the time that a "leading photographic equipment company" would be used to produce some of the new model's components. That company wasn't revealed, but assuming USSRPhoto's leak is correct, it will be Leica. However, and in speaking to PetaPixel, USSRPhoto said the KMZ Zenit factory in Russia will itself produce the new lenses for this upcoming model, and that work on this project has already started. Though the factory isn't capable of producing electronic components for the camera (hence Leica's involvement) it does have the equipment necessary to make its own optics. Additional information—such as cost, specs, and a more specific release date—still haven't been revealed.]]> 0 169381
Portraits of Strangers Found Through Craigslist Tue, 19 Sep 2017 18:43:56 +0000 Continue reading "Portraits of Strangers Found Through Craigslist"

For their ongoing “Craigslist Encounters,” the Los Angeles-based photography team Kremer Johnson has been shooting portraits of completely strangers who are each found using Craigslist. Each subject responded to an ad titled “Characters Wanted” and agreed to pose for $20 an hour. Fstoppers writes that photographers Neil Kremer and Cory Johnson have posted the ad three times so far, and each time it goes up they receive about 70 to 100 responses. The photographers have shot portraits of about 30 people so far, and they’re aiming to photograph over 100 more in the upcoming year. Each subject is interviewed to
a portrait location that’s meaningful to them. You can find more work by Kremer Johnson on their website and on Ello.
Image credits: Photographs by Kremer Johnson and used with permission
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Photoshops role in Travel Photography Tue, 19 Sep 2017 18:40:15 +0000 Continue reading "Photoshops role in Travel Photography"

Should we Photoshop people?
Well let’s relate it all to my genre. Travel. Should we Photoshop travel pictures? To what extent and why? Is it an ‘ok’ thing to do? First, I’ll just get this out of the way – many people will argue that Photoshop is not a verb. It is. It just is. It’s become a commonplace term in our society and if you hear somebody say that something’s been ‘Photoshopped’ you may want to throw a can of cheese at them, but you
what they mean. This post isn’t about that. So, moving on…. My stance, as someone who writes tutorials centred on Adobe Photoshop, is that Photoshopping fits in travel photography just as much as it does in glamour photography. It has a role to play and it is useful, but it should (in terms of it’s use for marketing at least) result in an image being inspiring, enticing, and offer somewhat of a realistic depiction. A representation of reality.   But when does it stop being real? How far do you have to go before your image of some far-flung location no longer looks the way it really looks? What are the limits? Well, to me when I Photoshop something I want the final result to look like something that could actually happen. When we apply the fashion stance, the model on the front of the magazine isn’t real. It’s what we imagine could be real, it’s the image we have in our head, but it absolutely isn’t real. Reverting back to travel, if the image I produce has created something inspiring but false then I’ve let myself go too far.
  Hohenzollern Castle, Germany This image is an example. I have Photoshopped it, but it’s a thing that actually happened. If I created something that hadn’t or at least couldn’t happen, I’m no longer operating in the realms of travel photography but have moved into fantasy. This is Hohenzollern Castle in Germany, sitting high atop a hill overlooking the countryside for miles around. The moon rose and I positioned myself on the opposite side of the hill to capture it silhouetting the castle. It’s a thing that happened, but in order to portray it with it’s massive difference in exposure I had to retouch. I suppose something to consider, based on what I’ve mentioned, is what we define as travel photography. When it comes to travel we occasionally make our decisions based on personal recommendations and the influence of our peers, but in society now we’re making more and more decisions based on social media. We’re looking at the images of travel photographers. Travel photographers like me. What people are looking at in my photography is the scene before me at the time I saw it, the way I saw it and indeed the way I felt it.   
  Odda, Norway When I was stood here I wasn’t just seeing this scene, I was feeling it, smelling it, hearing it. I took all the information available to me from all of my senses for the amount of time I stood photographing that scene (and I’ll add, in various different directions) and I retouched the image to portray, in a tiny, little box, what I was seeing. I wasn’t just seeing an island with a tree on it, I was seeing a bunch of mist, feeling isolated, smelling the fresh, early morning dew, wrapped up from the cold, and I had to show that as best as I could in one image.   It’s for this reason that I say time and time again, lend me your eyes and I’ll show you what I see. What I see in my mind’s eye and what’s physically in front of me vary somewhat in most instances, however with Photoshop I can take everything that was forming that image of what I saw and show you that same thing.
Here I am in real life ;)   One travel subject which is prime example of how travel photography has bent the truth is the famed and elusive Aurora. The northern lights. The lights are phenomenal, don’t get me wrong, but just as one point they’re generally very dynamic. The countless amazing photos of them on Instagram are what you perceive them to be, not what they actually are. Don’t get me wrong, I’m not trying to crush any dreams here for those of you hoping to tick the northern lights off your bucket list – they’re incredible – but they aren’t like you see them in photos. Westfjords, Iceland So it is ok to adjust things, right? In the world of travel photography it must be. It’s what we’re used to seeing. But when we know the truth of the image versus our representation of the scene it can change. I’ll work to remove the things that I didn’t necessarily notice at the time. The things that were there, but that my mind blocked out of my vision. The power lines, poles, aerials, all of that stuff which is there but doesn’t form the vision in front of me, but which immediately stand out in the photograph. The other senses have had their input too and everything that flooded those senses has had it’s say, and those power lines aren’t part of it.   So it’s true to say that we do it in real life with our own eyes, it’s true to say that around 90% of the images we see in everyday media have been retouched, so what’s the limit? When does travel photography become fantasy? When the movement in the scene, the sounds, the smells, they’ve all gone, it’s fair to represent those things differently on our image that becomes flat and motionless.   We have a job to do in photography and it’s not to make things fake. The job of a photographer and retoucher is to make things look real, but the real way you saw it at the time. The distracting elements gone, the scene looks like real life, if people go and stand in the same spot they can expect to see what you see too, but looking at its best. That’s our job. That’s what travel photography is. That’s what sets it apart from fantasy.   Lend me your eyes and I’ll show you what I see. Bear that in mind when you consider your limits. Show people what you see. Something achievable, realistic, and at its absolute best. The post Photoshops role in Travel Photography appeared first on Scott Kelby's Photoshop Insider.]]> 0 169364
Report: Samsung is developing a 1,000fps mobile image sensor Tue, 19 Sep 2017 18:19:00 +0000 Continue reading "Report: Samsung is developing a 1,000fps mobile image sensor"

According to sources who spoke to Korean publication ETNews, Samsung is planning to kick its mobile camera technology up a notch with a 1,000fps smartphone camera sensor that will compete directly with Sony's similar sensor. This technology is called a "3-layered image sensor," and Samsung has reportedly ordered special equipment necessary to start producing the hardware in November. Smartphones featuring this technology, like the Sony Xperia XZ, can record super-slow-motion video. ETNews, which has a good track record in relation to Samsung leaks, claims that this 3-layered image sensor is comprised of TSV stacking technology alongside a chip and system semiconductor. Pilot production of the image sensors will start in October, the sources claim, followed by mass production in November. By comparison, Samsung currently uses 2-layered image sensors in its newest flagship smartphones. It is the DRAM chip for temporary data storage that will enable the mobile image technology to capture at 1,000fps, and as we mentioned earlier, Samsung won't be the first company to develop this technology for mobile devices. Sony was the first to bring this 3-layered image sensor tech to commercial devices, though the sources say Samsung will use TSV stacking rather than thermal compression to avoid the costs that come with licensing other companies' patents. Questions remain about which Samsung smartphones will receive the new 3-layered image sensors. Assuming mass production does start this November, it is reasonable to assume we'll see the sensors implemented into the next batch of Galaxy smartphones the company will unveil in 2018.]]> 0 169359
Review: The Profoto A1 is a Simple and Naturally Beautiful Flash Tue, 19 Sep 2017 17:58:20 +0000 Continue reading "Review: The Profoto A1 is a Simple and Naturally Beautiful Flash"

We all know and love the legendary lighting manufacturer that is Profoto. For decades, they have produced and supported the most durable, powerful, and consistent lighting equipment for professional photographers around the world. In recent years, they have pushed the lighting industry forward with the introduction of the B1 and B2 and their OCF system. These new lights have changed the way photographers work by allowing for unheard of flexibility and mobility. Ever the innovator, Profoto just gave us something we’ve always wanted, but never thought to ask for. Profoto just announced the A1, an on-camera flash, with full
into the Air-TTL system that we’ve come to know and love. In an effort to make the Air-TTL system more accessible, and easier than ever before, the A1 fills a gap that has long been present in Profoto’s line up. Time and time again I hear photographers ask for an on-camera flash that they can use with their B1 and B2 heads. Profoto listened and gave us a small flash, with an interchangeable battery, modeling light, and a built-in magnetic attachment for modifiers like gels and diffusers. From the moment I was told about it, I was excited. After using it on several shoots, I was blown away. My first shoot with the A1 was a simple indoor portrait session. The ambient light was absolutely atrocious. I had one window on one end of the room, and a harsh ceiling lamp on the other end. Because the ambient light was so low, I decided to use the modeling light on the A1 to help the camera focus a little better. The A1 spent most of its time during the shoot in a 46” Photek Softlighter, one of my favorite modifiers. I also brought along a B1, which I used for a few shots for a slight fill, again because of the poor ambient light. The B1 was unmodified and shot into the ceiling to give the image a brighter fake ambient light. The A1 was used in the softlighter as the key light in this setup to add dimension to what would otherwise be a flat image if just the B1 had been used. During the same shoot, I used the A1 by itself both on camera and off camera. After shooting a more environmental image, I decided to use a blank wall as a backdrop. For some images, I placed the A1 on top of my D3s and pointed it both right at the model, but also up into the ceiling. Using the Softlighter again, I moved the A1 off camera. Having used the B1 in this configuration more times than I can count, I knew exactly what I wanted the A1 to give me. Because of the brilliantly engineered circular flash head, the A1 delivers an almost identical spread of light. This was a promising start to my time with it. On its own, the A1 is a formidable light. By some rough metering tests, I’ve found full power to be equivalent to about 7 or 8 (around 100ws) on the B1. That’s a pretty overhead amount of power, and considering that I can’t remember the last time I used the B1 or even B2 at full power, that makes me think that the A1 would be perfectly viable for most portrait and product photographers. There are certainly situations outdoors or when shooting large groups that the B1 may be necessary, but even shooting a wide composition in bright sunlight, as shown below, the A1 was more than enough. I wanted to do a styled shoot on location to showcase the A1 in its prime environment. I envisioned a dramatically cloudy sky, trees, fields, and a simple composition. I wanted soft light, so I brought the Profoto XL Silver umbrella and its diffusion panel with me to turn the A1 into a large, soft source to match the ambient. Unfortunately, the weather didn’t cooperate. There wasn’t a cloud in the sky and we had a harsh morning sun to deal with. To combat the hard natural light, we used a large pop-up backdrop as a scrim to cover the model in shade. The A1 in its umbrella was placed just to the side of that to act as our key light, letting a hint of the shade we produced fill in the shadows. In the past, I would always be wary of on-camera flashes in situations like that, but with the A1’s power and Air remote integration, we had no problems lighting our image. At ISO 100, f/5.6, and a shutter speed varying between 1/200th of a second and up to 1/1000th of a second (maybe more), the A1 kept up and was never anywhere near full power. We shot a variety of setups with the A1 and the XL umbrella, most of which were lit and metered similarly. For the final setup, we used the XL umbrella as a scrim and our modifier, creating soft natural light that was augmented and shaped by the A1.
As an on-camera flash, the A1 is a versatile tool for a variety of genres. As a portrait photographer, on-camera flash is something I rarely use, but it has its applications occasionally. While at an event recently, I was able to use it to shoot a few gritty images. The area in which we shot was a dimly lit underpass of an event center in downtown Columbus. We had one small, dim light over head, and light from a nearby stairwell as ambient. With the D3s, I was able to pull a lot of that into the image, but it was still missing dimension. With the articulating head on the A1, I could change the light by turning it and bouncing it off of a variety of surfaces. In this case, it functioned as both a key light, providing a powerful overhead bounce, or as a soft fill depending on our output. I did, of course, use the A1 pointed straight on to create a hard light. That form of lighting doesn’t always work, and certainly isn’t something I use a lot, but in this environment, it fit the mood. Here’s an example of ambient light against the same shot using the A1 for fill. For the sake of using the flash and showcasing its light quality, I photographed some of the staff members at Midwest Photo. These images were made with either a 46” Softlighter, or a Westcott Rapid Box Duo. One thing I noticed when shooting these portraits as I moved around the sales floor is just how light the whole setup us. The A1, coupled with a Lumopro 13′ stand and the softlighter was light enough for me to pick up and carry across the store with one hand, camera in the other. I started my journey in off-camera flash with two Canon 430EX speedlights. Like everyone, I became frustrated with having to rely on AA batteries, low power, and at the time, poor wireless options. For the past three years, I’ve used the Profoto B1 on almost every shoot. I quickly became used to the features that the B1 offered over my old lights and over its competitors. The A1 is a perfect blend of what I love about the B1 and a small on-camera flash. It has power, it has an amazing battery life, it has a built-in Air remote and receiver, a modeling light, and a simple menu. All of these features culminate into a Profoto product that creates amazing light.
About the author: Spencer Lookabaugh is a portrait and nature photographer based in Columbus, Ohio. You can find more of his work on his website and Instagram. This article was also published here.
Image credits: Photographs by Spencer Lookabaugh/Midwest Photo Exchange and used with permission
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How We Hacked Production to Make a Full-Scale Spy Thriller for $100K Tue, 19 Sep 2017 17:53:54 +0000 Continue reading "How We Hacked Production to Make a Full-Scale Spy Thriller for $100K"

These non-traditional production techniques could benefit a shoot of any sized budget. [Editor's Note: No Film School asked Joshua Caldwell to share the story behind his film 'Negative', available now on Digital HD and OnDemand.] After making my first feature film Layover for $6000, I went on to direct a series for Hulu and my second feature film for Paramount and Studio 71. While both projects were step up from Layover budget-wise, I found myself surprisingly constricted. Even though I had 150x the budget I did on Layover, I was given 15 shooting days on the Hulu series for 150 pages of material and 12 days (!) on the feature. I’m used to shooting fast and I definitely made it work to get the projects in the can, but it seemed like the wrong way to make a film. It felt like we were taking a $10 million model of filmmaking and applying it to a project with a fraction of that budget. Instead of cutting down on crew or trailers or all the things that don’t show up on screen, we cut down on production days and therefore on the time to shoot and get great material. Read More]]> 0 169371
Let’s Edit with Media Composer – Creating Night from Day with BCC and Sapphire 10 Tue, 19 Sep 2017 17:25:10 +0000 Continue reading "Let’s Edit with Media Composer – Creating Night from Day with BCC and Sapphire 10"

As pretty much everyone knows, I’m a big user of both BCC and Sapphire.  I just worked on a project this morning that utilized effects from both packages, and the same goes for just about every project that I work on, and I thought that we would have some fun in this lesson, and take a look at how to create a shot that I tons of tutorials about on the internet, and that is how to create a night shot from a day shot.  It’s actually a pretty simple technique if you have the right tools, and BCC and Sapphire are definitely the right tools for this job.   Many people will watch this tutorial and think “Hey, I can do this without 3rd party effects!”, but stick around until the end to see why you’re going to want to use these awesome tools to create this cool effect!  Enjoy! Channel:
Twitter: @kpmcauliffe
e-mail: The post Let’s Edit with Media Composer – Creating Night from Day with BCC and Sapphire 10 appeared first on ProVideo Coalition.]]> 0 169336
How to Fake the Look of ‘Bullet Time’ Using a Single Camera Tue, 19 Sep 2017 17:19:36 +0000 Continue reading "How to Fake the Look of ‘Bullet Time’ Using a Single Camera"

Here’s a new 3-minute music video by Russian/Ukrainian group 5’Nizza. In it, the band finds themselves in a variety of situations, but as the action is frozen they keep on singing while the camera pans around them. How was it done? It turns out the effect was created with a single moving camera and a green screen. The “bullet time” effect was popularized by the film The Matrix, in which Neo appears to stop bullets in their tracks while the camera spins around him. For the Hollywood film, they used multiple camera systems, digital compositing, and computer-generated characters to
the famous scenes. But with a limited budget for this new music video, director Max Ksjonda had a different idea. Instead of spending a huge amount of money on fancy rigs and editing, he suspended the band members into the air alongside a variety of props. The ropes and supports were then removed in editing, and the background added in thanks to the green screen. This animated GIF shows the comparison of the video before (right) and after (left) the editing process:
You can see the full music video again, but this time without the post production editing:
Clever. (via Max Ksjonda via Gizmodo)
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Instagram Makes Stalkers Happy by Adding A “Follows You” Feature Tue, 19 Sep 2017 17:12:00 +0000 Continue reading "Instagram Makes Stalkers Happy by Adding A “Follows You” Feature"

Instagram Makes Stalkers Happy by Adding A Until a few months ago, you could know who was following you, or not, as well as tons of other useful information on your following base for all stalkers and communication gurus out there by simply using apps such as InsTrack. However, as Instagram is trying to have third-party apps comply with their rules, such apps are slowly disappearing or being reduced to more basic specs. Instead of leaving those tools alone, the photo-sharing app is now bringing a feature of their own called "Follows you" that let you know if someone is indeed following you or not. [ Read ]]]> 0 169389
Is 17 the magic number for bokeh? Biotar announces campaign for 17-bladed 58mm f/2 optic Tue, 19 Sep 2017 17:05:17 +0000 Continue reading "Is 17 the magic number for bokeh? Biotar announces campaign for 17-bladed 58mm f/2 optic"

If you have ever scoffed at a mere 9 or 11 aperture blades, then Oprema Optik&#39;s latest Indiegogo campaign is a must-see. The German lens maker, Oprema Jena, is resurrecting the Biotar 58mm f/2 optic, including its unique and "world record" 17-blade aperture design. What&#39;s old is new again. This is Oprema&#39;s second lens project following a successful Kickstarter campaign for a Biotar 75mm f/1.5 revival project, so the company has experience bringing distinct lenses back from the past. Let&#39;s talk more about the 17 aperture... <br /><a class="readMore" href=''>(read more)</a> ]]> 0 169354
Instagram May Soon Break Its Classic Grid (and All Your 3×3 Mosaics) Tue, 19 Sep 2017 16:53:20 +0000 Continue reading "Instagram May Soon Break Its Classic Grid (and All Your 3×3 Mosaics)"

Instagram has long featured a 3×3 grid of photos across its platform, allowing photographers to get creative and create larger photo mosaics by uploading the individual pieces as separate photos in the correct order. If you’ve spent a considerable amount of time and effort building these mosaics yourself, here’s some bad news: it looks like Instagram may soon break that classic grid (and your mosaics). The Ringer reports that a number of Instagram users across the Web have noticed 4×4 grids on their accounts.
Some users aren’t pleased about it, since switching to 4×4 completely messes up the look of existing 3×3 mosaics. What were once clever mosaics are now seen as a jumbled mess of images. Here’s a sampling of some of the complaints that have been posted, pleading with Instagram to not break existing mosaics by changing the layout:
Even people who don’t post 3×3 photo mosaics often upload photos in a particular order based on how it makes the resulting grid look — the position of photos relative to each other is disrupted.
Instagram never promised that the 3×3 grid would be a permanent feature of the service, so photographers who relied upon it for carefully planned layouts were trusting in a design choice that has always been subject to abrupt change. If you’ve spent years uploading 3×3 mosaics to Instagram, you may soon have to live with a profile filled with scrambled up pictures.
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Capture One Pro 10 Spectrum Styles Pack adds cinema-inspired color grading to the RAW editor Tue, 19 Sep 2017 16:30:56 +0000 Continue reading "Capture One Pro 10 Spectrum Styles Pack adds cinema-inspired color grading to the RAW editor"

For fans - like us - of Capture One Pro 10, Phase One shared some interesting news yesterday. The company has released a new series of Styles, which are one of the big features of Capture One Pro 10.1. The first "Grading Styles" Styles Pack is the new "<a href="" >Spectrum</a>" pack. Each Styles Pack comes up with up to 18 different Styles, which have been carefully designed to adjust curves, saturation and tonal adjustments without changing key parameters, such as your exposure, white balance and levels. Spectrum has been designed to deliver... <br /><a class="readMore" href=''>(read more)</a> ]]> 0 169322
On Land and Sea: How Aquatic and Grounded DPs Seamlessly Collaborated on Simon Baker’s ‘Breath’ Tue, 19 Sep 2017 16:22:11 +0000 Continue reading "On Land and Sea: How Aquatic and Grounded DPs Seamlessly Collaborated on Simon Baker’s ‘Breath’"

Established actor Simon Baker relied on collaborations with two experienced shooters for his feature directorial debut. One director, two DPs, and a beautiful film. Breath is an adaptation of Tim Winton’s award-winning and internationally bestselling novel, a bildungsroman about two young surfers on the Australian coastline, set in the mid 70’s. It’s not just a great surf movie; it’s a compelling, visually radiant story with deeply realized characters. Breath premiered to critical acclaim at TIFF 2017 last week. Even if you aren’t familiar with Simon Baker–the Australian, Golden Globe-nominated actor-turned-director who the film, both as actor and director–you’d probably recognize him. As an actor, he has performed in The Devil Wears Prada, The Ring, LA Confidential, to name just a few, as well as in TV series including The Guardian and The Mentalist–both of which he has also directed. Breath is his debut as a feature film director. “Each film is its own journey. If you pay attention, you can learn a lot.” Read More]]> 0 169334
Speed Up Photo Viewing in Lightroom with 1:1 Previews Tue, 19 Sep 2017 16:18:43 +0000 Continue reading "Speed Up Photo Viewing in Lightroom with 1:1 Previews"

Ask any photographer their least-favorite thing about Adobe Lightroom, and they will most likely tell you it’s the application’s speed. There are a few tricks to help optimize the responsiveness of Lightroom, and this minute-long Lightroom coffee break video focuses on generating 1:1 previews. This is one you may know already, but if you don’t, it can drastically improve your experience when flicking through your catalog. By generating 1:1 previews when you import your photos, Lightroom will do the legwork up-front to create full-resolution previews of your imported images instead of loading them only when you view the image. Lightroom’s
Warde notes that this will increase the time it will take for the initial import while Lightroom generates all of those previews for you. This is a good opportunity to grab a coffee (or a nap, depending how many photos you’re importing). If you understand the trade-off and you don’t mind the extra import time, here’s how you do it. Go to Lightroom’s import dialog and look under the File Handling panel, change Build Previews to 1:1. That’s it. Lightroom’s Loupe View may now be just as fast as Photo Mechanic.
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Devin Allen’s new book: A Beautiful Ghetto Tue, 19 Sep 2017 16:15:52 +0000 Continue reading "Devin Allen’s new book: A Beautiful Ghetto"

Devin Allen, a 26-year-old West Baltimore resident, only aspired to be a professional photographer. When protests took over his city, the photos published in Instagram propelled the amateur on the global stage. Photographing models and street photography were passions for the young amateur dreaming to become professional.  Inspired by artists like Andy Warhol or photographers as Gordon Parks, Devin Allen revealed already in his street photographs the influence of Parks work. Gordon Parks was a seminal figure of twentieth century photography. A humanitarian with a deep commitment to social justice, he left behind a body of work that documents many
Devin Allen’s new book: A Beautiful Ghetto
Devin Allen’s new book: A Beautiful Ghetto
Devin Allen’s new book: A Beautiful Ghetto
Devin Allen’s new book: A Beautiful Ghetto
the most important aspects of American culture from the early 1940s up until his death in 2006, with a focus on race relations, poverty, civil rights, and urban life. In addition, Parks was also a celebrated composer, author, and filmmaker who interacted with many of the most prominent people of his era – from politicians and artists to celebrities and athletes. Devin Allen’s new book: A Beautiful Ghetto On April 2015 the world of young Devin Allen changed. When protests took over his city in the aftermath of Freddie Gray’s death – the 25-year-old African-American man who was severely injured while in Baltimore police custody and later died – , the young amateur photographer took to Instagram to publish his photographs of the protest. Suddenly the photographer gained national attention, when his iconic photo from the Baltimore Uprising following Freddie Grey’s death was published, May 2015, on the cover of TIME Magazine (only the third time the work of an amateur photographer had been showcased there). Devin is now back with “A Beautiful Ghetto”, a new book and exhibition of his work at The Gordon Parks Foundation that provides a window into the heart of the frustration and outrage of a community in response to police brutality not only in their own city, but nationwide. Devin Allen’s new book: A Beautiful Ghetto The Gordon Parks Foundation opened, September 15, its newest exhibition of photographs, Devin Allen’s A Beautiful Ghetto, which is on view at the Foundation’s exhibition space through November 18.  The exhibition showcases the self-taught Baltimore native’s documentation of the landscape and community of Baltimore immediately following the 2015 death of Freddie Gray. “When most people think about the word ‘ghetto,’ they think of poverty, struggle, pain, violence, drugs,” said Devin Allen. “But for me, the word ‘ghetto’ is so much more. When I look deep into my community, I see a beauty that is often overlooked and unappreciated.” A Beautiful Ghetto provides a window into the heart of the frustration and outrage of a community in response to police brutality not only in their own city, but nationwide. Allen’s camera acts as a witness to the first peaceful public protest that evolved into rioting casting an international spotlight on the city. Devin Allen’s new book: A Beautiful Ghetto The exhibit and book mark Allen’s connection to the The Gordon Parks Foundation, as the photographer was chosen for the Foundation’s inaugural fellowship, which focuses, says the foundation’s Executive Director, Peter W. Kunhardt, Jr on art that explores social justice themes. The Gordon Parks Foundation’s mission is to permanently preserve the work of Gordon Parks, make it available to the public through exhibitions, books, and electronic media, and support artistic and educational activities that advance what Parks described as “the common search for a better life and a better world.” The primary purpose of The Gordon Parks Foundation’s exhibition space is to present focused exhibits of Parks’ photography, as part of the Foundation’s commitment to educating the public and preserving his work. Devin Allen’s new book: A Beautiful Ghetto The appearance of Devin Allen’s photographs on the media changed the future for the photographer. His photographs have now appeared in New York Magazine, the New York Times, the Washington Post, and Aperture. His prints are in the permanent collections of the National Museum of African American History and Culture, the Reginald F. Lewis Museum, and the Studio Museum in Harlem. The experience lived in 2015 and Allen’s interest in Gordon Parks work have opened new horizons for the recipient of the 2017 Gordon Parks Foundation Fellowship. Devin Allen founded Through Their Eyes, a youth photography educational program, that aims to arm the youth of Baltimore with cameras, so they can tell their stories. Like Allen does now, inspired by what Gordon Parks did before. Fortunately, the trend to document the world continues. The post Devin Allen’s new book: A Beautiful Ghetto appeared first on ProVideo Coalition.]]> 0 169318
This is the story behind that tragic, viral photo of a seahorse holding a Q-tip Tue, 19 Sep 2017 16:13:00 +0000 Continue reading "This is the story behind that tragic, viral photo of a seahorse holding a Q-tip"

Photo by Justin Hofman When photographer Justin Hofman snapped this photo while snorkeling off the coast of the Indonesian island of Sumbawa in 2016, he couldn't have guessed the environmental impact the snapshot would have. A year later, the photograph is a finalist in the Wildlife Photographer of the Year competition, and has been dubbed "the poster child for today’s marine trash crisis." Hofman is based out of California, but he travels all over the world leading wildlife expeditions. This photo was captured on one-such expedition in Indonesia. He was gleefully watching this seahorse bounce from natural object to object, hitching rides on the current, when something changed. Here's a piece of the official image caption:

"As the tide started to come in, the mood changed. The water contained more and more decidedly unnatural objects—mainly bits of plastic—and a film of sewage sludge covered the surface. The seahorse let go of a piece of seagrass and seized a long, wispy piece of clear plastic. As a brisk wind at the surface picked up, making conditions bumpier, the seahorse took advantage of something that offered a more stable raft: a waterlogged plastic cotton swab."

When Hofman shared the photo on his Instagram account last week, it received over 17K likes and 1,100 comments, but it's a photo he wishes didn't exist. "This sea horse drifts along with the trash day in and day out as it rides the currents that flow along the Indonesian archipelago," he wrote on IG. "This photo serves as an allegory for the current and future state of our oceans."

A post shared by Justin Hofman (@justinhofman) on

As for capturing the photo itself, we asked Hofman if he would like to share anything with our audience of photographers directly. This is what he had to say:

The thing I would really like to tell photographers is to a) Listen to your gut and b) Don't worry so much about gear.

If you look at this encounter, on paper it doesn't really make that much sense: I captured a photo of a 1 inch sea horse using a 35mm lens (16-35mm). Most people, if you had told them of the scenario would say to bring a macro lens. But I never have a macro lens on my camera. I am always afraid that a whale will swim by while I have a 105mm on, which would make it worthless. If I am unsure or just goofing off, I will always bring with me the most flexible lens I can. This ensures that whatever comes by, I have given myself the best opportunity possible to capture the moment.

Of course there will always be sacrifices, but the flexibility is key. If I had had a macro lens, I can 100% assure you that this photo would not have been possible because we were both bobbing around too much to make a sharp macro shot possible. Even with a 35mm, I only have a handful of photos that are actually in focus.

And in case you are curious about gear, he also shared that the photo was taken with an A7R II and Sony 16-35mm F4 lens in a Nauticam housing with a Sea and Sea 240mm dome and two Sea and Sea ys-d1 strobes. To see more of Hofman's work, be sure to visit his website or give his account a follow on Instagram. And if you'd like to learn more about ocean conservation, Justin suggests you visit
Photo by Justin Hofman and used with permission.]]> 0 169324
The Profoto A1 is the ‘world’s smallest studio flash’ and Profoto’s first on-camera flash Tue, 19 Sep 2017 15:39:00 +0000 Continue reading "The Profoto A1 is the ‘world’s smallest studio flash’ and Profoto’s first on-camera flash"

As expected after last week's photo and specs leak, lighting manufacturer Profoto has launched an on/off camera flash unit called the Profoto A1. But if you were expecting a simple speedlight, Profoto is definitely branding this as more powerful than that. In fact, they're calling it "the world’s smallest studio flash." The new A1 is styled much like most on-camera flash units, but is equipped with the powerful features of a Profoto studio head. The 76Ws unit uses a lithium ion battery that is claimed to be good for up to 350 full bursts and which charges in under 80 minutes. Profoto also says that the A1 recycles "four times faster than other on-camera solutions," as it can emit a full power pop every 1.2 seconds. A stand-out feature of the A1 is its circular lens, which is said to produce light that is "natural and beautiful with a pleasing soft-smooth fall-off." The rim of that circular lens housing is also magnetic, and accepts a range of clip-on modifiers that can be changed quickly and easily. The head offers a manually operated zoom function and the rear display is large and easy to read. The A1 heads are equipped with Profoto’s Air Remote TTL system so they can work in groups alongside other A1 heads or any other Air Remote studio heads from the Profoto studio head range. Finally, the A1 offers variable power over 9 stops in both standard and HSS modes, and includes an LED modeling light for previewing the effect of the flash or using on its own as a light source. The A1 is currently compatible with Nikon and Canon systems, and will be with Sony models in the future... but it doesn't come cheap. As previously reported, the Profoto A1 will cost you $995 USD... quite the pretty penny when you compare it to some of the full-featured speedlights other options out there from brands like Godox. For more information on the Profoto A1, visit the Profoto website or watch the introductory video below.
Press Release

The world's smallest studio light

The Profoto A1 might be the smallest flash we’ve ever made, but it’s still built to the same impossibly high standards we’ve set ourselves over the last fifty years. Our focus with the A1 was to create a flash that delivers a truly high quality of light, which is why it features a round head which delivers light that's both natural and beautiful with a pleasing soft-smooth fall-off, that blends seamlessly with the ambient light. Thanks to a smart magnetic mount built into the head, light shaping tools and modifiers can be clicked on and off quickly and easily. Within seconds you're being creative with light, shaping it. It also has a zoom function that allows you to make fine adjustments to the spread of light by simply twisting the zoom ring on the head, and for accuracy it has a modeling light built-in to the head – so you can see what you're going to get before you press the shutter. We made it our mission to make A1 the first on-camera flash that's easy to use from the box. The user interface is simple and intuitive with a large high-contrast display at its center. The less time you spend learning and fiddling, the more time you'll spend shooting. And that's ultimately what counts. Despite its size, or lack of it, the A1 punches above its weight in a good number of key areas. Battery life is key when a photographer is right in the thick of the action, because the last thing they need to have to stop mid flow to change the batteries. The A1 has its own Li-ion high capacity battery built-in which lasts up to four times longer than AA batteries with no performance fade. So, you can shoot for longer with confidence. And this is a flash that can keep up with you because it recycles four times faster than other on-camera solutions – that's every 1.2 seconds at full power. Put simply, you'll never miss a shot. And while it's true to say the Profoto A1 is our very first on-camera solution it's also just as effective off-camera as a standalone unit, and integrated into a larger system of lights. That level of versatility is possible because Air Remote is built-in, which means the A1 offers seamless connectivity with freestanding lights like another A1 or bigger Profoto lights like the B1X. And with AirTTL you'll get a perfect exposure super-fast. Better still, you can lock the exposure with a single 'click' while still being free to fine tune that exposure in manual, giving you even greater control. So, this is so much more than our smallest flash yet. This is shooting on the move, shooting with confidence and shooting with light shaping excellence. This is shooting off-camera and for the first time with Profoto, on-camera. This is the Profoto A1 – the world's smallest studio light.
]]> 0 169326
How to Add Handwritten Text to Your Instagram Pictures Tue, 19 Sep 2017 15:25:00 +0000 Continue reading "How to Add Handwritten Text to Your Instagram Pictures"

How to Add Handwritten Text to Your Instagram Pictures It’s been quite trendy in the past few months to see handwritten text composited onto images on Instagram. Perhaps you’ve been wondering how it’s done or maybe you’ve just been looking for a way to make your writing even more personalized. No matter the reason why you’re reading this article, if you want to give a more personal dimension to your images with handwritten text, be sure to watch this tutorial. [ Read More ]]]> 0 169408
Profoto A1: Profoto’s First On-Camera Flash, World’s Smallest Studio Light Tue, 19 Sep 2017 15:18:31 +0000 Continue reading "Profoto A1: Profoto’s First On-Camera Flash, World’s Smallest Studio Light"

Profoto has just announced the A1, the lighting brand’s first-ever on-camera flash. It’s also what the company calls “the world’s smallest studio light.” “Our focus with the A1 was to create a flash that delivers a truly high quality of light, which is why it features a round head which delivers light that’s both natural and beautiful with a pleasing soft-smooth fall-off, that blends seamlessly with the ambient light,” Profoto says. The A1 features both a flash and an LED modeling light. The flash can be fired at full power 350 times on one Li-ion battery charge, which
80 minutes to juice fully — Profoto says this battery lasts four times longer than AA batteries and has no performance fade. The flash has a maximum energy of 76Ws and a power range of 9 f-stops (2.0-10), Profoto says. The recycle time is a mere 1.2 seconds at full power, 4 times faster than other on-camera flashes on the market (according to Profoto). In terms of size and weight, the A1 measures 108x75x165mm (4.3x3x6.5in) and weighs 560g/1.2lbs (with batteries). By comparison, the Canon Speedlite 600EX II-RT measures 80x143x125mm (3.1×5.6×4.9in) and weighs 425.25g (15oz) without batteries. The head of the A1 features a smart magnetic mount that allows various light shaping tools — the A1 Light Shaping Tools kit will include a Dome Diffuser, Wide Lens, and Bounce Card — and modifiers to be clicked on and off effortlessly. There’s also a zoom ring that allows you to make adjustments to your light spread by twisting it. “We made it our mission to make A1 the first on-camera flash that’s easy to use from the box,” Profoto says. “The user interface is simple and intuitive with a large high-contrast display at its center.” If you’d like to shoot with the A1 off-camera, the built-in Air Remote functionality lets you do just that. The A1 can be easily used in conjunction with other A1 flashes and larger Profoto lights like the B1X. “And with AirTTL you’ll get a perfect exposure super-fast,” says Profoto. “Better still, you can lock the exposure with a single ‘click’ while still being free to fine tune that exposure in manual, giving you even greater control.” Other features of the A1 include HSS, a TTL/MAN switch, and autofocus assist. Here are a few sample photos by photographer Sal Cincotta showing what the A1 can do: Here’s a short video introducing the new A1:
Here’s a behind-the-scenes look at Cincotta putting the A1 through its paces:
The Profoto A1 has a $995 price tag and will be available in Canon and Nikon variants. It will be rolling out in the coming days starting in Germany and Nordic countries before shipping out to Europe, Asia, and North America in the following weeks.
]]> 0 169299
Sony Z90 Brings A9 Autofocus To Video for the First Time Tue, 19 Sep 2017 15:05:17 +0000 Continue reading "Sony Z90 Brings A9 Autofocus To Video for the First Time"

Sony has taken the spectacular phase detection autofocus from the A9 and put it in a video camera, the Z90. Integrated lens video cameras don't get a lot of love when compared to their integrated lens brethren, but they offer a lot of value for money and, on certain productions, are undoubtedly the right tool for the job. With the new PXW-Z90, Sony is has put together a very attractive package for filmmakers who want an all in one tool for under $3,000, with a target price point of $2799. autofocus on the A9 in video mode is simply out of this world. Read More]]> 0 169303
Louis C.K. Whips Out the Story Behind His Polarizing, DIY Film ‘I Love You Daddy’ Tue, 19 Sep 2017 15:00:00 +0000 Continue reading "Louis C.K. Whips Out the Story Behind His Polarizing, DIY Film ‘I Love You Daddy’"

Louis C.K. shares his own words on the movie everyone is talking about. I Love You, Daddy would be a controversial film no matter how it came about. The story of a successful TV writer whose teenage daughter is seduced by a legendary filmmaker is edgy enough on its own, but given that the self-financed, black and white film was directed (and edited) in secret by one of the most famous and controversial comedians around, it's no wonder everyone is looking to talk to Louie, including the TIFF Long Take podcast. Here's a few we learned about C.K.'s career and the motivations behind I Love You, Daddy during a live recording of a conversation with C.K. during TIFF 2017. Read More]]> 0 169305
Enter to win one of these 2 Kupo Click Stand Sets (3 Stands each) – ends Sept 30 Tue, 19 Sep 2017 14:56:05 +0000 Continue reading "Enter to win one of these 2 Kupo Click Stand Sets (3 Stands each) – ends Sept 30"

Enter to win one of these 2 Kupo Click Stand Sets (3 Stands each) – ends Sept 30.
There's a new planet5D giveaway that launched a couple of days ago! We're giving away 2 sets of 3 8′ Kupo Click Stands (so that's a set of 3). Features:
  • 4 Way interlocking mechanism that allows stands to fold flat and click to each other in just a snap.
  • Compact size and lightweight aluminum construction for easy storage or transport
  • Air-cushioned to prevent heavy lighting fixtures from slamming down if the locking knob is not tightened properly.
  • Quick release clamp design on
    central column for easy setup.
  • Equipped with a 5/8″ top stud with a 3/8″ threaded, plus a removable 1/4″-20 threaded top.
  • Double leg struts for extra stability and strength.
  • Configured to stand alone when folded.
Sweepstakes is open to USA and Canada — see all rules on the entry page

Kupo Click Stand Videos

Kupo Click Stand Reviews

From the Slanted Lens:
(cover photo credit: snap from the sweepstakes) The post Enter to win one of these 2 Kupo Click Stand Sets (3 Stands each) – ends Sept 30 appeared first on planet5D curated digital image news.]]> 0 169309
Enter to win one of these 2 Kupo Click Stand Sets (3 Stands each) – ends Sept 30 Tue, 19 Sep 2017 14:56:05 +0000 Continue reading "Enter to win one of these 2 Kupo Click Stand Sets (3 Stands each) – ends Sept 30"

Enter to win one of these 2 Kupo Click Stand Sets (3 Stands each) – ends Sept 30.
There's a new planet5D giveaway that launched a couple of days ago! We're giving away 2 sets of 3 8′ Kupo Click Stands (so that's a set of 3). Features:
  • 4 Way interlocking mechanism that allows stands to fold flat and click to each other in just a snap.
  • Compact size and lightweight aluminum construction for easy storage or transport
  • Air-cushioned to prevent heavy lighting fixtures from slamming down if the locking knob is not tightened properly.
  • Quick release clamp design on
    central column for easy setup.
  • Equipped with a 5/8″ top stud with a 3/8″ threaded, plus a removable 1/4″-20 threaded top.
  • Double leg struts for extra stability and strength.
  • Configured to stand alone when folded.
Sweepstakes is open to USA and Canada — see all rules on the entry page

Kupo Click Stand Videos

Kupo Click Stand Reviews

From the Slanted Lens:
(cover photo credit: snap from the sweepstakes) The post Enter to win one of these 2 Kupo Click Stand Sets (3 Stands each) – ends Sept 30 appeared first on planet5D curated digital image news.]]> 0 169308
Will the Sony A7III Be A Lower Cost Version of the Sony A9? Tue, 19 Sep 2017 14:38:36 +0000 Continue reading "Will the Sony A7III Be A Lower Cost Version of the Sony A9?"

SonyAlphaRumors has shared what they think are the specs for the next version of the Sony A7 which basically makes it appear to be a lower cost clone of the Sony A9 (with a few features missing or lower spec of course). This just shows how aggressive Sony is being (ok, we knew that already but man, if this is true, it would be a very attractive offering for many shooters! Yesterday I posted a rumor about Canon possibly creating a new DSLR line for more video functionality – but Sony's A7iii isn't really going to be a competitor to that
things work out) if it is base on the A9 because the A9 was created primarily for sports shooters. But with a few tweaks, it could tho couldn't it? I guess we'll have to see where this goes, but it seems to indicate that Sony's still attempting to set the pace.  

Image and post from SonyAlphaRumors:
I got these early specs of the a7Ⅲ that will be launched at earliest this Fall (there is still a chance it might get announced in early 2018). It’s from a good source but he himself told me that he cannot be 100% sure these specs will be confirmed on the final camera:
6fps with mechanical shutter
ISO up to 51200 (expanded to ISO 204800)
693 phase detection AF (which is same as a9!!)
minimum focus sensitivity is EV-3
4k 30p recording
So basically the A7III is an A9 without the crazy electronic shutter frame rate. It’s still unclear if the A7III will have the A9 body or keep the current A7II body design. My personal guess is that it will keep the A7II design which means it does not have dual SD card slot. And this is from a new source (SR2 ranked):
The upcoming ILCE-7M3 will have the same sensor like A9 (almost same electronics inside), but technically down graded to justify a lower price. That means less frames per second speed, maybe no LAN-port and only single card slot. Battery could be the same.

One more thing: It’s yet unclear if the Sony A7rIII (I repeat “r” version!) will be announced with the A7III or a couple of months later.

Source: (SR3) First possible specs of the Sony A7III make it look like a “low cost” version of the Sony A9 – sonyalpharumors The post Will the Sony A7III Be A Lower Cost Version of the Sony A9? appeared first on planet5D curated digital image news.

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Canon EOS Rebel SL2 / EOS 200D Review Tue, 19 Sep 2017 14:17:00 +0000 Continue reading "Canon EOS Rebel SL2 / EOS 200D Review"

The EOS Rebel SL2 (known as the EOS 200D outside of North America) is Canon's second-generation ultra-compact digital SLR. It's largely packed with Canon's latest tech, including Dual Pixel AF, a DIGIC 7 processor, Wi-Fi with NFC and Bluetooth, and a new user interface for beginners. While its small size may lead one to believe that it's an entry-level model, similar to Nikon's D3400, the SL2 actually sits above the bottom-end Rebel T6 (EOS 1300D), which costs $150 less. The SL2's main competitor is the aforementioned Nikon D3400, which is just a tad larger and heavier. The SL2s' other peers
all mirrorless and include (in our opinion) the Canon EOS M5, Panasonic DMC-GX85 and the Sony a6000 which, after 3+ years on the market, is still competitive.

Key Features

  • 24.2MP APS-C CMOS sensor
  • Dual Pixel autofocus (for live view and video)
  • 9-point autofocus (through the viewfinder)
  • DIGIC 7 processor
  • 3" fully articulating touchscreen LCD
  • 5 fps burst shooting (3.5 fps with continuous AF)
  • 1080/60p video
  • External mic input
  • Wi-Fi with NFC and Bluetooth
  • Available 'Feature Assistant' user interface
Just about everything in that list is Canon's latest and greatest, and the external microphone input is a nice extra. The one feature that's not new is the 9-point autofocus system that you'll use when shooting through the viewfinder – it's identical to what's found the original SL1, which is over four years old. You'll get a much better focusing experience by shooting in live view, which uses Canon's excellent Dual Pixel AF technology.

Compared to...

The SL2 (left) is the mini-me to the still-small Rebel T7i.
First, let's take a look at how the SL2/200D compares to the step-up model, the Rebel T7i (EOS 800D). Here's what you get for another $200 (with kit lenses for both models):
  • 45-point AF versus 9-pt AF
  • 7500-segment RGB+IR metering versus 63-segment (from which we'd expect better subject tracking)
  • 6 fps versus 5 fps bursts with S-AF
  • 4.5 fps versus 3.5 fps bursts with C-AF
  • Significantly larger buffer
  • Color tracking for AF in Single AF as well as Continuous AF
  • Semi-transparent LCD in viewfinder that can overlay grids, different AF points, an electronic level, and more
  • Built-in flash can trigger wireless strobes
Does the average point-and-shoot user need any of that? Probably not. If you plan on gaining more experience in the world of digital photography or want a more robust autofocus system, though, the extra $200 might be worth it. Now, let's take a look at how the specs compare between the the SL2 and the peers mentioned a few paragraphs earlier.
Canon SL2 Nikon D3400 Canon M5 Panasonic GX85 Sony a6000
Resolution 24MP 24MP 24MP 16MP 24MP
Sensor size APS-C APS-C APS-C Four Thirds APS-C
Lens mount EF F EF-M Micro 4/3 E
Image stab. Lens-based Lens-based Lens-based In-camera Lens-based
AF system (live view) Dual Pixel Contrast-detect Hybrid
(Dual Pixel)
Contrast-detect Hybrid
AF system (viewfinder) 9-point 11-point N/A N/A N/A
LCD 3" fully articulating 3" fixed 3.2" tilting 3" tilting 3" tilting
Touchscreen Yes No Yes Yes No
Viewfinder type/mag. OVF / 0.54x OVF / 0.57x EVF / N/A EVF / 0.7x EVF / 0.7x
# control dials 1 1 2 2 2
Video 1080/60p 1080/60p 1080/60p UHD 4K/30p 1080/60p
Wireless Wi-Fi + NFC + BT BT Wi-Fi + NFC + BT Wi-Fi + NFC Wi-Fi + NFC
Battery life 650 (OVF)
260 (LV)
1200 (OVF)
N/A (LV)
295 (LV) 290 (LV) 360 (LV)
Dimensions (mm) 122x93x70 124x98x76 116x89x61 122x71x44 120x67x45
Weight 453 g 445 g 427 g 426 g 344 g
Strictly comparing the SL2 and D3400 you'll see that they each have their own strengths and weaknesses. While there are 'little things' like the type of LCD, viewfinder size and wireless functionality, live view autofocus is the main differentiator. It's simply no contest there with the SL2's AF system blowing away the D3400 in live view and movie mode. With the exception of the Sony a6000, the SL2 is close in weight, and not far off in size, to the three mirrorless cameras in the group. All three of the mirrorless cameras have an additional control dial, making exposure adjustment quick, and their EVFs are larger than the optical viewfinders on both DSLRs. None of the mirrorless models can compare to the DSLRs in terms of battery life, but only when you're using the latter with their optical viewfinders.]]> 0 169286
Lensbaby Unveils New Composer Pro II 80mm and Bokeh Optic Lenses Tue, 19 Sep 2017 14:14:29 +0000 Continue reading "Lensbaby Unveils New Composer Pro II 80mm and Bokeh Optic Lenses"

Lensbaby has today released two new products: an 80mm lens known as the Composer Pro II with Sweet 80 as well as a Creative Bokeh Optic that provide selective focusing and creative effects.

Composer Pro II with Sweet 80

With a maximum aperture of f/2.8, the lens can be closed down to f/16 at the most. It has a 46mm filter size, an internal 12-blade aperture. The system allows photographers to achieve up to 15-degrees of tilt motion and has a minimum focusing distance of 22 inches (55.88 cm). Measuring just 2.5″ x 2.5″ x 2.
the lens is pretty compact and ideal for those not wanting bulky gear on their camera. Plus, it weighs just 8.9 ounces (252g). This 80mm lens “captures Lensbaby’s signature ‘sweet spot’ effect at a longer focal length.” The Composer Pro II with Sweet 80 is available in a variety of mounts: Nikon F, Canon EF, Sony E and A, Fuji X, Micro 4/3, Pentax K, and Samsung NX. Here are some sample images of what the lens can do:
© Cristina Venedict
© Josefien Hoekstra
© Rachel Shomsky Photography
© Rachel Shomsky Photography
© Stephanie DeFranco
Available for purchase early October, it’ll cost you $380. But if you already own an Optic Swap compatible Lensbaby lens body, then it’ll cost $200.

Creative Bokeh Optic

“Harnessing Lensbaby’s iconic vintage roots,” this optic has a single uncoated 50mm glass element with an internal 12-blade aperture. It allows for magnetic drop-in apertures which come as slides in a variety of different shapes. These apertures will create amazing and unique patterns in the bokeh of your shot, totally transforming them. It will even come with 2 blank disks, allowing you to carve your own creativity into them and produce your own design. Here are some sample photos that show you exactly what this system is capable of:
© April Milani
© Nuno Caldeira
The Creative Bokeh Optic will be available in October for $100.
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The Visual Evidence of Climate Change Tue, 19 Sep 2017 14:04:29 +0000 Continue reading "The Visual Evidence of Climate Change"

The Visual Evidence of Climate Change appeared first on PhotoShelter Blog.]]> 0 169288
The Daily Edit – People Magazine: Bradley Meinz Tue, 19 Sep 2017 14:00:17 +0000 Continue reading "The Daily Edit – People Magazine: Bradley Meinz"


People Magazine

On Set Photo Editor: Rachel Lieberman
Photography Director: 
Catriona Ni Aolain Lindbaek
Creative Director: Andrea Dunham
Photographer: Bradley Meinz
Heidi: How long did you have for this shoot?
Bradley: I was given ten minutes total for the shoot, which took place during the press junket at the Four Season’s hotel in Beverly Hills, California.  The shoot was to promote the new Samuel l. Jackson and  Ryan Reynolds film, Hit Man’s Bodyguard.
What type of direction did you get from the magazine?
I had a call with the magazine’s photo director in NYC prior to the shoot, she really wanted to get a reportage style image rather than a controlled portrait on seamless,  however to cover all bases I was asked to get both!
With only 10 minutes to shoot, what type of exchange did you have with the subjects and the publicist?
The publicist were mainly just a voice to keep the shoot to the ten minute limit!  I introduced myself to talent when they stepped into my set (first shoot was seamless) and I gave them only a little direction asking them to have fun with it.
What are your go to tools for managing the stress of this type of shoot?
I always try and tell myself to stay in the moment, often times these types of high profile celebrity shoots take on there own personality.  I never really want the photo to feel “about me” as the photographer but rather the energy of the subjects.
How did you overcome the obstacles of the uninspired hotel room and low ceilings?
I called the hotel prior to the shoot asking for the rooms measurements & ceiling height!  I knew it was going to be a close fit with lighting and grip.  I could
used one light on the seamless set up and called it a day, however I actually had four sources playing in that shot, it was really important to me that I had nice quality of light for these two amazing actors!  The outdoor photograph was much more loose and I had my first assistant
handhold “Hollywood” the key light.
 photograph by Kaiya Peralta
------------------------ Visit our sponsor Photo Folio, providing websites to professional photographers for over 9 years. Featuring the only customizable template in the world. ------------------------]]> 0 169276
SmallHD Doubles nits on 17″ Production Monitor Tue, 19 Sep 2017 14:00:00 +0000 Continue reading "SmallHD Doubles nits on 17″ Production Monitor"

SmallHD looks to rival OLED displays with the updated 17" 1703-P3X production monitor. When we first met the creators behind SmallHD, it was at a tiny Cine Gear Expo booth nearly a decade ago. Now, they've blossomed into a brand bought out by Vitec Group which owns the likes of Anton/Bauer, Autoscript, Litepanels, Teradek and dozens of others. With that kind of support, SmallHD has been rapidly growing its product line for filmmakers. Known for on-camera monitors, SmallHD has been adding to its line of production monitors in 13", 17", 24" 32" flavors. The 1700 series now includes its fourth option, the 1703 P3X, only months after debuting the 1703 P3 this year. So what's the difference? An additional 450 nits for $200 more. The 1703 P3X is a daylight view-able version of the 1703 P3, providing 900 nits compared to 450 nits on the 1703 P3. Besides doubling the nits, specs on both monitors are nearly identical. The only difference being in contrast: 1400:1 for P3X and 1500:1 on the P3 and one degree less viewing angle. Read More]]> 0 169274
You can now use Adobe Spark with your own custom logos and colors Tue, 19 Sep 2017 13:30:07 +0000 Continue reading "You can now use Adobe Spark with your own custom logos and colors"

Adobe Spark is a web-based platform for blogging and storytelling, and it got an update with "premium features," which lets you create and share branded stories in all three Spark formats: Post (for graphics), Page (for web pages), and Video (for video stories). Now instead of carrying Adobe&#39;s branding wherever it went, Spark stories can carry your own and be a better representation of you and your business. Adobe has baked in what they are calling "design intelligence," so all you need to do is add your brand ingredients to get... <br /><a class="readMore" href=''>(read more)</a> ]]> 0 169270
Profoto enters new territory with the announcement of their first speed light: the Profoto A1 Tue, 19 Sep 2017 13:00:42 +0000 Continue reading "Profoto enters new territory with the announcement of their first speed light: the Profoto A1"

Announced today by Profoto comes a new product in a market we haven&#39;t seen them even show a desire to really enter. Until today, Profoto is most notably known for their pro-level strobes and lighting kits that cost thousands of dollars (but those who use them will say they&#39;re worth worth every penny). So what is their next step? Well, apparently speed lights, with the announcement of the Profoto A1. Friend of Imaging Resource <a href="" >Zach Sutton</a> is in Sweden for the launch, and was kind enough to give us the down-low as well as his first... <br /><a class="readMore" href=''>(read more)</a> ]]> 0 169272
Shutterstock’s Free Plugin Brings 8 Million+ Clips to Premiere Pro Tue, 19 Sep 2017 13:00:00 +0000 0 169361 Review: Teradek Serv Pro and VUER Tue, 19 Sep 2017 12:30:24 +0000 Continue reading "Review: Teradek Serv Pro and VUER"

Serv Pro is a $1799 camera-top wireless transmitter, sending H.264 video and audio to as many as ten iPhones, iPads, or iPod touches. VUER is the free app that receives the Serv Pro’s transmissions. The two combined form a wireless monitoring system for any production that needs to show a feed to multiple people and doesn’t want the bother of running cables.
Serv Pro on a GH4
Serv Pro on a GH4
VUER displaying Serv Pro's feed
VUER displaying Serv Pro’s feed
Serv Pro fills a unique niche. There are uncompressed camera-top transmitters like the Paralinx systems and Teradek’s own Bolt series; these are real-time links with zero
Serv Pro with iPhone 6 running VUER
Serv Pro left side
Serv Pro back
Serv Pro right side
Serv Pro front
Serv Pro underside
Serv Pro with supplied parts
Serv Pro booting
Serv Pro after startup
Serv Pro detecting video
Serv Pro showing video
Serv Pro with client connected
Serv Pro's web interface
VUER's screen with no inputs configured
VUER sees one Serv Pro on the network
You can use the same input for all four channels
VUER gives a snapshot tutorial on important controls
VUER's CDL editor, on iPad
VUER's Distort settings, set for 2.0x desqueeze
Comprehensive marker and mask settings
The result: 2.0x anamorphic with 2.39:1 framing
Quad-split display to show false color, WFM, focus assist
Three clients, no problems
Six iDevices receiving from Serv Pro
Serv Pro 4-way display delay
WFM: six steps from 0% to 100%
The menu bar overlays the data panel...
...and the picture too, as it turns out.
VUER screen, showing a cat.
close enough as makes no difference—sending signals from cameras to one or more receivers, which then feed SDI or HDMI to monitors. These systems use dedicated high-bandwidth radio links and require matched transmitter/receiver pairs. Uncompressed transmitters are the industry standard for wireless monitoring, as the signal is detailed enough and timely enough for remote operating, focus-pulling, and engineering. There are compressed systems, like Teradek’s Cube and VidiU, which send long-GOP video over Wi-Fi, Wired Ethernet, and/or 3G+ mobile channels. These systems are designed to be used for live streaming, but can also send pictures and sound to apps on mobile devices like iPads and iPhones, which act as combined receivers and displays. As iPhones and iPads have become commonplace, Cubes and their ilk have been pressed into service as non-realtime “secondary” transmitters for those who can live with the slight delay incurred by long-GOP H.264 compression. It’s not uncommon on larger productions for a Bolt or Paralinx system to send a feed to video village, where a Cube transmitter re-encodes the feed for distribution to Various Important People with iDevices. Cubes also work as primary wireless transmitters on lower-budget (or just lower-footprint) productions, offering comparatively low-cost remote monitoring for cameras on gimbals, Steadicams, shoulder rigs, jibs, and car mounts. It’s a handy thing to be able to do, but as iPhones and iPads proliferate on-set, Cubes show their limits: they’re fine feeding two or three iOS devices, but have increasing difficulty with more, lagging intolerably when trying to handle more than four. They can also be daunting to set up due to their more complex configuration menus—a necessity given their wide-ranging capabilities. Thus the Serv Pro: a dedicated iOS streamer. Teradek says a Serv Pro will feed ten iOS devices as easily as one. That’s all it does. It’s very much a one-trick pony, but if that’s the sort of trick you need to pull off, this is the pony to do it.

Serv Pro Hardware

The Serv Pro is wrapped in a blue anodized aluminum box, 4.75″ x 3″ x 1.1″ (121 x 76 x 28mm), with diagonally-grooved heat dissipation fins. With its two Wi-Fi antennas attached it tips the scales at 14 oz (398g).
Serv Pro with iPhone 6 running VUER
Serv Pro with iPhone 6 running VUER
The left side (assuming you mount the device with the control panel on the left) has four status LEDs and a dot-matrix display, plus two stubby rubber joystick-buttons for menu navigation. Serv Pro left side There’s a 1/4×20 mounting socket on the back. Serv Pro back The right side has an HD-SDI input BNC, a full-size HDMI input, a 10/100/1000baseT wired Ethernet port, a two-pin Lemo power input with a power switch, and a 3.5mm minijack for line/mic audio input (SDI and HDMI allow embedded audio, too). Serv Pro right side The front has two terminals for the supplied Wi-Fi antennas. Serv Pro front The underside has another 1/4×20 mounting point. Serv Pro underside The Serv Pro comes with two tiltable antennas; a multivoltage AC adapter, including plugs for just about anywhere in the world; a 1/4×20 shoe mount adapter; short Ethernet and HDMI cables; a very slick coiled SDI cable with right-angle BNCs; and four adorably tiny rubber stick-on feet in case you wish to use Serv Pro flat on a table. Serv Pro with supplied parts There’s also a single sheet of instructions. Because that’s all you need.


Mount the Serv Pro where it’s needed. Connect your input. Supply power. Turn it on. You’re done. Seriously, you can be up and running that easily. Serv Pro comes out of the box set up to establish its own wireless network (Access Point mode, in Teradek terms) and start streaming as soon as it’s initialized. Serv Pro booting Serv Pro after startup Serv Pro detecting video Serv Pro showing video Serv Pro with client connected From power on to pictures received in VUER takes just over two minutes. Unlike 2nd-generation Cubes, Serv Pro does not have an internal bridge battery, so you’ll be off-air for two minutes at every power change. The DC input on the Serv Pro accepts 6–28 volts and both Teradek and third parties offer a variety of power input cables and battery plates; a D-tap cable is perhaps the most common cable used. Serv Pro dissipates about 8 watts, and the casing gets quite warm in use, though not uncomfortably so. If you’re going to put it flat on a table, use those rubber feet, so air can circulate beneath the box. By default, the Serv Pro auto-selects a channel on either 2.4GHz or 5GHz Wi-Fi bands and creates an open network. Anyone with VUER loaded on an iOS device can connect to that network and start viewing the feed. If you prefer, you can limit channel selection to either the 2.4 or 5GHz bands, choose the channel directly, enable Wi-Fi password protection and/or stream encryption (encryption requires the just-released version 2.1 firmware), and/or switch the Serv Pro into “infrastructure mode” to connect through a different Wi-Fi network instead of creating its own. All this can be done using the side panel’s display and joysticks, or—more easily—through the embedded webpage, available over both the wired and wireless interfaces. Serv Pro's web interface Why would an iOS streaming device offer a wired interface? It’s handy for firmware updates, and for Camera Link: Serv Pro can act as a wireless access point for a variety of cameras with Ethernet ports, so you can connect to their embedded webservers from your iPhone or iPad.


VUER is Teradek’s free app for receiving Serv Pro feeds. It runs on any iDevice with an A7 or better processor (iPhone 5S or later, iPad 5th generation or later, iPad mini 2 or later, iPod touch 6G) running iOS 9 or later. It can display one, two, or four images simultaneously from up to four Serv Pros and/or 3rd-generation Cubes, depending on the iDevice—it only allowed three simultaneous feeds on my iPad Air.
VUER's screen with no inputs configured
VUER’s screen on iPhone with no inputs configured
VUER sees one Serv Pro on the network
VUER sees one Serv Pro on the network
You can use the same input for all four channels
You can use the same input for all four channels
VUER gives a snapshot tutorial on important controls
VUER gives a snapshot tutorial on important controls
VUER offers a wide variety of settings and adjustments. You can pinch-zoom the image. You can apply peaking (“analog style”, in white), focus assist (“digital  style” in several colors), false color, anamorphic desqueeze, and ‘scopes: waveform monitor, vectorscope, and histogram. You can also load LUTs or CDLs, and display a CDL editor onscreen:
VUER's CDL editor, on iPad
VUER’s CDL editor, on iPad
There’s even a link to Pomfort LiveGrade: VUER can control LiveGrade, or vice versa. You have control over the Serv Pro’s resolution and bitrate, and VUER’s decoding delay. Lowering resolution and/or bitrate may allow better performance on congested networks or at longer distances. Adding some delay—up to 1 second—may help when signal quality is poor; there’s time for retries when packets get dropped. Teradek’s TeraView app helpfully labels its version of this slider as “Lower Delay” vs. “Smoother Video”. VUER gives you direct control over the iDevice’s screen brightness and audio volume, so you don’t have to fumble with buttons or the iOS control panel. Combinations of inputs and screen layouts can be saved as workspaces, so you can bounce between different setups without manually reconfiguring your inputs and displays. There’s a frame grab manager, so you can save grabbed frames to the Camera Roll or load them from the Camera Roll; frame grabs can be supered  and crossfaded to/from using a Frame Compare tool. Teradek has a hands-on walkthrough video, and here are a few screenshots:
VUER's Distort settings, set for 2.0x desqueeze
VUER’s Distort settings, set for a 2.0x desqueeze
Comprehensive marker and mask settings
Comprehensive marker and mask settings
The result: 2.0x anamorphic with 2.39:1 framing
The result: 2.0x anamorphic with 2.39:1 framing
Quad-split display to show false color, WFM, focus assist
Quad-split display with false color, WFM, focus assist
Three clients, no problems
Three clients, no problems


Teradek claims that Serv Pro supports up to ten iOS clients with a mere two-frame delay at distances of up to 300 feet. I set out to test this as best I could. To look at delay, I compared Serv Pro (connected to an iPhone SE) against a Video Devices PIX-E5 and a Convergent Design Odyssey 7Q+, all fed from the same HDMI output on a GH4. I set up a “shoot ‘em all” scene as described here, capturing the live image off MovieSlate’s timecode display alongside the output of the device under test. I shot a few seconds of each scene, and looked at the lag in the readout of the device being tested as compared to the source timecode slate. I did the tests with the slate and the taking camera set to 60p, and then at 24p (60p is a bit of a cheat, as the Serv Pro’s transmitted image tops out at 1080/30p, but at least I’d get a high-temporal-resolution result). Note that VUER defaults to a 200ms delay; I set its delay to 0ms to get the lowest possible latency. At 60p, the image displayed by the Serv Pro was usually 5 60p frames behind those of the Pix-E and Odyssey. I say “usually” because once in a while the delay was a frame better or a frame worse; H.264 over Wi-Fi doesn’t have a guaranteed latency. 60p is 2.5x faster than 24p; 5 ÷ 2.5 = 2 frames of delay at 24p. And sure enough, at 24p, the Serv Pro was usually 2 frames behind the PIX-E or Odyssey. Those hardwired devices lagged the live image by 5 frames (the GH4’s HDMI delivery has its own not insubstantial delay), while the Teradek’s overall delay was usually 7 frames. Furthermore, this same latency held with six clients: Six iDevices receiving from Serv Pro The slate says “7 clients” because I expected an iPhone 4S to be in the mix, but it fell beneath VUER’s minimum requirements and I forgot to change the slate. I had everything from an iPhone 5S to a pair of iPad Pros, and performance was comparable across all of them. Adding an image effect like False Color or Focus Assist occasionally caused an additional frame or two of delay: Serv Pro 4-way display delay This only occurred perhaps a third of the time (I cherry-picked that frame grab), and it’s to be expected: adding a processing step adds a delay even if it’s usually under a frame. Overall I’d rate this as excellent performance for a compressed transmitter using an iPhone as a a receiver/monitor. On a camera with a lower-latency output (yes, I know, like a real camera such as the F55, where the SDI output is only two frames behind reality), it may even be fast enough for operating or focus pulling in certain circumstances. Mind you, this behavior was measured under near-ideal conditions: all receivers within arm’s length of the transmitter, in a reasonably uncrowded Wi-Fi environment. Once I started walking away with my iPhones, I saw a gradual degradation in performance—both in overall latency, and in the smooth and continuous delivery of frames—depending on distance and the amount of stuff between transmitter and receiver. Putting as many interior walls between me and the Serv Pro as possible, I’d get hiccups and even the occasional total signal loss in under 50 feet (15 meters). With the rig outdoors, I was able to walk about 360 feet (110 meters) down the road before signal was lost, though I started seeing increased latency, hiccups, and dropped frames starting around 250 feet or so. At the 360 foot point, a delivery delay of over 4 seconds (as handily reported by VUER’s video statistics overlay) wasn’t unusual… but consider that I was 20% beyond the Serv Pro’s specified range. It’s Wi-Fi, after all: it’s an unlicensed, shared chunk of spectrum, and performance is not guaranteed. If the built-in access point in the Serv Pro doesn’t have the punch you need, consider an industrial-strength access point with high-gain antennas, advanced beam-forming, and sophisticated interference rejection.  Teradek makes their own, the production-friendly Link. Commercial units by the likes of Ubiquiti and Ruckus are how the pros provide access in trying situations; Teradek uses Ruckus APs at NAB and IBC (or at least they did before they built the Link), two shows with notoriously crowded Wi-Fi airwaves.

I can personally attest to the fact that at Teradek’s NAB booth, all the Cube and Serv Pro Wi-Fi feeds were smooth and problem-free. 100 feet away in the DSC Labs booth, I was trying to run a Cube in both standalone and infrastructure mode, using a weedy little consumer-grade access point. Half the time I couldn’t even connect an iPad to the Cube, and when I could, frame drops and scrambled video were common. The access point makes all the difference.

As far as VUER goes, it’s a very complete monitoring system. I found it useful to set up a quad-split, typically with a raw image, an image with focus assist, one with false color, and the fourth with a full-size, RGB overlay WFM. Double-tapping any quadrant makes that image full-screen; double-tap again to return to the quad split. Fast and easy. I only have a couple of quibbles:
  • The WFM and Histogram only show studio-swing range (0%–100%), so anything below black or between 100% and 109% will be lost. The WFM’s scale has divisions every 16.7%, unlike any other WFM around; the histogram is divided every 8.3%, likewise (in this way VUER is much like FCPX: the designers gave us scales because scales were on the feature list, without ever bothering to figure out what the scales should actually be. Not that I have an opinion or anything, mind you).
    WFM: six steps from 0% to 100%
    WFM: six steps from 0% to 100%?
  • The top-and-bottom control bars are outside the 16×9 picture area on a 1.5:1 iPad, but they overlay and obscure picture (and info boxes, and ‘scopes) on a 16×9 iPhone. Yes, the control bars are easily hidden, but as their background is opaque, it’s not always clear at a glance that they’re hiding anything beneath them.
    The menu bar overlays the data panel...
    The menu bar overlays the data panel…
    ...and the picture too, as it turns out.
    …and the picture too, as it turns out.

That’s all I can find to complain about, sorry. Teradek have done a fine job on the software. VUER, like any such app, tends to be relatively power hungry: it’s flogging the hardware mercilessly to receive, decompress, process, and display images as quickly as possible. In my testing I typically saw a drop in battery level of 10% in half an hour whether I was using an iPhone or iPad: a fully charged iDevice will be drained in around five hours.


At $1799, Serv Pro isn’t cheap, but it’s pretty much the only game in town if you need to feed a multitude of iOS devices from a single transmitter. Yes, a 2nd-generation Cube can be had for slightly less money (or rather less on the used market), but those cubes are HDMI-only or SDI-only, require considerably more configuration, won’t handle more than four clients, and don’t (officially or reliably) display in VUER. A Cube 655 costs $200 more and tops out at six clients, and it’s still a Swiss-Army-knife transmitter, with a plethora of possibly confusing configuration options. At NAB 2017, Teradek also mentioned a Serv (not Pro), with HDMI only, a four-client limit, and a price around $700. That’ll be a good alternative if and when it ships (Teradek tells me it’s still on the roadmap, awaiting a new encoding platform), as long as you don’t need SDI and don’t need more than four clients. And, of course, it won’t help you today. Here’s the beauty of the Serv Pro:
  • Plug it in.
  • Turn it on.
  • Two minutes later: pictures!
It’’s hard to beat that. If $1799 is a bit too spendy, consider renting one when you need it. They’re new, so not yet widely available, but a quick snuffling ‘round shows that Chater Camera in Berkeley CA has one for $150/day. Your local rental house might offer it, too, especially if you let ‘em know you need such a thing. If you’ve come this far and are shaking your head at the things fools waste their money on, then Serv Pro isn’t for you. But if you need to feed pix and sound to Various Important People who can’t be tied down with wired monitors, you may very well look at it and say, “where’ve you been all my life?” It’s a one-trick pony, but it does that trick very well indeed. It just works. Isn’t that what you want on a shoot?


  • Drop-dead simple to use on default settings; easy enough to change those defaults when necessary.
  • 1080p feeds to as many as 10 iOS devices with minimal delay.
  • SDI and HDMI inputs, with embedded or separate audio.
  • Full-featured VUER app with full look management, frame guides, engineering ‘scopes, false color, peaking, multiple feeds, multiple views, and more.


  • $1799, not cheap! But if you need it, you need it.
  • Two minutes from power on to picture, and no internal bridge battery.


  • Signal stability and latency are entirely at the mercy of local Wi-Fi conditions. If you need more range or robustness than Serv Pro’s default setup provides, it’s up to you to change the default settings, find uncongested channels, and/or configure an enterprise-class Wi-Fi access point to create your own Information Superhighway.
  • Serv Pro serves video to iOS devices only. Android is not supported and there are no plans to do so in the future.
  • VUER will drain an iDevice dry in about five hours, so tell your Director and AD and the other Important People to turn their devices off between setups, and not to just put ‘em down on a chair and wander away, leaving ‘em playing, or they won’t have any pretty pictures to look at after lunch. I know, it won’t work: people are forgetful and easily distracted, and it’ll be your fault their iPhones have run down and their iPads have died. No matter what happens, it’s always your fault. But that’s why you get paid the big, big money, right?
VUER screen, showing a cat.
Because the Internet, and cats.

Disclosure: Teradek sent me a Serv Pro for review, and paid shipping both ways. I own two 2nd-generation Cubes, purchased used, and I use Teradek’s SDK to support Cubes, Clips, and VidiUs in my FieldMonitor app. Chater Camera was one of my two neighborhood rental shops when I lived in Silicon Valley, so their website was one of the ones I looked at seeking rental Serv Pros. Those aside, there’s no material connection between me and Teradek or Chater, and neither one has offered any payments, considerations, emoluments, blandishments, free weekends at Pismo beach, or outright bribes for a favorable mention. The post Review: Teradek Serv Pro and VUER appeared first on ProVideo Coalition.

]]> 0 169262
How To Get New Clients and Network Tue, 19 Sep 2017 11:26:00 +0000 Continue reading "How To Get New Clients and Network"

How To Get New Clients and Network A portfolio isn’t going to get you the work. Going out and knocking on doors is the only way to introduce your work to people who don’t know you yet. This video by The Futur discusses how to get new clients for an introvert. It’s insightful, practical, and watching it got me face-palming myself for not thinking about it the same way Chris Do does. They discuss new business development from a graphic designer's perspective, but it works for any creative person. [ Read More ]]]> 0 169387
GlassMak Artist prototype portable makeup mirror system – IBC 2017 Tue, 19 Sep 2017 11:08:31 +0000 GlassMak Artist prototype portable makeup mirror system – IBC 2017 appeared first on Newsshooter.]]> 0 169236 IBC 2017 News: ARRI’s All-New Skypanel S-360-C Tue, 19 Sep 2017 11:00:44 +0000 0 169246 Shutter Release: 3 videos about lighting techniques, dramatic black and white images and more Tue, 19 Sep 2017 11:00:13 +0000 Continue reading "Shutter Release: 3 videos about lighting techniques, dramatic black and white images and more"

In our regular roundup feature, Shutter Release, we share and summarize interesting photography content we see from around the web. It could be video tutorials about Photoshop, an opinion piece about a new camera or really anything that we think our readers would enjoy seeing. We are dedicated to bringing you the best original content we can, but we also want to share the great work our colleagues are doing as well. Today&#39;s Shutter Release kicks off with a pair of lighting videos from two regularly-featured photographers on... <br /><a class="readMore" href=''>(read more)</a> ]]> 0 169252
RØDE RodeLink Performer Kit – IBC 2017 Tue, 19 Sep 2017 10:41:59 +0000 RØDE RodeLink Performer Kit – IBC 2017 appeared first on Newsshooter.]]> 0 169238 9.Solutions Mini C-Pan Arm – IBC 2017 Tue, 19 Sep 2017 10:34:50 +0000 9.Solutions Mini C-Pan Arm – IBC 2017 appeared first on Newsshooter.]]> 0 169240 PDMOVIE Remote Live II dual and single channel follow focus kit – IBC 2017 Tue, 19 Sep 2017 10:19:55 +0000 PDMOVIE Remote Live II dual and single channel follow focus kit – IBC 2017 appeared first on Newsshooter.]]> 0 169242 PDMOVIE Remote Air 3 Wireless Follow Focus Kit – IBC 2017 Tue, 19 Sep 2017 10:06:12 +0000 PDMOVIE Remote Air 3 Wireless Follow Focus Kit – IBC 2017 appeared first on Newsshooter.]]> 0 169228 Profoto Announces World’s Smallest Studio Light: Profoto A1 Tue, 19 Sep 2017 10:01:00 +0000 Profoto Announces World’s Smallest Studio Light: Profoto A1 After weeks of rumors, Profoto officially announced their latest A1 flash; a speedlight sized powerful flash, which can be used both on or off camera. The company calls their latest product “the smallest studio light” and considering its features, they seem to be right. [ Read More ]]]> 0 169278 MBP Companion App Update (Podcast 590) Tue, 19 Sep 2017 09:59:41 +0000 Continue reading "MBP Companion App Update (Podcast 590)"

You may recall that I mentioned a few weeks ago, that I had started studying how to develop iOS applications, because the app that someone kindly made for us as a companion for the Podcast a number of years ago, will no longer be supported by iOS 11, which will be released very soon now. When opened my app is
DoF Calc iPhone
DoF Calc iPad Landscape
App ND Calc
a message saying that people should contact the developer, and a number of people have done just that. To be totally honest, there were a number of things about the old app that didn’t work quite as I’d like, and some parts of it had broken over the years, but I had paid off the developer of the app some years ago, and was on my own with regards to getting it updated. I asked around for some quotes to get the updates done professionally, but all were way too expensive for our humble means, so I decided to tackle this myself.

Almost There!

DoF Calc iPhone

DoF Calc iPhone

Well, it soon became obvious that it was going to be easier to just rebuild my app from scratch. The original code was great back in its day, but so much has changed, it really didn’t seem worth trying to rescue it. Plus, I really wanted to make the new version of our app universal, so that it ran on both the iPhone and the iPad, so starting afresh was just easier. Anyway, for the last couple of weeks, I’ve spent literally every waking minute developing a new app. It’s not finished yet, but I’ve rebuilt the most used part of our old app, the Depth of Field Calculator, and it’s working great!  I’m including a screenshot, to show you how far I’ve got, although I still have work to do. All of the core functionality is now in place though. Instead of tapping and typing the focus distance and focal length, or opening a new window to change the aperture, you can now access these three settings with your thumb by way of the dials at the bottom of the screen. I’ve also done away with the camera selection process because all that really matters is the sensor size, so that’s what you select on the left-most dial now. To switch between meters and feet, you just tap the Focus ft/m label, and I’ve programmed it so that as you focus closer you automatically switch to centimeters and inches. The DoF display goes all the way down to 0.1 μm, and you can select an aperture as wide as f/0.7, because believe it or not, there are some rare lenses that wide. Also, like the old app, if you tap on the Hyperfocal Distance label, the app will change the focus distance to the Hyperfocal Distance, using your aperture and focal length settings, as I always found that really useful.

iPad Support and Landscape View!

I’m also really happy to have been able to make the new app universal, so it runs on all sizes of iPad as well, and it now also switches gracefully to landscape orientation when you rotate the device. These are all things that I really wanted to implement, so this is great!
DoF Calc iPad Landscape

DoF Calc iPad Landscape

I’ve not included a replacement for the old Podcast player, because the iOS has a perfectly good player included, and there are are other great alternatives available now too, so it doesn’t really warrant the time it would take me to build that. I have included a links screen though, in which I’ll include a link to the Podcast, which will hopefully open in the Podcasts app, at least after a couple of clicks.
App ND Calc

App ND Calc

ND Calculator

The other new thing that I really wanted to develop, and I’ve just about finished, is a Neutral Density Calculator, to calculate your new shutter speed as you attach ND filters to your lens. I figured out the math behind this a few years ago, so I was pretty confident I could do this, and I now have the Interface just about build, as you can see in this screenshot. Don’t check the calculated time displayed, as I’ve literally just figured out how to populate the cells with the ND filter information, and haven’t yet programmed the part that takes the selected values and updates the shutter speed with them. That is my next job this evening as soon as I’ve released this podcast. Now that I’ve learned this much about iOS development, I will be able to continue to develop and improve the app in the future, but for now, I’m really pleased that I’ve been able to build my own Depth of Field and ND Calculators. These are the two things that I use the most, so I hope this will be valuable to people once I can get it available on the App Store.

Update if Possible!

For those of you that have a copy of our old app, I’m going to try to make the version I’m working on now a version 2, and make it available as a free update, but I have not yet looked into what I need to do to make that happen. If it’s at all possible, I’ll do that.  Of course, it could also be that my coding is so bad that Apple completely rejects my new app, but I believe I’ve developed enough skills to be able to solve any issues that they may point out. I don’t have an ETA for when the app will be available, but I think I’ll have finished the development within the next week, and start the process of getting the app accepted from there.  So, sorry that I couldn’t do a regular podcast this week. I wanted to put something out there, so explaining what’s taking all of my time seemed like my only option at this point. Plus, I wanted to let users of our current app know that I am working on a replacement! Once it’s available, I’ll do a video to show you how to use it.
Show Notes Music by Martin Bailey
Audio Subscribe in iTunes for Enhanced Podcasts delivered automatically to your computer. Download this Podcast in MP3 format (Audio Only). Download this Podcast in Enhanced Podcast M4A format. This requires Apple iTunes or Quicktime to view/listen.
The post MBP Companion App Update (Podcast 590) appeared first on Martin Bailey Photography.]]> 0 169234
Tentacle Sync-E wireless timecode generator – IBC 2017 Tue, 19 Sep 2017 09:45:41 +0000 Tentacle Sync-E wireless timecode generator – IBC 2017 appeared first on Newsshooter.]]> 0 169230 Vocas MFC-3 direct drive follow focus, C200 and EVA1 accessories – IBC 2017 Tue, 19 Sep 2017 09:05:00 +0000 Vocas MFC-3 direct drive follow focus, C200 and EVA1 accessories – IBC 2017 appeared first on Newsshooter.]]> 0 169232 F&V 3×1 Soft LED panel light – IBC 2017 Tue, 19 Sep 2017 08:30:07 +0000 F&V 3×1 Soft LED panel light – IBC 2017 appeared first on Newsshooter.]]> 0 169213 F&V K4000 Power 1×1 LED panel – IBC 2017 Tue, 19 Sep 2017 08:10:11 +0000 F&V K4000 Power 1×1 LED panel – IBC 2017 appeared first on Newsshooter.]]> 0 169215 Adobe Spark Gets Much Needed Feature Improvements, Flexible Branding, New CC Plan Tue, 19 Sep 2017 08:00:12 +0000 Continue reading "Adobe Spark Gets Much Needed Feature Improvements, Flexible Branding, New CC Plan"

Adobe Spark Gets Much Needed Feature Improvements, Flexible Branding, New CC Plan Adobe Spark has been the brand’s relatively recent jump into a range of both online and mobile products that make it easy for anyone to create well-designed content including videos, web pages, and graphics. For creatives that fancy themselves better image creators than designers of promotional flyers or small web experiences or for DIY small business owners, Adobe Spark hopes to fill in the gaps and make it both easy and fast to design range of content types for your business. Today, Adobe released some much needed updates that mark the start of what Spark always should have been. [ More ]]]> 0 169267
10 Best Photography Apps for Mac in 2017 Tue, 19 Sep 2017 07:58:19 +0000 Continue reading "10 Best Photography Apps for Mac in 2017"

With the rise of digital cameras and high quality camera phones, more people than ever have become interested in photography. While learning proper shooting techniques will take you a long way towards capturing great photos, it’s important to have the proper editing tools as well. Here are the current ten best photography apps for Mac, sorted by price (least expensive to most expensive).


PriceFree download. One of the photography apps for Mac that is a direct competitor of Photoshop, GIMP provides many of the powerful features of you find in Photoshop without the monthly price tag.
Gimp for Mac
Fotor Photo Editor for Mac
ACDsee for Mac
Photozoom for Mac
InPaint for Mac
Pixelmator for Mac
Capture One for Mac
Photoshop Elements for Mac
AfterShot Pro for Mac
is a learning curve if you’re used to working with Photoshop, but this app is worth the trouble if you’re looking for an all-inclusive pro editing tool.


  • Customizable interface;
  • Layer selection;
  • Supports a wide range of file formats;
  • Text and brush options.
Gimp for Mac

2. Fotor Photo Editor

Price: Free for basic app or online access; upgrade to Fotor Pro monthly subscription ($8.99/month or $39.99/year). Fotor is unusual among the available photography apps for Mac in that you can download in through the App Store or use it online. Either way you choose to use it, the software provides reliable, basic editing features like rotating, cropping, and recoloring images. It also has a few nifty features like refocusing, slimming down your subjects, and taking away wrinkles.


  • Solid editing basics;
  • Focus;
  • Effects and borders;
  • Textures;
  • Save, share & print.
Fotor Photo Editor for Mac

3. ACDsee

PriceFree download (upgrade to monthly subscription to store photos). A version of this photo software has been around in the mid-90s, and its longevity is due to its easy of use and fun features. In addition to the editing standards, this software allows you to quickly fix your photos and then upload them to your favorite social media site. There’s no need to download to your computer first, which is handy for prolific Facebook and Instagram sharers. If you want to save the photos for later use without downloading them to your computer, you’ll need to pay for a monthly subscription.


  • Cropping, recoloring, saturation, and sharpening;
  • Easy to use organizational features;
  • GPU-accelerated adjustment layers;
  • Seamless sharing to social media sites.
ACDsee for Mac

4. Google Photos

PriceFree download (can purchase Google Drive space for uploads over 15 GB). Google Photos is an excellent replacement for now defunct Mac Photos software. If you love photography, but don’t want to splash out on expensive photography apps for Mac, Google Photos is a great basic editor. In addition to typical editing software offerings like recoloring, enhancement, and cropping, Google Photos also offers the ability to search your library by subject matter (so, search for “dog” to get all of your photos of your family pet).


  • Motion stills;
  • Content-aware filters, adjust lighting, and more;
  • Smart automatic albums;
  • Share up to 1,500 from the app.

5. Photozoom

PriceFree trial ($169 for full version). One of the best photography apps for Mac, Photozoom allows users to focus in on the details of their captures without distorting or pixelating the image. Beyond the main feature of zooming capabilities, Photozoom has basic editing tools like rotating, sharpening, and resizing images. It’s not the most comprehensive of editing programs, but it does well with what it offers.


  • Excellent for zooming and cropping;
  • Two-stage sharpening;
  • Self-timer;
  • Instant uploading on the photos on social media.
Photozoom for Mac

6. InPaint

Price$19.99. If you want to take your photo editing skills beyond the typical cropping and rotating, but aren’t ready to take on a pro software yet, InPaint might hit that sweet spot. The software includes handy retouching tools that allow you to remove background noise or watermarks. That might come in handy for your vacation photos: take out all of the other visitors in your photo of the Eiffel Tower! It’s also helpful in restoring old photos or giving your subjects perfect blemish and wrinkle-free skin.


  • Digital facial retouching;
  • Watermark removal;
  • Eraser tools;
  • Fill black areas tool.
InPaint for Mac

7. Pixelmator

Price: $29.99. Now on its 3rd version, Pixelmator is a tried-and-true photo editor that includes everything that the standard photographer would need from an editor tool. Use one of the 160 effects to enhance your photo and use the color correcting tool for crisp hues.


  • Vast retouching and painting options;
  • Drawing tools;
  • 160 effects;
  • Pixelmator Team-designed layer styles presets
  • Full support for Photoshop files.
Pixelmator for Mac

8. Capture One

Price$99 (Express version), $299 (Pro version). Created by a digital camera company, the Capture One software is an excellent choice if you do collaborative, interactive or on-set photo shoots. It allows you to upload and share your photos in real time so clients or art directors get immediate access to how the shoot is going.


  • Custom-made color profiles for more than 400 cameras;
  • Color balance tool;
  • Black & White tool;
  • Skin tone editor;
  • Supports 250 RAW formats.
Capture One for Mac

9. Photoshop Elements

Price: $99.99. If you want photography apps for Mac that incorporate the best of Photoshop Apeture or Lightroom without the monthly fees, Elements is a great place to start. The selection tools suggest up to 5 alternatives for each effect you’re considering, which makes for quick, simple editing work. You can also make Facebook covers and photos with the templates provided.


  • In-program editing suggestions from Elements Live;
  • Easy photo correction;
  • Collage and slideshow creator;
  • Photo organizer.
Photoshop Elements for Mac

10. AfterShot Pro

Price$100 (free 30-day demo available). This is an excellent option for professional level photographers who shoot in RAW. Easily recolor your photos or add a watermark for sharing files with clients. The program is responsive, intuitive, and has multiple shortcuts for easy touch ups.


  • Easy-to-use editing sliders;
  • Preview photos quickly below main editing panel;
  • Watermarking;
  • Enhanced Highlight Recovery;
  • Blemish Remover tools.
AfterShot Pro for Mac

Summing Up

Whether you’re a parent looking to improve your favorite family photos or a photographer polishing your skills, these apps will make all of your photos album ready. Choose from basic editors like Google Photos if you’re a beginner. Some, like InPaint and Photozoom, allow you to focus on one particular type of editing if you’re not a prolific editor yet. There are also top of the line apps like Elements, GIMP, and Capture One for the professional photographer, so you can choose what’s best for your skill level.
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Canon MM100-WS multipurpose module concept camera – IBC 2017 Tue, 19 Sep 2017 07:57:04 +0000 Canon MM100-WS multipurpose module concept camera – IBC 2017 appeared first on Newsshooter.]]> 0 169217 Atomos Sumo 19M production monitor – IBC 2017 Tue, 19 Sep 2017 07:31:55 +0000 Atomos Sumo 19M production monitor – IBC 2017 appeared first on Newsshooter.]]> 0 169206 EVA1 launch films “Radio 88” and “Near to Superstition” released – IBC 2017 Tue, 19 Sep 2017 07:04:09 +0000 EVA1 launch films “Radio 88” and “Near to Superstition” released – IBC 2017 appeared first on Newsshooter.]]> 0 169208 Film Is Not Dead: Shooting a Campaign With a Large Format Camera Tue, 19 Sep 2017 05:31:00 +0000 Film Is Not Dead: Shooting a Campaign With a Large Format Camera It might seem that film has been relegated to a pursuit sustained mostly by enthusiasts, but as this campaign by Dickies shows, it can still create the kind of images large brands are happy to use. Go behind the scenes of this shoot with a large format camera. [ Read More ]]]> 0 169244 Lighting Black Faces: Mic Interviews ‘Insecure’ Director of Photography Ava Berkofsky Tue, 19 Sep 2017 05:30:00 +0000 Continue reading "Lighting Black Faces: Mic Interviews ‘Insecure’ Director of Photography Ava Berkofsky"

Lighting Black Faces: Mic Interviews 'Insecure' Director of Photography Ava Berkofsky Any photographer who has photographed or recorded multiple skin tones on film will know that lighting suitable for one skin type won't always work for another. Exposing for a dark skin tone may blow out a lighter skinned companion, and lighting for a pale skin tone may leave a darker skinned person in the shadows. So how do you properly light dark skin? Xavier Harding recently interviewed Ava Berkofsky, HBO's director of photography for the show "Insecure," for Mic to find out what her techniques are for lighting the show's black actors. [ Read More ]]]> 0 169369
What It’s Like to Go Full-Time on YouTube Tue, 19 Sep 2017 04:18:00 +0000 Continue reading "What It’s Like to Go Full-Time on YouTube"

What It's Like to Go Full-Time on YouTube For many photographers, videographers, and creatives, the dream career is something along the lines of being paid to fly around the world and create content while maintaining an active and successful Internet presence. This landscape photographer seems to have achieved that, and in this video, he talks about the process, his daily life, and his sources of income. [ Read More ]]]> 0 169219
How to Create Rain in Photoshop Tue, 19 Sep 2017 02:45:00 +0000 Continue reading "How to Create Rain in Photoshop"

How to Create Rain in Photoshop Rain can be a great addition to an image, as it can communicate so many things: sadness, romance, etc. We don't really get much control over when it happens, however, and even if you're handy with a garden hose, spraying water everywhere probably won't be appreciated by your model or your camera equipment. Here's how to fake it using Photoshop. [ Read More ]]]> 0 169197
Pet Names Tue, 19 Sep 2017 02:24:39 +0000 0 169179 True? Has That Ever Been Why You Buy New? Tue, 19 Sep 2017 02:08:34 +0000 0 169181 YI M1 Review: A Micro Four Thirds body with lens and Sony sensor for under $300—so what’s the catch? Tue, 19 Sep 2017 01:42:44 +0000 Continue reading "YI M1 Review: A Micro Four Thirds body with lens and Sony sensor for under $300—so what’s the catch?"

Late last year, Shenzhen, China-based XiaoYi -- known stateside as Yi Technology -- launched the <a href="" title="Yi M1 Review">YI M1</a> to great fanfare. Its first standalone camera (and an interchangeable-lens camera, at that!) the <a href="" title="Yi Camera Review">Yi Camera</a> drew plenty of attention for its reserved Leica-like looks, its quality Four Thirds-format Sony Exmor image sensor, and its broadly-supported Micro Four Thirds lens mount. But more than that, what got folks talking was its pricetag. Originally shipping at around US$350 list (and that&#39;s with a 12-40mm kit lens), the... <br /><a class="readMore" href=''>(read more)</a> ]]> 0 169177
URGENT ATTENTION…My GH5 micro jitter has returned with my 12-60mm Leica lens Tue, 19 Sep 2017 00:30:42 +0000 Continue reading "URGENT ATTENTION…My GH5 micro jitter has returned with my 12-60mm Leica lens"

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Silent Battle Cry: How ‘The Handmaid’s Tale’ Speaks Volumes Through Visuals Mon, 18 Sep 2017 23:50:00 +0000 Continue reading "Silent Battle Cry: How ‘The Handmaid’s Tale’ Speaks Volumes Through Visuals"

When words fail visuals speak. In the dystopian world of Gilead, where a totalitarian theonomy has enslaved fertile women to turn them into child-bearing servants of the state, civil disobedience is subtle and revolutionaries keep their battle cries under their tongues. Being "under His eye" not only sets rigid restrictions on what the citizens of the former United States are permitted to do or say, but it turns one's mind into a place that serves as both Promised Land for free thought and war room to plot resistance. Cinematically this gives Handmaid's Tale fewer options to communicate the harrowing stories of Offred and her fellow handmaidens, but director Reed Morano and cinematographer Colin Watkinson's audiovisual approach to the series creates a unique style of storytelling that allows the silent rebel yell of an entire group of marginalized women to be heard. In this video essay, ScreenPrism digs deep into the techniques used in the show that grant us entry into places to which not even the Republic of Gilead has access. Read More]]> 0 169168
Instagram Is About to Ruin Your Perfect Grid Mon, 18 Sep 2017 22:08:00 +0000 Instagram Is About to Ruin Your Perfect Grid Instagram is planning a change that is going to upset a lot of people. If you are one of those who likes to keep all your images in order and make use of the 3 x 3 grid, prepare for a storm that may stir your account's real estate. [ Read More ]]]> 0 169162 Video: Four common composition mistakes and what to do instead Mon, 18 Sep 2017 21:10:00 +0000 Continue reading "Video: Four common composition mistakes and what to do instead"

When you're first starting out, the great big world of photography composition can seem like a long list of rules and a bunch of videos where photographers paste grids on top of iconic photos. It's all a bit abstract. So if you're looking for concrete advice, this video by photographer Evan Ranft is a much better place to start. In the video, Evan discusses four common composition mistakes many photographers make, and then shows you how to fix them. Each tip is accompanied by a very useful "do this not that" before and after, and the advice is genuinely a more helpful than slapping a bunch of grids and golden ratio spirals on top of famous photos. You can check out the video up top for a full rundown with before and after images, but the tips (in short) are:
  1. Double Subject – Don't place your main subject side-by-side with an interesting background feature, it will split your viewer's focus. Emphasize a single subject instead.
  2. The Look Out – If your subject is on one side of your photograph, have them look into, not out of, the frame. A subject looking out of the frame divides your photo in half, leaving a bunch of confusing negative space. If they're looking into the frame, their gaze will balance out your composition.
  3. Tangent Lines – Avoid having anything in your background draw lines through your subject and scene. Use the lines of your photo to lead your viewer's eye TO your subject instead.
  4. Being Lazy – Not the most obvious composition tip, but it counts: don't be lazy. Once you've picked a subject, find an interesting composition. Don't just take the easiest, most convenient photo in that moment
There you go: a few simple but effective tips that help create photos that emphasize your subject and lead your viewer where you want them to go. As Ranft says in the video, these are easy mistakes to correct, you just have to be aware you're doing them. To see more tips and how-tos from Evan, head over to his YouTube channel. And if you have your own simple composition tip (or common mistake) to share, drop it in the comments!]]> 0 169148
What ‘The Limehouse Golem’ Production Designer Does Every Single Day for Design Inspiration Mon, 18 Sep 2017 21:08:41 +0000 Continue reading "What ‘The Limehouse Golem’ Production Designer Does Every Single Day for Design Inspiration"

'The Limehouse Golem' and 'Peaky Blinders' production designer Grant Montgomery reveals how he creates grisly, cinematic worlds. The Limehouse Golem, Juan Carlos Medina's latest film, is a well-executed period piece, taking place in 19th-century London. At times, the film feels like a dinner-theater melodrama gone fascinatingly awry. As i opens, Lizzie Cree (Olivia Cooke) is accused of killing her husband; nothing seems further from possible. She is a well-loved, semi-bawdy stage performer, a member of London's theatrical demimonde. A series of outrageous murders by a mysterious figure christened the "Limehouse Golem" is filling the imagination; Lizzie's arrest seems like an afterthought in the shadow of this larger public concern. Bill Nighy plays John Kildare, the rigid, gloomy-faced inspector in charge of getting to the bottom of Lizzie's case, because it is commonly believed her husband might have been the Golem. As we watch the film, we can trace the inspector's gradual understanding of the perverse scenario in the folds of his brow and face. Read More]]> 0 169151
The Beauty of Car Photography: A Look Through the Eyes of Easton Chang Mon, 18 Sep 2017 20:53:46 +0000 Continue reading "The Beauty of Car Photography: A Look Through the Eyes of Easton Chang"

Meet Easton Chang, an internationally recognized car photographer. In this 5-minute profile by SmugMug Films, get a glimpse into how Chang captures incredibly unique images of performance cars. Chang shoots using all sorts of different techniques for his cars: panning, tracking, and aerial action shots. “Cars are much more than an inanimate object,” says Chang. He’s a car-fanatic first and a photographer second. The former was what birthed his love of being creative behind the lens to convey his passion to others. “I wanted to show the world, and online, my passion for cars and what I was
through my own eyes,” he continues. “Every car is different. Every location is different, and the character of the car is always different.” Chang says that static shots allow him to focus and “show the lines” of the car, creating and choreographing the image to show off its “distinguishing profile.” However, since cars are designed for moving and performance, he focuses on shooting some really unique shots that capture the car “in its element, doing the things it’s made to do.” “Because cars do have character, history, and pedigree – ultimately they have emotion – if I can capture that and bring it out, then the image becomes more than just eye candy. It becomes a portrait of the car and what it represents,” says Chang. “That’s ultimately what separates my work from others; that seems to be what defines my style.” You can find more of Chang’s work on his SmugMug website, Facebook, and Instagram.
Image credits: Video by SmugMug Films. Photos by Easton Chang and courtesy of SmugMug.
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BTS: Photographing Jennifer Lawrence for Her Foundation on a Time Crunch Mon, 18 Sep 2017 20:52:00 +0000 Continue reading "BTS: Photographing Jennifer Lawrence for Her Foundation on a Time Crunch"

BTS: Photographing Jennifer Lawrence for Her Foundation on a Time Crunch Clay Cook recently photographed Jennifer Lawrence for the Jennifer Lawrence Foundation, which "assists and empowers charitable organizations that fulfill children's vital needs and drive arts awareness and participation." In what's perhaps the most unique twist, Cook has always wanted to professionally photograph Lawrence, who he and his family actually grew up with in another lifetime. But he describes wanting to earn it, and finally did. [ Read More ]]]> 0 169164
Here’s a Handy New Site That Converts iOS 11 .heic Photos to JPEG Mon, 18 Sep 2017 20:41:54 +0000 Continue reading "Here’s a Handy New Site That Converts iOS 11 .heic Photos to JPEG"

With the upcoming release of iOS 11, Apple’s new HEIF/HEVC photo formats will make it trickier to use and share iPhone photos in a world still dominated by JPEG images. Luckily, is here to save the day with an easy-to-use conversion service. iOS 11 will mean that your iPhone takes its photos in this new format rather than JPEG as we are used to in an effort to save a reported 50% in file size (with no loss of quality). But using these new .heic files probably won’t be so simple to use readily. But, from the creators
Beamr and JPEGMini, HEICtoJPG will allow you to easily convert them. It’s able to process up to 30 files at a time, and using the service is as easy as just drag and dropping. Once converted, you’re given a link to click and that will download the JPEG straight to your computer. “The best part is that the HEIC files that are converted to a JPG will then be optimized by JPEGmini, so the quality of the photo will remain the same but the size of the file will be smaller,” Beamr tells PetaPixel. HEIC files are capable of storing both single images as well as image sequences (such as photo bursts or video clips) using both lossy and lossless compression. Audio and text can also be stored alongside image sequences. The new format can even store relevant metadata during your editing process – things like rotation, cropping, and overlays. Those features are a huge upgrade over JPEG, but until it overtakes JPEG in usage and until software widely supports it, you may want to keep a service like close at hand to keep your new photos ready to share.
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How to Use Any Lightroom Presets in the Lightroom Mobile App Mon, 18 Sep 2017 20:19:00 +0000 Continue reading "How to Use Any Lightroom Presets in the Lightroom Mobile App"

How to Use Any Lightroom Presets in the Lightroom Mobile App As Adobe Lightroom Mobile has become more and more powerful with each update, more photographers are starting to adopt mobile workflows to get images out to both social media and clients faster. The ability to quickly make edits on your phone or tablet then share those images almost instantly has a lot of uses. Now in his newest video, photographer and YouTuber Peter McKinnon gives a quick tutorial on how to apply presets within Lightroom Mobile. [ Read More ]]]> 0 169280
Aputure Amaran MX: The Ultra Bright, Color Accurate, Credit Card-Sized LED Mon, 18 Sep 2017 19:50:00 +0000 Continue reading "Aputure Amaran MX: The Ultra Bright, Color Accurate, Credit Card-Sized LED"

Aputure Amaran MX: The Ultra Bright, Color Accurate, Credit Card-Sized LED At IBC 2017, Aputure laid out their normal cornucopia of products — lights, microphones, monitors — but they didn’t show everyone the prototype for the The Amaran MX, a tiny, credit card-sized brother to the Amaran AL-M9. Why not? Well it’s still a prototype, so I suppose we shouldn’t get too excited, but on paper, the Amaran MX looks like an incredible addition to their line. [ Read More ]]]> 0 169146
Kodak PixPro Orbit360 4K VR camera now on sale in the US Mon, 18 Sep 2017 19:34:00 +0000 Continue reading "Kodak PixPro Orbit360 4K VR camera now on sale in the US"

The 360-degree camera Kodak unveiled at Photokina 2016 is now available to buy in the US. The PixPro Orbit360 is a rugged, compact action camera with a pair of 20MP sensors, one on the front and the other on the back, joining by two curved 155-degree and 235-degree lenses, a microSD slot for storage, a 1" LCD, and an included selfie stick (depending on bundle). JK Imaging, the company behind the camera, designed the PixPro Orbit360 to be rugged for outdoor use. The camera has an IP6X dustproof equivalency, an IPX5 splashproof equivalency, a shockproof design able to withstand drops 2m / 6.6ft when using the lens cover, and the camera is also freeze-proof to temperatures as low as -10C / 14F. The PixPro offers users three recording modes: a fully 360-degree spherical mode, a 235-degree 'dome' mode, and a 197-degree 4K Ultra-Wide mode. It works with a related mobile app (Android | iOS) that makes it possible to directly upload the PixPro's videos to YouTube and Facebook. The camera's full specs sheet is available here. The Orbit360 is being sold in the US through the Kodak PixPro website and through It $500 USD in the "Adventure Pack" (arriving later this year) and $550 USD for the "Satellite Pack" (available now). The Satellite Pack includes some accessories not included with the Adventure Pack, such as the aforementioned selfie stick.]]> 0 169130
How I Shot Cliff Divers with a Total Solar Eclipse Mon, 18 Sep 2017 19:27:57 +0000 Continue reading "How I Shot Cliff Divers with a Total Solar Eclipse"

This is a post about photography plus trigonometry. I remember half joking with my math teachers in high school, asking “why do we need to learn this? I’m never going to use it in life.” Fast forward to 4 months ago when Red Bull Media House calls and wants to shoot a cliff diver eclipse photo. After doing some research, I discovered that the eclipse would be in totality at a very high point in the sky, and it would be very difficult to line up with the divers given the long focal length needed. We had to figure
the correct angle, height, and distance. Luckily I retained some of that math knowledge (and also had some help) and was able to pinpoint every position, height, and angle needed for our shot list.


We prepared for this shoot for four months. With so many moving parts and elements that need to perfectly align, preparation was definitely the key to success. We needed the perfect location with the right amount of distance of open space and it had to be in the path of totality. We also needed a spot for the divers to dive and to make sure the divers were high enough in the air to align perfectly with the sun. After looking all over the country at different locations, we choose a farm in McMinnville, Oregon, with a large wide open field. There was a dive tank (normally used in traveling carnivals and other performances) erected in the middle of the open space, and we had it filled with 30,000 gallons of water (which was later used to water the very dry and dusty field.) For the days leading up to the shoot, we used a range finder to map out shooting positions and tested focal lengths, dive times, and lighting.

Hanging and Controlling Lights

I’m not too keen on heights and although I worked in a theater in college and I would hang lights in catwalks about 20-30 feet up, I couldn’t imagine myself climbing and hoisting lights up an 85-foot tall tower. Just standing under it looking up gave me chills. So we enlisted the help of one of the amazing dive tank crew members Clark to help with rigging and hanging each one of the lights. We used Kupo Grip Super Viser Clamps to mount the lights to a pole that stuck out 2 feet so the light could be angled correctly. We used the Broncolor BronControl app on my phone to control the power and speed of the lights while they were up on the rig.

Test Day!

The day before the eclipse we had a test shoot day with the divers to test timing and basically do a dress rehearsal of the eclipse. This was so we can see how many dives each diver could do during the different phases of the eclipse. I knew it was going to get dark during the totality but I didn’t know how dark. So we needed to test the lighting at dusk and a little after so I could have a better idea of the camera and lighting settings before totality happened. I wouldn’t have enough time to get 4 divers off the platform, cleared, and be able to dial in settings. I needed to know before it happened so I could be ready.

High ISO

I decided on a higher ISO than normal because otherwise the background in the photo would be way too dark and there would be no context to how the sky actually looked and I couldn’t do a multiple exposure shutter bracket because I was shooting a sequence shot. Here are the settings and equipment I used for the sequence photo: Canon 1D X Mark II, Canon 11-24mm, 15mm, ISO 3200, f/5.6, 1/160 light power (4 on each head).

A Perfect Reflection

Whats better than one solar eclipse? Two (right!?!)! One of the first shots I imagined when thinking of this shoot was a diver diving into a large body of water with a beautiful reflected eclipse in it. But, because our dreams of shooting with a natural water source were crushed by science and math, I decided the next best thing was to bring in a special front coated mirror (the type they use in large telescopes!) to give the illusion of water and provide a nice mirror image of our scene.
RBC Cliff Diving Behind The Scenes


It was a very surreal moment once totality started and the light around us began to fade. I heard one of the divers yell that they couldn’t see the water. Without missing a beat, my super assistant Daniel Bray and “crazy” Clark ran over and climbed up the scaffolding on the 10-foot-tall staging area with large flashlights to supplement the LED work lights we already had in place. A few seconds went by and I felt my adrenaline rushing because I knew there were only 55 total seconds of totality and 15 seconds have already passed while getting the additional lighting in place. Once it was deemed safe and the diver’s eyes adjusted to the darkness better, the first diver jumped. I fired 18 frames off during the 2.7 seconds it took to reach the water below. I quickly checked the images on the back of my camera to make sure they had the correct lighting exposures on the diver and then, using a series of walkie-talkies strapped to the ladder all the way to the top, relayed to them that they could position themselves on the 1-foot-diameter platform and jump when they were ready. The divers were all staged on different parts of the thin 85-foot ladder to speed up the climbing process. As the last diver reached his arms into the sky to indicate his jump, a sliver of the sun peeked out from behind the moon and created a starburst in my camera as I fired off the last sequence shots. After totality, I couldn’t believe everything went so well. There were so many opportunities for this shoot to go wrong and such a short window of time to make it happen, but because our team took the time to look at every possible outcome and prepared for the worst we were able to come away with exactly what we sought out to do during this once in a lifetime shoot.


I couldn’t have done it without the support of the amazing team at Red Bull, the divers, all of our awesome crews and people helping with the setup. Canon PRO USA for the camera equipment and lenses and Broncolor for the lighting, Kupo Grip for the clamps. The eclipse was 2 hours long, the totality was 55 seconds, and the shooting time during totality from the first diver was just 30 seconds. It took 2.7 seconds for the diver to go from the 85-foot-tall platform to the tank, plunging 10 feet into the water.
About the author: Dustin Snipes is a Los Angeles-based portrait and sports photographer. Snipes works frequently with major national and international publications and brands including Coca-Cola, Nike, Marriott, Reebok, Gatorade, Red Bull, KFC, ESPN The Magazine, New York Times Magazine, Los Angeles Magazine, 361º International, Muscle and Fitness, Sports Illustrated, Playboy, Maxim, and numerous others. Visit his website here.
]]> 0 169122
Bookmark this HEIC to JPEG converter if you’re upgrading to iOS 11 tomorrow Mon, 18 Sep 2017 19:27:00 +0000 Continue reading "Bookmark this HEIC to JPEG converter if you’re upgrading to iOS 11 tomorrow"

iOS 11 will launch officially tomorrow—its been in beta for months—and one of the most relevant photo-centric features coming to Apple's new mobile OS is the introduction of a high efficiency image file format (HEIF) called HEIC. This format should, in theory, make images smaller without sacrificing quality, in addition to a bunch of other useful features. There's just one problem: Windows users can't natively view HEIC files on their computers. Enter JPEGmini creators Beamr and their new HEIC to JPEG converter. Beamr says they created the Web tool in response to user feedback—ever since the new format was announced have been asking for a way to convert HEIC to JPEG. Well, now they can by simply following this link and uploading up to 30 photos at a time. And since this is made by the same folks behind JPEGmini, HEIC images converted using the tool are then further optimized using the JPEGmini technology to spit out more manageable JPEGs. We're not sure for how long this tool will be needed. There are a lot of advantages to the HEIC format—the ability to store single images or sequences, the ability to store audio/text alongside the image, the ability to store image editing operations, and both lossy and lossless compression, to name a few—so it would make sense for the format to gain wide-spread integration quickly. But until then, if you're upgrading to iOS 11 tomorrow and need/want a way to convert those images to JPEGs, there's on option waiting for you.]]> 0 169132
Harnessing the Power of Auto-Stacking in Lightroom Mon, 18 Sep 2017 18:42:26 +0000 Continue reading "Harnessing the Power of Auto-Stacking in Lightroom"

Auto-stacking in Lightroom can quickly organize a huge set of images in to more manageable ‘stacks’, which are small groups of images grouped according to their capture time. This 6-minute video from photographer Anthony Morganti shows how you can use the feature to speed up your workflow. Auto-stacking is especially useful when you are taking burst images, like Morganti in his wildlife photography example. Normally this will result in a huge grid or filmstrip of near-identical images, which is difficult to deal with. By stacking them, you can reduce the size of the grid and quickly see which images were
as a burst. To enable the feature, right-click on any image in your film strip or grid and select Stacking>Auto-Stack by Capture Time. You will get a dialog that lets you choose the time between stacks. The default shown in the above image is set to 01:00, which means that any image that was taken within a 1-minute period will be stacked. At first, you won’t see anything change. To collapse the stacks and clean up your film strip, you’ll need to again right click an image and this time select Stacking>Collapse All Stacks. Your film strip will instantly shrink and you will see numbers in the corner of each image indicating how many images are in the stack. Another great use of this feature is for image bracketing, where you take a series of images within a short period in order to later combine them for an HDR. By setting the capture time period to something shorter, you can automatically stack those bracketed shots to make them easier to deal with. You can find more of Morganti’s info-packed videos by subscribing to his YouTube channel. (via Anthony Morganti via Fstoppers)
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ARRI, Sony, and iPhones Dominate TIFF 2017 Cameras Mon, 18 Sep 2017 18:30:56 +0000 Continue reading "ARRI, Sony, and iPhones Dominate TIFF 2017 Cameras"

"Like somebody said: give a shoe to Roger Deakins and he makes a beautiful picture." An ARRI used by Ingmar Bergman, an iPhone 7 with a DJI Osmo Mobile, and 10,000 hours of public surveillance footage. What do they have common? They were all ways that this year's TIFF filmmakers told their stories. Take a look at the diverse assortment of cameras used in this year's films, along with reasons from their directors, cinematographers, and producers on why each was the perfect tool for the job. Read More]]> 0 169118
ImageRights expands copyright registration, adds new blockchain protections Mon, 18 Sep 2017 18:10:00 +0000 Continue reading "ImageRights expands copyright registration, adds new blockchain protections"

Photo protection company ImageRights International, a Boston-based business with offices in Seattle and Berlin, has launched a new image copyright registration system that anyone can use, not just subscribers. The company offers both a Lightroom plugin and a website-based registration tool that streamlines registrations, including automatically checking for errors and filling in forms. ImageRights' new copyright registration option costs $100 on top of the US Copyright Office fee ($35 or higher). This is compared to ImageRights' subscriber plans, which charge $69 for registering a single image and $89 for registering multiple images. On top of that, the company subscribers additional services such as assessing infringement claims, finding unauthorized uses of a registered photo, and more. But now you don't need to subscribe to take advantage of their streamlined registration system. In addition, ImageRights is taking a cue from Binded (formerly Blokai) by launching a Bitcoin blockchain record that uses the technology to save the ImageRights Deposit Copy Certificate of Warranty document it creates when someone uses its service to register a photo. Talking to PDN about this, ImageRights CEO Joe Naylor explained:

We make a hash of this [warranty] document and inscribe it into the Bitcoin Blockchain. This is a tool that helps us during an infringement settlement discussion when the other party questions whether or not an image was really covered by the USCO registration certificate that we say it is. We can show them the warranty where they can now see a visual representation of the image (the thumbnail) associated with the USCO Registration number. And to help prove that we didn’t just fabricate the document when they challenged us, we can show that from the blockchain inscription records that this document existed at that date.

ImageRights is one of multiple services that helps photographers register their image copyrights, though it says it is the only one with a fully automated registration system. Binded is a popular alternative, and it recently announced free one-click registrations.]]> 0 169113
The Story Behind That Viral ‘Distracted Boyfriend’ Meme Photo Mon, 18 Sep 2017 17:43:12 +0000 Continue reading "The Story Behind That Viral ‘Distracted Boyfriend’ Meme Photo"

One of the hottest memes this year is the “Distracted Boyfriend,” also known as “Man Looking at Other Woman.” It shows a man looking backward, checking out another woman while his partner gives him a disapproving look. The photo emerged in memes earlier in 2017 before going extremely viral and peaking in August. If you spend a lot of time on the Internet, there’s a good chance you’ve seen this meme in one form or another. Here’s one example of the meme geared towards photographers: A look at the Google Trends chart shows how the meme absolutely blew up
late August 2017: As the craze is dying down a bit, we caught up with photographer Antonio Guillem, the man behind the original stock photo, titled “Disloyal man walking with his girlfriend and looking amazed at another seductive girl,” to learn more about the shot and the story behind it. Guillem is a 45-year-old professional advertising photographer based in Barcelona, Spain. For the past 5 years, he has been working 16-hour days, primarily shooting images for microstock agencies. “We are one of the top sellers microstock photographers in the world,” Guillem says. “3 years and a half after we started, we were selling 1,600 photos a day.” Guillem says his best-selling photos are currently being purchased over 6,000 times every year, and this meme photo doesn’t rank among his most popular work — it sells about 700 times a year. Here’s another stock photo with the same couple and the same theme. It’s titled “Girlfriend discovering that her boyfriend is cheating with her best friend at home“: The photographer was surprised by how his photo became a viral sensation — he didn’t know about it (and didn’t even know what a meme was) before his models saw the meme on social media and brought it to his attention. “I never thought that one of my images would be this popular,” Guillem says in an email to PetaPixel. “As you can imagine, we can’t worry about each one of the particular uses that have been given to our photos, as we focus on creating content that can be sold thousands of times, even though the meme situation can be surprising.” Here’s Guillem ‘s story of how this particular photo came about:
We work exclusively on advertisement photography for microstock agencies as I explained before, so the origin of this picture was purely for work reasons. The session took place in mid-2015 in Gerona (Catalonia, Spain) and because we were having a great sales response to our work, we decided to take a few risks planning a session representing the infidelity concept in relationships in a playful and fun way. The setting was completely improvised as we didn’t have time to search for it. As I always work with the same models, it was quite easy to create the situation even though it was quite challenging to achieve face expressions that were believable. Mainly, because we always have a really great work atmosphere and almost all the time one of the models was laughing while we were trying to take the picture.
Guillem says he creates concepts for his stock photos based on looking at numbers to figure out what sells. This strategy has allowed him to build a massive library of stock photos that all sell, giving him more flexibility in taking risks and attempting new concepts.
A look at Guillem’s portfolio on Shutterstock.
Regarding the copyright issues surrounding the use of his photo, Guillem says his position is clear. Although copyright infringement of his photo is rampant, he won’t be taking legal action except in cases of “bad faith”:
All our images are subject to copyright laws and the license agreements of the microstock agencies. It’s not allowed to use any image without purchasing the proper license in any possible way, so each one of the people that use the images without the license are doing it illegally. This is not the thing that really worries us, as they are just a group of people doing it in good faith, and we are not going to take any action, except for the extreme cases in which this good faith doesn’t exist. What really worries us and we are not going to allow it, taking the appropriate legal measures, is the use of the images in a pejorative, offensive or any way that can harm the models or me.
You can find more of Guillem’s photos on his website and license them through Shutterstock and Fotolia.
Image credits: Photographs by Antonio Guillem and licensed through Shutterstock
]]> 0 169106
Lens Rentals test shows all circular polarizing filters work great, price doesn’t matter Mon, 18 Sep 2017 17:18:00 +0000 Continue reading "Lens Rentals test shows all circular polarizing filters work great, price doesn’t matter"

Photo: Roger Cicala/Lens Rentals Our friend Roger Cicala over at Lens Rentals is at it again: buying up super expensive optical testing equipment because someone asked him why LR carries the circular polarizing filters they do. The answer, until now, was simple: make the expensive one on the market their high-end rental, and the cheapest one their "basic." But is there really any difference? That's what Roger set out to figure out, and the answer might save you a little bit of cash. You can read the full post and see all of the detailed results on the Lens blog, but the most surprising and positive conclusion was this: All circular polarizers, regardless of price, are 99.9% effective at polarizing light. Translation: if you're looking for a circular polarizer because ... well ... you want to polarize light then save your money because the cheaper ones work just as well as the more expensive ones. In addition to their ability to do what they say they do, Cicala and LR team tested CP filters for overall transmission (how much light to they let through) and transmission by wavelength so you can see what effect each filter has on the colors your camera sees. Check out the results here.]]> 0 169098
Renowned Music Photographer Quits the Industry, Cites Misogyny From Peers Mon, 18 Sep 2017 17:05:00 +0000 Renowned Music Photographer Quits the Industry, Cites Misogyny From Peers A music photographer renowned for working on London’s club scene has today announced her plans to leave the business, citing misogyny and bullying from her contemporaries. [ Read More ]]]> 0 169126 Canon’s M-i1 Mini Projector Can Beam Your Camera’s Photos Wirelessly Mon, 18 Sep 2017 16:47:44 +0000 Continue reading "Canon’s M-i1 Mini Projector Can Beam Your Camera’s Photos Wirelessly"

Canon has launched a new mini projector, the Mini Projector M-i1, that can be used to project photos and video wirelessly without needing a computer. It measures only 105mm x 105mm x 22mm and weighs just 235 grams, but it’s able to project 1080p Full HD video over up to 3 meters, producing an 84-inch screen. The minimum distance for projection is 0.5 meters, which will produce a 14-inch screen. The brightness of the screen is 701lm, and this is done using an LED light which is expected to last for around 10,000 hours of operation. The projector
work over WiFi or Bluetooth, meaning that it can hook-up to smartphones, tablets, and even WiFi-enabled Canon cameras. This totally bypasses the need for a computer, allowing you to project photos on the fly. Canon has targeted this new projector at a niche market that includes photographers looking to make presentations outdoors, or perhaps in conferences in open spaces where a larger projector would not be practical.
The projector will be able to read and project data stored in its embedded memory, or via a USB stick. It can be operated by a touchpad and has a built-in battery that lasts 2 hours. You can even use the projector to charge a mobile phone, just like you would a normal battery pack. Canon hasn’t announced a release date yet, but it will be available at the Canon online store for approximately $270 (excluding taxes). (via Nikkei via Canon Rumors)
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Atomos Announces Affordable Sumo 19M Production Monitor Mon, 18 Sep 2017 16:30:00 +0000 Continue reading "Atomos Announces Affordable Sumo 19M Production Monitor"

Atomos launches a slimmed down version of its Sumo19 monitor for filmmakers. The Sumo19 was shown off at NAB this year and now Atomos has released a monitor-only variant dubbed Sumo19M, ideal for professional shooters looking for an affordable solution on set. Priced at just $1,995, the Sumo19M monitor has many of the same features as its counterpart but lacks the ability to record. The 19" HDR monitor touts a 1920 x 1080 resolution with 1200 nit brightness and wide viewing angle capable of displaying 4K and sources. The redesigned interface provides easy access to scopes on the screen as an overlay. It can accept up to 4K 60p or HD 240p over HDMI or the dual 12/6/3G-SDI inputs. Additionally, there are dedicated input selection buttons on the touchscreen user interface to make A/B comparisons. HDR friendly, Atomos' AtomHDR engine provides easy HDR monitoring where you can easily set correct exposure for HDR or Rec 709. It comes with Log gamma settings pre-installed and custom LUTs can be stored and displayed which are loaded via a standard 2.5" drive from the Atomos Master Caddy. Read More]]> 0 169104
To Underexpose or Not to Underexpose, That Is the Question Mon, 18 Sep 2017 16:19:00 +0000 Continue reading "To Underexpose or Not to Underexpose, That Is the Question"

To Underexpose or Not to Underexpose, That Is the Question Photography is all relative to the creator and the viewers, so the decision of whether to underexpose, overexpose, or to expose your portraits evenly is obviously subject to personal preference. There is merit to any of the methodologies that you could apply to your own photography and it really just comes down to figuring out what works best for you and your gear. [ Read More ]]]> 0 169128
GoPro Hero6 leaked again: Shoots 4K at 60fps, 1080p at 240fps, and costs $500 Mon, 18 Sep 2017 16:19:00 +0000 Continue reading "GoPro Hero6 leaked again: Shoots 4K at 60fps, 1080p at 240fps, and costs $500"

Newly leaked photos of the GoPro Hero6 form a Best Buy in Canada. Photo credit: The Verge Days after the first photo of the upcoming GoPro Hero6 action camera leaked online, showing that the little cam will finally be able to shoot 4K at 60fps, another set of images has appeared after the camera was put up (by mistake, we assume) at a Best Buy in Canada. The photos were sent to tech site The Verge by a tipster who got to see that camera, and the leak reveals two more tantalizing details about the Hero6. In addition to the 4K 60fps news, the photo shows that the Hero6 will also be able to shoot FullHD 1080p video at 240fps slow motion, and the camera will sell for $650 CAD, or approximately $500 USD when it's released. The Verge is also reporting that GoPro will no longer use an Ambarella processor from the Hero6 onwards. Instead, the new camera will reportedly contain a custom-built processor known at GoPro as the "GP1," leaving many to hope that this new chip will translate into better battery life and higher performance from GoPro's future models. Finally, the last piece of the puzzle is a release date, which was also leaked today. According to Twitter user Konrad Iturbe, who was able to gain access to GoPro's staging website, the announcement/release date is set for September 28th.]]> 0 169100
8 Steps to the Making of a Career-Launching Short Mon, 18 Sep 2017 16:04:02 +0000 Continue reading "8 Steps to the Making of a Career-Launching Short"

We dug into the process behind award-winning Short of the Week debut, 'Hi-Glow Retro'. Making a successful, festival-winning short is practically a prerequisite for any career in film. For good reason: it’s a great way to showcase your voice and your competence—and it may even serve as proof-of-concept for potential investors, if you decide to pitch it as a feature. Yes, it’s a jungle out there, but if you can execute a story well on a small scale… maybe, just maybe, there’s hope. Twenty-six-year-old writer/director Alex Morsanutto is counting on it. Morsanutto’s short film Hi-Glow Retro–or as he calls it, “my sweet disco baby”– premieres today on Short of the Week. His online release is the latest in a string of accomplishments for this film on the festival circuit, including awards for Best Comedy Short & Best Actor at Williamsburg Independent Film Festival, and the Audience Award at National Film Festival for Talented Youth (NFFTY). Read More]]> 0 169080
Five Great Adobe Lightroom Tips Mon, 18 Sep 2017 16:02:00 +0000 Five Great Adobe Lightroom Tips In his latest photography tutorial, noted French photographer and prolific video tutorial maker Serge Ramelli discusses his top five Lightroom tips. [ Read More ]]]> 0 169116 Hawk Wood’s MixPWR adaptors for Sound Devices MixPre – IBC 2017 Mon, 18 Sep 2017 15:47:42 +0000 Hawk Wood’s MixPWR adaptors for Sound Devices MixPre – IBC 2017 appeared first on Newsshooter.]]> 0 169072 This Photo Booth Shoots ‘Professional’ Headshots for $20 Mon, 18 Sep 2017 15:45:54 +0000 Continue reading "This Photo Booth Shoots ‘Professional’ Headshots for $20"

IRIS is a new photo booth that’s designed to shoot “professional” portraits of professionals for only $20. Instead of looking like typical photo book snapshots, the portraits are supposed to look like they were shot by a headshot photographer with studio lighting. You can pay for your shoot on the IRIS website before visiting a booth, or you can make your payment at the booth itself. Once you’re inside the booth, enter your email to get things rolling. The screen will then guide you with instructions and advice for posing. Your session includes 6 different shots. You can pick one
edit afterward on the screen using “professional retouching tools” — things like teeth whitening, blemish removal, and skin softening. After you’re satisfied with your photos, you can choose to download one high-res photo file from the IRIS website as part of your paid session. If you’d like the other 5 photos as well, you can purchase them for an additional $5. Here are some sample photos that show what the IRIS photo booth can do: The IRIS has been launched at about 9 locations so far — places like university buildings and airports, where students and professionals in a rush might be found scrambling for a quick headshot. Here’s a short video showing how the IRIS photo booth works:
“From the quality of the photos, these absolutely will never replace a great headshot photographer,” writes retoucher Pratik Naik of Retouchist. “The limitations are also the fact that people don’t know what looks good. However, is it enough to fill the needs of most people? I guess we’ll have to see.”
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Shutter Release: Portrait lighting setup, large format portraiture, Photoshop tips, Yashica’s return and more Mon, 18 Sep 2017 15:30:10 +0000 Continue reading "Shutter Release: Portrait lighting setup, large format portraiture, Photoshop tips, Yashica’s return and more"

We hope you all had a pleasant weekend and for those of you were out taking photos, we hope the conditions were favorable! In today&#39;s edition of Shutter Release, our regular roundup feature here at Imaging Resource, we will be looking at six articles and videos covering a wide range of topics. We start with an article and a video showing portraiture behind the scenes, then look at 10 tips for landscape photography before moving to a pair of Photoshop tutorial videos and finish up with an interesting teaser video from Yashica. We&#39;ve... <br /><a class="readMore" href=''>(read more)</a> ]]> 0 169087
Rotolight NEO 2 on-camera LED light – IBC 2017 Mon, 18 Sep 2017 15:28:51 +0000 Rotolight NEO 2 on-camera LED light – IBC 2017 appeared first on Newsshooter.]]> 0 169074 Nikon Steps In It Again Mon, 18 Sep 2017 15:23:56 +0000 0 169078 Atomos Connect: 15 different conversion, signal processing and system integration boxes – IBC 2017 Mon, 18 Sep 2017 15:04:35 +0000 Atomos Connect: 15 different conversion, signal processing and system integration boxes – IBC 2017 appeared first on Newsshooter.]]> 0 169076 Fstoppers Reviews the RapiDome Collapsible Speedlight Modifier by Photoflex Mon, 18 Sep 2017 14:59:00 +0000 Continue reading "Fstoppers Reviews the RapiDome Collapsible Speedlight Modifier by Photoflex"

Fstoppers Reviews the RapiDome Collapsible Speedlight Modifier by Photoflex There are a ton of speedlight modifiers on the market today. Some utilize the miracle material we call Velcro, others use rare-earth magnets to affix their product to your flash. Photoflex takes a more traditional approach with their latest speedlight modifier by developing a collapsible octobox style modifier specifically designed for speedlights. [ Read More ]]]> 0 169330
Should Your Next Light Be an LED or a Strobe? Mon, 18 Sep 2017 14:43:00 +0000 Continue reading "Should Your Next Light Be an LED or a Strobe?"

Should Your Next Light Be an LED or a Strobe? For anyone beginning to delve into the art of using off camera lighting, it can be a bit daunting to decide where to start in acquiring new lighting equipment. Here is a great guide to the pros and cons of LED and strobe lighting so that you’ll be able to make the right choice for your next acquisition. [ Read More ]]]> 0 169084
See For Yourself: Panasonic Debuts First Official EVA1 Footage Mon, 18 Sep 2017 14:40:00 +0000 Continue reading "See For Yourself: Panasonic Debuts First Official EVA1 Footage"

Does this EVA1 footage live up to the hype? We first heard rumors about Panasonic's new digital video camera leading up to NAB 2017, and when we finally saw the original specs at the Cine Gear Expo, we declared that it might be the ultimate indie cinema camera. The EVA1 features dual native ISO, 5.7K (5720 x 3016) resolution on a Super 35 CMOS sensor, a 10-bit 4:2:2 internal codec for 4K and full HD and internal data rates up to 400 Mbps all for under $8,000. As part of Panasonic's official launch of films created with the camera, the company has released footage shot by Italian DP Filippo Chiesa, as well as other behind-the-scenes videos for 4K viewing. DP Filippo Chiesa The first was shot in Iceland by director of photography Filippo Chiesa, with color grading done by Frédéric Savoir at Amazing Digital Studios. Behind-the-Scenes While Chiesa was filming, DP Matteo Mezzadri and his crew followed the real world situation of the shoot. Read More]]> 0 169052
CanonRumors Suspects Canon Might Be Releasing New DSLR Series in 2018? Mon, 18 Sep 2017 14:33:28 +0000 Continue reading "CanonRumors Suspects Canon Might Be Releasing New DSLR Series in 2018?"

Note this rumor from CanonRumors is indeed just that, but it could make a lot of sense… after all Canon's been pretty serious about keeping the Cinema EOS line very much apart from the DSLR line. And of course we all know we've all yelled at them about wanting better video in the DSLR line… so again, this might make sense. But I also suspect it might not be low end (CR suspects it might be APS-C which would be middle ground) if indeed Canon goes this direction. Big note that CR rated this rumor CR1 – which means it is very much
and potentially wrong. But it is intriguing to think about at least. So the rumor is (as you can read from the CR text below), that Canon might be working on a new DSLR in possibly the Cinema EOS line (or a new line?). And of course this would be outside the mirrorless arena (heck we don't know if they're going there either!). But I think it would hopefully satisfy those who still want the DSLR form factor (are there any? LOL — actually there are plenty – I continue to see them all the time).

For the second time in the last couple of months, we’re being told that a new DSLR series will be announced some time in 2018. Neither source could name the series, only that it appeared as a “new DSLR series” in a presentation. If we’re thinking out loud, I think these would be the obvious candidates.
  • EOS Cinema DSLR
    • A cinema DSLR camera to replace the discontinued EOS-1D C. This has been talked about numerous times over the years.
  • EOS-1D Xs
    • A high megapixel pro series body. Since the amalgamation of the 1D line back in 2009, we’ve always wondered if we’d get a camera like this to truly replace the EOS-1Ds Mark III
  • EOS APS-C Cinema DSLR
    • A cheaper 4K cinema alternative that would “protect” the Cinema EOS lineup of cameras.
Hopefully this will bring a bit more information to the surface. For the moment, this is a [CR1] rumor, so please treat it as such. Read more:
Source: New DSLR Series Coming in 2018? [CR1]  
(cover photo credit: snap from Canon – you know, the old ) The post CanonRumors Suspects Canon Might Be Releasing New DSLR Series in 2018? appeared first on planet5D curated digital image news.]]> 0 169060