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Posts Tagged ‘Final’

Adobe has released the final standalone version of Lightroom

20 Dec

If the release of Lightroom Classic CC and Lightroom CC on October 18th was the beginning of the end for standalone Lightroom, today marks the end of the end. Adobe has released the final standalone Lightroom, version 6.14, adding some bug fixes and camera and lens compatibility, but otherwise using the opportunity to encourage users to jump on the subscription bandwagon.

To their credit, Adobe isn’t hiding this fact. They announced that this final update was coming all the way back in October, and today’s update announcement notes state the facts plainly:

Lightroom 6.14 is the last perpetual, standalone version of Lightroom.

While you may continue to purchase and use Lightroom 6 with a perpetual license, Adobe will no longer provide updates to the software. Consider upgrading to the Creative Cloud Photography plan to get the latest updates in Lightroom Classic CC and the all-new Lightroom CC, and ensure that the software works with raw files from the newest cameras.

As of today, Lightroom 6 becomes an ‘unsupported product.’

Of course, that’s okay if you plan to use it with a camera you currently own and don’t intend to upgrade any time soon. Problems—or, rather, inconveniences—arise with your next camera purchase. That camera won’t be supported by Lightroom 6, and you’ll be forced to use Adobe’s DNG converter before importing your images.

Not to mention the OS compatibility issues that will inevitably arise as Microsoft and Apple continue releasing new operating systems.

If that all sounds like too much of a hassle, and a Creative Cloud subscription is simply out of the question, it might be time to check out some of the popular alternatives that we’ve been testing and writing about recently.

Click here to download the latest (and last) version of Lightroom 6.

Articles: Digital Photography Review (dpreview.com)

 
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Final Cut Pro X 10.4 adds HDR support, VR video editing, and (finally!) curves

15 Dec

Apple has released a Final Cut Pro X update that adds a slew of new features and expanded support to its video-editing software, most notable among those features being support for 360-degree and VR video. This is a major update for the software, which has been optimized to fully leverage the greater processing power of the new iMac Pro desktop systems.

In version 10.4, Final Cut Pro supports editing 360-degree videos and viewing them in real time using an HTC Vive VR headset. According to Apple, the software supports importing, editing, and delivering these VR videos, with available edits including “immersive effects,” removing camera rigs, straightening the horizon, and adding standard videos/images to VR projects.

In addition to its new 360/VR capabilities, Final Cut Pro 10.4 adds support for high dynamic range (HDR) videos in Rec. 2020 HDR10 and Rec. 2020 Hybrid Log Gamma formats, as well as new advanced color grading tools, including color wheels with controls for adjusting brightness, saturation, and hue.

The latest version of Final Cut Pro also offers color curves with multiple control points, enabling users to make “ultra-fine color adjustments,” according to Apple. Or, as our Senior Reviewer Richard Butler put it: “Curves! Curves! At long bloody last, Curves!”

Users have both manual white balance and eye dropper color sampling options, as well as the ability to apply custom lookup tables (LUTs) from Color Grading Central, PremiumBeat, and select other color grading apps. The latest version of Final Cut Pro combined with the new iMac Pro desktops also marks the first time a Mac can be used to edit full 8K-resolution videos.

Apple lists the following additional features as arriving in Final Cut Pro 10.4:

  • Easily import iMovie projects from iPhone and iPad into Final Cut Pro for advanced editing, audio work, motion graphics and color grading.
  • HEVC and HEIF support for importing and editing high efficiency video and photo formats from Apple devices.
  • Updated audio effects plug-ins from Logic Pro X with redesigned, resizable interfaces.
    Faster, higher quality optical flow analysis built on Metal, Apple’s advanced graphics technology.

The Final Cut Pro 10.4 update is available for free to existing Final Cut Pro owners, while new users will need to pay $ 300 USD for the application. Apple has also released Motion 5.4 and Compressor 4.4 for free to existing users, and at $ 50 USD each for new users.

To learn more or pick up a copy for yourself, head over to the Final Cut Pro website.

Press Release

Final Cut Pro X introduces 360-degree VR video editing

Apple’s Pro Video Editing App Also Adds Advanced Color Grading, HDR Support and More

Cupertino, California — Apple today announced a major update to its professional video editing app, Final Cut Pro X, with new features including 360-degree VR video editing, advanced color grading tools and support for High Dynamic Range (HDR) video.

Optimized to take full advantage of the incredible performance capabilities of the all-new iMac Pro, Final Cut Pro users can now edit full-resolution 8K video for the first time on a Mac. Apple is also extending 360-degree VR video support to Final Cut Pro companion apps, Motion and Compressor.

Today, with more than 2 million seats, Final Cut Pro X is the most popular version of the software ever and is used by professional video editors to create incredible works of art, from award-winning Hollywood feature films and commercials, to international broadcasts and the world’s most popular YouTube videos.

“With new features like 360-degree VR editing and motion graphics, advanced color grading and HDR support, Final Cut Pro gives video editors the tools to create stunning, next-generation content,” said Susan Prescott, Apple’s vice president of Apps Product Marketing. “When combined with the performance of Mac hardware, including the all-new iMac Pro, Final Cut Pro provides an incredibly powerful post-production studio to millions of video editors around the world.”

Final Cut Pro lets professional editors create VR content with the ability to import, edit and deliver 360-degree video and view the project in real time through a connected HTC VIVE headset with SteamVR. Users can easily add 360-degree titles in 2D or 3D; apply blurs, glows and other immersive effects; and use visual controls to straighten horizons or remove camera rigs from equirectangular videos. Standard photos and videos can also be added to VR projects and 360-degree video can be shared directly to popular websites including YouTube, Facebook and Vimeo.

The update also includes powerful tools for professional color grading. Unique color wheels feature built-in controls to adjust hue, saturation and brightness. Color curves allow for ultra-fine color adjustments with multiple control points to target specific color ranges, and eye droppers let users sample specific colors and apply manual white balance. Users can also apply custom lookup tables (LUTs) from popular color grading apps like DaVinci Resolve and websites including PremiumBeat, Color Grading Central and more.

With support for the most popular HDR formats, Final Cut Pro gains access to an expanded range of brightness levels to deliver incredibly realistic images. Editors can output video to HDR monitors using I/O devices from AJA and Blackmagic with brightness levels up to 10,000 nits. The new color grading tools support both HDR and Standard Dynamic Range (SDR) video, and with tone mapping, users can easily change HDR to SDR output for broadcast.

Additional Features in Final Cut Pro 10.4:

  • Easily import iMovie projects from iPhone and iPad into Final Cut Pro for advanced editing, audio work, motion graphics and color grading.
  • HEVC and HEIF support for importing and editing high efficiency video and photo formats from Apple devices.
  • Updated audio effects plug-ins from Logic Pro X with redesigned, resizable interfaces.
  • Faster, higher quality optical flow analysis built on Metal, Apple’s advanced graphics technology.

Motion 5.4 enables users to create immersive 360-degree VR titles and effects that can be instantly accessed in Final Cut Pro. The update also makes it easy to convert between any type of Motion project at any time, create realistic spring-loaded animations with the new Overshoot behavior and apply photographic-inspired looks with new filters. Compressor 4.4 lets users deliver 360-degree video with industry-standard spherical metadata. Compressor also lets users export HEVC and HDR video, while adding a range of new options for delivering MXF files.

Pricing and Availability

Final Cut Pro 10.4 is available as a free update today for existing users, and for $ 299.99(US) for new users on the Mac App Store. Motion 5.4 and Compressor 4.4 are also available as a free update today for existing users, and for $ 49.99 (US) each for new users on the Mac App Store. Education customers can purchase the Pro Apps Bundle for Education for $ 199.99 (US). For more information, please visit: apple.com/final-cut-pro.

Articles: Digital Photography Review (dpreview.com)

 
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Netflix acquires rights to Kodachrome: a movie about the final days of the iconic film

16 Sep
Photo courtesy Toronto International Film Festival (TIFF)

Netflix has acquired the rights to Kodachrome, an upcoming Jason Sudeikis movie about the last days of the Kodachrome film era. The news was first reported by Deadline, who is claiming that Netflix paid $ 4 million for the rights and plans a widespread theatrical release that could cover theaters in major regions around the world—including the US, UK, Canada, and Japan.

Kodachrome the movie revolves around a father and son on a road trip to get to one of Kodak’s photo processing labs before it closes down forever. The screenplay was inspired by a New York Times article about the last lab in the world that was processing the now-iconic film stock; in the movie, the characters are racing against time to try and get four rolls developed before it’s too late.

True to the film’s theme, Kodachrome was shot on film, not digital, and features the acting talents of Jason Sudeikis, Ed Harris, and Elizabeth Olsen. Here’s hoping it comes to a theatre near you… and pays proper tribute to the analog legend.

Articles: Digital Photography Review (dpreview.com)

 
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RIP Final Cut Pro 7: The video editor won’t even open on macOS High Sierra

29 Aug
Photo by Jakob Owens

Apple has revealed that its aging-but-beloved video editing program, Final Cut Pro 7, will not be supported by macOS High Sierra. If they update Apple’s upcoming operating system, existing Final Cut Pro 7 users who want to continue using Final Cut for video editing will be forced to transition to Final Cut Pro X.

This puts video editors who use FCP 7 in a rough spot. If you don’t update to the latest macOS, you might expose yourself to security risks; if you do, you’ll be forced to adapt your workflow to Final Cut Pro X, which many professionals are less fond of. According to cinema5D, Apple has started to notify Final Cut users about the change in an email that informs users that they’ll need to upgrade to newer versions like Final Cut Pro X, Compressor 4 and Motion 5 ASAP.

“Older versions of Apple pro video applications — including applications in Final Cut Studio — will not launch on a computer running macOS High Sierra,” reads the email. “New versions of Apple pro video applications — including Final Cut Pro X, Motion 5, and Compressor 4 — are compatible with macOS High Sierra. You can purchase these applications on the Mac App Store.”

Final Cut Pro 7 users who are interested in making the transition to the newer version are being directed to this page. Apple has also published a 22-page whitepaper for Final Cut Pro 7 users who are switching to X.

Articles: Digital Photography Review (dpreview.com)

 
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Post-Processing: The Final Phase of Studio Product Photography

22 Apr

For the final installation of this series we will be exploring the third and final cog to the product photography studio. We will discuss the system that will allow you to catalog and edit your images to get them web ready in a hurry. For this we are going to deploy Lightroom. I am sure that there are other programs that can be inserted here since we are only doing some minor adjustments and renaming. If you have Lightroom fire it up and follow along.

SHOOTING TETHERED

I like to shoot tethered whenever I work in studio for a few reasons. The first being that I can see the image I just shot on a large monitor. I can zoom in and see details that are difficult to get to on the back of a camera screen. The second reason is that I have all the shots automatically sorted into the correct folders.

SETUP THE TETHER

To get started with tethering in Lightroom go to File > Tethered Capture > Start Tether Capture.

Studio product photography processing 01

From there you will enter the tethered settings. I always put the product name as the session name, in this case “Stan Lee” since I am shooting action figures. Next is the naming, I let the filename remain the part number (or product name) but add a number sequence to the end. You can do whatever works for you to differentiate the shots.

Next choose the location where you want Lightroom to store your images. In this case I am going to have all of the shots go into the folder for my client “XYZ” so I make a folder called “XYZ Product Images”. Lastly add the metadata information, in this case my contact and copyright information. Then hit OK.

Studio product photography processing 02

Next you will get a little display that you can position anywhere on your Lightroom screen, I like to put it up at the top. It shows that the camera is connected.

*TIP* If nothing is showing up check that you camera is turned on and that the cable is connected. If that fails, reboot your camera, reboot Lightroom and remove and reconnect the cable. This usually clears up 99% of tether issues. Below the camera make is the part number and the rest of your camera settings.

Studio product photography processing 03

(You can read all about my camera setting on my other DPS article here; Tips for Fast and Effective Studio Product Photography. Now that you have your tether capture all setup you can begin taking photos.

Studio product photography processing 04

THE PHOTO SHOOT

For this shoot my client wants two angles of this Stan Lee action figure. So I use our basic lighting setup (discussed in this article; Equipment Tips for Quick and Efficient Studio Product Photography) and take the first shot.

Let’s take a look at this shot in Lightroom Develop module. Hit the D key to enter the develop module, or click Develop at the top of Lightroom. Make sure your clipping detection is turned on by hitting the J key.

Studio product photography processing 05

What I am trying to accomplish here is to blow out the background. If it were blown out we would be showing red (clipped) in Lightroom. We aren’t seeing that, which means I need to decrease the shutter speed to let in more light. Let’s try 1/3 of a stop for a bit more additional light and shoot again.

Studio product photography processing 06

Set the exposure

Now we are cooking with fire. All of our subsequent shots will be dialled in making less work. It is not necessary to have the entire background clipping. In fact, for some subjects it will likely mean you have lost a ton of contrast in the image. This amount of red is okay for this subject.

Keep in mind white and reflective products will become overexposed must sooner than darker ones, so set your exposure accordingly. Even if you have zero red on the background it is okay, there Lightroom tools that will make quick work of the background. But remember that every bit of extra work you do later in Lightroom costs time so try to get it right in camera.

*TIP* With this product photography studio setup it is so easy to get many product angles in such a short amount of time. It’s always wiser to shoot extra angles now rather than have a client ask for others later. Now that we have four angles of Stan Lee let’s switch to the next product.

Change the product

Studio product photography processing 07

Click the little gear icon on the tether tool which will bring up the Tether Capture Settings and you can change your session name to the new product number, in this case, “Wookiee”. Hit the tab key twice, because, as you can see the sequence number is retained from the last shot and it reads shot number 5. Hit the number 1 key and then hit OK or Enter.

You are now setup to take the next shot and all of these new images will go into the “Wookie” folder but stay in the main project for XYZ Products.

Studio product photography processing 08

Just as before, we will take four angles for the client to make sure we have enough.

Studio product photography processing 09

If we expand the navigator pane you can see that we have two product folders, “Stan Lee” and “Wookie” and there are four images in each. We can view all the images by selecting the “XYZ Product Images” folder. We are now done with the tether tool so you can close it.

Studio product photography processing 10

THE EDIT

Typically this is where I will grab all the images from the shoot and export them as small files for client proofs. The client chooses the images they want and then we edit those. Let’s pretend they’ve already given us their list and begin the edits.

Make the background white

Hit the D key to enter the develop module, or click Develop at the top of Lightroom. The first thing I like to do is make sure that the background is blown out (pure white with no detail). To do this, make sure your clipping highlight feature is turned on, (hit J on the keyboard if it’s not).

Since our shot could use a little help at the bottom we will increase the whites with an adjustment brush. Hit the K key and with a new brush enter +1.00 on exposure and +40 on whites (I have saved this preset as its own brush called “blowout”). Turn on Auto Mask, it does a good job of keeping these settings from inadvertently bleeding onto the subject if you get a little too close. Now simply paint the white background and it will clip the whites. If it doesn’t, finish painting, then add a new brush and paint again.

Studio product photograph processing 11

Global adjustments

Hit your K key once more to return to image adjustments. Turn off clipping highlights by hitting the J key. This helps you to focus on the subject during the adjustments. For this image I added +20 contrast, -30 blacks, +30 clarity and +20 saturation.

You can easily sync these settings to the rest of the product image by bringing up the filmstrip at the bottom of Lightroom. If you don’t see your filmstrip, click the little up arrow at the bottom of the develop module. Now select your first image, hold you Shift key and click the last image. Click the Sync button in Lightroom to apply the settings to all the selected images.

Studio product processing 12

We will select Basic Tone, Clarity and Color to sync just those effects to the rest of the images.

Studio product processing 13

Click Synchronize and the rest of the products will get the same adjustments. Keep in mind you still need to go back to each image and ensure their backgrounds are properly clipped as well. You can use the Adjustment Brush feature as before. Our Stan Lee products are now on completely white backgrounds and they look great.

Alternate method

For the Wookie products I will show you a slightly faster albeit sometimes not as accurate method. Enter the Develop module, and instead of using an Adjustment Brush let’s see if the Whites slider will clip the background. For this image I added +93 to the Whites slider.

Studio product processing 14

Worked like a charm. Now let’s finish giving this little guy some additional love. I added +20 contrast, -30 blacks, and +20 clarity. Additionally I added some sharpness found in the Detail pane. This time, when we select all of our Wookie products and synchronize I will click the Check All button.

Studio product processing 15

When I do a quick look at the rest of my Wookie products they all look great. These are ready to export and it took me less than two minutes to edit all four images.

Studio product processing 16

Studio product processing 17

Studio product processing 18

Conclusion

Assuming you already have a calibrated monitor, the only other thing you might want to do is add a custom color profile for you camera to Lightroom. This will ensure that your product colors remain true, which is very important. You can see how to do that with this dPS article; How to Use the X-Rite ColorChecker Passport to Obtain Perfect Color.

This concludes my three part series for studio photography and how to inject some speed into it. I hope you enjoyed it. Thank you for reading.

The post Post-Processing: The Final Phase of Studio Product Photography by Jacob Macias appeared first on Digital Photography School.


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Light’s L16 camera is in final stages of testing

15 Apr

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Light has been teasing images of its first prototype L16 cameras for a while now. Today, it offered a look inside production of its Design Verification Test cameras as well as a peek at the camera’s current design, as noted by LightRumors. Next month, beta testers will receive pre-release cameras, and emails have gone out to pre-order customers with shipping details. In other words, things are getting real.

Light announced its L16 camera in 2015, presenting a compact camera with 16 lenses using folded optics. Its 16 13MP sensors can be used to create up to a 52MP composite image, and it will offer 28mm, 70mm and 150mm equivalent focal lengths. Light’s website mentions that the camera will go on sale to the general public at the end of 2017.

Articles: Digital Photography Review (dpreview.com)

 
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Hasselblad X1D final production sample gallery

15 Apr

Of the recent digital medium format releases, one could argue the Hasselblad X1D carries the most-revered name. Based around a similar 44 x 33mm sensor found in the Pentax 645Z and Fujifilm GFX-50S, it offers the most ‘portability’ of the three, especially when coupled with its smaller leaf shutter lenses. Does the image quality live up to the name? Check out our samples to find out.

View our Hasselblad X1D sample gallery

View our Hasselblad X1d beta sample gallery

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Articles: Digital Photography Review (dpreview.com)

 
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Pete Souza captures Obama’s final day in the White House

21 Jan

Pete Souza, the official photographer for now-Former President Obama, posted a series of photos on his Instagram account showing the Obama’s final departure from The White House. Like the Former President, Souza plans on taking some time off, sleep late and ‘do whatever the wife wants me to do.’

All of the photos Souza took during his eight-year tenure as White House photographer are archived here.

 

President Obama leaves the Oval Office this morning for the last time. What a great experience I’ve had the past eight years. Every photo I’ve posted to this account has been archived and locked at @petesouza44. This account (@petesouza) will now be my personal account so I hope you will continue to follow me. I expect to be very active on Instagram although I may not post that much initially as I try to take a little break, sleep late, do whatever my wife wants me to do, go the gym every day, see some concerts, watch some movies, read some books, drink some wine….you get idea.

A photo posted by Pete Souza (@petesouza) on

 

Another view of President Obama leaving the Oval Office for the last time this morning (taken with remote camera).

A photo posted by Pete Souza (@petesouza) on

 

President Obama waves from the steps of Executive One helicopter following the inauguration of Donald Trump at the U.S. Capitol.

A photo posted by Pete Souza (@petesouza) on

 

Farewell.

A photo posted by Pete Souza (@petesouza) on

Homepage photo by Susan Sterner

Articles: Digital Photography Review (dpreview.com)

 
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Zaha Hadid’s Legacy: Proposal for London by the Architect’s Final Students

11 Oct

[ By SA Rogers in Architecture & Cities & Urbanism. ]

bishopsgate-proposal-2

The legacy of famed architect Zaha Hadid continues to unfold months after her death at age 65 as a long list of her final projects continue in various stages of development, from those currently under construction to concepts that may forever remain unbuilt. But even putting aside the many outstanding and unrealized designs remaining on her firm’s docket, Hadid’s influence on modern architecture lives on through the work of her students at the Yale School of Architecture.

bishopsgate-proposal-8

During their semester-long project at Zaha Hadid’s final studio course, a group of students envisioned a striking new development for London’s Bishopsgate Goodsyard, a flowing white complex in the architect’s signature biomimetic style. Consisting of a high-density residential tower, a mid-rise block and a train station acting as a bridge between the two, the proposal adds some height and visual interest to the largest undeveloped piece of land remaining in central London.

bishopsgate-proposal-1

bishopsgate-proposal-5

Lisa Albaugh, Benjamin Bourgoin, Jamie Edindjiklian, Roberto Jenkins and Justin Oh present a futuristic network of  gleaming white structures with a skeletal appearance, as if someone took the carcass of some extinct megabeast and reassembled it into a deconstructed approximation of a Gothic cathedral. The spaces between the rib-like columns are filled in with wavy walls of glass decorated with veinous ribbons of gold.

bishopsgate-proposal-3

bishopsgate-proposal-4

Viaducts at the base act as access points to a series of public spaces, including a park landscape, connecting the various functions within the complex. All of the different elements that would normally be contained within a traditional tower core are instead spread into individual ‘strands,’ like the elevators, stairs and mechanical systems, freeing up the tower’s center for unusual cross-views out of all that glass.

bishopsgate-proposal-6

bshopsgate-proposal-7

It would seem that the proposal is pure fantasy, given that the developers of the site, Hammerson and Ballymore, have already produced their own proposal. But Londoners have made it clear that they aren’t too keen on that design, with over 11,000 residents signing a petition against it. Critics argue that the developers’ proposal “would result in unacceptable and avoidable significant negative impacts” to the neighborhood.

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[ By SA Rogers in Architecture & Cities & Urbanism. ]

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Yosemite Trademark Dispute Name Changes – The Final Straw

26 Apr
"The Scenic Village Gallery" formerly "The Ansel Adams Gallery"

“The Scenic Village Gallery” formerly “The Ansel Adams Gallery”

Yosemite is a place that never ceases to amaze, often evoking a reflexive “Wow!” from my lips as I explore the national park. Indeed on my last visit that wow factor hit me again as snow fell in Yosemite Valley, but I was also wow’d in a way that could only make me facepalm in disgust and embarrassment. What could cause such a reaction? Seeing the recent name changes to much beloved landmarks that have swept across the park due to a heated trademark battle between the National Park Service and Delaware North. Curry Village is now Half Dome Village, Yosemite Lodge is now Yosemite Valley Lodge, The Ahwahnee is now the Majestic Yosemite Hotel, etc., but what pushed me over the edge on my visit was seeing the recent change to The Ansel Adams Gallery which is now The Scenic Village Gallery.  The absurdity of changing the name of a Historical Landmark such as the Ahwahnee is in itself silly especially given the Historical Landmark placards still stand outside & inside the building, but to see tradition further trounced upon by changing The Ansel Adams Gallery to something as generic as “Scenic Village” was mind blowing. Below are some photos of the signs reflecting the name changes I took on my visit. I will say though they got the name right on some buildings that have yet to get much press attention…

The Ahwahnee National Historical Landmark  Placard

The Ahwahnee National Historical Landmark Placard Outside the Majestic Yosemite Hotel

New Roadsigns in Yosemite Valley

New Roadsigns in Yosemite Valley Resulting from the Delaware North Trademark Dispute

Yosemite Valley Lodge Sign

Yosemite Valley Lodge Sign

Historical Landmark  Placard Inside the Majestic Yosemite Hotel - Formerly the Ahwahnee Hotel

The Partially Covered Ahwahnee National Historical Landmark Placard Inside the Majestic Yosemite Hotel – Formerly the Ahwahnee Hotel

The Majestic Yosemite Hotel Bus Stop

The Majestic Yosemite Hotel Bus Stop

Newly Named Yosemite Bathrooms - Delatrine Norths

Yosemite Bathrooms Now Aptly Named the Delatrine Norths

 

For more information on the Delaware North / National Park Service  trademark battle read the following articles:

  • A private company trademarked the phrase ‘Yosemite National Park.’ Should the U.S. pay to get it back? – New York Times
  • Op-Ed: Yosemite Is Losing to Corporate Greed – Outside Magazine
  • No Longer the Ahwahnee: new names for Yosemite landmark sites – SFGate.com

 

The post Yosemite Trademark Dispute Name Changes – The Final Straw appeared first on JMG-Galleries – Landscape, Nature & Travel Photography.


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