Posts Tagged ‘More’ uses smart watermarks and more to protect photographers’ images

29 Apr is a new service offering photographers paid photo hosting that automatically applies smart watermarks and other protections to images uploaded to the platform. It aims to allow photographers freedom to embed and share their images on the web while limiting the risk of someone re-using their work without attribution – or flat-out stealing it. enables customers to share their photos using an embed feature or to share it with others directly via a sharing tool. Anyone who tries to download the photo will be blocked, presented with copyright information, and/or a watermark will be automatically applied to the saved photo, depending on the photographer’s preferences.

Users can opt to apply ‘smart watermarks’ that appear when someone tries to download or screenshot an image, add photo credits, block embeds on websites, enable sharing with websites and track the number of online views each photo receives. The service appears simple to use, requiring customers to first upload their images, then add details to them such as credits. The user sets the permissions they want for each image, then saves it to their account.

You can see it in action below:


The service is free to sign up for, and it is priced on a per-thousand views basis. The rate for 10,000 to 99k views is $ 0.30 per 1,000 views, the 100k to 499k rate is $ 0.25 per 1,000 views, the 500K to 999K is $ 0.20 and the 1m or greater rate is $ 0.15. For example, says 10,000 views of a photograph will cost the subscriber $ 3. Individuals who sign up for the beta service will receive 1,000 credits for free.

The company acknowledged in a blog post yesterday that it’s service certainly isn’t foolproof. It stresses that its goal is to ‘add some friction’ to protect against casual theft. Would you find a service like this valuable? Let us know in the comments.

Via: PetaPixel

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More videos added to product overviews and getting started guides

26 Apr

Are you shopping for a new camera? Or just looking for some advice about how to use your current favorite model? We’ve just added several new informational videos to our range of product overviews and getting started guides, including guides to how to get started with the Fujifilm X-T20 and Nikon D3400.

You can find all of our recent overview and getting started guide videos from the links below, and subscribe to our YouTube channel to ensure you never miss a new video!

Watch our series of product overview videos

Watch our new ‘Getting Started Guides’ 

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Apple is releasing its Live Photos API, which means more moving photos in more places

21 Apr

Apple has revealed the API for its Live Photos feature, meaning more app and web developers will be able to support the company’s short 1.5 second video ‘moving photo’ video clips. Apps like Facebook are already able to display Live Photos for users running iOS 9, but making the API available will allow any developer who wants to put a Live Photos viewer on their website or in their iOS app to do so.

Live Photos debuted in 2015 with the iPhone 6S. Owners of recent iPhones including the 7 and 7 Plus can capture the moving images in the stock camera app, and anyone running iOS 9 or later can play the video clip by pressing and holding the image.

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7 Ways to Become More Spontaneous with Your Street Photography

16 Apr

As you become more experienced and comfortable doing street photography, you will notice that the way you shoot will begin to change. You will notice more, focus more on what you like, and your work will improve significantly. At this point, it can be important to embrace spontaneity in the way that you shoot.

street photography NYC

So often the first shot of a scene that you take will be the best, for reasons I can’t explain, except that your gut and instinct are something to embrace with this type of photography. The more experienced you become, the more vital they will be.

Here are some tips that have helped me to shoot in a more spontaneous fashion.

1. Choose your camera settings so that you can forget about them

The first step is to figure out your camera settings so that you can forget about them. You don’t want to worry about your camera or changing settings as you’re shooting. When you’re feeling good, it often feels like the camera isn’t there.street photography

If it’s a shady day and the lighting is consistent, then it’s easy to choose your settings and not have to worry about them. But it becomes tough when you are shooting in direct sunlight, where some areas are lit with extreme light and others are in the shadows.

For these situations, what I will do is change my camera to Aperture Priority mode, around f/8, and I will put my ISO up high, to around 1600. I will make sure that when I point my camera at shady areas it will still give me a fast enough shutter speed, like 1/250th of a second, to freeze motion in people. Then, when I point the camera in sunny areas, the shutter speed will be something insane, maybe 1/1000th or more of a second.

Obviously, these settings are not perfect for sunny areas since the ISO is high, but with newer cameras, ISOs of 1600 look beautiful. I prefer to shoot with these settings because it allows me to forget about my settings regardless of what light I walk into. It makes the day much more fun and relaxing, and I can spend more energy looking around.

2. Slow down and shoot quick

street photography NYC

When I work with newer photographers, I often seeing them run from place to place, searching for that elusive spectacular moment, as if the more ground they cover will yield more of those moments. Those moments will occur whether you are moving fast or not. Except when you are moving fast, you’re not focusing on the area that you’re in at the moment. There are interesting photos everywhere, particularly in places that you might have previously disregarded.

The slower you move, the faster you will be able to react when something happens. By increasing your awareness, you will allow yourself to be more spontaneous. You will have more gut feelings to follow. This will allow you to react much quicker when actually capturing the photograph.

3. Spend more time looking with your eyes than the viewfinder

street photography scene

In street photography, your eyes should be the real viewfinder. Focus your energy on looking around. It’s actually hard to do, especially if you are easily distracted or going from place to place. Notice the potential for something to happen with your eyes and get in position, then the viewfinder and camera will follow. But it should almost feel like the camera isn’t there – the hard work is done before you even bring it up to your eye.

4. Figure out how to take good photographs anywhere

street photography - garbage

Stop taking things for granted. The more you think an area will not provide you with a good photograph, the more you should try to get a good one there. Much of the time you’ll get nothing, but you will be surprised how often this works out, and it’s a fantastic way to train your eye.

This will also allow you to create unique and interesting photographs. By shooting in areas where not many others photograph, your good shots will be unexpected. They will stand out.

5. Go with your gut

street photography - crosswalk

We’ve talked a lot about going with your gut already, but what does that really mean? When you’re out there shooting, you’re going to get feelings that moments are about to happen. Most people wait to actually see something happen before they shoot, and often the moment has disappeared by then.

When you feel something good is about to occur, capture the moment in a quick and spontaneous way. Go for it instinctively – use your instincts to your advantage and develop them. While many of these shots will turn out to be nothing, when you hit one at the perfect moment, you will be left with an incredible image that you could not have captured otherwise. Be spontaneous.

6. Don’t worry about perfection

street photography

It is common for newer photographers to worry about cutting people’s feet off, something getting in the way, or the shot being skewed. I have heard so many comments about wishing that a person, group, or object wasn’t in the background or in a certain location. This is, of course, important stuff to consider. But when I hear these comments being made, I detect that the reason they find these things annoying is because they ruin the perfection of the image.

Have you ever shown an image to someone and the first thing they notice is this random background detail that’s barely noticeable? This is part of having too much focus on perfection, and it can drive you crazy. You’re trying to get the most perfect and clean image possible, and that is rarely possible in street photography. You take what is given to you, and an interesting moment is an interesting moment.

Street photography is supposed to feel real, and so many of those imperfections can add to that feeling of it being a spontaneous moment. They can improve an image just as much as they can ruin it. Try to embrace these imperfections when you can as being part of a real and special moment.

7. Don’t be afraid to take weird photographs

street photography - weird

These photographs are for you. You don’t need to take photographs that appeal to everyone, and not everything has to be perfect, grand, and pleasing. Capture photos that are not standard, off in some way, and weird. Focus on what interests you and try to foster that. This is where the voice in your work will begin to shine.

The post 7 Ways to Become More Spontaneous with Your Street Photography by James Maher appeared first on Digital Photography School.

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New York Times reportedly more than doubles photographers’ pay rate

06 Apr

The New York Times has more than doubled its photographers’ pay, according to a new report, increasing its day rate from $ 200 to $ 450. The report’s sources also claim that the publication’s pay rate for photographers working less than a day is now $ 300, though it isn’t clear what the previous rate was. This follows a report the company published in January stating, among other things, that it ‘need[s] to expand the number of visual experts who work at The Times and also expand the number who are in leadership roles.’

The Times discussed its ‘strategy and aspirations’ in its 2020 report published in January 2017. Chief among the details about many changes the publication needs to make is discussion of photography and its role in modern journalism. ‘Too much of our daily report remains dominated by long strings of text,’ the report explains, detailing ways it could improve articles using visual elements.

In addition to enabling reporters and others to improve their visual storytelling capabilities, The Times says, ‘We also need to become more comfortable with our photographers, videographers and graphics editors playing the primary role covering some stories, rather than a secondary role.’ 

Via: PetaPixel

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Using Juxtaposition for More Compelling Landscape Photography

30 Mar

Juxtaposition – it’s one of my favorite words, and also one of the most important aspects of successful photography. It’s used in portraiture, outdoor adventure, and frequently in travel photography. In images of the landscape, however, juxtaposition is often overlooked.

I say overlooked because many photographers integrate juxtaposed elements in their landscapes without even being aware of them. You see, juxtaposition, or the way different elements conflict and contrast, is a key feature in most good landscape photographs.

Though there are a dozen or more different ways juxtaposition can occur in an image, in this article I’m going to concentrate on three; color, texture, and subject matter.

Using Juxtaposition for More Compelling Landscapes

Juxtaposition – Color

You are probably familiar with the color wheel. Likely you were introduced to the concept in grade school when you learned the difference between primary and secondary colors. More recently, if you have selected a new font color on your word processing program you’ve likely seen some form of the color wheel.

Simply, a color wheel shows the three primary colors (red, blue, and yellow) occupying three slices of the circle with all the mixing iterations of color blending together between them. The result is a continuous blur of colors, encompassing just about everything on the visible spectrum.

Using Juxtaposition for More Compelling Landscapes

Many landscape images will have multiple juxtapositions. In this case, color is foremost with the warm tones on the salt mounds against the deeper blues of the water and sky. But the shape and texture also stand out. (Salar de Uyuni, Bolivia).

Colors that are opposite from one another (complementary) on the wheel like; blue and yellow, red and green, or orange and purple, for example, will juxtapose. That is, they will stand out from one another; some in a pleasing way, some in a conflicting way. Both can work in photography, depending on your goal, but you need to be aware of the way colors communicate in an image to assure your final result is what you intend.

Using Juxtaposition for More Compelling Landscapes

In this aerial image of the Baird Mountains in northwest Alaska, the turquoise tarn in the foreground stands out as the brightest patch of color in the frame, juxtaposed from the muted grays and browns of the mountains.

Reds and blues, for example, are very commonly blended in landscape photography; blue water with sunset sky, red flowers on a bluebird day, autumn colors against a dark backdrop, etc. Color plays an important role in landscape photography, and we recognize pleasing color combinations as soon as we see them. But recognizing WHY they are pleasing, is different from seeing that they are. Look for those relationships in your compositions, and concentrate on their placement. Some colors, red for example, are extremely effective at drawing the eye. But to be most effective, red needs to be counteracted by cooler tones, balancing the image. Mind how the colors are distributed in your image. It matters.

Juxtaposition – Texture

Using Juxtaposition for More Compelling Landscapes

A long exposure softened the water which creates a juxtaposition with the rough stones of the cliff. (Grand Canyon National Park, Arizona.)

Using Juxtaposition for More Compelling Landscapes

In this image, both the color and the rounded texture of the autumn Bearberry in the foreground creates a juxtaposition with the blue sky and the sharp, upright trees in the background.

Juxtaposed textures are abundant in any landscape; spiky bushes against a smooth landscape, water flowing over rough rock, or just a jagged boulder in the middle of an otherwise soft, grassy meadow, etc. Textures, as like color, are easy to observe in the field. Like bright colors, aggressive textures too need to be used in moderation. Like reds and oranges, sharp, rough, textures will dominate an image if used too liberally.

Using Juxtaposition for More Compelling Landscapes

The antlers of this caribou skull and the bright white against the dark tundra make the subject leap out from the image.

Overwhelming textures, just like overwhelming colors, might be exactly what you want. Just be aware of that decision when you make the image. Make the harsh textures the point of your image, because the wrong balance, or aggressive textures placed too dominantly by accident, can ruin the balance of an image. Consider how they relate, the story you want to tell with their use, and place them in the frame accordingly.

This is a tough one to put to use because there are no clear rules about texture. You may not always realize when you’ve gotten this balance right, but you’ll definitely know when it’s wrong.

Using Juxtaposition for More Compelling Landscapes

In this image of Denali, in Denali National Park, Alaska, the two rounded forms, one green and spiky, one blue-white and more smooth echo one another, while providing wildly different textures, colors, and implications for the image.

Juxtaposition – Subject

Using Juxtaposition for More Compelling Landscapes

Bright flowers on a gray day on a barren dune. Few things can create more juxtaposition in this image.

Using Juxtaposition for More Compelling Landscapes

Without context, this image would not have an obvious juxtaposition, it’s just an image of a lightning strike. But, when I tell you this photo was made on the arctic coastal plain of northern Alaska where thunderstorms are as rare as unicorns, then the juxtaposition of location and lightning are more clear.

The first two examples, color and texture, are more nebulous and tougher to apply in the field than the subject of the image. In landscapes, juxtapositions within the subject matter are easier to apply, and will almost always add interest to your images.

Using Juxtaposition for More Compelling Landscapes

A rare rain storm in the Altiplano of Bolivia catches the last rays of sunlight. Both color and subject juxtapose here.

As I sat down to write this article, the first thing that came to mind was the weather. Storm light, that rare sunlight that appears despite the dark clouds, is a perfect example of subject juxtaposition. Few things contrast as much as a stormy day, and sunlight.

Using Juxtaposition for More Compelling Landscapes

Rainbow in the dry desert, another clear example of the way juxtaposed subject matter can add interest to an image.

Tying weather to elements of the landscape is another way to create juxtapositions. A few years ago, I was hiking in the Chisos Mountains of Big Bend National Park, Texas when I was treated to a rare thunderstorm. As the very brief storm cleared the mountains, a rainbow appeared. The desert landscape, topped by a rainbow against a blue sky, leads to an undeniable juxtaposition.

Similarly, last summer I was leading a wilderness photo tour in the Brooks Range of northern Alaska. On the summer solstice, it snowed four inches overnight, and the following morning the blooming flowers were covered in snow. Summer flowers and fresh snow juxtapose nicely.

Using Juxtaposition for More Compelling Landscapes

Summer flowers the day after a snow storm.


Juxtaposition, the way elements compare and contrast each other, is as important in landscape photography as it is in any other discipline of the art, even if it is more difficult to use. Pay attention to the way color, texture, and your subject interrelate within your image and you’ll find greater success with your landscapes.

Have you explored juxtapositions in your landscape photographs? Tell me about it in the comments, and share some of your successes.

The post Using Juxtaposition for More Compelling Landscape Photography by David Shaw appeared first on Digital Photography School.

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Broncolor ‘How To’ site details how to replicate lighting setups and more

14 Mar

Broncolor, maker of photography lighting equipment, has launched a ‘How To’ section on its website, including some helpful diagrams detailing the lighting setups used to create a variety of sample photographs. The tutorials cover many shooting scenarios, including portraits, outdoor scenes and product photography. Both written and video guides are offered.

The how-to content on Broncolor’s website is provided free of charge. There is, for example, a 20-part video how-to series detailing lighting with topics like ‘Cutlery,’ ‘White on White,’ ‘Still Life,’ and ‘Baseball swing,’ among others. Photographers seeking details on using specific lighting products can find guides under the site’s ‘Use this Light Shaper’ section, and there’s also a two-part ‘Eye school’ section detailing types of lighting. 

The full array of how-to content can be found here.

Via: DIYPhotography

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Phottix launches Ares ll radio flash triggering system with more channels

04 Mar

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Independent flash and accessories manufacturer Phottix has announced the next generation of its Ares remote flash triggering system that brings with it additional channels and improved security. The Ares ll transmitter and receiver have also both been given a facelift to include a new clearer control layout and LCDs to display functional information.

The new system offers a total of 16 radio channels, twice the number of the previous model, and can now deal with 4 groups of flashes. The units also include digital ID so that users can be sure other photographers in the area won’t interfere with their signal.

Using the first four channels the Ares ll can trigger Phottix Strato-compatible flash units, such as the Mitros+ hotshoe gun and the Indra studio heads, while all channels will trigger hotshoe flash units attached to an Ares ll receiver. The system allows a maximum flash sync speed of 1/250 sec, and both trigger and receiver are powered by two AA batteries each.

While the new units have a much more user-friendly design they have lost 50m of range compared to the original Ares, and can only operate at up to 150m – which is still enough for most uses. The units are compatible with the hotshoe and flash foot of cameras and flash units from ‘most major camera and flash systems (including Sony)’ according to Phottix.

The new Ares ll transmitter costs $ 54.95, as does the receiver. For more information visit the Phottix website.

Press Release:

The Phottix Ares II Flash Trigger – 16 Channels of Awesomeness

Welcome to the family
Introducing Phottix’s newest budget-friendly flash trigger system – the Phottix Ares II. The transmitter and receiver system boasts the latest technology and is perfect for manual shooting with studio lights or hot shoe flashes. Better yet: The popular original Phottix Ares system was a standalone product within the Phottix ecosystem – not so for the Ares II. The Phottix Ares II will join the Phottix ecosystem and be compatible” with other Phottix products.

• Transmitter and Receiver with LCD display
• 16 Channels (Strato II compatibility on channels 1-4)
• 4 Groups, A-D
• Digital ID Codes (0000 – 9999)
• 150m Range
• Compatible with other Phottix products*

The Ares Wireless Trigger took the world by storm when it was released in 2012 the Ares was a simple and affordable way to use off-camera flash. The Ares transmitter and receiver units were popular and lauded by some of the biggest names in the industry for its design and reliability.

More Channels and Digital ID:
Pick from 16 channels. The first four channels offer compatible with the Phottix Strato II Receiver – and can be used to trigger Phottix products such as the Mitros+ and Indra series of studio lights with built-in Strato II receivers. Use the Digital ID function for the ultimate in secure triggering – no one can trigger your flashes unless using your four-digit Digital ID code.

Universal Hot Shoe
The Ares II Transmitters and Receivers have been design to be compatible with most major camera and flash systems (including Sony). The Ares II is at home on Canon, Nikon, Sony (MIS), Pentax, Panasonic, Fuji and Olympus cameras and compatible with most hot shoe flashes (triggering from the X-Sync pin)

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Hasselblad to introduce 120mm macro for the X1D with three more lenses to follow

01 Mar

Medium-format camera manufacturer Hasselblad has announced that it will introduce four new lenses over the next twelve months for its X1D mirrorless model. The new lenses will be a 22mm wideangle, a 65mm moderate wide, a 120mm macro and the system’s first zoom – a 35-75mm.

The first lens to arrive will be the XCD 120mm F3.5 macro that will have a maximum image scale of 1:2 and a closest focus distance of 0.43m from the camera sensor. The focal length on the X1D sensor will deliver the angle of view we’d expect from a lens of just longer than 90mm on a 135 format system. As you’d expect, the lens has an integrated shutter and will be able to achieve synchronisation with flash at shutter speeds of up to 1/2000sec. The lens uses 10 elements in 7 groups and an internal floating focusing mechanism. It will weigh 970g and will measure 150mmx81mm.

Hasselblad says the flat field reproduction makes the lens ideal for accurate macro work, but that the moderate telephoto focal length will also suit portrait photographers. The autofocusing system is effective throughout the entire distance range, and the smallest aperture available will be F32.

While the 120mm macro is due to arrive in June there is no date yet for the release of the other lenses, but the company expects to make them available within the next twelve months. No technical data has been provided other than their focal lengths. Pricing will also be released closer to the availability dates. For more information on the Hasselblad XCD lens range visit the Hasselblad website.

 Hasselblad XCD lenses  Approx equiv focal length
 Existing lenses  
 45mm F3.5  35mm 
 90mm F3.2  70mm
 30mm F3.5  24mm
 New lenses  
 22mm 18mm
 65mm  50mm
 120mm F3.5 Macro  95mm
 35-75mm  28-60mm

Press Release

Hasselblad announces four new XCD lenses for the X1D

Combining Compact Format with the Highest Optical Quality

Following the hugely successful launch of the ground-breaking X1D in 2016, Hasselblad is delighted to introduce four new XCD lenses. The XCD 120mm Macro lens is the first to complement the existing XCD lens family, and will be available at the end of June 2017.

The exceptionally high performing 120mm F3.5 lens brings together the compact format of the XCD range with the maximum optical quality across the frame with a flat image field. Providing a new versatility to the X1D user, the lens is suitable for both close-up work up to a 1:2 image scale, and also as a mid-range telephoto lens for portrait or other photography requiring a longer focal length. Auto or manual focusing goes from infinity to 1:2 without the need for extension tubes.

Like the other XCD lenses, XCD 120mm Macro lens has an integral central shutter offering a wide range of shutter speeds and full flash synchronisation up to 1/2000th second.

Hasselblad Product Manager, Ove Bengtson commented: “The XCD 120mm Macro lens complements the existing XCD dedicated autofocus lenses which were developed to support optical quality and portability. This is the first addition to the X1D range of lenses in 2017 and we are excited to launch more lenses later in the year.”

Over the next 12 months, Hasselblad will also launch the XCD 35-75mm Zoom*, XCD 65mm*, and XCD 22mm Wide Angle* lenses. By the beginning of 2018, the X1D will have access to seven dedicated XCD lenses and all twelve HC/HCD lenses using the XH lens adapter.

XCD 3,5/120mm Macro Technical Specification 

  • 3.5/120 mm Macro
  • Focal length: 120 mm
  • Max aperture: F3.5
  • Min Aperture: F32
  • Image scale: 1:2
  • Angle of view: (diag/hor/ver): 26°/21°/16°
  • Integral central shutter
  • Full flash synchronisation up to 1/2000 sec
  • Size: diam 81 mm, length 150 mm
  • Filter diameter – 77mm
  • Weight: 970 g

Specification subject to change without notice.

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Apple selling more Plus models than ever

31 Jan

Apple’s financial results, which will be released tomorrow, show that in Q4 2016 Apple has sold more iPhone 7 Plus units than any of the preceding Plus models in previous years. The Plus model has a larger screen, more RAM and a bigger battery than its standard counterpart but we’d suspect the iPhone 7 Plus dual-camera with its 2x optical zoom factor and portrait mode has a lot to do with consumers increasingly opting for the more expensive iPhone variant. Overall 24 million iPhone 7 Plus units have been sold which is a 55% increase compared to the 15.5 million iPhone 6s Plus in Q4 2016. This represents 40% of all iPhone 7 sales.

This is also the first time that users in China bought more Plus devices than standard iPhones. 52% of iPhone buyers opted for the dual-camera model. With the previous iPhone 6s generation only 40% decided to go with the larger version. 

Despite good news for the iPhone 7 Plus, overall the iPhone has been struggling in the fourth quarter of 2016. According to analysts Cowen & Co, the Apple results show that consumers are less willing to upgrade their device than before and rumors about a 10 year anniversary iPhone model in 2017 made some users skip the 2016 model. Like all mobile manufacturers, Apple is under constant pressure to innovate. At least in terms of imaging the 7 Plus dual-cam looked like a step into the right directions. Let’s hope Apple can follow up on it 2017.

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