Posts Tagged ‘Moving’

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.

Articles: Digital Photography Review (

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Invisible Buses: Photorealistic Prints Provide Moving Urban Camouflage

03 Sep

[ By SA Rogers in Art & Street Art & Graffiti. ]

disappearing bus 1

The streets of Vilnius, Lithuania are full of ghost buses that blend right into their surroundings while passing through intersections as if only existing in translucent ethereal form. Matching up to the scenery beyond when glimpsed at just the right moment, the buses are momentarily camouflaged thanks to photorealistic printed imagery mounted to their exteriors for this summer’s Vilnius Street Art Festival.

disappearing bus 2


A photo posted by Karolis (@draugas) on

Lithuanian artist Liudas Parulskis collaborated with Studio Vieta to print full-scale scenes from the city onto public trolleybuses, a charmingly retro mode of transportation that has remained popular here despite being replaced by newer transit systems in many modern metropolises. ‘Vanishing Trolleybus’ is a temporary installation encouraging pedestrians to try to catch a glimpse or a photo of the effect in action at just the right ‘vanishing point.’

disappearing bus 3

Jau vaziuoja! #vilnius #vilniusstreetart #vsaf #vilniusstreets

A photo posted by Vilnius Street Art Festival (@vilniusstreetartfestival) on

Camouflage ? #vilniusstreetart @vilniusstreetartfestival Pusdienis planavimo, žadintuvas 5 valand? ryto, skambutis ? troleibus? parko dispe?erin?, netik?tas sve?ias, valanda laukimo ir dvi valandos retušavimo. Manau, kad visai pavyko ? Credits: Netik?tas pagalbininkas – @sveikutiss Id?ja ir ?kv?pimas – @michaelste

A photo posted by Kristijonas Trink?nas (@tabarzda) on

One bus appears to be covered in imagery depicting traditional local architecture, while others capture specific street scenes around the city. Parulskis added a wolf running across an intersection to one of the buses, winking at the unofficial mascot of the city.

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[ By SA Rogers in Art & Street Art & Graffiti. ]

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23 Moving Images of Flowing Water

28 May

Water, especially that which is flowing, is a popular subject for photographers. You get to make artistic choices about whether to freeze or blur the water, and to what degree. That will affect how the final image looks.

Take a look at these images of flowing water and see how the photographers chose to capture the scene.

David Kingham

By David Kingham

Darlene Hildebrandt

By Darlene Hildebrandt

Little Shiva

By little shiva


By Christopher

Kamil Porembi?ski

By Kamil Porembi?ski

~ Lzee. . . Mostly Out

By ~ lzee. . . mostly out

James Bremner

By James Bremner

Nick Kenrick

By Nick Kenrick

Andi Campbell-Jones

By Andi Campbell-Jones

Andy Rothwell

By Andy Rothwell


By Crouchy69


By Crouchy69

Christian Barrette

By Christian Barrette

Billy Wilson

By Billy Wilson

Neil Howard

By Neil Howard

Christian Ronnel

By Christian Ronnel

Dirk Dittmar

By Dirk Dittmar

Nicole Quevillon

By Nicole Quevillon


By Jonathan

Marjan Lazarevski

By Marjan Lazarevski

John Fowler

By John Fowler

Susanne Nilsson

By Susanne Nilsson

Louis Du Mont

By Louis du Mont

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Dynamic Architecture: 13 Buildings with Moving Parts

04 May

[ By Steph in Architecture & Houses & Residential. ]

moving buildings villa girasole 2

Entire Italian villas spin in circles on wheels, solar-powered shades follow the sun, rooms zoom up into the air on telescopic stilts and windowless facades lift up on one end like shoebox mousetraps, all at the push of a button. These dynamic houses, apartment buildings, pavilions and offices have all sorts of moving parts, transforming as if of their own accord to change the views or keep the interiors cool.

Phalanstery Module

moving buildings phalanstery 1

moving buildings phalanstery 2

phalanstery module 3

phalanstery module 4

Envisioned as a house for zero-gravity, where all surfaces are treated equally, the Phalanstery Module rotates a full turn per hour, with one of the surfaces becoming parallel to the ground every fifteen minutes. Say the creators, “In the middle of every 7.5 minute conversation, two people are bound to collide. Architectural program and activities become overpowered by the instinctive interpretations of our bodies against measurable dimensions.”

Sharifi-Ha House
moving buildings sharifi-ha

moving buildings sharifi-ha 2

moving buildings sharifi-ha 3

moving buildings sharifi-ha 4
At the push of a button, three wooden volumes tucked inside a main structure turn their glass-capped ends in various directions. The residents of the Sharifi-Ha House by next office i Tehran can choose whether they want these particular rooms to be shaded or illuminated by the sun, as well as the view they prefer. Rotated fully out of their containing spaces, they telescope out over the driveway.

Villa Girasole
moving buildings villa girasole

moving buildings villa girasole 2

Set on wheels and rails, northern Italy’s Villa Girasole rotates to follow the sun as it arches across the sky throughout the day, just like its namesake, the sunflower. Built in the 1930sby a wealthy engineer the two-story house rotates from a 42-meter-tall tower at the center, moving about 4 millimeters per second. It takes 9 hours and 20 minutes for it to rotate a full turn.

La Caja Oscura
moving buildings caja oscura 1

moving buildings caja oscura 2

moving buildings caja oscura 3

moving buildings caja oscura 4

moving buildings caja oscura 5

From afar, this house looks like a giant shoebox mouse trap, one end tilted up to reveal an elevated concrete slab. The windowless exterior moves up and down to either open the interior to the elements, or seal it off completely when the owners are gone. Designed by architect Javier Corvalan as the vacation home of a filmmaker, the house transforms with a manual winch. When closed, a pinhole allows the entire structure to function as a camera obscura, projecting an upside-down image of the landscape outside onto the interior walls.

Next Page – Click Below to Read More:
Dynamic Architecture 13 Buildings With Moving Parts

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All those moving elements: LensRentals looks inside the Leica SL 24-90mm F2.8-4

25 Feb

LensRentals Leica SL 24-90mm F2.8-4 teardown

The Leica SL 24-90mm F2.8-4 may not break any new technical ground, but when the SL’s ‘kit’ lens made its way to LensRentals headquarters, the team endeavored to take a careful look inside. With the solidly constructed lens partially disassembled, they got a closer look at its impressive number of moving elements. Take a look at some of the highlights here, and for a full look inside the 24-90mm head over to LensRentals.


Sliding the rear of the lens off took a little muscle according to LensRentals’ Roger Cicala, ‘as it’s very tightly sealed by the thick, greenish weather gasket underneath.’ Leica promises this keeps the lens protected from dust, moisture and splashes.

The inner barrel assembly

With the zoom key and six screws in the internal chassis removed, the outer assembly of the lens barrel can be removed, and Cicala finds that ‘the zoom and focus rings are one modular assembly connected to the main chassis.’

Not all focusing mechanisms are created equally

With the inner barrel exposed, part of the 24-90mm’s focus-by-wire linkage can be seen. Says Cicala: ‘I won’t argue with those who prefer a mechanical focusing linkage, and I agree that some electric focusing mechanisms feel sloppy and inaccurate. But I’ll add that they aren’t all made equally, and the Leica focus feels quite good and seems very accurate.’

A ‘complex dance’ of moving elements

With the casing and front barrel removed, the lens’ helicoid grooves are visible. These allow the moving elements to travel on their separate paths. ‘This is a really nice example of the mathematical formulas involved when you move elements. Notice none of those grooves are parallel; as you zoom the lens the various elements move in a rather complex dance.’

Focusing assembly up close

Although they’d sworn not to do a full teardown, Roger and company wanted a better look at the focusing group so out it came. And that’s where things got interesting. 

‘You can see the stepper motor (green line) of course. The actual focusing element is what Aaron is holding the group by. The larger group in the center is where the entire assembly is attached to the helicoid. One of the first things we notice (red arrows) is this group has 3 pairs of adjustable eccentric collars. These were thoroughly glued in place so we left them alone, but it seems each pair has one collar for tilt and another for centering of this group. None of the other moving groups had eccentric adjustment collars visible.’

A peek at IS

The teardown stops at this point, but not before a glance up the barrel toward the image stabilization unit. While those screws tempt Cicala and crew, memories of finicky IS systems kept them from going any further.

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Tube Travelators: Replacing London Trains with Moving Walkways

09 Sep

[ By WebUrbanist in Conceptual & Futuristic & Technology. ]


A proposal by an international architecture firm would reduce travel time in the London Underground, not with faster rail cars but by using people movers of the kind generally found in airports. Closing the loop on questions of congestion, this strategy would stop trains in their tracks.

tube congestion reduction standing

Aimed at the congested Circle Line looping through the heart of the city, the design from NBBJ Architects incorporates three parallel walkways moving at different speeds (up to a maximum of 15 miles per hour). That may sound slow until you consider that the top speed of the trains currently running these sections of Tube is around 20 MPH due to congestion.

tube function diagram design

Commuters and travelers would step from the slowest-moving walkway across to increasingly faster lanes, using the replacement paths to connect to work or other (generally faster) lines of the Underground. People walking down the fast lane could actually end up moving more quickly than a train. Others could potentially sit down along one side on fold-down seats (as with an escalator railing, these would speed along at the same pace as the track below).

tube futuristic walkway idea

While the odds of implementation are slim, the data is compelling – the system could accommodate more passengers than the current trains and would eliminate the frustration of waiting in queues. The Circle Line in particular is infamous for delays, with an average of 10 reported per day.

Christian Coop of NBBJ cites a challenge from think tank New London Architecture for the inspiration to create these strange proposal. If nothing else, it might be something to consider for the vast expanses of derelict underground rail space running through the city.

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Hasselblad returns to roots with new aerial camera series, this time with no moving parts

05 Jun

Hasselblad has announced a new aerial camera that it says provides the ‘ultimate’ in image quality for aerial photographers. The camera, the Hasselblad A5D, has no moving parts and as such avoids unintentional internal mechanical movements that aircraft vibrations can cause. Read more

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Shooting Fast Moving Subjects – How to Stop the Blur

24 May

In this article you will see how to deal with fast moving objects. For me shooting action is the most fun you can have with your photography. You can freeze that instant split second that the human eye couldn’t even comprehend, and capture it in an image for all time.

Image 4

1/6400, f/6.3. ISO 800

Last weekend I was lucky enough to shoot a bicycle charity event in the countryside. The sun was out, the birds were singing and there was enough distractions for me to completely leave my imagination at home.

As I was shooting fast moving road cyclists I had two lenses that I used. One which is the bread and butter lens of most photographers, the 70-200mm f/2.8. On a full frame body it has a good focal length that can capture subjects at a medium distances and the fast aperture allows for shooting in quite low light conditions. The second lens was a wide angle, for capturing some different looking shots. You don’t want to have a memory card with all the same style of shots, boring for you, and if this is for work, definitely not what the client wants to see.

image 7

Shutter speed: 1/50th, f/16, ISO 200

Although I just listed pro lenses, honestly you can do this with any kit zoom lens, a 55-200mm variable aperture or a 70-300mm like the Nikon VR which is a great value for money zoom lens.

As with most shoots I make sure I get the classic shots that I KNOW I can nail first. For me this is frozen action, nice background, and the subject at approximately a 45 degree angle.

Image 1

1/2500, f/3.2, ISO 200

As you can see in this image, it’s not mind blowing, however it has all the ingredients for a nice photograph that meets the criteria of what you are trying to capture. To create this type image, shoot with your zoom lens using the following settings as a rough starting point:

  • Camera mode: Aperture Priority (Av in Canon, A in Nikon and most other brands)
  • Aperture: As you want to freeze the action you need as much light entering the camera as possible, so choose a large aperture setting. With most kit lenses go down as low as possible, at this focal length that may be f/5.6.
  • Shutter speed: No need to worry about this as the camera will adjust this automatically in this mode.
  • ISO: If it is a sunny day like above, then ISO 100 or 200 is fine. However, if it is a little bit gloomy you may have to increase your ISO, I’ll talk about this in a minute.
  • Focus: Set your camera for on Continuous or Servo focus depending on your brand. This means that while your shutter button is held halfway down, or your AF on button is pressed, the camera will continue to adjust its focus, which is what you need when tracking moving objects.

Your camera is now setup and ready to go. Get yourself in a position where the subject, in this case the cyclist, will be at approximately 45 degrees to you. Full side-on image and straight-on images can seem a bit odd unless it’s the style you are going for; at this angle you can see most of the rider and it’s more flattering.

Smoothly follow the rider with your camera; this might be easier in a crouch or if you have a monopod, utilize it. Once they are in a good position click off a shot or two. With any luck you have a nice photo of the rider, somewhat frozen in time.

Image 2

1/1600, f/3.2, ISO 200

It didn’t work? Okay, there are two main things that could trip you up here, firstly the shutter speed wasn’t fast enough and the rider is blurry (??? and secondly???). As you are using Aperture Priority (which means you set how much light is allowed in the camera and the camera adjusts the amount of time the shutter is open automatically) it’s possible that there just isn’t enough light. So the camera has slowed the shutter speed way down to let more light in to exposure your photo properly, which has caused blurring of the subject.

When looking through your viewfinder. check your shutter speed down the bottom. You should be aiming for at least around 1/500th of a second. If it is slower than that, it’s time to bump your ISO up to compensate. Your ISO is how sensitive your camera sensor is to light. As a general rule you always want to keep this as low as possible to guarantee grain and noise-free images. However, it is a tool to be used, and on modern DSLRs shooting at ISO 800 yields incredible results over the older generation digital.

image 6

1/4000, f/3.2, ISO 400

Adjust your ISO up to 400 and try again. If you are still experiencing motion blur bump it up to 800. Unless it’s a very dark and gloomy day this should give you a crisp clear image with a fast shutter speed.

The next issue you might encounter is that the focus isn’t right. Maybe the rear wheel of the bike is in focus, but the riders face isn’t. Or even worse, the background is sharp and the rider is way out of focus. This is a simple fix.

All DSLRs give you the ability to change focus points, the square which the autofocus uses to target the focal point. Move this point to where the riders head will be in your frame. You may have to change your focus mode to Single Point Focus, as many cameras have the ability to change which focus point they use automatically, depending on the situation. You will have to consult your manual to find out where this is located in your menu system.

image 5

1/3200, f/3.5, ISO 400

Now when your rider is in frame, and you are focusing, it will focus on the rider’s face. Honestly, as long as their face is in focus the rest could be a blur, it doesn’t matter, faces are the most import thing in nearly all photos.

These guide lines should give you most of the info you need to shoot this type of photo. However, as with all photography, it’s trial and error to get things right and to get it looking the way YOU want.

Practice this week. Get your kids out on their bikes, go to the park and try to get some photos of dogs running around (this is fantastic practice for tracking subjects) or head down your local racetrack and take photos of cars, motorbikes or horses!

Image 3

1/2500, f/7.1, ISO 500

Once you get this dialled in. it can be moved to many other subjects and situations, the photos of a skier (above) and snowboarder (top of article) were shot using exactly the same technique.

Do not dismay if things aren’t working out straight away. A lot of learning photography is trial and error and practice. Any entry level, or higher DSLR setup, can do this. Learn your gear and practice, you will be surprised at the caliber of photos you can get from even the least expensive setup.

Thank you for reading, I hope this helps you on your photography quest this week. Please post up your photos and practice shots, if you have any questions I will try to answer them all and get you on the right track to photography perfection. Happy snapping!

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35 Moving Images of Speeding Cars

08 Mar

Last week I shared some great images of boats, so I thought I’d continue with the transportation theme and take a look at some images of speeding cars. Fast cars!

In fact, some are so fast they didn’t even show up in the image! You figure that one out.

I love shooting cars by panning to create some motion. Having just been in Havana, Cuba classic cars were in abundance.

Enjoy these images of fast cars.

By Moyan Brenn

By Paco CT

By Ernest

By Ian Sane

By Nathan E Photography

By Trey Ratcliff

By Ian Sane

By Romain Ballez

By Om

By Digimist

By dez&john3313

By Fabio Aro

By Caitlin H

By Chris Smith

By Luis Miguel Justino

By Ville Miettinen

By Dustin Spengler

By William Cho

By Derek Walker Photo (Derk Photography)

By Pedro Szekely

By Donnie Nunley

By Mohammed Nairooz

By Patrick Mayon

By Jim Monk

By hjhipster

By bkdc

By Dave Wilson

By Eric Castro

By Nick Wheeler

By Fabio Aro

By drpavloff

By Derek Walker Photo (Derk Photography)

By Didier Baertschiger

By YackNonch

By Nick Kenrick

For some car photography tips check out: 7 Tips for Taking Better Photographs of Cars

The post 35 Moving Images of Speeding Cars by Darlene Hildebrandt appeared first on Digital Photography School.

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How To Freeze Moving Subjects in a Long Exposure Photo

20 Nov

So you have this idea for a photograph where you’ve smoothed out the water on a lake using a long exposure, but want to capture the wildlife swimming on said lake frozen in place – or something similar?  I had that same vision and I’m going to show you how I accomplished it below, so you can follow along.

freeze subjects in long exposure photo

When trying to capture this kind of photograph in a single frame you’re pretty much out of luck. You can either capture a long exposure shot to smooth out the water, OR increase your ISO and capture a shot using a faster shutter speed to freeze your subject. No matter what you do in camera though, one piece of this puzzle will be out of line with the other.

So how do you freeze your subjects in a long exposure scene? Simple – with a little bit of post production.

Part One – Photograph Two Different Images

You will need two frames to work with in post production; one with a fast shutter speed to freeze the moving subjects, and one with a long exposure to smooth out the water in the scene. You don’t want to change the Depth of Field between the two frames, and need to make sure that the overall exposure remains the same, so you are left with changing the ISO setting to achieve the results you want.

The long exposure shot will be taken at ISO 100 and whatever settings will be required to get the optimal exposure for the scene in front of you and the faster shutter speed shot will be taken with a higher ISO setting allowing you to achieve a fast enough shutter speed to freeze the motion of the subject you want stationary.

In the example photograph the long exposure was taken at 1.3 seconds, and the high ISO photograph was shot at ISO 4000. This allowed me to get an exposure of 1/30th of a second (still fairly slow, but workable for the desired result).

Part Two – Combining the Images in Photoshop

Here’s the first, unprocessed image, straight out of camera. Before you get to freezing the moving subjects you need process the original photo. I will be working in Lightroom 4 to demonstrate.

Original Long Exposure

Original long exposure photo in Lightroom

After applying a few graduated filters, some adjustment brushes, and playing with the basic sliders I was able to achieve a result that is pleasing. If you’d like to see exactly how I created this – you can watch the entire process here.

Now that you’ve got the photograph properly exposed you’ll notice that the problem is very evident in the photograph – the moving subjects just wouldn’t sit still for the long exposure. So it’s up to post production magic to solve this issue.

Processed Photo

Process the long exposure image to your liking

Use Lightroom’s “sync” feature in the Develop Module to bring the settings from the photo above over to the high ISO photo that you will be using . This will allow you to make sure everything stays the same (color, contrast, tone, etc.) between the two images when you get to creating the composite later.


Sync settings from the processed long exposure shot with the high ISO shot used to freeze the subject

I suggest applying some minor adjustments to the high ISO image to get the subjects to stand out more (as they are going to be the only piece of the high ISO used in the final version).

One of the main areas of focus for this example image was to create lines that are as hard as possible for the subjects, so that they stand out very nicely in the composite. To do this, go into Lightroom’s detail section and push up the sharpening quite a bit. You may also want to do some noise reduction to try and compensate for the high ISO exposure with increased noise.

High ISO Exposure

Make some minor adjustments to the high ISO shot and export both images for further processing in Photoshop

While Lightroom is great for processing photos, it is limited in that you can not create composites or work with layers, which is exactly what is needed to finish this project.

Therefore it’s time to bring out the big guns and jump on over to Photoshop. Below, I’ve loaded the two files as layers, (select the two thumbnails in LR, right click on them, and choose “edit in>Open as layers in PS) with the long exposure layer on top and the high ISO layer on the bottom.

Jump into Photoshop

Open both photos as layers in Photoshop – I typically put the high ISO image on the bottom as we will be using less of that image in most cases.

I like to clean up the long exposure shot as well as I can first, so I went ahead and got rid of the blurry geese by performing a simple clone job. Go ahead and do that on your image as well if suitable.


Clone the blurred subject from the long exposure shot

Next reduce the opacity of the long exposure layer (which I’ve arranged as the top layer). This will allow you to see the high ISO layer as a reference point, while still being able to see most of the long exposure shot as well.

Reduce Opacity

Reduce the opacity of the long exposure layer allowing you to see the high ISO layer below

With the high ISO layer selected, use Photoshop’s selection tool to make a rough selection of the subjects in the frame. Next add a layer mask to the long exposure layer, which you will be using in the next step.

Select high iso subject and add layer mask

With high ISO layer selected, select your ‘frozen’ subject and add a layer mask to the long exposure layer

Once the subjects have been roughly selected, fine tune the edges of the selection to make sure you’ve got everything you need. Then select the layer mask you added to the long exposure layer and fill in the selection with a black paint bucket fill (make sure your swatches are set to default black/white and use the tool at 100%). This is a very crude way of getting the geese into the long exposure shot, but does the job quickly and it works.

Bring Frozen Subject Forward

With the layer mask selected for the long exposure layer, use the paint bucket to fill in the selected region

Now that you have your subjects visible within your frame, bring the opacity of the long exposure layer back to 100% and start the clean up. I recommend you work in broad strokes first using a wide brush with the color white selected. This will allow you to get most of the areas between the subjects from long exposure frame back, instead of the noisy high ISO frame.

Clean Up part one

Using a white paint brush clean up the areas in between and around the subject in broad strokes first

Once you have a basic rough clean up done, it’s time to zoom closer and use a finer point brush to do the detail work. It’s a time consuming process. But, this must be done, or the final image will end up looking like two images put on top of one another, and not one cohesive, final image.

Detail Work

Once you’ve roughed out the clean up – zoom in with a small brush and continue the clean up on a more detailed level

You’re on the home stretch now!

Do one final check of the image by hiding the high ISO image (click the little eyeball next to the layer). By doing this, places the mask has been applied will now be transparent, and you’ll easily be able to tell if there were small areas that need fixing.

Final Clean Up

As a final clean up – hide the subject layer and see if there were any spots that need a final adjustment

After the final touch up and a few other minor tweaks in photoshop you’re ready to merge layers, save the image and show your friends. (you can also save a layered version if you think you might want to edit it more later)


Save and share your final shot

Summary and more reading

I hope you got something out of this step by step walkthrough – for more information on how to mask in Photoshop, which is really what this entire process boils down to, check Photoshop Masks 101. If you’ve ever created a long exposure, high ISO composite, I’d love to see it in the comments!

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

How To Freeze Moving Subjects in a Long Exposure Photo

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