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Researchers teach an AI to generate logical images based on text captions

30 Sep

The Allen Institute for AI (AI2) created by Paul Allen, best known as co-founder of Microsoft, has published new research on a type of artificial intelligence that is able to generate basic (though obviously nonsensical) images based on a concept presented to the machine as a caption. The technology hints at an evolution in machine learning that may pave the way for smarter, more capable AI.

The research institute’s newly published study, which was recent highlighted by MIT, builds upon the technology demonstrated by OpenAI with its GPT-3 system. With GPT-3, the machine learning algorithm was trained using vast amounts of text-based data, something that itself builds upon the masking technique introduced by Google’s BERT.

Put simply, BERT’s masking technique trains machine learning algorithms by presenting natural language sentences that have a word missing, thus requiring the machine to replace the word. Training the AI in this way teaches it to recognize language patterns and word usage, the result being a machine that can fairly effectively understand natural language and interpret its meaning.

Building upon this, the training evolved to include an image with a caption that has a missing word, such as an image of an animal with a caption describing the animal and the environment — only the word for the animal was missing, forcing the AI to figure out the right answer based on the sentence and related image. This taught the machine to recognize the patterns in how visual content related to the words in the captions.

This is where the AI2 research comes in, with the study posing the question: ‘Do vision-and-language BERT models know how to paint?

Experts with the research institute build upon the visual-text technique described above to teach AI how to generate images based on its understanding of text captions. To make this possible, the researchers introduced a twist on the masking technique, this time masking certain parts of images paired with captions to train a model called X-LXMERT, an extension of the LXMERT model family that uses multiple encoders to learn connections between language and visual data.

The researchers explain in the study [PDF]:

Interestingly, our analysis leads us to the conclusion that LXMERT in its current form does not possess the ability to paint – it produces images that have little resemblance to natural images …

We introduce X-LXMERT that builds upon LXMERT and enables it to effectively perform discriminative as well as generative tasks … When coupled with our proposed image generator, X-LXMERT is able to generate rich imagery that is semantically consistent with the input captions. Importantly, X-LXMERT’s image generation capabilities rival state-of-the-art image generation models (designed only for generation), while its question-answering capabilities show little degradation compared to LXMERT.

By adding the visual masking technique, the machine had to learn to predict what parts of the images were masked based on the captions, slowly teaching the machine to understand the logical and conceptual framework of the visual world in addition to connecting visual data with language. For example, a clock tower located in a town is likely surrounded by smaller buildings, something a human can infer based on the text description.

An AI-generated image based on the caption, ‘A large painted clock tower in the middle of town.’

Using this visual masking technique, the AI2 researchers were able to impart the same general understanding to a machine given the caption, ‘A large clock tower in the middle of a town.’ Though the resulting image (above) isn’t realistic and wouldn’t be mistaken for an actual photo, it does demonstrate the machine’s general understanding of the meaning of the phrase and the type of elements that may be found in a real-world clocktower setting.

The images demonstrate the machine’s ability to understand both the visual world and written text and to make logical assumptions based on the limited data provided. This mirrors the way a human understands the world and written text describing it.

For example, a human, when given a caption, could sketch a concept drawing that presents a logical interpretation of how the captioned scene may look in the real world, such as computer monitors likely sitting on a desk, a skier likely being on snow and bicycles likely being located on pavement.

This development in AI research represents a type of simple, child-like abstract thinking that hints at a future in which machines may be capable of far more sophisticated understandings of the world and, perhaps, any other concepts they are trained to understand as related to each other. The next step in this evolution is likely an improved ability to generate images, resulting in more realistic content.

Using artificial intelligence to generate photo-realistic images is already a thing, though generating highly specific photo-realistic images based on a text description is, as shown above, still a work in progress. Machine learning technology has also been used to demonstrate other potential applications for AI, such as a study Google published last month that demonstrates using crowdsourced 2D images to generate high-quality 3D models of popular structures.

Articles: Digital Photography Review (dpreview.com)

 
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Visual Flow’s new presets are custom made based on lighting conditions in an image

31 Oct

Visual Flow, the company launched by DVLP and SLR Lounge, has introduced ‘The Modern Pack,’ a series of 10 presets for Lightroom and Adobe Camera Raw. The Modern Pack stands out from competitors, according to Visual Flow, because it is ‘lighting condition-based,’ meaning that it does not require the ‘perfect lighting and weather conditions’ for which other presets are designed.

According to Visual Flow, its new lighting condition-based presets use a Color Engine and camera profile technology to unify the color variations between camera manufacturers and to create the look of the selected preset regardless of the lighting conditions in the input image.

The Modern Pack presets include Black & White, Hard Light, Soft Light, Backlit, HDR Natural, Over Saturated, Tungsten, Tungsten Mix and Green Tint; further comparison examples of each preset can be found on the Visual Flow website here. According to the company, the work it put into its Color Engine means users will enjoy 1-click presets without the need for extensive manual tweaking.

Joining The Modern Pack is the non-destructive Retouching Toolkit for Lightroom and ACR, which features 26 tools and 47 retouching brushes for dodging and burning, retouching, scene enhancements,and more.

The Modern Preset Pack and the Retouching Kit are available for $ 95 each; there’s also a bundle of the two for $ 165.

Articles: Digital Photography Review (dpreview.com)

 
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Controversial copyright ruling based on ‘faulty understanding’ but shouldn’t set precedent

06 Jul

A copyright ruling against a photographer whose work was re-used has been criticized as a “very poor decision,” based on “a faulty understanding of the fair use doctrine,” by copyright lawyer Bert Krages.

The widely-reported ‘Brammer v. Violent Hues LLC’ case in the Eastern District of Virginia appeared to accept that the use of a crop of a photograph without permission as fair use. However, while Krages questioned the decision, he also stressed that “the decision does not serve as precedent in other cases,” though he thinks “it’s likely that other defendents in copyright cases will cite to the case in the hopes of getting a favorable decision.”

A faulty understanding of the fair use doctrine

The legal matter began in 2017 after photographer Russell Brammer filed a complaint against Violent Hues Productions, LLC, for using one of his images on its website without first receiving permission. The image had been taken in 2011 and was uploaded to Flickr with an “All Rights Reserved” copyright notice.

Violent Hues removed the image upon being contacted by Brammer, but the photographer sued, both for copyright infringement and for removing copyright information from the image. The court dismissed the copyright removal claim but then made a controversial ruling that Violent Hues’ use was covered by the ‘fair use’ exemption from copyright protection.

‘Fair use’ in US copyright law includes the consideration of four basic tests:

  • The purpose and character of the use, including whether such use is of a commercial nature. . .
  • The nature of the copyrighted work
  • The amount and substantiality of the portion used in relation to the copyrighted work as a whole
  • The effect of the use upon the potential market for or value of the copyrighted work.

The court decision works through each of these tests but Attorney at Law Krages said “The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served.

In particular, he expressed surprise at the court’s assessment of the character of the usage. The ruling states that Brammer’s work was ‘promotional and expressive,’ whereas Violent Hues’ was ‘informational,’ and that the usage was, therefore ‘transformative.’

The downloading of an image off of a website to use on another website is hardly a new or unexpected use.

“The District Court seems to have failed to recognize that a finding of transformative use requires that the source work has been used in a completely new or unexpected way,” he says. In particular, he questioned the case cited in the ruling: “Although the court cites to a Fourth Circuit decision that held that the use of papers written by high school students in a database intended to detect plagiarism was “transformative” because the purpose was different, In this case, the downloading of an image off of a website to use on another website is hardly a new or unexpected use.”

The ruling goes on to suggest the nature of the copyrighted work was a factual representation of the world, even though it contained creative elements, and therefore decided in favor of fair use on the second test. It dismissed the third test by saying that Violent Hues had cropped the image so that only the amount “necessary to convey the photo’s factual content” was used. It then concluded that Brammer had managed to sell the image after Violent Hues had used it, and hence the use hadn’t undermined the work’s value.

In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents

Krages disagrees: “The four fair use factors are neither exclusive nor are they to be given equal weight. The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served. Violent Hues purpose for using the image was to make its website look better, and the usage did nothing to promote public interests such as commentary, news reporting, and scholarship. Violent Hues did not use the image to comment on the image as art, to report that someone had made an interesting image, or in connection with a scholarly work on photography. The image obviously had value or Violent Hues would not have wanted to use it. In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents.”

Ultimately, though, Krages has reassuring words: “Although it is likely that other defendants in copyright cases will cite to the case in the hopes of getting a favorable decision, hopefully it will not encourage other parties to engage in infringement. In any case, it should not prevent similarly-situated plaintiffs in other cases from receiving just compensation.”

The court’s ruling in the case can be found in its entirety here.

A copyright ruling against a photographer whose work was re-used has been criticized as a “very poor decision,” based on “a faulty understanding of the fair use doctrine,” by copyright lawyer Bert Krages.

The widely-reported ‘Brammer v. Violent Hues LLC’ case in the Eastern District of Virginia appeared to accept that the use of a crop of a photograph without permission as fair use. However, while Krages questioned the decision, he also stressed that “the decision does not serve as precedent in other cases,” though he thinks “it’s likely that other defendents in copyright cases will cite to the case in the hopes of getting a favorable decision.”

A faulty understanding of the fair use doctrine

The legal matter began in 2017 after photographer Russell Brammer filed a complaint against Violent Hues Productions, LLC, for using one of his images on its website without first receiving permission. The image had been taken in 2011 and was uploaded to Flickr with an “All Rights Reserved” copyright notice.

Violent Hues removed the image upon being contacted by Brammer, but the photographer sued, both for copyright infringement and for removing copyright information from the image. The court dismissed the copyright removal claim but then made a controversial ruling that Violent Hues’ use was covered by the ‘fair use’ exemption from copyright protection.

‘Fair use’ in US copyright law includes the consideration of four basic tests:

  • The purpose and character of the use, including whether such use is of a commercial nature. . .
  • The nature of the copyrighted work
  • The amount and substantiality of the portion used in relation to the copyrighted work as a whole
  • The effect of the use upon the potential market for or value of the copyrighted work.

The court decision works through each of these tests but Attorney at Law Krages said “The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served.

In particular, he expressed surprise at the court’s assessment of the character of the usage. The ruling states that Brammer’s work was ‘promotional and expressive,’ whereas Violent Hues’ was ‘informational,’ and that the usage was, therefore ‘transformative.’

The downloading of an image off of a website to use on another website is hardly a new or unexpected use.

“The District Court seems to have failed to recognize that a finding of transformative use requires that the source work has been used in a completely new or unexpected way,” he says. In particular, he questioned the case cited in the ruling: “Although the court cites to a Fourth Circuit decision that held that the use of papers written by high school students in a database intended to detect plagiarism was “transformative” because the purpose was different, In this case, the downloading of an image off of a website to use on another website is hardly a new or unexpected use.”

The ruling goes on to suggest the nature of the copyrighted work was a factual representation of the world, even though it contained creative elements, and therefore decided in favor of fair use on the second test. It dismissed the third test by saying that Violent Hues had cropped the image so that only the amount “necessary to convey the photo’s factual content” was used. It then concluded that Brammer had managed to sell the image after Violent Hues had used it, and hence the use hadn’t undermined the work’s value.

In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents

Krages disagrees: “The four fair use factors are neither exclusive nor are they to be given equal weight. The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served. Violent Hues purpose for using the image was to make its website look better, and the usage did nothing to promote public interests such as commentary, news reporting, and scholarship. Violent Hues did not use the image to comment on the image as art, to report that someone had made an interesting image, or in connection with a scholarly work on photography. The image obviously had value or Violent Hues would not have wanted to use it. In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents.”

Ultimately, though, Krages has reassuring words: “Although it is likely that other defendants in copyright cases will cite to the case in the hopes of getting a favorable decision, hopefully it will not encourage other parties to engage in infringement. In any case, it should not prevent similarly-situated plaintiffs in other cases from receiving just compensation.”

The court’s ruling in the case can be found in its entirety here.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic interview: “Our business philosophy is based on ‘changing photography'”

31 Mar
From L-R, Hidenari Nishikawa, Asistant Chief, Merchandising Group, Kohei Fukugawa, Supervisor, Software Design Group, Tetsuji Kamio, Staff Engineer, Image ENgineering Group, Emi Fujiwara, PR / Communication Group, Naoki Tanizawa, Manager, Communication Group, Michiharu Uematsu, Advisor, Merchandising Group.

Recently we visited the 2018 CP+ show in Yokohama, Japan and booked an in-depth interview with Panasonic. Among the topics covered were the company’s new twin flagships, the Lumix GH5S and G9, as well as how Panasonic hopes to grow their appeal to professional and advanced amateur stills photographers.

The following interview has been edited slightly for clarity and flow.


Why did you feel that the GH5S was necessary, when the updated GH5 is in many ways so competitive?

The Panasonic Lumix GH5S comes with an oversized 10MP sensor that forgoes a stabilizer, but allows for shooting in multiple aspect ratios without cropping the field of view.

For the GH5, we aimed for hybrid users shooting both photos and video. We thought that we needed 20MP for stills, and that was kind of a compromise for video users. With the GH5S, we had a lot of video users who wanted more video capability, but with the conventional [20MP] sensor, it was quite difficult to shoot in low light situations because of [hardware and software] limitations.

Professional shooters will prefer a multi-aspect sensor versus IBIS

So we developed a video-centric camera to open up more freedom for video users by having a 10MP sensor, which is good for low light. Also, we incorporated multi-aspect ratios, which many people prefer to have. For example, professional shooters will prefer a multi-aspect sensor versus IBIS.

Is there a technical reason why the G9 and GH5-series continue to rely on contrast-detect autofocus with depth-from defocus technology in preference to a hybrid/PDAF system?

The speed-and-stills oriented Lumix G9 can shoot at up to 20fps bursts in Raw, and is the first Micro Four Thirds camera to come with a top-plate LCD.

When we were developing the GH4, we were discussing whether to go with phase detection AF, or hybrid AF system of contrast AF with our own DFD (depth-from- defocus) technology. We thought that by having contrast AF with DFD, we could maximize picture quality.

With phase detection AF, picture quality can be damaged

This is because with phase detection AF, picture quality can be damaged [by the phase detect pixels]. With contrast-detection AF and DFD technology, we don’t need any dedicated pixels [for autofocus] and we believe it is more precise.

With the release of the G9, since it’s so sports and speed-focused, is this an ongoing conversation, or are you committed to going forward with DFD?

After we put DFD and contrast AF into GH4, we’ve been continuing to develop this format. At this point, we’re not thinking about shifting, but rather trying to make it better and better. We do see room for improvement; we’re studying to improve the algorithms in DFD to minimize the range of hunting, or AF ‘flutter,’ required for accuracy.

Do you think there’s an opportunity for Panasonic to develop more fixed-lens large-sensor compacts?

Panasonic’s LX100 incorporated a large Four Thirds type sensor and fast zoom lens. It remains a very capable camera, but in some ways – particularly its 12MP of resolution – it’s looking a little dated.

Yes, we have lots of requests from editors and users waiting for the next LX100, so we are studying that. At this point, we can’t say when, but it is something that people are expecting.

As we head into 2018 and 2019, how will Panasonic send the message that it wants to be taken seriously by stills, as well as video professionals?

When we developed the GH5, a lot of video users were attracted to it, but we were aiming for stills users as well. In developing the G9, we wanted to communicate to customers that we are also capable of creating a more stills-focused camera; in terms of marketing, we are trying to communicate that we have cameras that are focused on stills, video, or a hybrid of both.

It’s been ten years since Panasonic introduced the Lumix G1, the first Micro Four Thirds interchangeable lens camera.

Our business philosophy is based on ‘changing photography.’ And any change we make must be a benefit for the customer, and for the last two or three years, we’ve really focused on our video capabilities. But we still want to satisfy stills-focused users with our philosophy. It’s been ten years since we introduced the first mirrorless camera, and many things have changed in the mirrorless industry in terms of innovation, but we are trying to continue to change the market to satisfy our customers.

We don’t want to just pick one feature and improve it; we want to improve more generally

We are going to continue to develop video features, but we also want to improve stills performance in terms of speed and autofocus. We don’t want to just pick one feature and improve it; we want to improve more generally, and we are trying to re-brand somewhat in the stills category. And we want to do this not only for professional cameras, but entry-level and midrange cameras as well.


Editors’ note:

Always an influential and respected brand in professional video circles, Panasonic deserves a lot credit in recent years for introducing high-quality video capture into small cameras with a conventional form-factor. In fact it’s arguable that without cameras like the Lumix GH-series laying the foundation, the prosumer hybrid ILC class would look very different today – if it existed at all.

It’s clear from speaking to Panasonic’s executives that the GH5S was designed as a no-compromises video platform. That’s the reason for its low pixel count, and why the company opted to include a multi-aspect sensor in preference to in-body stabilization. I happened to be speaking to a professional filmmaker recently who told me that the GH5S is at least on a par, if not superior in some respects to his usual Arri Alexa cameras, and that’s a pretty big deal for such a small camera. One of the reasons he said he likes the GH5S so much is that he can use the camera in tight spots – and in lightweight rigs – that he wouldn’t normally be able to.

The LX100 is still one of our favorite large-sensor compacts, and we’d love to see some proper competition in a segment increasingly dominated by Sony

The market for stills cameras is pretty tough right now, and Panasonic could be forgiven for continuing to focus on video, but it seems that the company still sees some opportunity in the stills-dedicated market segment. The hint at ‘re-branding’ in the stills market is intriguing, and could suggest that the high-performance G9 is just the beginning of Panasonic’s renewed attempt to capture the hearts – and cash – of working stills photographers. The explanation for Panasonic’s continued use of DFD contrast-detection autofocus technology in preference to phase-detection was interesting. It’s true that PDAF-equipped ILCs can have issues with so-called ‘striping’ artifacts in images taken in certain conditions, but whether this is a solvable problem remains to be seen. For now, Panasonic clearly believes that DFD works well enough, and appears committed to continued improvement of the system.

We were excited too to hear that a successor to the LX100 is probably on the way. It’s still one of our favorite large-sensor compacts, and we’d love to see some proper competition in a segment increasingly dominated by Sony.

Articles: Digital Photography Review (dpreview.com)

 
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‘Film Dating’ online quiz offers film recommendations based on your tastes

12 Feb

Is ‘Which Disney Princess Are You?’ not your style? Well, here’s one you might be interested in: a new online quiz aims to provide film stock suggestions based on the user’s personal preferences, doing so by asking the user to select sample images in either color or black and white categories. After completing the quiz, which only takes a minute or two, one film suggestion is offered with full specs alongside another film variety that is similar to the recommendation.

The quiz was created by Vincent Moschetti of the blog ‘One Year With Film Only,’ where the quiz is hosted. Users are advised to choose images they like based on their technical qualities — grain, contrast, temperature, and similar — rather than their composition and subject matter. Users are prompted to provide an email address at the end of the quiz, however, doing so isn’t necessary to view the results.

Via: PetaPixel

Articles: Digital Photography Review (dpreview.com)

 
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How Shooting Photos Based on a Theme Can Improve Your Work

05 Dec

In this article we’re going to talk about how having a theme before you go out to shoot can improve your images.

I used to go out on the street, in order to find the perfect shot. Months in a row I did that. I knew that I loved this lack of control, but something didn’t match. I wasn’t as excited as I thought and even my images weren’t good enough, I couldn’t understand why.

So, I took a small break from hunting beautiful images and I started to watch how others worked. I looked at many professional photographers, to find what makes them click.

Image 001

That was when I realized my big mistake. My problem was that every time I went out, I had nothing to focus on. My eyes were looking for pictures everywhere, but my mind wasn’t able to sort out all these images. Something was missing, and that was a theme.

Taking pictures based on a theme has a lot of benefits and it can change your shooting approach in a very positive way. That’s why many photographers work like this because it makes their life much more easy and practical.

Elimination is the key

Imagine yourself in a very crowded place, let’s say a musical festival. The possibilities for images and angles are infinite. You may take pictures of the whole crowd, of a couple spending time together, or a detail on someone’s jacket. Or maybe you can take pictures of the musicians only. How can you do all these things and not get tired or confused?

Image 002

You need to remove the things that are not important for your ideas or style of shooting. Therefore, you have to know what you’re looking for before you go out to shoot.

Let’s say you decide that your theme at that music festival should be about ladies dancing. Now, you will focus all your attention only on them, taking pictures of details on their hands, clothes, etc., and mix it up with portraits and action shots. Try different angles and perspectives, because now you have something to focus on. As a result, you eliminate all the things that might get you disorganized, such as big crowds, couples, general landscapes of the festival, etc.

Elimination is the key.

You will save time

Before working on themes in my photography, I spent many hours searching for wonderful movements and scenes to capture with my camera. On an average day, I would walk in the city for eight to nine hours and shoot for only a half hour. Why? Because I didn’t know what I was looking for.

Image 003

By choosing a specific theme or subject before you go out, you will know where to look. For example, if you want to take portraits of dog owners, as a first step you can try going to the park where people walk their dogs and ask them to pose for you. On the next day, you may go at a dog grooming place, and so on.

Working on themes is a very good time-saving habit that can help you remove the gap between finding the perfect shot and actually doing it.

Targeting specific clients

Regarding the topics you may choose, your interest can grow in time. You will start to understand more about what you’re photographing and after few months, you may find yourself with a strong body of work.

Image 004

Image 005

Image 006

For example, if you have a passion for street fashion and you build a portfolio with great images on that theme, you can use that portfolio to find your future clients. You may try fashion magazines, agencies, or even online publications. Also, you can enter those images in a competition to see if they are good enough to grant you some recognition or a prize. But I don’t suggest you take pictures only for getting recognition because then you could end up working on things you may not like that much.

Theme shooting helps style development

We all think about style, it’s an artist’s signature. We want people to recognize our pictures just by looking at them and say, “These are John’s images because they look this specific way.” We want our name out there in the best way possible.

Image 007

Developing a style is a matter of time. You don’t have to fight for it because it will come by itself after years of hard work.

By working on themes and the things you care about, you’ll start to notice what things you like to photograph and how you like to do it. You will begin to understand and see yourself in your work. In this growing process, your style will evolve. It’s not a matter of conscious decision, but of knowing yourself.

If you are in a hurry to stamp your work with your style, then find a theme you are interested in and photograph that. You can’t go wrong.

Conclusion

So if you feel like your work isn’t progressing and you’re stuck, try shooting around a theme for a while. See how it helps you focus, improve your style and in the end become a better photographer.

Please share your thoughts and questions in the comments below.

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The post How Shooting Photos Based on a Theme Can Improve Your Work by Cosmin Cimil appeared first on Digital Photography School.


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Getty Images says $1 billion lawsuit is based on ‘misconceptions’

02 Aug

On July 25, photographer Carol M. Highsmith filed a lawsuit against Getty Images seeking $ 1 billion in damages over the company’s alleged infringement of her photo copyrights. The lawsuit names both Getty Images and distributor Alamy, claiming both have been charging licensing fees for the use of photos she provided to the Library of Congress for public use. The suit also names LCS, which it claims is owned by or operated under common control with Getty. In a response to the lawsuit, Getty said, ‘We believe it is based on a number of misconceptions.’

In its statement, Getty Images distances itself from the copyright infringement claim, stating that LCS was acting on behalf of Alamy.

The content in question has been part of the public domain for many years. It is standard practice for image libraries to distribute and provide access to public domain content, and it is important to note that distributing and providing access to public domain content is different to asserting copyright ownership of it.

LCS works on behalf of content creators and distributors to protect them against the unauthorized use of their work. In this instance, LCS pursued an infringement on behalf of its customer, Alamy. Any enquiries regarding that matter should be directed to Alamy; however, as soon as the plaintiff contacted LCS, LCS acted swiftly to cease its pursuit with respect to the image provided by Alamy and notified Alamy it would not pursue this content.

The company also said that, assuming it can’t ‘rectify’ the situation with Highsmith, ‘we will defend ourselves vigorously.’

Via: Getty Images

Articles: Digital Photography Review (dpreview.com)

 
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Double-Helix Bridge Design for Beijing Based on Abstracted Olympic Symbol

23 Jul

[ By SA Rogers in Architecture & Public & Institutional. ]

double helix bridge 1

The Olympic symbol consisting of five interlinked circles is stretched out and rotated until the links create a three-dimensional double helix formation in this bridge design, which is scheduled to become reality in Beijing in time for the Olympic Winter Games in 2022. China has already made it clear that it’s willing to go big when it comes to Olympic architecture, filling Beijing with a series of massive structures for the 2008 Summer Olympics, and it aims to make its next turn hosting just as memorable. The San Shan Bridge (3 Mountains Bridge) by architecture firm Penda will connect Beijing with the city of Zhangjiakou, where most of the outdoor events for the Games will take place.

double helix bridge 8

160612_SanShanBridge_structure diagram

 

 

double helix bridge 5

bridge 2

Spanning China’s Gui River, the San Shan Bridge is supported by the double-helix structure made up of three sets of undulating steel arches that cross above and below the road surface, dipping into the water. The deck is suspended from the higher arches using high-strength steel cables in a woven pattern. Four vehicular lanes are edged with greenery, which separates the cars from pedestrian paths on either side. Using up to 5 times less steel than a conventional box girder bridge, the design is slim and lightweight in appearance despite its big visual impact.

bridge 1

double helix bridge 7

double helix bridge 2

The region surrounding the bridge is a popular recreation spot for locals and tourists alike, with booming growth leading to a need for more infrastructure. The bridge will not only provide a crucial (and highly memorable) artery from the city to the Olympic events, it’ll be a central component of the Beijing Expansion Masterplan. Nearly 1500 feet long, the bridge will take a few years to construct, but should be done by the time the Beijing Horticultural Expo 2019 rolls around.

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[ By SA Rogers in Architecture & Public & Institutional. ]

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Shutterdial offers Flickr searches based on EXIF

15 May

Despite the service’s recent major update, Flickr doesn’t yet offer a way for users to search content based on camera settings. Shutterdial, a website from photographer Tianhe Yang, fills that void by using the Flickr API to offer photo searches based on based on four criteria: subject, focal length, shutter speed and aperture. Read more

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Coolpix S800 Android Based Camera

06 Jan

The Coolpix S800 will be the first Android based camera from Nikon Read more on NikonRumors.com: nikonrumors.com

Schindler freight elevator
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