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Posts Tagged ‘High’

Pixelmator 3.7 update adds High Sierra and HEIF support

07 Oct

Pixelmator has released version 3.7 Mount Whitney of its comprehensive image editing app for Mac. The update brings support for macOS High Sierra and the new HEIF (High Efficiency Image File Format) image format that was introduced with the iPhone 8 series and iPhone X.

In addition, Pixelmator can now directly be launched from the Photos app and any edits you make within the more powerful editor will be saved to the original image in the Photos library as well. The option to edit with Pixelmator will appear in the Photos Image menu as soon as the app has been installed or updated to the latest version.

“People love using Pixelmator on the Mac, and one of the biggest reasons is its extensive integration with macOS,” said Saulius Dailide, one of the founders of the Pixelmator Team. “And with Pixelmator 3.7 Mount Whitney, we think users are really going to love the much more seamless experience of launching Pixelmator right from the Photos app and automatically saving changes back to the same image in the Photos library.”

The update also includes improvements to the Repair Tool to make it faster and more accurate, as well as improved support for PSD images. The updated Pixelmator can be downloaded from the App Store for $ 30.

Articles: Digital Photography Review (dpreview.com)

 
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Your Wacom tablet won’t work with macOS High Sierra until ‘late October’

26 Sep
Photo by Damian Patkowski

Apple’s newest macOS operating system, macOS High Sierra, launched today. But if you use a Wacom tablet to do your photo editing, you’ll want to hold off on hitting the upgrade button. It seems Wacom tablets won’t work with High Sierra until the end of October.

The disappointing news was broadcast in a tweet published by the main Wacom Twitter account that read, “We will release a Driver update late October for 10.13 High Sierra. The current driver is not compatible.” If you click on the more info link offered in that tweet, you get this slightly more detailed explanation:

Apple has announced 10.13 High Sierra will be released September 25th. Wacom is currently working on a new driver update to support the new operating system. The new Wacom driver will be ready by late October at the latest. Due to nature of the changes in High Sierra, the existing Wacom driver for 10.12 will not work. To continue to use your tablet uninterrupted, Wacom suggests not to upgrade to 10.13 until the new driver is released.

The news is particularly disappointing given that Apple announced High Sierra months ago, and gave developers access to that beta the very same day. And based on the wording of the announcement, the old driver won’t work at all, so upgrading to macOS High Sierra will leave you Wacom-less for at least a couple of weeks—if you rely on a Wacom tablet for your work, you’ll just have to wait.

Keep an eye on this link to know the instant Wacom releases their overdue macOS High Sierra driver.

Articles: Digital Photography Review (dpreview.com)

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

29 Aug
Photo by Jakob Owens

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

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

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

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

Articles: Digital Photography Review (dpreview.com)

 
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Exclusive: Nikon D850 high res samples and pro shooting experience

26 Aug

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For the past two weeks, sports photographer Andrew Hancock has been shooting with a pre-production model of the Nikon D850, putting it through its paces to see if there was anything Nikon’s new DSLR couldn’t do. Lucky for us, he and Nikon agreed to share some of his sample images with DPReview exclusively, as well answer a few shooting experience questions about the D850.

Our short phone interview with Andrew has been edited for clarity.

How many generations of Nikon DSLRs have you used?

I actually switched over in 2010. The first Nikon I owned was the D3, which at the time for me was absolutely remarkable camera.

I had one D3, two D3s’s and a D3x to start me off. Since then I’ve owned most of the DSLRs Nikon has released. I have one D800 left (I used to have multiple, but this the one my only cover for Time was shot with it, so I’ve kept it on the shelf), three D810s which, surprisingly, see more action than anything else in my kit, two D5, one D500, one D750, one D4s, two D4’s, and a D300s converted to infrared.

What features of a DSLR do you use/value the most?

I love shooting athletes in motion, so it’s really portrait work at its core. It’s why I love the D810: the files that camera produces are so fantastic. So resolution is really important for me more-so than framerate, even when shooting sports.

When I do basketball, for example, I usually have strobes up in the catwalk and so you’re limited to one frame at a time. As important as 12fps is with the D5 (and I do use it regularly), even then I find my best pictures are the first or second frame in any sequence because that’s my initial reaction.

12-14fps is great, but I rarely ever pick any of the later frames. The D5 for me is killer for remote camera use (horseracing, basketball using available light, etc.) but the D850 was the perfect marriage of everything I needed. It’s hands down the most versatile camera I’ve ever handled. When I had the conference call with Nikon and they introduced it to me, telling me the specs, it was everything I had been hoping for and then some. When I had it in my hand for the first time, all those expectations were met… and when I saw the first RAW files, they were blown away.

What was your wishlist for a D810 replacement?

I was hoping to be in the range close to 50MP, which they did, and as far as frames per second I would have been happy with 6, so having 7 and the option of 9 with the grip was phenomenal.

More important than fps for me was going to be ISO performance though. I do so much work behind the scenes with teams and athletes, where you’re working with only available light. Having that high ISO performance I’m used to with the D5, I really wanted to see a camera that performed closer to that, definitely better than the D810. D850 definitely hit the mark.

Doing some testing in an alley with a bodybuilder, we shot portraits at ISO 5000 and they held up! It was really eye opening to see what we could do with that camera, and how well it was reading light and processing it. Every time I would try to push the camera to its limits, it kind of pushed me back. It’s a really fun situation to be in because up to this point in my career, I’ve made a habit of pushing my gear (cameras, lenses, lights) to their limits; this camera changed the equation for me because instead of me pushing it, the camera was pushing me.

We spent 2 weeks running around like crazy shooting whatever we wanted and having a blast.

What are the most significant upgrades in the D850 compared to previous Nikon DSLRs that you’ve used?

The things I was really impressed with (and wasn’t expecting) was the AF improvements for this compared to the D810. It’s dramatic. The fact that it could hold AF at 7-9fps… this camera is going to perform for you in any situation.

One of the most challenging situation I shoot is swimmers coming at me in butterfly. Since they’re constantly coming up and out of the water, it can be a real challenge for an AF system like you see on the D810. By comparison, the D850 performs incredibly well. In the past, the best focus was coming out of the flagship pro body; the D850 gets me that same system but at a pretty crazy price point.

Honestly, it’s tough to put into words. I was surprised by the frame rate they were able to get. And incredibly impressed by the high ISO performance. I was very happy to see the MP range they put it at. Every time I would look at a file I thought might be challenging, I came back with “wow.” It passed with flying colors. It was never, “it kind of let us down” here or there.

Is the D850’s AF performance on par with the D5? What’s your experience comparing the D850 to the Nikon flagship?

I’d put it on par. The D5 still has an edge, especially with how fast it can shoot, but I say that with the caveat that I haven’t used the D850 with the battery grip. So even shooting without the grip, it’s on par. I would have no reservations having it in my hand shooting a football or basketball game.

The real trade off between the two cameras is ISO. With the D5 you are going to be better at high ISOs because that’s what that camera was built for—you’ll sacrifice a little bit of that performance for the extra resolution. But that’s a sacrifice that I’m personally wiling to make. The D810 has been my workhorse for years, and now the D850 will be.

I think people are going to be really impressed by the dynamic range, the tonal range, the clarity… everything.

What kind of photographers do you think will most appreciate the D850/find it most useful?

I’m not really sure. I don’t think you can put this thing in just one segment because it’s kind of like a decathlete: itcan do anything. This is a camera that can perform well in any situation you put it in. From a sports perspective, I’ll use it like crazy without any reservations.

I’m most known for my sports work, but I shoot a lot of photojournalism and in that genre you have to be able to shoot and cover anything—from food photography, to landscape and portraiture. This camera can handle it all. I don’t see, like you do with some other bodies, that this is “geared” more towards this or that. This is geared towards photography.

You look for the weaknesses when you’re testing it, but with the experience I’ve had so far I have yet to find what application or genre it’s going to struggle with. It just keeps performing.

And that holds for the colleagues I’ve talked to who have used it. They all have great things to say about it. Photographers by nature complain about “X Y and Z “ on occasion and occasionally a lot, complaining about what we don’t have. But it’s hard to find something this camera doesn’t have, at least for me.

I put the D850 in as many situation as I could put it in and it performed… the real question is what can’t it do.

Is there anything you still want to see improved / added?

Not as far as performance, no, and I haven’t even shot with a grip yet. One of my favorite older bodies is the D3x, and I think having a camera with this kind of resolution in that package would be intriguing, but at the same time I like having a little more weight off my shoulders.

They’ve improved the ergonomics, it’s got a deeper grip which I really like, the new viewfinder is fantastic—there’s not a lot to complain about. Again, it would be interesting to see it in a full size body like the D5, but it’s not really necessary… I mean, there’s a reason why I’ve preordered three of these.

Articles: Digital Photography Review (dpreview.com)

 
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Andrew grove high output management pdf

26 Aug

The AA presence in Ohio and Illinois continued for a few more years; and was winning. This was the only modern office building in the town of Harrisburg suitable for headquarters — Through downtown Andrew grove high output management pdf, the city was one of the leading bituminous coal mining distribution hubs of the American […]
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High Design: 10 Blazing Hot Marijuana Dispensary Interiors

27 Apr

[ By SA Rogers in Design & Fixtures & Interiors. ]

Moving way beyond grungy illegal sources and the psychedelic hippie aesthetics of head shops, modern marijuana dispensaries often look more like luxury hotel lobbies, high-end speakeasies and Apple Stores. As more states within the U.S. legalize medical and recreational marijuana, a whole new world of cannabis-adjacent architecture and design lights up. Here are 10 standout dispensaries, including a couple proposals for rooftop pop-ups and even a Cannabis Cruise.

Barbary Coast Dispensary, San Francisco, California

Called “the most decadent pot smoking lounge in the West” by the San Francisco Chronicle, the Barbary Coast Dispensary is modeled on luxury speakeasies in the city’s old red light district, and features a hash bar, smoking lounge and dab bar among stained glass, dark leather and red flocked velvet wallpaper. The owners wanted the space to have a San Francisco flavor, as opposed to the clinical ‘Apple Store’ look favored by a lot of other dispensaries.

New England Treatment Access (NETA), Brookline, Massachusetts

Set into the historic Brookline Bank building, the NETA dispensary features original design by Swiss-American architect Franz Joseph Untersee, who’s best-known for his Roman Catholic Churches. The traditional interiors are definitely a stark contrast to the places people often procured marijuana before it was legal.

Serra Dispensary – Downtown Location, Portland, Oregon

The third location of the Serra dispensary chain to open in Portland, this Old Town gem is set into an 1889 historic-landmarked building with a black-painted facade. Recalling the aesthetics and feel of neighborhood apothecaries, the space features 16-foot ceilings, elegant display cases, high-end smoking accessories and a lush green wall.

Ajoya Dispensary – Louisville, Colorado

You’d almost think the Louisville, Colorado location of Ajoya was a nightclub walking in, with its dimly-lit interiors designed by award-winning firm Roth Sheppard. Customers sit on single-leg stools to consult with bud tenders over a glossy white counter. If some aspects remind you of an Apple store, that’s intentional; in this age of marijuana emerging from illegality in many states, the owners wanted to project an image of safety and health.

Level Up Dispensary – Scottsdale, Arizona

Scottsdale’s Level Up essentially looks like a high-end jewelry boutique, fitted with chandeliers, backlit display cases and a lounge full of leather seating. The dark grey and green color scheme directs the eye right to the product on the shelves.

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High Design 10 Super Stylish Marijuana Dispensary Interiors

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[ By SA Rogers in Design & Fixtures & Interiors. ]

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Catch them all: high resolution poster shows every Pentax SLR ever produced

23 Feb

Ricoh has released two posters charting the history of Pentax cameras, both in downloadable high-resolution PDF formats. These posters join the company’s existing online Pentax History website, serving as large visual aids to complement the site’s extensive product-by-product details.

The first of the two posters is dubbed the ‘Pentax Archives,’ and it shows camera models over the years starting with the Asahiflex I from 1952. Many of the cameras are accompanied by descriptions detailing the notable aspects of the model. The other poster shows every Pentax SLR from 1952 to 2017.

You can download them here:

  • Pentax Archives
  • Every Pentax SLR from 1952 to 2017

Those interested in additional information can view the brand’s history archives sorted by year, film and digital categories here.

Via: PentaxRumors

Articles: Digital Photography Review (dpreview.com)

 
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Nikon cancels DL compact series citing high development costs

14 Feb

Nikon has officially put an end to the DL series. Announced just under a year ago, the three DL compacts would have had 1″ sensors. Nikon missed its June target ship date, citing problems related to the image processor. Now, Nikon says that the development costs had become too great to continue. A statement released today also mentions the company’s concern that it wouldn’t sell enough units to make up for the increased costs, due to a slow down in the market.

That wasn’t the only piece of bad news from Nikon this morning. The company released its third quarter financial results and due to costs of a ‘voluntary retirement’ program it initiated last year and semiconductor inventory write-offs, has announced an ‘extraordinary loss’ from April to December of 2016. The impact of this is reflected in an updated forecast for the financial year ending in March, lowering predictions of net sales and operating income. The statement acknowledges a ‘sluggish and shrinking’ market for digital cameras.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix GH5 shipments may be delayed due to high number of pre-orders

08 Feb

Update: Panasonic US has clarified that this announcement is intended for customers in Japan, and availability will vary by country. The GH5 is slated for March 30th availability in the US.

Panasonic Japan has announced that customers who have ordered a Lumix GH5 may face a longer wait due to the high number of pre-orders. The camera is scheduled for release on March 23, and Panasonic is prioritizing pre-order shipments. The GH5 was officially announced at the beginning of January, and Panasonic targeted a ‘late March’ shipping timeframe in its initial announcement.

Via: Photo Rumors

Articles: Digital Photography Review (dpreview.com)

 
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How to Expose Correctly for High Contrast Wildlife

25 Oct

Photographing wildlife of deeply contrasting colors, such as black bears or white waterfowl, can present certain challenges setting up shots that are properly exposed for the wildlife and also the surroundings. Harsh lighting also makes exposing for these subjects especially difficult. The hurdle to overcome in these cases is to expose for the subject animal(s) properly and still capture a scene that is pleasing to the viewer. What often results are images where the exposure is correct for the surroundings, but the creature is either under or overexposed.

Getting the subject wildlife exposed correctly is a more important aspect because the background can be dealt with later in post-production. In some cases, the background just doesn’t really matter in comparison to the photo capture of the often elusive wildlife in the scene.What follows are methods to use in stark color-contrasting situations. One is for dark colored wildlife such as black bears or ravens, and another for light colored wildlife such as egrets or swans.

What follows are methods to use in stark color-contrasting situations. One is for dark colored wildlife such as black bears or ravens, and another for light colored wildlife such as egrets or swans.

Exposure Details

A reality of photographing wildlife is that when things happen, they happen fast. Lighting may change very quickly and there may not always be time to make adjustments while shooting the action of the wildlife in view.

Most experienced photographers want control of all camera settings and don’t generally choose to shoot in auto modes for shutter speed and aperture in order to control movement and depth of field. So is there was a way to set the shutter speed and aperture and still get the correct exposure without the hassle of continually changing settings as the light changes?

There are many ways of shooting wildlife resulting in a desirable exposure, but probably one of the most overlooked ways is using the Auto ISO setting in Manual mode. To use this method, set the camera in Manual mode, adjust shutter speed and aperture to the settings desired, and then set the ISO to auto-ISO. Most cameras will allow you to set a maximum ISO, so it’s helpful to know at what ISO the images become unacceptably grainy with your camera. However, this still doesn’t entirely solve the problem of correctly exposing for those dark and light animal subjects. To solve these problems you can fine-tune the exposure by using exposure compensation.

Correcting the background in post-production

As in any image, if editing is planned it is important that the image be shot in RAW mode. When opening an image in Adobe Raw Converter (ARC) (or Lightroom) and if the exposure for the animal is correct in camera, then only the background may benefit from corrections in post. In most cases for wildlife images, the background hues are green, yellow or blue. To enhance or balance these colors in ARC, go to HSL/Grayscale panel and simply darken or lighten the luminance for green, yellow or blue until the background exposure appears to match the exposure of the animal. A little saturation may also be added. If a little punch or contrast would improve any background flatness, one may use an adjustment brush to add some contrast and clarity to the background. It’s that simple!

Dark Colored Wildlife

In this image the correct exposure for the black bear over-exposes the green background.

The luminance of the green has been adjusted to decrease the background exposure.

The dark hues of some wildlife will absorb more light than the scene around them, so it becomes necessary to increase the light taken in by the camera by using exposure compensation as mentioned above. For wildlife with dark colored coats or feathers, use exposure compensation and adjust by adding light (+value). This will suffice in most cases, depending on the amount of natural light available.

Keep in mind that the wild subject is the most important component in the image, so if any aspect of the image should be sacrificed in the moment, make it the background. For really dark creatures, such as bears, start out by using a compensation of +1. Remember, don’t worry about the background. The animal is the important exposure!

The exposure is correct for the black bird, but the background is washed out and boring.

Again, the luminance of the green has been adjusted. Then an adjustment brush has been used to add contrast, creating a vibrant background.

Light Colored Wildlife

Conversely, for light colored animals, use exposure compensation and adjust by subtracting light (- value). The whiter color of many beautiful creatures will reflect much more light than the background will, so it helps to decrease the light the camera takes in so as not to overexpose the animal.

In keeping the white egret from being overexposed, the background appears dull and dark.

The green and yellow hues were adjusted to add life to the background. Notice that in every case the exposure of the subject is unchanged.

Why can’t I just correct the exposure of the wildlife in post-production?

Of course, this is an option. But there at least two reasons for not correcting the exposure of the subject later on the computer.

  1. Any time a major exposure correction is undertaken, there is a certain amount of digital data of the image that is lost. Therefore, it is best to get the main subject of the image captured as closely as possible in camera. (This is true of any image, not only wildlife subjects.)
  2. When photographing extremely light colored animals, if the white is over-exposed to absolute white there is nothing that can be done in post-production to pull out any detail. Darkening the subject will not bring back any nuance in the creatures coloring, and the image will lose desirable texture. Again, conversely, if the black-coated bear or bird is underexposed to absolute black there is no way to lighten the subject and pull out interesting details from the fur or feathers.

What about the Eagle?

Some animals are doubly challenging as in the case of the American Bald Eagle, with its white head and dark body. These magnificent creatures are almost impossible to photograph in harsh light. If choosing which end of your histogram to sacrifice, my opinion is to expose for the white head.  Again, avoid harsh lighting if at all possible.

Conclusion

Remember, when you’re faced with a choice of settings for an extreme exposure while photographing wildlife, never sacrifice your subject. Whether a light or dark-coated bird or animal, intentionally set up the shot to capture the creature and its distinctive features and keep the background as a secondary consideration. To make sure the subject will be correctly exposed, use a 3-shot bracketed exposure, with an exposure one stop over and another exposure one stop under the setting.

Do you have any wildlife exposure tips? Please leave them in the comments below.

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The post How to Expose Correctly for High Contrast Wildlife by Bruce Wunderlich appeared first on Digital Photography School.


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