Researchers with Google, UC Merced and Shanghai Jiao Tong University have detailed the development of DAIN, a depth-aware video frame interpolation algorithm that can seamlessly generate slow-motion videos from existing content without introducing excessive noise and unwanted artifacts. The algorithm has been demonstrated in a number of videos, including historical footage boosted to 4K/60fps.
Rapidly advancing technologies have paved the way for high-resolution displays and videos; the result is a mass of lower-resolution content made for older display and video technologies that look increasingly poor on modern hardware. Remastering this content to a higher resolution and frame rate will improve the viewing experience, but would typically be a costly undertaking reserved only for the most popular media.
Artificial intelligence is a promising solution for updating older video content as evidenced by the growing number of fan-remastered movies and TV shows. Key to these efforts are algorithms trained to upscale and, when necessary, repair the individual frames of videos, which are recompiled into a higher-resolution ‘remaster.’
The newly detailed DAIN algorithm is different — rather than upscaling and repairing the individual frames in a video, this AI tool works by generating new frames and slotting them between the original frames, increasing the video’s FPS for smoother and, depending on how many frames are generated, slower-motion content.
This is a process called motion (video frame) interpolation, and it typically causes a drop in quality by adding unwanted noise and artifacts to the final videos. The DAIN algorithm presents a solution to this problem, offering motion interpolation to boost frames-per-second up to 480fps without introducing any readily noticeable artifacts.
The resulting content is high-quality and nearly visually identical to the source footage, but with the added smoothness that comes with increasing the frames-per-second to 60fps. In addition, DAIN has been demonstrated as capable of transforming ordinary 30/60fps footage into smooth slow-motion videos without choppiness or decreased quality.
According to the researchers, DAIN is ‘compact, efficient, and fully differentiable,’ offering results that perform ‘favorably against state-of-the-art frame interpolation methods on a wide variety of datasets.’ The technology has many potential uses, including recovering lost frames, improving content to be more visually appealing for viewers, generating slow-motion from regular footage and more.
Such technology is arguably necessary for preserving aging media in a useful way, making it possible for new generations of people to experience historical footage, old TV shows and movies, home videos and similar content using modern high-resolution displays. As well, the technology could be useful for content creators of all sorts, enabling them to salvage the footage they already have, improve the quality of old clips for use in documentaries and similar things.
The researchers explain on their project website:
Starting from the birth of photographing in the 18-th centuries, videos became important media to keep vivid memories of their age being captured. And it’s shown in varying forms including movies, animations, and vlogs. However, due to the limit of video technologies including sensor density, storage and compression, quite a lot of video contents in the past centuries remain at low quality.
Among those important metrics for video quality, the most important one is the temporal resolution measured in frame-per-second or fps for short. Higher-frame-rate videos bring about more immersive visual experience to users so that the reality of the captured content is perceived. Therefore, the demand to improve the low-frame-rate videos, particularly the 12fps old films, 5~12fps animations, pixel-arts and stop motions, 25~30 fps movies, 30fps video games, becomes more and more urgent.
The public can view more examples of videos updated using the DAIN algorithm by checking out the related collection playlist on YouTube. As well, the full study is available in PDF form on the Arxiv website here.
The post How to Make the Ordinary Look Extraordinary in Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
A good subject does not make a good photo, a good photographer does. How can you photograph ordinary things to make them look extraordinary? This is a question I am sure many people are contemplating as they are confined to their homes.
In and around our homes, we are familiar with the environment and what’s in it. These things are ordinary to us, and often we don’t think about photographing them. The exception may be after we buy our first camera. Then everything is interesting to photograph.
I love what British photographer Martin Parr says about his work. He says he aims to make the ordinary look extraordinary. This is a relevant challenge for many photographers who cannot get out and photograph the things you typically point your camera at.
To make the ordinary look extraordinary, you have to think outside the box. Don’t rely on what you normally do. Push beyond the rules and techniques you may typically follow and think about how you can photograph things differently.
Pick the best time of day to photograph some flowers in your garden. Then, tomorrow, photograph the same flowers at a different time – perhaps from a different angle. Compare your results. Don’t limit your thinking to what you’ve learned is the correct time or the right way to photograph flowers. Get yourself out of that mindset.
Observe how the light changes during the day. What’s it like in the morning, midday and in the evening? Challenge yourself to find things to photograph during a time you normally would not because you think the light is no good.
If you’re not used to being at home in the middle of the day, pick up your camera while you take your lunch break. Press yourself to find interesting light somewhere in your home to take some photos.
The very first photography assignment I completed was simple. I was taking a night school class on black and white photography shortly after purchasing my first camera. The task assigned was to photograph ordinary things. Something that we were familiar with.
We had to take one roll of film. Yes, it was a while ago! The choice was ours to load a 12, 24 or 36 exposure film. I made 36 exposures of my bicycle. I photographed it from every conceivable angle.
I loved riding my bike (and still do), so it was not difficult to photograph 36 times. Each frame was different. Some were close up, others were from further back.
Photographing something you love will make it easier because of the connection you have with it. Your mind will imagine the type of photos you can make of it because you love that thing.
When I photographed my bike, I did so all in one session. You could do this too, or spread out the challenge and make a series of photos of your chosen subject(s) over a period of time. I have done this too. For the past 37 years, I have been photographing bicycles.
Ever since that first assignment to photograph ordinary things, I have loved taking pictures of bikes. You never know how a simple assignment might grow on you.
Try many different styles of photography. Practice new things. Improve on techniques you are already familiar with.
If you are someone who generally only photographs things once, now is the time to push beyond this. Challenge yourself to photograph ordinary things over and over again. How can you keep making interesting photos of the same stuff? It’s not about the subject or your camera. It’s up to your imagination.
Change the lighting. Move the thing you’re photographing to another place. Use a lens you’d never before consider using for this subject. Press beyond your preconceived ideas of the ‘right’ way to do things. There is no right or wrong way when you are a creative photographer.
Come at your subject from every imaginable angle. The first angle you think to take a photograph from is not always the best. Move around. Lie on the ground. Stand on a chair. Look at your thing from as many interesting angles as you can think of.
Attach one prime lens to your camera and leave it there. Force yourself to use just one focal length on your favorite zoom lens.
By experimenting with one lens you will come to know it better. The more you use this lens, the better feel you will develop for it. Taking photos of the same subject, with the same lens may seem limiting – and it is, in a way – but this limitation will hopefully press you to develop your creative thinking.
Photograph ordinary things using the most basic equipment. This is a sure method to encourage your creative thinking. The best thing you have to rely on is your imagination.
Take the lead from Martin Parr and use your flash more. Either on or off-camera, add flash to photos when you normally would not.
By adding artificial light to what you have chosen to photograph, you will see it in a whole new light. This is a fabulous way to become more proficient with your flash. By using it at times when you typically would not, you will discover new possibilities. It may give you the boldness to use flash more frequently in the future.
Take your time and try using your flash in different ways. Fixed to your camera’s hot shoe, you’ll get very direct, harsh lighting. Tilting the flash head so that it points at the ceiling or a nearby wall, will add a softer light to your subject. Taking your flash off-camera, you can add light from a fresh perspective.
I’ve mentioned Martin Parr a few times in this article. He’s known for his somewhat garish captures of normal, everyday objects. He can photograph ordinary things and make them grab our attention. It’s his way of seeing that he shares with us.
Look at how your favorite famous photographers photograph ordinary things. You will find that many of them do. Irving Penn’s still life images are exquisite. Edward Weston’s photo of a pepper is somewhat iconic. Man Ray came up with all manner of wonderfully experimental images of things from within his environment.
Conclusion
Focus on what is around you. Challenge yourself to take photos of things you normally would never consider worthy of a picture. I am sure you will surprise yourself a few times with what you come up with when you put your mind to it.
Use this time to learn to photograph ordinary things. Inspire yourself out of the rut of thinking that ordinary is boring. Make great photos of ordinary things, or at least have fun trying.
And when you’re done post-processing your photos, share a few of them in the comments below and let us know your thought process behind them. This way, you can encourage others to become more diverse in their creative photography.
The post How to Make the Ordinary Look Extraordinary in Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
The post Finding Photography Inspiration in Ordinary Places appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Photography is filled with highs and lows. One week you might find yourself overflowing with ideas and see photographic opportunities all around you. The next week, you’re stuck in a vast wasteland where nothing seems to be worthy of your camera. Finding photography inspiration isn’t something that requires exotic travel destinations or even fancy camera gear. Often you can uncover extraordinary picture opportunities in the most ordinary of places.
Nikon D7100, 50mm, f/1.8, 1/2000 second, ISO 400. This mockingbird was sitting in a bush near my office.
Inspiration is a tricky thing. While it can come when you least expect it, I have found that you often have to work for it.
If you’re expecting a brilliant photo opportunity to show up on your doorstep, it probably won’t happen. But if you purposely go out in search of photo opportunities, inspiration is usually close behind.
A quote widely attributed to Thomas Edison says that “Genius is 1 percent inspiration and 99 percent perspiration.“
The same applies to photography.
Go on a photo walk. Slowly.
This might sound a bit cliché, but the hustle and hurry of everyday life can be a hindrance to photography. If you’re so busy going to and from work, school, the store, and back, it probably seems like you have no time to take pictures.
When a spare fifteen minutes does come your way, the idea of getting out your camera to take pictures can seem more exhausting than inspiring.
Nikon D750, 50mm, f/8, 1/125 second, ISO 900. Saw this snail on the sidewalk while going from my car to my office. I used a +4 close-up filter which I got online in a four-pack for $ 30.
A local photo walk can be just the ticket to newfound photography ideas and inspiration. It doesn’t have to be expensive, fancy, or exotic. Instead of spending lots of time and money on a bipedal picture-taking excursion, try just going out your front door and walking down the block. But here’s the trick: go slowly.
The pace of my photo walks has changed over time from a steady gait to almost a crawl. Not literally of course, but you have to tell yourself that your goal isn’t to cover a lot of ground or get your steps in for the day. It’s to look for picture opportunities, often where you never thought you would find them.
Everyday locations like the mailbox, the gas station, the park down the road, or even your own kitchen become fertile ground for inspiration to take root if you keep your eyes open and go slowly.
Nikon D7100, f/2.8, 200mm, 1/1500 second, ISO 100. This was literally in my own back yard.
Your daily locations might not seem exotic to you because you see these things every day. A visitor would see familiar objects with fresh eyes, and the trick to taking this approach is to try to emulate that perspective. Just because you see everyday objects as ordinary and unworthy of photographs, doesn’t mean they can’t lead to flashes of inspiration.
The next time you feel stuck in a photographic rut, take a short, slow walk around a familiar setting and try to see it with a fresh set of eyes. You might be surprised at how things can transform from familiar to phenomenal.
And, even everyday objects can be used for finding photography inspiration.
Fuji X100f, 23mm, f/3.6, 1/30 second, ISO 400. This is just a washing machine still spinning after I opened the lid. I was inspired when I saw it whirling, and I really like the photo I was able to get.
Photograph like you just don’t care
One thing that prevents a lot of people from taking more photos is the thought that they might look silly doing it. I’m as guilty of this as anyone, and most times when I am out with my camera, I feel completely awkward and self-conscious. I feel like the whole world is staring at me, pointing and laughing at the weirdo with a camera taking pictures of sticks and leaves and flowers!
In truth, that is almost certainly not the case.
In all likelihood, most people don’t really care about someone minding his or her own business who just happens to be carrying a camera.
When was the last time you stopped and stared indignantly at a passer-by harmlessly taking pictures? If those types of people don’t bother you, then you probably aren’t bothering anyone when you’re the photographer.
Fuji X100f, 23mm, f/16, 1/30 second, ISO 200. This cyclist probably didn’t even notice I was sitting next to the sidewalk.
This kind of advice is easier said than done, but if finding photography inspiration is your goal, then you have to stop worrying about what people think.
Some of my favorite pictures I’ve ever taken were in ordinary places like parks or downtown areas filled with people. And, not once has anyone ever told me I was bothering them.
Make sure you’re not being rude, obnoxious, or intrusive when taking pictures. If you’re just being a nice person and not bothering anyone, you can be almost entirely certain that no one will think twice about your presence. If they do, they probably think you’re some kind of fancy artist who clearly knows a lot about photography!
Nikon D200, 50mm, f/1.8, 1/50 second, ISO 400. I felt incredibly awkward and self-conscious taking pictures in a library. I wasn’t harming anyone, and I ended up with a few photos I really liked. It turned into a fun and inspirational experience!
Don’t try to take good photos
This took me a long time to learn, but it’s a lesson that has repeatedly made a big difference for me.
Years ago when I started getting more involved with photography, I thought only great photos were worth taking. I constantly passed up photo opportunities because I didn’t think the results would be worth the effort, and wouldn’t lead to any sort of photography inspiration.
What I learned was that inspiration takes the exact opposite approach! The images I thought were boring, mundane, or just flat-out bad taught me how to improve my photography by leaps and bounds. By examining my bad photos, I was able to understand why they were bad. They helped me learn how to take good photos as a result.
Nikon D200, 50mm, f/2.8, 1/1000 second, ISO 200. This is one of the most boring photos I can recall taking. It’s just not very good. But it taught me a lot about what does make a photo good.
There’s an old saying, Don’t let a perfect plan be the enemy of a good plan. It applies in a variety of situations, particularly photography.
If you’re waiting for inspiration to strike because you are seeking the perfect image, you might be waiting a very very long time. Try the opposite approach instead: take lots of pictures that aren’t great, and see what they can teach you along the way.
Another thing to consider is the sheer enjoyment of the art.
Stop thinking of your images in terms of objective quantification. Learn to value process over product! It’s the repeated practice of process that leads to superior products.
Take pictures because you enjoy it, not because you think the end result is good or bad. Enjoy the journey, take pictures just because you like it, and let that be your source of inspiration.
Nikon D200, 50mm, f/1.8, 1/125 second, ISO 200. I shot this photo years ago just for fun, and I still think about it when I go up and down stairs in tall buildings.
Take a social media hiatus
While social media sites like Instagram can be a boon to photographers, they can also be a curse.
Finding photography inspiration online can seem like a no-brainer: just follow some accounts with brilliant photos and you’ll surely get ideas for your own!
In reality, what often ends up happening is we compare our own photos to others and conclude that we just don’t measure up. All the other pictures look so amazing, so detailed, so colorful, and so full of life! Yours, by contrast, seem dull and lifeless. Worse, your pictures (even ones that you thought were awesome) only got a handful of likes, hearts, or thumbs-up. Meanwhile, someone else’s shot of breakfast cereal got a thousand. It’s just not fair!
Fuji X100f, 23mm, f/16, 30 seconds, ISO 200. I worked hard to get this shot, and it only got 21 likes on Instagram. If I measured my value as a photographer by social media standards, no way would I ever keep going.
Social media can be inspiring, but just as often it can be downright demoralizing.
The solution?
Get rid of social media!
Don’t delete all your accounts, but turn off notifications for photo-sharing sites and move those apps to the neglected depths of your phone screen. Log off social media sites on your computer, and stop measuring your worth by likes and upvotes.
This has consistently been one of the most effective ways of finding photography inspiration for me. Temporarily shutting out social media, removes any temptation to take photos for online accolades and attention. I start to take pictures that are interesting, challenging, or fun. Then I soon find inspiration flooding back.
Nikon D200, 50mm, f/1.8, 1/2500 second, ISO 200. I shot this long before I was sharing photos on social media. It’s nice to return to those halcyon days sometimes.
Conclusion
Finding photography inspiration isn’t always easy, but it can be simpler than you think. It doesn’t have to involve a lot of time, money, travel, or fancy camera gear either.
Inspiration can come in ordinary ways from ordinary places, and lead to some outstanding results.
What about you? What are your favorite ways to get inspired as a photographer? Share your thoughts in the comments below.
The post Finding Photography Inspiration in Ordinary Places appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Kessler, a company that specializes in accessories for filmmakers, has launched a new product called the Mag Max 3A, an adapter that works with select DeWalt power tool batteries for charging cameras, smartphones and certain other equipment. The adapter can be used with the DeWalt 20v Max and 60/20V Flex Volt models.
The adapter is quite unusual, but it’s easy to see how some users may benefit from this arrangement. Power tool batteries are available at most hardware stores, are fairly affordable, compact and something many people already own.
Kessler explains the reason it launched this product, saying, ‘The Mag Max 3A was developed to fill a void in the market for an inexpensive battery solution with a readily available common battery that can be found in almost every country in the world and at most hardware stores.’
The company selected DeWalt batteries for its adapter due to the brand’s popularity in a variety of industries, according to Kessler, including filmmakers and audio recordists.
The Mag Max 3A adapter is capable of powering DSLR and mirrorless cameras, Kessler’s motion control systems, LED accessory lights, monitors and other common gear that draw up to 3 amps of power. The device is made from high-grade aluminum, includes multiple 3/8-16 and 1/4-20 mounts, embedded neodymium magnets, as well as optional accessories that include a gold mount stud kit, V-lock kit and belt clip.
The Mag Max 3A adapter is available from Kessler now for $ 250, though it is currently discounted to $ 200. The DeWalt Flex Volt battery costs around $ 129 from most retailers, meanwhile, and the DeWalt 20V Max battery costs around $ 189.
AI vision startup Lucid has introduced an upcoming app called LucidPix that transforms ordinary images into 3D photos. The app is currently in development but has been made available to some users as part of a private beta. LucidPix is made possible using a contextual artificial intelligence that replaces the need for depth of field sensors or multiple cameras.
Generally speaking, special high-end camera hardware including select expensive flagship smartphones are required to capture 3D images. Unlike old school red-cyan stereoscopic 3D images, this newer type of 3D image doesn’t require special glasses to view. Instead, the effect is generated in the image based on depth-of-field data. Users can perceive the depth of different elements in the images by tilting their phones while viewing them, giving the images a 3D effect.
The LucidPix app will make it possible for anyone to create 3D photos, including ones generated from existing 2D images, using any iPhone or Android smartphone model. The transformation happens entirely through software. The LucidPix app includes 3D effect frames and will be offered in both standard and for-pay Premium versions.
3D photos generated with LucidPix can be shared within the photo app, as well as on social media platforms that support 3D images, including Facebook. According to Lucid, more than 250,000 people are using the LucidPix beta app through the Google Play Store’s early access program. Lucid recently demonstrated the app at CES 2020; the product will officially launch in the second quarter of the year.
Additional examples of 3D photos generated with LucidPix can be found on the app’s official Facebook Page.
How do you take extraordinary photographs of ordinary subjects? Many photographers think that this is impossible. They think that the best photography requires far-flung locations or sweeping landscapes. Yet creating beautiful photographs of everyday things is not only possible, it’s easy!
In this tutorial, you will find five ways to make incredible photographs of ordinary subjects.
1. Change your angle
I’ll start with a simple but very useful trick, that is changing your camera angle. Many photographers often shoot from a standing position, and this can be a useful starting point.
Yet when faced with an ordinary subject, it’s important to change things up. Otherwise, you’ll get a boring image that anybody could have taken.
I stood underneath the leaves to get this image.
Instead, you should be more creative. Try crouching down low, so that you’re shooting up at your subject. This will create a sense of drama and your subject will loom in the frame.
I often lie on the ground, especially when shooting wildlife. Getting down on this level, even with the most ordinary of subjects, will give your images a sense of intimacy and draw the viewer right in.
Another option is to shoot from up high. You can hold the camera above your head, and use the LCD to compose your photograph. Or you can find some way of elevating yourself by using a chair, a balcony, or some stairs.
Regardless of which method you use, by changing your angle, you’ll find that you can make even the most ordinary of subjects come to life.
2. Photograph in dramatic light
A second way to take extraordinary photographs is to use dramatic lighting. Dramatic lighting can significantly add to the feeling and mood of your images. Therefore, by using dramatic lighting, you can create powerful images of ordinary subjects.
How do you create dramatic lighting?
One of my favorite types of dramatic lighting is with direct backlight. By this, I am referring to situations where the sun is low in the sky and directly behind your subject.
The sun was setting just beside the tree in the background.
Make sure that the sun itself is not in the image. You can either hide the sun behind the subject or photograph so the sun is just out of the frame.
Direct backlighting can single-handedly save a lackluster image. It will make viewers stop in their tracks. They’ll be pulled in by the high contrast and the drama.
Try it. I guarantee that you’ll see huge improvements in your photographs.
3. Find abstract compositions
A third way of taking extraordinary photographs of ordinary subjects is to look carefully for abstract compositions.
Abstract compositions are ones that don’t view the subject merely as the subject. A good abstract image emphasizes lines, shapes, and colors over any identifiable real-world elements.
Often, good abstract photographs can be made by zooming in close (perhaps with a macro lens). But you can take beautiful abstract photographs with any lens.
How?
The trick is to forget about the subject as you would normally think about it. Say you’re taking a picture of a rose. You must stop thinking about the rose as a flower. Start thinking about the rose in terms of its delicate lines, its solid color, and its curves.
Compose with these components in mind.
Even if your subject is completely ordinary, being able to find abstract compositions will do wonders for your photographs of the most mundane subjects.
4. Use creative photographic techniques
By “creative photographic techniques,” I’m referring to tricks that professional photographers employ.
These tricks will add a special touch to any photograph. By using these tricks, your everyday images will come to life.
I’ll share two with you today.
The first technique is called “freelensing.” It involves detaching the lens from your camera and holding it manually in front of the camera body.
By tilting the lens in different directions, you can change the area of the image that is in focus, resulting in some very creative effects.
I use this technique quite often when photographing nature.
I used freelensing to capture this photograph of autumn leaves.
The second technique is called “intentional camera movement.” You simply set your shutter speed for a significant length of time (anywhere between 1/50th of a second and 2 seconds is a good place to start).
Then, once you’ve pressed the shutter button, you intentionally move the camera during the exposure. You might try panning from left to right. Or you can bring the camera downward. Really, you can use any kind of motion, the possibilities are endless!
This intentional camera movement technique will undoubtedly result in some stunning abstract images. So go ahead and experiment!
5. Add a touch of editing
Some photographers often skip post-processing, thinking it unnecessary. But while you don’t have to edit your images, even subtle editing can be used to accentuate certain aspects of a photograph. Editing can make a photograph moody, colorful, or dramatic.
In short, a touch of editing can make your ordinary photographs extraordinary.
One of my favorite tricks for editing a photograph of an ordinary subject is simple. Convert it to black and white.
I liked the color version of this pet photograph, but I loved the drama of the black and white.
That’s it. If you have Lightroom, go ahead and use one of their free presets.
What’s so special about black and white?
Black and white emphasizes the contrasting elements of a scene while stripping away all color. This makes your images far more artistic and dramatic.
By lightly editing your photographs, you can make them pop off the screen. You can make them come to life. You’ll create images that you’ll be proud of, even years later.
In Conclusion
By changing your angle, photographing in dramatic light, finding abstract compositions, using creative techniques, and by lightly editing your photographs, you’ll be able to take stunning images of even the most ordinary of subjects.
So get out there and start shooting!
Have another tip for taking great photographs of ordinary subjects? Share it in the comments!
The post 5 Ways to Make Extraordinary Photographs of Ordinary Subjects appeared first on Digital Photography School.
The Rhake Weatherproof Bag + Camera Capsule $ 365 (bag) + $ 130 (insert) | MissionWorkshop.com
The Rhake pack has a roll top giving it a decent degree of expansion.
The Rhake waterproof backpack by Mission Workshops doesn’t look like an ordinary camera bag – instead it looks a lot more like a high quality bike messenger pack or something you might take on a weekend trip when packing light. And that’s the point. The bag’s 22L main compartment is designed to be multi-functional. Once you slide the Capsule Camera insert ($ 130) into the Rhake you have a camera bag with a utilitarian design, albeit with a very high price tag.
The Capsule Camera insert that slides into the Rhake pack.
Though this pack is not designed specifically with photographers in mind, I was intrigued to find out just how functional it could be.
Specifications
Exterior: 21 x 13 x 5 in / 53 x 33 x 13cm
Interior Volume: 22L
Capsule Insert: 9.75 x 17.75 x 4.25in / 25 x 45 x 11cm
The first thing I noticed about the Rhake was the high quality construction – Mission Design guarantees their products for life – which makes me believe that this thing was built to last. The bag is made of weatherproof nylon fabric called HT500 that is apparently exclusive to the company. It gives the pack an understated look and a good degree of water and stain resistance.
The Rhake pack’s laptop compartment can fit up to a 17″ computer.
The pack also has a dedicated tablet compartment.
The second thing I noticed about this bag was the amount of organizational pockets. There are technically two zippered compartments that are large enough to fit a laptop (a dedicated exterior pocket, shown above left, and a second one within the 22L main compartment). On the back of the bag, opposite the exterior laptop pocket, there is a mesh water bottle pocket that tucks away when not in use.
There are numerous options for organization within this bag to suit your tastes
The front of the Rhake features a dedicated 10” tablet pocket and two accessory pouches (one at the top of the bag and one at the bottom) for stashing chargers, spare batteries or other items that need to be accessed quickly.
There are two zippered front pockets with plenty of room to organize smaller odds and ends. There are also two accessory pouches, one at the top (accessible via the roll top) – and one at the bottom (accessible via zipper).
There are also two larger zippered front pockets, one of which is filled with three smaller interior zippered mesh pockets. In short, there are numerous options for organization within this bag to suit your tastes.
The straps are well-padded and a horizontal strap offers added stability.
The back of the Rhake is made of perforated foam and there is a luggage handle pass-through for use with roller bags. The straps have a nice amount of padding and feature an additional horizontal buckled strap.
The camera insert can be accessed from the top of the bag.
A look inside the Rhake pack once the camera insert has been removed.
The Camera Capsule insert is accessed from the top of the Rhake pack. The inside can be customized to your taste using the padded partitions. There’s also a back pocket in the insert where you can slide in an 11″ laptop or tablet.
A close-up look inside the Camera Capsule insert. I was able to fit two bodies, several lenses and a flash.
In the field
All of my photographer friends who saw the Rhake in action immediately complimented the style of this bag. It looks good, and it can comfortably hold a large amount of gear. I loved the many organizational pockets and those tiny mesh interiors were a great place for all of my miscellaneous items that I end up with at a shoot.
Once it’s packed, the front is snapped together and the top rolled shut, the Rhake pack is a surprisingly compact gear bag with the ability to expand to hold a large amount of equipment.
Its compact silhouette made it a good for riding the subway (even during rush hour) and hauling it around didn’t make me feel like I was in danger of destroying a shoulder.
There’s no way to access most of the gear stored within the Camera Capsule insert unless you completely remove it from the bag
Unfortunately, there is one glaring design flaw with the Rhake: there’s no way to access most of the gear stored within the Camera Capsule insert unless you completely remove it from the bag. For some photographers, this might seem like a minor oversight; after all the Rhake is a multi-functional bag, but I found this design element to be really inconvenient. It was easy enough to access my main camera body through the top zipper, but if I wanted to switch lenses I needed to totally unpack the 22L compartment – which is kind of a pain when working in the cramped quarters of a dark music venue.
When the bag is fully packed it also takes a little bit of elbow grease to remove the Camera Capsule from the main compartment. I imagine that with more use the bag’s structure will become less tight, but on the shoots I took the Rhake to I found myself having to spend a few extra moments safely removing the capsule from the bag. The Camera Capsule essentially fills the 22L compartment, making it difficult to stash anything else in there (a jacket, supplies for an overnight trip, etc.). I’d be curious to see how the Rhake would function with smaller camera inserts like the Topo Camera Cubes.
What’s the bottom line?
The Rhake’s construction is high quality, the design is aesthetically pleasing and it can hold a good deal of gear without looking bulky, making it great for everyday use. But the bag is pricey and the multi-functionality aspects make certain elements of the design inconvenient for photographers. Ultimately, if you’re looking for a dedicated camera bag, there are other more cost-friendly and functional options out there. However, if you want a pack that can pull double duty as a bike bag or a weekend travel pack, the Rhake might be for you.
What We Like:
Utilitarian design
Durable construction
Slim profile
Ample organizational pockets
Holds a lot of equipment
Multi-functional bag, could be used as a camera bag or for something else
What We Don’t Like:
High price tag
Inability to access lenses in Camera Capsule without unpacking
In photography, you can use filters in many ways to alter and/or enhance your images. But what if you don’t have any filters, or can’t afford the high prices to the top of the line ones? Time to rummage around the house for some things to make DIY photo filters!
8 DIY photo filters you can make at home
In this first video from COOPH, see how you can use some everyday things you likely have around the house to make some fun and interesting DIY photo filters.
Keep in mind that you may not get top-quality images or award-worthy ones this way, but the point is to experiment and have some fun and see what you like. Then you can decide if you like a certain technique and will use it whether or not it’s worth investing in a more expensive filter.
Make your own photo filters
Next up is a video from CNET with a few more ideas for DIY photo filters.
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Get some colored cellophane, a wine glass, some plastic wrap and a bit of Vaseline and you’re ready to give this a go.
6 Creative photography tricks
This last one isn’t so much about filters as it is things you can put in front of your lens (that’s kind of like a filter right?) to alter the image. Again, it’s about being creative, thinking outside the box and asking the question, “What if?”
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How creative can you get? What other easy to find items have you used to make DIY photo filters or create other image effects? Please share in the comments below.
The post How to Use Ordinary Items to Make DIY Photo Filters appeared first on Digital Photography School.
A cornerstone in modern manufacturing, plastic is an amazing thing. Look around and you’ll see an abundance of plastic materials used in an endless variety of products. From pens to planes – yep, even modern commercial aircraft are cutting down on weight by introducing plastic composite components – plastic has revolutionized the way we live. And while much of the plastic we encounter is discarded after the first use – this photography tutorial will give you a good reason to hang onto those plastic knives and forks. By using a polarizing filter, some plastic materials and a computer screen, we can reveal a surprisingly beautiful side to the internal stresses of hard plastic material.
Supplies you will need:
Polarizing filter or polarized sunglasses
Computer screen
Camera
Clear sticky tape
Sheet of glass
Tripod (optional)
Transparent plastic objects
Setting up
In basic terms, what we’ll be doing is sandwiching a plastic object between a polarized light source and an on-camera polarizing filter. Polarizing filters that screw into the front of a camera are used by photographers to add contrast and reduce glare.
Don’t have a polarizing filter? Use your polarized sunglasses in a pinch.
If you don’t have a polarizing filter, a pair of polarized sunglasses will do the trick. Simply position the sunglasses so that one eye sits over the front of the camera lens like a filter. Keep in mind that the shape of the eyepiece will probably prevent complete coverage of the front lens element. If this is the case, some cropping may be required in Photoshop later. You may also need to do some sticky-taping to ensure the glasses sit correctly.
Now gather some clear plastic materials to photograph. Objects like plastic bags, sticky tape dispensers, plastic food containers, clear plastic cutlery and packaging all turn out well. Basically, any cheap, transparent plastic will work to some degree, so have a good scavenge around!
Finding good backlighting
Next, you’ll need a polarized light source to shine through the transparent plastic material. Conveniently, modern desktop and laptop computer screens emit linearly polarized light. First, you need to maximize the white light emitting from our computer screen. To do this, download a plain white background from Google Images. Once downloaded, open the file in a default image viewer and set the image to Full-Screen Mode. This will spread the white backdrop over the entirety of the functional computer screen, providing the backdrop for our polarized objects.
Once downloaded, open the file in a default image viewer and set the image to full-screen mode. This will spread the white backdrop over the entirety of the functional computer screen, providing the backdrop for your polarized objects.
Set the viewing mode of a clean white image to full-screen so that it completely covers the screen.
Arrange the subjects
Once the white background is set, you can start arranging your plastic items on the computer screen. If you have a choice between using a desktop or laptop computer, I recommend going with the laptop. Unlike a desktop computer, you can turn an open laptop upside down, so the screen lays flat on a surface. This turns your laptop into a home-made light box of sorts, perfect for sitting your plastic objects on.
Keep in mind however that laptops with touchscreen capabilities may not work as effectively. From my own experience, these laptop screens deliver far less pronounced results. Note: A large tablet or iPad may work as well.
Viewed through a polarizing filter, this transparent stencil is placed on the top of a touchscreen laptop. While the polarizing effect can still be seen, the finished image falls flat.
Workaround for desktop screens
Because the screen is upright, using a desktop computer for this project can seem a little trickier. Rather than tipping a full sized computer screen on it’s back, I’ve been fixing my plastic materials to a sheet of glass with tiny pieces of clear sticky tape. Easily recovered from old photo frames, the glass sheet means you can avoid sticking tape directly to your computer screen, without blocking out any light. For best coverage, a larger sheet of glass is preferable, just make sure that it’s dust free. Once you are finished taking your photographs, you can remove any evidence of the sticky tape with the “Clone Stamp” in Photoshop.
For best coverage, a larger sheet of glass is preferable, just make sure that it’s dust free. Once you are finished taking your photographs, you can remove any evidence of the sticky tape with the “Clone Stamp” in Photoshop.
I’ve affixed this transparent stencil to a pane of glass to keep it upright against the computer screen. The small amount of tape can be removed easily in Photoshop later.
In this image, a small piece of the clear sticky tape can be seen.
Taking advantage of the solid black background, any trace of the sticky tape can be removed by using the paintbrush tool with a black swatch selected
Getting the shot
Once you have assembled your objects against the computer screen, it’s time to see some results! Grab the camera you outfitted earlier with either the polarizing filter or the polarized sunglasses. While looking through the viewfinder (or LiveView Mode) point the camera at your plastic assemblage. Like magic, the boring clear plastic materials are filled with a beautiful array of colors.
Change the angle – change the background
Depending on the angle of the polarizing filter, you’ll notice that the backdrop of your image ranges from the white computer screen to jet black. The degree of polarization you see through the lens is dictated by the angle of the filter in relation to the wavelengths emitted by the computer screen. This means that by changing the angle of the polarizing medium, you can adjust the brightness of the computer screen without impacting the color of the plastic objects.
Simply hold the camera in one hand (or use a tripod) and use the other to slowly rotate the filter around. The same effect can be achieved by manually tilting the polarized sunglasses from side-to-side.
An image of a pretty shell shaped container I had on my dresser. The polarization effect highlights the stresses in a plastic material, rendering them as beautiful arrays of color.
The same shell container, this time with the filter angled so that the white light passes through to the camera sensor, rendering a white background
Your turn!
Now that you’ve got the basics, it’s time to raid the recycling bin! Post your results below and have fun.
The polarizing effect caused this plastic bag to take on a rugged, mountainous appearance.
The post How to Make Funky Colorful Images of Ordinary Plastic Objects Using a Polarizing Filter by Megan Kennedy appeared first on Digital Photography School.
Getting a fresh shot of a thoroughly-photographed landmark is tough. So Rich McCor takes a different approach: his clever paper cutouts add an unexpected element of humor to what would otherwise be just your average photo. Take a look at some of his work here and find out more about his process in our Q&A.
Follow him on Instagram to keep up with his latest work. What are you tricks for getting unique photos of often-photographed subjects? Let us know in the comments.
What inspired you to start making your paper cutout images?
It began when I realised that after four years of living in London I wasn’t really appreciating the landmarks, the sights and all the things that people fly thousands of miles to see. So I used photography as an excuse to go and explore my city a little more, and through doing so I joined Instagram. However I realised that all the photos I was taking were the same as everyone elses’, so that’s when I decided to add a twist to my images with paper cutouts.
What’s the process like creating one of these images?
It used to be that I’d wander around and wait for ideas and then cut them out on the spot. I’m a bit more strategic now in that I research destinations before I visit them, and I hunt down the best vantage points through various photo websites and image libraries. That said, I still take my paper cutting equipment and black card with me in case I see something that sparks an idea.
How long have you been making these images?
My first paper transformation was in June 2015, but I’ve been into paper cutting since my early twenties when I used to make stop motion music videos for my friend’s band.
Is there anywhere you haven’t been yet that you’re itching to go to and photograph?
Tokyo. It’s full of quirky architecture, bold skyscrapers and colourful scenery. It’s the perfect playground for what I do.
Do you have any suggestions or advice for your average photographer trying to take a picture of a famous landmark?
I’d suggest walking around it 360, just to see if there’s an interesting vantage point that might not be obvious. I remember walking behind the Statue of Liberty when the sun was in front of her and it creating a perfect silhouette which was an image of the statue I hadn’t seen that often. I think, as any photographer will tell you, patience is the key. Patience for the light to do something interesting, patience for tourists to get out of the way, patience for experimenting with your style. Most of all of course, have fun and experiment with your own style of photography.
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