RSS
 

Posts Tagged ‘Uses’

Kickstarter: Compact Reveni Labs Spot Meter uses unique two-eye aiming method

08 Feb

While digital photography is popular, film photography still has a dedicated following and beginner film photographers are popping up regularly. New products for analog photographers are popping up regularly to meet experienced and novice film photographers’ needs. Reveni Labs has launched a new Kickstarter campaign, which was funded within two hours, to deliver an extremely compact spot meter to film photographers.

A spot meter is a light meter designed to precisely measure only a small portion of the image area. Photographers can use a spot meter to check metering in different areas of the frame, especially one with a wide range of brightness, and make an informed decision about the exposure.

The Reveni Labs Spot Meter being used by creator Matt Bechberger. An electronics engineer, inventor and self-professed film camera nerd, Bechberger started Reveni Labs in March 2020 when launching the Reveni Labs Light Meter on Kickstarter. A few months later, he quit his job to run Reveni Labs full time.

Vintage spot meters can be challenging to find, and new spot meters can be expensive. Reveni Labs hopes to ‘find the middle ground with its spot meter to provide a spot meter that meets the needs of modern film camera users, with a lower price point and relevant feature set.’ To Reveni Labs, there are three major issues with the currently-available spot meters: They’re large and heavy, they’re complex, and they are expensive.

To help solve these issues, the Reveni Labs Spot Meter is very small and lightweight. It weighs 1.25 oz. (about 35g). The Spot Meter is 2.8″ (71mm) long, 1.2″ (30.5mm) wide, and 1.5″ (38mm) in height.

The Reveni Labs Spot Meter is also designed to be easy to use. It has a two-eye aiming method, features simple controls and an easy-to-use menu, and offers straightforward modes, including aperture or shutter priority modes. Further, the Spot Meter includes a bright internal OLED display.

The external design (left) of the Reveni Labs Spot Meter. On the right, you can see the internal display. Image credit: Reveni Labs on Kickstarter

The Spot Meter has a shutter speed range of 1 hour to 1/8,000s in one-stop increments. The aperture range is F0.7 to F1024, also in one-stop increments. The ISO range is 1-12,800. Reveni Labs states that the EV range is 2-20 in 0.1EV increments (at ISO 100). The spot meter is about a 1.5° (6″/15cm) circle at 20′ (6m).

On the top of the Reveni Labs Spot Meter are four buttons: right and left directional buttons, a menu/compare button, and the power/sample button. Beneath the sensing lens on the front of the spot meter is the battery compartment, which holds a pair of LR44 alkaline batteries to power the device. Through the viewing lens at the back, you see the OLED display, which shows shutter speed, current state, EV value, ISO, rounding remainder, aperture, and driving value arrow surrounding the central aiming reticle.

Reveni Labs Spot Meter optical design. Image credit: Reveni Labs on Kickstarter

The Reveni Labs Spot Meter utilizes a two-eye aiming method. One eye views the data in the spot meter while the other eye surveys the subject area. There is a close-focus rear lens in front of the OLED display inside the meter to allow the user to focus on the scene and display simultaneously. The internal components are aligned on a central axis.

This design is significantly different from a more typical spot meter. A traditional spot meter uses a viewing lens and requires the user to view the scene solely through the spot meter, closing their second eye. The Reveni Labs Spot Meter doesn’t have a viewing lens; the inside is just a dark screen, which is why it’s a binocular vision spot meter and why it’s possible for it to be so compact. You can see how the Reveni Labs Spot Meter varies from a typical spot meter in the hands-on video below, published by Mat Marrash.

You can see another review of the device from Todd Korol in his video below.

The Reveni Labs Spot Meter looks like an exciting product for film photographers. If you would like to back the project, you can do so for $ 225 CAD, which is a little under $ 180 USD at current currency conversion rates. The Reveni Labs Spot Meter comes with the meter, a neck lanyard, storage pouch and four LR44 batteries. Shipping is expected to commence in August. For more information and to back the project, visit Kickstarter.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators. Still, as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Kickstarter: Compact Reveni Labs Spot Meter uses unique two-eye aiming method

Posted in Uncategorized

 

This DIY camera uses machine learning to tell you what it sees

14 Nov

A camera that knows what it’s looking at would have seemed like a farfetched pipe dream not long ago. These days, however, you can even build such a camera in the comfort of your own home. Adafruit has shared a project that allows you to build a camera around Adafruit’s own BrainCraft HAT system, which is itself an AI Machine Learning addition to the Raspberry Pi 4. Plus, it even tells you what it sees.

As DIY Photography observes, the Raspberry Pi Machine Learning camera uses TensorFlow Lite object recognition software to figure out what it is looking at. The project works with either the 8MP Pi Camera Module or the 12.3MP module that includes interchangeable lens support. The enclosure is 3D printed.

So what is a camera that can determine what it’s seeing be used for? As John Aldred points out at DIY Photography, ‘…it opens up a lot of options for connecting the Pi to a ‘real camera’ for shooting photos or video. You could connect a DSLR or mirrorless camera from its trigger port into the Pi’s GPIO pins, or even use a USB connection with something like gPhoto, to have it shoot a photo or start recording a video when it detects a specific thing enter the frame.’

Imagine a scenario in which you want to remotely photograph a specific animal. Perhaps you don’t want to have a camera constantly capturing images or shooting whenever it detects motion, but instead want something more precise and fine-tuned. Maybe a sports photograph could utilize object recognition to capture a specific moment during a game with one camera while manually shooting with another. Aldred also notes that you could potentially have the object recognition software place object keywords into image metadata, which could make organizing large batches of images a much more streamlined process.

Image credit: Adafruit

The technology is still developing, and machine learning takes time, but there’s a lot of interesting potential here and talented, creative individuals often find ways to push new gear and tech to the limits. At the very least, it seems like a fun project. If you’d like to learn more and view the complete parts list, click here. In total, you’ll need the Adafruit BrainCraft HAT (around $ 40), Raspberry Pi 4 ($ 35), a camera ($ 30 and up) a 3D printed case, and a few more odds and ends. Click the following links for helpful user guides: ‘Easy Machine Learning for Raspberry Pi’ and ‘Running TensorFlow Lite on Raspberry Pi 4’.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on This DIY camera uses machine learning to tell you what it sees

Posted in Uncategorized

 

NASA uses infrared imaging to discover water on sunlit surface of the Moon

27 Oct

NASA’s Stratospheric Observatory for Infrared Astronomy (SOFIA) has used its onboard Faint Object infrared Camera for the SOFIA Telescope (FORCAST) to discover water molecules on the sunlit surface of the Moon. For the first time, there are indications that water may be distributed across the Moon’s surface, and not limited to just cold, dark areas of the lunar surface.

SOFIA’s infrared camera, used in conjunction with a 106-inch diameter telescope, picked up ‘the specific wavelength unique to water molecules, at 6.1 microns, and discovered a relatively surprising concentration in sunny Clavius Crater.’ This crater is one of the largest craters visible from Earth and is in the Moon’s southern hemisphere.

Casey Honniball is the lead author who published the results as part of her graduate thesis work at the University of Hawaii at M?noa. She is now a postdoctoral fellow at NASA’s Goddard Space Flight Center in Maryland. Of the discovery, Honniball says, ‘Prior to the SOFIA observations, we knew there was some kind of hydration. But we didn’t know how much, if any, was actually water molecules – like we drink every day – or something more like drain cleaner. Without a thick atmosphere, water on the sunlit lunar surface should just be lost to space. Yet, somehow we’re seeing it. Something is generating the water, and something must be trapping it there.’ If you’d like to read the full paper, it has been published in Nature Astronomy.

Data gathered using SOFIA’s onboard camera shows water in Clavius Crater in concentrations of 100 to 412 parts per million, ‘roughly equivalent to a 12-ounce bottle of water trapped in a cubic meter of soil spread across the lunar surface.’ Paul Hertz, director of the Astrophysics Division in the Science Mission Directorate at NASA Headquarters says, ‘We had indications that H2O – the familiar water we know – might be present on the sunlit side of the Moon. Now we know it is there. This discovery challenges our understanding of the lunar surface and raises intriguing questions about resources relevant for deep space exploration.’

It’s not a lot of water, about 1% of the water found in the Sahara desert, but it’s a significant discovery. The work of the SOFIA team has uncovered new questions about how water is created and how it persists on the airless Moon. Further, water is a critical resource in deep space exploration. NASA’s Artemis program is keen to learn more about the presence of water on the Moon, and ideally, discover a way to access water in its pursuit of establishing a sustainable human presence on the Moon by 2030.

‘Water is a valuable resource, for both scientific purposes and for use by our explorers,’ said Jacob Bleacher, chief exploration scientist for NASA’s Human Exploration and Operations Mission Directorate.’ Bleacher continues, ‘If we can use the resources at the Moon, then we can carry less water and more equipment to help enable new scientific discoveries.’

As to how the water molecules ended up on the surface remains an unanswered question. One theory is that ‘Micrometeorites raining down on the lunar surface, carrying small amounts of water, could deposit the water on the lunar surface upon impact.’ Another theory involves a two-step process ‘whereby the Sun’s solar wind delivers hydrogen to the lunar surface and causes a chemical reaction with oxygen-baring minerals in the soil to create hydroxyl’ which is then transformed into water by radiation from micrometeorites.

‘This illustration highlights the Moon’s Clavius Crater with an illustration depicting water trapped in the lunar soil there, along with an image of NASA’s Stratospheric Observatory for Infrared Astronomy (SOFIA) that found sunlit lunar water.’ Image and caption credits: NASA/Daniel Rutter

SOFIA, which is a modified Boeing 747SP jetliner, typically focuses on very distant objects, such as black holes, galaxies and star clusters. In fact, the newly-published results are from SOFIA’s very first mission looking at the Moon. The team was essentially testing the tracking capabilities of its equipment, and this test produced a significant discovery. Additional flights will take a further look at the lunar surface.

SOFIA’s standard observations take place during a 10-hour overnight flight and captures images at mid- and far-infrared wavelengths. You can view some of the images it has captured by clicking here.

This is far from the first time NASA’s camera technology has produced meaningful, significant scientific discovery. Looking to the future, NASA’s Perseverance is currently about halfway to Mars, carrying a rover outfitted with a record-breaking 19 cameras. These cameras will capture incredibly detailed images of the Martian landscape.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on NASA uses infrared imaging to discover water on sunlit surface of the Moon

Posted in Uncategorized

 

Sony’s new HVL-F28RM flash uses camera face detection for better portraits

18 Sep

Sony has just announced the HVL-F28RM flash. It’s designed to be compact and easy to use, but also comes with features that more advanced photographers will appreciate.

When combined with Sony’s a7C, a7S III, a7R IV and a9 II, the F28RM will use face detection information from the camera to better balance its output with the ambient lighting of the scene, as well as adjust white balance for a more natural look.

The flash angle can be adjusted up to 120 degrees and it’s powered by two AA-sized alkaline or NiMH batteries. Other features include radio wireless communication, a stronger metal hot shoe and dust and moisture resistance.

The HVL-F28RM will be available this winter and will retail for $ 249 USD ($ 329 CAD).

Press release:

Sony Electronics Introduces Alpha 7C Camera and Zoom Lens, the World’s Smallest and Lightest[i] Full-frame Camera System

New HVL-F28RM Compact Flash is also Announced

SAN DIEGO, CA – September 14, 2020 – Today, Sony Electronics Inc. announced several additions to an already impressive imaging lineup — the Alpha 7C full-frame camera (model ILCE-7C), the FE 28-60mm F4-5.6 (model SEL2860) zoom lens and HVL-F28RM flash.

The Alpha 7C is the world’s smallest and lightest[ii] full-frame body with uncompromising performance, featuring advanced AF (autofocus), high-resolution 4K video[iii] capabilities and more. When paired with the world’s smallest and lightest[iv] FE 28-60mm F4-5.6 standard zoom lens, this versatile combination delivers an experience unlike any other, maximizing portability and versatility without sacrificing any of the power of full-frame imaging. The HVL-F28RM flash allows users to broaden their photo expressions with outstanding compactness, and an intelligent light intensity control linked to camera face detection[v].

“We are committed to creating the best tools possible, based on the needs of our customers,” said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “The new Alpha 7C camera and FE 28-60mm F4-5.6 zoom lens pack many of our most advanced imaging technologies in a brand new design that is the smallest and lightest full-frame camera and lens system in the world. This opens up a new world of possibilities for creators, giving them the uncompromised power of a full-frame system in the palm of their hand.”

…

New HVL-F28RM: Compact Flash with Light Intensity Control Linked to Camera Face Detection[v]

The HVL-F28RM is a compact flash designed to match Sony’s mirrorless cameras for a compact, manageable system, and offers the type of reliable, stable performance that only a genuine Sony product can provide. When compared to the HVL-F32M, the HVL-F28RM features a 12 percent reduction in volume and 7 percent reduction in weight. This compact, easy-to-use flash unit delivers the capabilities and dependability to meet the needs of both professional and advanced amateur content creators.

The HVL-F28RM offers consistent GN28[xxv] light output, optimized light distribution and continuous flash performance that won’t interrupt the user’s workflow, as well as stable radio wireless communication and multi flash radio control. The new flash also features Sony’s newly introduced flash control linked to camera face detection[v] advanced technology. When used with a compatible camera, the balance between the light falling on the subject’s face and ambient light is evaluated to automatically adjust accurate white balance so that the subject’s face is rendered with natural, lifelike color. In addition, flash compensation, light ratio, and other detailed flash parameters can be controlled directly from a compatible camera[xxvi]. A camera custom key can be assigned to call up the flash parameter display so that adjustments can be made while looking through the viewfinder and gripping the camera. Flash parameters are shown in the selected camera display language.

A newly developed “Metal Shoe Foot with Rugged Side Frame”[xxvii] that also houses the unit’s electrical contacts offers improved resistance to physical shock and impact from all directions. The Multi Interface foot is fabricated from metal for higher strength. The HVL-F28RM also features a dust and moisture resistant[xxii] design. When the HVL-F28RM is mounted and locked onto the Alpha 7C, Alpha 7S III, Alpha 7R IV and Alpha 9 II, durability to dust and moisture is improved, even when used in challenging outdoor environments.

The HVL-F28RM also features simple, intuitive operation with minimal controls including +/- light level buttons, pairing button, test button and lock lever. Plenty of light is available for bounce applications. The flash angle can also be set as required via 0, 20, 40, 60, 80, and 120 degree click stops for easy positioning. The new flash also features a built-in wireless radio trigger for reliable flash triggering when mounted on a compatible camera[xxvi] and paired with an off-camera unit. When used as a transmitter, the HVL-F28RM can control up to 15 flash and/or receiver units in 5 groups[xxviii] at distances of up to 114 feet (35 meters)[xxix] for extraordinary lighting control and versatility. The HVL-F28RM is powered by two AA (LR6) alkaline or NiMH batteries. A fresh pair of alkaline batteries can provide power for up to 110 continuous flashes (1/1 manual flash with alkaline batteries)[xxix].

Pricing and Availability

The HVL-F28RM flash will be available this winter and will be sold for approximately $ 249.99 USD and $ 329.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

Exclusive stories and exciting new content shot with the new camera, lens and Sony’s other imaging products can be found at www.alphauniverse.com, a site created to educate and inspire all fans and customers of Sony ? – Alpha.

[i] An Alpha 7C with an FE 28-60mm F4-5.6 lens mounted. Among full-frame interchangeable-lens digital cameras, in combination with an interchangeable zoom lens. As of Sept. 2020. Sony survey.

[ii] Among full-frame interchangeable-lens digital cameras with optical in-body image stabilization mechanism, as of Sept. 2020. Sony survey.

[iii] A Class 10 or higher SDHC/SDXC card is required for XAVC S format movie recording. UHS speed class 3 or higher is required for 100 Mbps recording.

[iv] Among interchangeable zoom lenses for 35mm full-frame format digital camera bodies, as of Sept. 2020. Sony survey.

[v] This function is only compatible with Alpha 7C as of Sept. 2020

[xxii] Not guaranteed to be 100% dust and water resistant.

[xxv] 50 mm, at ISO 100 in meters

[xxvi] Visit Sony support webpage for functional compatibility information.

[xxvii] Design registration application pending.

[xxviii] In group flash mode. 3 groups (A-C) in TTL or manual flash mode.

[xxix] Sony internal test conditions.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sony’s new HVL-F28RM flash uses camera face detection for better portraits

Posted in Uncategorized

 

5 Creative Uses for a Fisheye Lens in Photography

14 Aug

The post 5 Creative Uses for a Fisheye Lens in Photography appeared first on Digital Photography School. It was authored by Simon Bond.

The search for that unique angle that sets your photography apart from the rest is a common aspiration for most photographers. In today’s article, you’ll learn creative uses for a fisheye lens that will give your photos the wow factor.

A fisheye lens is a unique lens with niche qualities that set it apart from other kinds of lenses. Read on and discover what you can do with this type of lens.

creative uses for a fisheye lens
Kinetic light painting is one of the examples of creative uses for a fisheye lens.

What is a fisheye lens?

A fisheye lens is essentially a super wide-angle lens. However, it has more properties than this. This type of lens will cause distortion in your photo which, when correctly applied to your image, will enhance the photo. One of the key characteristics of this lens is the curved shape of the optic at the front of the lens. This means that you won’t be able to use a regular lens cap for this lens. It’s possible to get a fisheye as a prime lens or a zoom lens.

  • Prime lens: The majority of fisheye lenses are prime lenses. They come with a typical aperture of f/2.8 and a focal length of 8mm or 15mm, depending on whether you have a full-frame sensor or a crop sensor camera.
  • Zoom lens: Zoom lens fisheyes have a smaller aperture at f/4, but allow you to change the focal length. This can give you even more creative options, as at the widest focal length your photo will be circular with a black frame.

1. Create distortion on the horizon line

One of the obvious creative uses for a fisheye lens is to create distortion on the horizon line. You can use the lens to make the horizon line curve upward or downward.

In order to make the horizon line bend downward, you’ll need to aim the camera down toward the ground. This means a large portion of the photo will feature the ground, so make sure the foreground contains enough interest to do that.

Then, as you may have guessed:

To make the horizon line bend upward, you’ll need to aim the camera up and toward the sky. If you’re aiming at the sky, try to do this when the sky is dramatic as it will fill the frame.

creative uses for a fisheye lens
This photo makes use of a textured foreground with the wave. You can see the horizon line is clearly bending.

2. Use a fisheye for an ultra-wide perspective

It’s possible to use your fisheye lens as a regular wide-angle lens, but even wider. This is best achieved by aiming your camera at the horizon line and keeping the angle of your camera flat.

Look to avoid objects on the edge of the frame, as they’ll still distort and aim inwards unless you use post-processing to correct this. Locations with a minimalist feel like coastlines or deserts will work best for this kind of photo.

creative uses for a fisheye lens
In this photo the horizon line is kept flat, and the entire pond is captured.

3. Take photos of architecture

The fisheye lens is a real gift for architectural photographers. Its distortion can be used for creative effect to frame the scene you’re photographing. You’ll often be able to incorporate elements that are behind you, because the focal length is that wide. This all means you’ll really be able to emphasis the lines in your composition to create powerful architecture photos.

creative uses for a fisheye lens
There are lots of great lines in this photo, with the person adding perspective.

4. Use intentional camera movement

Intentional camera movement means moving the camera during the course of an exposure. The exposure length will need to be long enough for the camera movement to be obvious in your final image. An exposure of 1/15s during the day will work, and even longer exposures can be tried at night when using a tripod. Whether you’re photographing during the day or at night will lead to two distinct types of photography.

  • Radial blur: This effect is produced handheld, and involves rotating the camera around an imaginary central point. The result is best when you keep the camera steady as you rotate, and an exposure of around 1/15s is often needed.
  • Kinetic light painting: This is the nighttime variant of the radial blur, but taken from a tripod. This type of photo is a form of kinetic light painting, with the camera pivoting on the head of your tripod.
creative uses for a fisheye lens
This photo is an example of radial blur (taken handheld).

5. Interesting portrait photos

The fisheye lens can be a great lens for portrait photography, as well. It has some versatility, even though it’s a niche wide-angle lens. If you choose to get close to your model you can distort their appearance for an interesting effect, though make sure your results are okay with the subject!

A popular approach is to make one body part especially large, perhaps the person’s eye or a hand stretched out toward the camera. Another approach is to emphasize the architecture around the model. In this case, they’ll be smaller in the frame, with perhaps a tunnel surrounding them.

creative uses for a fisheye lens
Fisheye lenses can work very well for portraits, where they capture more of the scene.

The fisheye effect in a lensball

A cheaper alternative is to buy a lensball or, as many people know it, a crystal ball. The optics of a lensball, with its spherical surface, replicate those of a fisheye lens. The effect is different, but this can be a great introduction to the perspective offered by a fisheye lens with its distortion. If the composition works for a lensball, the composition will also work for a fisheye lens.

creative uses for a fisheye lens
A lensball is the nearest you’ll get to the fisheye effect without buying a fisheye lens.

Try out creative uses for a fisheye lens!

There are lots of creative uses for a fisheye lens; have you tried any of the methods mentioned in this article?

If you have any thoughts on fisheye photography, then please leave them in the comments section! As always, we encourage you to get out and practice your photography. So if you have examples of creative fisheye photos, then go ahead and share those in the comments section, too!

The post 5 Creative Uses for a Fisheye Lens in Photography appeared first on Digital Photography School. It was authored by Simon Bond.


Digital Photography School

 
Comments Off on 5 Creative Uses for a Fisheye Lens in Photography

Posted in Photography

 

Introduction and Creative Uses for the Snapseed Double Exposure Feature

23 Jul

The post Introduction and Creative Uses for the Snapseed Double Exposure Feature appeared first on Digital Photography School. It was authored by Ana Mireles.

Snapseed double exposure feature uses and tips

Do you have a different app for doing collages, and compositing, and another for changing backgrounds? Then this article is for you. I’ll show you how to use the Snapseed double exposure feature so you can do all of this inside one free app. Let’s get started.

Snapseed Double Exposure Uses

Double Exposure

The double-exposure technique comes from film photography. It’s created by shooting multiple times in the same frame. This can create compositions, collages, or superimposed ghosts on a scene and used for many things. Fortunately, it carried over into digital photography.

Snapseed Double Exposure

There are different ways to achieve double exposures. You can do it in-camera, by editing on your computer or using your smartphone. This last one is what I want to show you.

Snapseed editing app

There are tons of editing apps to choose from. I particularly like Snapseed because you can do most of your post-production in it, it’s free and available for iOS and Android.

Snapseed Interfase

In general, Snapseed is very intuitive, but if you want to have more control over your editing, it’s not always clear how to access the tools for fine-tuning. This is the case of the Snapseed double exposure feature.

Basic Double Exposure

For the basic use of the Snapseed double exposure feature, I’m going to show you how to add a bokeh background to your subject.

When you launch the app, you’ll be immediately prompted to open your image by clicking anywhere on the screen. This will open the browser for you to access your gallery. Choose the one with your subject and tap on it.

White Background Subject

Next, open the Tools menu by tapping the pencil icon. Scroll down until you find the Double Exposure tool and tap on it.

Snapseed Double Exposure Tool

Here you’ll find three tools. Choose the one with the plus sign (+) on it. This is the ‘add image’ button. It will give you access to your gallery again to add the photo you want to overlap. In this case, the bokeh image.

Snapseed Double Exposure

Blending modes

Now that both images are superimposed, you can modify the effect.

Start by tapping the middle icon – it represents the different layers. Here you can adjust the way they interact with each other. If you are familiar with Photoshop Blend Modes, it will be fairly easy. If not, just tap on each choice to see how they change the results.

When you’re happy, tap on the check icon to apply.

Snapseed Double Exposure Blending

Opacity

Now, go to the third tool, the one that looks like a drop. With this one, you can open a slider that controls the transparency of the layer. Move it until you like the final result.

Add Bokeh Background

If it’s still not perfect, you can always mask away specific parts of your layer. I’ll show you how to do this in the next section by doing a simple composite.

Advanced editing

Pretty good right? But not exactly a lot of control. That’s why the Snapseed double exposure feature offers the possibility to mask. However, these tools aren’t so easy to find as a first time user.

First, make your composite with the basic tools as explained in the previous section. Once you’ve decided on the blending mode and transparency, accept the edits by tapping on the check sign.

Snapseed Double Exposure Composite

Next, tap on the back button that you can find on the top right. Usually, you wouldn’t do that unless you were unhappy with your results, and this is why these advanced tools are not apparent at first glance. This will open a menu that gives you the choice to Undo, Revert, and View edits. This last one is where you want to go.

Snapseed View Edits

This will open a list with every edit you’ve done.

In this case, there’s only the double exposure, but if you also adjusted perspective, exposure, etc, it would show up here to access again for further edits.

Snapseed Double Exposure Advance Editing

Click on the Double Exposure step to open its menu. The sliders icon on the right takes you back to basic tools if you want to make any changes. The icon in the middle takes you to the advanced edits.

Masking

Here, you can mask your images to reveal or hide different parts of it. Use your finger as a brush and just paint away. With the eye icon, you can make the mask visible.

Snapseed Double Exposure Masking

Use the arrows to increase or decrease the opacity. If you made a mistake and painted over the wrong part, tap the arrow down to 0 and paint again to make visible again the underlying layer.

Fine tune brushing

If you need to be precise, you can zoom in and out using two fingers. When you’re happy just tap on the check button and save your image.

Conclusion

The Snapseed double exposure feature gives you control over the effect you’re applying while still being easy to use without previous training.

And, by the way, it’s not just double but multiple exposures. You can add as many layers as you want. Just repeat the process to add more images.

Get creative and show us your results in the comments section!

Snapseed Multiple Exposure

The post Introduction and Creative Uses for the Snapseed Double Exposure Feature appeared first on Digital Photography School. It was authored by Ana Mireles.


Digital Photography School

 
Comments Off on Introduction and Creative Uses for the Snapseed Double Exposure Feature

Posted in Photography

 

Video: Mathieu Stern uses beet juice to create an ‘anthotype’ prints

05 Jun

Photographer Mathieu Stern is often using interesting camera gear, lenses and even trying unusual photographic processes. His latest project was to create an ‘anthotype’ print, also known as a phytotype. This photographic process was invented all the way back in 1842 by Sir John Herschel.

To create an anthotype print, you must use photosensitive material from plants. Materials ranging from flower petals, fruits and vegetables can be used. A sheet of paper is coated with the photosensitive material and then partially covered with an object or a photo positive before being exposed to light. The area of the paper which was not covered is essentially bleached, leaving color behind only in obscured areas of the image. There is no fixer used in this photographic process, so the paper remains sensitive to light.

As you can see in Stern’s video below, for his anthotype print, Stern used beetroot juice. After filtering the juice, Stern applied it to a piece of paper and let it dry. He then repeated the process for a second and third coat. After preparing his paper, Stern placed one of his transparent positives over the paper and placed them both in a wooden frame. He then left the positive and beetroot paper in the sun for a week. You can see the full process and result in the video below.

If you are looking for a fun project to try at home, creating an anthotype is a neat option. Stern also recently tried his hand at the cyanotype photographic process. You can learn how this went by clicking here.

To view more of Mathieu Stern’s work, be sure to visit his website. If you’d like to see his videos, you can view them on his YouTube channel. There you can find a lot of interesting experiments, including Stern creating a lens using ice, adapting many old lenses to his modern mirrorless cameras and much more.

Returning to Stern’s inspriration, the creator of the anthotype photographic process, Sir John Herschel, led a very interesting life. Born in the late 18th century in England, Herschel spent time as a mathematician, astronomer, chemist, inventor and experimental photographer. Herschel also invented the cyanotype photographic process, which became the blueprint. His contributions to science were many.

With respect to photography, Herschel made numerous contributions. In addition to creating cyanotype and anthotype photographic processes, Herschel is credited as the first person to use the term ‘photography’ itself in 1839 and the first to use the terms ‘positive’ and ‘negative’ within the field. Also in 1839, Herschel’s fixing agent was used by his friend, Henry Fox Talbot as Talbot raced against Daguerre to perfect a photographic process using negatives. That same year, Herschel himself made what is considered to be the first glass negative.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Video: Mathieu Stern uses beet juice to create an ‘anthotype’ prints

Posted in Uncategorized

 

Filmmaker uses COVID-19 work lull to make and sell $10 3D-printed camera battery cases

07 May

A documentary film maker from Utah has designed and built a series of battery holder magazines that he says help to solve the problem of knowing which batteries are fresh and which are depleted. The 3D printed magazines hold three or four batteries from common cameras and allow the batteries to be inserted contacts up for dead batteries and down for fresh ones.

Tim Irwin, who is printing the magazines in his basement, had been meaning to come up with a solution to this problem for a while, and had tried downloaded plans for 3D printed magazines in the past, but found they always broke. ‘I originally found files on Thingiverse that worked for a bit. But all the designs I tried from there ended up breaking because of a weak point in the print’ he explains. ‘When the travel restrictions around Covid 19 hit every one of my gigs was cancelled or postponed, so it seemed like prefect time to dive into this side mission. I designed my own from scratch and refined it over a long period of time until I was happy with the product. I’m always looking for ways to make my kit more efficient, quick, and organized. The Battery Mag was born out of that.’

Tim has designed the magazine so that when fresh batteries are loaded with their contacts down they are isolated from each other and from anything else the magazine might come into contact with, so the risk of shorting is avoided. And with deads loaded with the contacts facing up it is easy to see at a glance which battery to reach for next in fast moving situations.

Tim, who owns Functional Films, makes commercial video documentaries and says he is usually on the road shooting about 140 days a year. That has all stopped due to the coronavirus out-break, so this is how he is filling his time.

The Battery Mags are available for Panasonic DMW-BLF19, Canon LP-E6/N, Pentax DLI90, Sony NP-FZ100, Sony NP-FW50 batteries and he says a unit for Panasonic S cameras is also in production. The magazines are $ 9, $ 10 and $ 14 each, respectively, and can be ordered via the Battery Mag website.

For examples of Tim’s work see his Instagram page.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Filmmaker uses COVID-19 work lull to make and sell $10 3D-printed camera battery cases

Posted in Uncategorized

 

Creative Uses for the GIMP Jigsaw Pattern

26 Mar

The post Creative Uses for the GIMP Jigsaw Pattern appeared first on Digital Photography School. It was authored by Ana Mireles.

Creative Uses for the GIMP Jigsaw Pattern

Are you looking for a fun way to display your photos? With the GIMP Jigsaw pattern, you can make your photos look like a puzzle in a single step. But why stop there? Take out some pieces or make a grid with it. Keep reading to learn how to use this filter and some creative applications for it.

Example of GIMPs Jigsaw Pattern

Make a puzzle

It may look like elaborate work, but actually turning your image into a puzzle is extremely easy. The GIMP Jigsaw Pattern is a tool that allows you to control the way you want your puzzle to look, then applies it to your image.

Let’s get started.

With your image opened, go to the menu and select Filters > Render > Pattern > Jigsaw.

GIMPs Jigsaw Pattern Menu

This will open a window where you can choose the number of pieces that will form the puzzle. You can also choose whether you want the shapes to have rounded corners or straight lines.

GIMPs Jigsaw pattern settings

You’ll also see a section called Bevel Edges with two sliders in it. This is like a carving effect, giving the illusion of tridimensionality.

There are no right or wrong values – it’s a matter of taste.

Here’s a comparison for you to get an idea of what it looks like.

GIMPs Jigsaw Patter Bevel Values Comparison
On the left, I had the values at the minimum: Bevel width: 1 and Highlight : 0.10
On the right I pushed them to the highest, so 10 and 1.0 respectively.

That’s all there is to it.

Choose the values you want in the pop-up window, and the GIMP Jigsaw Pattern does the rest.

Now, let’s see how you can break the puzzle into pieces.

Separating the pieces of the Gimp Jigsaw Puzzle

Make a template

Taking out a piece of the puzzle makes the image more dynamic – like you’re actually building it. However, unlike a real puzzle, we’re not just going to take it out from the puzzle we just made.

To make things easier, open a new white document. Here, in the blank canvas, you’ll apply the GIMP Jigsaw Pattern as you did on the previous exercise.

GIMPs Jigsaw Pattern canvas

This will serve as a template to select the pieces, hassle-free.

Now you can put in the photograph.

Go to the menu and select File > Open as Layers, and choose the file of your image. It will get placed as a layer on top of the jigsaw template.

Open As Layer in GIMP

Next, copy the layer with the template. You can do this by going to the menu and selecting Edit > Copy. While it’s there on your clipboard, select the image layer and create a Layer Mask. Do this by clicking on the button at the bottom. Then paste the template that you copied by going to Edit > Paste.

To set it onto the mask you created, you just need to click on the anchor button.

Then right-click on the layer and choose Apply Layer Mask. The mask and the layer will then merge together.

GIMPs Jigsaw Pattern into a Layer Mask

I know it sounds like a lot, but it’s actually very easy. And this way, you have everything ready to ‘cut-out’ all the pieces you want very quickly. Let’s try one.

Cut-out piece by piece

Select the piece you want to cut-out using the Fuzzy selection tool. Make sure to click on it while the template layer is selected. That way, you’ll get it with just one click.

To perfect the selection, go to the menu Select > Grow Selection and give it 1 or 2 pixels.

Select a piece from the Jigsaw

Cut out the piece in Edit > Cut and then paste it with Edit > Paste. To finalize the pasting, click on the New Layer button so that the piece remains independent.

With the Move and Rotate tool, you can position the piece. Then go to the menu Filters > Light and Shadow > Drop shadow. You decide the values depending on whether you want it dark and defined or blurred and lighter. Use the X and Y sliders to make it appear closer or further away.

Drop Shadow to the separate piece

You can repeat the process for all the pieces you want out of place. Just go back to your template every time you need to select a new one.

Create a jigsaw grid

Open a new document and create a new jigsaw as you did before. The number of pieces depends on the number of images you want to add. I don’t recommend too many because it could look messy. But, it’s entirely up to you.

GIMPs Jigsaw Pattern used as grid template

Add all the images you’re going to use by opening them as layers.

Then resize them with the Scale Tool and move them to fit each of the pieces of the puzzle. Don’t worry if they overlap in some places, you’ll fix that next.

Lay out the images for the grid on top of GIMPs Jigsaw Pattern

In the template layer, click on the piece you want with the Fuzzy Selection Tool. Then go to the corresponding image and click on the Add Layer Mask button. A pop-up menu will appear. Choose Selection from it, and click Add.

Mask the selected piece from the jigsaw pattern

That’s it.

Repeat the same for every image-piece combo until you complete your puzzle.

Have fun finding new and creative ways to use GIMP’s Jigsaw Pattern!

Example of GIMPs jigsaw pattern as grid

Supplementary Reading

  • If you’re not familiar with GIMP, check out this brief introduction.
  • If you want to edit your photograph before you turn it into a puzzle, learn here how to make them sparkle.
  • If you’re loving GIMP and want to take it with you, learn how to install it on a portable device.

The post Creative Uses for the GIMP Jigsaw Pattern appeared first on Digital Photography School. It was authored by Ana Mireles.


Digital Photography School

 
Comments Off on Creative Uses for the GIMP Jigsaw Pattern

Posted in Photography

 
« Older Entries