Category: Uncategorized

  • Photo of the week: The Purple Hour

    This image was shot in Myvatn, northern Iceland. I’d been shooting there for several years now, but this was the most magical I had ever seen it. The entire area was covered with fluffy frost and snow, created by a combination of fresh snow, high humidity and low temperatures.

    The highlight was the snow-laden trees. After shooting a blazing red sunset with my northern Iceland workshop group, the colors subsided and a blue/purple sky, adorned by a full moon, remained above the trees.

    The final image was focus-stacked from 2 shots captured with my Sony a7R and Canon 16-35mm F4L IS lens at 16mm, F11, 8sec and ISO100.


    Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez’s work on Instagram, Facebook and 500px, and subscribe to his mailing list for updates. Erez offers photo workshops worldwide.

    Articles: Digital Photography Review (dpreview.com)

  • Report: 45% of Leica is up for sale, and Zeiss is interested

    Reuters is reporting that investment group Blackstone is “in talks with potential buyers” in an attempt to sell its 45% stake in Leica Camera, possibly to Zeiss. The other 55% of the company is owned by the Kaufmann family, who brought in Blackstone as a co-investor in 2011.

    The report cites “people close to the matter,” who claim the investor has already teamed up with an investment bank and “held talks” with potential buyers, although the process hasn’t entered the bidding stage yet. Potential buyers include Zeiss and, more speculatively, Huawei, neither of whom would comment on the matter. However, Reuters’ sources said Zeiss would only be interested if it could acquire a majority stake in the company, something the Kaufmann family might not go for.

    Speaking with Reuters, Leica chairman Andreas Kaufmann said his family “has long-term goals with Leica Camera,” long term meaning a 100-year timeline.

    Last year, there was some talk of Chinese investor CDH buying out Blackstone’s stake in Leica, but no deal was struck. But it’s a new year, and Blackstone could earn a pretty penny for selling its stake in Leica. According to Reuters, the iconic camera brand is expected to report earnings “of roughly 70 million euros” this year at a valuation of around 700 million euros, or approximately $ 828 million USD.

    You can read the full report at this link.

    Articles: Digital Photography Review (dpreview.com)

  • Opinion: The future of photography and the value of a free photo

    Photo by Lionello DelPiccolo on Unsplash

    Mikael Cho is the founder and CEO of Unsplash, a community where photographers can share their high-resolution photos for anyone to use for free—no credit or payment required. The platform has been criticized roundly by many professional photographers who claim the service devalues photography. In a recent blog post, Cho responded to this criticism, sharing his thoughts on the future of photography and the value of a photograph that is given away for free.

    Mr. Cho has given DPReview permission to republish the article in full below.


    We didn’t start Unsplash to reinvent an industry. We started Unsplash because we thought it might be useful.

    Unsplash is a community where anyone can share high-resolution photos for anyone to use freely. It began as a Tumblr blog with ten photos we had leftover from a photoshoot. Instead of letting our photos sit dead in a hard drive somewhere, we thought it would be better if they were put to use to move other creative projects forward. A freelance designer could grab an image to pitch a mockup or demo. An entrepreneur strapped for cash could put a website up with a nice background photo to attract potential customers.

    We believed the good from giving our images away would far outweigh what we could earn if we required payment or credit.

    The power of photography

    This proved true. By setting our images free, Unsplash turned into something much more meaningful than the hundreds of dollars we likely would have made selling them. Those first 10 photos photos have been seen 58 million times. Unsplash has become a community of over 20 million creators. People from all over the world have generously contributed over 250,000 photos, moving hundreds of millions of creative acts forward.

    Unsplash photos mapping the world

    Unsplash photos have not only helped designers and entrepreneurs create demos and websites but have been a source of inspiration for everyone from teachers to nonprofits to independent creators.

    A few things made with Unsplash

    Unsplash contributors share photography to make an impact so our aim has been to push the impact of their imagery like no other platform ever has. Today, a photo featured on Unsplash is seen more than a photo on any other platform. More than Instagram. More than the front page of the New York Times.

    You don’t need to come with an audience or have an agent to be great on Unsplash. We bring an audience to you.

    The Direct-to-Consumer Creator

    As an independent designer myself, I understand you can’t do everything for exposure because exposure doesn’t pay the bills. But to completely dismiss the value of exposure doesn’t make sense either.

    All artists need an audience to survive. Why do we spend time posting on Instagram if we don’t get paid for it? Because those posts build an audience over time.

    In the last ten years, several platforms like YouTube, iPhone, Twitter, Instagram, SoundCloud, and Medium have enabled more and more of us to express and connect. Sometimes, this expression and connection is done for fun. For nothing but the purpose of creating. Other times it’s done to create an audience for something else. Filmmakers distribute trailers for free on YouTube to sell a movie. Musicians release free songs or entire albums on SoundCloud to sell concert tickets. Authors give free chapters and pour thousands of unpaid hours into blogs to sell a book.

    New platforms don’t kill industries. They change the distribution.

    Online platforms have opened up an opportunity for so many people to share their craft with huge audiences instantly. New platforms create a distribution channel and community we otherwise wouldn’t have. In this sense, there’s never been a better time to be a creator.

    When two-time #1 New York Times best-selling author Tim Ferriss was blocked from distributing his book in Barnes & Noble, he uploaded excerpts from his book for free on BitTorrent to get distribution. Writer Leo Babauta “Uncopyrighted” everything on his popular blog, Zen Habits, in service of spreading his work further than he ever could alone. Chance the Rapper became the first artist to win a Grammy without selling physical copies of his album and giving most of his music away for free.

    These examples of creators sharing in extreme ways didn’t produce any immediate monetary gain. In fact, they probably lost some sales from it. But whatever the losses, they were more than made up for by the outsized benefits that came from openly sharing their work. As Chance the Rapper said,

    “I realized my strength was being able to offer my best work to people without any limit on it.

    I make money from touring and selling merchandise, and I honestly believe if you put effort into something and you execute properly, you don’t necessarily have to go through the traditional ways.”

    Unsplash is different though…

    Unsplash seems like a beneficial platform for hobbyist photographers because hobbyist photographers make money elsewhere. But what about commercial photographers?

    I get how Unsplash could seem more devaluing to a commercial photographer than other photo-sharing platforms because you’re giving up your copyright ownership of your photo when you share it. To get behind this argument though, we need to understand what photo copyright ownership gets us. The purpose of holding on to copyright for a photo is typically so you can protect it from someone else taking that photo and selling it for profit.

    Before the internet, holding on to copyright for photos was more beneficial because the value in licensing a photo was high. The issue today is a licensed photo is losing its value. The price photo buyers are willing to pay to license a photo is accelerating downward. If you post your photos on a stock photo site, you’ll earn ~$ 511/year on average on your collection, half what you would make two years ago.

    Data from Shutterstock

    While almost everyone needs images to do their jobs today, the jobs we do with imagery are different from when photos used to be licensed by media buyers or photo agencies for commercial use. For example, almost 70 percent of the people who download images on Unsplash have never downloaded a photo from a stock photo site before. And the most common uses for Unsplash photos are presentations, blogs, or personal projects.

    At the same time, the cost to produce a photo is going down. The five most valuable companies in the world today are all competing on the camera. While professional photography gear is still expensive, mobile cameras are improving at a rate that will eventually put a professional-level camera in everyone’s pocket.

    Every 2 minutes, people take more photos than ever existed 150 years ago. There’s no doubt creating a great photo requires artistry but photography has become more saturated which means many photographers today are not contacted by people wanting to pay to use their copyrighted photos.

    There’s more demand. There’s more supply. But it’s also different demand and different supply. The photo licensing business model doesn’t fit.

    Photos as Relationship Makers

    Most photographers have transitioned to using photos as tools to create relationships. Professional photographers use photos they took for fun to connect with potential clients. Potential clients enjoy the photos on your portfolio or Instagram, so they hire you for a photoshoot. Hobbyist photographers use photos to build an audience they can direct toward where they make a living or simply to practice their craft.

    The human brain is wired to connect with imagery so imagery will always be something people seek out. Since photos work so well as a form of connection, we saw Unsplash as a more impactful way to do that. Giving up your copyright to a photo seems extreme but it’s this extreme level of giving that produces the unprecedented level of connection.

    Recently, a team of researchers found the most shared articles from the New York Times were ones that gave readers practical utility. Giving someone something useful tends to have the biggest impact on people. When you pair two powerful things like giving and photography, you reach a whole new level of impact.

    Many of our members have said they’ve gained so much from sharing work on Unsplash compared to anywhere else. Many have booked client work after posting just a couple photos. Some have been flown around the world on photoshoots. Some have gotten enough work to leave their jobs and become full-time photographers. Some have been able to build audiences for new products. And every contributor we’ve spoken to has enjoyed the impact their photography has made toward moving creativity forward. Here’s a few of their stories.

    Yes, there will be people who use Unsplash photos freely who may have hired a photographer if Unsplash didn’t exist. But by giving photos, Unsplash contributors create a new opportunity for millions of other people to find their work.

    If someone needs a photo for a presentation that will only be seen by a few co-workers, they don’t have a budget for photography. If they can’t use a free photo for that, they are not hiring someone. And there is no relationship created. But by finding a photo on Unsplash, a relationship begins. When they need to hire a photographer for a shoot, they’re more likely to go back to the place that fulfills that need. We’re trying to make it so these relationships connect back to the Unsplash contributor that inspired them.

    We’ve already begun to build things into Unsplash to strengthen this relationship between photo contributors and the creators they inspire. We’re building up a library of things made with Unsplash to connect back to contributors. Just last month, we launched a “Say Thanks” feature which creates a way for people to publicly recognize the Unsplash contributor who gave the photo they downloaded. And we’ve begun work on an Unsplash member search to help our members book creative work.

    In a sense, every Unsplash photo turns into a billboard for our contributors. And the future business model of Unsplash is about creating relationships through the unique attention and use each photo creates.

    The future value in photography

    By our estimates, there are potentially 100 times more people looking for usable imagery today, than a decade ago. Image use has moved mainstream which is why there’s a new opportunity for a business model that works better for everyone.

    There’s no doubt about the impact of photography. Photos are powerful. The question is not if photography will maintain its power but how to create meaningful value from it. We’ve already begun to think about what this looks like. It’s going to take time to figure out. While we don’t have all the answers today, we will always be transparent and upfront about where we’re headed.

    Every industry evolves. Things will change. We can’t be resistant to change no matter how much today’s world benefits us. We face the same fact that every artist and business must face: what we offer today will eventually be obsolete. We can choose to be upset with this fact or understand it is inevitable and continue to adapt.

    If you do it right, you’ll be the one to disrupt yourself. You’ll be out in front of the pack. You’ll help determine the new value. That’s what we’re looking to do for photography. That’s what we’re looking to do for the creative community. We’re all in the same boat. When the creative industry benefits, we all benefit.

    Articles: Digital Photography Review (dpreview.com)

  • The next iPhone may record 4K 60fps video with front camera

    A firmware leak for the Apple HomePod has already revealed that the upcoming generation of Apple’s iPhone might use ‘SmartCam’ AI to adjust to different scenes on the fly. But that’s not the only gem developers have managed to dig out of the code. Further analysis of the source code has now found that at least one of the new models might also be capable of shooting 4K video at 60 frames per second on both front and rear cameras, making it the first smartphone to offer this video specification.

    The function is mentioned in a section of code related to the HEVC, or H.265 video codec that will be included in both iOS 11 and macOS High Sierra, both due out this fall. HEVC is capable of maintaining high levels of image quality while using advanced compression algorithms to keep the file size down. This allows for 4K video capability to be installed in devices with limited storage or processing power.

    Considering Apple’s current FaceTime front cameras only offer a 7MP stills resolution and 1080p video this would mean a huge jump in performance. The image sensor would need a bump in resolution, but presumably Apple’s new chipset will provide enough processing power to crunch the large amounts of data generated when shooting video at 4K resolution and fast frame rates.

    Articles: Digital Photography Review (dpreview.com)

  • US Army abruptly stops using DJI drones due to ‘cyber vulnerabilities’

    A leaked US Army memo obtained by unmanned aviation news site sUAS News is making some waves in the drone world today. In the memo, the largest branch of the United States armed forces called for its units to “cease all use, uninstall all DJI applications, remove all batteries/storage media from devices, and secure equipment for follow on directions.”

    The decision was reached by the US Navy and the US Army Research Lab, which identified ‘operational risks’ and ‘user vulnerabilities’ in DJI’s products.

    The memo does not go into detail regarding the specific vulnerabilities, saying only that,

    Due to increased awareness of cyber vulnerabilities associated with DJI products, it is directed that the U.S. Army halt use of all DJI products. This guidance applies to all DJI UAS and any system that employs DJI electrical components or software including, but not limited to, flight computers, cameras, radios, batteries, speed controllers, GPS units, handheld control stations, or devices with DJI software applications installed.

    DJI’s public relations manager Michael Perry responded to the news in an e-mail to sUAS News, saying the company was ‘surprised and disappointed’ that the Army didn’t consult DJI during the decision process. “We are happy to work directly with any organization, including the U.S. Army, that has concerns about our management of cyber issues,” wrote Perry, saying that DJI would reach out to the US Army to confirm the memo and better understand what they mean by ‘cyber vulnerabilities.’

    To read the full memo and response, or dive a bit deeper into some of the cyber security concerns surrounding DJI’s products, head over to sUAS News by clicking here.

    Articles: Digital Photography Review (dpreview.com)

  • Sigma announces firmware update for Sigma 100-400mm f/5-6.3 OS Contemporary for Canon

    Sigma has announced a firmware update for its SIGMA 100-400mm F5-6.3 DG OS HSM Contemporary lens for Canon mount. Version 1.02 of the firmware fixes problems with the optical image stabilization when the lens is attached to Sigma’s Sony E-mount converter MC-11 EF-E.

    As usual, users who own the Sigma USB dock can update the firmware via the Sigma Optimization Pro software. Users who own the MC-11 converter can update by connecting the latter to a computer via USB-cable. In both cases, you should make sure you are running the latest version of Sigma Optimization Pro which is 1.4.1 for Windows and 1.4.0 for Macintosh computers.

    Articles: Digital Photography Review (dpreview.com)

  • The Dell Canvas 27-inch ‘horizontal smart workspace’ is now available to buy for $1,800

    The massive touchscreen ‘horizontal smart workspace’ Dell unveiled during CES 2017 is now available to purchase, and a little bit cheaper than expected, at least for now.

    Called the Dell Canvas, this 27-inch display is designed specifically for artists and other creatives who need a large visual workspace in which to edit photos, create graphics, or digitally paint. While Canvas resembles Microsoft’s alternative, the Surface Studio, Dell’s product is merely a very large display, meaning buyers will need to buy a PC separately to connect to the display.

    Dell Canvas features a massive 27″ QHD Adobe RGB touch screen designed to rest horizontally on a desk. The display is protected by Corning Gorilla Glass with an anti-glare surface. Joining the display is a pen with multiple tip options for simulating various textures—combine this pen with a total lack of input lag and you get an experience that Dell says is “as close to sketching on paper as possible.”

    Also available with the Canvas is a totem (knob) for accessing software menus quickly with the user’s free hand. The totem can be positioned wherever is most comfortable on the screen, and it can be used alongside a second totem if desired. As for Canvas itself, users can optionally prop the display up into ‘Draftsman’ mode via a built-in kickstand. The kickstand can be extended in 10-degree increments up to 80-degrees.

    Canvas is available now from Dell’s website, where it currently starts at $ 1,800 thanks to a discount promotion (MSRP is $ 2,000). Dell offers the display with an optional VESA mount (+$ 200) or articulating stand (+$ 500), as well.

    Articles: Digital Photography Review (dpreview.com)

  • Yongnuo unveils its first Li-ion powered speedlight for the Canon RT system

    Hong Kong camera company Yongnuo, known for its affordable lighting gear and knockoff Canon lenses, has launched its first Li-ion powered speedlite: the YN686EX-RT flash for the Canon RT system.

    The Speedlite—which was quietly released a couple of months ago—is available through eBay and Amazon and features an integrated 2.4GHz transceiver and a 2,000mAh Li-ion battery able to power 750 full-power flashes. This model can be used as either a master or a slave, and it offers optical slave triggering, according to the Speedlite’s product page.

    In addition, the Speedlite YN686EX-RT features a dot-matrix LCD display that shows the battery charge level, a USB port for firmware updates, and an electric zoom lamp head with a 20 – 200mm range. Other features include high-speed sync with shutter speeds up to 1/8000s, a stroboscopic mode, and support for both Custom Functions Setting and Auto-Save Setting.

    Yongnuo’s Speedlite YN686EX-RT is available online starting at $ 150 USD.

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm GF 23mm F4 sample gallery

    After spending some time with the portrait-friendly GF 110mm F2, we’ve been taking a wider view with Fujifilm’s GF 23mm F4, an 18mm equivalent lens for the company’s medium-format system. Like the 110mm this lens is weather-sealed, offers a nine-blade aperture and focuses silently and internally.

    From sunny Seattle summer days to wildfire-smoke sunsets – and some interiors and architecture in-between – check out our gallery of images from Fujifilm’s widest current offering for the GFX system.

    See our Fujifilm GF 23mm F4
    sample gallery

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    Articles: Digital Photography Review (dpreview.com)

  • Throwback Thursday: Adobe Lightroom 1.0

    As an amateur photographer, I joined the Adobe Lightroom beta primarily to gain access to the latest version of the ACR Raw converter. I hadn’t expected it to completely change the way I worked.

    I can’t remember how I first heard about the public beta of a new photo editing product from Adobe* but, according to Adobe’s Lightroom blog, it must have been after July 23, 2006, when the Windows version of the software became available.

    Having used Photoshop since university, I’d seen it become both more powerful and more complicated. I had friends working on their Biochemistry Ph.D.s who were just as dependent on Photoshop as I was, in preparing photos for publication in the magazines I worked on, but who relied on a different set of tools than the ones I used.

    I’d quickly become frustrated with the limited software my camera came bundled with

    The purchase of a Raw-capable superzoom (one of those decisions I now flinch at), quickly left me frustrated with the experience of using the limited software it came bundled with, so I found myself processing my best images, one at a time, staying late to use my work computer.

    Clearly this wasn’t a way of working that was either a) sustainable nor b) scaleable (to use two words that would never have occurred to me at the time). So the idea of being able to access the power of Adobe Camera Raw for free, rather than having to find hundreds of pounds for my own license of Photoshop seemed appealing.

    Lightroom meant that, weeks after first processing an image, I could go back and backtrack on some of my changes and, with fresh eyes, produce something better, without the need to fill my hard drive with multiple TIFFs, saved along the way.

    As the name hints, Lightroom was intended as an analogue for the film-era darkroom. Unlike Photoshop, which had become all things to a very diverse set of uses, Lightroom was just the tools required for photographers. The terminology of the tools was intentionally photographic: exposure adjustments, measured in EV, white balance measured in Kelvin.

    In essence its editing tools were simply those of Adobe Camera Raw, only with the ability to process more than one image at a time. That and a crop tool that, while it seemed incomprehensible and backwards compared with Photoshop’s behavior, quickly began to seem not just obvious, but indispensable**.

    The real power of Lightroom, though I didn’t immediately spot it, was in how it imposed a structure on your workflow. It cataloged the images you ‘imported,’ and gave you the tools to sort and tag those images, then pushed you through a logical process of first editing and then outputting your images.

    At first I, along with many other beta participants, found the ‘Shoots’ categorization confusingly out-of-step with the way I thought about arranging my files on my computer (the two were connected when you imported files but could diverge if you moved the files or their associations). Adobe recognized this and adopted a more explicitly folder-based pattern with a later update.

    What’s this? I can take a series of edits I’ve applied to one image and selectively apply them to others? Mind. Blown. (and, more importantly, time saved).
    Used with kind permission from Imaging Resource’s original coverage.

    In these early versions, all edits were whole-image corrections: every change you made affected every pixel in the image, meaning its role was very distinct from that of Photoshop. There was some ability to export to Photoshop if you needed to make localized edits, but it meant Lightroom wasn’t quite the ‘all you’ll ever need’ tool I was hoping for.

    However, so long as you didn’t immediately rail against being forced to make changes to your workflow, the pattern of importing, sorting, editing and exporting became second nature. So, although I was initially just rushing through the import stage to get to the ‘Develop’ editing module, I quickly found that my life was easier if I engaged with the workflow as a whole.

    In those early versions all edits were whole-image corrections: every change you made affected every pixel in the image

    By the time I started work at DPReview a year or so later, I was regularly shooting huge numbers of images and appreciating the way adding ratings as part of the import process could help me home straight in on my best shots so that all of my efforts to crop, polish and tweak were focused on my strongest images. I could also take some of the edits I’d made to one image and apply them to similar shots, as a better starting point. It saved so much time, even though I never used the Print or Web output modules.

    When the beta finally ended, I thought I’d revert to my existing way of working: selecting and then working-up single images at a time in ACR. But no, once I’d become accustomed to being able to quickly organize, prioritize and process only the best images from every shoot, I couldn’t go back.

    I’d discovered that not having a workflow was unworkable

    The idea of having to manually trawl through and select images, before processing each one, one-by-one, suddenly seemed exhausting. I’d discovered that not having a workflow was unworkable.

    The inability to go back and find or fine-tune existing edits was the factor that finally tipped it for me. I bought a license for Lightroom v1 within a couple of weeks of the beta ending. For a lot less than the cost of Photoshop, it should be noted.

    By the time it was launched, Lightroom had officially become ‘Photoshop Lightroom.’

    The first full version, launched just over ten years ago now, was still pretty basic. Adobe had learned lessons from the beta, but by today’s standards, it was pretty primitive. Redeye and spot removal tools (cloning, rather than ‘healing,’ if my memory serves me correctly) finally brought the first localized corrections. But brushes and gradients didn’t arrive until v2.0, eighteen months later, so there were still plenty of occasions I needed to export to a pixel-level editor.

    It would also be many years before Adobe began to add manufacturer JPEG mimicking color profiles, thus putting an end to a million ‘why do my pictures look flatter in Lightroom’ threads on the DPReview forums. Lens corrections and the ability to add, as well as remove, noise and vignetting were also some years off. But, for me at least, the core concept worked.

    The quality of processing and the power and subtlety of the available tools has only improved since then. It’s also, with a few hiccups, tended to get faster over time, which is pretty rare.

    Compare this screen-grab from Lightroom v1.0 to the one at the top of the page and you’ll spot a host of additional filtering options.
    From Imaging Resource’s original coverage.

    It’s strange to find myself looking back so fondly, since my job essentially precludes me from using Lightroom: I regularly shoot with cameras it doesn’t yet support, have to deliver unedited, straight-out-of-camera JPEGs and deal with large numbers of remote files that become irrelevant, the moment a review is published.

    Adobe’s monthly license model, to my mind, runs counter to the longevity benefit of building a database around my images

    I’m also aware that the latest version of Lightroom is getting to the stage that it has a range of tools I’ll simply never use. That it risks developing the kind of Photoshop-esque learning curve that it was originally intended to circumvent. There’s always the threat that it’ll eventually be permanently ingested into Adobe’s Creative Cloud monthly license model (which, to my mind, runs counter to the longevity benefit of building a database around my images).

    Yet, if I found myself with the time to shoot for myself again, the first thing I’d do is to buy a standalone version of Lightroom and pick up where I left off. Because, for all that I’ve tinkered with other Raw converters, I really like what it forced me to do, all those years ago: focus my time on getting the best out of my best photos.


    *There’s every chance it was this story
    ** These days the crop tool in Photoshop mimics the Lightroom way of working

    Articles: Digital Photography Review (dpreview.com)