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Olympus releases its OM-D Webcam Beta for macOS computers

27 Aug

Olympus has announced the macOS version of its OM-D Webcam Beta utility is now available. Like the Windows version, released back in June, the macOS version enables select OM-D cameras to be used as webcams with compatible videoconferencing and streaming software over USB.

The utility is free to download from Olympus’ website. Once installed, the process is as simple as plugging one of the compatible Olympus cameras and selecting the OM-D Webcam Beta as an input in the conferencing or streaming program of your choosing. Below is the limited list of compatible cameras:

  • OM-D E-M1X
  • OM-D E-M1 Mark III
  • OM-D E-M1 Mark II
  • OM-D E-M1
  • OM-D E-M5 Mark II

Olympus notes the utility won’t capture audio from your camera, so plan on having another microphone nearby (or just use your computer’s built-in microphone). Olympus also says streaming quality will be lower if there isn’t a memory card inside the camera.

We have contacted Olympus to see if any other cameras will be compatible in the future. You can find out more information and download the utility on Olympus’ website.

Articles: Digital Photography Review (dpreview.com)

 
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Ricoh releases Silver Edition version of its Pentax K-1 Mark II DSLR, three D FA* lenses

27 Aug

Ricoh has announced the limited release of a Silver edition of its Pentax K-1 Mark II DSLR as well as, for the first time ever, silver versions of its D FA* lenses.

The limited-edition camera is identical to its black counterpart, complete with a 36MP full-frame CMOS sensor, Safox 12 autofocus system with 33 AF points and a maximum ISO of 819,200. The only difference is the paint scheme, which is silver with contrasting parts, including a black shutter release and hot shoe.

In addition to the camera, Ricoh is also releasing Silver edition versions of three lenses: the HD Pentax-D FA* 70–200mm F2.8, 50mm F1.4 and 85mm F1.4. Like the camera, these lenses are identical to their black counterparts, but unlike the camera, just 600 units for each model will be produced.

This isn’t the first time Ricoh has released Silver editions of their gear. In March 2010, the Pentax K-7 Limited Silver camera was released and, more recently, the Pentax K-1 Limited Silver was released in September 2017.

The Pentax K-1 Mark II Silver Edition camera body will be available in September for $ 2100. The lenses will also be released in September with prices ranging from $ 1200–2100. All Silver Edition cameras and lenses will come with specially designed product boxes.

Press release:

Ricoh announces Silver Edition of PENTAX K-1 Mark II, plus three HD PENTAX-D FA? Silver Edition lenses

PARSIPPANY, NJ, August 26, 2020 – Ricoh Imaging Americas Corporation today announced the PENTAX K-1 Mark II Silver Edition, a special silver-colored version of its digital single-lens reflex (SLR) flagship model. Ricoh is also releasing for the first time silver versions of its D FA? series lenses, with high-grade silver coating that is especially well suited to the top-of-the-line PENTAX optics.

The camera will be available in a limited quantity of 1,000 units worldwide, and the three lenses— HD PENTAX-D FA? 70-200mm f/2.8, 50mm f/1.4 and 85mm f/1.4—will be available worldwide in limited quantities of 600 units for each model. These lenses join the silver-edition PENTAX full-frame lenses currently available: SMC PENTAX FA 31mm F1.8 LTD, SMC PENTAX FA 43mm F1.9 LTD and SMC PENTAX FA 77mm F1.8 LTD.

The limited-edition silver models of the camera and lenses are coveted by PENTAX photographers worldwide. The PENTAX K-1 Mark II Silver Edition camera sports contrasting black parts–a shutter release button and hot shoe—to provide a handsome complementary color and enable it to be color coordinated whether used with traditional black or the special silver-colored lenses.

Previously issued limited-edition cameras include the PENTAX K-7 Limited Silver (March 2010) and the PENTAX K-1 Limited Silver (September 2017).

Pricing and Availability

The PENTAX K-1 Mark II Silver Edition camera body will be available in September for a manufacturer’s suggested retail price of $ 2099.95. The HD PENTAX-D FA? Silver Edition lenses will be available in September with prices ranging from $ 1199.95 – $ 2099.95. Both the camera and lenses can be purchased at www.us.ricoh-imaging.com and at select Ricoh Imaging-authorized retail outlets.

Main features of the PENTAX K-1 Mark II Silver Edition

  • ? The camera body and detachable battery grip feature a high-grade, fine-textured silver coating, with an exclusive silver SR badge placed on the front of the body.

  • ? The camera’s shutter release button and hot shoe, as well as the battery grip’s shutter release button, feature black parts, so the camera is coordinated with either black or silver lenses.

  • ? Each camera has been given a unique serial number, from 0000001 to 0001000, to further support its exclusivity.

  • ? Two exclusive batteries are included in a product package to simultaneously power both the camera body and the battery grip.

  • This special camera and its accessories come in a specially-designed product box.

  • The camera body comes with the latest firmware version pre-installed.

Main features of the HD PENTAX-D FA? Silver Edition lenses

  • The lenses’ high-grade silver coating complements their use with silver-edition camera bodies.
  • Each lens has been given a unique serial number, from 0000001 to 0000600, to further support its exclusivity.
  • The lenses come in a specially-designed product box.

NOTE: The features and specifications of this camera body and lenses are identical to those of standard models, except for the camera firmware

Articles: Digital Photography Review (dpreview.com)

 
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Canon releases FW 1.1 for EOS R5, with bug fixes and improvements to video shooting time

27 Aug

Canon has released firmware 1.1 for the EOS R5. Alongside a flurry of minor bug fixes, the new firmware also promises to improve video shooting times. We’ve had the new firmware for a few days, and prepared a test.

Check out Jordan’s take on the new firmware in the video, above, and see below for Canon’s official description of the changes in FW 1.1 and a link to download it.

Download firmware 1.1.0 for the Canon EOS R5 (Canon USA)

Press release:

Firmware Version 1.1.0 incorporates the following fixes and enhancements:

  • Useful messaging is now displayed when [HDMI display?Camera+External monitor] and [Overheat control: on] settings are enabled.
  • When using certain RF lenses for movie shooting, the in-lens image stabilization mechanism has been improved.
  • Fixes a phenomenon in which the “Slow Synchro” setting screen is not accurately displayed, when the language is set to English.
  • Fixes a typo displayed on the communication setting screen, when the language is set to Korean.
  • Connectivity during FTP transmission has been improved.
  • Fixes a phenomenon, in which the card access time may take longer, when using certain CF express cards.
  • Temperature detection and shooting time control in video shooting have been improved. In addition, the total shooting time when the short-time recording and power-on/off are performed repeatedly at room temperature is improved.
  • The phenomenon in which the movie recording time available is not correctly displayed when the Date/Time/Zone is not set has been corrected.

*The firmware scheduled for release in early September will incorporate the following improvements for the RF100-500mm F4.5-7.1 L IS USM.
-Supports 6-stop image stabilization. (CIPA-compliant)
-Improves IS capabilities when performing continuous shooting under specific conditions.

Firmware Version 1.1.0 is for cameras with firmware up to Version 1.0.0. If the camera’s firmware is already Version 1.1.0, it is not necessary to update the firmware.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS R6 Review: not the hybrid king, but a great photographers’ camera

27 Aug

Introduction

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All product photography by Dan Bracaglia

Gold Award

90%
Overall score

The Canon EOS R6 is a 20MP full-frame mirrorless camera aimed at enthusiast photographers and videographers. It sits below the R5 much as the EOS 6Ds did beneath the 5D DSLRs, and offers a well-rounded combination of features for both disciplines.

It’s also one of the first enthusiast-level cameras to shoot both stills and video that can exploit the capabilities of the latest high-dynamic range displays. However its tendency to hit its temperature limits take the edge off its video capabilities.

Key specifications:

  • 20MP Dual Pixel CMOS Sensor
  • In-body stabilization rated at up to 8EV of correction
  • Dual Pixel AF II with AI-trained subject tracking and 100% AF coverage
  • 20 fps shooting with e-shutter, 12 fps mechanical
  • UHD 4K shooting at up to 60p, 1080 at up to 120p
  • 10-bit 4:2:2 internal recording in either C-Log or HDR PQ
  • 10-bit HDR photos in HEIF format
  • 3.68M dot EVF
  • 1.62M dot fully-articulated rear touchscreen
  • New battery rated at around 380 shots per charge (EVF)

The R6 is available with a recommended price of $ 2499, body-only. It can also be bought in a kit with the 24-105mm F4L for around $ 3599 or with the 24-105mm F4-7.1 STM IS for approximately $ 2899.


What’s new and how it compares

The EOS R6 can’t boast 8K video but it’s got a solid feature set nonetheless, including the same IS and AF as its big brother.

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Body, controls and handling

The R6 has elements of the original EOS R to its design but it also gains a fair amount from Canon’s DSLR range. We think the combination works nicely.

Initial impressions

We’ve been shooting with the EOS R6 and think Canon users (and, in particular, Canon DSLR users) will find a lot to like about the camera.

Image Quality

The 20MP sensor, combined with Canon’s JPEG color does a great job, despite having fewer pixels than its peers.

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Dynamic Range

The EOS R6’s files prove very flexible, but that performance is aided by noise reduction you can’t turn off.

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Autofocus

The EOS R6 offers at least the performance that the EOS-1D X III does in live view mode. It’s powerful, customizable yet often very easy-to-use.

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Video

The EOS R6 can shoot some very attractive 4K footage, but despite a well thought-out interface, its propensity for hitting its thermal cut-off means it’s not as good a stills/video hybrid as the specs make out.

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Conclusion

The EOS R6 has a lot going for it: it offers excellent image quality, shoots at high speeds and includes impressive image stabilization. It’s not the best stills-and-video option but it’s a superb photographer’s camera.

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Sample gallery

We’ve put together a gallery from the EOS R6, to show what its image quality looks like.

See more

Articles: Digital Photography Review (dpreview.com)

 
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Canon launches 1/1.8-inch sensor for video recording in extreme low light

27 Aug

Canon has announced a new CMOS image sensor that is designed to perform in extreme low light conditions. The LI7050’s is a sensor of the 1/1.8-inch variant which means it has the same size as many image sensors that can be found in smartphone cameras. However, this is not the new sensor’s intended use.

Instead it’s meant to be used for industrial applications that require extreme low light capabilities. For example, it could record low light video with realistic color and good detail in security cameras that are monitoring public areas, transport infrastructure or manufacturing facilities. Thanks to its compact dimensions it could also help improve image quality in underwater drones or wearable cameras for security personnel that operates in dark environments.

Canon says in its press release: ‘Conventional nighttime monitoring employs infrared cameras and records video in monochrome. However, network cameras equipped with the LI7050 can capture video at night in such locations as public facilities, roads or transport networks, thereby helping to identify details including the color of vehicles or subjects’ clothing.’

Thanks to the ‘architecture’ of its 4.1 µm pixels the sensor is capable of recording Full-HD color video in near darkness – light levels as low as 0.08 lux – and also comes with an HDR mode that dramatically expands the dynamic range. When recording in this mode the sensor can capture scenes with extremely high contrast (light levels between 0.08 lux and 80,000 lux) while avoiding clipping in both highlight and shadow areas of the frame, achieving a dynamic range of 120dB (approximately 20EV).

HDR mode merges a bright and a dark exposure into one frame and is only available at 30 frames per second. If you need faster frame rates of 60 frames per second the sensor can still avoid clipping anywhere between 0.08 and 500 lux and offers a dynamic range of 75dB (approximately 12.5 EV).

Those are impressive numbers and they are backed up by the low light footage in Canon’s sample clips which does not only have very good exposure but also maintains excellent detail in the bright illuminated areas of the frame, something that a lot of cameras struggle with.

Even though the sensor is marketed as a security and surveillance product there could be interesting applications in consumer imaging as well. Modern smartphones come with multi-camera arrays for different focal length already. Why not add a dedicated low light video camera?

Sample shipments of the LI7050 have started in August and official sales will be launched in late October. We’ll probably see sometime next year if the new sensor will be confined to its industry niche or possibly make it out to the wider consumer imaging market.

Articles: Digital Photography Review (dpreview.com)

 
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DJI releases its newest smartphone gimbal, the Osmo Mobile 4

26 Aug

DJI has unveiled its latest smartphone gimbal, the Osmo Mobile 4 (OM4). Like its predecessors, the OM4 is an ultra-compact three-axis gimbal for keeping your smartphone footage as stable as possible, with a few other unique features baked in.

Visually, the OM4 isn’t much different than its predecessor, the Osmo Mobile 3 (OM3). It is a light grey instead of a darker grey, but aside from the joystick, trigger and grip being a bit more rubberized, the body of the gimbal remains largely unchanged.

The only functional difference is a new mounting system that uses magnets to hold the phone in place. Whereas the OM3 had a built-in clamp, the OM4 has a clamp that can be removed and kept on a smartphone, then snapped back into place when the gimbal is needed. There’s even a small sticker-style mounting bracket that can be semi-permanently attached to a smartphone for even faster operation.

The OM4 works alongside the DJI Mimo app to enable multiple shooting modes, including an improved ActiveTrack 3.0, Gesture Control and pre-programmed movements and modes. Three of the new pre-programmed modes include Dynamic Zoom, Spin Mode and a ‘Clone Me’ panorama mode.

Dynamic Zoom is effectively a digital dolly zoom feature, that allows you to move away from the subject while the DJI Mimo app automatically zooms in, or move in as the app zooms out. Spin mode is an Inception-inspired mode that makes it possible to rotate the smartphone for a spinning effect (although it’s not posisble to do a full 360-degree spin). The ‘Clone Me’ panorama feature is another new mode that will wait between shots of a panorama so you can move into place and be ‘cloned’ in the final image.

Even if you don’t want to use the DJI Mimo app, the OM4 can also control basic camera functions with the stock iOS camera app when connected via Bluetooth.

The DJI Osmo Mobile 4 is available to order from the DJI Store and authorized retailers for $ 149. It comes with a wrist strap, grip tripod and storage pouch.

Articles: Digital Photography Review (dpreview.com)

 
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Netgear launches Meural WiFi Photo Frame with automatic wireless photo album syncing

26 Aug

Netgear has announced the Meural WiFi Photo Frame. The frame is designed to conveniently display your photographs using an accompanying smartphone application.

The Meural is a 13.5″ x 7.5″ frame with a 15.6″ diagonal display offering a 1920 x 1080 resolution and anti-glare coating. The display promises a wide viewing angle and ambient light sensor to ensure it looks good in any setting and from a large variety of angles. Including its bezel, the Meural Photo Frame is 16″ (408mm) wide, 10″ (259mm) tall and has a depth of 1.68″ (42.4mm). The frame weighs 2.9 lb. (1.3kg).

Like Netgear’s Meural Canvas before it, the smaller WiFi Photo Frame also utilizes touchless gestures for photo control, allowing you to scroll through images with a wave of your hand. The frame can also quickly be rotated between portrait and landscape orientation.

On the inside of the Meural is 1GB of DDR3 RAM, 8GB of storage (of which 4GB are utilized for storing photos), a Quad-core ARM processor and WiFi 802.11a/b/g/n/ac (2.4GHz and 5GHz). The frame includes gesture sensors for both portrait and landscape orientation, an orientation sensor itself and an ambient light sensor to automatically adjust brightness. The frame utilizes a DC power port for power and Netgear states that it uses approximately 20W during typical usage. The included power cord is 6′ long.

Image credit: Netgear

Using an app on your smartphone, you can link existing photo albums to automatically upload and display on the Meural WiFi Photo Frame. The frame can also display location and data information so you will always know when and where images were captured by simply gesturing upward. You can also use the app to invite family and friends to upload their own photo albums to a specific Meural. This means that distant family and friends can upload new photos to your own Meural, allowing you to quickly share memories with one another via personalized photo playlists.

Image credit: Netgear

The Meural Photo Frame is compatible with Apple and Android devices. For iPhone and iPad users, you must have iOS 11 or later. On Android, the frame is compatible with Android 5.0 or later. For iOS users, the Meural Photo Frame supports Live Photos. When using either compatible device, you can also display short videos up to 15 seconds in duration.

In addition to the power cord, the Meural WiFi Photo Frame also comes with a cleaning cloth, wall mount, wall anchor and screws (for drywall), pre-loaded sample art images from the Meural art library and a quick start guide. Speaking of the Meural art library, the library contains more than 30,000 images and artworks in total. You can schedule the display of your favorite art from the library.

Image credit: Netgear

Of the Meural WiFi Photo Frame, Netgear’s David Henry, senior vice president for Connected Home Products, says, ‘So many photos are captured on smartphones every day, yet many are not seen on screens that showcase them in their fullest, richest detail, With our new Meural WiFi Photo Frame we’ve created a new way to enjoy and relive those special memories.’ Henry continues, ‘[with the included connectivity features] this new premium photo frame will also help to keep people close in a time when we all need to stay connected.’

The Meural Photo Frame is available to order now for $ 299.95 USD. The frame is available in one colorway: charcoal gray bezel with a wood-grain inlay. The full Meural art library membership is $ 8.95 USD per month or $ 69.95 per year. The membership is not required. However, membership does add 16GB to your Meural Cloud storage and allow you to send artwork to multiple frames using a single account. A subscription also includes 24/7 customer support, which is otherwise limited to the first 90 days with your Meural Photo Frame. You can learn more about the membership by clicking here.

Articles: Digital Photography Review (dpreview.com)

 
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Whitney Museum cancels ‘Collective Actions’ exhibit after backlash

26 Aug

The Whitney Museum in New York is cancelling its planned ‘Collective Actions’ exhibit, which was scheduled to begin September 17th, after an online backlash. Farris Wahbeh, the curator, sent out a letter of apology and confirmed that the museum will not show works it acquired at discount prices at a recent ‘See in Black’ charity auction.

‘My sincere hope in collecting them was to build on a historical record of how artists directly engage the important issues of their time. Going forward, we will study and consider further how we can better collect and exhibit artworks and related material that are made and distributed through these channels,’ Wahbeh explains.

The museum attracted criticism for purchasing prints from a recent See in Black auction. 100% of the proceeds from sales went directly to various social justice organizations. The museum paid $ 100 for each print – a deep discount compared to what the artists typically charge, with the intention of placing them in the upcoming ‘Collective Actions’ exhibit. Wahbeh did not initially ask the photographers involved for permission to display their work. Instead, the following message was sent out as revealed by Women Photograph:

Greetings from the Whitney and I hope this message finds you in good health and spirits.

I’m writing to let you know that I have acquired your work…from the project See in Black for the Whitney’s special collections. Your work is incredibly important and speaks to our time, and I’m so honored that the Whitney was able to acquire this work.

Alongside the acquisition, I’m also working on an exhibition comprised largely of works from our Special Collections holdings titled Collective Actions: Artist Interventions in a Time of Change that will feature work by artists involved with collective projects that were organized in response to COVID-19 and Black Lives Matter.

The exhibition will open in September in our 3rd floor exhibition space in the Museum and am excited to share that I plan to include your work as part of this project, work that I believe aptly demonstrates what you have done both individually and as part of a collective.

We are planning to reopen on September 3 following new safety and health protocols and city guidelines. In the meantime, we will install the exhibition so that it will open on September 17.

In recognition and appreciation of your inclusion in the Whitney’s program, I’m happy to note that you will receive an Artist Lifetime Pass which allows you and a guest free entry to the museum as well as other benefits. If you can please provide me with your full contact information (address, email, and phone) to send that Pass to you, I would be most appreciative.

One of the artists involved in See in Black’s print sale took to Twitter to express his outrage:

As of June 2016, the Whitney Museum’s endowment has grown to an estimated $ 308 million. This is why See in Black, and the artists involved, were put off by an Artist Lifetime Pass as compensation. Clearly, the museum has the means to compensate each artist monetarily. See in Black released the following public statement today:

‘We started See in Black as a way to invest in black imagery and permanence through the sale of black–made photography. It has always been our objective to promote ownership, autonomy, and respect for black creatives in an effort to shift the current paradigm upheld by white supremacy.

With that said, the Whitney’s use of the works acquired through the See in Black print sale at significantly discounted prices – the proceeds of which were 100% donated to charity – constitutes unauthorized use of the works to which the artists do not consent and for which the artists were not compensated. Furthermore, See in Black is not affiliated with the Whitney’s exhibition.

The Whitney Museum’s Director recently posted a statement on racial equality to their website. It includes a pledge to ‘re-examine our exhibitions and programs to ensure they continue to address the art and experiences of people of color, especially Black communities.’

Articles: Digital Photography Review (dpreview.com)

 
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Final Cut Pro X 10.4.9 adds ProRes Raw camera setting adjustments, improved vertical editing and more

26 Aug

Apple has released its latest update to Final Cut Pro X, bringing with it a number of new features, including the ability to finally adjust ProRes Raw camera settings.

Although it’s listed under ‘Other new features,’ one of the most welcomed additions in the update is the ability to adjust ProRes Raw camera settings, such as ISO, color temperature and exposure compensation in the new controls within the inspector.

These new options address what was a big hole in the ProRes Raw workflow with FCPX. We asked our own Jordan Drake of DPReview TV for his thoughts on these new additions and he had the following to say:

’Working with ProRes Raw was initially jarring, as it did not respond like other photographic or cinematic raw formats. White balance and ISO were not directly adjustable, and attempting to use the built in tools to simulate those adjustments often led poor colors or noisy shadows. This new update allows adjustments to white balance, exposure and ISO and will hopefully allow ProRes Raw to behave more like R3D Raw, or Apple’s primary competition Blackmagic BRaw. Camera manufacturers aside from Blackmagic seem to be moving towards ProRes Raw, so this added functionality will be a big benefit for many current and future cameras.’

Also new is an improved proxy workflow with the ability to generate proxy media in custom frame sizes (1/8, 1/4, 1/2, or full resolution), the ability to create proxies in either ProRes Proxy or H.264 and the ability to create a proxy-only copy of a library to reduce the size of a project.

It’s now easier to compose footage for use in vertical-preferred platforms, such as Snapchat, Instagram TV, TikTok and others.

Apple has also added a number of new social media tools within FCPX, including automated project transformation for square of vertical delivery via the new ‘Smart Conform’ tool, the ability to view footage outside the viewer boundary for easier composing in non-traditional formats, as well as custom overlays for guides and a new ‘Duplicate Project As’ option that works with the new ‘Smart Conform’ tool to make creating videos for multiple platforms easier.

For other minor feature updates and bug fixes, head on over to Apple’s changelog for FCP 10.4.9. The update should be available as a free update in the macOS App Store if you’ve already purchased FCPX.

Articles: Digital Photography Review (dpreview.com)

 
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Google and UC Berkeley researchers create AI that can remove shadows from images

25 Aug

Researchers with the University of California Berkeley and Google Research have published a new paper detailing an AI that can remove unwanted shadows from images. The algorithm focuses on two different types of shadows — ones from external objects and ones naturally resulting from facial features — and works to either remove or soften them in order to maintain a natural appearance.

Whereas professional images are often taken in a studio with proper lighting, the average snapshot of a person is taken ‘in the wild’ where lighting conditions may be harsh, causing dark shadows that obscure parts of the subject’s face while other parts are covered with excessive highlights.

The newly developed AI is designed to address this problem by targeting those unwanted shadows and highlights, removing and softening them until a clearer subject remains. The researchers say their tool works in a ‘realistic and controllable way,’ and it could prove useful for more than just images captured in casual settings.

Professionals could, for example, use a tool like this to salvage images taken in outdoor environments where it was impossible to control the lighting, such as wedding images taken outdoors under a bright noon sun. In their paper, the researchers explain:

In this work, we attempt to provide some of the control over lighting that professional photographers have in studio environments to casual photographers in unconstrained environments … Given just a single image of a human subject taken in an unknown and unconstrained environment, our complete system is able to remove unwanted foreign shadows, soften harsh facial shadows, and balance the image’s lighting ratio to produce a flattering and realistic portrait image.

This project is designed to target three specific elements in these photographs: foreign shadows from external objects, facial shadows caused by one’s natural facial features and lighting ratios between the lightest and darkest parts of the subject’s face. Two different machine learning models are used to target these elements, one to remove foreign shadows and the other to soften facial shadows alongside lighting ratio adjustments.

The team evaluated their two machine learning models using both ‘in the wild’ and synthetic image datasets. The results are compared to existing state-of-the-art technologies that perform the same functions. ‘Our complete model clearly outperforms the others,’ the researchers note in the study, highlighting their system’s ability in a selection of processed sample images.

In addition to using the technology to adjust images, the study explains that this method can be tapped as a way to ‘preprocess’ images for other image-modifying algorithms, such as portrait relighting tools. The researchers explain:

Though often effective, these portrait relighting techniques sometimes produce suboptimal renderings when presented with input images that contain foreign shadows or harsh facial shadows. Our technique can improve a portrait relighting solution: our model can be used to remove these unwanted shadowing effects, producing a rendering that can then be used as input to a portrait relighting solution, resulting in an improved final rendering.

The system isn’t without limitations, however, particularly if the foreign shadows are presented with ‘many finely-detailed structures,’ some residue of which may remain even after the images are processed. As well, and due to the way the system works, some bilaterally symmetric shadows may not be removed from subjects,

In addition, softening the facial shadows using this technique may, at times, result in a soft, diffused appearance due to excessive smoothing of some fine details that should remain, such as in the subject’s hair, as well as causing a ‘flat’ appearance by softening some facial shadows.

As well, the researchers note that their complete system looks for two types of shadows — facial and foreign — and that it may confuse the two at times. If facial shadows on the subject are ‘sufficiently harsh,’ the system may detect them as foreign shadows and remove (rather than soften) them.

Talking about this issue, the researchers explain:

This suggests that our model may benefit from a unified approach for both kinds of shadows, though this approach is somewhat at odds with the constraints provided by image formation and our datasets: a unified learning approach would require a unified source of training data, and it is not clear how existing light stage scans or in-the-wild photographs could be used to construct a large, diverse, and photorealistic dataset in which both foreign and facial shadows are present and available as ground-truth.

Regardless, the study highlights yet another potential use for artificial intelligence technologies in the photography industry, paving the way for more capable and realistic editing that takes less time to perform than manual editing. A number of studies over the past few years have highlighted potential uses for AI, including transforming still images into moving animations and, in the most extreme cases, generating entire photo-realistic images.

As for this latest project, the researchers have made their code, evaluation data, test data, supplemental materials and paper available to download through the UC Berkeley website.

Via: Reddit

Articles: Digital Photography Review (dpreview.com)

 
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