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HP launches new ZBook G8 laptops with Intel 11th-gen processors, RTX GPUs

12 May

Amid the launch of Intel’s new 11th-generation processors, many new laptops are hitting the market, including the Razer Blade 15 refresh we wrote about earlier this week. Not to be left out, HP has announced new ZBook G8 laptops, only nine months after its ZBook Firefly models were announced. Updates are fast and furious these days. The new ZBook G8 range includes a trio of models, including 15.6″ and 17.3″ variants.

The ZBook Studio and Power models come only in 15.6″ versions, while the Fury model is also available with a 17.3″ display. Displays come in Full HD and 4K flavors, including brightness up to 1,000 nits, which should be suitable for an HDR workflow. Processor options include Intel Zeon or 11th-gen H-series processors up to the Core i9 CPU. Storage is available up to a whopping 2TB.

Left to right: ZBook Studio G8, ZBook Fury G8 and ZBook Power G8

There are a lot of options, and caveats, too. While a display with 1,000 nits of maximum brightness is available, that’s only true of the 15.6″ model with a Full HD display. If you want 4K, the maximum brightness darkens to 600 nits (or 550 nits in the case of the 17.3″ display). The ZBook Studio has the most GPU options to choose from and is the only model in the new range to include Nvidia RTX 3060 to 3080 graphics cards. The ZBook Fury offers AMD Radeon Pro graphics instead. The maximum RAM varies among the different models, with the Fury offering up to 128GB RAM, whereas the Studio and Power models top out at 32GB and 64GB, respectively.

There’s a lot to keep track of, so let’s refer to HP to learn more about the target audience for each model. HP says that the ZBook Studio G8 offers ‘performance in a transformative size; designed for mobility – at home or on the road.’ The ZBook Fury G8, on the other hand, goes all-out: ‘Content creators get unthrottled performance and full expandability in a more portable design – desktop-level performance in a mobile form factor.’ Rounding out the lineup is the entry-level option, the ZBook Power G8, which is ‘HP’s most affordable mobile workstation’ and ‘makes the power and pro certifications of a ZBook more accessible and ideal for STEAM students.’

‘Professional creators and power users need a curated, personalized software and hardware experience that aligns to the different ways they work and collaborate,’ said Jim Nottingham, general manager and global head, Advanced Compute and Solutions, HP Inc. ‘With the ZBook Studio being the most powerful workstation of its size, and the ZBook Fury offering full expandability in a portable design, HP is giving the professional community access to cutting-edge technology, unthrottled performance, and the versatility to make the next creative breakthrough a reality.’

The HP ZBook Studio G8 has a full RGB keyboard

Looking closer at the HP ZBook G8 Studio, the notebook is designed to ‘free the creative mind.’ To that end, it’s a purpose-built machine aimed to meet the demanding needs of creative applications and workflows. HP’s DreamColor displays cover 100% of DCI-P3 and include Pantone validation. The Studio includes Nvidia RTZ A5000 or GeForce RTX 3080 laptop GPUs and 11th-gen Intel Core i9 vPro processors.

The Fury is the world’s most expandable 15″ and 17″ mobile workstation, per HP. The Fury packs desktop-class performance into a sleek, slim notebook design. The display is a next-gen DreamColor display with Pantone validation. The chassis is constructed using aluminum and includes tool-free expandability plus a wide array of ports, including Thunderbolt 4, HDMI, Mini DisplayPort, USB-A and more. With Intel Core i9 and Xeon processors, Nvidia RTX graphics, and up to 128GB of 3200MHz system memory, the Fury promises high-end performance.

HP’s most affordable mobile workstation, the ZBook Power, is all about delivering performance at lower prices. The aluminum notebook includes various enterprise-level security features, such as ISV certifications, HP Security Suite and Tile device location. It includes 11th-gen Intel processors, up to 64GB of memory, PCIe G4 and Nvidia RTX A2000 laptop graphics.

While we know that the ZBook G8 Power will be the most affordable of the three new HP ZBook models, HP has not published official pricing information. The Power G8 will be available starting next month, while the Studio G8 and Fury G8 will launch in July.

Articles: Digital Photography Review (dpreview.com)

 
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New York Times unveils prototype system aimed at inspiring confidence in photojournalism

10 May

Misinformation is a big issue online, especially with how quickly false stories are shared. The New York Times R&D team has worked with the Content Authenticity Initiative (CAI) on a prototype system ‘exploring tools to give readers transparency into the source and veracity of news visuals.’ If a picture is worth a thousand words, the picture must be verifiably truthful to its viewers.

As CAI points out, it used to be a given that a ‘photograph never lies.’ However, that hasn’t been true for a long time. It’s easy for an image to be manipulated and tell a story far from the truth. It’s hard to tell fact from fiction, and a fake or doctored image can make the rounds so quickly that you see it many times on your feed before you ever see the original image. That is if you ever see the real image at all. A study by Adobe found that there’s a lack of trust in images and that people are concerned about seeing doctored content. The study also found that photographers are concerned with image theft and plagiarism.

The NYT R&T team shows their ‘secure sourcing’ prototype visualization.

For photographers, it’s not just about the honesty of an image, it’s about credit. Someone can screengrab a photographer’s image and spread it around the web before the photographer ever has the opportunity to demand the financial compensation they deserve. After the image has been seen all over the internet, the value of their work has already been irreparably damaged. Santiago Lyon, Head of Advocacy & Education at CAI, writes, ‘Regardless of source, images are plucked out of the traditional and social media streams, quickly screen-grabbed, sometimes altered, posted and reposted extensively online, usually without payment or acknowledgment and often lacking the original contextual information that might help us identify the source, frame our interpretation. and add to our understanding.’

Scott Lowenstein of NYT R&D says, ‘The more people are able to understand the true origin of their media, the less room there is for ‘fake news’ and other deceitful information. Allowing everyone to provide and access media origins will protect against manipulated, deceptive, or out-of-context online media.’

Along with Adobe and Twitter, The New York Times Co. is a founding member of the CAI. The CAI and its partners ‘are working to develop an open industry standard that will allow for more confidence in the authenticity of photographs (and then video and other file types). We are creating a community of trust, to help viewers know if they can believe what they see.’ To this end, the new prototype outlines a ‘secure sourcing’ workflow, which will preserve metadata with secure signatures at each step as an image is captured, edited in Adobe Photoshop, and published. As an image is published, links to an original image will be attached and signed by a social media platform.

Photograph by Niko Koppel for the NYT R&D project, integrated with CAI Content Credentials.

Lyon writes, ‘This important work demonstrates how a well-respected news outlet like the NYT is experimenting with CAI technology, giving us a hint of what’s possible at scale. This aligns with our goal of displaying a CAI logo next to images published in traditional or social media that gives the consumer more information about the provenance of the imagery, such as where and when it was first created and how it might have been altered or edited.’

Lyon continues, ‘This will bolster trust in content among both consumers and capture partners (such as Qualcomm and Truepic), editing partners (in this case, our colleagues at Adobe Photoshop), and publishers, such as the New York Times and others.’

Eventually, the hope is that CAI logos can be placed next to images on traditional publishing and social media platforms, inspiring confidence in the provenance of images and explaining how an image was edited before being published. Ideally, viewers would be able to click on the CAI logo and find out about the image creator and see all the edits that have been made.

For the initiative and the NYT R&D prototype to work, widespread adoption is necessary. The overall distrust in the news and images will require considerable work to improve. Reliable, secure, and accessible records of image creation and edits will go a long way toward inspiring confidence in images.

Articles: Digital Photography Review (dpreview.com)

 
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Slideshow: Winning photos from the Pink Lady Food Photographer of the Year 2021 contest

07 May

Winning photos from the Pink Lady Food Photographer of the Year 2021 contest

Editor’s note: There are images in this gallery that show animal carcasses being butchered (slide 8 and 9, in particular). Keep this in mind going forward if you would rather not see this content.


The winning photographs for the Pink Lady Food Photographer of the Year 2021 contest have been announced, with the overall prize being taken by Chinese photographer Li Huaifeng for their photograph Taste, which shows a young family enjoying a meal in their home as the sun cast rays through the smoke-filled room.

The Pink Lady Food Photographer of the Year awards is celebrating its tenth anniversary. The finalists and winning images were whittled down from nearly 10,500 entries submitted from more than 70 countries around the world.

In lieu of an in-person event, due to the COVID-19 pandemic, the winners were announced in a livestream, which can be watched in its entirety, below:

In addition to the usual categories, this year’s contest also featured a ‘very special category’ to honor Claire Aho, ‘Finland’s greatest woman photographer,’ according to contest organizers. The inaugural winner of the Claire Aho Award for Women Photographers was Marina Spironetti for ‘her magnificent portrait Female Butchers of Panzano – Martina, one of the women trained by Dario Cecchini, world-famous butcher of Panzano.’

As for the judges of this year’s contest, the event organizers say:

This year’s global judging panel, chaired by legendary food photographer, David Loftus, includes Fiona Shields, Head of Photography, Guardian News & Media, Susan Bright, Writer and Curator, Nik Sharma, Cookbook Author and Photographer, Chef Simone Zanoni, Restaurant Le George, Four Seasons Paris, Alison Jacques, Founder, Alison Jacques Gallery and Vitalie Taittinger, President, Champagne Taittinger.

An exhibition for the 2021 finalists will premiere at The Royal Photographic Society in Bristol from November 20 through December 12. Entry is free.

The following gallery will showcase images from twelve of the more than three dozen categories in this year’s contest. You can see all of the finalists and winning images on the Pink Lady Food Photographer of the Year 2021 contest website.

Taste, Overall Winner

Credit: Li Huaifeng via Pink Lady Food Photographer of the Year

Photographer: Li Huaifeng, China

Image Description: The photograph was taken in Licheng, Shanxi, on a warm and sunny day, and shows a young family sharing in the joy of preparing food.

Drying Okra, Bring Home the Harvest

Credit: F. Dilek via Pink Lady Food Photographer of the Year

Photographer: F.Dilek Uyar, Turkey

Image Description: Drying okra flowers in Tokat, Turkey. Women pick okra flowers from the field and arrange them on a rope, then the dried flowers fall and the okra becomes ready to be used in winter

A Grape View, Errazuriz Wine Photographer of the Year – Overall

Credit: Oscar Olivera via Pink Lady Food Photographer of the Year

Photographer: Oscar Oliveras, Spain

Image Description: The photograph captures the filling up of Semillon grapes ready to be pressed at the cellar. It was taken on the first day of the harvest of Sauvignon Blanc at Chateau des Ganfards, in Saussignac, France. The harvesting machine is unloading the fruit into the tractor, ready to take them into the winery for pressing. The tractor is being driven by M. Jean Claude Géraud, the owner of Château des Ganfards. Oscar took the photo whilst working there as a winemaker.

Breakfast at Weekly Market, Food at the Table

Credit: Thong Nguyen via Pink Lady Food Photographer of the Year

Photographer: Thong Nguyen, Vietnam

Image Description: People enjoy their Pho (beef of chicken noodle) for breakfast at a local weekly market.

Making Rice Noodles, Fujifilm Award for Innovation

Credit: Abdul Momin via Pink Lady Food Photographer of the Year

Photographer: Abdul Momin, Bangladesh

Image Description: A worker is inspecting rice noodles if they got dried rightly or not.

Old Friends, Politics of Food

Credit: Sandro Maddalena via Pink Lady Food Photographer of the Year

Photographer: Sandro Maddalena, Italy

Image Description: Tskaltubo – Refugees from the Abkhazian – Georgian conflict gather in the basement of an abandoned sanatorium to share their food. Almost thirty years after the conflict, Abkhazian refugees are still living in abandoned buildings in conditions of poverty.

Female Butchers of Panzano-Martina, The Claire Aho Award for Women Photographers

Credit: Marina Spironetti via Pink Lady Food Photographer of the Year

Photographer: Marina Spironetti, Italy

Image Description: Part of a project about the female butchers at Dario Cecchini’s, the world’s famous butcher from Panzano in Chianti. For some time now, Dario has been training a team of young ladies, who came to Tuscany from all over the world to learn the art of deboning. Traditionally, women butchers have always existed in Tuscany.

Head to Head, The Philip Harben Award for Food in Action

Credit: David Thompson via Pink Lady Food Photographer of the Year

Photographer: David Thompson, Taiwan

Image Description: Taken at Wanhua District night market, Taipei, Taiwan the photo depicts a butcher preparing cuts for the daily traditional market, here seen working on a pigs head cutting out the cheeks.

Family, WFP Storytellers Award

Credit: Ziney Abdulhakim Ibrahim via Pink Lady Food Photographer of the Year

Photographer: Ziney Abdulhakim Ibrahim, Iraq

Image Description: The importance of all family members meeting around one dining table at least once a day, as this habit helps to strengthen family ties and gives family members a sense of emotional warmth and provides an opportunity for dialogue, exchange of ideas and problem-solving.

Orishas Tribal Markets, Young – 11 – 14

Credit: Indigo Larmour via Pink Lady Food Photographer of the Year

Photographer: Indigo Larmour, India

Image Description: The tribal markets in Odisha are some of the most colourful in all of India. Vendors commonly sit on the ground and spread-out vegetables that they are selling.

Spill the Tea, Young – 15 – 17

Credit: Dewi Hollema via Pink Lady Food Photographer of the Year

Photographer: Dewi Hollema, Egypt

Image Description: Men gather round on the side of the street in old Alexandria to share the local gossip with a cup of black sweet tea and snacks. This is a common sight in Egypt where their national drink is enjoyed throughout the day: tea ???.

Articles: Digital Photography Review (dpreview.com)

 
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Star Stacker lets you create star trail images and timelapses on iPhones, iPads

05 May

Star Stacker, an astrophotography app available for iOS, allows users to create star trail images and timelapses on their phone, computer or tablet. Michael Webb, the developer, posted about his latest creation on Reddit’s r/LandscapeAstro community. To demonstrate a final result from using the app, Webb posted the image, seen above, and explained how he achieved it in the post’s comments section.

Using a Sony a7R III camera and Rokinon 14mm M2 lens, Webb captured 170 15-second exposure images with an ISO of 640 and an F4.0 aperture. Webb then copied the 170 RAW files to his phone using an SD card adapter and stacked the images in the app. To be clear, you can also import JPEG, .tiff or .png images from your iPhone or iPad’s photo app into Star Stacker. Pixelmator was used to combine images of the foreground and stars together for a final product.

After importing your selected photos, you can start creating images or timelapses with the following effects:

  • Full trails – shows every star at full brightness.
  • Faded trails – stars get brighter as the process runs.
  • Shooting star – similar to faded trails but the last image is brighter than the previous, giving off a shooting star effect.
  • Warp modezooms into the image stack slowly creating a warped effect. This will also impact the foreground so post processing may be required if the images have the foreground included.

Astrophotographers typically take a series of images in the same place and stack them to reduce noise. Is 170 necessary? Likely not. This video from Milky Way Mike breaks explains how many photos you should stack and why.

The app isn’t available for Android yet though Webb mentioned he would ‘certainly consider making an Android version depending on how popular this version is.’ One Reddit user pointed out that Star Trails, available on Google Play, could be a decent alternative. Star Stacker is available for $ 1.99 in the App Store for the Mac, iPhone and iPad.

Articles: Digital Photography Review (dpreview.com)

 
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The RUHAcam is a ‘retro-style’ digital camera made with the Raspberry Pi HQ Camera module

03 May

When Raspberry Pi announced its 12.3MP High Quality Camera module in April 2020, it opened up a whole new world of photo-centric DIY projects. One such project that’s come as a result of its release is the RUHAcam, a ‘retro-style’ digital camera made from scratch by Ping-Hsun ‘penk’ Chen and Ruha Cheng.

The RUHAcam is built around a Raspberry Pi Zero W connected to a Raspberry Pi High Quality Camera module, which accepts C and CS mount lenses. Other features include a built-in 2,000mAg Li-Pi battery, a 2.2” TFT display that serves as the viewfinder and a 3D-printed case clearly inspired by SLR cameras from the past. The camera is still a work in progress, but is fully functional and captures rather impressive images when used with the 16mm lens ‘penk’ and Cheng attached to it for the following sample photos:

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In addition to sharing detailed instructions on how to make your own RUHAcam at home, ‘penk’ and Cheng published the 3D design components and software required to run the camera for free under MIT license. This means you’re free to build an exact replica of the RUHAcam or use it as a base to make your own DIY digital camera.

In speaking with DPReview, ‘penk’ said the duo ‘plan to improve more on the software side, to add controls to the UI using Pi’s libcamera stack, and to leverage Raspberry Pi more as a server to easily share captured images with smartphones.’ You can find all of the instructions and materials needed to make your own on the RUHAcam GitHub Page.

Articles: Digital Photography Review (dpreview.com)

 
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Incredible video showcases world’s first 8K VR drone footage of Iceland’s Mt. Fagradalsfjall volcano

02 May

Incredible new footage, captured with an 8K Insta360 Pro 2 mounted to the bottom of a DJI drone, shows the Mt. Fagradalsfjall volcano in Geldingadalur, Iceland as it continues to erupt. The immersive visuals were captured by Ragnar Th. Sigurðsson, founder of Arctic Images, and drone pilot Arnar Þór Þórsson in collaboration with Perlan Museum, ‘which hosts a state-of-the-art 8K planetarium and other exhibitions on Iceland’s geographic wonders.’

The Mt. Fagradalsfjall volcano erupted for the first time in roughly 800 years back on March 19, 2021. Since then, it’s been spewing lava from its fissures, making for incredible visuals that have brought photographers from around the world to see the geological phenomenon. We’ve already seen a number of incredible videos captured with drones flying over the active volcano, but none of which allow you to control what you’re seeing. Until now, that is.

While YouTube limits playback to 4K, the footage was recorded in 8K using an Insta360 Pro 2 attached to the bottom of a DJI Matrice 600 drone. According to Insta360’s blog post detailing the creation of this video, the drone and camera flew over lava that reached reached temperatures as high as 1240°C degrees (2264°F). Despite the intense heat, which we’ve already seen is capable of melting drones, both the Insta360 Pro 2 and DJI Matrice 600 survived the flight.

For the best viewing experience, make sure you’re using a browser that supports YouTube’s VR content and have plenty of bandwidth to stream the video at full resolution. Another option, if you have one on hand, is to use a VR headset to really immerse yourself in the footage.


Image credit: Photos provided by Insta360

Articles: Digital Photography Review (dpreview.com)

 
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Video: How to improve your compositions, from a photographer who worked with Ansel Adams

27 Apr

Born in 1949, award-winning photographer Huntington Witherill has been a fine art photographer since 1970. Witherill was fortunate enough to have worked with the famous Ansel Adams, among other notable photographers like Wynn Bullock, Steve Crouch, and Al Weber. Over the past 50 years, Witherill has learned a lot about photography. He recently chatted with Marc Silber of Advancing Your Photography to discuss composition.

In the video below, Silber asks Witherill the core areas he considers in terms of composition. Witherill replies, ‘Well, I think as an overriding sort of mantra for composition, I always like to refer to the way Edward Weston described composition, as being the strongest way of seeing.’ Witherill pays attention to everything in a scene, rather than what attracted him to the scene in the first place. When out shooting, it’s common to be drawn to a specific element of a scene. However, when making a composition, you don’t want to ignore everything in the scene. ‘Finding the strongest way of seeing is really, to my way of thinking, intellectualizing within myself what it is that attracted me to the scene in the first place. And then, doing my best to include all of that within the photograph itself and eliminate everything else out of the photograph,’ Witherill says.

In the video above, Witherill refers to an article he wrote in 2019, ‘The Strongest Way of Seeing.’ In this article, Witherill writes, ‘When it comes to the art of creating successful photographs, formulating an effective composition must surely be at (or near) the top of the list in terms of relative importance.’ He goes on to say when discussing whether or not there are prescribed rules of composition which could always prove successful, ‘As it also turns out, knowing where best to point your camera requires a skill set whose precepts appear to be instinctively derived, rather than intellectually prescribed. What might work in one situation can often prove disastrous in another. As such, employing a formulaic approach to composition will, more often than not, prove ineffectual.’

However, that is not to say that trying to improve your composition or that learning more about composition is a fool’s errand. While Witherill doesn’t believe that composition is a skill that can be taught in a rote fashion, he believes there are steps you can take to make it easier to ‘see’ composition in the field. Witherill likes to squint at a scene, which makes it easier to see the overall shapes and arrange a composition, as you are no longer able to focus on the finer details.

To learn more of Huntington Witherill’s tips for composition, watch the full video above. To view more of Witherill’s work, visit his website. For more videos from Marc Silber, visit the Advancing Your Photography YouTube channel.

Articles: Digital Photography Review (dpreview.com)

 
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Google shares a deep dive into its new HDR+ with Bracketing technology found in its latest Pixel devices

26 Apr

Google has shared an article on its AI Blog that dives into the intricacies of the HDR capabilities of its most recent Pixel devices. In it, Google explains how its HDR+ with Bracketing technology works to capture the best image quality possible through clever capture and computational editing techniques.

To kick off the article, Google explains how its new ‘under the hood’ HDR+ with Bracketing technology — first launched on the Pixel 4a 5G and Pixel 5 back in October — ‘works by merging images taken with different exposure times to improve image quality (especially in shadows), resulting in more natural colors, improved details and texture, and reduced noise.’

Using bursts to improve image quality. HDR+ starts from a burst of full-resolution raw images (left). Depending on conditions, between 2 and 15 images are aligned and merged into a computational raw image (middle). The merged image has reduced noise and increased dynamic range, leading to a higher quality final result (right). Caption and image via Google.

Before diving into how the behind-the-scenes work is done to capture the HDR+ with Bracketing images, Google explains why high dynamic range (HDR) scenes are difficult to capture, particularly on mobile devices. ‘Because of the physical constraints of image sensors combined with limited signal in the shadows […] We can correctly expose either the shadows or the highlights, but not both at the same time.’

Left: The result of merging 12 short-exposure frames in Night Sight mode. Right: A single frame whose exposure time is 12 times longer than an individual short exposure. The longer exposure has significantly less noise in the shadows but sacrifices the highlights. Caption and image via Google.

Google says one way to combat this is to capture two different exposures and combine them — something ‘Photographers sometimes [do to] work around these limitations.’ While this works fairly well with cameras with larger sensors and more capable processors inside tablets and laptops to merge the images, Google says it’s a challenge to do on mobile devices because it requires ‘Capturing additional long exposure frames while maintaining the fast, predictable capture experience of the Pixel camera’ and ‘Taking advantage of long exposure frames while avoiding ghosting artifacts caused by motion between frames.’

Google was able to mitigate these issues with its original HDR+ technology through prioritizing the highlights in an image and using burst photography to reduce noise in the shadows. Google explains the HDR+ method ‘works well for scenes with moderate dynamic range, but breaks down for HDR scenes.’ As for why, Google breaks down the two different types of noise that get into an image when capturing bursts of photos: shot noise and read noise.

Google explains the differences in detail:

One important type of noise is called shot noise, which depends only on the total amount of light captured — the sum of N frames, each with E seconds of exposure time has the same amount of shot noise as a single frame exposed for N × E seconds. If this were the only type of noise present in captured images, burst photography would be as efficient as taking longer exposures. Unfortunately, a second type of noise, read noise, is introduced by the sensor every time a frame is captured. Read noise doesn’t depend on the amount of light captured but instead depends on the number of frames taken — that is, with each frame taken, an additional fixed amount of read noise is added.’

Left: The result of merging 12 short-exposure frames in Night Sight mode. Right: A single frame whose exposure time is 12 times longer than an individual short exposure. The longer exposure has significantly less noise in the shadows but sacrifices the highlights. Caption and image via Google.

As visible in the above image, Google highlights ‘why using burst photography to reduce total noise isn’t as efficient as simply taking longer exposures: taking multiple frames can reduce the effect of shot noise, but will also increase read noise.’

To address this shortcoming, Google explains how it’s managed to use a ‘concentrated effort’ to make the most of recent ‘incremental improvements’ in exposure bracketing to combined the burst photography component of HDR+ with the more traditional HDR method of exposure bracketing to get the best result possible in extreme high dynamic range scenes:

‘To start, adding bracketing to HDR+ required redesigning the capture strategy. Capturing is complicated by zero shutter lag (ZSL), which underpins the fast capture experience on Pixel. With ZSL, the frames displayed in the viewfinder before the shutter press are the frames we use for HDR+ burst merging. For bracketing, we capture an additional long exposure frame after the shutter press, which is not shown in the viewfinder. Note that holding the camera still for half a second after the shutter press to accommodate the long exposure can help improve image quality, even with a typical amount of handshake.’

Google explains how its Night Sight technology has also been improved through the use of its advanced bracketing technology. As visible in the illustration below, the original Night Sight mode captured 15 short exposure frames, which it merged to create the final image. Now, Night Sight with bracketing will capture 12 short and 3 long exposures before merging them, resulting in greater detail in the shadows.

Capture strategy for Night Sight. Top: The original Night Sight captured 15 short exposure frames. Bottom: Night Sight with bracketing captures 12 short and 3 long exposures. Caption and image via Google.

As for the merging process, Google says its technology chooses ‘one of the short frames as the reference frame to avoid potentially clipped highlights and motion blur.’ The remaining frames are then aligned with the reference frame before being merged.

To reduce ghosting artifacts caused by motion, Google says it’s designed a new spatial merge algorithm, similar to that used in its Super Res Zoom technology, ‘that decides per pixel whether image content should be merged or not.’ Unlike Super Res Zoom though, this new algorithm faces additional challenges due to the long exposure shots, which are more difficult to align with the reference frame due to blown out highlights, motion blur and different noise characteristics.

Left: Ghosting artifacts are visible around the silhouette of a moving person, when deghosting is disabled. Right: Robust merging produces a clean image. Caption and image via Google.

Google is confident it’s been able to overcome those challenges though, all while merging images even faster than before:

Despite those challenges, our algorithm is as robust to these issues as the original HDR+ and Super Res Zoom and doesn’t produce ghosting artifacts. At the same time, it merges images 40% faster than its predecessors. Because it merges RAW images early in the photographic pipeline, we were able to achieve all of those benefits while keeping the rest of processing and the signature HDR+ look unchanged. Furthermore, users who prefer to use computational RAW images can take advantage of those image quality and performance improvements.’

All of this is done behind the scenes without any need for the user to change settings. Google notes ‘depending on the dynamic range of the scene, and the presence of motion, HDR+ with bracketing chooses the best exposures to maximize image quality.’

Google’s HDR+ with Bracketing technology is found on its Pixel 4a 5G and Pixel 5 devices with the default camera app, Night Sight and Portrait modes. Pixel 4 and 4a devices also have it, but it’s limited to Night Sight mode. It’s also safe to assume this and further improvements will be available on Pixel devices going forward.

You can read Google’s entire blog post in detail on its AI blog at the link below:

HDR+ with Bracketing on Pixel Phones

Articles: Digital Photography Review (dpreview.com)

 
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‘A Year in Photos’ documentary covers winning imagery from Sony World Photography Awards

24 Apr

The annual Sony World Photography Awards is one of the world’s most reputable competitions for creatives. DPReview makes it a point to cover every announcement. Over the course of the past year, over 330,000 images were submitted to its myriad of contests covering contemporary events and issues. A documentary, produced by Chocolate Films, showcasing the winning images, as well as the stories behind them, was recently released.

Hosted by British stand-up comedian and art historian Jacky Klein, who curiously stated that submissions came in from over 200 countries (she possibly meant territories as well), A Year in Photos from Sony World Photography Awards 2021 features imagery, behind-the-scenes takes, and interviews from some of the award-winning photographers. Some of the jurors also share what they love about a particular photographer’s style the most.

Winning imagery addresses how some people believe the novel Coronavirus was a conspiracy.

Naturally, a good deal of imagery discussed in the hour-long film cover the impact of climate change and the pandemic. As winning photographer Coenraad Heinz Torlage stated early on in the film, ‘I think photography is a powerful medium to speak for those who can’t speak for themselves.’ A Year in Photos from Sony World Photography Awards 2021 can be viewed in its entirety above or here.

Articles: Digital Photography Review (dpreview.com)

 
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Volcano for the People: Stunning visuals from Iceland’s spectacular volcanic eruption

19 Apr

Following thousands of earthquakes beginning in February, the Fagradalsfjall volcano on Iceland’s Reykjanes Peninsula erupted on March 19. Since then, the volcano has been erupting with new fissure vents opening, including a new one over this past weekend. Given the volcano’s accessible location, thousands of people have visited the site and seen the eruption for themselves. Photographer and wildlife conservationist Donal Boyd and director and filmmaker Frank Nieuwenhuis created a short human interest film, ‘Volcano for the People,’ about the incredible natural event and the experience of enjoying it with others.

Nature is often enjoyed in solitude or in small groups. However, the ongoing volcanic eruption in Iceland is attracting hundreds to thousands of people at a time. Enjoying nature has transformed from something enjoyed independently to something enjoyed as a collective experience. The video below touches on that shift and what it means to the people enjoying the spectacle. The video includes breathtaking visuals, including stunning drone shots.

Boyd and Nieuwenhuis also created a behind-the-scenes video, showing how they were able to make the short film above. The duo spent just under a week planning, shooting and editing their video. Isn’t it dangerous to visit an active volcano? The eruption event on the Reykjanes Peninsula is unique. As Iceland was hit with thousands of earthquakes, scientists could track the magma flowing underground until it finally broke through the surface. The eruption occurred in a valley, so there are many safe viewing areas surrounding it. So long as the wind is at your back, blowing away toxic gases from the eruption, it’s safe. The Icelandic Meteorological Office, Icelandic Search and Rescue, and on-site advisors have regularly updated safety protocols so that risks to visitors are minimized. It’s an ever-changing situation, of course, so what was safe during the making of Boyd and Niewenhuis’s video may no longer be safe.

Although the volcano site was accessible, the hike to and from the area was still 2-3 hours. This meant that Boyd and Nieuwenhuis wanted to keep their gear as light as possible, although it’s easier said than done. Since they wanted to record not only the eruption itself but also the people at the site, their bags were essentially packed to the brim. Interview sequences were shot on Sony A7R III, Sony A7R IV and Canon EOS R5 mirrorless cameras with a Sigma 24mm F1.4 Art lens. Distant shots of spectators were captured with a Sigma 135mm F1.8 Art lens or a Sony FE 135mm F1.8 G Master lens. Other lenses used during production included the Canon RF 50mm F1.2 and an older Canon 300mm F2.8 lens for extreme close-ups. Aerial shots were captured using a DJI Mavic Air 2. At times, the lava was so bright that Boyd needed to attach his strongest ND filter to the Mavic Air 2.

Alongside the pair of videos above for Adorama TV, Donal Boyd also wrote an article for Adorama about how to photograph an active volcano. The article includes some background about the volcano, tips on gear and, importantly, safety advice and where to get the latest viewing conditions. In addition to a lot of useful information, Boyd’s article also includes amazing images, so be sure to check it out.

If you’d like to see more from Boyd, follow him on Instagram. More of Niewenhuis’s work can be seen on Instagram and YouTube.

Articles: Digital Photography Review (dpreview.com)

 
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