Sony is releasing a pair of firmware updates this month that will reduce startup times when FE lenses are attached to both full-frame and APS-C bodies. The first update, available now, will make your E-mount camera get ready to shoot in less time when using five currently available FE lenses. The second update, due later this month, will do the same for Sony’s a7 series, this time for the four new lenses announced today. Read more
Month: March 2015
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Sony brings big zoom power to FE-mount with 24-240mm F3.5-6.3 lens
Another full-frame lens from Sony’s roadmap that hit the market today is a consumer-friendly super zoom. This 24-240mm F3.5-6.3 FE lens features optical image stabilization, five aspherical elements and one ED element, and is sealed against dust and moisture. The lens will ship this month for around $ 1000.
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Augmented Showroom: Projections Compliment Physical Products
[ By WebUrbanist in Architecture & Offices & Commercial. ]

Offering more than a traditional storefront space or conventional shopping website could individually, this hybrid showroom allows shoppers to experiment with different combinations of furnishings and fixtures both physically and virtually.

Created by London studio Bureau de Change for Made.com, the space is designed with a series of screens as backdrops for various sets of staged furniture and fixtures, allowing accessory items to be projected alongside for shoppers to compare and evaluate in relation to physically-present pieces.

“The projections provide a true, adaptable representation of the products, at the right scale, in the right place. Without them, the room sets feel unfinished, so for us they were the missing link to achieving a flexibility you can normally only achieve online,” say the designers.

Again bridging the physical and digital, various displays have sample swatches that can be taken by would-be buyers but others also have tablets that will let people peruse related items or rearrange potential settings.

Like a gallery or work of installation art, the idea was to create something interactive that also made maximum use of limited and very expense London commercial real estate, drawing people in, serving a function but also engaging them beyond their past or expected shopping experiences.


“This is such a bustling street, with so many stores vying for your attention, we wanted to produce something unexpected – an idea that would set it apart from the traditional format of lots of products in a display. The space was designed on a tight budget and timeframe but [the designers] brought a lot of ingenuity and flair and turned an old rundown bookstore into a crisp, spacious and inviting design for our customers”




[ By WebUrbanist in Architecture & Offices & Commercial. ]
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Testbericht Zeiss Planar T* 50mm & 85mm

Ein Beitrag von: Alexander May
Schon seit ich angefangen habe zu fotografieren, war der Name Zeiss für mich immer verbunden mit unerreichbarer, kostspieliger Technik für qualitätsverliebte Individualisten. Daher war ich mehr als aufgeregt, als ich die Möglichkeit bekam, zwei Exemplare dieser historischen Marke einen Monat lang zu testen.
kwerfeldein – Fotografie Magazin | Fotocommunity -
Sony releases 28mm, 35mm, and 90mm macro full-frame primes
Three full-frame prime lenses on Sony’s lens roadmap officially arrived today which, including the 24-240, brings the total number of FE lenses to eleven. The least expensive of the trio is the 28mm F2 lens, which also supports ultra-wide and fisheye adapters. Next is the long-awaited Zeiss 35mm F1.4 ZA, which is Sony’s fastest FE lens to date. Close-up shooters will be interested in the new 90mm F2.8 Macro G OSS lens, which uses a Direct Drive SSM mechanism for ultra-precise focusing. More details here.
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How to Retouch a Portrait with the Adjustment Brush in Lightroom

You have probably seen several portrait retouching programs advertised in magazines or online, and wondered if they were worth buying. The answer is no. I have tried out quite a few, and the truth is that the Soften Skin preset in Lightroom does just as good a job as any of them. For most photographers Lightroom’s retouching tools all are you will ever need. For high end retouching purposes you can go to Photoshop.
It’s worthwhile taking some time to think about your personal approach to portrait retouching. Some photographers seem to like the airbrushed, almost plastic look of heavy processing. It’s a style you see used a lot in commercial photography or movie posters.
Others will go for a more natural effect, and use the retouching tools with a light touch. That’s definitely my approach, and it fits with my preference for natural light and for creating portraits that capture character.
Either way,the Adjustment Brush in Lightroom can accommodate your needs.
Retouching portraits of women
When retouching portraits of women it is conventional to use a skin smoothing technique to make the portrait look more flattering. There are exceptions of course, sometimes skin smoothing is not necessary, especially if your model has good skin and you shoot in soft light, or use a wide aperture to throw some of the face out of focus.
The first step in portrait retouching is to remove any blemishes with the Spot Removal tool. To do so, click on the Spot Removal tool icon to activate it, adjust the size of the brush with the square bracket keys on the keyboard, and click on the spot you want to remove.Lightroom automatically selects another area of the portrait to sample from, healing the blemish. Sometimes Lightroom won’t select the most appropriate area – in this case you can click on the circle representing the sample and move it to a more suitable location.
Click on a blemish with the Spot Removal tool (left). In this case Lightroom’s healing algorithm worked perfectly, but if it doesn’t then click on the circle representing the sampled area and move it to a location where the skin matches the tone and texture of the area to be healed (right).
Adjustment Brush adjustments
Now it’s time to look closely at the portrait and decide what other retouching is required. It’s important that you have already made the required adjustments to tone and contrast in the Basic panel before you get to this stage. Increasing Contrast and Clarity, for example, will emphasize skin texture, wrinkles and blemishes. On the other hand, you can move the Exposure or Highlights sliders right to brighten the skin, making wrinkles and skin texture less obvious. Retouching with the Adjustment Brush should be left until last, so you know what you’re working with.
I like to start with the area underneath the model’s eyes. The skin here is thinner than the rest of the face which is why people get dark patches there. There may also be wrinkles, and some people have a strong crease along the lower eyelid.
The idea is not to eliminate these completely (unless you’re going for the heavily retouched, airbrushed look) but to minimize them. They’re a natural part of the skin’s texture and it will look unnatural if they are not there.
Click on the Adjustment Brush icon to activate it. Select the Soften Skin preset from the Effect menu. Lightroom sets Clarity to -100 and Sharpness to +25. Make sure Feather, Flow and Density are set to 100, use the square bracket keys on the keyboard to adjust the size of the brush and paint over the areas under the eyes. The Soften Skin preset blurs the area that you paint in with the brush.If the effect is too strong, hover the mouse over the Adjustment Brush pin (a grey circle with a black dot in the middle) until a double arrow icon appears (below). Hold the left mouse button down and move the mouse left. Lightroom reduces the value of the Clarity and Sharpness sliders, effectively lessening the strength of the Soften Skin preset. Stop when it looks about right. You can also reduce shadows by moving the Shadows slider (in the Adjustment Brush sliders) to the right. Every portrait is different so you have to adjust the effect by eye.

These are the results.
A. Original, unretouched portrait.
B. Retouched, with Soften Skin preset at full strength.
C. Retouched, with strength of Soften Skin preset reduced and Shadows slider moved to the right (subtle difference only).Enhancing eyes
You can also use the Adjustment Brush tool to enhance your model’s eyes. This is useful if the eyes are dark due to the lighting. Be careful of overdoing this effect as it may not look natural.
Click New at the top of the Adjustment Brush panel to create a new Adjustment Brush. Set Feather to around 50 and paint in the pupils of the model’s eyes. If you need to, press O (the letter) on the keyboard to see the masked area (it is displayed in red shown below).

Now set Exposure to around 0.50 and Clarity to 30. The effect will vary depending on the colour of your model’s pupils and the amount of light on them. It’s a good idea to zoom out and look at the entire portrait to see if the effect is too strong. You can see this adjustment on the model’s eyes below, which I think is about right.

You can make the effect stronger or weaker on your photo using the technique described above. Hover over the Adjustment Brush pin until the double arrow icon appears, move the mouse left to make the effect weaker, and right to make it stronger (you can also just drag the sliders one by one to change the settings)
The final step is to apply gentle skin softening to the rest of the face. Create another Adjustment Brush, set Feather to 100 and paint the entire face (use the O keyboard shortcut to display the red overlay). Then select Erase in the Adjustment brush panel, set Feather to 50 and erase the eyebrows, mouth and eyes. The idea is that you only want to soften the skin, not these parts of the face. It should look something like the mask below.

Go to the Effect menu and select the Soften Skin preset. Press O to hide the mask overlay and you will see something like the screenshot below. Remember, this is the Soften Skin preset at maximum strength so it has a strong effect on the photo.

Use the technique we learned earlier to reduce the strength of the effect. How far you go is up to you. I like to apply the Soften Skin preset subtly to retain as much skin texture as possible. Here’s the result with Clarity reduced to -20 and Sharpness to +5.

This video shows how I retouched another portrait, using the Adjustment Brush tool to enhance the model’s eyes and facial hair.
I’ve only touched on the number of ways you can use Adjustment Brushes in Lightroom for portrait retouching. What techniques do you use? Please let us know in the comments.
The Mastering Lightroom Collection
My Mastering Lightroom ebooks will help you get the most out of Lightroom 4 and Lightroom 5. They cover every aspect of the software from the Library module through to creating beautiful images in the Develop module. Click the link to learn more or buy.googletag.cmd.push(function() {
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As Triggertrap pulls plug on Ada kickstarter, CEO Haje Jan Kamps responds to comments from unhappy backers
Despite a successful round of funding through Kickstarter, Triggertrap has run into difficulties developing its Ada prototype and has announced that it will not be continuing with the project. As of November last year the company had raised nearly £300,000 in crowdfunding for its latest innovation, Ada – a high-speed shutter and flash trigger. Triggertrap CEO Haje Jan Kamps spoke with us about the response he’s heard from disappointed project backers. Read more
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3. März 2015
Das Bild des Tages von: Jenny Theobald

Im Ausblick: Optische Täuschungen und eine Geschichte über Erfolg.
kwerfeldein – Fotografie Magazin | Fotocommunity -
Cyberpunk City: Reframing Tokyo as a Futuristic Wonderland
[ By WebUrbanist in Culture & History & Travel. ]

With a background and interests in skateboarding, anime and architecture, this photographer brings both a youthful imagination and an outsider’s eye to an area of the world famous for speculative fiction-worthy landscapes and high-tech cityscapes.


Sam Pritchard‘s interest in architecture evolved alongside his interest in Japanese cities and culture, which in turn helped inspire his recent Phokus Archives remodel (years in the making and with audio accompaniment by Reso). The child of an architect, he grew up seeing the built environment through the lens of a skateboarder and urban explorer in England. Meanwhile, he developed fascination with futuristic cityscapes through (often Japanese) video games and movies, from Sega, Nintendo and Atari to Akira and Ghost in the Shell.


After spending time as an architectural photographer in London, Pritchard moved to Japan to follow up on his childhood fascinations and see what structures are really like in the fabled land of futuristic tech. The results were surprising: “Since living in Japan the reality of day-to-day life in isn’t really any more tech or futuristic than it is in any other developed city or country. But in my photography, I try to create the illusion that it is some kind of digital future world that lives up to my childhood expectation of the place.”
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Cyberpunk City Reframing Tokyo As A Futuristic Wonderland




[ By WebUrbanist in Culture & History & Travel. ]
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