Cinema camera company RED has teamed up with Apple to offers its ‘affordable’ (relatively) RED Raven Camera Kit exclusively through Apple’s online store. Interested buyers may be able to head over to their local physical Apple retail store to see demonstrations of the camera, as well, though RED says that only ‘select’ locations are offering demos.
The camera kit is described as being a ‘complete handheld camera package’ that includes the RED Raven 4.5K camera BRAIN alongside accessories, storage, a lens, and software.
The Raven 4.5K is notable as RED’s most compact BRAIN offering at 3.5lbs/1.6kg, according to the company, as well as being one of its most affordable models—the entire camera kit is priced at $ 15,000 USD. RED President Jarred Land described the Raven Camera Kit in a statement today as being a “ready-to-shoot professional package.”
With this camera, users are able to shoot REDCODE RAW (R3D) footage at a 4.5K resolution at up to 120fps or 2K footage at up to 240fps.
The RED Raven Camera Kit includes:
RED Raven 4.5K camera BRAIN
RED DSMC2™ Touch LCD 4.7” Monitor
RED DSMC2 Outrigger Handle
RED V-Lock I/O Expander
RED 120 GB RED MINI-MAG®
Two IDX DUO-C98 batteries with VL-2X charger
G-Technology ev Series RED MINI-MAG Reader
Sigma 18-35mm F1.8 DC HSM | Art
Nanuk heavy-duty camera case
Final Cut Pro X
foolcontrol iOS app for Raven Camera Kit
The RED Raven Camera Kit is available from Apple.com now.
Press Release
RED Digital Cinema’s RED RAVEN Camera Kit Now Available Exclusively Through Apple.com
This Professional Package Includes Everything Cinematographers Need to Start Shooting, Including Lens, Media, Batteries, Software and More
IRVINE, Calif. – RED Digital Cinema® announced today that its RED RAVEN® Camera Kit is now available exclusively through Apple.com and available to demo at select Apple Retail Stores. This complete handheld camera package features a diverse assortment of components from some of the industry’s top brands, including:
REDRAVEN 4.5K camera BRAIN
RED DSMC2 Touch LCD 4.7″ Monitor
RED DSMC2 Outrigger Handle
RED V-Lock I/O Expander
RED 120 GB REDMINI–MAG
Two IDXDUO-C98 batteries with VL-2X charger
G-Technology ev Series REDMINI–MAG Reader
Sigma 18-35mm F1.8 DC HSM | Art
Nanuk heavy-duty camera case
Final Cut Pro X
foolcontrol for RAVEN Camera Kit
The RED RAVEN Camera Kit is available for $ 14,999.95. Customers can buy this package or learn more at Apple.com and select Apple Retail Stores.
“We are very excited to work with Apple on the launch of the RED RAVEN Camera Kit, available exclusively through Apple.com,” said Jarred Land, President of RED Digital Cinema. “The RED RAVEN Camera Kit is a ready-to-shoot professional package that gives content creators everything they need to capture their vision with RED’s superior image capture technology.”
The RAVEN 4.5K is RED’s most compact camera BRAIN, weighing in at just 3.5 lbs. This makes it a great choice for a range of applications including documentaries, online content creation, indie filmmaking, and use with drones or gimbals. The RAVEN is equipped with a 4.5K RED DRAGON sensor, and is capable of recording REDCODE RAW (R3D) in 4.5K at up to 120 fps and in 2K at up to 240 fps. RED RAVEN also offers incredible dynamic range, RED’s renowned color science, and is capable of recording REDCODE RAW and Apple ProRes simultaneously—ensuring shooters get the best image quality possible in any format.
The RED RAVEN Camera Kit also includes Final Cut Pro X which features native support for REDCODE RAW video, built-in REDCODE RAW image controls, and the most complete ProRes support of any video editing software. Together with the free RED Apple Workflow software, Final Cut Pro allows professional video editors to work quickly and easily with RED RAVEN footage on MacBook Pro, iMac, and Mac Pro systems.
All RED cameras feature a modular design that empowers customers to dial in their ideal configuration for any production environment. Customers looking to outfit their RAVEN with additional accessories should go to www.red.com.
The use of drones for aerial photography has grown rapidly over the past few years, and systems are now available in all shapes and sizes, ranging from small hobby aircraft to complex commercial systems. Whether you’re a beginner just looking to have fun, or an experienced photographer exploring new creative opportunities, there’s never been a better time to try this technology.
If you’ve never flown one before, drones have the potential to be a bit intimidating. In this article, the first of a three-part series, we’ll familiarize you with the basic features and components that comprise most consumer drone systems. In parts two and three, we’ll talk about how to select the best drone to meet your needs, and what you need to know about safety before your first flight.
What’s in a drone system?
Let’s get some vocabulary out of the way. While it’s common to refer to a remote-controlled aircraft as a drone, you may also run into the terms UAV (unmanned aerial vehicle) or UAS (unmanned aircraft system), and professional pilots usually prefer to use these descriptors. The words drone and UAV are largely interchangeable as they both refer to just the aircraft, while UAS refers to the entire system. For convenience, we’ll use the word drone throughout this article.
Every drone system is a bit different, but there are some basic things most have in common. In addition to the aircraft, they’ll generally include a lithium polymer battery for power, a camera mounted on a stabilized gimbal, and a radio communication system. Most also include a dedicated controller, though some less expensive consumer models can be controlled using only a smartphone.
From the outside, most drones appear to be simple devices, but they’re actually built around some fairly advanced technology that makes them easier to fly. This includes GPS for tracking the drone’s position, various sensors to help avoid unwanted collisions, and intelligent flight modes that can automatically focus on a point of interest or track a moving subject.
That’s a lot, so let’s break it down!
The aircraft
At the core of any system is the aircraft, and most consumer and prosumer drones today are quadcopters (though there are exceptions). Today, all multi-rotor drone systems designed for photo and video use a fixed-pitch propeller system. Most models use removable propellers made from a plastic/fiberglass composite that have a simple twist locking system to hold the propeller in place. Alternatively, some will use a folding propeller system.
A twist-lock prop on the DJI Phantom 4 Pro (L) and a foldable prop on the DJI Mavic Pro (R).
The drone’s propellers are driven by brushless motors that spin at very high speed to produce the thrust required to fly. Each motor has a corresponding speed controller unit that allows for slight adjustments in the speed of the rotor; by varying the speed of the individual motors relative to one another, it’s possible to induce pitch, yaw, roll and altitude.
Flight controller
The flight controller is your direct line of command to the drone, and the two are linked using a radio control system, typically at 2.4 or 5.8 GHz. Input from the sticks on the flight controller sends signals to the aircraft directing it to adjust the speed controllers on each motor, allowing you to maneuver the drone. Additional inputs allow you to control the camera and other features specific to the model you’re flying.
The same radio signal used for command and control also allows the video signal to be fed from the drone to the controller’s screen, providing a real-time view for shooting photos or video. In many cases, the screen is just an Android or iOS device running a control app that you’ve installed and paired with the controller, though some models, such as the DJI Phantom 4 Pro+ and Yuneec Typhoon 4K, have their own built-in screens. In addition, the screen allows you to monitor telemetry from the aircraft and includes all the controls you would expect for photography such as custom WB, bracketing, shooting style, and other camera settings.
Drones allow new perspectives on photography, such as this stitched aerial panorama of Lake Tahoe. Photo by Ryan McMaster
Gimbal
If you’re planning to take photos or videos from the air, it’s critical that your camera remain as steady as possible. Most drones actually move quite a bit as they maneuver around or make corrections to maintain position. To compensate, the camera is mounted to a gimbal: a device that isolates it from the vibration and movement of the drone. Most gimbals use a 3-axis system that allows for yaw (rotational stabilization), pitch (holding the horizon during forward and backward movement), and roll (holding the horizon during side-to-side movement).
Gimbals use brushless motors that are very precise, and hold the camera in place so that video and photos (including long exposures) look amazing. In fact, if you watch a drone flying in even a moderate amount of wind you’ll notice quite a few small movements, but with a good gimbal the camera’s image will be rock solid. Some systems also offer a dual operator mode that allows the pilot to fly, while a separate camera operator runs the gimbal. This is the ultimate mode for shooting video!
The gimbal isolates the camera from vibrations and small movements by the drone, providing a stable image.
Global positioning system (GPS)
Once your drone is in the air you want it to maintain its position, even in windy conditions. Though it’s possible for a skilled pilot to do this without assistance, all drones today rely on GPS technology, typically using both the Global Positioning System and GLONASS (the Russian GPS system), to automate this task with a high degree of precision.
The good news is that GPS makes it surprisingly easy to hold, fly a straight line, or orbit a subject while the computer does the hard work of making small adjustments to compensate for wind direction and turbulence, and as a result, drones are often much easier to fly than people anticipate. However, GPS, like any technology, can fail. As a result, learning to fly a drone without GPS assistance is an important skill to learn.
Collision avoidance systems
A big advancement over the past couple years has been the development of collision avoidance systems that use vision, sonic and infrared sensors to avoid obstacles. Vision systems can ‘see’ objects and halt the aircraft before it strikes something, however they usually have a limited range (15m/50ft), and the sun can sometimes create issues by causing them to think something is in the way when nothing is there. Sonic systems use sound (much like bats) to sense objects, and are usually aimed at the ground and used for auto-landing operations and ‘positioning’ on the ground in lieu of GPS. Finally, IR (infrared) sensors are a relatively new option and work based on reflected IR spectrum light. These are short range and have issues in low light, but work in a similar fashion to vision systems for obstacle avoidance.
The small circles that look like bug eyes on the front of the DJI Mavic Pro are visual sensors for the collision avoidance system.
What are all these systems used for? Mostly, assisting new pilots in preventing collisions with objects in their vicinity, as well as preventing a loss of aircraft when returning to home by allowing the drone to avoid trees or other obstacles. However, it’s important to remember that the pilot in command is always responsible for the aircraft. Collision avoidance systems are useful but not infallible, so don’t depend on them to keep you out of trouble!
Batteries
Let’s talk about power. Most drones use lithium polymer, or ‘LiPo’ batteries. These cells come in all sorts of shapes, sizes and power ratings. ‘Smart LiPo’ batteries have built-in charge/discharge regulators and sensors that can report battery voltage and temperature via an app or the press of a button. Typically, LiPo batteries run both the controller and the aircraft, and flight time usually ranges from approximately 15 to 30 minutes depending on your model, the conditions, and how aggressive you are at the controls.
“You must always carry these batteries on the plane with you, and never place them in checked baggage – no exceptions.”
LiPo batteries are energy dense and require special care, and can be dangerous if mishandled. Traveling with these batteries can be risky if you don’t take proper precautions, and in most countries, there are specific rules when you take these cells on airplanes. In the US, the TSA/FAA provide specific rules and instructions, and you must always carry these batteries on the plane with you, and never place them in checked baggage – no exceptions. If you’re outside the US, make sure you understand the rules in your country before traveling with LiPo batteries.
Intelligent flight modes
Originally, drones were simply a tool that allowed you to get your camera off the ground and into the air, but thanks to all the technology packed inside, modern aircraft can usually do much more.
Many drones today include a variety of semi-autonomous (‘intelligent’) flight modes that use technologies like GPS, computer vision and subject tracking to help with more complex tasks. Common examples include the ability to actively track and follow a subject as it moves, orbiting around a point of interest, or programming waypoints for the drone to follow. These modes make it possible to get very creative shots with minimal effort by the pilot. In a sense, it’s a bit like having a separate drone operator while you focus on the creative side of things. These modes are particularly helpful if your intent is to shoot video as they can make your footage look very cinematic.
One of the intelligent flight modes, waypoints (seen here), can turn your Phantom 4 Pro into a powerful surveying tool that has the ability to collect data like never before!
A word of caution, however. Don’t just take off and blindly start using these modes. They require good knowledge of how to disable them in case of an emergency, and should not be used by beginners until basic operation of the aircraft is mastered.
Who makes them?
There are numerous companies building consumer and prosumer drones today. The one most people will be familiar with is DJI, which is the 800-pound gorilla in the market. However, compelling models can also be found from companies like Yuneec, Autel Robotics, GoPro and Parrot, as well as a number of others.
Although it’s easy to lump these all into the same category, each creates different products and has different design philosophies. For example, Yuneec makes affordable hexacopters, and Autel Robotics provides options such a camera with thermal imaging capabilities in addition to visible light. In part two of this series, we’ll discuss how to go about choosing the drone that best meets your needs.
Conclusion
Drones are an amazing tool that allow us to do jobs remotely, safely, and in a way that doesn’t put a manned aircraft at risk. As technology advances the capabilities of these devices will only get better. If you’ve been looking for a way to bring a new perspective to your photos or video, consider taking to the skies. Just remember to fly respectfully and follow the rules in your locale – things we’ll discuss in upcoming articles.
Photographers are cheering the end of a marathon lawsuit today, a case that pinned beleaguered wedding photographer Andrea Polito against blogger Neely Moldovan and her husband, who set out to destroy her career after a minor disagreement over their wedding photos.
The whole dispute began over a $ 125 photo album cover that the couple didn’t want to pay for.
Polito had photographed the couple’s wedding in October of 2014, and when Moldovan followed up a few weeks later to ask about the photos, the photographer reminded her that the photos wouldn’t be released until the album was completed. According to the contract they had signed, the Moldovans would have to submit an order form and select a cover photo.
The couple balked, and Polito sent an email saying she would absorb the cost of the album cover to keep them happy. Two days later, she learned that the Moldovans had contacted several local news stations, claiming she was “holding their photos hostage.” In just a few days, this narrative went viral and essentially destroyed Polito’s 13-year-old business. What’s more, the couple gloated about their success online, liked defamatory statements on Yelp and more.
Polito filed a defamation suit against the couple in April of 2015, and on Friday a jury found in Polito’s favor, ordering the Moldovans to pay $ 1.08 million in damages for the “defamatory, disparaging and malicious statements” they made. Polito’s attorney, Dave Wishnew, took to Facebook to celebrate the verdict:
“Freedem of speech does not mean freedom from consequences,” writes Wishnew. “There are real world consequences for maliciously attacking a business online with venom and lies.”
For Polito’s part, she’s relieved, if exhausted:
“I’m emotionally exhausted. This has been a very long battle,” she tells the Dallas Morning News. “Last Friday when the verdict was read I felt a little bit relieved, but most importantly I feel my reputation was restored to myself. What’s been so hard the past couple of years has been feeling so ashamed of this story.”
The case might not be over yet—as the Moldovans can still appeal the ruling—but this is a big win for photographers everywhere. In the Internet age, when a viral news story can destroy a 13-year career overnight, it’s nice to know that justice is still an attainable goal… even if it does take two and a half years to get there.
After the Galaxy Note 7 debacle, the upcoming Note 8 launch will be crucial to Samsung for recapturing consumer trust and confidence. And judging by a new leak, mobile photographers should have a lot to look forward to on the new model.
Samsung Electro-Mechanics, the division of Samsung that develops smartphone camera modules, has posted a document that explains in detail how dual-cameras and related features and special modes work. The Note 8 is widely rumored to be Samsung’s first dual-camera device, which makes it a safe bet to assume the online guide is referring to the upcoming model.
According to the document the camera module will feature a Super Night Shot mode that combines image data from both sensors for better low light performance, and a 3D Depth feature that uses depth data to blur the background of an image and lets you refocus after capture. There’ll also be improved HDR processing and and a couple of depth-related special modes.
However, the most interesting part of the document compares image output from a 3x optical zoom to a digital zoom. Samsung calls the feature Smart Zoom, which could indicate that optical zoom is combined with some sort of intelligent digital zoom to achieve a 3x zoom factor, but we’ll have to wait for the launch on the 23rd of August to get more detail.
In the meantime you can have a look at dual-camera guide on the Samsung Electro-Mechanics website for more information.
Photographing insects is a matter of good timing, patience and suitable equipment. Dismiss any one of these key factors and your photos won’t be satisfactory. If you’re fascinated by butterflies, spiders, dragonflies and any other bug in its minuscule environment, these macro tips will give you some techniques and approaches to achieve the perfect shot. Photo credit Pixabay.com What Continue Reading
The post 10 Macro Tips for Photographing Insects appeared first on Photodoto.
A group of photographers are working together to take gigapixel photography to the next level, and they’re doing it under a collective called VAST. Founded by photographer and software engineer Dan Piech, the VAST collective combines artistic skills with technical skills to produce high-quality, Fine Art gigapixel photographs.
Unlike typical gigapixel photography, these images feature scenes that are difficult to produce in massively high resolutions, such as photos taken around sunrise and sunset.
Talking about the collective and the work they do, founder Piech said, “We’ve developed a number of new techniques for doing some pretty amazing things that allow us to have the best of both worlds: resolution + aesthetics.”
Whereas common panoramas may involve only a few photos stitched together, these gigapixel photos require creators to assemble hundreds of images, the end result being an incredibly detailed, sharp photo for large printed pieces.
Huge amounts of time and work go into creating gigapixel shots, but the process doesn’t necessarily require expensive rigs.
As explained in a blog post by Ben Pitt, this 7 gigapixel photo of San Francisco was taken using “a normal tripod and an inexpensive ultra-zoom camera [the Panasonic FZ200].” That particular gigapixel photo is composed from 1,229 images captured across 16 rows, each with about 75 images. The shooting alone took more than an hour.
Stitching the images was, in the case of the San Francisco photograph, performed over the course of many hours using the automated and free Windows application ICE, though alternatives are available like GigaPan Stitch and PTgui. Photoshop was tapped for post-processing, used to patch in content from the original images when necessary, among other things. The resulting Photoshop files can be many gigabytes in size.
You can find out more about VAST’s own technique here.
VAST offers prints of these photographs, as well as others spanning categories like Abstract, Cityscapes and B&W. Price depends on the image and size—one example, the ‘Requiem for 2016’ image of New York City shown above, starts at $ 2,745 for a 60 x 21″ print of the 6,410 megapixel image. The full gallery of available prints can be viewed here.
Note: A previous version of this post mistakenly identified Ben Pitt as a VAST photographer. That is not the case.
All photographs courtesy of VAST, and used with permission.
The fortunes of Sony’s camera division have taken a turn for the better with a rise in first quarter sales and operating income for the period to June 30th. The company states in its latest financial report that higher value still and video cameras have helped it to achieve 27.3% year-over-year growth; however, that figure is inflated in part because the business was suffering the crippling effects of the Kumamoto earthquake this time last year.
Insurance payments from the earthquake have also artificially boosted operating income in both the camera and sensor businesses, with a 15.7 billion yen increase to 23.2 billion (an increase of 209%) in the camera sector and more than 41% growth in income for the sensor business compared to last year, thanks to booming smartphone sensor sales.
In fact, according to Bloomberg, as many as half of the world’s phones currently house Sony sensors. When you multiply that by as many as three sensors per phone—dual cam on the back, one on the front—you begin to understand that 41% growth figure.
Forecasts for the fiscal year ending March 2018 have been revised upwards for the imaging business, with sales expected to hit 650 billion against this year’s 579 billion. Sales of semiconductors are also expected to grow from this year’s 773 billion to 860 billion yen.
For more information see the Sony financial report on the company website.
Extracts from report:
Imaging Products & Solutions (IP&S)
Sales increased 27.3% year-on-year (a 26% increase on a constant currency basis) to 155.6 billion yen. This significant increase in sales was mainly due to the absence of the impact from the 2016 Kumamoto Earthquakes in the same quarter of the previous fiscal year as well as an increase in unit sales and an improvement in product mix reflecting a shift to high value-added models, both in Still and Video Cameras.
Operating income increased 15.7 billion yen year-on-year to 23.2 billion yen. This significant increase was mainly due to the impact of the above-mentioned significant increase in sales, partially offset by an increase in selling, general and administrative expenses. Operating income for the current quarter included the above-mentioned 2.6 billion yen in insurance recoveries related to the 2016 Kumamoto Earthquakes. During the current quarter, there was no material impact from foreign exchange rate fluctuations.
Semiconductors
Sales increased 41.4% year-on-year (a 38% increase on a constant currency basis) to 204.3 billion yen. This increase was primarily due to a significant increase in unit sales of image sensors for mobile products, as well as the absence of the impact of a decrease in image sensor production due to the 2016 Kumamoto Earthquakes in the same quarter of the previous fiscal year, partially offset by asignificant decrease in sales of camera modules, a business which was downsized.
Operating income of 55.4 billion yen was recorded, compared to an operating loss of 43.5 billion yen recorded in the same quarter of the previous fiscal year. This significant improvement in operating results was primarily due to the impact of the above-mentioned increase in sales, the above-mentioned 27.5 billion yen gain resulting from the sale of the entire equity interest in SEH, and 6.7 billion yen in insurance recoveries related to the 2016 Kumamoto Earthquakes, as well as the absence of the 20.3 billion yen impairment charge against long-lived assets for camera modules and the net charges of 13.6 billion yen for expenses resulting from the 2016 Kumamoto Earthquakes recorded in the same quarter of the previous fiscal year. During the current quarter, there was a 2.5 billion yen positive impact from foreign exchange rate fluctuations.
VSCO has launched a video editing tool for its VSCO X subscribers who use the iOS app, enabling them to directly edit videos and utilize presets on footage up to 4K/60fps resolution. The video tool is compatible with all video lengths and any video format supported by iOS, according to TechCrunch, and it utilizes the company’s own SENS technology.
Though the feature is arriving first for VSCO X on iOS, the company also plans to release the video editing tool for Android in the future. An in-app banner that takes users to the new feature can be found within the ‘Studio’ section of the app. Once opened, users will see videos from their device’s Camera Roll populated into the Studio. VSCO X presets can be applied to these images, and manual adjustments can be made for things like saturation and contrast.
“VSCO’s mission is to help people become better creators, and video is a creative frontier we’re increasingly passionate about and focused on,” VSCO co-founder and CEO Joel Flory told TechCrunch. “Video editing for VSCO X members is a first step into what we see as limitless possibilities for video editing tools on VSCO.”
VSCO for iOS is available now on iTunes. A VSCO X membership costs $ 20/year.
National Geographic Travel Photographer of the Year 2017 Winners
Photo and caption by Sergio Tapiro Velasco/National Geographic Travel Photographer of the Year
Grand Prize and 1st Place, Nature: The power of nature
Powerful eruption of Colima Volcano in Mexico on December 13th, 2015. That night, the weather was dry and cold, friction of ash particles generated a big lightning of about 600 meters that connected ash and volcano, and illuminated most of the dark scene. On last part of 2015, this volcano showed a lot of eruptive activity with ash explosions that raised 2-3 km above the crater. Most of night explosions produced incandescent rock falls and lightning not bigger than 100 meters in average.
National Geographic has announced the winners of its coveted Travel Photographer of the Year 2017 competition.
The grand prize and 1st place in the Nature category was awarded to Mexican photographer Sergio Tapiro Velasco, whose stunning photograph of the erupting Colima Volcano, complete with lightning strike, beat out over 15,000 entries from photographers in more than 30 countries.
In addition to the $ 2,500 prize that all category winners receive Velasco will also receive a ten-day trip for two to the Galápagos Archipelago with National Geographic Expeditions.
Check out the full winners gallery at this link.
National Geographic Travel Photographer of the Year 2017 Winners
Photo and caption by Hiromi Kano/National Geographic Travel Photographer of the Year
2nd Place, Nature: To live.
Swans who live vigorous even in mud.
National Geographic Travel Photographer of the Year 2017 Winners
Photo and caption by Tarun Sinha/National Geographic Travel Photographer of the Year
3rd Place, Nature: Crocodiles at Rio Tarcoles
This image was captured in Costa Rica when I was travelling from Monteverde to Playa Hermosa. As you cross over this river, you can stop and peer over the edge of the bridge. Below, reside over 35 gigantic crocodiles, relaxing on the muddy banks of the river. I wanted to capture the stark difference between the crocodiles on land and in the water. In the murky waters, the body contours of these beasts remain hidden, and one can only truly see their girth as they emerge from the river.
National Geographic Travel Photographer of the Year 2017 Winners
Photo and caption by Norbet Fritz/National Geographic Travel Photographer of the Year
1st Place, Cities: Levels of reading
The modern interior of the city library in Stuttgart. With its wide-open space in the central, where natural light comes from through the windows on the top, it has a very unique atmosphere, where you can broaden your knowledge.
National Geographic Travel Photographer of the Year 2017 Winners
Photo and caption by Andy Yeung/National Geographic Travel Photographer of the Year
2nd Place, Cities: Walled City #08
The Kowloon Walled City was the densest place on Earth. Hundreds of houses stacked on top of each other enclosed in the center of the structure. Many didn’t have access to open space.This notorious city was finally demolished in 1990s. However, if you look hard enough, you will notice that the city is not dead. Part of it still exists in many of current high density housing apartments. I hope this series can get people to think about claustrophobic living in Hong Kong from a new perspective.
National Geographic Travel Photographer of the Year 2017 Winners
Photo and caption by Misha De-Stroyev/National Geographic Travel Photographer of the Year
3rd Place, Cities: Henningsvær Football Field
This football field in Henningsvær in the Lofoten Islands is considered one of the most amazing fields in Europe, and maybe even in the world. The photo was taken during a 10-day sailing trip in Norway in June 2017. We arrived to Henningsvær after a week of sailing through the cold and rainy weather. Upon our arrival, the weather cleared up. I was really lucky that the conditions were suitable for flying my drone, and I managed to capture this shot from a height of 120 meters.
National Geographic Travel Photographer of the Year 2017 Winners
Photo and caption by F. Dilek Uyar/National Geographic Travel Photographer of the Year
1st Place, People: worship
This photo was taken in Konya. Willing Dervish in an historical place of Sille Konya Turkey.
The ‘dance’ of the Whirling Dervishes is called Sema and is a symbol of the Mevlevi culture. According to Mevlana’s teachings, human beings are born twice, once of their mothers and the second time of their own bodies.
National Geographic Travel Photographer of the Year 2017 Winners
Photo and caption by Julius Y./National Geographic Travel Photographer of the Year
2nd Place, People: Interesting moment.
Museum visitors curiously watching Rembrandt’s painting ” Syndics of the Drapers’ Guild” where it gave the illusion that the people on the paintings too are curiously watching the visitors.
National Geographic Travel Photographer of the Year 2017 Winners
Photo and caption by Rodney Bursiel/National Geographic Travel Photographer of the Year
3rd Place, People: Under The Wave
I recently traveled to Tavarua, Fiji to do some surf photography with pro surfer Donavon Frankenreiter at Cloudbreak. I’m always looking for new angles and perspectives. The usual surf shots have all been done so we decided to get a little creative. Makes you look twice.
Though copyright is automatically granted to creators for their created works in the United States, the option remains to officially (and voluntarily) register those copyrights with the U.S. Copyright Office. As detailed on Copyright.gov, this registration bestows certain benefits and may, in certain circumstances, be necessary: “Before an infringement suit may be filed in court, registration is necessary for works of U.S. origin.”
A recent U.S. lawsuit involving infringement may set a precedent regarding whether a copyrighted work is considered registered for the purposes of an infringement suit if the registration application is still pending.
The matter revolves around a lawsuit filed by photojournalist Matilde Gattoni against clothing retailer Tibi over its unauthorized use of her photo. According to the lawsuit, Gattoni posted one of her own photos on her Instagram; this image was taken in Morocco and her copyright registration was still pending in the U.S. Though the Instagram post included a copyright notice, the lawsuit claims Tibi cropped the image, posted the cropped portion on its own Instagram, and included only a link to Gattoni’s Instagram sans copyright info.
The lawsuit aimed to hit Tibi for both a DMCA violation and copyright infringement, seeking between $ 2,500 and $ 25,000 for the alleged DMCA violation and up to $ 150,000 in damages for the copyright infringement.
However, things didn’t quite go as Gattoni had hoped. U.S. District Court Judge Robert W. Sweet has ruled that while the case can proceed with the DMCA claim, it must do so without the copyright infringement claim due to the copyright registration’s ‘pending’ status. Discussing this matter in particular, the court stated:
Because Gattoni has alleged only that the registration for the allegedly infringed film is pending, and because no application has been made by Gattoni to amend the Complaint if and when the Photograph became registered, Gattoni has not properly pled the pre-requisite element of a copyright infringement claim.
While some courts have accepted pending copyright registration as suitable for meeting the infringement lawsuit prerequisites, others—such as this one—have chosen to accept only a complete registration as acceptable. According to Lexology, Second Circuit federal courts have sided with the completed registration interpretation of the requirements.
Photographs can register their image copyrights with the U.S. Copyright Office through its online eCO system. Details on how to register photo copyrights in particular are offered here.
