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Canon patents a huge, hinged and reversible DSLR LCD

22 Oct

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A newly published Canon Japan patent might reveal the future of Canon DSLR LCD screens… and that future is massive and flippable. Originally spotted by Canon Rumors, the patent details a hinged rear LCD that is so big it hides all of the controls on the back of the camera underneath it.

As you can see from the diagrams (or read in the patent itself) the LCD is capable of lifting upward, then reversing, and is specifically designed to avoid obstructing the camera’s viewfinder. This makes it possible to view an image from the uplifted LCD and use the viewfinder during the same session.

While a hinged DSLR rear display is nothing new, Canon’s patent shows a design that would allow for a large and reversible display unlike anything we’ve seen before. In fact, the LCD shown in the patent’s illustrations covers the entire back of the camera, making it necessary to tuck the rear dial and several buttons behind it, though several others are exposed on either side of the viewfinder.

As with every patent, there’s no indication of whether or not Canon has plans to incorporate this design into an upcoming camera, but it’s one of the more curious Canon patents we’ve run across.

Articles: Digital Photography Review (dpreview.com)

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6 Simple Tips to Capture More Expressive Images of Your Children

22 Oct

Images of your children are probably THE most important images you will ever make, even if it doesn’t feel like it. But for the longest time what I did was make very superficial images of my kids, until I started applying a few of the tips below. Follow along to get more intimate and expressive images of your children too.

6 Simple Tips to Capture More Expressive Images of Your Children

1 – Ditch your portrait lens

The first thing to do, weirdly enough, if you have a go-to portrait lens that you use to photograph your family – is to ditch it. The reason is simple. Most of the time when we think of images of our children, we immediately think portraits.

I have nothing against portraits (there are a few on this page), but there’s more to your child than their portraits. At the end of the day, it’s really not about portraits, posing, making them pretty/handsome in the image, it’s about capturing snippets your child’s life as a whole.

6 Simple Tips to Capture More Expressive Images of Your Children

2 – Have a camera with you always

Life goes on whether you are ready to shoot it or not. One of the things I recommend is to get a small pocket camera that goes everywhere with you. Photographs present themselves

Photographs present themselves whether you have one with you or not, so having a small camera makes you ready for any situation. And let’s face it when you have enough bags (diapers, snacks, etc.) as-is you REALLY don’t want to be lugging around your DSLR.

6 Simple Tips to Capture More Expressive Images of Your Children

Great images can be made while going to the grocery store, at the wee hours of the morning, or just going to the park. In other words, when you least expect them. Like one time we had to call 911, my camera was with me. That is one of the times when you NEED your camera, it allows you to be present in the moment and yet detached enough not to lose your mind.

But besides those stressful times, the best images of my kids have been made when I least expected them.

6 Simple Tips to Capture More Expressive Images of Your Children

3 – Think in terms of LIFE

In order to make more intimate photographs of your kids, you need a mindset for it. Here is the question to ask yourself: “What are the images that only I could make?”

Imagine you just hired someone for a family shoot, what are the types of images that the hired photographer can’t get? If you think about it, these are the most intimate moments. Ones that can only be made in the process of living life itself.

6 Simple Tips to Capture More Expressive Images of Your Children

Photos of the kids sleeping peacefully, or that time where one was crying their eyeballs out…or when they finally scored a goal. It’s all about trying to find the majesty in the mundane parts of life when there are no special vacations planned, just plain old LIFE. Here are a few ideas to get your mind working:

Kids while playing
Kids recovering from sickness
When they are sad
When they are happy
While they are sleeping
What they look like right after waking up
Unwrapping a toy
Them being amazed at something

It’s all about photographing them while they are living their life. Capturing moments of intimacy that only YOU could capture because no one else is capable of getting that close to them.

The other part of the equation is to photograph your kids in this way as if you are doing a fine art project. That will help your mind find images that are not only intimate to you but also have inherent artistic value to them. Make art out of your family images.

6 Simple Tips to Capture More Expressive Images of Your Children

Why? Because between you and me, great photography outside of the home starts inside the home. So give your family photography the star treatment, and trust me, at the end of the day these images will have more value and be more meaningful to you than any other photographs you have created.

I would know, I once completely lost my hard drive. I was on the bed, tripped on the wire and BAM! Lost everything. I believed my best images were those of my street photography, that simply was not the case. I didn’t care at all about those images, all I wanted was to get my son’s birth pictures back. The hard drive is somewhere in storage, but I don’t know if I can ever recover the images.

6 Simple Tips to Capture More Expressive Images of Your Children

4 – Shoot for your eyes only

One way to make more personal images of your kids is to make photos that you will never show anyone. Images of their first shower, on the potty by themselves, you get the point. Of course, you will NEVER show them to anyone else ever, but it starts training your mind that not every image needs to be shared or have external thumbs up to be meaningful to you.

So start making the kinds of images you know will never be seen by any other set of eyes, maybe theirs when they grow up. If they are nice that is!

6 Simple Tips to Capture More Expressive Images of Your Children

5 – How to get them to be REAL

Let’s face it, when you deal with kids and children, they have already been spoiled rotten by the camera. You just point your camera towards them and you will hear “chhhhhheeeeeeese” with a fake smile to boot. That will only lead to uncomfortable looking kids in your images. So what do you do? Simple – you fake it.

Kids are themselves right before and right after you take the photo. So you either have to be quick and take the image BEFORE they start putting on their picture face. Or you have to do so after.

If your camera makes a CLICK sound, just wait for it, and say “Okay, done!” and about half a second later take another image. That one is always better because that’s when the kids let their guard down.

6 Simple Tips to Capture More Expressive Images of Your Children

Also sometimes it’s better to do two images, one for you and one more for them. For example, I like dark, moody, pensive images. My first son is all about smiles, fun, and giggles.

So sometimes what I do is direct him to make the image I have in my mind. Then once I have done that, I just tell him to do whatever he wants, and I usually end up with a grimace and shoot that. The first image would be more of a reflection of me and the second is more of a reflection of him. It’s win-win in my book.

6 – Give them the greatest gift ever

Imagine this: Your son (or daughter) is getting married. It’s your turn to make a speech. You can’t contain your emotions, and you want to cry. Yet you muster up the courage to give the speech and all of a sudden you take hold of the remote control and start a slideshow for everyone to see. It’s your son, his baby pictures, that time he was 6 and lost his tooth, times of sadness, happiness, and more.

6 Simple Tips to Capture More Expressive Images of Your Children

Make a photo project out of your children’s lives. And when it’s time…give them a book with the best images you’ve ever made of them. I think the greatest gift you can give them – besides the basics, like character – is an album of their life.

How important is this? Very! I can’t show my kids any photos of myself growing up. All of those images were lost to an earthquake that happened in Haiti a few years back. I can’t show them when I was sleeping with some spaghetti in my mouth, or my first tooth falling out.

6 Simple Tips to Capture More Expressive Images of Your Children

I think it makes it easier for our kids to relate to us when we can show them we were kids too. My kids? I’ll make sure each one gets an album of their life when the time is right…if they don’t make me lose my mind first that is!

6 Simple Tips to Capture More Expressive Images of Your Children

Conclusion

Your most important work as a photographer is family work. It may not feel like it now, but don’t wait until a hard drive crash to figure it out. Always have your camera at the ready and photograph their life as it happens.

When it’s time you will have a collection of impactful images you can give them and they, in turn, can share with their family. Be yourself, stay focused and keep on shooting.

The post 6 Simple Tips to Capture More Expressive Images of Your Children by Olivier Duong appeared first on Digital Photography School.

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Adobe’s Project ‘Deep Fill’ is an incredible, AI-powered Content Aware Fill

21 Oct

The coolest technology to come out of Adobe MAX is, sadly, not the technology we already have access to. Like Adobe’s Project Cloak we showed you earlier today, it’s the incredible ‘Sneaks’ sneak peeks that really wow the audience. Case in point: check out Project Deep Fill, a much more powerful, AI-driven version of Content Aware Fill that makes the current tool look like crap… to put it lightly.

Deep Fill is powered by the Adobe Sensei technology—which “uses artificial intelligence (AI), machine learning and deep learning”—and trained using millions of real-world images. So while Content Aware Fill has to work with the pixels at hand to ‘guess’ what’s behind the object or person you’re trying to remove, Deep Fill can use its training images to much more accurately create filler de novo.

The examples used in the demo video above are impressive to say the least:

And just when you thought the demo is over, you find out that Deep Fill can also take into account user inputs—like sketching—to completely alter an image:

In this way it’s a lot more than a ‘fill’ feature. In fact, Adobe calls it “a new deep neural network-based image in-painting system.” Check out the full demo for yourself above, and then read all about the other ‘Sneaks’ presented at Adobe MAX here.

Articles: Digital Photography Review (dpreview.com)

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How to do Pixel Stretching in Photoshop

21 Oct

As photographers, we’re all too aware of the abundance of ways to edit a photograph in post-production. And as technology progresses, so will the potential for image making. Pixel stretching is one way to investigate the construction of a digital image through creative means.

Compared to other glitch-style editing techniques, pixel stretching is pretty straight-forward. The process involves selecting a single row or column of pixels and stretching them out over an image to create a warped, surrealistic visual effect. The results highlight the nuances of a digital image and explore the action of altering photographs through non-traditional means.

Getting started

First, open an image in Photoshop. It doesn’t have to be anything special, just an image with a few varying tones or colors. I’m using this photograph of blossoms because its colorful and I’m excited that it’s finally spring, here in Australia.

Duplicate your original image, which will be labeled as Background in the Layers panel. Right-click on the Background layer and select Duplicate Layer. It’s important that you don’t apply the pixel stretching technique directly to the original image in case you need to revert back to earlier stages of the project.

To preserve layers, photographers use Adjustment Layers to apply adjustments to an image without altering it directly. This process is called non-destructive editing. Pixel stretching, however, is by nature a destructive technique. The process applies an effect directly to the layer you have selected. This means that if your history is so stretched that you can’t return to a certain spot during editing, there’s no going back.

The process

On the Photoshop tools pallet, select the Single Marquee Tool. You may have to click and hold down the mouse over the Rectangular or Elliptical Marquee Tool until it reveals a small menu.

The Marquee Tool panel will reveal a choice between the Single Row Marquee Tool and the Single Column Marquee Tool. I’m going to use the Single Row Marquee Tool, but you can easily come back and experiment further once you get the hang of the technique.

With the Single Row Marquee Tool selected, click on an area in your image that you think is interesting. A dotted line stretching across your image will appear. This outlines the row of selected pixels that line up with the point you clicked on.

Once you have your pixels selected, click on Edit in the menu bar and select Free Transform. You can also select Free Transform by right-clicking on the dotted line of the Marquee Tool.

After you click on the Free Transform option, the cursor will appear as two opposing arrows when you hover over the Marquee Tool line. Click on the line where the opposing arrows appear and slowly drag the cursor down over the image.

You’ll see that whole row of pixels will stretch as far as you drag the mouse. When you’ve finished stretching the selection, press enter and there you go. Looks kind of neat, right?

Shaping the area of pixels to stretch

The next step is to fit our stretched pixels into the landscape of the image. This time, open a photograph featuring straight, hard lines. Bridges and streets are good subjects to start with.

Select the Single Column or Single Row Marquee Tool and align the Single Marquee Tool with a hard line in your image. Again, I’m using the Single Row Marquee Tool but feel free to experiment with the Single Column Marquee Tool instead.

Once you have your Single Marquee Tool lined up, select the Rectangular Marquee Tool from the Photoshop toolbar. You’ll need to depress the cursor over the Marquee Tool icon to reveal the Rectangular Marquee Tool.

With the Rectangular Marquee Tool selected, click on the Subtract option just below the menu bar (big red arrow below). The Subtract mode of the Rectangle Marquee Tool means that any portion of the selected line of pixels within the perimeter of the rectangle will be deleted. Drag the Rectangle Marquee Tool over an area of the Single Marquee Tool line and release the mouse.

How to do Pixel Stretching in Photoshop

Rectangular marquee in subtract mode on the left of the image.

You’ll notice that a section of the Single Marquee Tool line will be deleted. This means that only the remaining Single Marquee Tool line will be available for stretching pixels later. For the image below, I deleted the lines that intruded outside the perimeter of the staircase. It’s hard to see, but the remaining dotted line is still aligned with the top of the green staircase.

Now that you have a smaller portion of pixels selected, right click on the remaining dotted line and select Free Transform. This time when you drag the selected line of pixels up or down the image, only the remaining pixels selected by the Single Marquee Tool line will be stretched.

How to do Pixel Stretching in Photoshop

Pixels stretched up but only within the staircase area.

Conclusion

Now that you know the basics of pixel stretching, it’s time to experiment. This simple process has some distinctive painterly characteristics that alter the perspective of an image. The nature of digital photography often yields predictable, formulaic results…But be careful, you never know exactly how a pixel stretched image will turn out – which makes it quite addictive!

I would love to see your creations in the comments below. Happy pixel stretching!

The post How to do Pixel Stretching in Photoshop by Megan Kennedy appeared first on Digital Photography School.

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Demo: Adobe’s experimental ‘Cloak’ tech is like Content Aware Fill for video

21 Oct

Yesterday at Adobe MAX, the lucky attendees got to see a few of Adobe’s signature “Sneaks”: sneak peeks at crazy features that are in development. And chief among them this year was something code-named Adobe Cloak.

In essence, Adobe Cloak is the video-editing counterpart to Photoshop’s Content Aware Fill. Simply outline the portion of your video that you would like removed—be it a stationary object or a couple walking through your scene—and Adobe Cloak will intelligently erase them from the shot. This is, of course, something VFX artists have been doing for ages, but automating the process to this degree is impressive to say the least.

Adobe sent us a few demo videos of the feature in action, which you can check out above. And if you want more details about how Adobe Cloak works/was developed, Engadget got to sit down with Adobe research engineer Geoffrey Oxholm and VFX product manager Victoria Nece to talk about the technology, which is still “in the experimental stages.”

The bad news is, there’s no current plans to implement it. The good news? They wouldn’t be working on it if they didn’t plan to implement it some time, right!?

Articles: Digital Photography Review (dpreview.com)

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Bye bye backpack: The Pixentu photography jacket lets you carry your gear ON you

21 Oct

An intriguing set of photographer-specific jackets just popped up on Kickstarter. Dubbed Pixentu, these jackets have been designed to meet the gadget-toting needs of photographers, providing an extended hoodie for the rain and a large number of pockets intended for items a photographer is likely to carry around, including memory cards, film, lenses, cards, a camera, and even a travel tripod—bye bye backpack.

Pixentu exists in three different iterations: as an outdoor jacket, a travel blazer, and a street photography jacket.

While the three varieties mostly offer the same pockets, there are some small differences. The travel blazer, for example, is a 2-in-1 combination unit that can be used as a jacket or as a vest, but lacks compartments for a tablet, travel tripod, and camera. The outdoor jacket, in comparison, doesn’t transform into a vest and is a lighter option than the street photography jacket, which is better for cold temperatures.

Neither the blazer nor the outdoor jacket have the extended hoodie featured on the street photography jacket; with that hoodie, photographers can shield their camera from rain while taking a shot. Pixentu says its jackets are made from unspecified durable Japanese material, while the lens pockets are water-resistant and feature a soft lining.

The Pixentu jackets are currently seeking funding on Kickstarter, where they’ve very nearly reached their goal. The super early bird units are offered for pledges starting at £99 / $ 132, and shipping to backers is estimated to start in February of 2018.

To learn more or pledge for your own, head over to the Pixentu Kickstarter page.

Articles: Digital Photography Review (dpreview.com)

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FAA wants airlines to ban cameras and other electronics from checked bags

21 Oct

The Federal Aviation Administration wants airlines to ban cameras and other electronics from checked luggage, citing the fire and explosion risk presented by the devices’ lithium-ion batteries. After conducting tests involving these batteries, the FAA found that if one were heated to the point where it caught fire near an aerosol can (think: hairspray), it could result in an explosion so quick and powerful that it would render a plane’s fire suppression system useless.

Lithium-ion batteries are the most common variety found in consumer electronics, and they’re well known for being volatile. But in a recent paper submitted to the UN’s International Civil Aviation Organization (ICAO), the FAA highlighted tests demonstrating these batteries as a potential fire risk that, in the most extreme case, could even result in “the loss of an aircraft.”

The tests found that a battery fire next to an aerosol can could cause an explosion before the plane’s fire suppression system could put the fire out. That subsequent explosion could, in turn, be powerful enough to disable the suppression system, enabling the fire to grow catastrophically.

The Administration also tested battery fires next to items that are commonly placed in checked luggage, including hand sanitizer and nail polish remover, and found that they could contribute to large fires. The conclusion is straight forward: lithium-ion batteries in checked luggage could put both aircraft passengers and crew members at major risk should one of the batteries ignite… something that has happened before, albeit in the cabin.

The agency wants airlines around the world to ban these items from checked luggage, requiring passengers to put them in carry-on bags instead. The ICAO is scheduled to discuss the proposed ban during a panel taking place over the next week.

Articles: Digital Photography Review (dpreview.com)

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Irix announces 100mm filter system for wide angle lenses

21 Oct

Lens manufacturer Irix announced earlier today that it plans to release a filter holder and a collection of filters in 100x100mm and 100x150mm sizes—a system designed especially to fit its 15mm F2.4 lens. The holder accepts a special bayonet mount adapter to attach to the front of the 15mm lens, while a range of additional screw thread adapters will allow the holder to be used with other lenses.

The Irix Edge 100 system will consist of a dual slot holder that the company claims is the lightest in its class. The holder is made from ‘aluminium alloy’ and features a rotating joint to allow easy positioning of graduated filters and polarisers.

Irix says that the holder, called the IFH-100, has a profile that’s slim enough to avoid mechanical vignetting even when two filters are held in front of the 15mm lens, and that a layer of black velvet covering the forward surfaces prevents light leak during long exposures.

The filter system includes 2mm-thick filters in the 100x100mm and 100x150mm sizes—to begin with the company will launch mostly NDs, ND grads and a polarizer, but has plans to offer a filter that cuts the effect of pollution. The holder accepts filters from other systems as well, and the company plans to offer adapter rings for lenses with threads of between 67mm and 82mm. Irix already has a series of circular screw-in filters under the Edge brand.

Price and availability have yet to be announced. For more information visit the Irix website.

Press Release

Irix presents its Edge 100 filter system

The TH Swiss company would like to announce the expansion of its range of Irix accessories with the Edge 100 series filter system. Among new products, there will be a versatile holder – the IFH-100 – with dedicated adapters and a wide choice of 100x100mm and 100x150mm filters.

The Irix Edge IFH-100 filter holder

The Irix IFH-100 is a universal filter holder designed for size 100mm filters. Its lightweight compact construction and bayonet adapter are created especially for the Irix 15mm f/2.4 lens, allowing the use of two filters at the same time without any vignetting effect. The construction of the filter holder base on the removable adapters allows for quick and easily attachment to the lens, along with free rotation around the optical axis when using the graduated or polarizing filters.

The ability to use removable adapters with thread diameters from 67mm to 82mm means that the holder can be used with lenses produced by Irix in the future, along with other brands. Each adapter has an additional thread for attaching the cap to the lens.

The filter holder is made of an aluminium alloy, which guarantees the high strength and stiffness of its structure. This has enabled to get an extremely compact size while keeping wide functionality, along with an aesthetic design together with the whole Irix product line. It is worth mentioning that the IFH-100 is the lightest holder of its class. The front surface of the filter holder is covered with a light-absorbing velvet fabric that blocks access to the side light, what is especially important when using high density optical ND filters.

The Irix Edge 100 filters

With the introduction of the IFH-100 filter holder, the Edge 100 series filters will also be available in two formats. The first, size 100×150, will contain gradual filters with a soft and hard transition, and also a reversed gradual filter dedicated to taking pictures of sunrises and sunsets. These rectangular filters will be available in ND4, ND8 and ND16 versions. In the square format, Neutral Density filters with densities ND32, ND128, ND1000, ND1000K will be available for the 100x100mm, along with a polarizing filter. There are future plans by the manufacturer to introduce filters which reduce light pollution.

Edge 100 series filters have a thickness of 2mm and are made from high quality optical glass which is also used in the production of the optical elements in lenses. Filters are coated on both sides with an anti-reflective nano-coating to keep high contrast and natural colours in pictures. The additional water and oil repellent coating also ensures easy cleaning of the surface.

The premiere at Photo Plus Expo 2017

The Edge series will be available at the Irix booth (No.929) during the Photo Plus Expo in New York City on October 26-28, 2017.

The full range of new Irix Edge accessories, along with pricing and availability information, will be published in the near future.

Articles: Digital Photography Review (dpreview.com)

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Video Tutorial – Tips for Making Dramatic Black and White Landscape Photos

21 Oct

Shooting for black and white requires you to see a scene and think a little differently. You’re looking for a contrast of tones, not color, and it can be hard to “see” in black and white if you’re new to shooting in monochrome.

Here is a short video with some practical tips you can apply to create more dramatic black and white landscape photos.

If you want more help with your black and white here are a few more dPS articles on the topic:

How to Enhance your Black and White images with Infrared Photography
3 Simple Steps to Craft Better Black and White Photos
6 Tips to Help You Make Better Black and White Landscape Photos
Avoid These 5 Common Mistakes in Black and White Photography
A Guide to Black and White Conversion in Photoshop

The post Video Tutorial – Tips for Making Dramatic Black and White Landscape Photos by Darlene Hildebrandt appeared first on Digital Photography School.

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Photographer sues New York Times over age discrimination and ‘full-time freelancer’ status

21 Oct

Photo by Haxorjoe

The New York Times and its photography director Michele McNally have been hit with a lawsuit by former Times’ photographer Robert Stolarik. The lawsuit claims that Stolarik, age 48, was discriminated against due to his age, and was also misclassified as a ‘full-time freelancer’ for nearly a decade.

According to the complaint—which was filed on July 6th in New York and covered at that time by Bloomberg BNA—Stolarik began working for the Times as a photographer in Colombia in 2000, followed by additional work in Venezuela until 2002. Stolarik then resumed working for the Times in 2004, the legal document explains, ultimately resulting in nearly a decade of full-time work.

However, despite working full-time, the lawsuit claims that Stolarik was paid under a 1099-MISC form as a freelancer—a classification that deprived Stolarik of the benefits that would have come with full-time employment, including health insurance.

The complaint alleges that editors managed Stolarik in the same manner as employees, including giving specific start times for his assignments which regularly comprised 8-hour shifts. Stolarik claims that he was denied overtime pay for extended shifts and that he was not compensated for the time he was required to spend editing photos outside of his assignment hours.

The allegations continue from there, claiming that Stolarik ‘regularly sought’ a staff photographer position with the NYT, making his desires known both in writing and orally. Age discrimination allegedly prevented him from getting a full-time role with the company, though. The complaint states that “Stolarik was told on numerous occasions by various editors that he was too old” to get the staff position he sought.

One Times editor is accused of having asked Stolarik if he was under 30 years old, abandoning an effort to get him a staff position after learning that he was, at the time, 37. Another editor reportedly told Stolarik that he should be ‘concerned about’ his age in regards to his desire for a staff position, telling him on multiple occasions that he was too old to be an employee.

During his years spent freelancing for the Times, the lawsuit states that Stolarik’s requests for a staff role were ignored in favor of hiring photographers who were under the age of 30. The lawsuit also claims that the Times regularly gave assignments to its freelancers under the age of 30 versus its freelancers over the age of 30.

Furthermore, the lawsuit claims that the Times denied Stolarik assignments due to a wrongful arrest he suffered in the Bronx while on assignment for the company. Per the complaint, an NYPD officer had ordered Stolarik to stop taking photographs. The altercation resulted in Stolarik’s ‘violent arrest,’ which snowballed into the Times’ alleged decision to decrease the photographer’s assignments with the company.

Finally, the lawsuit also states that Stolarik’s lawyer sent a letter to the Times’ general counsel claiming that he had been discriminated against due to the arrest he suffered while on assignment, as well as his age. This complaint allegedly resulted in McNally ordering Times editors to stop giving Stolarik assignments altogether.

Among other things, the lawsuit seeks back pay, unpaid wages, overtime pay, and unpaid benefits in actual damages totaling at least $ 500,000, as well as compensatory damages, interest, costs and disbursements.

As Ramin Talaie points out on Medium, this lawsuit serves to highlight growing issues with the so-called ‘gig economy,’ which classifies workers as independent contractors despite work arrangements that may mirror that of employees. The classification gives companies a way to save money, but saddles the worker with self-employment tax while eliminating the protections and benefits that come from employee classification.

The full complaint can be read here.

Articles: Digital Photography Review (dpreview.com)

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