Month: December 2017

  • Switching from Lightroom to ACDSee Photo Studio: Making the Jump Easy

    Let’s be honest – over the past couple of months, more than enough has been said about Adobe’s recent change in policy regarding how the latest versions (yes, all two of them) of Lightroom are to be purchased and used. Articles have been written, disappointment expressed in some volume, silver linings spotted where there seemed to be none.

    There’s also a good chance that you have made up your mind regarding the change to do one of the following:

    • To stick with CC and Classic.
    • To start the fairly painful process of moving on to a different piece of software.
    • Or to put off the decision for as long as the already-purchased version of Lightroom supports RAW files from your camera.

    From Lightroom to ACDSee Photo Studio: Making the Jump Easy

    Thus, we are not here to discuss Adobe’s brilliant decisions or lack thereof. This article is meant for those who chose the second option. Specifically, for those, who have decided to switch from Lightroom to ACDSee Photo Studio Ultimate. Hopefully, the last article I wrote on ACDSee Photo Studio has helped you make up your mind whether or not this software is suitable for your needs. If it is, I will try to help make the transition as painless as possible.

    An important disclaimer: as before, the license for this copy of ACDSee Photo Studio Ultimate has been provided by ACD Systems. Having said that, even though ACD Systems has asked me to write this article, it has not been dictated by the company in the slightest. My words are always my own, as are your reasons for switching or otherwise. More than that, ACD Systems never implied they expect anything but integrity.

    Direct transfer from Lightroom

    I am afraid I will have to start with some disappointment, so I will try to rip off the bandage as quickly as possible. As of today, there is absolutely no way to transfer editing data from Lightroom to any other post-processing software or vice versa. It’s the result of closed-standard tools and database format that each software developer uses – not even sharpening is equivalent, let alone tonal adjustments.

    So, the progress you have made with Lightroom is bound to remain accessible via Lightroom only, at least as far as RAW files themselves are concerned. For all the convenience catalog systems provide, this is one of the downsides – switching to a new RAW converter can really be a hassle.

    From Lightroom to ACDSee Photo Studio: Making the Jump Easy

    It may not be possible to transfer edits from LR to ACDSee, but Photo Studio sure has a lot of tools to cover most post-processing tasks.

    But if you are here, I am guessing you have decided to push through the process now rather than become even more tied-in with the system Adobe is sticking to, and have even more to deal with at a later date. One solution you are left with is exporting full-size JPEG images from your Lightroom Catalog for any future needs (uploads to social media or websites, for example). But should you ever need to tweak a setting or two, you will either have to go back to Lightroom, or start from zero using ACDSee or an alternative tool.

    Mind you, this caveat is only really valid for two or three years at the most, since there is a good chance that after a couple of years your taste in post-processing – as well as your skill – will have changed noticeably. I know mine has. Still, it is something that you will need to accept as an unavoidable result of having been part of such a closed system.

    It is my hope that, over time, software developers such as ACD Systems will work out a way to read Adobe’s (and other) databases and interpret adjustments in an equivalent manner so that none of the edits – at least not those most prominent – would be lost when switching.

    Now that the bandage is off, let’s go through what can be achieved with Photo Studio Ultimate.

    Importing Lightroom Catalog Data

    As I have mentioned in the previous article, culling and adding metadata information is an enormous pain for me. I am sure I am not the only one who just wants to get on with post-processing. Having to assign ratings and keywords all over again for images that have been organized in Lightroom would be insufferable. It is an enormous relief that this is something ACDSee Photo Studio Ultimate can greatly help you with.

    Photo Studio has the functionality to import ratings, color labels, keywords, and collections from any Lightroom Catalog, thus preserving the major image organizing-structure of your portfolio. The process of importing this data is very easy to initiate and requires minimal effort.

    1. Find the Adobe Lightroom Database Import tool

    While in Manage Mode, select the Tools menu at the very top of the screen. There, navigate to Database > Import > Lightroom Database, which is located at the very bottom of the Import submenu. This will open the Lightroom Database Import Guide.

    From Lightroom to ACDSee Photo Studio: Making the Jump Easy

    2. Select Data and Catalog to Import

    As soon as you launch the Lightroom Database Importer, a dialog with a short introduction to the tool’s functionality will pop up. Click Next, and you will be given options to specify which database entries you want to be imported, as well as the location of the Lightroom Catalog itself.

    From Lightroom to ACDSee Photo Studio: Making the Jump Easy

    2.1 Ratings

    This is the star-based filter assigned with numeric keys (1 through 5) in Lightroom. ACDSee does not have stars as such, but it provides a numeric rating that is equivalent for all intents and purposes. If you check this option, ACDSee will interpret the ratings you have assigned with Lightroom and apply the same values.

    2.2 Labels

    This specifically refers to color labels that both Lightroom and ACDSee support. Again, by default, the labels that ACDSee provides are exactly the same as those found in Lightroom, so files marked with a Red label in a Lightroom Catalog will be marked with the same color in ACDSee after the data from the Catalog is imported.

    2.3 Collections

    These are a bit more complicated than Labels and Ratings and not something Photo Studio promotes as a means to managing your files, at least not by default. But if you were using Collections in Lightroom to sort your images, ACDSee will readily take over.

    Simply select the Panes menu and enable Collections there and a new navigational tab will become available. Located right next to the Folders tab in Manage mode, it will list all the Collections that the imported Catalogs contained, along with the images assigned to those Collections.

    It has been a couple of years since I last used Collections in Lightroom, preferring to stick with simple filters now, but it is nice to know this option is available and neatly integrated.

    From Lightroom to ACDSee Photo Studio: Making the Jump Easy

    2.4 Keywords

    These are perhaps self-explanatory. Any keywords that you applied in Lightroom to any given RAW file will be seen by ACDSee too. This is useful for when you want to find images of specific locations, events, or people, provided you specified those keywords in Lightroom in the first place. Obviously, if you have not, ACDSee offers enough image management tools to have you covered.

    2.5 Location

    ACDSee will navigate to the default Lightroom Catalog in the Pictures folder on your computer, so keep in mind you may need to change the location. There is no way to select several Catalogs at once, so if you have more than one (which is very likely), the Catalog Import process will need to be repeated once for each one.

    From Lightroom to ACDSee Photo Studio: Making the Jump Easy

    Make sure Lightroom is not running while attempting to Import a Catalog.

    Depending on the size of the Catalog being imported and your computer hardware specifications, the process might take up to a few minutes to finish. In fact, it took ACDSee over 30 minutes to process my Catalog. More than enough time to take a break from work and have a cup of coffee (you will have to wait for the Import to finish before you can use Photo Studio for anything else).

    Admittedly, the Catalog was quite large, with a year’s worth of RAW files, and stored on an external hard drive on top of that. And not the fastest sort either. Be that as it may, importing will certainly be quicker than having to apply the filters and ratings manually, and nowhere near as tedious.

    From Lightroom to ACDSee Photo Studio: Making the Jump Easy

    Once the process is finished, you will find (upon navigating to the corresponding folder) your RAW files to contain the same labels, ratings, and metadata entries as applied in Lightroom. Honestly, this is great. The only omission that I can think of is that ACDSee does not seem to take Flags into account, so any images you may have marked with Pick or Reject Flag in Lightroom will not have the filter imported.

    Part of the reason is that ACDSee simply has no Reject Flag equivalent, even if marking a file with backslash key tags it in a similar fashion to how Pick Flag works in Lightroom. Something to improve upon perhaps.

    From Lightroom to ACDSee Photo Studio: Making the Jump Easy

    The ratings and labels Lightroom is showing…

    From Lightroom to ACDSee Photo Studio: Making the Jump Easy

    …are now transferred to ACDSee. And it gives you a good before-after glimpse too/

    Plugins are added

    Here is something that’s as unexpected as it is brilliant; ACDSee supports plugins designed for Adobe Photoshop. If you have been using Lightroom, this may be of relevance to you, too, as so many of these plugins are also meant for Adobe’s standalone RAW converter and image management software.

    I have no idea how much work had to go into this little trick, but it is a massive attraction for anyone who is not fully satisfied with the extent of default ACDSee tools.

    From Lightroom to ACDSee Photo Studio: Making the Jump Easy

    Long time no see, Silver Efex. Fancy finding you here.

    While I have not done any extensive testing – I rarely, if ever, use plugins anymore – I was able to verify this with one of the most well-regarded plugin packs by Nik Software (now owned by DxO after being nearly killed-off by Google). Color Efex worked like a charm. I encountered an occasional error here and there, but often to no direct effect on the functionality of the software or the plugin, so while annoying, it was rarely terminal.

    I also tried a couple of plugins by Topaz some time ago and they worked without issue. The full list of officially supported tools can be found here.

    From Lightroom to ACDSee Photo Studio: Making the Jump Easy

    It is necessary to path the location of the already-installed plugins. To make sure ACDSee can locate the plugins correctly, first go to Edit mode. Then, select Options from the Tools menu at the top of the screen, or simply hit Alt + O. Once the Options panel is displayed, choose Edit Mode from the list on the left. There, you will be able to select the GPU that ACDSee will use to speed up processing, among other things.

    What we need is the bottom-most field called Adobe Photoshop Plugin Paths. A couple of directories will be listed by default, but in some cases (as with Nik), they won’t be enough. You need to specify where the plugins are located. Since I am interested in using Nik Software, I added (click the Add button) a new path that leads to C:\Program Files\Nik Collection. The destination of your plugins might be different, so make sure you set the path correctly. Once you’re done, click OK.

    From Lightroom to ACDSee Photo Studio: Making the Jump Easy

    If the plugins are supported and the path has been specified accurately, you will find the plugins listed in the Photoshop Plugins section of the Tools menu (still in Edit Mode).

    I won’t claim there is no chance of errors happening – after all, those plugins were never really intended for anything but Adobe. Yet the fact that they work so well despite that is an impressive and convenient achievement no matter how you look at it.

    Just keep in mind that not everything might work as expected every single time, or it may take time for some plugins to be properly supported.

    Final Words

    Breaking and rearranging an established workflow is not a pleasant experience. Especially if the previous routine worked well and it is the company’s decisions, rather than the quality of the tool, that has become an issue. With that in mind, it is good to know that less-dominant software developers are going out of their way to show how welcoming they can be.

    ACDSee Photo Studio Ultimate attempts to make the transition from Lightroom as simple and straightforward as possible, not only by offering a plethora of powerful (and often similar) post-processing tools but by also taking steps towards preserving any image organizing you may have already done with Lightroom.

    It’s not perfect and there is certainly room for improvement (perhaps edit transfers are not as far-fetched as they might seem?), but what has been done is by no means a small feat and will save any new user hours of rating and filtering what has already been done before.

    Whichever software you will find yourself choosing next (or sticking with), there is plenty for the giant developers to learn from such attention to detail.

    Disclaimer: ACDsee is a paid partner of dPS

    The post Switching from Lightroom to ACDSee Photo Studio: Making the Jump Easy by Romanas Naryškin appeared first on Digital Photography School.


    Digital Photography School

  • The Dutch police have shut down their drone-catching eagle program

    Dutch police are retiring their drone-catching eagles due to a combination of performance issues and a lack of need, according to a report from NOS. The eagles were originally deployed as a way to intercept wayward (and potentially dangerous) drones, but training the eagles is reportedly too costly, and the need for them is too low.

    Various solutions have been developed to deal with the issue of drones flying where they’re not allowed, but the eagles were probably the most interesting, and definitely the coolest to watch in action. In fact, you can see a demonstration of one of these trained eagles in the video below:

    Other drone-control solutions involve police drones that launch nets to capture the unwelcome drones, and jamming devices that disrupt a drone’s ability to communicate with its remote control, causing the device to return home. The Netherlands, however, chose to experiment with eagles instead.

    Unfortunately, despite intense training, the eagles didn’t always act as intended, reports NOS, citing a statement from a police spokesperson. Given these training troubles, officials worries that the eagles might not perform as expected when used outside of their training environment.

    Between this possibility and a (surprising?) lack of demand for drone-catching eagles, the program is now officially shut down.

    Articles: Digital Photography Review (dpreview.com)

  • High Sight launches the Mini portable cable camera system

    Manufacturer of cable camera systems High Sight has unveiled the latest addition to its product lineup. The Mini System was designed with portability and ease of use in mind, but builds on High Sight’s experience building larger and more complex products. The unit is controlled via a button interface and can carry gimbals, such as the DJI Osmo, Gopro Karma Grip and similar models.

    “The High Sight Mini has been a blast to create and will be a game changer.” said Kevin Brower, president and chief executive officer of High Sight. “The Mini has evolved into something more than we could’ve hoped for. With our ping pong mode, you can set it up and walk away, it’s like having an extra cameraman on set just continually getting great footage.”

    The Mini uses speed and position sensing for smooth movement and has been developed to be be fully autonomous. According to High Sight, this means the operator can focus on camera control, allowing for single user operation when normally two users would be required.

    The Mini is made from machined aluminum and weighs only 1.3 lbs (0.6 kg). It can carry a payload of 3.3 lbs (1.5 kg) and easily fits into a backpack.

    The demo reel below will give you a better idea of the kind of shots that are possible with the company’s cable systems. And if you think the Mini could be a useful tool for shooting your next video, you can find more information on the High Sight website.

    Press Release:

    High Sight Mini Sets The Bar With Ultra-Portable Design And Smart Functionality

    Features Fully Autonomous Mode, Whisper Quiet Movement, and Reliable Performance. High Sight Launches New Product Allowing One of a Kind Shot.

    Salt Lake City, Utah, November 7th, 2017 – High Sight (highsightcam.com) cable camera systems is proud to launch the ultra-portable and fully autonomous Mini system. The new system was developed through years of experience building larger and more complex products. The Mini was brought about when creator and owner of High Sight saw a need for a smaller version in their current product line.

    “The High Sight Mini has been a blast to create and will be a game changer.” said Kevin Brower, president and chief executive officer of High Sight. “The Mini has evolved into something more than we could’ve hoped for. With our ping pong mode, you can set it up and walk away, it’s like having an extra cameraman on set just continually getting great footage.”

    Innovative: The Mini was designed to be compact, easy to use, and intelligent. Through years of experience High Sight developed the mini to be fully autonomous. By eliminating the task of controlling the Mini the operator can focus live camera control. This functionality allows for a single user to capture the same shot that would normally require two users. The Mini is great at capturing new and creative angles. Use it to shoot
    interesting b-roll or set it on ping pong mode and capture great moments in your next BTS video.

    • Intelligent speed and position sensing for perfectly smooth movement
    • Fully Autonomous mode
    • Button interface for quick and easy operation
    • Compact size allows for maximum portability
    • ¼-20 mount to carry gimbals like the DJI Osmo, Gopro Karma Grip and many more
    • Machined aluminum for increased durability and protection
    • Made in the USA

    Specs and Details:

    • Weight: 1.3 lbs. / .6 kg
    • Dimensions: 7.48” Long : 3.2″ Wide : 2.3″ Tall
    • Max Payload: 3.3 lbs. / 1.5 kg
    • Max Speed: 10 mph
    • Battery: Rechargeable: Lithium ion battery

    Articles: Digital Photography Review (dpreview.com)

  • How to Capture the Feeling of Color and Create More Compelling Images

    How to Capture the Feeling of Color and Create More Compelling Images

    I am an unashamed lover of color. I say this because when I first started out as a photographer, color photography was considered inferior to black and white. This attitude was especially prevalent in the photo-art world.

    I found that confusing because to me, color can bring so much expression, feeling, excitement and vitality to an image. Don’t we want that? As my very favorite photographer, Ernst Haas said:

    “Color is joy. One does not think joy. One is carried by it.”

    I totally agree!

    How to Capture the Feeling of Color and Create More Compelling Images

    In this article, I’d like to talk to you about how to use color to create more feeling, more depth, and more energy in your images.

    After all, if your images are not provoking an impact, a feeling for your viewer, then they will be easy to forget. And don’t we all wish to create memorable and unique images?

    “Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures.” – Don McCullin

    How to Capture the Feeling of Color and Create More Compelling Images

    Colour is a form of expression

    “I found I could say things with color and shapes that I couldn’t say any other way – things I had no words for.”  – Georgia O’Keeffe

    I agree with her! As a really visual person, I find it hard to express the feelings I have about the world with words. I’ve learned how, but it comes much more naturally to me to express my curiosity about the world through taking photographs.

    Color evokes a spectrum of feeling, and it that is what we really want to capture in our photography.

    How to Capture the Feeling of Color and Create More Compelling Images

    Think about how you feel when you see the intense red of a flower, the soft azure blue of the sea, the warm yellows of morning sun in summer, the dark muddy browns of the earth in fall.

    That is what I want you to think about today. Not only the photographing of color itself, as an element almost, but how you can use color to bring intense feeling into your photograph. Show the viewer more about how it felt to stand in the place where you were. To infuse your photographs with a feeling of atmosphere.

    In this article, I will give you three techniques for using color in your images. They go from simple to pretty hard – but I hope you will try all three.

    How to Capture the Feeling of Color and Create More Compelling Images - flowers

    1. Using color as an element

    The simplest way to start working with color in your photography is to use it as a key element within your image. Color can be used to provide contrast, shape, form, and texture.

    The simple shape and form of color can be the subject of your photo. It can help you build elements within the photo.

    I love to get inspiration for my photography from all kinds of sources. It’s important to me that I am not just stuck in the world of photography and image-making – because there is a stunning and unbelievable world out there for us to draw interesting and exciting ideas from. From philosophers to writers, musicians to scientists – I get ideas for photos from all kinds of places.

    How to Capture the Feeling of Color and Create More Compelling Images

    I love very simple, bold background for portraits. I’m always keeping my eye out for backgrounds like these.

    I love how so many painters use color in big, bold ways to create powerful elements in their work. Painters such as Henri Matisse with his simple shapes and beautiful colors, Mark Rothko with his thick banks of color that seem to suck you into his paintings and Van Gogh with his heavy brush strokes of rich color.

    Here is another quote from the painter Georgia O’Keeffe that explains a lot of what I am doing with my photography: drawing attention to things that most people miss

    “When you take a flower in your hand and really look at it, it’s your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not.” – Georgia O’Keeffe

    How to Capture the Feeling of Color and Create More Compelling Images

    In this photo, I used the contrasting colors to make a simple and interesting composition with some abandoned chairs. For me turning simple things I find on the street, peeling off walls, at my feet, into something interesting is a favorite thing for me to do in my photography.

    2. Using color to evoke a feeling

    A more interesting way to use color – and one that takes more practice – is to use it purposely to create a feeling in your image. Color evokes all kinds of different feelings for people.

    Painter Wassily Kandinsky developed many theories about art, one being that color created different feelings and states within the viewer.

    How to Capture the Feeling of Color and Create More Compelling Images

    “The deeper the blue becomes, the more strongly it calls man towards the infinite, awakening in him a desire for the pure and, finally, for the supernatural… The brighter it becomes, the more it loses its sound, until it turns into silent stillness and becomes white.” – Wassily Kandinsky

    Kandinsky felt that colors evoked these feelings and states:

    • Yellow – warm, exciting, happy
    • Blue – deep, peaceful, supernatural
    • Green – peace, stillness, nature
    • White – harmony, silence, cleanliness
    • Black – grief, dark, unknown
    • Red – glowing, confidence, alive
    • Orange – radiant, healthy, serious

    How to Capture the Feeling of Color and Create More Compelling Images

    To use color to evoke feeling is a more sophisticated way to incorporate it into your images.

    Now, where is a good place to start with this process?

    Look at how the color you are seeing affects how you feel. Explore and examine color – almost in that state that toddlers do – with a sense of wonder and freshness. Then you can bring that into your images.

    Of course, it doesn’t have to be big bold colors, it can be about the subtle, the evocative colors. I love playing with greys, browns, and blacks – and drawing out the subtlety in their range.

    How to Capture the Feeling of Color and Create More Compelling Images

    3. Capturing the inherent qualities of your subject using color

    This has to be the hardest, most sophisticated technique of the three presented here – but it’s so worth trying it as you will create images with more complexity.

    What I mean by capturing the inherent qualities of your subject using color, is to reveal the qualities of your subject using color. Pablo Picasso explained it even better than me when he is said:

    “Some painters transform the sun into a yellow spot, others transform a yellow spot into the sun.”

    How to Capture the Feeling of Color and Create More Compelling Images

    So you are using the color to tell the viewer something of what that subject is. What it feels or looks like, what it is or how it is.

    I love this photo below because to me it captures perfectly the browns, yellows, and oranges of autumn. I can feel autumn in this photo.

    autumn image - How to Capture the Feeling of Color and Create More Compelling Images

    The colors I am capturing here are not a compositional tool, but about revealing more about the subject itself.

    I hope those were some interesting ideas to you. I love to know how you use color in your photography – and if you found some useful tips here that you can apply to your images.

    Please let me know by commenting below.

     

    The post How to Capture the Feeling of Color and Create More Compelling Images by Anthony Epes appeared first on Digital Photography School.


    Digital Photography School

  • These are the winners of Nat Geo’s Nature Photographer of the Year 2017

    2017 National Geographic Nature Photographer of the Year Winners

    National Geographic has revealed the winners of their annual Nature Photographer of the Year contest, and as usual, every photo from the Grand Prize winner all the way to the Honorable Mentions and People’s Choice awards are fantastic.

    The Grand Prize this year—and title of Nature Photographer of the Year—went to Jayaprakash Joghee Bojan of Singapore, who captured an intense wildlife portrait of an orangutan crossing a river in Indonesia’s Tanjung Puting National Park. The photo, titled “Face to Face in a River in Borneo,” was selected from over 11,000 entries and earns Bojan $ 10,000 in prize money, in addition to his image showing up in an upcoming issue of National Geographic.

    Speaking of the moment he captured the shot, Bojan told Nat Geo:

    Honestly, sometimes you just go blind when things like this happen. You’re so caught up. You really don’t know what’s happening. You don’t feel the pain, you don’t feel the mosquito bites, you don’t feel the cold, because your mind is completely lost in what’s happening in front of you.

    You can see Bojan’s grand prize winning image, as well as every 1st, 2nd, 3rd, and People’s Choice winner in the slideshow above, or by visiting the National Geographic Nature Photographer of the Year website.

    Press Release

    National Geographic Announces Winners of the 2017 National Geographic Nature Photographer of the Year Contest

    WASHINGTON (Dec. 12, 2017) – Selected from over 11,000 entries, a wildlife photo of an orangutan crossing a river in Indonesia’s Tanjung Puting National Park has been selected as the grand-prize winner of the 2017 National Geographic Nature Photographer of the Year contest. The photo, titled “Face to face in a river in Borneo,” was captured by Jayaprakash Joghee Bojan of Singapore. He has won $ 10,000 and will have his winning image published in an upcoming issue of National Geographic magazine and featured on the @NatGeo Instagram account.

    Bojan took the winning photo after waiting patiently in the Sekoyner River in Tanjung Puting National Park in Borneo, Indonesia. After spending several days on a houseboat photographing orangutans in the park, Bojan learned of a location where a male orangutan had crossed the river –­ unusual behavior that he knew he had to capture. After waiting a day and night near the suspected location, a ranger spotted the orangutan the next morning at a spot a few minutes up the river. As they drew near, Bojan decided to get into the water so the boat did not scare the primate. About five feet deep in a river supposedly home to freshwater crocodiles, Bojan captured the photo when the orangutan peeked out from behind a tree to see if the photographer was still there.

    On capturing the photo, Bojan said, “Honestly, sometimes you just go blind when things like this happen. You’re so caught up. You really don’t know what’s happening. You don’t feel the pain, you don’t feel the mosquito bites, you don’t feel the cold, because your mind is completely lost in what’s happening in front of you.”

    Karim Iliya of Haiku, Hawaii, won first place in the Landscapes category for a photo from Hawai’i Volcanoes National Park; Jim Obester of Vancouver, Wash., won first place in the Underwater category for a photo of an anemone; and Todd Kennedy of New South Wales, Australia, won first place in the Aerials category for a photo of a rock pool in Sydney at high tide.

    The judges for the contest were National Geographic magazine’s senior photo editor of natural history assignments, Kathy Moran, National Geographic photographer Anand Varma, and photographer Michaela Skovranova.

    Contestants submitted photographs in four categories – Wildlife, Landscape, Aerials and Underwater – through National Geographic’s photography community, Your Shot. All of the winning photos, along with the honorable mentions, may be viewed at natgeo.com/photocontest.

    2017 National Geographic Nature Photographer of the Year Winners

    1st Place | Wildlife and Grand Prize Winner

    Photo © Jayprakash Joghee Bojan, 2017 National Geographic Nature Photographer of the Year.


    Photograph by Jayaprakash Joghee Bojan, 2017 National Geographic Nature Photographer of the Year

    A male orangutan peers from behind a tree while crossing a river in Borneo, Indonesia.

    2017 National Geographic Nature Photographer of the Year Winners

    1st Place | Underwater

    Photo © Jim Obester, 2017 National Geographic Nature Photographer of the Year.


    Photograph by Jim Obester, 2017 National Geographic Nature Photographer of the Year

    Blue-filtered strobe lights stimulate fluorescent pigments in the clear tentacles of a tube-dwelling anemone in Hood Canal, Washington.

    2017 National Geographic Nature Photographer of the Year Winners

    1st Place | Landscapes

    Photo © Karim Iliya, 2017 National Geographic Nature Photographer of the Year.


    Photograph by Karim Iliya, 2017 National Geographic Nature Photographer of the Year

    Shortly before twilight in Kalapana, Hawai’i, a fragment of the cooled lava tube broke away, leaving the molten rock to fan in a fiery spray for less than half an hour before returning to a steady flow.

    2017 National Geographic Nature Photographer of the Year Winners

    1st Place | Aerials

    Photo © Todd Kennedy, 2017 National Geographic Nature Photographer of the Year.


    Photograph by Todd Kennedy, 2017 National Geographic Nature Photographer of the Year

    In Sydney, Australia, the Pacific Ocean at high tide breaks over a natural rock pool enlarged in the 1930s. Avoiding the crowds at the city’s many beaches, a local swims laps.

    2017 National Geographic Nature Photographer of the Year Winners

    2nd Place | Wildlife

    Photo © Alejandro Prieto, 2017 National Geographic Nature Photographer of the Year.


    Photograph by Alejandro Prieto, 2017 National Geographic Nature Photographer of the Year

    An adult Caribbean pink flamingo feeds a chick in Yucatán, Mexico. Both parents alternate feeding chicks, at first with a liquid baby food called crop milk, and then with regurgitated food.

    2017 National Geographic Nature Photographer of the Year Winners

    2nd Place | Underwater

    Photo © Shane Gross, 2017 National Geographic Nature Photographer of the Year.


    Photograph by Shane Gross, 2017 National Geographic Nature Photographer of the Year

    Typically a shy species, a Caribbean reef shark investigates a remote-triggered camera in Cuba’s Gardens of the Queen marine protected area.

    2017 National Geographic Nature Photographer of the Year Winners

    2nd Place | Landscapes

    Photo © Yuhan Liao, 2017 National Geographic Nature Photographer of the Year.


    Photograph by Yuhan Liao, 2017 National Geographic Nature Photographer of the Year

    Sunlight glances off mineral strata of different colors in Dushanzi Grand Canyon, China.

    2017 National Geographic Nature Photographer of the Year Winners

    2nd Place | Aerials

    Photo © Takahiro Bessho, 2017 National Geographic Nature Photographer of the Year.


    Photograph by Takahiro Bessho, 2017 National Geographic Nature Photographer of the Year

    Snow-covered metasequoia trees, also called dawn redwoods, interlace over a road in Takashima, Japan.

    2017 National Geographic Nature Photographer of the Year Winners

    3rd Place | Wildlife

    Photo © Bence Mate, 2017 National Geographic Nature Photographer of the Year.


    Photograph by Bence Mate, 2017 National Geographic Nature Photographer of the Year

    Two grey herons spar as a white-tailed eagle looks on in Hungary.

    2017 National Geographic Nature Photographer of the Year Winners

    3rd Place | Underwater

    Photo © Michael Patrick O’Neill, 2017 National Geographic Nature Photographer of the Year.


    Photograph by Michael Patrick O’Neill, 2017 National Geographic Nature Photographer of the Year

    Buoyed by the Gulf Stream, a flying fish arcs through the night-dark water five miles off Palm Beach, Florida.

    2017 National Geographic Nature Photographer of the Year Winners

    3rd Place | Landscapes

    Photo © Mike Olbinski, 2017 National Geographic Nature Photographer of the Year.


    Photograph by Mike Olbinski Photography, 2017 National Geographic Nature Photographer of the Year

    A summer thunderstorm unleashes lightning on the South Rim of the Grand Canyon.

    2017 National Geographic Nature Photographer of the Year Winners

    3rd Place | Aerials

    Photo © Greg C., 2017 National Geographic Nature Photographer of the Year.


    Photograph by Greg C., 2017 National Geographic Nature Photographer of the Year

    On the flanks of Kilauea Volcano, Hawai’i, the world’s only lava ocean entry spills molten rock into the Pacific Ocean. After erupting in early 2016, the lava flow took about two months to reach the sea, six miles away.

    2017 National Geographic Nature Photographer of the Year Winners

    People’s Choice | Wildlife

    Photo © Harry Collins, 2017 National Geographic Nature Photographer of the Year.


    Photograph by Harry Collins, 2017 National Geographic Nature Photographer of the Year

    A great gray owl swoops to kill in a New Hampshire field.

    2017 National Geographic Nature Photographer of the Year Winners

    People’s Choice | Underwater

    Photo © Matthew Smith, 2017 National Geographic Nature Photographer of the Year.


    Photograph by Matthew Smith, 2017 National Geographic Nature Photographer of the Year

    A Portuguese man-of-war nears the beach on a summer morning; thousands of these jellyfish wash up on Australia’s eastern coast every year.

    2017 National Geographic Nature Photographer of the Year Winners

    People’s Choice | Landscapes

    Photo © Wojciech Kruczynski, 2017 National Geographic Nature Photographer of the Year.


    Photograph by Wojciech Kruczy?ski, 2017 National Geographic Nature Photographer of the Year

    Sunset illuminates a lighthouse and rainbow in the Faroe Islands.

    2017 National Geographic Nature Photographer of the Year Winners

    People’s Choice | Aerials

    Photo © David Swindler, 2017 National Geographic Nature Photographer of the Year.


    Photograph by David Swindler, 2017 National Geographic Nature Photographer of the Year

    Green vegetation blooms at the river’s edge, or riparian, zone of a meandering canyon in Utah.

    Articles: Digital Photography Review (dpreview.com)

  • Lomography’s 3-in-1 Neptune lens system is officially on sale

    After raising $ 585,085 through Kickstarter earlier this year, Lomography is finally ready to release its Neptune three-in-one lens system for sale to the general public. This odd system uses a single lens base that accepts three different front element groups to can create three individual focal lengths.

    The Neptune system provides 35mm f/3.5, 50mm f/2.8 and 80mm f/4 optical configurations via the interchangeable front groups, and two switchable iris units. The kits are available in Nikon, Canon and Pentax mounts and cost £840/$ 990.

    The kits come with all three front element groups—called Despina, Thalassa and Proteus—as well as a set of cut-out stops that influence the shape of out-of-focus highlights to create stars, discs and crosses, among others. A set of adapters is also available for MFT, Fujifilm X and Sony NX cameras that work with the Nikon F and Canon EF mount versions.

    For more information, read the full release below or visit the Lomography website.

    Press Release

    The Neptune Convertible Art Lens System

    One Story, Unlimited Endings – Now Available in the Lomography Online Shop and Gallery Stores Worldwide

    • One System, Three Prime Lenses, Two Aperture Mechanisms: The Neptune Convertible Art Lens System packs countless creative options into one compact package. Mix and match focal lengths, f/stops, and special aperture plates to adapt the Neptune Convertible Art Lens System to your style, mood or subject.
    • Three Fixed Focal Lengths for Flawless Images in Every Situation: This handcrafted lens system delivers superb optical quality at a fixed focal length of 3.5/35mm, 2.8/50mm or 4/80mm. The Neptune Convertible Art Lens System offers clean and crisp shots, dense colors and unlimited freedom of choice.
    • A Dual Aperture System for Extended Creative Options: Rely on the seamless iris diaphragm aperture mechanism for stunningly sharp photos and videos, or use the special drop-in aperture plates to create rich bokeh.
    • An Expandable System to Grow With Your Creativity: Inspired by Charles Chevalier’s innovative concept, the Neptune Convertible Art Lens System looks to the future — Lomography is already designing a brand new front lens with an ultra-wide- angle focal length of 15mm.

    One System, Three Prime Lenses, Two Aperture Mechanisms:

    The Neptune Convertible Art Lens System offers unlimited stylistic possibilities to a whole new generation of photographers. It’s a single lens system that consists of three interchangeable lenses, each of which can be attached to the lens base to shoot at a fixed focal length of 3.5/35mm, 2.8/50mm or 4/80mm. What’s more, you can switch through a range of apertures and use special drop-in aperture plates to achieve countless shooting styles.

    Ideal for photography and perfect for videography because of its seamless aperture, the Neptune Convertible Art Lens System offers you the ideal tools and much more for complete creative freedom — whether you’re capturing street, fashion, nature, portraiture or just the beautiful simplicity of everyday life. After months of hard work and incredible support from Kickstarter backers around the world, Lomography is excited to announce the Neptune Convertible Art Lens System is now available in the Lomography Online Shop and Gallery Stores worldwide.

    Three Fixed Focal Lengths for Flawless Images in Every Situation:

    Each Neptune Convertible Art Lens System has been carefully assembled by hand using the finest multi- coated glass optics. Your shots will be clean, crisp and filled with strong, saturated colors even at the unrivalled closest focusing distances of 0.25m (35mm), 0.38m (50mm), 0.8m (80mm). With three elements in three groups in the lens base, and four elements in four groups in each of the interchangeable front lenses, the Neptune Convertible Art Lens System delivers prime-lens optical quality whilst offering a choice of three different fixed focal lengths.

    Use the Thalassa 3.5/35 Art Lens to frame architecture, street and urban scenes at 35mm; rely on the versatile 50mm focal length of the Despina 2.8/50 Art Lens for fashion, editorial and everyday; or change to the Proteus 4/80 Art Lens and shoot perfect portraits and beautiful nature photography at 80mm. Inspired by Neptune’s moons, each focal length is determined by the proximity of their lens’ namesake to that distant, blue planet. Handcrafted to be lightweight and portable, the Neptune Convertible Art Lens System is small, compact and the only thing you need in your bag — no matter where your creativity takes you.

    A Dual Aperture System for Extended Creative Options

    Each of the interchangeable lens elements of the Neptune Convertible Art Lens System works with a seamless iris diaphragm aperture mechanism to produce meticulously sharp images at smaller apertures, and beautiful smooth bokeh at larger apertures. Each prime lens has its own optimal maximum aperture — f/3.5 for Thalassa, f/2.8 for Despina and f/4.0 for Proteus; but you can also push beyond these to experiment and produce unique effects with the Thalassa and Proteus lens elements. And that’s not all — the Neptune Convertible Art Lens System also includes special aperture plates that you can insert in front of the iris diaphragm to edge your frame with delicate bokeh.

    An Expandable System to Grow With Your Creativity

    The potential of the Neptune Convertible Art Lens System is unlimited. Inspired by Charles Chevalier’s first convertible lens from the 19th century, Lomography is redefining this classic yet ground-breaking concept as an expandable lens system.

    Thanks to the support of Kickstarter backers worldwide, Lomography has already been able to release a Neptune Convertible Art Lens System macro adapter. And that’s not all — having asked backers to vote for their preferred focal length, Lomography is also designing Naiad, a brand new front lens with an ultra-wide-angle focal length of 15mm.

    No matter where your creativity takes you, with this Art Lens System in your bag, you’ll be ready for everything. Available in Canon EF, Nikon F or Pentax K mount and compatible with a wide range of other cameras using adapters available from Lomography, it’s the ideal solution for photographers and videographers everywhere.

    Thalassa 3.5/35mm Despina 2.8/50mm Proteus 4/80mm

    Tech Specs

    Focal Length: 35mm, 50mm, 80mm, front element group convertible
    Aperture: Dual aperture system

    • Multi-scaled diaphragm aperture: 35mm: extended, f/3.5 – f/22 , 50mm: f/2.8 – f/22, 80mm: extended, f/4 – f/22
    • Drop-in aperture plates

    Field of View: 35mm: 63°, 50mm: 46°, 80mm: 30°
    Lens Mounting Profile: Canon EF, Nikon F or Pentax K
    Closest Focusing Distance: 35mm: 0.25m , 50mm: 0.4m, 80mm: 0.8m
    Lens Construction:

    • Lens Base: 3 elements in 3 groups
    • Front Lens: 4 elements in 4 groups for each focal length

    Filter Thread: 52mm
    Lens Coating: Multi-coated Electronic Contacts: No Focusing Mechanism: Helicoid

    Articles: Digital Photography Review (dpreview.com)

  • 5 Ways to Take More Meaningful Photos This Christmas

    Christmas goes by in the blink of an eye. But taking photos helps us to savour the moments long after the tree is gone and the kids are grown up. When you follow these 5 tips, you’ll have better and more meaningful photos this year.

    First - 5 Ways to Take More Meaningful Photos This Christmas

    1. Don’t Get Caught Off Guard

    The first step to photographing an upcoming event like Christmas is to do a little planning. Start by considering the traditions and moments that you want to look back on in photos. Write an actual list so that you don’t forget what’s on it.

    When you’re finished writing out your list, do this exercise to help you figure out what is truly meaningful about those moments. When you do this exercise, you’ll be able to capture deeper themes in your photos.

    Take each moment and ask yourself, “What about this moment is important to me?”

    For example, you might put “opening presents on Christmas morning” on your list. That’s an obvious one. But ask yourself, “What about the kids opening presents is important to me?” Perhaps the answer is something like, “seeing the look of delight on their faces.”

    But don’t stop there; you’ve only gone a little bit below the surface. Now ask yourself, “What about seeing the look of delight on their face is important to me?” Maybe the answer is, “I remember what it was like as a kid and I want to pass that magic and excitement on to my kids.”

    Sleep - 5 Ways to Take More Meaningful Photos This Christmas

    Do you remember when you were a kid how hard it was to fall asleep on Christmas Eve? After putting the presents under the tree, I snuck in to take this photo of my son as he lay sleeping. This is the book we were reading for his bedtime story.

    Now you’re getting somewhere! But you can still keep asking that question until you get right to the bottom. What about “passing on magic and excitement” to your kids is important to you? “Well, this is such a short time in their life. Soon they’ll be grown up and stressed out like me. I just want to slow that down and make their childhood good.”

    You’re finally getting deep, so ask the question one more time. “What about slowing down and making their childhood a good one is important to me?” Maybe the answer is that “these are the most formative years of their life. If their childhood goes well, they’ll likely grow up and become good and strong adults themselves.”

    By asking the question, “what about this moment is important to me,” you will discover the deeper themes in your photos. Now you can look for those themes in other moments too. Where else do you find the magic and excitement of growing up?
    Get in touch with the things that will shape your children as they grow and the things you care most about.

    Instead of a few random snapshots of Christmas morning chaos, you can photograph all sorts of meaningful moments to look back on.

    Better Christmas photos 01

    This is one of the most meaningful photos I have of Christmas time. Not only do I love the quiet moment and beautiful candlelight, but the photo was taken at my grandma’s church on Christmas Eve. It was my son’s first Christmas Eve church service and it was our first Christmas without my Grandma. The photo reminds me of the traditions and hope that is passed down the generations in our family.

    Sick - 5 Ways to Take More Meaningful Photos This Christmas

    A tender moment between mom and daughter. Our daughter came down with a fever this Christmas. Giving our kids gifts is an exciting part of parenting, but so is comforting them when they are sick. I knew this was a moment worth capturing.

    2. Prepare for the Light

    You’ve got your list of moments to photograph and you’ve checked it twice! Now you need to consider the type of light in which you will be photographing. When you’re able to handle the light, your photos will look better.

    Go ahead and use the flash on your camera (or phone) if you have to. It’s better to have a photo lit with flash than a dark and blurry photo that isn’t worth looking at.

    Better Christmas photos 02

    This was our first Christmas together as a family. I had read that you shouldn’t use the flash on your camera, so I didn’t. Unfortunately, the photo is so dark you can’t see us. I wish I had used the flash!

    Better Christmas photos 03

    I used the popup flash on my camera for this photo. It doesn’t always work out this nice though. If you’re going to use the little built-in flash on your camera, then get as close as you can to your subject. The flash will light them up, but not affect things in the background so much.

    If you have a DSLR camera and you’re going to use flash, consider using an external flash called a speedlight. When you use an external flash you can bounce the light and your photos will look far better than the little pop-up flash on your camera.

    Better Christmas photos 04

    An on-camera speedlight was used to light this photo. It was pointed up toward the ceiling so that the light would become softer as it bounced back down toward my son. The Christmas lights in the background are far enough away that they weren’t affected by the flash.

    But whenever possible, use natural light. When you’re taking indoor photos, one of the best sources of natural light during the day is a large window. Many of your holiday events will happen in the living room, and most living rooms have a large window which lets in lots of light.

    Place your Christmas tree beside the window instead of in front of it and allow the window to become a large, soft light source, making your photos look beautiful.

    Better Christmas photos 05

    Here the kids are at Grandma’s house. There is a large window to the right which is lighting them up. The Christmas tree is tucked into a corner away from the window.

    Better Christmas photos 06

    Again, there is a large window providing light for this photo. The tree is tucked away from the window allowing the lights to keep their glow.

    When the sun goes down, and you don’t want to use flash, try using lots of lamplight in your photos. The lower placement of lamps simulates the position that the sun is in during golden hour or sunset. The lampshade diffuses the light making soft sidelight for your photos.

    Better Christmas photos 07

    This photo was lit with two lamps. The warm, soft light provides ambiance for the moment.

    3. How to Make Your Photos Look More Exciting

    There is a secret that will instantly make your photos look more exciting. Use a low angle! It sounds simple and it is. Just crouch down a little bit and look up at the person you’re photographing. If it’s an exciting moment then use a low angle to make it look exciting in the photo.

    You should take note that low angles are not generally good for formal portraits. A low angle exaggerates a person’s size and adults don’t usually like that. But, if it’s a portrait of an athlete or rock star then a low camera angle is a must.

    Better Christmas photos 08

    We all remember how fun it was to play with the empty wrapping paper rolls as kids. I wanted to make this moment look epic so I crouched down for a low angle.

    Better Christmas photos 09

    When my son unwrapped his emergency set he wanted to play with it immediately. I went for a low angle because in real life we always look up to see a helicopter flying. It’s just a photo of a boy with his toy helicopter, but I wanted a more dramatic effect. Notice the burst of backlight coming from the big window in the background.

    Better Christmas photos 10

    This low angle gives us the fun perspective of the toys looking up at everyone.

    4. Tell a Story With Your Photos

    As you’re photographing your most important moments, in beautiful light, from interesting angles, be mindful of the fact that you’re photographing a story. Your story is filled with characters (your friends and family), with an emotional plot that takes place in many settings (around the dinner table, the Christmas tree, at church, in front of the fireplace).

    Photograph the unique personality of each character. Take more than one photo of each moment and link them together to show the plot-line. Make sure to include the background as part of the setting for your character’s story.

    The photos below illustrate a story being told over time.

    Better Christmas photos 11

    This was the year that my son first learned to print letters and read simple words. Here, he’s writing the tags for Grandma’s presents.

    Better Christmas photos 12

    The following Christmas he had begun to spell out words on his own.

    Better Christmas photos 13

    After our family Christmas trip to Grandma’s house was over, both of the kids were really sad. So as they went to bed that night, they drew pictures to mail to Grandma. But my son wrote her a whole letter. He had never done anything like that before.

    It’s exciting when we bring our kids into our traditions. Something as simple as filling out a gift tag is a huge step in their growth and part of a bigger story.

    5. Practice Before Christmas Day

    Christmas isn’t just about what happens on December 25th. For most families, Christmas has a month-long lead up. So work on your list of things to photograph, but remember to start photographing Christmas before it even gets here.

    Practice looking for deeper moments in beautiful natural light (or using your external flash). You’ll be far more confident when the big day arrives and you don’t have time to over think the photos you’re taking.

    Better Christmas photos 14

    This was my first Christmas using a speedlight with my camera. As soon as our tree was up I began experimenting so that when Christmas arrived I would know how to use it. This shows a pretty good balance of ambient light from the tree mixed with the light from my flash.

    Listen to Your Heart

    When your heart tells you to pick up your camera and snap a photo, do it. Don’t hesitate, just take the photo. It may not turn out to be the perfect moment or the best angle. But at least you’ve got a photo.

    Better Christmas photos 15

    This is one of the most precious photos I have.

    The photo above is my daughter and my grandma. It was just a fun little moment that they were having together. My camera is never out of arm’s reach at Christmas time. I saw this moment and clicked a few photos. I didn’t know then that these would be the last photos I would take of my grandma. My little girl won’t remember this moment, but she will always be able to look back and see the love that her great-grandma had for her.

    Your Checklist for Deeper Christmas Photos Than You’ve Ever Taken Before

    1. Make your list of important moments
    2. Look for beautiful light and have your external flash ready
    3. Use low angles to make exciting events actually look exciting in your photos
    4. Tell a story with your photos
    5. Practice before Christmas day

    The post 5 Ways to Take More Meaningful Photos This Christmas by Mat Coker appeared first on Digital Photography School.


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  • All dPS eBooks just $9 Today! (Save up to 80%)

    It’s that time of year again where here on dPS we put together some amazing deals in the 12 days leading up to Christmas.

    In that time if you’re subscribed to our newsletter or watch the blog here you’ll get access to some mega-discounts on dPS products as well as some very special offers from our partners.

    It all starts today with all of our dPS eBooks available for just $ 9 each (USD).

    That’s up to 80% off! But don’t delay – this deal will be gone in 48 hours.

    With 23 titles in our eBook store there’s loads to choose from and at this price if you see more than one that you like you can create your own little bundle of photography training and still not break the budget.

    Here are 3 of our most popular eBook guides:

    • Going Pro. Normally $ 49, get it today for just $ 9
    • Living Landscapes. Normally $ 19, today just $ 9
    • Portraits: Making the Shot. Normally $ 19, today just $ 9

    But that is just the tip of the iceberg. There are eBooks on post processing, lighting, black and white photography, travel photography and much more.

    Be sure to checkout all 23 titles here to find the guide that will take your photography to the next level.

    Bonus Parter Offers

    This year we’ve added some extra special bonuses for anyone who makes a purchase during our 12 days of Christmas.

    Buy anything during this week and you get access to exclusive partner bonus offers – like saving $ 200 on online photography courses from our friends at the New York Institute of Photography.

    Christmas Deals:
    Bonus Offers

    Bonus Offers

    Brought to you by

    ON1
    Athentec Perfectly Clear
    KelbyOne
    New York Institute of Photography

    The post All dPS eBooks just $ 9 Today! (Save up to 80%) by Darren Rowse appeared first on Digital Photography School.


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  • Have your say: Best smartphone of 2017

    This year was a busy one for smartphone manufacturers, with major new handsets released from all of the big players. Take a look at some of 2017’s noteworthy new phones, and vote for your favorite!

    Articles: Digital Photography Review (dpreview.com)

  • Useful Software For Photo Enthusiasts

    Nowadays you can call anyone with an Instagram account a “photography enthusiast”. However, what I meant was “newbie photographers”. Those, who instead of cropping their snaps muse over the best composition before the picture is taken. Those, who instead of applying filters fiddle with curves and white balance. Those, who feel like the Wizard of Oz behind their shutter – Continue Reading

    The post Useful Software For Photo Enthusiasts appeared first on Photodoto.


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