March « 2018 « 360Photography

RSS

Archive for March, 2018

Leica reveals matte black M Monochrom ‘Stealth Edition’ with glow-in-the-dark markings

09 Mar

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6653943597″,”galleryId”:”6653943597″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Leica today unveiled a new “unprecedented” special edition version of its black-and-white sensor camera. Meet the Leica M Monochrom (Typ 246) ‘Stealth Edition’: an even more understated version of Leica’s monochrome digital rangefinder that features all matte black styling, jet-black cowhide leather trim, and glow-in-the-dark engravings “for optimal use in low-light situations.”

The Stealth Edition is a product of the collaboration between Leica Camera and Marcus Wainwright, the Founder, CEO, and Creative Director of fashion brand rag & bone.

“For me the Leica M system personifies the pursuit of perfection in an object designed for a singular purpose,” says Wainwright. “Inspired by that, I was aiming to try and further refine and perfect the M Monochrom—an almost impossible task—by distilling it to its purest form and highlighting the stealth nature of the camera and lens.”

Only 125 sets of the matte black ‘Stealth Edition’ will be made, each with its own matching Summicron-M 35 mm F2 ASPH lens, a black fabric carrying strap, a metal front cap for the lens and, of course, a certificate of authenticity. According to our Leica press contact, the price for the camera and lens is $ 15,750, and will begin shipping March 20th.

To learn more about this camera, head over to the Leica website. And if you want to see what this black-and-white camera is made of, check out our studio scene and real-world sample galleries below:

Leica M Monochrom Typ 246 Real-World and Studio Samples

Press Release

Leica Camera and Marcus Wainwright of rag & bone Collaborate for Special Edition M Monochrom (Typ 246)

The new ‘Stealth Edition’ set underscores Wainwright’s quest for purity and perfection with a sleek, matte black version of the distinctive Leica M Monochrom

March 8, 2018 – Today, Leica announced an unprecedented special edition of its unique digital rangefinder camera with a black-and-white sensor: the Leica M Monochrom (Typ 246) ‘Stealth Edition.’ Limited to just 125 sets worldwide and designed by Marcus Wainwright, CEO, Founder and Creative Director of the New York-based fashion brand rag & bone, the special edition camera and accompanying Summicron-M 35 mm f/2 ASPH. lens matches Leica’s high standard for quality and craftsmanship, with a new twist. With the M Monochrom camera, Wainwright, a longtime Leica photographer and enthusiast of black-and-white photography, has intensified the highly coveted unobtrusive nature of the camera with a unique matte black look and glow-in-the-dark accents for added functionality.

“For me the Leica M system personifies the pursuit of perfection in an object designed for a singular purpose. Inspired by that, I was aiming to try and further refine and perfect the M Monochrom – an almost impossible task – by distilling it to its purest form and highlighting the stealth nature of the camera and lens,” Wainwright said.

Staying true to Leica’s integrity and his focus on the essentials, Wainwright sought to perfect the iconic design of the Leica M camera with an aesthetic that marries purity with function. The ‘Stealth Edition’ of the Leica M Monochrom is quite possibly the most discreet camera on the market today, with both camera and lens dressed in an unassuming black matte finish and minimal branding to eliminate any distractions from the purity and integrity of the design. Only the most important engravings for photographic settings are highlighted on both the camera and lens, each crafted with a with a striking glow in dark fluorescent paint for optimal use in low-light situations. A jet-black, extremely smooth cowhide leather trim adds a layer of texture to the camera and excellent grip for the on-the-go photographer.

The ‘Stealth Edition’ set maintains all the hallmark features of the original M Monochrom (Typ 246) and Summicron-M 35 mm f/2 ASPH. lens. The sensor of the Leica M Monochrom is liberated from color filters, recording only luminance values to capture light with unparalleled sharpness and integrity, even at high ISO ranges. Along with its low susceptibility to image noise, bright viewfinder and rangefinder, ultra-quiet shutter release, and unique design, the ‘Stealth Edition’ set enhances the pursuit to “see in the dark” by broadening horizons for available-light photography and the creation of dynamic atmospheric images.

Meanwhile, the lens has the classic street photographer’s focal length of 35 mm and impresses with high imaging performance and uniquely pleasing bokeh. Despite its high speed and exceptional image quality, its dimensions are astoundingly compact. Paired with this lens, the Leica M cameras become extremely compact, versatile and elegant photographic tools.

The Leica M Monochrom (Typ 246) ‘Stealth Edition’ will be on sale from March 20, 2018. The edition is strictly limited to only 125 camera sets worldwide, each of which bears a distinctive serial number. The set also includes a comfortable, black fabric carrying strap, a metal front cap for the lens and a certificate of authenticity.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Leaked images confirm Huawei P20 will have a Leica-branded triple-camera

09 Mar

Huawei will launch its new flagship smartphone at a dedicated event in Paris on the 27th of March, and over the past few weeks we have seen a number of rumors indicating the new device will be the first smartphone to feature a triple-lens camera. Now, thanks to a fresh set of leaked images, that rumor is all but confirmed.

Previous rumors indicated that the triple cam setup will offer a total resolution of 40MP and a 5x optical/digital hybrid zoom. Additionally, the front camera will allegedly feature a 24MP resolution.

We still don’t know the exact camera specifications, but the existence of the triple-camera setup has now been pretty much confirmed by a series of very official-looking product renders, which were discovered by Dutch website Telefoon Abonnement on the Chinese social network Weibo.

As you can see from the images above, a fairly-conventional looking dual-camera is joined by a third, separate module, with all cameras aligned vertically on the device’s back plate. There is also a dual-LED flash and the Huawei-typical Leica badge.

According to the teaser images, we should also expect some AI-powered functions from the camera app, and the new model appears to come with an iPhone X-style camera notch at the front. Huawei itself doesn’t appear too concerned about the leaked product images, and has actually published a number of teasers on its Instagram account and other social media.

We’ll be in Paris on the 27th to have a closer look at the new device and its camera for you on launch day, so stay tuned for official details in a few weeks’ time.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

How to Create a Mini Photographic Typology

09 Mar

Photographic typologies are a unique and interesting form of photography. Have you ever made a collection of something? Stamps, buttons, figurines? If so, then you’ve made a typology, without even knowing it!

Here’s how to translate your collecting skills into creating a mini photographic typology. It’s a fascinating way of comparing and contrasting almost anything visually!

How to Create a Mini Photographic Typology

This series is made up of broken cameras I’ve accumulated over time. With a strong concept, a plain background and simple subject matter, the differences between each camera are more pronounced.

What is a Photographic Typology?

A photographic typology is a study of “types”. That is, a photographic series that prioritizes “collecting” rather than stand-alone images.

It’s a powerful method of photography that can be used to reshape the way we perceive the world around us. In fact, I’ve often heard viewers exclaim that they hadn’t looked at a subject that way before viewing it in a typology.

By extracting visual elements and presenting them in a similarly consistent series, we can create a visual analysis of objects and the larger environment and its inhabitants – often without featuring the occupants themselves.

This is a typological series I created of microwaved Polaroid paper.

The History

Photographic typologies are believed to have originated from August Sander’s 1929 series of portraits titled “Face of Our Time.” His work depicted portraits of Germans between World War I and II. Sander used typology to record social groupings and classes and the relationship between the different human experiences within. He photographed a wide selection of people including farmers, children, factory workers, upperclassmen, and actors to create a comprehensive example of German society. In fact, his work had such an impact that it was seized and the photographic plates destroyed by the Nazis in 1936.

Sander recognized that displaying his portraits together as a collection revealed much more than stand-alone photographs. His work emphasized the similarities and differences between subjects by maintaining consistency in his overall theme, with all his subjects looking directly into the camera.

Typology of guitar picks.

The term “typology” was first used in 1959 when Bernd and Hilla Becher began documenting their architectural photographic series. Depicting decaying urban landscapes, each photograph was taken at exactly the same angle, from the same distance, with the same exposure settings. With the aim of recording a landscape in flux, the Becher couple described their subjects as “buildings where anonymity is accepted to be the style”.

Their work influenced generations of photographic typologists. Jeff Brouws, a well-known photographer uses typology to explore “historical, contemporary [and] everyday aspects of the American cultural landscape”. And John Cyr’s series depicting the developer trays of famous photographers has become a prime example of photographic typology.

This typology highlights the different effects polarization has upon various plastic materials.

Getting Started

Concept

Each typology begins with a single photograph. But deciding on a subject is easier said than done. To get started, pick a simple subject that will be easy to find in numbers. It’s funny how things become scarce once you begin looking for them. Some good ideas might include:

A rock collection or any collection with a similar concept or subject isolated on a white background.
Urban details like cracks in the sidewalk or drain-covers.
A variety of doors and windows.
Scenes or objects of a particular color.

Of course, going for a walk and selecting a subject you encounter is a great way to get started too. Typologists go to great lengths to seek out subjects for a series. Focusing on simple details and objects that are often taken for granted is an effective way to get into the mindset of a typologist.

A typology of aircraft flying overhead that I made by laying under the flight path of various airports.

Shooting a Typology

Typological studies can span over years and include hundreds of photographs. Creating a miniature typology of nine photos makes the task both easier, and more difficult. Because you are creating a mini typology, you want a project that clearly outlines the comparisons and contrasts within your subject of choice. Try to look for bold designs, sharp lines, or unusual subject matter.

One of the golden rules in typological photography is consistency. Not only do you need to photograph a certain type of subject, you need to create a body of work that clearly points to the differences and similarities between each one.

To eliminate distractions, try and maintain the same camera angle, lighting, and background. I find that for photographing objects, a clean white background works best. Try photographing at the same time of the day to maintain the same color temperature and lighting conditions.

For my aviation series, I positioned myself directly under the aircraft for consistent results.

Displaying a Typology

Once you have collated a consistent body of work, it’s time to arrange your typology. Open a Photoshop document and begin dragging your photos onto the page. You want to adjust them so they are exactly the same size as all your other images. To help maintain even spaces between the images I use the New Guide tool.

To help maintain even spaces between the images I use the New Guide tool.

Divide your image up into equal portions with the Guide tool so that you can spread your typology out nice and evenly.

Once evenly spaced, your mini typology is done!

Conclusion

Photographic typologies are a distinctive and unusual genre of photography. By classifying and combining images of similar subject matter, you can highlight the building blocks that form a cohesive image.

Why not complement your collections with some photography? Or head out into the world and visually process an environment into types? I would love to see the results in the comments below.

The post How to Create a Mini Photographic Typology by Megan Kennedy appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography

Canon got it right on International Women’s Day

09 Mar

Photo by Mario Calvo on Unsplash

“For International Women’s Day, Canon…” as I read the subject line of the email, I cringe at the possible endings to that sentence.

Not outside the realm of possibilities is something like, “Releases Commemorative Pink Camera Strap!” In 2018 I think we’re better than that. Probably. I keep reading.

“…Lends Support to ‘Women Photograph'” is how it ends, and I feel a real sense of relief. This was an organization I knew and had covered in the past. It aims to ‘elevate the voices of female visual journalists,’ offering an additional resource for editors as well as grants and workshops for female photographers. I read on.

“Canon will work with Women Photograph to aid their travel grant program which funds female and non-binary photographers to attend workshops, hostile environment trainings, festivals, and other developmental opportunities.”

If you’re a brand looking to grab a slice of the #MeToo pie, you could definitely do much worse than this. Case in point: McDonald’s put on a master class this year in getting it wrong. The fast food giant announced that it would be turning its logo upside down to recognize International Women’s Day… a “W” instead of an “M”… for women… get it? Critics spoke up quickly, pointing out that it felt like an empty gesture coming from a company that can afford to do much more.

The upside down arches were on my mind when I started reading that press release from Canon this morning, so it felt very reassuring to see the brand pledging real support behind an effort created by, and created for, women photographers. Sure, it’s all marketing at the end of the day, and I truly hope Canon’s support of Women Photograph doesn’t begin and end with a one-time workshop. Issuing a press release is cheap. Following through, and staying committed in the long term isn’t.

But if you’re going to talk about supporting women on International Women’s Day, please don’t just give us an empowering logo and a T-shirt. Instead, put your money where your mouth is.

CANON U.S.A. LENDS ITS SUPPORT TO WOMEN PHOTOGRAPH, AN INITIATIVE CREATED TO PROMOTE THE REPRESENTATION OF FEMALE PHOTOJOURNALISTS

Association Will Help Elevate the Voices of Female and Non-binary Photographers

MELVILLE, N.Y., March 8, 2018 – In conjunction with International Women’s Day (IWD), the global day celebrating the social, economic, cultural and political achievements of women, Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to announce their association with Women Photograph, a movement created to promote the representation of female photojournalists. Canon will work with Women Photograph to aid their travel grant program which funds female and non-binary photographers to attend workshops, hostile environment trainings, festivals, and other developmental opportunities.

Launched in 2017 and founded by photojournalist Daniella Zalcman, Women Photograph is an initiative to shift the gender makeup of the photojournalism community. A private database that includes more than 700 independent female documentary photographers based in 91 countries, any commissioning editor or organization can utilize the database for their photojournalistic hiring needs.

“I can’t think of a better way to celebrate this year’s IWD than to support an initiative that is enriching the professional advancement of female and non-binary photojournalists,” said Elizabeth Pratt, director of professional client development and support and Canon Professional Services. “Women Photograph has created a home for professional women photojournalists to showcase their work for potential clients and Canon is honored to help continue the momentum of this initiative.”

Canon Professional Services will host a Women Photograph Workshop at the Canon Customer Experience Center in Orange County, CA in December. Dates and details will be provided by Women Photograph.

“Canon is an ideal strategic partner as we ensure that our industry’s chief storytellers are as diverse as the communities they hope to represent,” said Daniella Zalcman, founder and director of Women Photograph. “So much of breaking into the photojournalism industry relies on networking and professional development events that can be prohibitively expensive and the generous support from Canon will help our photographers access these resources.”

For more information about Women Photograph or to learn more about the travel grant program and the upcoming workshop, log onto: https://www.womenphotograph.com/.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

A Quick Guide to Using Bounce Flash for More Natural-Looking Photos

09 Mar

Creating a portrait using flash is a whole lot more than just pointing your flash at your subject and taking the shot. Learning how to use flash creatively opens up a variety of new lighting options – which you can use to make the picture you envision in your head show up on your camera’s LCD screen. In this article, we’re going to look at using bounce flash.

Bounce flash is a handy trick you can use in a pinch to improve both the quality and amount of light in your finished picture using a flash unit right on top of your camera.

A photo taken using bounce flash to light the subject

The soft lighting for this image was created using a single flash, positioned on the camera and pointed directly up at the ceiling.

What is bounce flash?

Bounce flash is exactly what it sounds like. You aim the flash unit on your camera at a ceiling or nearby wall so that the light reflects off it and then back towards your subject.

This may seem like a really roundabout way of providing illumination, but there are a number of excellent reasons why you would want to bounce your flash, such as:

It quickly creates soft light.
It can be used to create directional light.
Helps you avoid the drawbacks of direct flash.

Let’s go through each of these points in more detail to get a better sense of how to use bounce flash to improve your photography.

Left: On-camera flash rotated to bounce off a wall to the side. Right: Built-in flash that cannot be rotated or bounced.

1. How does bounce flash create soft light?

One of the most important factors in determining how soft the light in your image will be is the apparent size of the light source. Notice I said “apparent size” – not “actual size”.

Your pop-up flash or attached speedlight are small light sources – so if you aim them directly at your subject you get harsh lighting. This is why photographers often use softboxes, umbrellas or other modifiers to create a larger source of light – which makes the light softer.

You can use this same concept to quickly create a larger apparent light source by bouncing your flash off a roof or wall and spreading out the light.

Direct flash is that which is aimed right at the subject.

Direct flash – not flattering to the subject and creates a harsh shadow on the wall behind.

Flash aimed at the ceiling to bounce the light and soften it.

Flash bounced off the ceiling – much more even and softer lighting.

2. How can bounce flash create directional light?

Understanding the direction from which the light is coming – and using that to your advantage – can have a huge impact on the quality of your photos.

Without flash, you’re at the mercy of whatever ambient lighting is available. When you are indoors in a dimly lit room, that ambient light is often rather unpleasant as the light usually comes from the ceiling overhead. This casts deep and dark shadows under people’s eyes – not at all a flattering look for a portrait.

By setting up near a wall, you can bounce your flash off it and effectively create a new light source that sweeps in from the side. Think of it as creating a new window to add more light to the scene. This new light will fill in those ugly shadows for a much more pleasing look.

The result of the flash being bounced off the wall to camera left is more directional light as seen here.

3. How does bounce flash improve on direct flash?

Sometimes a direct flash can significantly improve an image. Sometimes it results in redeye, awkward shadows, and a deer-in-headlights look.

Using bounce flash solves the red-eye problem since that is caused by light reflected directly back at the camera from the back of the eyeball. When your main light is bouncing in from overhead or from the side, you can also say goodbye to large shadows cast by your subject onto the background.

Lastly, direct flash creates boring lighting that flattens facial features and textures. Bounce flash results in more sculpted light that can be used to accentuate features and show depth.

Example of a photo taken using direct flash as the key light

This portrait was taken with direct flash, causing a harsh shadow on the back wall and a bad case of red-eye (Settings: 1/80th, f/3.2, ISO 500)

Example of photo taken without using any flash, high ISO

Without using flash, I had to bump the ISO up to 6400 in order to keep the right exposure. The colors are dull and there is a lot of noise in the shot (Settings: 1/80th, f/3.2, ISO 6400)

Example of a photo taken with bounce flash

With bounce flash, the light on the model is soft and even. There is a glimmer of catch-light in the subject’s eyes and no shadow on the back wall. (Settings: 1/80th, f/3.2, ISO 500)

What do you need to get started with bounce flash?

In order to shoot bounce flash, the bare minimum you will need is an external flash unit with a head that can swivel and tilt.

If you are planning on buying a new flash, make sure to research how it can be maneuvered. Some cheaper models will provide more flash power than your standard in-camera pop-up flash, but if they can’t be adjusted to tilt and swivel then you won’t be able to use them for bounce flash lighting.

Get a flash that can both rotate (swivel) and tilt (up and down) in order to do bounce flash.

Balancing the light

When shooting with flash in a bright room, you need to perform a balancing act in order to keep the light looking natural. This is the case with bounce flash as well.

A flash picture essentially has two exposures:

The ambient, or available light, which is all the light from windows, light bulbs, candles, chandeliers, etc.
The light from your flash.

As the photographer, you need to balance these two exposures to create the image you want. Fortunately, this doesn’t mean that you need to go around flicking light switches until you get the exact amount of brightness needed for each shot – your camera settings can control how much light will be in the final shot.

In this image, the flash is too strong and the exposure is not well-balanced with the ambient light in the room. Exposure here was: 1/125th, f/4, ISO 250, flash was ETTL with +2 Flash Exposure Compensation.

Aperture:

Opening up the aperture will allow more light in, effectively increasing the flash power and also making the camera pick up more of the ambient light

ISO:

Increasing your ISO means the sensor “collects” more light. Again, this effectively increases the power from your flash as well as the influence of the ambient light.

Shutter Speed:

Here’s where a lot of control comes in. As long as you stay within your camera’s maximum sync-speed, your flash will influence the final shot regardless of the shutter speed. On the other hand, a long shutter speed will collect a lot of ambient light, and a short shutter speed will collect less, often drastically affecting the final image.

It may take some time to get used to this balancing act with aperture, ISO, and shutter speed so that your bounce flash shots give you well-lit subjects with natural-looking lighting.

The inside of a car, lit by bounce flash

Firing a flash into the roof of the car creates soft, bounced light that really makes all the surface details shine.

Other details to keep in mind

Flash Power

Since the light from your flash has to travel the extra distance to bounce off a wall or ceiling before reaching the subject, you can’t use your camera’s ETTL metering as is to determine the amount of power needed. Your camera assumes that you are using direct flash, so if you don’t make any adjustments, the flash power will always be a bit too low.

Increase your camera’s flash exposure compensation depending on the distance to the surface you are using to bounce the light. For a typical ceiling in a home, this might be an adjustment of +1/3 or +2/3. If you are photographing in a hall with high ceilings, you may need to boost your flash by +1 or even more.

A young man photographed using bounce flash

A seamless background and soft light from bouncing the flash off a slanted ceiling gives this picture the type of quality you might expect from multiple flashes and a studio setup.

Color

Important question: What color is going to be reflected back at you if you shoot a flash into a pink wall?

Yup, you guessed it – it’s gonna be pink. The light from your flash is going to take on whatever color it bounces off. So unless you’re going for that funky, unnatural pink look, you’ll want to make sure you bounce your flash off neutral-color surfaces like whites, grays or blacks. (Alternatively, you can shoot or convert to black and white.)

Don’t blind people!

As you start to discover how fun it is to swivel your flash around and create dramatic and interesting light, it can be easy to forget where your flash is pointed. If an unfortunate passerby steps between the wall and your flash just as you fire off a shot, they might get an unwelcome blast of light. It’s a good idea to check and make sure the coast is clear before snapping each shot.

Give it a shot!

Bounce flash is a handy trick in your arsenal to help you land that perfect shot when the situation allows for it. So tilt your flash up and give it a try!

The post A Quick Guide to Using Bounce Flash for More Natural-Looking Photos by Frank Myrland appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography

New Novoflex adapters let you use full-frame lenses with the Hasselblad X1D

08 Mar

Owners of the mirrorless medium format Hasselblad X1D will soon be able to mount a series of full-frame lenses to their medium format body, in some cases with minimal vignetting, thanks to a new range of adapters launched by Novoflex. The company has produced a set of adapters that allow you to mount Nikon F, Canon FD, Leica R, and Leica M lenses, as well as one for Hasselblad’s own V range of legacy optics, to the newer, sleeker X1D.

Novoflex says that many older lenses have such wide covering circles that vignetting will be marginal on the 43.8×32.9mm sensor of the X1D, and of course, tilt and shift lenses will cover comfortably.

The Nikon model features a mechanical iris lever so modern G lenses can be used, while adapters for Contax/Yashica and Minolta MD/MC will be introduced next month. The adapters cost between €139 and €229 (approx. $ 160-285 USD), and can be viewed and bought from the Novoflex website.

For more info, check out the full press release below.

Press Release

NOVOFLEX announces lens adapters for Hasselblad X1D

NOVOFLEX announces lens adapters for Hasselblad X1D – Greater lens variety formedium format cameras

The mirrorless medium format camera Hasselblad X1D is one of the most advanced cameras in the HighEnd sector. The sensor size of 43.8 mm x 32.9 mm with a resolution of 50 megapixel is the best choice for both – professional photographers and prosumers. The only disadvantage is that Hasselblad offers only a small number of lenses.

Since the firmware update 1.17.2, however, the camera incorporates an electronic shutter, allowing the use of lenses from other manufactures. That is why NOVOFLEX is now announcing a series of lens adapters allowing 35mm and medium format lenses to be used on the Hasselblad X1D camera. The first adapters are available now for Leica R-, Leica M-, Nikon F- as well as Hasselblad V-type lenses. The adapter for Nikon lenses comes with a built-in mechanical aperture control to also allow the use with G-type Nikkor lenses. Fading in and out can be done infinitely. The introduction of adapters for Canon FD, Contax/Yashica, Minolta MD/MC and for the universal bellows of the NOVOFLEX BALPRO series is planned for early April, 2018.

Especially interesting are the lens adapters for 35mm-format mount for tilt-/shift lenses, as their image circle is always big enough, to fully illuminate the larger sensor format of the X1D. However, many 35mm-format lenses have an image circle which is bigger than the actual 35mm-format itself, this results into only marginal vignettings. In additon, many old or classic 35mm-format lenses are based on lens calculations of large or medium format lenses. Potential vignetting could be used creatively or cases later corrected through software.

None of the adapters will transfer information between camera and lens

NOVOFLEX adapters are available for almost any camera/lens combination. For more details please refer to the adapter finder on the NOVOFLEX home page www.novoflex.de.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Avert Your Canine Going Astray With a Wireless Pet Fence

08 Mar

Each canine owner requires a simple canine fence, wireless or not. These fences makes sure that their precious animals are secure though these are executing one thing else. For that motive,best fence for puppies and dogs these fences are perfect for pet entrepreneurs who generally locate them selves too fast paced to watch in excess of their canine.

Everyone who wants to own the most effective style of pet dog fence, wireless fences ought to be regarded. This kind of fence can safe all canines inside the residence though the proprietor is absent at get the job done or in school. Additionally they help save space and therefore are relatively straightforward to work. Nonetheless, a highly effective canine fence (wi-fi) might be really highly-priced. For that purpose, it truly is critical for each and every puppy owner to create positive that he/she buys just the most effective kind of wi-fi dog fence accessible on the market.

Ahead of picking a wireless dog fence, the puppy proprietor should initial get his/her dog’s breed into consideration. This allows him/her turn out to be more familiar with the character of his/her puppy. Some breeds are more restless than many others. Some breeds are also friendlier and will simply technique strangers or outsiders compared to other breeds that quickly get intimidated. This also helps the individual to determine how far his/her dog is probably going to stray.

The moment the dog’s purely natural habits is becoming acquainted on the owner, then the following thing for being deemed must be the house as well as the backyard’s format and framework. This allows produce a more powerful floor program. Making sure the fence is correctly mounted enhances its effectiveness. Organizing might also decrease the chances of it getting to be a nuisance to the homeowner’s each day existence. Normally, the fence must be installed appropriately to secure all animals in the home.

The options with the fence also really should be deemed. Plainly, many fences come with diverse functions. Some are simple and cheaper than most whilst some tend to be more sophisticated plus more high priced.

You furthermore mght should acquire more safety measures when selecting a wireless puppy fence, as there are actually various styles around that actually don’t give first-class protection for your pets. Some models could possibly be inaccurate and will answer slowly but surely. This suggests your puppy or pet that can cross the border-even prior to the unit reacts.

Provided that the person has adequate price range, then it’s all right to select the greater expensive form. Nevertheless, it’s not likely important to choose the greater expensive varieties especially if the capabilities are seemingly worthless to the consumer. It really is ok to choose the cheaper extra typical sort in the event the individual is just seeking for one thing that keeps his/her pet within when he/she is absent.

The post Avert Your Canine Going Astray With a Wireless Pet Fence appeared first on Photonovice.

Photonovice

Comments Off

Posted in Equipment

Sony a7 III sample gallery updated

08 Mar

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6769434587″,”galleryId”:”6769434587″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

We’ve just updated our Sony a7 III sample gallery with more photos from Sony’s press event, representing a variety of shooting situations. All photos are straight-out-of-camera JPEG files, but we have also included Raw files so you can download and test them with your favorite Raw processor as soon as support becomes available.*

We found no further examples of PDAF-related striping as we selected additional images for this gallery. Notably, none of the new images added were shot with the FE 85mm at F1.8, leading us to believe the issue is prompted by certain combinations of cameras, lenses, and lighting conditions. We’ll be continuing to investigate this relationship as soon as a production camera arrives.

See our updated Sony a7 III gallery

* Note some JPEGs in the gallery appear underexposed, shot intentionally to retain blacks and because there is little noise benefit to ISO amplification beyond the a7 III’s dual gain step at ISO 640. We’ll process the Raws of these images when support is available and update this gallery. The underexposure is not indicative of metering issues.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Google ‘LIFE Tags’ uses AI to organize LIFE magazine’s 4 million-photo archive

08 Mar

Earlier today, Google revealed a few new projects that utilize its artificial intelligence technology at the intersection of education and culture, and one of those projects is called Google LIFE Tags. For the LIFE Tags project, Google used a computer vision algorithm to intelligently sort through, analyze, and tag 4,000,000 photos from LIFE Magazine’s publicly available archive.

LIFE Magazine initially ran from its launch in 1936 until 1972; it then resumed distribution in 1978, only to be suspended again in 2000. According to Google, the publication only used 5% of the millions of images that were taken for the magazine during its decades of operation—an archive that spans 1800m / 6000ft of space across three warehouse.

The archive’s enormous size makes it difficult to browse, and that’s where Google LIFE Tags comes in. The project, which is available now for anyone to use, organizes the archive based on objects found within the photos. Each object—such as “1937 Ford,” “Airbus,” “American bulldog,” and thousands more—are presented on the Google LIFE Tags website in the form of an interactive encyclopedia.

Visitors can browse images from LIFE Magazine’s photo archive that contain the particular objects or subjects they’re interested in by clicking the related tags on the project’s website.

Clicking the “camera” tag, for example, prompts the system to present more than 800 images containing cameras. Each category’s page includes a definition pulled from Wikipedia, as well as related tags that the visitor may be interested in, such as (in this case) things like “camera lens,” “filmmaking,” “photographer,” and “film camera.”

“Using thousands of automatically created labels,” Google explained in a blog post, “the tool turns this unparalleled record of recent history and culture into an interactive web of visuals everyone can explore.”

And honestly, we can’t imagine a better way to spend a few hours of time this evening than browsing through this incredible archive of imagery. Enjoy… and our apologies to your productivity.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

7 Tips to Help You Capture the Perfect Landscape Photo

08 Mar

Landscape photography is one of the most popular genres of photography and it’s easy to understand why. After all, every single person at some point in their life has probably looked at a landscape photograph of an epic scene with dramatic clouds and beautiful light and just thought, “Wow!” But as easy as it may seem, capturing stunning landscape images isn’t straightforward. Here are seven tips to help you capture the perfect landscape photo.

How to Capture the Perfect Landscape Photo

1. Find Your Perfect Spot

The starting point for any great landscape photo is your location. This, of course, means you have to start planning a shoot in advance to ensure you don’t waste time looking for it once you are on location. The first thing you need to do is decide what you are actually going to photograph. Is it a beautiful valley from lookout point? Or is it a historic castle perched on top of a cliff?

This might come from your research into the area you are visiting or it might be a place someone has told you about. It could even be somewhere that you have already been to, but now want to photograph.

Once you have an idea of where and what you are looking to photograph, you then need to look at the relevant maps to make sure that what you are planning to photograph is accessible. Then you need to delve in deeper and ensure that your view of that beautiful valley isn’t going to be obstructed by a big hill in front of you – this means using maps that show elevations. On top of all of this you also need to factor in the direction of the light and how that will affect your view.

Ideally you want to end up with an exact spot of where you would like to photograph and which direction you are intending to look. The good news is that in today’s digital world there are tons of options to help you find out this information from the likes of Google maps, and apps like Photographer’s Ephemeris or PhotoPills.

How to Capture the Perfect Landscape Photo

2. Light is Everything

Any sort of outdoor photography relies heavily on the light that is available. For landscape photography, light is even more vital. The most amazing scene in front of you will look uninspiring and mundane under a blanket of white cloud. If you want to capture the perfect landscape photo, then you need to ensure that you are working with the best light possible.

It’s no secret that most landscape photographers would recommend photographing in the early morning and late afternoon/evening. This is when you will get a low golden soft light from the sun that produces long shadows but that doesn’t mean you can’t photograph at any other time.

You just need to ensure that you understand and have planned for the light you intend to use. For example, it may be that you want to capture a particular side of a cliff. It may be that the only time it is lit by the sun at that time of year is late morning. The most important thing is understanding and trying to organize your shoot for the best time that you possibly can.

How to Capture the Perfect Landscape Photo

3. Compose Your Shot Perfectly

One of the best things about landscape photography is that you often have plenty of time to prepare and compose your shot. That big mountain in front of you isn’t suddenly going to move like an animal does in wildlife photography. As long as you have planned your shoot well and have arrived at your location early, you should have enough time to really fine-tune your composition.

The first thing I always do whenever I get to a location for a landscape shot is just to sit down and look around for 10-15 minutes, I recommend you try it. Not only does this help you evaluate the scene and think about the best composition, but it also helps you lower your heart rate (if you have had a long walk). It allows you to get over that initial awe that you often feel when you see an amazing landscape before you.

When you feel you are ready, compose the shot and take a few test photos while you wait for the perfect light. Think about the scene in front of you. Should you show more of the foreground? If so, is there a point of interest to capture the viewer’s eyes? Or are there interesting mountains or sky, in which case you need to show more of the background? As I said earlier, keep taking test photos and recomposing your shot until you feel that you have the perfect composition and then wait for the perfect light.

Clearly, on the odd occasion, you might have to work fast. For example, if you have a small break in a storm that allows the rays of the sun to get through, but the majority of the time if you have planned your shoot well, you should not be in a hurry.

How to Capture the Perfect Landscape Photo

4. Use a Tripod

For landscape photography a tripod is essential. If you want to capture the best possible photo, in the best possible light, you will have to use a tripod. The alternative usually means having to raise your ISO, which in turn means excessive noise in your photos that can affect the overall image sharpness.

But the other advantage of using a tripod is that it can give you more options for your photography. For example, you can use slower shutter speeds to capture movements of clouds or water or give you a more elevated or lower point of view.

Yes, they are a hassle to carry (you may want to invest in a good camera bag that you can strap your tripod to), but they are simply essential for landscape shots.

How to Capture the Perfect Landscape Photo

5. Use Graduated ND filter

Often the other most widely used accessory for landscape photography is graduated filters. One of the big challenges of landscape photography, especially in low light conditions is the difference in the light areas (the sky) and your dark areas (the foreground). For example, as it gets nearer to sunset, the sun drops lower on the horizon. This might mean that mountains obstruct it.

You then have a situation where your sky is really bright as obviously it is still being lit by the sun, but your foreground is dark because the light from the sun is obstructed by the mountains. So, if you expose for the sky (light areas or highlights) then your foreground will be too dark and if you expose for the dark areas (shadows) your sky will be blown out ( completely white with no detail).

To compensate for this difference in exposure settings needed, you can either use a technique called “exposure stacking”. That means taking multiple shots at different exposure levels and then merging them into one photo in post-processing (using layer blending or HDR techniques).

Or, most landscape photographers prefer to capture photos as correctly as possible at the time of taking the photo. In this situation, the only way to do this is by using a graduated neutral density filter, which balances out the difference in the brightness between the top and bottom of the photo.

How to Capture the Perfect Landscape Photo

6. Experiment With Shutter Speed

As mentioned earlier, one of the great things about landscape photography is that you often have time to take a few different shots. Even during the short time when it’s sunset or sunrise, you will have plenty of time to experiment with different settings and even a few different compositions. So don’t be afraid to really push your settings to extremes.

For example, set a really slow shutter speed of 30 seconds and if there is some wind you will see some amazing cloud movement streaks in the sky. Or if you are by the coast set a fast shutter speed to capture the waves crashing into the rocks. Play around with the settings until you have something that looks amazing and captures the scene perfectly.

How to Capture the Perfect Landscape Photo

7. Post-Production

Usually, the final step in any good landscape photo is some post-processing. This always seems to be a contentious issue as some photographers prefer to keep post-processing to a minimum and some like to really boost the image. Whatever your preference and way of working are, it comes down to personal opinion. But there are a few things that you should look at as a minimum.

For example, making sure your images are straight, clear of dust spots, and correcting the white balance should be a must. You may also want to tweak the crop of the photo if it needs it. Beyond that, ensuring a good contrast and boosting the saturation will help your landscape image jump out.

Generally speaking, every photo will benefit from some level of post-production. Some will need more and some less.

How to Capture the Perfect Landscape Photo

Conclusion

Landscape photography is an incredibly rewarding genre of photography. A great landscape shot often has the power to really capture the viewer’s attention which is why it’s no surprise that it’s also one of the most popular branches of photography.

The post 7 Tips to Help You Capture the Perfect Landscape Photo by Kav Dadfar appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography