RSS
 

Archive for April, 2019

Yashica reveals its own 35mm film product following bizarre, confusing teasers

10 Apr

Yashica, the iconic brand purchased by Hong Kong-based MF Jebsen Group in 2008, is preparing to launch its own 35mm film product. The company began dropping teasers related to the product late last month, including an image with broken English shared on Facebook and a trio of dark Instagram images that left followers confused.

View this post on Instagram

A post shared by YASHICA (@yashica.official) on

Yashica first teased the product on April 1 with an image of a film negative featuring ‘NEGATIVE C-41,’ ’24,’ and ‘COLOUR ISO400.’ The image also featured the confusing, grammatically incorrect statement, ‘We will have many Negative’s News start from Today.’

Some followers suspected the image was an April Fools’ prank, but the company followed it up with an image featuring Yashica film rolls on April 4. As noted in the comments on the post, the image appears to be a render based on the obvious gap located at the top of the exposed film strip.

Note the visible gap between the film strip and the 35mm canister.

On April 5, Yashica shared a gallery of photos taken by Kerry Jeffrey using the new Yashica 400 Negative film. The company also shared a statement from Jeffrey, who said, ‘It’s a fun film to use. Not too grainy. There were small small color shifts in strong light, but I like it overall.’

Many photographers have responded to Yashica’s announcement with a lack of enthusiasm or outright criticism, with some of them pointing toward the company’s lackluster Y35 camera it launched after raising more than $ 1m on Kickstarter. It remains unclear when Yashica plans to release its film, but all signs point toward photographers being generally uninterested.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Yashica reveals its own 35mm film product following bizarre, confusing teasers

Posted in Uncategorized

 

Flickr partners with Pixsy to create end-to-end platform for protecting image copyrights

09 Apr

Flickr has announced a new strategic partnership with Pixsy, an online legal-tech service that helps photographers protect and enforce their copyrights. The new partnership allows Flickr Pro users an end-to-end solution to track their images and take legal action in the event a photograph is stolen and used illegally.

Starting today, Flickr Pro members can integrate their Flickr images with Pixsy’s advanced monitoring and protection platform which allows access to 1,000 monitored images, 10 DMCA takedown notices and unlimited case submissions.

When a copyright infringement is detected by Pixsy, an alert will be sent to the user with the option to decide what should be done next. The press release says ‘Photographers have access to a comprehensive case resolution service to recover lost licensing revenue and damages, along with the tools to register images with the US Copyright office and send automated DMCA takedown notice.’

Pixsy works alongside law firms around the globe on a ‘no win, no fee’ basis. Pixsy says it’s handled more than 70,000 copyright infringement cases to date, resulting in millions of dollars in lost revenue.

To get started, head to your account settings page on Flickr, locate Pixsy under the ‘Pro Perks’ section and select ‘Redeem.’ From there you’ll be directed to Pixsy, where you will link your Flickr and Pixsy accounts.

For more information, head on over to Flickr’s announcement post.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Flickr partners with Pixsy to create end-to-end platform for protecting image copyrights

Posted in Uncategorized

 

How to Post Photos to Instagram from your Computer using Bluestacks

09 Apr

The post How to Post Photos to Instagram from your Computer using Bluestacks appeared first on Digital Photography School. It was authored by Ian Johnson.

Instagram. Ever heard of it? It is the ever-present, popular social media platform to show off your photography to over a billion users. Savvy users may rapidly spread the impact and influence of their images, message, and brand making it a preferred platform for many photographers. Sounds amazing right? So what is the catch? The catch with any social media is that it takes time to curate and post your work which takes time away from other photography tasks. Instagram can exacerbate that because its platform is proprietary to phones and mobile devices making it tedious to post your professionally-edited work from your computer. If you agree with that, I have great news! Bluestacks Android Emulator can access and post to Instagram from your computer.

I want to start this article by saying Bluestacks did not solicit or pay me in any way to do this. When researching for solutions to post to Instagram from your computer, I came across Bluestacks and have been using it for a year. I have written this article from my experience using their software. I review its usage for Instagram, some cons, and some pros.

Safety

One of my main concerns when initially installing Bluestacks was its security. You may be concerned about putting your passwords into it, or that Bluestacks may contain spyware. They guarantee that no spyware or malware is packaged with their software. After doing much searching online, I found the consensus was that Bluestacks was secure overall and that entering your password information for Instagram was no different than entering it into the Instagram app on your phone.

Usage

Booting Up

You can follow the installation steps from Bluestacks to get started. In short :

  1. Download Bluestacks Emulator from bluestacks.com and run the installer.
  2. Open up Bluestacks and sign in with your Google Account like you would on your cell phone.
  3. Open up the Google Play Store and install Instagram. You will be familiar with this as it is the same as your phone’s app store. Note: if you have two-step verification installed for Instagram you will have to temporarily disable it to sign into Instagram on Bluestacks. You can re-enable it once you have signed into Instagram.

Using Instagram

Using Instagram through Bluestacks is simple. Export your images from your editing software. Use Bluestacks’ “Media Manager” to import the image into Bluestacks. This will make the image available for use on Instagram.

Bluestacks, Usage, Photography

Use Bluestacks’ media manager to import your exported image on your computer.

Bluestacks, usage, photography

I like to store my exported images in a separate location than the RAW files. Bluestacks remembers this location to make it easy to access the images.

Open up Instagram to make your post. Assuming you already use Instagram, you will go through the same steps you use on your phone. You will appreciate being able to make the post using your keyboard!

Instagram, Photography, Bluestacks, usage, steps

To create a post open up Instagram in Bluestacks. Create the post using the same steps you would on your phone.

Thoughts and Review

I hope the steps above demonstrate how easy Bluestacks is to set up and use. After using Bluestacks for a year, I have appreciated the ease in creating posts and responding to users on Instagram. I like knowing I am using my time as efficiently as possible! I’ll break down the pros and cons of Bluestacks as I see them.

Pros

Bluestacks makes it efficient to post your edited photos to Instagram. In contrast to other solutions such as posting from Lightroom, you can interact with all of Instagram’s features and respond to comments and followers. I appreciate knowing I can spend more time photographing and editing with less time spent on social media. I also like using Instagram on a large screen and the ability to type using a keyboard.

One efficiency you should use is storing your common hashtags in a notepad document. You can simply copy and paste them into Instagram in Bluestacks. No more worries about mistyping or missing your most productive hashtags!

Hashtags, Instagram, Bluestacks,

I keep a list of commonly used hashtags in a notepad file. This allows me to copy and paste them into my post on Instagram.

Cons

There are some cons to the Bluestacks software that I’ve encountered. First, it is a RAM and graphic-heavy software. You may get speed performance issues with Bluestacks if you have moderately low ram (e.g., 8Gb). This is prevalent when you have multiple programs open eating up lots of RAM on your computer.

Second, there have been some bugs in Bluestacks which I have found workarounds for. I already mentioned the two-step verification bug. Another bug I have encountered is Instagram closes after starting it and will not open again until you reboot the software. This is not common and I’m not sure what triggers it, but you simply need to be aware of it.

Last, Bluestacks is a third-party app. At this time I trust the software’s security and commitment to no malware in their software. However, those terms could change in the future and you should always be conscious of what is contained in software updates.

The Bottom Line

I hope you like the Bluestacks solution and start to use it to improve your social media efficiency so you can spend more time working on your photography! As I always say, “Pixels are cheap.” I hope you make more pixels and spend less time on Instagram thanks to Bluestacks’s efficiencies!

Do you have other solutions that you would like to share? If so, feel free to comment below.

 

 

 

 

 

 

 

The post How to Post Photos to Instagram from your Computer using Bluestacks appeared first on Digital Photography School. It was authored by Ian Johnson.


Digital Photography School

 
Comments Off on How to Post Photos to Instagram from your Computer using Bluestacks

Posted in Photography

 

CP+ 2019: We tour Panasonic’s Yamagata lens factory

09 Apr

Yamagata: a long way from Osaka

Left to Right; Kiyokazu Ishiyama, Kuniko Katagiri, Kimihiro Wakamizu, Toshiaki Takano and Takemi Oketa

The city of Tend? sits on a wide plain in the Yamagata prefecture of North Eastern Japan. It’s a city of just 61,000 people and, with snow-topped peaks visible in nearly every direction, feels even more distant from Panasonic’s headquarters in industrial Osaka than the 600km (370 miles) that actually separate them.

But this quiet spot, hemmed-in by the Iide, ?u and Asahi mountain ranges, plays an essential role in the company’s camera business, as it’s home to Panasonic’s Yamagata lens factory.

It makes other things, too, but we visited because it’s responsible for lens units for compact cameras, interchangeable lenses, and lens elements for both Panasonic and other (un-named) customers. The factory was founded in 1982 and has been making lenses since 1987, giving it 35 years of experience in the field. But, the company maintains, it’s still constantly looking for ways to improve.

All of the images in this article were supplied by Panasonic and are used with permission.

All the usual processes

Lens elements about to be coated by vapor deposition

The factory can take rough glass blanks or the raw materials for plastic elements in at one end and do all the processing and assembly needed to make a complete lens.

This sees glass elements ground and polished to shape. These elements then have their edges ground off, with careful attention given to ensuring the optical center of the lens is perfectly central within the element. The lenses are then coated, by vapor deposition, to give them the anti-reflective and water/oil resistant coating they might need, before having their edges blacked, to prevent internal reflections.

These lenses are then either installed into lens barrels (also made at the factory) or sent elsewhere. Although the factory can build a lens from start to finish, it also creates individual lens elements that are sent off to other manufacturers, both for Panasonic and other companies’ products.

Precision construction and checking

Some lenses have alignment adjusted by machine, others are fine-tuned manually

For the lenses that are made in Yamagata, the assembly process is pretty involved. The word that came up most often during my visit was the word ‘precision,’ and Panasonic is clearly proud of its ability both to assemble lenses with high precision and to measure and confirm that precision.

The example I was shown was the Panasonic Leica DG Vario-Elmar 100-400mm F4.0-6.3 ASPH Power OIS. It’s a fairly complex lens with 20 elements in five groups. The different groups are assembled and then introduced into the lens barrel.

Every group has to be made and positioned with high precision, but it’s impossible to make the entire lens with perfect precision. As a result, the lens is designed so that the groups that are most sensitive to tilt and centering (the ones that have the biggest effect on image quality) are adjustable.

Adjusting the 100-400mm F4.0-6.3

Three of the five groups that make up the 100-400mm F4.0-6.3 ASPH are adjusted during the manufacturing process

In the case of the 100-400mm, there are three groups that are designed to be adjusted.

The third group is adjusted for tilt and for centering within the barrel. With this done, the rest of the lens is assembled and spacing between groups one and two is adjusted. Finally, the first group is adjusted for tilt and centering.

The company says the lenses are designed to be centered to within 5?m, but the factory actually achieves less than 3?m. Tilt is supposed to be corrected to within 3/60th of a degree but the accuracy actually achieved is less than 1/60th of a degree.

Individual checks

Each lens is checked for any unexpected mechanical noise

Every lens is then adjusted for back-focus and tracking, then subjected to MTF measurements. Each unit is also checked to ensure its gyro sensors are correctly calibrated and that there’s nothing generating any unexpected mechanical noise.

Every single lens is checked, they say, and lenses are then picked at random for more extensive testing as part of the quality control process.

Aspherical expertise

Aspherical elements are used to offer different optical corrections at different points across its surface

But the site’s main area of expertise, and the reason other brands come to it for lenses and elements, relates to aspherical lens elements. Aspherical lenses are those whose surfaces vary in shape across their surface, such that they can’t be described by a sections of a sphere.

They’re are used to correct a phenomenon known as ‘spherical aberration,’ where rays of light passing through the edge of a lens are effectively focused at a different distance to those passing through the center of the lens. Adding aspherical lenses to a design can replace the need for multiple elements, which can help make the lens as a whole smaller, lighter, cheaper or simply better optically corrected.

The role of the die: too important to be left to chance

Aspheric lenses, whether plastic or glass, need to be re-shaped using precision dies or molds

The key to creating an aspherical lens element, whether its glass or plastic, is the ability to precisely form the complex shape of the element. And a key part of this is creating a die: the shaped tool that presses the plastic or glass into the correct shape. The precision of the shape of these dies is essential to ensure the resulting lens element has the correct optical properties.

The factory has capacity to make around 400 dies per month, working 24 hours in two shifts. These are made from very hard metal and require high pressures for shaping them.

The molds for glass elements can be used to shape between 500 and 1500 units before they need replacing. The molds for injection-molded plastics lenses will last for around 10,000 elements before it needs replacing. The company says it takes around five weeks to go from a design to having a working mold, while the molds for glass take around 8 weeks.

Expertise + experience

Even the relatively modest 14-45mm F3.5-5.6mm Micro Four Thirds kit zoom uses an aspherical element in its design (one of a pair of elements cemented together near the very right of this image)

This expertise has been developed over the company’s many years experience of making aspherics. For instance, its work making both glass and plastic lenses means this knowledge can be worked-in at the design stage.

Panasonic says having these expertise within the company is central to the development of new products: the factory communicates with the design team on a regular basis. During the product development process, the factory will recommend materials and manufacturing processes that the design team then takes into account when coming up with a final design. This sharing of knowledge ensures the products can take full advantage of what it’s possible to repeatably produce, using its molding technology, assembly and high-precision evaluation.

The factory once received a request for a very small compact camera, which required a very thin lens. The factory worked with designers and engineers to achieve a lens element with 0.3mm thickness: the thinnest aspherical lens element in the market at that time.

Process improvement

Panasonic’s expert polishers can refine the surface of a molding die from a roughness of 50nm down to 20nm

But, in addition to building up experience, Panasonic also takes the Kaizen approach to continuous process improvement: constantly looking, and looking to its staff, for ways to improve the way it works.

This focus on improvement has helped it refine the production quality of its aspherical lenses.

Press releases regularly talk about the number of aperture blades and their shape as the way of ensuring better bokeh, but all they do is define how circular the bokeh is. The smoothness of the lens elements also has a vital role to play: any imperfections in the lens surface can result in an onion-ring pattern appearing in the bokeh.

Panasonic found surface smoothness of the final lenses could be improved if the dies used to shape them are coated by vapor deposition (the same process used to coat lenses).

Meanwhile, the dies used for glass molding (which are subjected to much greater temperatures and forces), can be improved by hand-polishing. The factory’s ten trained polishers can take a die with 50nm roughness and take it to 20nm, again, improving the bokeh performance.

In perfect shape

Panasonic has developed its own machine to assess the shape of the lens to within 100nm

A machine developed in-house, known as the UA3P (Ultra accurate 3D profilometer) checks the shape: the shape of the lens can be created to within 100nm of the intended shape.

The company says that making the small, high-resolving-power lens elements for compact cameras was very valuable for developing the facilities, technologies and skills needed to build lenses for larger cameras (Micro Four Thirds and full frame). However, some of the specific challenges are different: temperature control becomes even more critical when building lenses at larger scales.

The lens has to be cooled very evenly, to ensure both its shape and the optical properties of its glass remain consistent across the element. This requires the development of a new machine with more precise temperature control.

Looking beyond lenses, and beyond Panasonic

The factory has invested in new machines to deal with the challenges of making elements for its S-series lenses

The factor I found most interesting was how it’s responding to a changing market. The factory was first established to make magnetic tape heads for video recorders: something that’s much less in demand than it was in 1982.

Now, as the camera market declines, Yamagata is looking for ways to adapt to market demand again, and has started making lens modules for automotive sensors and the complex mirrors needed to project a head-up display (HUD) image onto a car’s windscreen.

Even on the lens side, the demands of supporting Panasonic’s interchangeable lens business is very different to creating vast numbers of the complex lenses needed for its travel zoom compacts.

Not all Panasonic lenses are made at Yamagata and not all lenses made at Yamagata are for Panasonic

The move to making fewer, but more challenging lenses has prompted a lot of investment in new machinery. Where previously the factory had a few machines performing the same process thousands of times, it now has large numbers of machines designed to create fewer elements but with even higher precision. Interestingly, although the factory can manufacture most of the components for a complete lens, not all of the company’s lenses are built in Yamagata.

Having been rushed through the factory, there was one area we weren’t allowed to visit. This is essentially a mirror-image of the areas I was shown, but all working for another, unspecified client. Something to consider, next time you see the phrase ‘Made in Japan’ on a lens you weren’t expecting to see it on.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on CP+ 2019: We tour Panasonic’s Yamagata lens factory

Posted in Uncategorized

 

Pentax 11-18mm F2.8 DA* sample gallery

09 Apr

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2541102411″,”galleryId”:”2541102411″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

We just got our hands on the new Pentax 11-18mm F2.8 DA* – a premium wide-angle zoom lens for Ricoh’s APS-C format Pentax DSLRs. Tough and weather-sealed, the 11-18mm is intended to satisfy the needs of Pentax users who want to go wide without going full-frame.

Take a look at our full gallery of sample images to judge for yourself how it performs.

View our Pentax 11-18mm F2.8 DA* sample gallery

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Pentax 11-18mm F2.8 DA* sample gallery

Posted in Uncategorized

 

CIPA’s February 2019 report shows huge drop in global digital camera shipments

09 Apr

The Japanese Camera & Imaging Products Association (CIPA) has published a new graph showing the number of cameras shipped in February 2019 and the figures aren’t reassuring. According to the association, sales were down from January 2019 and had substantially decreased compared with February 2018.

Global digital camera shipments in February 2019 came in at only 935,148 units compared to the 1,001,398 shipped in January 2019. This is a more than 30% decrease year-over-year, with January 2018 having seen 1,340,492 shipments and February 2018 having maintained a consistent rate at 1,340,995.

A decrease was experienced in the interchangeable lens camera market as well, dropping from 798,014 in February 2018 to 521,217 in February 2019. Both the February 2018 and 2019 shipment periods were lower than February 2017, which had 843,217 in global interchangeable lens camera shipments.

A similar, though not quite as dramatic, decrease in global built-in lens digital camera shipments was experienced in February 2019 compared to February 2018 at 413,931 units versus 542,981.

According to the CIPA data, global digital camera shipments remained very similar from January to February 2017 and increased slightly for those same months in 2018. The trend changed in 2019, with overall February shipments dipping a little more than 6% below January’s global shipment numbers.

The numbers are concerning due to the general decrease year-over-year, but also because the shipment numbers decreased during a time in the year when they previously remained relatively steady or began increasing. It’s yet to be seen whether March’s figures represent yet another decrease or if February’s shipment numbers end up being an unfortunate, concerning fluke.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on CIPA’s February 2019 report shows huge drop in global digital camera shipments

Posted in Uncategorized

 

5 Surprising Macro Photography Ideas to Jumpstart Your Creativity

09 Apr

The post 5 Surprising Macro Photography Ideas to Jumpstart Your Creativity appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Are you struggling to come up with amazing macro photography ideas?

Do you need a bit of a creativity jumpstart?

That’s okay! Because in this article, I’ll give you 5 macro photography ideas – all geared toward getting you out of that creative rut.

Are you ready to start taking stunning macro photos again?

Then let’s get started.

1. Find lights in the background for amazing bokeh

One of the best ways to do creative macro photography…

…is to capture gorgeous bokeh.

(That is, a beautiful, smooth, creamy background.)

And here’s how you do that:

First, find a subject that you really like. A flower, an insect, or some plant life will all work well.

Choose a wide aperture (one in the f/2.8 to f/5.6 range).

Then zoom in, until you’ve isolated just your subject.

Here comes the important part:

Slowly move around your subject, while looking through your camera’s viewfinder. The key is to find a ‘bokeh-generating’ background.

Now, bokeh-generating backgrounds involve light. The best bokeh often comes from bright lights and colors in the background.

More specifically, look for pinpricks of light and colorful reflections.

For instance, sun coming through trees creates amazing bokeh – because the trees break up the light.

Leaves in golden-hour light also create gorgeous bokeh. The golden light on the leaves reflects and makes a creamy, colorful backdrop.

Most scenes have at least a few bokeh options – so don’t settle for a subpar choice.

Instead, use the bokeh to create a masterpiece!

2. Shoot into the sun for gorgeous backlit macro photography

Nature photographers often shoot using frontlight – where the light comes from over the photographer’s shoulder, and lands on the subject.

This often works well. But it can get boring after a while.

If you want to get creative…

…try using backlight.

Backlight comes from behind your subject. It’s great for creating silhouettes – and it’s also great for producing creative lighting effects.

The light can pass through part of your subject, making it turn translucent.

And backlight can also create bright flares of light. When done right, this creates some stunning effects.

However, you should position the sun carefully.

If you get the naked sun in your frame, the whole shot will be ruined because the sun is simply too bright to be rendered by your camera.

Instead, put your macro photography subject in front of the sun. That way, the sun is blocked from view. But you still get some gorgeous effects.

In fact, I recommend experimenting with this. Try changing your angle slightly, so that the sun is placed behind different parts of your subject.

You’ll manage to capture some stunning shots – shots which you probably wouldn’t have initially imagined!

3. Shoot against a white sky for a gorgeous high-key look

Here’s a favorite macro photography idea of mine.

I use it all the time when I’m in a pinch!

Fortunately, it’s really simple:

Shoot against a white sky.

Let me explain:

One of the most important parts of a macro photo…

…is the background.

Without a beautiful background, your macro photos will often fall flat.

Now, the best backgrounds are simple and uniform.

And one of the great ways to create a uniform background?

Rely on the sky!

This works especially well on cloudy days. All you have to do is find a subject – then get down low. In fact, you often have to get lower than your subject.

Make sure that the background is completely covered by clouds.

Then photograph your subject and watch as it stands out against a gorgeous white backdrop!

(If the shot is slightly too dark, don’t worry. You can always lift the whites in post-processing.)

4. Freelens for stunning selective focus

Here’s another great macro photography idea for when you’re in a rut:

Freelens!

I’m a huge fan of this technique – because it gets striking, unique images.

Here’s how it works:

Turn on your camera, and make sure that your lens is focused to infinity.

Then turn your camera off, and detach the lens.

(I suggest you use a backup camera and backup lens for this because there is a risk of damaging your equipment.)

Now, the best lenses for macro freelensing are in the 50mm range. I’ve found that 50mm creates a nice balance of background blur and sharp focus.

Once you’ve detached the lens, turn your camera back on.

Then…

Experiment!

Note: With freelensing, you don’t focus by turning a focus ring. Instead, you focus by changing the position of the lens relative to the camera.

So keep the lens detached, and move it around at different angles.

Look for macro subjects, and see what happens when you shoot them with a freelensing setup. Also, notice how pulling the lens away from the camera increases the magnification of the lens. It also allows in more light – creating artistic light leaks!

Freelensing is a bit addictive. Once you’ve started, you’ll struggle to stop – because there are so many opportunities for gorgeous macro photos!

5. Shoot through a second subject for an incredible foreground

If you want an idea for especially creative macro photography…

…why not try ‘shooting through,’ or ‘cramming’?

First, find a macro subject. Flowers work especially well for this because they’re so colorful.

Get in close, and focus your lens on that subject. Choose a wide aperture, in the f/2.8 to f/5.6 range.

Then find a second subject. Place it in front of your lens. The second subject should be colorful – and ideally, similar to the first subject.

And…shoot!

The second subject (which remains out of focus) will create a beautiful foreground wash. One that looks great in macro photography.

Now, you don’t want to completely cover your lens with the foreground subject. Instead, place it partially into the scene. That way, it will create a nice wash, without dominating the shot.

This may take a bit of experimentation. But if you’re patient, you’ll capture some gorgeous macro photos.

And your creative muscle will feel energized again!

Creative macro photography ideas: next steps

Hopefully, you’re now feeling excited about macro photography again.

After all, you have lots of ideas for original, creative shots!

The key is to use them. So get out and shoot!

Have any more macro photography ideas? Share them in the comments!

The post 5 Surprising Macro Photography Ideas to Jumpstart Your Creativity appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


Digital Photography School

 
Comments Off on 5 Surprising Macro Photography Ideas to Jumpstart Your Creativity

Posted in Photography

 

VSCO sues PicsArt for allegedly reverse engineering its filters

09 Apr
An exhibit provided in the complaint that shows PicsArt’s Gold subscription platform, which is where VSCO alleges its reverse engineered filters ended up.

Visual Supply Company, more commonly referred to as VSCO, has filed a lawsuit against the creators of PicsArt, a photo editing application, claiming the company reverse engineered a number of its photo filters found in its mobile application.

According to the complaint, filed in the Northern District of California, 17 PicsArt employees created VSCO accounts and used them to reverse engineer at least 19 presets VSCO offers, a violation of the terms of the VSCO app which state users ‘agree not to sell, license, rent, modify, distribute, copy, reproduce, transmit, publicly display, publicly perform, publish, adapt, edit or create derivative works from any VSCO Content.’

VSCO says it attempted to remedy the situation out of court with a letter, sent to PicsArt in February 2019, demanding the company remove the reverse engineered presets from its app, provide accounting records for all profits and revenue made from the presets and identify all of the PicsArt employees who had opened an account with VSCO. PicsArt subsequently said it would remove all of the filters by March 22, 2019, but as of the complaint’s filing date, only 17 had been removed and two new filters PicsArt is publicizing appear to be reverse engineered as well.

An exhibit in the complaint that details a social media post that shows a pair of filters that VSCO claims PicsArt reverse engineered to sell as part of its own subscription service.

Now, PicsArt employees creating VSCO accounts alone isn’t too suspicious, but VSCO appears to have more than suspicion alone to back up its claims. According to the lawsuit:

VSCO’s color scientists have determined that at least nineteen presets published by PicsArt are effectively identical to VSCO presets that are only available through a VSCO account. Specifically, VSCO determined that those PicsArt filters have a Mean Color Difference (“MCD”) of less than two CIEDE2000 units (in some cases, far less than two units) compared to their VSCO counterparts. An MCD of less than two CIEDE2000 units between filters is imperceptible to the human eye and cannot have been achieved by coincidence or visual or manual approximation. On information and belief, PicsArt could have only achieved this degree of similarity between its filters and those of VSCO by using its employees’ VSCO user accounts to access the VSCO app and reverse engineer VSCO’s presets.

PicsArt has denied these allegations, with a spokesperson sharing the following statement with TechCrunch:

VSCO is not a direct competitor, but they clearly feel threatened by PicsArt. VSCO’s claims are meritless. It’s disappointing that they have made these false claims against us. PicsArt will vigorously defend itself against these baseless claims and all options are under consideration.

VSCO doesn’t mention a specific dollar value in the complaint, but asks for ‘compensatory damages, disgorgement of profits, corrective advertising, and costs and attorneys’ fees.’

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on VSCO sues PicsArt for allegedly reverse engineering its filters

Posted in Uncategorized

 

How to Photograph Against the Sun for Stunning Images

08 Apr

The post How to Photograph Against the Sun for Stunning Images appeared first on Digital Photography School. It was authored by Simon Bond.

As a beginner in photography, you’ll likely be taught to keep the sun behind you. That’s because you’ll have several problems when you photograph against the sun. These problems are related. They’re an overblown sky, and a poorly lit main subject. That’s a recipe for a poor quality photo. As you learn how to better use the light, you’ll learn there are plenty of times you want the sun in front of you. In this article, you’ll learn all about the techniques needed to make stunning images when you photograph against the sun.

This photo is taken towards the sun not long after sunrise. The sun is lighting up the muhly grass through flare.

Flare

One of the effects you may well see when photographing against the sun is flare. This is sometimes described as the effect seen when a plant such as a reed is lit up by the sun shining on the plant. In the case of a reed, they have a delicate head in the summer which picks up the sunlight. As the head is delicate, it won’t block the sun completely, but is instead brighter and also not silhouetted. In photography, there are a couple of other effects caused by flare that can be used by photographers.

Flare effect on a camera

Unless your photographing a sunset or sunrise, directly pointing your camera at the sun is something you’ll want to avoid. Instead, aim to use an object within the frame to obscure the sun. Alternatively, you can aim towards the sun, but keep the sun just out of frame.

Doing this will result in two effects: You’ll see that your whole frame has a sunlight “glow,” or it’s highly likely you’ll also see a rainbow-like line that consists of arcs of light progressing across your frame. Both of these effects can be used to your advantage to create a more artistic-looking photo. Should you wish to avoid this altogether, using a lens hood helps. You might also try holding your hand above the lens to block sunlight shining onto the lens.

There is a glow to this image caused by flare. You can see this coming into the frame from the top left.

Starburst

The starburst effect is technically another aspect of lens flare. It’s a more desirable effect though, and you have more control over how this effect occurs.

To achieve a starburst effect:

  1. Compose your photo, and aim towards the sun. The time of day isn’t that important, but it’s easier to control this effect during golden hour and into sunset or from sunrise.
  2. You’ll want to obscure the majority of the sun, but allow just the edge of the sun to be shining through. Too little and the starburst won’t be noteworthy. Too much of the sun, and it will overpower your frame. Placing the sun behind the leaves of a tree is an ideal solution here.
  3. This effect is caused by your lens diaphragm. The number of sunburst spikes is determined by the number of arms your lens diaphragm has. You get one spike per diaphragm. If your lens has an odd number, the number of spikes will be doubled. That means you’ll want to choose your lens accordingly.
  4. This effect occurs when you close down the aperture of your lens. Apertures of f/11 and smaller should produce this effect.
  5. Photographing into the sun is likely to mean your photo produces silhouettes. If you wish to see details in the foreground, you will need to overexpose. The overexposure could be +2 or +3 exposure value.
  6. With a small aperture, and a high exposure value your shutter speed is likely to be low. Either use a tripod or compensate for this slow shutter speed by using a high ISO. The high ISO will increase the shutter speed. Choose a setting that allows you to take the photo handheld.

Closing down the aperture allowed the sun to appear as a starburst in this photo.

Silhouettes

When you photograph against the sun you’ve always got a good chance of producing silhouettes. Getting the best silhouettes takes a little more nuance though. You need to plan your photo and choose the best angle to take that photo from.

  1. The first step is to decide which object you’ll silhouette. Is this a person, or an architectural structure? Perhaps it’s a lone tree in the field.
  2. Which direction will you photograph this object from? Will you need to arrive in the morning or the evening so that the sun is behind this object when you photograph it?
  3. Is there a clear line of sight to the horizon? Or is there a reflective surface behind the silhouette which can be used to photograph the silhouette against it? You’re looking for a bright background that you can silhouette the entire object against.
  4. If you’re silhouetting the object against the sky only, you’ll often need to kneel down to an angle. Getting close to the ground and photographing up towards your silhouette, will mean more of the silhouette is visible. Where the horizon line intersects the silhouette, it will often make the lower half of the object not visible as a silhouette.
  5. Look at the position of the sun in the sky. Is it too intense? Can you hide the sun behind an object? Is it possible to create a starburst effect from the sun?
  6. Silhouettes are black, so of course, the silhouetted portion of your image will be underexposed. Typically, you’ll expose to get the sky correctly exposed within your photo. As the sky is very bright, the rest of your image will be dark and silhouetted.

This was an ideal place to take a silhouette. The person is silhouetted against the sky, and the reflective surface of the water.

Sunsets and sunrises

Of all the things photographers photograph, sunsets, and sunrises are surely the most popular. This time of day fascinates photographers of all levels, and you certainly don’t need to be a photographer to appreciate those colors in the sky. This time of day is also the best time to photograph against the sun. Especially while the sun is close to the horizon, as it won’t overpower your photo with too much light.

So what are you looking for to get the best result?

  • Know the angle – The sun changes position in the sky from winter to summer. Uses resources like suncalc to find out how a change of angle through the course of the year will affect your photo.
  • Check the weather – Overcast days won’t produce a sunset or sunrise! Always check the forecast and try and head out for optimum conditions. You’re not looking for a totally clear day either, 30-50% cloud coverage is nice.
  • Scout the location – Knowing a great location to visit on the day a good sunrise arrives is good. Knowing exactly where the best angle to photograph from within this location is even better.
  • Focal point – Unless the sky is truly epic for your sunset or sunrise, you’ll need a focal point to give your photo interest. A lone tree or building structure is often a great subject. Likewise, a river that gives a reflective surface, and perhaps a leading line will also work well.
  • Filters – Landscape photography where you photograph against the sun often need graduated neutral density filters. Be careful that the sun doe not produce unattractive and unwanted flare when you use these.
  • Post-processing – Post-processing can enhance your images. The use of techniques like digital blending, and graduated filters are important tools.

Sunset and sunrise are always captivating times to take photos against the sun.

Equipment

There are some useful pieces of equipment you can have when photographing against the sun. Depending on the type of photograph you take, you’ll need some or all of this:

  • Lens hood – This is needed to minimize or eliminate the effect of lens flare on your photo.
  • Filters – Using a circular polarizing filter is a good idea for photography in general. Photographing towards the sun means using graduated neutral density filters is also a good idea.
  • Strobes – Should you wish to light up a person or object, when you’re photographing against the sun, using strobes is necessary. Without these, you’ll have silhouetted people or objects. Should you wish to avoid this, additional light will be required.
  • Reflecting disc – This can be used to reflect and direct sunlight onto the person or object you’re photographing. They’re more often used for portraits, and can be used on their own or in conjunction with strobes.

In this photo, an external flash was used to light up the couple.

Digital blending

Digital blending is a post-processing technique that uses luminosity masks to control the light across your photo. This has led to an improvement in the quality of images produced by landscape photographers who photograph against the sun. This is a large topic, so to learn more you should read this article.

In order to get the best results from this technique, you’ll need a tripod and to bracket your images when you take a photo. You’ll then need to spend time learning how to blend so you can produce natural looking and professional results. Learning how to do this will significantly improve the final results of your photos. Keep in mind that there are occasions you won’t need to use this style, and using filters, or producing silhouettes is an alternative to this.

This image used digital blending. The rocks in the foreground were lightened, and the sky darkened.

Show some flare, photograph against the sun!

The sun provides photographers with their main source of light. Knowing how best to use it is vital for the best photos. In this article, you’ve learned how to photograph into the sunlight – a trickier proposition than photographing with the sun behind you.

Do you enjoy photographing towards the sun? Which techniques and ideas do you apply in your photography? Do you have example photos you can share with the community? At digital photography school we’d love to see your images both from the past, and perhaps your future images having read this article.

So now it’s time to get out into the sun, and photograph against the sun!

 

The post How to Photograph Against the Sun for Stunning Images appeared first on Digital Photography School. It was authored by Simon Bond.


Digital Photography School

 
Comments Off on How to Photograph Against the Sun for Stunning Images

Posted in Photography

 

Lexar launches trio of ultra-compact SSD drives

08 Apr

Lexar has announced the SL100 Pro Portable SSD lineup, a trio of compact solid state drives that offer USB 3.1 speeds in a tiny, durable form factor.

The SSD, which weighs just 70.5g / 0.155lbs and measures in at a 73.4mm x 55mm / 2.89in x 2.17in, features a USB-C connection that offers read speeds up to 950MBps and write speeds up to 900MBps. Although the SSD isn’t ruggedized, it is protected against rough vibrations and has temperatures, with an operating temperature range of 0°C to 70°C and a storage temperature range of -40°C to 85°C.

Lexar includes its DataVault Lite software to keep files onboard the SSD safe throws in a three-year limited warranty for good measure.

The Lexar SL100 Pro Portable SSD comes in 250GB, 500GB and 1TB capacities and is available for purchase at B&H for $ 87.99, $ 134.99 and $ 239.99, respectively.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Lexar launches trio of ultra-compact SSD drives

Posted in Uncategorized