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Archive for May, 2020

The gear that changed my (photographic) life: reader responses part 2

03 May

Reader responses part two – gear that changed my life

Photo of Canon AE-1 by DPR member WoifC

We’ve compiled more of our favorite responses to the question we’ve been asking – both of ourselves and our readers – “What was the piece of gear that made the biggest difference to your photography?” We enjoyed reading all of your stories and have picked out a few of our very favorites to highlight.

This time around, we saw many responses expressing gratitude toward the person who inspired them to pursue photography, in addition to the gear that made the difference. There were also several responses naming the books that changed their photographic lives, which is a sentiment we can definitely get behind.

Reading your answers to this question has been a true joy in times when joy has been harder to come by than usual. We’re grateful to share in the remembrances of the people, books, cameras and lenses that spurred each of our readers further down a path pursuing photography. Thanks to all who took the time to respond, and if you haven’t yet it’s not too late! Leave a comment and tell us your story.

Pentax K10D

Doc Pockets: I was to take a 15-week road trip in a quest to photograph what most will call lousy winter weather. A 1996 4X4 F350 with a service body took us from the Sonoran Desert (home) to and across all the Canadian provinces ending in the Maritimes then driving down the American East Coast…. Three bodies, two DA* 2.8 zooms and a wide prime was chosen.

Drenched in downpours (Vancouver Island), blizzard -blasted (Cabot Trail), sand-blasted (Lake Superior’s shorelines) and one spent two hours with the 50-150mm 2.8 DA* attached in 20 feet of silty water (thanks to my sister) without the slightest problem. To this day those cameras work!

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‘My friend Peter’

JeffieBoy: He is about 5 yrs older than me and for 40+ years has been a mentor and someone I have looked up to. The first time we met, he walked into the room and mumbled something like F5.6 under his breath.

He later explained that he was teaching himself to quantify light In his mind’s eye so he would always be ready to get a good exposure. I practised for a month or more and eventually got very good at it… My cameras were always ready because I was unconsciously presetting everything as light changed.

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Michael Reichmann

Chris Butler: It wasn’t an “it” but a “who” that changed my concept of what I could do with with a camera. Specifically, it was Michael Reichmann’s 2000 comparison of digital images to film, in which he had the audacity to prove the 3 megapixel D30 could produce images as good or better than film. I sold all my considerable film gear and never looked back. Well done, Michael, and RIP.

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Pentax SFXn

Photo of Pentax SFXn by DPR member arthur01

arthur01: …the game changer for me, as a wedding photographer using film, was the underrated Pentax SFXn. It was the first time I used autofocus. As a person wearing glasses and struggling to achieve sharp focus as it got dark towards the end of the after ceremony shots it made all the difference. It prolonged my wedding career.

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‘The New Joy of Photography’ (1985 edition) by the Editors of Eastman Kodak Co.

donnybrook: I was a young field engineer that had just bought a used Minolta XG-7 and a few lenses off a colleague to upgrade my point and shoot film camera. That book basically taught me photography and I would review it before going on vacation trips with my film SLR for years. Not just aperture and exposure compensation but balance, composition, vision and light. Lots of great shots to admire and motivate.

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Nikon D5300

Photo by DPR member Aphidman with Nikon D5300

Aphidman: In 2013 I discovered that 35mm film could not be found outside of cities, and realized it was time to change technologies. Used Air Miles points to get the D5300. It re-ignited my love of photography that had been dormant since my teenage years. Used it to discover what kinds of photography I enjoyed most; 4 years later, upgraded to a D7500… which addressed all the things that held me back with the D5300. An adult daughter now uses that D5300, for which I will always have fond memories.

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Nikkormat Ftn

Photo via Wikimedia Commons by E Magnuson

CTaylorTX: It was January 15, 1972. Fairhaven Camera in East Haven, CT. I was 16, and had saved for a year and was ready to buy my first 35mm SLR. The man behind the counter had already loaded the batteries into a Pentax Spotmatic SP1000. My mom looked at me and said “I have another $ 50, is there something you would like better than this?” I pointed at a Nikkormat Ftn with 50mm f/1.4 Auto-Nikkor – “yes, that!” … While I still love the Pentaxes, the Nikkormat opened the doors to shooting Nikon for the next two decades.

Oh, yes, how do I know the exact date? On the ride back home, the car’s A.M. radio informed me that ‘American Pie’ was now #1 on ‘America’s Top 40’. Thanks for the memory, Kasey Kasem.

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Canon TS-E 17mm F4L

Photo by DPR member John Crowe with Canon 17mm F4 L TS-E

John Crowe: After striving to improve my ultra wide angle photography for 25 years, through three different formats, I sold the 4×5 and 120 cameras and went all in on the Canon 17mm f4 L TS-E. That was almost 10 years ago, and soon realized that not only could I correct perspective but that I could also shift and stitch images together to create even wider views! It took a couple more years for the stitching software to catch up, but once it did, I could achieve the kind of results that I had been searching to create for decades.

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Sony a6000

Photo by DPR member Luddhi with the Sony a6000

Luddhi: …I was rarely taking my camera out as it was too heavy to take bush-walking so I pestered my local camera shop trying out all the lighter cameras until – against the advice of the shop, I bought a Sony a6000. This changed my life. I was able to carry it in my jacket pocket.

I carried it in my hand for about 6 hours through Washpool National Park after I tore my jacket pocket. I could take satisfactory photos one handed – important when holding onto a tree to lean out and take a shot of a ravine. Also whereas my grandchildren would flinch when they saw me with the 50D they practically ignore(d) the a6000. So I now have some good and some funny shots of my grandchildren that I otherwise would not have got.

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Canon AE-1

Photo by DPR member WoifC taken with the Canon AE-1 and Ilford FP4

WoifC: When I was 6 or 7 years old, my mother gave me a Canon AE-1 no one used… There was no film in it and I walked around, tried to focus on anything I found interesting and was soooo proud that I was allowed to push the shutter release button. That’s 30 years ago but I still remember that day and know that this was the day I fell in love for photography.

My son is now 8 years old (since Monday) and loves to take photos too. Sometimes he asks me to borrow my X-T2… and walks around taking photos like I did when i was as old as him. Maybe we will share this hobby when he is older. I hope so.

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Speed Graphic

Photo of minor league baseball images created by DPR member SRHEdD using 35mm and Speed Graphic cameras

SRHEdD: I worked for a rural ad agency and shot 35mm Nikons, but we hired a photographer with a Sinar 4×5 from a larger metropolitan area at great expense. On vacation, I saw an old Speed Graphic in its fiberboard case with two lenses and a half dozen film holders for $ 200 at an antique shop. It worked perfectly. I bought a Polaroid back when I got home and instantly replaced having to hire anyone else.

I shot food for a major poultry company, team photos for a minor league baseball team, and some great still lifes used for our clients’ annual reports, etc. I think it was then that I was comfortable calling myself a professional photographer.

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Foba camera stand

Photo of DPR member Jim Kasson with Foba camera stand

Jim Kasson: Lots of gear has allowed me to do things I couldn’t otherwise do. I couldn’t have done Staccato before the D3. I couldn’t have done much of Timescapes without the Betterlight scanning back. But the piece of gear that has changed my life the most in the past few years is a Foba camera stand. Setups that were a pain are now effortless.

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Articles: Digital Photography Review (dpreview.com)

 
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5 Post-Processing Effects to Instantly Enhance Your Photos

03 May

The post 5 Post-Processing Effects to Instantly Enhance Your Photos appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

awesome post-processing effects featured image

Do you want some quick and easy ways to improve your images with post-processing effects?

Look no further.

Because this article will give you 5 excellent post-processing effects to take your photos to the next level, instantly. And best of all: You can use them in pretty much any editing program and on pretty much any photo!

Sound good?

Let’s dive right in.

lightroom post-processing effects

1. Increase the contrast and saturation for more powerful photos

This effect is extremely easy, and yet sometimes easy is best:

Boost the contrast.

And then boost the saturation.

Because here’s the thing:

Most photos suffer from a lack of tonal contrast and a lack of color richness. This makes the photos look flat. They look uninteresting. They’re, well, boring.

But they can be quickly and easily spiced up…

…by doing a little work with the contrast and saturation sliders.

palm tree saturation and contrast adjustment
This image required a bit of a saturation and contrast boost before it really popped.

Note that pretty much every photo editing program offers both of these options in a basic form, though, you can choose to selectively edit tones and colors, as well. And while there’s definitely value in doing more careful tonal editing (via a curves adjustment, for instance), I like to start with the basic contrast slider. It gives me a sense of what the contrast will do to my image, and it’s a great starting point.

The same is true of the saturation slider. Sure, it’s possible to do more advanced adjustments by selecting individual colors. But it’s not necessary for this editing step. Instead, just push up the saturation slider a tad, and see how it looks.

Now, when working with the saturation slider, you do have an alternative:

Vibrance.

Vibrance is a smart saturation. It enhances colors by selectively saturating colors that are less saturated, while also leaving skin tones alone. So if you’re hoping for a more subtle look, the vibrance slider may be the way to go.

dog with contrast and vibrance adjustment
I boosted both the contrast and vibrance to make this image stand out.

(In fact, feel free to try both. There’s no reason not to experiment!)

At the end of the day, it pays to start with basic edits (such as contrast and saturation). Just a little bit of editing can go a long way!

2. Pull up the darker tones for a nice cinematic fade

This is one of my favorite editing effects, however, it’s very easy to overdo (so be careful).

It’ll give you a faded, cinematic look, like this:

leaf with cinematic fade

Start by accessing your tone curve, and placing points at the center and toward the bottom left:

tone curve in Lightroom

Then carefully drag up the end point, watching the darkest areas of your photo as you do.

When you do this right, the deepest blacks in your photos will lighten, giving you a beautiful fade.

You can also experiment with the amount you actually pull up the tone curve (the more you pull, the stronger the effect). And you can try pulling down the tone curve just before the leftmost edge, to create a more contrast-heavy look:

contrast-heavy tone curve

The key is to experiment and see what you can come up with. No look is necessarily better than the others, just different. So test out many possibilities; you can even create presets out of your favorites.

3. Split tone with blues in the shadows and gold in the highlights

Split toning is all the rage in photography these days, especially with more fashion and portrait-focused photography (though you can definitely use split toning in landscape, street, and most other forms of photography). The idea is that you add different colors into the highlights and the shadows, giving a more creative feel to the image.

Here’s the split-toned look:

split toned flower example - post-processing effects

Do you see how the shadows are slightly bluer, and the highlights are slightly gold? While this is a look that is often overused, it can be a great addition to your photos when used with restraint.

In fact, I recommend you use the split tone I’ve previewed above as a starting point:

Blue shadows, gold highlights.

From there, you can start experimenting with other split tone options: yellow shadows, green highlights, orange shadows, teal highlights, even pink highlights, blue shadows (and so much more!).

Many of the best split tones use complementary colors (colors that sit opposite one another on the color wheel). Complementary colors contrast heavily with one another, which adds impact and depth to your photos, hence the popularity of those split-tone combinations. But bear in mind that you can also use analogous colors, which sit next to one another on the color wheel and bring a sense of harmony to your photos (blue and green are a great example).

In fact, the key to split toning is to think about the mood you want to evoke, and then choose color combinations that convey that mood!

Note that split toning is offered by most editing programs, but it may be a bit difficult to find. For instance, Lightroom puts its split toning panel just above the Detail module:

split toning panel Lightroom

Once you’ve found it, have fun experimenting!

4. Selectively saturate the blues and greens for added impact

I’m a huge fan of selective color editing.

Why?

Because it allows you to both simplify and enhance the composition, which results in better, more powerful compositions overall.

Plus, it can just look plain cool.

Generally speaking, it can pay to selectively saturate the colors of your subject, especially if your subject is struggling to stand out against a colorful backdrop.

(Note that you can also desaturate the background colors, or even do both at once for an enhanced effect.)

But for a really neat effect, I recommend you focus on two specific colors:

Blues and greens.

That’s what I did for the image below:

black-eyed susan with blues and greens enhanced - post-processing effects

You see, blues and greens tend to look really, really good when saturated more deeply. They’re not close to skin tones, so you don’t have to worry about messing up portrait shots. And they’re mostly in the background, so they just add a bit of pizzazz to your photos.

Of course, saturating blues and greens won’t always look good. There are situations where it just won’t work.

But generally speaking, richer blues and greens will serve to enhance your photos.

Now, to do selective color adjustments, you’ll need to work with individual colors. In Lightroom, this requires using the HSL sliders in the Develop module.

HSL sliders in Lightroom

Just remember:

Don’t saturate just to saturate. Instead, do it if it improves your photos. Saturated blues and greens are nice, but only to a point. As with any good post-processing effect, don’t get carried away!

5. Use exposure gradients to add depth to your photos

Exposure gradients aren’t difficult to pull off, but many photographers never bother to learn how to create them.

Which is absolutely a mistake, because exposure gradients can take your photo from boring to life-like in two seconds flat.

flower image with gradient applied - post-processing effects

First things first:

An exposure gradient simply lightens or darkkens a part of your photo in gradient fashion. So the effect gradually dissipates as it moves across your photo. Like this:

gradient overlay dissipating

Now, this may seem like a silly effect, but think about what you could do if you put the gradient in the corner, just below where the sun sat in the sky. You’ll get an artistic, flare-like result.

Neat, right?

You can get even better results by warming up the gradient. That way, the light is slightly golden:

lightroom gradient example - post-processing effects

Flare-like effects are cool, but my favorite thing about gradients is how they add depth to images. The gradient gives an element of three-dimensionality that’s hard to produce otherwise, and for that reason alone, gradients are worth trying out.

Here’s the bottom line:

While you won’t always end up using the exposure gradient in your final image, it’s often worth a try. Because gradients can make a huge difference to your photos.

Plus, they’re very cool!

5 post-processing effects to instantly enhance your photos: Conclusion

Hopefully, you now feel like you can do a lot with post-processing, even if editing isn’t your strong suit.

And, as I said, these effects aren’t actually hard to use. Just give yourself a bit of time to learn how to produce the effects, then start practicing.

You’ll soon be processing gorgeous photos!

lightroom gradient example - post-processing effects

Do you have any other post-processing effects tips you’d like to share? If so, please share them with us in the comments. We’d also love to see your post-processing effects results, so feel free to share those too.

If you are interested in further post-processing tips, why not try out Jim Hamel’s Lightroom course.

The post 5 Post-Processing Effects to Instantly Enhance Your Photos appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Creative Photography Exercises to do at Home (video)

03 May

The post Creative Photography Exercises to do at Home (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

If you are stuck at home and bored, why not try some of these great creative photography exercises to get you upping your photography skills and relieving your boredom at the same time?

You can do so with this great video from our friends over at Cooph, who have gone to the effort of compiling some of their great at-home creative photography exercises into one video.

Some of the techniques include:

  1. Photography with Food and drinks – using things like coffee, avocados and more.
  2. Kitchen Views – inside the fridge, using your sink, dishes and cutlery. Using your cupboards as black boxes. Explore food coloring and dish soap.
  3. Make funky installations – use projections from your computer onto people or objects and photograph them. Use colored gels on your camera or lighting gear.
  4. Office visions – Use a lens ball and text, use office items in an unusual way. Draw your own props to photograph.

So try out some of these exercises and share your results with us in the comments below!

You may also like:

  • 7 Ideas for Creative Lens Ball Photography
  • Stunning Photo Ideas Using Coffee
  • 6 Methods to Create Dynamic in Your Photography
  • Challenge Yourself by Photographing One Object
  • 5 Fun Tips for Photographing Water
  • 10 Photography Projects You Can Work on From Home
  • Stuck at Home? – Ways Still Life Photography Can Keep Your Skills Sharp
  • 10 Things You Can Photograph in Your Home
  • Exploring Your Home with Close-Up Filters
  • The dPS At-Home 7-Day Photography Challenge – Week Four

The post Creative Photography Exercises to do at Home (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Gear that changed my (photographic) life: the Canon PowerShot G3

02 May
Old and new: The Canon PowerShot G3 and the PowerShot G1 X Mark II.

This article was originally published in 2017 as part of our ‘Throwback Thursday’ series.

It’s hard to believe that the Canon G-series is almost 17 years old, and while technology has certainly marched forward, ‘G cameras’ have consistently been a favorite of enthusiasts and even pros. (OK, there was that whole kerfuffle when the G7 dropped Raw support, but Canon saw the error of its ways and corrected course with the G9.)

However, through all the years, there’s one model in particular that always stands out in my memory: the PowerShot G3. In part, this is surely due to the fact that it’s one of the cameras that helped me make the transition to digital, but I don’t think I’m alone in this. The G3 was released right around the time that a lot of photographers were making the same transition, and the camera offered a fast lens and all the manual controls you could want. Its ‘rangefinder’ look undoubtedly appealed to aesthetic tastes as well.

Taking the PowerShot G3 to the summit. North Cascades National Park, Washington.

Photo by Dale Baskin

It’s predecessor, the PowerShot G2, was already a popular camera, but the G3 improved on it in a number of important ways.

Most notably, the G3 featured a 35-140mm equivalent F2.0-3.0 lens that maintained a relatively fast aperture throughout the range (which wasn’t quite as fast as the G2’s 34-102mm F2.0-2.5 lens, but it provided a lot more reach). Although it had a tendency to exhibit some purple fringing in high contrast scenes, it never stuck out as a terrible problem to me. To make good use of the lens, Canon added FlexiZone autofocus and the ability to manually select from over 300 focus areas around the screen

Crossing the Dome Glacier.

Photo by Dale Baskin

It was also one of the first (if not the first) compact camera to get an internal neutral density filter, a feature that continues on G-series cameras – and many other compacts – to this day. It made the camera usable at wide apertures even in bright sunlight, and allowed for long exposures to create motion blur, such as with moving water.

Of course, the thing most people cared about was image quality, and the G3 didn’t disappoint. In Phil’s original review, he praised the G3, saying ‘The Super-Fine JPEG option delivers almost TIFF-like image quality with no JPEG artifacts or loss of detail.’

Lantern light near Juneau, Alaska.

Photo by Dale Baskin

What appealed to me were the G3’s Raw files. Although it had the same 4MP resolution as the G2, the G3 could capture 12-bit Raw files, compared to the G2’s 10-bit files. Whether this actually made a real world difference in images from those older, smaller sensors, I don’t know. But it sounded good. (Fun fact: back when the G3 came out, DPReview even made sure to tell readers how many Raw images would fit on a 1GB Microdrive. The answer is 272, if you’re curious.)

One feature that hasn’t carried through to modern day ‘G cameras’ is the optical viewfinder. The G3 had an ‘optical tunnel’ viewfinder with about 84% coverage, and beginning at moderately wide angles the lens blocked the lower left corner of the image. But it was an actual viewfinder, making it easier to take pictures in bright places, like on top of a glacier. With practice I became very adept at using it.

Sunset descent. Cascade Mountains, Washington.

Photo by Dale Baskin

As I look back at the G3 now, I realize that it was a camera designed to appeal to SLR users who wanted to go digital, but who weren’t ready to break the bank on an EOS D60. Other than interchangeable lenses, it had all the features you could want: Raw images, viewfinder, top plate LCD, PASM modes, E-TTL hot shoe, command dial on the grip, manual focus point selection, and even the ability to use filters with a bayonet adapter. And it also looked a little more like a traditional camera than the more curvy G2.

Between its relatively compact size, large feature set, and excellent Raw files, the G3 was a camera I could carry along on adventures, confident that I would be able to get the shots I wanted. And it did just that, accompanying me to the tops of mountains, through national parks, and to a few foreign countries. Just playing around with it while writing this article makes me want to go use it again.

Ah, nostalgia…

Read our Canon PowerShot G3 review


If you have a piece of gear that you’d like to write about, we’d love to hear from you – and you might even get featured on the DPReview homepage. Leave us a short note in the comments and if you have a longer story to tell, send it to us, and we’ll take it from there.

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Articles: Digital Photography Review (dpreview.com)

 
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Slideshow: Winners and finalists of Smithsonian Magazine’s 17th Annual Photo Contest

02 May

Winners and finalists of Smithsonian Magazine’s 17th Annual Photo Contest

Smithsonian Magazine recently announced the winners and finalists of their 17th Annual Photo Contest. Over 36,000 images were submitted by more than 10,000 photographers from 145 countries. A judging panel consisting of the magazine’s photo editors selected 60 images across 6 categories: Natural World, The American Experience, Travel, People, Altered Images, and Mobile.

London-based photographer Jon Enoch’s ‘Hanoi Fish Man,’ captured in Vietnam’s capital city, depicting a biker lugging around massive loads of live fish contained in plastic bags, is the Grand Prize winner. If this image looks familiar, it was shortlisted earlier this year by Sony’s annual World Photography Awards.

All 60 finalist images can be viewed here. Smithsonian Magazine is currently accepting entries for their 18th Annual Photo Contest. For more inspiration, you can follow along on Instagram, Facebook, and Twitter.

Reader’s Choice, American Experience: ‘Home Survives Direct Hit From Tornado’ by Matt Gillespie (United States)

© Matt Gillespie. All rights reserved.

Photo Location: Ellerslie, Georgia, United States

Artist Statement: This home was in the direct line of a tornado that hit Ellerslie, Georgia. Most of the trees on the property had fallen, but the house stood with minimal damage.

Winner, Natural World: ‘Adélie Penguin on an Iceberg’ by Conor Ryan (United Kingdom)

© Conor Ryan. All rights reserved.

Photo Location: Antarctica

Artist Statement: Ice-dependent animals are in perilous danger of losing their habitat. This photo shows an Adélie penguin standing on an iceberg off Devil Island, Antarctica. I like how the half-lit, sea-eroded iceberg gives the scene a sense of dichotomy. Perhaps the penguin’s indecision on which way to go, or perhaps ours.

Finalist, Natural World: ‘Tender Eyes’ by Tamara Maria Blazquez Haik (Mexico)

© Tamara Maria Blazquez Haik. All rights reserved.

Photo Location: Monfragüe National Park, Spain

Artist Statement: A gorgeous griffon vulture is seen soaring the skies in Monfragüe National Park in Spain. How can anyone say vultures bring bad omens while looking at such tenderness in this griffon vulture’s eyes? Vultures are important members of the environment, as they take care of recycling dead matter. When looking at them flying, we should feel humbled and admire them.

Winner, The American Experience: ‘Shields Strikes Back’ by Terrell Groggins (United States)

© ?Terrell Groggins. All rights reserved.

Photo Location: Detroit, Michigan, United States

Artist Statement: Olympic champion Claressa Shields (right) meets Hanna Gabriels in a boxing match at the Masonic Temple in Detroit, Michigan on June 22, 2018. Shields suffered a first-round knock-down by Gabriels—the first time that had happened in Shields’ career—but went on to win the match by unanimous decision. Shields is the first American woman to win an Olympic gold medal in boxing, and the first (male or female) to win a gold back-to-back in successive Olympic Games.

Finalist, The American Experience: ‘Playground Landscape’ by Juan Osorio (United States)

© Juan Osorio. All rights reserved.

Photo Location: Verona, New Jersey, United States

Artist Statement: This series documents the interaction of the shapes, colors and functionality of playgrounds and the people who use them with an emphasis in the color contrast between the outfits and the environment.

Winner, Travel: ‘Iceberg Tower’ by Natnattcha Chaturapitamorn (Thailand)

© Natnattcha Chaturapitamorn. All rights reserved.

Photo Location: Ilulissat, Greenland

Artist Statement: Sunset over an iceberg tower in Disko Bay.

Finalist, Travel: ‘Blooming’ by Thien Nguyen (Vietnam)

© Thien Nguyen. All rights reserved.

Photo Location: Phu Yen, Vietnam

Artist Statement: A fishing net moving underneath the water’s surface. Many local fisherman families along the coastline of Phú Yên province in Vietnam will follow the near-shore currents to catch the anchovy during peak season.

Only a small proportion of the entire catch is sold fresh, with most of it being dried or salted. Salted anchovy is the most important raw material to create traditional fish sauce; the humble anchovy becomes the spirit of Vietnamese cuisine.

Finalist, Travel: ‘Larung Gar Buddhist Academy’ by Attila Balogh (Hungary)

© Attila Balogh. All rights reserved.

Photo Location: China

Artist Statement: The world’s biggest Tibetan Buddhist institute.

Winner, People: ‘Dungan Wedding’ by Yam G-Jun (Malaysia)

© Yam G-Jun. All rights reserved

Photo Location: Bishkek, Kyrgyzstan

Artist Statement: Madina, 20, an ethnic Dungan, is covered by a red veil before she leaves for the groom’s house during wedding ceremony in Milyanfan, Kyrgyzstan. Dungans wear traditional Chinese-influenced wedding gowns, follow traditional Hui Chinese wedding ceremonies from the 19th century and practice endogamy, but due to shrinking population size, they have stopped the practice and allowed Dungans to marry other ethnicities.

Finalist, People: ‘Portrait of Endurance Athlete Anders Hofman’ by Jesper Gronnemark (Denmark)

© Jesper Gronnemark. All rights reserved.

Photo Location: Copenhagen, Denmark

Artist Statement: Portrait of endurance athlete Anders Hofman before his attempt to complete a triathlon at Antarctica.

Finalist, People: ‘The Young Dreamers’ by Sujan Sarkar (India)

© Sujan Sarkar. All rights reserved.

Photo Location: India

Artist Statement: Childhood, youth, old age. Among the three, the childhood is the most beautiful part of our life…It must be enjoyed to the fullest.

Finalist, Altered Images: ‘Follow the Herd’ by Tuan Nguyen Tan (Vietnam)

© Tuan Nguyen Tan. All rights reserved.

Photo Location: Vietnam

Artist Statement: The buffalo follow each other to new food sources at Dau Tieng Lake, Vietnam.

Winner, Mobile: ‘At Sunset’ by Victoria Gorelchenko (Russia)

© Victoria Gorelchenko. All rights reserved.

Photo Location: Moscow, Russia

Artist Statement: I was waiting for my husband in the parking lot and noticed this beautiful light.

Finalist, Mobile: ‘Loneliness in Capital’ by Farnaz Damnabi (Iran)

© Farnaz Damnabi. All rights reserved.

Photo Location: Tehran, Iran

Artist Statement: When I was going back home from work, this scene—women taking naps on public transportation— attracted my attention.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Sony a7 III vs. Canon EOS R vs. Nikon Z7 2020 rematch!

02 May

Since Chris and Jordan last compared entry-level full-frame mirrorless cameras head-to-head-to-head, Nikon and Canon have offered significant updates to the Z7 and EOS R via firmware. Take a look as they revisit their previous rankings to see how these cameras now compare to the class-leader – the mighty Sony a7 III.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Displays
  • Lens selection
  • Autofocus
  • Handling
  • Video
  • Image quality
  • Which is right for you?

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – In the Fridge

02 May

The post Weekly Photography Challenge – In the Fridge appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Yup, still indoors. And so, continuing with the indoors theme, this week’s photography challenge topic is the IN THE FRIDGE!

weekly photography challenge – in the fridge
These were taken with my smartphone. The one on the left, with a macro lens on the smartphone. As a designer, as well as a photographer, I like to explore the way colors, lines and shapes work together with multiple images. © Caz Nowaczyk

Get creative and by photographing in your fridge. You can use macro, or wide shots. You can leave things in your fridge or take them out and photograph them in a different scenario. Whichever way you choose to go, be creative, and tell your story.

Weekly Photography Challenge – In the Fridge
The color orange ties these two images together, as well as the text on the bottle. How do your images work together? © Caz Nowaczyk
Weekly Photography Challenge – In the Fridge
I chose to put these two together because of the curve mimicked in both of these images. © Caz Nowaczyk
Weekly Photography Challenge – In the Fridge
The red color ties these two images together. © Caz Nowaczyk

Check out some of the articles below that give you tips on this week’s challenge.

Tips for photographing IN THE FRIDGE

Stuck at Home? – Ways Still Life Photography Can Keep Your Skills Sharp

Simple Methods for Creating Better Still Life Images

Creative Macro Photography – A Guide to Freelensing

Five Ways to Take Your Macro Photography to the Next Level

Reverse Lens Macro: How to use it as a Great Learning Tool

6 Still Life Photography Mistakes and How to Avoid Them

Food Photography – When to Use Natural Light (and When Not To)

The dPS Ultimate Guide to Food Photography

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSintheFridge to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – In the Fridge appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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You can now operate all of Edelkrone’s motorized gear with its new ‘Controller’

02 May

Edelkrone has announced its latest product, Controller (original, we know). As its name so succinctly suggests, it’s a remote control designed to work with the company’s entire lineup of motorized dollies, heads, jibs and sliders.

Currently, all of Edelkrone’s motorized equipment is either operated via onboard controls or with the help of Edelkrone’s mobile app, but the new Controller opens up another option for those who don’t want to have to worry about yet another smartphone app.

Edelkrone says the Controller will work from up to 25m (82ft) away from the connected device(s) and offer up to 4.5 hours of battery life on two ‘AAA’ batteries. The device is constructed of CNC-machined aluminum and features an array of directional and memory buttons to adjust the various motorized equipment and recall or cycle through specific keyframes you’ve established.

The Controller can be updated via firmware and Edelkrone teases an upcoming feature in the above video that allows you to control the location of the camera by pointing and rotating the controller in your hand.

The Controller is currently available through Edelkrone’s online shop for $ 129; batteries aren’t included though, so either make sure you have some on hand or snag the optional four-pack of ‘AAA’ batteries and charger Edelkrone sells for $ 24.

Articles: Digital Photography Review (dpreview.com)

 
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Forthcoming USB4 will power displays up to 16K at 60 fps thanks to DisplayPort 2.0 ‘Alt Mode’

02 May
DisplayPort logo on a USB Type-C device notes VESA certified DisplayPort Alt Mode support.

The next-generation USB protocol will combine its functions with those of a DisplayPort, allowing users to run extreme resolution monitors or to connect and power external devices from the same port type.

The Video Electronics Standards Association (VESA) has worked alongside the USB Implementers Forum (USB-IF) to develop the DisplayPort Alternative Mode standard which ‘provides seamless interoperability with the new USB4 specification.’ This new functionality means the new USB 4 standard will be able to take on all the roles of the forthcoming DisplayPort 2.0 standard.

DisplayPort Alt Mode will allow users to not only run high-resolution monitor from a USB-C socket but also transfer data and deliver power to external devices

As reported in July 2019 DisplayPort 2.0 will provide communication speeds of up to 70 Gigabits per second (Gb/s) to allow users to run monitors with resolutions up to 16K at 60fps, as it will offer three times the current data rates of DisplayPort 1.4.

The new USB 4 standard, however, will allow up to 80 Gigabits per second, which DisplayPort Alt Mode will be able to take advantage of via the USB Type-C connector. As much as these speeds are exciting for those interested in super-resolution monitors that don’t yet exist, for the majority, it means being able to run multiple high-resolution screens and data-hungry devices at the same time, all without sacrificing frame rates.

We should expect to see devices supporting these new standards by 2021, according to the press release. For more information see the DisplayPort and USB-IF websites.

Press release

{Pressrelease}

VESA Releases Updated DisplayPort™ Alt Mode Spec to Bring DisplayPort 2.0 Performance to USB4™ and New USB Type-C® Devices

The Video Electronics Standards Association (VESA®) today announced that it has released version 2.0 of the DisplayPort™ Alternate Mode (“Alt Mode”) standard.

DisplayPort Alt Mode 2.0 provides seamless interoperability with the new USB4™ specification published by the USB Implementers Forum (USB-IF), and fully enables all of the features in the latest version of the DisplayPort standard (version 2.0) through the USB Type-C® (USB-C) connector. With DisplayPort Alt Mode, the USB-C connector can transmit up to 80 Gigabits per second (Gbps) of DisplayPort video data utilizing all four high-speed lanes in the cable, or up to 40 Gbps with simultaneous SuperSpeed USB data delivery. VESA anticipates first products incorporating DisplayPort Alt Mode 2.0 to appear on the market in 2021.

DisplayPort 2.0, which was introduced in June 2019, provides up to a 3X increase in data bandwidth performance compared to the previous version of DisplayPort, as well as new capabilities to address future performance requirements of displays. These include beyond-8K resolutions, higher refresh rates and high dynamic range (HDR) support at higher resolutions, improved support for multiple display configurations, as well as improved user experience with augmented/virtual (AR/VR) displays, including support for 4K-and-beyond VR resolutions. Featuring the highly efficient 128b/132b channel coding shared with USB4, DisplayPort 2.0 delivers a maximum payload of 77.37 Gbps across four lanes (up to 19.34 Gbps per lane)—supporting ultra-high display performance configurations such as an 8K (7680×4320) display with 60 Hz refresh rate with full-color 30 bpp 4:4:4 HDR resolution uncompressed, and 16K (15360×8460) 60 Hz display with 30 bpp 4:4:4 HDR resolution with compression. With the release of DisplayPort Alt Mode 2.0, all of these high-performance video capabilities are now available to the USB ecosystem.

“VESA’s updated DisplayPort Alt Mode spec includes a number of under-the-hood developments—including updates to interface discovery and configuration as well as power management—to ensure seamless integration with the USB4 specification,” stated Craig Wiley, senior director of marketing at Parade Technologies, and VESA board member and DisplayPort Alt Mode sub-group leader. “This major undertaking, which was several years in the making, could only be made possible through the combined efforts of VESA and the USB-IF. Through our latest collaboration with the USB-IF, VESA is now taking care of everything related to high-performance displays over USB-C, whether through a native DisplayPort or USB-C connector, or through tunneling of DisplayPort over the native USB4 interface. DisplayPort is also tunneled through the Thunderbolt interface, making it the de facto video standard across PC and mobile displays.”

“USB Type-C is becoming the connector of choice in notebooks and mobile solutions. With the new DisplayPort Alt Mode 2.0 specification, USB Type-C now delivers compelling single-connector solutions for docking, gaming, AR/VR HMDs, and professional HDR displays that combine 80 Gbps of video bandwidth and other important features of DisplayPort 2.0 with the transport of USB data and power delivery,” said Syed Athar Hussain, VESA board vice chairman and display domain senior fellow, AMD.

“Intel’s contribution of the Thunderbolt™ PHY layer specification to VESA for use in DisplayPort 2.0 was a significant milestone, and it underpins this new DisplayPort 2.0 Alt Mode specification to provide data rates up to 20 gigatransfers per second,” said Jason Ziller, general manager, Client Connectivity Division at Intel. “This contribution ensures great user experiences by enabling today’s most versatile port with the highest performing display capabilities.”

{/pressrelease}

Articles: Digital Photography Review (dpreview.com)

 
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Lexar release new ‘Professional’ 3-in-1 and ‘Compact’ 2-in-1 card readers

01 May

Lexar has announced a pair of new multi-card readers, the Professional Multi-Card 3-in-1 Reader and the Compact Multi-Card 2-in-1 Reader.

Professional Multi-Card 3-in-1 Reader

The Professional Multi-Card 3-in-1 Reader features slots for SD, microSD and CompactFlash cards, with transfer speeds up to 312MB/s for UHS-II SD and microSD cards, and up to 160MB/s for CompactFlash cards. The reader is also backward-compatible with UHS-I SD and microSD cards up to 170MB/s and features a USB 3.1 (Type C) port for connecting to your computer or mobile device.

The Lexar Professional Multi-Card 3-in-1 Reader, which comes with a USB Type-C to USB Type-A cable, will be available to purchase later this month for $ 29.99 at authorized Lexar retailers.

Compact Multi-Card 2-in-1 Reader

Lexar has also announced the Compact Multi-Card 2-in-1 Reader built around a USB Type-A (3.1) connector that features maximum transfer speeds of 312MB/s through its two slots for USH-II SD and microSD cards. It too is backward-compatible with UHS-I SD and microSD cards with transfer speeds up to 170MB/s.

The Lexar Multi-Card 2-in-1 USB 3.1 Reader will also be available later this month for $ 19.99 at authorized Lexar retailers.

Articles: Digital Photography Review (dpreview.com)

 
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