Skylum Software has increasingly utilized artificial intelligence in its editing software, including its flagship raw photo editing software, Luminar. Skylum has used AI for tasks such as automatically adjusting the color and exposure of an image and even replacing the entire sky in an image. With the newly-announced version of Luminar, aptly dubbed LuminarAI, Skylum has taken the implementation of AI even further.
Skylum has designed LuminarAI to automate as much of the photo editing process as possible while never removing the user from making creative decisions with their images. The idea is to streamline the process and make photo editing more accessible for beginners while offering even more powerful editing tools for experienced users. As Skylum puts it, LuminarAI uses artificial intelligence to remove ‘boring and complex tasks without sacrificing professional quality.’
Image credit: Skylum Software
Of LuminarAI, Skylum CPO Dima Sytnik says, ‘LuminarAI will bring an entirely new, non-conventional approach to the world of photo editing, focusing on the results instead of the process. We’ve designed LuminarAI from the ground up to change how people interact with their images. We’re really excited to see what LuminarAI can do for creatives everywhere.’
Artificial intelligence begins operating as soon as you select an image in LuminarAI. The software analyzes your image and recommends certain templates to help improve a specific image. Although AI is present throughout the entire process, you retain complete control over which edits are made and how they are applied.
LuminarAI can automatically crop and straighten your images via CompositionAI and automatically adjusts exposure and color via AccentAI, a feature longtime Luminar users will recognize. To add detail and texture to your image, LuminarAI includes StructureAI.
LuminarAI includes SkinAI to easily retouch skin and remove blemishes. There is also IrisAI, allowing the user to quickly enhance a subject’s eyes. Image credit: Skylum Software
The portrait retouching process includes numerous new AI-powered tools for photographers. If you’d like to change the shape or relative size of parts of the subject, you can utilize BodyAI and FaceAI to gently sculpt. If eyes are truly the window to the soul, you’ll want to use IrisAI to enhance a subject’s eyes. Skin retouching is often a time-consuming process in software such as Photoshop, but in LuminarAI, Skylum includes SkinAI to quickly remove imperfections and blemishes in the skin without making the subject look fake or unnatural.
Image credit: Skylum Software
Landscape photographers will be able to enhance the sky in their image with the existing Sky Enhancer feature, but there’s a new AtmosphereAI tool as well to add additional details to the sky. Of course, you will still be able to entirely replace the sky in your photo using SkyAI in LuminarAI. Within SkyAI, you can add warmth to the scene and even add rays of light.
LuminarAI includes numerous features aimed at enhancing landscape images. You can replace the sky, add rays of light, add warmth to the scene, enhance the sky and more. Image credit: Skylum Software
LuminarAI is releasing this holiday for macOS and Windows. The software will be available as both a standalone application and as a plug-in. To learn more about LuminarAI and to preorder via early-bird pricing, visit Skylum’s new LuminarAI page.
Canon Australia has announced the release of the PIXMA PRO-200, Canon’s latest professional desktop photo printer.
Although the PRO-200 is the successor of the PIXMA PRO-100, it takes its design cues from Canon’s more advanced imagePROGRAF lineup, and looks indistinguishable from the imagePROGRAF PRO-300, aside from a few small details.
The new A3+ printer features a new eight-color dye ink system, an increase in two cartridges from the PRO-100 and one fewer catridges than the imagePROGRAF PRO-300. Canon says a standard high-quality A3+ (11”x14”) bordered color print can be completed in 90 seconds and the printer now features better media capabilities, with ‘the ability for professional photographers to print on a range of photo paper surfaces and finishes up to 0.6mm thickness in addition to producing panorama size prints and gallery wrap support functions.’
The maximum print resolution is 4800 (horizontal) by 2400 (vertical) dpi and printing is done via 6,144 total nozzles (768 per ink color).
The PRO-200 offers three connection methods: Wi-Fi, ethernet and USB, and has a three-inch LCD display on the front to view settings, ink capacities and navigate through the menu. It measures in at 639mm (25.2”) by 379mm (15”) by 200mm (7.9”) and weighs approximately 14.1kg (32lbs).
No mention of pricing or availability has been made at this time, but you can peruse the product page on Canon Australia’s website. We’ve contacted Canon for additional details and will update the article accordingly if we receive a response.
The post Tips For Making Someone Comfortable in Front of the Camera appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
For many photographers, making someone comfortable in front of the camera is a huge challenge. It’s often so difficult that they shy away from photographing people altogether. Or they only photograph people candidly with a long lens.
Much has been written about camera control, composition, and other aspects of photography. These things require no relationship skills.
But when you photograph people, making your subject comfortable is often essential.
When a person does not like having their photo taken, it shows in their expression. Your camera captures this. That’s why you need to help your subject overcome their anxiety about being photographed (which is particularly difficult for shy photographers).
Here are fifteen tips for making someone comfortable in front of your camera.
Tip #1: Provide instructions before the photo session
Prepare your subject before the photo shoot. Talk about what they will wear. Suggest the best time of day.
Take into account the timing. Will they be needing to rush away to another appointment? Having plenty of time is helpful.
Turning up to a portrait session with no ideas is not a good way of making someone comfortable. Talk with your subject prior to the photo session and share some of your ideas.
Talk with them about what they want. Tell them your ideas for the portrait session, and ask if they have anything specific in mind.
Be positive, even if you don’t like what they are suggesting. If you follow through with their suggestions, it will help them feel included. They’ll then be more likely to relax and enjoy themselves.
Tip #3: Choose a good location where your subject will be comfortable
You may use a certain location because you love it. But your subject may not like it at all. Check with them first.
There’s no point picking a place to photograph that will make your subject uncomfortable.
Often, it’s best to find somewhere away from where other people will be. If your subject is uncomfortable being photographed, they will not want to do the session in a location where others can see the process.
Arrive at the location of your photo session plenty of time before your subject does. Scope out the location. How is the lighting? What will be in the background? Figure out the best combination of these things and some places to position the person you’re photographing.
This may not seem relevant to making someone comfortable, but it is. The more you can sort out these issues in advance, the more you’ll be able to give your attention to your subject when they arrive.
Make sure your camera equipment is set and ready to use. Are your camera batteries charged? Do you have enough space on your cards? Will you need to use your flash or a reflector?
Know what exposure mode you’ll use. Set up your camera as much as possible before the person you’re photographing even arrives.
Having your gear set and ready to use allows you to concentrate more on your subject and on other aspects of photography. Making someone comfortable requires you to pay more attention to the subject than to your camera.
Be there for your subject and let them know it. Don’t rush in and start taking photos immediately. Spending time having a conversation will help them relax and build confidence in you.
Focus the conversation on them and keep it positive. Don’t discuss how difficult it was to find parking, and don’t discuss politics. These topics are not uplifting and will not help make someone comfortable.
Show you are interested in who they are. Asking people questions shows you care about your subject and will help build their confidence.
Explain to your subject that when they’re stressed, this will show in the photographs. You know they need to relax and why, but they may not know this. You need to take some time to explain it to them.
People often don’t look the same way in a photograph as they do in the mirror. Even if they’re stressed and see their reflection in a mirror, it’s different than the way they will look when being photographed if they are not relaxed. They will not like what they see in the photos. It’s vital that you overcome this, and explaining your reasons will often help matters.
If you get the sense that a person is uncomfortable being photographed, talk to them about it before the photo session. Then remind them again before you start taking photos. Give them time to think about what you’ve said and continue your conversation. It’s almost like giving someone a mental massage to help their mind relax.
Frequently commenting on how good a person looks will help them have confidence and feel more relaxed. Be careful to be genuine. Notice moments when your subject is more open and carefree. These are the times to compliment them as you are taking their photographs.
Tell them how happy you are with the photos you are taking. Talk to them about their smile and how good their hair looks. Mention positive aspects about the clothing they have chosen. Talk about how nice they look in a certain pose.
Don’t overdo the compliments or you’ll start to sound fake. Keep it balanced and be gentle but honest if something doesn’t look right.
You can almost always find some aspect of a person’s hair or clothing that needs a little tweaking. Even when you can’t see anything out of place, tweak anyway!
Paying attention to these details and putting them right does two things. It’ll make your photos better, and it will help make your subject comfortable. They will feel good that you’re paying attention to them and you’re focused on making them look good.
Put a little distance between your camera and your subject. Getting too close may not be comfortable for them. Using a 105mm or 135mm lens will provide a convenient distance.
Don’t use a monster of a lens. This can be intimidating. It’s one reason I am not a fan of 70-200mm f/2.8 zooms; they are so bulky and can be off-putting.
A little further into the photo session, you can consider coming in closer with a 50mm or 35mm lens. The person you’re photographing will need to feel good about you being this close. If they are comfortable at closer distances, your photos will be more intimate than ones taken with a long lens.
Tip #11: Show your subject the photos you’re taking
The monitor on the back of a digital camera is a great tool for making someone comfortable. When you show them how good they’re looking, it’ll build their confidence.
This young woman was surprisingly uncomfortable when I came to photograph her and some of her friends. She was part of a drama group, and I’d observed her confidence on stage in front of a crowd. But the self-assurance was missing when she was in front of my camera for the first time. Once I’d taken a few good photos, I showed them to her. She was impressed, so she immediately relaxed and enjoyed the photo session greatly.
Take time to do what you do well. Don’t be in a rush. Work carefully. Check your camera settings. Review your photos and make changes when you need to. Don’t work so fast you miss when you are making mistakes (because they will happen).
Plan for the photo session to last more time than you think it will. If you have extra time at the end, buy the person you’re photographing a coffee. This might be another opportunity for a few more nice pictures of them.
Use props or another person to help draw attention away from yourself and your camera. When someone is nervous about being photographed, it can help when they are distracted. They are more likely to look relaxed and natural when they are not paying attention to your camera.
When photographing a bride at a wedding, I’d often get the groom to stand just behind me and have him talk to his bride. There’s no way I’d get the same look from a bride as when she’s looking at her groom.
For this photo, I asked the subject to pretend to talk on her phone, as I thought this might help. It worked very well. Later she told me that she had actually called a friend and was talking to her, so she was totally distracted.
Have a nice manner and be positive; this will help you inject some fun into the photo session. When people are happy and relaxed, you’ll certainly get better photos of them.
Come up with some things that you can talk about or funny stories you can tell. Try to laugh together when things don’t go exactly as planned. If you have a positive attitude, this will rub off on the person you are photographing.
Tip #15: Be confident and your subject will be confident in return
Confidence in what you are doing is vital. Don’t be brash and boastful. Don’t bamboozle people with your photography knowledge or with how good your camera is. Just use your camera with certainty. If you are stressed and nervous yourself, the person you are photographing will feel uncomfortable.
Being quietly confident in what you’re doing, even if you’re a shy photographer, will help your subjects relax. Your mood and attitude will be reflected back to you by the people you are photographing.
Making someone comfortable is as important as getting your camera settings correct. So often I see portraits of people where it’s obvious they were not relaxed. As a photographer, it’s your mission to ensure the person you’re taking pictures of looks good. Much of this depends on how relaxed and confident the subject feels.
And I am not satisfied with the portraits I take unless my subject is, too.
Let me know in the comments below which of these tips you find the most helpful. Please also share other techniques you use for making someone comfortable when you are photographing them.
The post Tips For Making Someone Comfortable in Front of the Camera appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
On Tuesday, Microsoft introduced Video Authenticator, a new AI-powered tool that analyzes still images and videos to determine the likelihood that they feature digital manipulation. The tool is designed to address the growing problem of ‘deepfakes,’ a type of highly realistic manipulated content generated or modified by artificial intelligence systems.
Deepfake refers to images, videos and audio modified using AI tools. Though this technology can be used creatively, it is most associated with manipulating media to present something that didn’t happen in real life. This could include, for example, a video of a politician saying something they never said or doing something they never did.
Because these deepfakes are created using machine learning algorithms, the resulting content is typically very high quality and difficult (or impossible) for someone to discern from authentic media just by looking at it or listening to it. The solution to AI manipulation is another AI trained to spot the changes.
Microsoft has introduced Video Authenticator under its Defending Democracy Program, pointing out that dozens of ‘foreign influence campaigns’ targeting countries around the world have been identified in the past several years. These campaigns are intended to manipulate the public into certain beliefs or ideologies; others attempt to stir up debate and further polarize groups against each other.
Of 96 different campaigns identified (PDF) in part with support from Microsoft, 93% of them involved original content, which can be particularly difficult to detect. Microsoft explains that while ‘no single technology will solve the challenge of helping people decipher what is true and accurate,’ its Video Authenticator is an important tool that will help counteract disinformation by detecting subtle evidence of AI involvement in its creation.
Though Video Authenticator isn’t a long-term solution to what is inevitably an evolving technology, Microsoft explains that ‘in the short run, such as the upcoming U.S. election, advanced detection technologies can be a useful tool to help discerning users identify deepfakes.’
Video Authenticator works by analyzing every frame in a video, as well as still images, and assigning them a ‘percentage chance,’ also called a confidence score, that indicates its likelihood of having been manipulated. When analyzing videos, Video Authenticator presents users with a realtime percentage for each frame.
In a sample provided by Microsoft, the tool isn’t able to detect evidence of manipulation in every frame; some pass without triggering the system, while others may have enough greyscale elements, blending boundaries, subtle fading or other aspects to trigger the detection system.
Ultimately, Video Authenticator is just the start. Microsoft explains:
We expect that methods for generating synthetic media will continue to grow in sophistication. As all AI detection methods have rates of failure, we have to understand and be ready to respond to deepfakes that slip through detection methods. Thus, in the longer term, we must seek stronger methods for maintaining and certifying the authenticity of news articles and other media. There are few tools today to help assure readers that the media they’re seeing online came from a trusted source and that it wasn’t altered.
Microsoft isn’t making Video Authenticator available to the public in order to protect it against manipulation that may hamper the effort.
Video Authenticator is the latest example of a deep learning algorithm designed to counter the negative use of other AI algorithms. Last year, for example, Adobe Research and UC Berkeley introduced a method for detecting subtle face manipulations made using the Face Aware Liquify tool in Photoshop.
Conversely, we’ve also seen AI-based technologies that empower users to better protect themselves in this new digital landscape. Most recently, researchers with the University of Chicago SAND Lab released a free tool that uses AI to subtly ‘cloak’ images of one’s own face in order to poison facial recognition algorithms trained to recognize them.
Nearly one year after its development announcement (which was itself a year after the original idea of producing an F1.0 XF lens), we’ve gotten our hands on a pre-production copy of the Fujifilm XF 50mm F1.0 R WR. Offering a 75mm-equivalent field of view, it’s the fastest-aperture mirrorless lens with autofocus that we’ve yet seen, and of course, offers wonderfully smooth blurred backgrounds for whatever subject you’re pointing it at. Take a look through our sample gallery to get a sense of how it performs.
Fujifilm has formally announced its XF 50mm F1.0 R WR portrait prime lens, the world’s first F1.0 lens for mirrorless cameras that includes autofocus capability. It’s also the 35th lens Fujifilm has developed for its lineup of X-series cameras.
The XF 50mm F1.0 has 12 elements in nine groups, and contains one aspherical element and two extra-low dispersion (ED) elements. It has a rounded diaphragm and its wide maximum aperture means that, paired with Fujifilm’s X-Pro3 and X-T4 cameras, users can autofocus at a luminance level of -7EV. That’s dimmer than a night lit by a quarter moon.
The wide, focus-by-wire focus ring gives users 120° of rotation, allowing for precise movements. It weighs in at 845g (1.86lb), and is dust, moisture and freeze resistant down to temperatures of -10°C (14°F).
Fujifilm says the XF 50mm F1.0 R WR will be available in Fall 2020 at a price of $ 1499 USD ($ 2000 CAD).
Press release:
Heralding a new age of portrait photography: FUJINON XF50mmF1.0 R WR Lens
Introducing the world’s first F1.0 lens with Autofocus*1
Valhalla, N.Y. – September 3, 2020 – FUJIFILM North America Corporation is pleased to announce the launch of the FUJINON XF50mmF1.0 R WR Lens (hereafter “XF50mmF1.0 R WR”), the world’s first autofocus lens with a maximum aperture of F1.0, designed for mirrorless cameras. The XF50mmF1.0 R WR is the 35th interchangeable lens for the lineup of X Series digital cameras.
“We’re really excited about the XF50mmF1.0 R WR,” said Victor Ha, senior director of marketing and product management for the Electronic Imaging Division of FUJIFILM North America Corporation. “Not only is it the fastest interchangeable lens Fujifilm has ever produced, but it’s also an incredible tool for visual storytellers to use in telling their stories because its autofocus can achieve critical focus at very shallow depth of fields.”
XF50mmF1.0 R WR Features:
Achieves an Incredibly Shallow Depth-of-Field
The XF50mmF1.0 R WR consists of 12 lens elements in nine groups and also contains one aspherical element and two extra-low dispersion (ED) elements to achieve optimum control of spherical aberration. Used at or near to its maximum F1.0 aperture, XF50mmF1.0 R WR can produce an astonishingly narrow depth-of-field. Its precision-engineered, rounded diaphragm produces large, smooth bokeh for a professional look. Use this new power in selective focus to keep only the subject’s eyes in focus and to create captivating, close-up character images. “But it’s not just for portraits,” said Ha. “Take this lens out onto the street or into a lifestyle session and you’ll turn cluttered locations into clean backdrops with unrivaled subject separation.”
More Options in Low-Light Conditions
The very wide, maximum aperture on XF50mmF1.0 R WR means there are more options when it comes to making images in low-light conditions. At night, or in darkened interiors, XF50mmF1.0 R WR offers the widest apertures yet seen on an XF Lens, allowing more light to be drawn in when capturing your image. The FUJINON XF50mmF1.0 R WR lens also easily achieves fast shutter speeds that freeze movement and keep ISO settings lower for detail-rich results. Alternatively, combine high ISO settings with the F1.0 aperture for incredible versatility and use in other low-light applications like astrophotography.
World’s First F1.0 Autofocus Lens for Mirrorless Cameras
As the world’s first autofocus F1.0 lens made for any mirrorless system, including full-frame, XF50mmF1.0 R WR brings more light to the sensor than any previous XF lens, making it possible for the autofocus to operate on FUJIFILM X-Pro3 and X-T4 cameras at -7EV luminance level. Leaving behind a previous limit of -6EV luminance level with other XF lenses X Series users now have fast and precise low-light autofocus, even in near-darkness. With the added benefits of on-sensor Phase Detection Autofocus (PDAF), Face/Eye AF and a powerful DC (direct current) motor, precise and fast autofocus at shallow depths of field is now also a possibility.
120° of Precise Focus
To make the most of its super-shallow depth-of-field, focusing must be precise. As a result, XF50mmF1.0 R WR has a focus ring that has been designed to be more accurate than any previous XF Lens. This makes it possible to adjust the focus from the minimum focusing distance to infinity very precisely. For this, XF50mmF1.0 R WR uses 120° of rotation in its focusing ring to let you focus manually with minimal error – and to achieve accurate focus when using your X Series camera’s Focus Peaking and Focus Assist modes. The 120° of rotation also makes autofocus movements notably precise and deliberate, while the lens’ engineering is designed to minimize focus shift effects during image making.
Lightweight, Durable, Weather-Resistant Design
Despite being a fast, F1.0 lens, XF50mmF1.0 R WR is a lens you can use to make amazing pictures almost anywhere. Measuring 4.07in (103.5mm) long and weighing 1.86 pounds (845 grams), the lens is still quite compact and portable. Like all other weather-resistant XF Lenses, it is sealed in 11 locations to protect against moisture and dust, as well as being capable of use in temperatures down to 14°F (-10°C). When allied to a similarly specified, weather-resistant X Series mirrorless digital camera body, XF50mmF1.0 R WR lets you make unique images in the toughest environments.
Pricing and Availability
The XF50mmF1.0 R WR lens is expected to be available in Fall 2020 at manufacturer’s suggested retail prices of $ 1,499.95 USD ($ 2,000.00 CAD).
For more information, please visit https://fujifilm-x.com/en-us/products/lenses/xf50mmf1-r-wr/.
*1 Among interchangeable lenses for mirrorless digital camera systems as of September 3, 2020, according to Fujifilm data
Fujifilm’s fastest lens is here – the new XF 50mm F1.0 R WR is a versatile low-light lens aimed at portrait photographers and creative photographers that need extremely narrow depth-of-field. Read on to learn more.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
The gestation period of the new Fujifilm XF 50mm F1.0 R WR has been lengthy – originally planned as a 33mm, the company’s engineers ultimately decided that the size, weight and cost penalties incurred by the wider field of view weren’t practical. Hence: Fujifilm’s fastest-ever lens is now a 50mm – or 75mm equivalent on the company’s X-series APS-C mirrorless interchangeable lens cameras.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
Despite being ‘downsized’ at the design stage, the XF 50mm F1.0 is still far from a small lens, and weighs in at a considerable 845g (about 1.9lb) without the included (and very effective) hood or front / back caps. That’s a good deal heavier than the X-T4 shown here (526g, or 1.2lb).
Despite its weight, the mass is well-distributed, and the lens doesn’t feel too heavy or unbalanced on the (relatively chunky) X-T4. It’s unlikely to handle so well on many of Fujifilm’s smaller ILCs, but it’s also much less likely to be purchased alongside one of them.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
As we’d expect for a high-end Fujifilm XF lens, the 50mm F1.0 features a large faux-mechanical aperture ring, for direct control over aperture, on the lens. By setting it to ‘A’, aperture can be automatic or manually controlled via the camera body in M and Av modes depending on your settings.
The broad knurled ring towards the top of this image is the focus ring, which offers ‘focus by wire’ control over manual focus, and it moves smoothly, offering fine-grained control over exact focus position.
Automatic focus is usable but (no surprise) not exactly fast, and because depth of field at wide apertures is so narrow, we did experience occasional issues with focus ‘hunting’ when a scene was heavily defocused.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
Offering an equivalent focal length of 75mm, this is a perfect lens for traditional portraiture. Don’t expect to be taking any closeups though – the minimum focus distance of 0.7m limits the maximum magnification ratio to 0.08x. Basically, in our shooting, there were several times when we found that we wanted to get closer to our subjects than we were able to.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
Optically, the XF 50mm F1.0 is pretty complex, and construction comprises 12 elements in nine groups, including one aspherical and two ED (Extra-low Dispersion) elements. The front element is concave, and considering this is an APS-C lens, the front filter ring is relatively large, at 77mm.
Nine rounded aperture blades ensure circular bokeh at wide apertures – something that keen portrait photographers will appreciate.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
The ‘WR’ in the lens name stands for ‘weather resistant’ and the XF 50mm F1.0 is sealed against dust and moisture incursion. You can see the rearmost gasket (which forms a seal against the camera lens throat) in this picture – it’s the black rubber ring around the outside edge of the mount. It’s also rated for operation in temperatures down to 14°F (-10°C).
The XF 50mm F1.0 will go on sale this fall for $ 1500 USD.
After multiple promises to release such a device, Chinese company ZTE has officially unveiled the Axon 20 5G, the first smartphone to feature a selfie camera located beneath the display. The mid-range handset, which is otherwise unremarkable, was introduced by the company on Tuesday, but questions on availability remain.
The Axon 20 5G is the first smartphone brought to market that features a front-facing camera under the display, something ZTE says was made possible using a variety of ‘high transparency material that includes new organic and inorganic films’ in addition to image software, The Verge reports.
Quite obviously, this design means the Axon 20 5G does not feature a visible selfie camera, rather presenting users with a clean, uninterrupted display free of notches, hole punches and thick camera-packing bezels. The actual quality of images produced by the hidden camera remains unclear, however, due to the current lack of reviews and sample photos.
The camera located beneath the display packs 32MP; it is joined by a 64MP primary rear camera alongside an 8MP ultra-wide and 2MP depth/macro cameras. The primary camera supports video recording at up to 4K/60fps with real-time HDR and real-time subtitles.
Novelty aside, the Axon 20 5G is a solidly mid-range device packing a 6.92in 20.5:9 FDH+ OLED display with 10-bit 1.07B color and 100% DCI-P3, as well as a 90Hz refresh rate. Circling back to the unique hidden camera, ZTE’s website explains that this unit features high-transparency micron-level material, a ‘special pixel matrix,’ triple selfie algorithm, an integrated circuit and an independent driver chip.
The light sensor, sound system and fingerprint sensor are likewise hidden beneath the display, according to ZTE, which has packed a Qualcomm Snapdragon 765G processor and Adreno 629 GPU under the hood. Other features include an ‘AI performance engine,’ smart power-saving mode, ‘liquid cooling circulation,’ carbon nanofiber thermal pad and nano-level textured design.
Buyers will have two models to choose from, one featuring 128GB of storage and 6GB of RAM, the other featuring 256GB of storage and 8GB of RAM. Both variants will feature a microSD card slot, 4220mAh battery and support for 5G. At this point in time, ZTE is only offering the Axon 20 5G model in China for the equivalent of around $ 320 starting price. It’s unclear whether the model will get an international release.
Lomography is back with the announcement of its latest, well, back. The LomoGraflok 4×5 Instant Back is the world’s first Instant Back for 4×5 cameras designed for Fujifilm Instax Wide film.
Developed in collaboration with large format photography professionals as a substitute for the peel-apart Polaroid film discontinued back in 2016, the LomoGraflok 4×5 Instant Back works with all Graflok-equipped 4×5 cameras and uses a light-tightened film ejection unit to push out the Instax Wide film shots after capture.
Below are a few sample photos, shared by Lomography:
The device is constructed of plastic, is powered by four ‘AA’ batteries (LR6) and features an automated frame counter so you know how many shots are left. It measures in at 181mm (7.13”) tall, 120mm (4.72”) wide and 50mm (1.97”) deep, and weighs roughly 500g (1.1lbs).
Below is a guide on how to use the LomoGraflok 4×5 Instant Back:
The LomoGraflok is currently available to pre-order on the Lomography website for $ 134 (MSRP will be $ 149 once launched). The first units are expected to ship in April 2021.
The post 5 Reasons to Get Photoshop Express on Your Phone appeared first on Digital Photography School. It was authored by Ana Mireles.
Adobe has developed many Photoshop apps, but none are as popular as the desktop version (Photoshop CC). That said, maybe it’s time for this to change, at least for one of Adobe’s apps: Photoshop Express.
In this article, I’ll tell you five reasons why I recommend you give Photoshop Express a try.
Adobe decided to introduce three different apps to cover the full range of editing that Photoshop can offer: Photoshop Fix, Photoshop Mix, and Photoshop Express. In this article, I’m going to talk about Photoshop Express, and why I believe it’s worth downloading.
1. It’s free
Unlike the desktop version of Photoshop, you don’t need a Creative Cloud subscription in order to use Photoshop Express.
You can download the app for free, and you’ll get access to all the features and updates.
You do have to create an Adobe account, though (one that also allows you to use a limited version of Lightroom Mobile).
2. It’s social
A very important thing for a photo editing app is the social aspect. You want to snap and share photos with ease.
Adobe took this into account when designing the cropping tool. With Photoshop Express, you can crop your images using the array of predetermined sizes for Facebook, Instagram, Pinterest, LinkedIn, Etsy, and most other major social networks.
For example: When cropping for Facebook, you can choose from the Page Cover, the Event Cover, the Profile Cover, the Profile, or the Ad.
Of course, you can then share your photo directly from the app. From there, you can also add a watermark, send the image to Creative Cloud if you are a subscriber, send the image to a printer, and more.
3. You control size and compression
Unlike many other editing apps, Photoshop Express lets you choose the size and quality of your file before saving or sharing it.
You can set a default JPEG Quality and a default Image Size in the Preferences of the app. To set this up, tap on the menu (in the top-left corner). Then go to Preferences and then Save Options.
You can also change size and quality in the final stage of your saving or sharing process. Before you choose the destination of your image, click on the settings below the thumbnail (so you can modify them).
4. You can work with RAW files
A RAW file is like a digital negative. It saves the information from the shot prior to processing; that way, you have much more to work with when you’re editing, and the quality will be superior.
Of course, this means that the file size will be bigger, so keep an eye on your storage space. If you have a camera, you probably know that each brand has its own RAW files. For example, Canon uses CRW/CR2/CR3, while Nikon uses NEF/NRW. A standard and open-source RAW format is a DNG file, which is what you get if you shoot using Lightroom Mobile.
On the left, you can see how a RAW file is clearly marked in the gallery. That one was shot using the camera from Lightroom Mobile. On the right, you see the post-processed version of that file (edited using Photoshop Express).
5. You can do all your post-processing
Last but not least, the editing capabilities of Photoshop Express are top-notch. After all, the app was created by a company that has been leading the post-processing market for decades.
That said, Photoshop Express won’t reach the level of editing that you can do with the desktop version of Photoshop. That’s why there are three apps.
However, if you consider that Photoshop Express is free and won’t take up all your phone storage space, it’s actually very good.
Snapshot made with a Redmi Note 8, later post-processed in Photoshop Express.
Also, Photoshop Express includes many presets for looks, effects, stickers, frames, etc. That way, you can do some serious post-processing, or you can just create fun posts for your social media feed.
Conclusion
With so many editing apps on the market, it’s difficult to make a choice; sometimes you end up downloading a different app for each purpose.
However, Photoshop Express has proven to be an all-purpose and well-rounded app.
And if you have an iPhone, you’ll get some additional features.
Share in the comments if you decide to try Photoshop Express, and let me know what you think.
The post 5 Reasons to Get Photoshop Express on Your Phone appeared first on Digital Photography School. It was authored by Ana Mireles.
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