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Friday Feature: 2018 National Geographic Photo Contest entries

17 Nov

2018 National Geographic Photo Contest (Week 1 and 2 entries)

Photo and Caption by Brian Hammonds / National Geographic Photo Contest

CLIMBERS OVER SEOUL

Rock climbers can be seen from Bukhansan’s Peak outside of Seoul, South Korea. The size of the South Korean mega-city is hard to imagine without visiting.

National Geographic has shared the first collection of entries from its 2018 photography contest. The photographs, which fall under the categories of ‘wildlife, people, and places’ showcase beautiful scenes and subjects from all over the world. To see more editor-selected entries, head over to National Geographic’s website.

2018 National Geographic Photo Contest (Week 1 and 2 entries)

Photo and Caption by Eduard Gutescu / National Geographic Photo Contest

THE SHEPHERD FROM TRANSYLVANIA

On the Carpathian mountains in the region of Bran village i found this authentic shepherd. His name is Nea DAN. It was a real joy to listen to his life story as a shepherd .

2018 National Geographic Photo Contest (Week 1 and 2 entries)

Photo and Caption by Eduard Gutescu / National Geographic Photo Contest

FLY OVER TRANSYLVANIA PARADISE

Fundatura Ponorului is a remote village from Transylvania in the Carpathian mountains where people have been living in harmony with nature for hundreds of years . The main activity is animal breeding. The hay gathering is the main activity that takes place during the summer and is the main source of food for animals during winter time .

2018 National Geographic Photo Contest (Week 1 and 2 entries)

Photo and Caption by Yaron Schmid / National Geographic Photo Contest

BABY TEETH

We spotted a pride of lions sleeping on top of the kopjes in the Serengeti, and as we got closer to the rocks, we saw that there were quite a few cubs in that pride. The best moment was when 3 of the young cubs started chasing, playing and biting their mom’s tail as if they were kittens that were playing with yarn. I can’t remember when was the last time that I laughed so hard as I did watching these guys.

2018 National Geographic Photo Contest (Week 1 and 2 entries)

Photo and Caption by Mo Wu / National Geographic Photo Contest

MOONLIGHT

Wanaka Tree is the most famous tree in New Zealand. At a summer night, I captured the shadow of the tree in the golden moonlight on Wanaka Lake.

2018 National Geographic Photo Contest (Week 1 and 2 entries)

Photo and Caption by Marcus Hennen / National Geographic Photo Contest

CURIOSITY

A creative portrait of a little curious burrowing owl. This owl was pretty cute and sat on a small branch in a front yard. I cropped the photo a bit to support this moment of curiosity.

2018 National Geographic Photo Contest (Week 1 and 2 entries)

Photo and Caption by Istvan Ladanyi / National Geographic Photo Contest

THE ALWAYS WATCHING EYE OF A BLACK SWAN

The always watching eye of a black swan. I toke this shot as I noticed the sleeping black swan and he noticed me and open his deep ruby red eye. It was a magic moment because the contrast of the black feathers and the red eye catched me from the first time.

2018 National Geographic Photo Contest (Week 1 and 2 entries)

Photo and Caption by Laura Wood / National Geographic Photo Contest

UNSEEN (SELF PORTRAIT)

It isn’t always obvious – your identity as a mother. It’s clouded by expectations, demands and sleep deprivation. For the most part, you live out your day and your duties behind doors with only children looking on who don’t fully understand the sacrifices you make. Seven pm rolls around and you breathe a big breath as your children go to sleep, you pour a glass of wine and your identity changes again. Always a mother, but sometimes more than others.

2018 National Geographic Photo Contest (Week 1 and 2 entries)

Photo and Caption by Karen Donnelly / National Geographic Photo Contest

SOARING

Taken in the rising morning aboard a hot air balloon, Maasai Mara National Reserve, Kenya. Water buffalo scatter on the mara below.

2018 National Geographic Photo Contest (Week 1 and 2 entries)

Photo and Caption by Ana Luiza Sampaio / National Geographic Photo Contest

WINTER IN PINGYAO

This picture was taken during the winter in the ancient city of Pingyao, province of Shaanxi, China. In this season, the skyline of Pingyao changes completely. The use of charcoal to heat up the houses makes the sky deeply smoggy. At the streets, the only color one can distinguish is the red from the national flags and lanterns of Chinese New Year. The dust and soot modify the life of the residents, who strive daily to cope with the cold and the air pollution.

2018 National Geographic Photo Contest (Week 1 and 2 entries)

Photo and Caption by Alison Langevad / National Geographic Photo Contest

A NEW LOOK

‘Sporting a new look’ These rhinos were dehorned in an effort to save them from poachers. The poaching of rhinos in South Africa has reached crisis level.

2018 National Geographic Photo Contest (Week 1 and 2 entries)

Photo and Caption by Roger Chen / National Geographic Photo Contest

SISTERHOOD

A quiet moment backstage as dancers of the classical Indian Kuchipudi dance form, which is focussed on rhythmic hand gestures and eye movements, support each other in preparation for the performance.

2018 National Geographic Photo Contest (Week 1 and 2 entries)

Photo and Caption by Vladimir Kushnarev / National Geographic Photo Contest

FATHER AND SON

The family of nomadic herders living at the Polar Urals. Father and son Tiberi.

2018 National Geographic Photo Contest (Week 1 and 2 entries)

Photo and Caption by Leighton Lum / National Geographic Photo Contest

LAND ON FIRE

Recently the Kilauea volcano erupted causing thousands of gallons of lava to flow into the ocean. It was an incredible sight to witness such power of this eruption!

2018 National Geographic Photo Contest (Week 1 and 2 entries)

Photo and Caption by Camille Niel/ National Geographic Photo Contest

LAS COLORADAS

A Salt evaporation pond located in Yucatan, Mexico. This pink color come from the plankton, shrimps and roots of red plants

Articles: Digital Photography Review (dpreview.com)

 
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ON1 Photo RAW 2019 arrives with new UI, AI-powered Lightroom migration, and more

14 Nov

ON1 has launched its new ON1 Photo RAW 2019 photo editor for macOS and Windows. The new software is a “major upgrade” to the existing ON1 Photo RAW editor, according to the company, which has added new features that include focus stacking, a non-destructive layers workflow, a new portrait tab, and more.

ON1 Photo RAW 2019 relies on AI-powered algorithms to bring “significant enhancement” for users who want to migrate from Adobe Lightroom. In addition to the batch of new features, the updated application also adds additional camera support and lens profiles, HEIC file support, and a new interface with reduced contrast, updated UI elements, and an overall modern look.

ON1 Photo RAW 2019 is available now with a 30-day free trial and $ 99.99 USD purchase price. Existing ON1 product owners are offered the upgrade at a discounted $ 79.99 USD. Alternatively, customers can get access to the new software via an ON1 Plus Pro membership, which is currently priced at $ 129.99/year with a regular annual price of $ 149.99 USD.

ON1 Photo RAW 2019 – An All-New Photo Editing Experience Now Available

ON1 Photo RAW 2019 – An All-New Photo Editing Experience Now Available
Portland, OR – November 13, 2018?? – ON1, Inc announces that ON1 Photo RAW 2019, an all-new photo editing experience and a major upgrade to ON1 Photo RAW, is available today. ON1 Photo RAW 2019 includes all-new features and technologies along with a streamlined workflow that is elegant, powerful and easy to learn. Notable new features include a new non-destructive workflow for layers, auto-alignment of layers, focus stacking, a new portrait tab, a new text tool, new digital asset management updates and more. ON1 Photo RAW 2019 includes the tools photographers need in a single well thought out photography workflow application.

This all-new photo editing experience gives photographers the features they use the most from the Adobe® Lightroom® and Photoshop® worlds in a single application. ON1 Photo RAW 2019 also includes a significant enhancement to the migration process for customers looking to move away from Lightroom®. Version 2019 is the first solution to utilize AI-powered algorithms to transfer and display Lightroom edited photos in ON1 Photo RAW 2019. The transferred settings will also remain non-destructive and be re-editable inside ON1 Photo RAW 2019.

The ON1 community drives the development of ON1 Photo RAW based on what’s most important for their photo editing needs. Every new feature and improvement made in version 2019 is a direct result of community input through the ON1 Photo RAW Project.

  • A New & Faster Editing Workflow ??–? ??All of the editing modules from previous versions have been combined into the Edit module to create a single place for editing photos. The former editing modules are now available as tabs to allow you to work in each seamlessly without changing the application appearance. These include Develop, Effects, Portrait, and Local Adjustments tabs.
  • A New Workflow for Layers?? – ON1 Layers is no longer a separate module. Instead, the power of layers is accessible within the non-destructive workflow in the new Edit module. This allows for creating or editing multi-layered files, including raw files, and keeping non-destructive settings for each photo layer. Customers can also move, size and mask each layer. More importantly, and a new concept, each layer has its own non-destructive settings, all the way back to the original file. What’s most exciting is if you are working with raw files, powerful adjustments like exposure, highlights and shadows can now be processed using the raw data in a layered photo workflow. All without having to change modules or applications.
  • New Lightroom Photo Settings Migration?? – New AI-powered algorithms give customers the ability to transfer Lightroom edited photos, keep the non-destructive settings, and move them into ON1 Photo RAW 2019. The updated Lightroom Migration Tool in version 2019 transfers almost every edit you can make in Lightroom including raw processing, crop, retouching and local adjustments along with folders, photos, collections, and metadata.
  • New Focus Stacking?? – Automatically blend a series of photos at different focus distances to increase depth-of-field. It’s so fast, you can adjust the focus in real-time, just like changing the focus on your lenses. Think of it like HDR, but for focus instead of exposure.
  • New Auto-Align Layers?? – Easily combine multiple photos as layers, then automatically align them based on image content, making it easy to mask and blend them together.
  • New AI Masking Tool (coming Winter 2019)?? – This new tool, powered by machine learning, will allow customers to easily identify areas of their photos to create a selection or mask and the AI technology detects your subject matter and automatically creates a beautiful mask.
  • New Portrait Tab ??– The new Portrait tab automatically detects faces in your photo allowing you to easily retouch, smooth skin, brighten and sharpen eyes, and whiten teeth.
  • New Text Tool?? – The new text tool is perfect for creating posters, postcards, or adding your byline or watermark. Easily control font size, color, position, and more and then save a preset to add the same text overlay to a batch of photos quickly.
  • New Master Keyword List?? – Now you can see every keyword you use in a single, searchable list. You can quickly apply, clear, edit, or delete keywords.
  • Enhanced Local Adjustments?? – Local adjustments have been enhanced to use the raw processing data. This allows for more highlight and shadow details with more tonal range. This also includes new controls like haze, whites and blacks.
  • New Layered HDR Workflow?? – With the powerful new non-destructive layers you can combine other photos, text or alternate exposures with your HDR photos. Use the powerful masking tools to combine multiple HDR renditions even.
  • New Filter Options in Effects ??–? ??We have added dedicated film grain, curves and color adjustment filters to Effects. These let you add film grain to color photos and make advanced, targeted color and tone adjustments faster. There’s even a new filter selector that allows you to search for filters, learn what they do and even view a sample before you add them.
  • New User Interface?? – The new user interface has a fresh and modern feel. Overall contrast has been reduced to make photos stand out along with a new font to help increase readability. Updated icons, tabs, and sliders will also take up less visual space.
  • Other Updates ??– including support for HEIC files, keyboard shortcuts for changing modules, more accent color options, color labels on folders and more.
  • Additional Camera Support?? – Added support for the Fujifilm XF10, Fujifilm X-T3, Nikon P1000, Nikon Z7, Panasonic LX100 II, Leica M10-P.
  • Additional Lens Profiles?? – Added lens profiles for: Canon EF35mm f/1.4L II USM (750), Chinon Auto Chinon 35mm f/2.8, KMZ Helios-40 85mm f/1.5, Nikon 200-500mm F5.6 174, Panasonic LEICA DG 8-18/F2.8-4.0, Panasonic LEICA DG NOCTICRON 42.5/F1.2, Pentax Pentax SMC Takumar 50mm f/1.4, Sigma Sigma 17-50mm f/2.8 EX DC HSM, Sony FE 24-105mm F4 G OSS, Sony FE 50mm F1.8, Tamron 14-150mm F/3.5-5.8 DiIII C001, Tamron SP 24-70mm F/2.8 Di VC USD G2 (A032), Voigtla?nder Voigtlander Super Wide Heliar III.

Price and Availability

ON1 Photo RAW 2019 is available today for $ 99.99. Previous owners of any ON1 product can upgrade for $ 79.99. ON1 Photo RAW 2019 is also available as part of an ON1 Plus Pro membership for a for $ 129.99/year (Reg: $ 149.99/year). ON1 Plus Pro includes a perpetual license of ON1 Photo RAW along with in-depth post-processing and photography education from the industries best trainers such as Matt Kloskowski, Hudson Henry, Tamara Lackey and many more. All of it is easy to follow along and fun. For a limited time, a purchase of ON1 Photo RAW 2019 includes some great bonuses. These include the ON1 Photo RAW 2019 Foundations video course, which provides the perfect get up and running training and the ON1 Looks eBook and series of 25 videos and practices files and to help you master ON1 Photo RAW 2019.

A 30-day free trial of ON1 Photo RAW 2019 is also available for download from the ON1 website.

A single purchase of ON1 Photo RAW 2019 includes both macOS and Windows installers and activation for up to five computers. It comes with a 30-day money-back guarantee, world-class customer support based in Portland, Oregon USA, hundreds of free video tutorials, and free ON1 Loyalty Rewards every month.

What’s Ahead for ON1

ON1 Photo RAW 2019 will include several free updates over the next year with all-new photo organizing and editing features, AI-powered algorithms to enhance workflows, other feature refinements, as well as updates for cameras and lenses. The first free update will in Winter 2019.
ON1 is also working on solving additional problems for customers who share files across multiple computers or work environments as well as those customers who are shooting video as part of their photography process.
“As we’ve said before, we have big plans at ON1. Our team is already busy working on the next free updates to version 2019. These will include dual display support, an editing history, and additional capabilities and enhancements to Focus Stacking,” says Craig Keudell, President of ON1.

About ON1 Photo RAW – An All-New Photo Editing Experience

ON1 Photo RAW 2019 is a game changer. Version 2019 includes everything photographers look for when editing their photos including an integrated photo organizer, raw processor, pixel editor, and layered file workflow. It’s like having Lightroom and Photoshop® in one application without paying a monthly subscription. ON1 Photo RAW 2019 will also use ON1’s

state-of-the-art processing engine providing a fast, smooth, comfortable, and fun photo editing experience while producing the highest quality results for your photos.

Photo RAW seamlessly integrates the features of photo organizing, non-destructive editing, layering capabilities, the best masking and selection tools, portrait retouching, hundreds of photo effects, text, HDR, automated panorama stitching, photo resizing, and more into one powerful yet easy-to-use software application.

ON1 Photo RAW 2019 supports RAW files from over 800 cameras, but it isn’t just for raw files. It also supports file formats include JPEG, TIF, PSD/PSB, PNG, HEIC and DNG are supported and benefit from the speed, performance, and abundance of editing tools in the app. Photo RAW 2019 will also integrate as a plug-in to Adobe® Lightroom Classic CC and Photoshop CC as well as Apple Photos and will continue to work as a standalone photo editor and rival the Adobe Photography Plan. Like the current version, version 2019 will integrate with the major cloud services to allow for uploading, managing, and editing photos across multiple computers. This enables users to sync photos and their edits across multiple computers or in a studio setting.

Articles: Digital Photography Review (dpreview.com)

 
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The New York Times’ massive photo archive is being digitized with Google’s help

13 Nov

The New York Times has millions of printed photographs stored in an underground archive nicknamed “the morgue,” and it has begun the arduous task of digitizing this collection. Google is part of the project, according to a post on one of the company’s blogs, where it explains that its machine learning and cloud technologies will help The New York Times store, process, and search its archive.

The morgue houses between 5 and 7 million photographs dating back to the late 19th century, all of them stored in folders within file cabinets. Many of the photos haven’t been viewed in decades and all of them are at risk of damage. In 2015, for example, the morgue experienced minor damage after water leaked in from a broken pipe.

The New York Times‘ CTO Nick Rockwell said in a statement to Google:

The morgue is a treasure trove of perishable documents that are a priceless chronicle of not just The Times’s history, but of nearly more than a century of global events that have shaped our modern world … Staff members across the photo department and on the business side have been exploring possible avenues for digitizing the morgue’s photos for years. But as recently as last year, the idea of a digitized archive still seemed out of reach.

To help preserve this visual history, Google has stepped in to provide The New York Times with its cloud storage product for storing high-resolution digital copies of the photographs. The New York Times has developed a processing pipeline for the digitization project that includes resizing images using Google Kubernetes Engine and storing metadata using PostgreSQL, in addition to the open source command-line software ExifTool and ImageMagick.

Google’s machine learning technology augments the system to offer insights into the digitized content. The company’s Cloud Vision API is used to detect text, logos, objects, and more within photographs, while the Cloud Natural Language API uses the detected text to categorize the images. This data makes it possible to search the digitized collection for specific images that would otherwise be lost in the vast archive.

Articles: Digital Photography Review (dpreview.com)

 
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Award-winning film shot through Hasselblad 500CM warns of photo obsession dangers

13 Nov

I think there may be more than a few of us who have been told that we spend too long looking through a viewfinder instead of experiencing life first hand. And there will be plenty of us who know that sometimes we don’t get to experience an event because we are constantly looking for the best angle and thinking photography rather than feeling the moment as everyone else is.

Filmmaker Casey Cavanaugh has made a really cool film on the subject, and has created a wooden rig that allowed him to mount his Sony a7S above the viewfinder of a Hasselblad 500CM so he could record the movie through the viewfinder of the medium format film camera. I won’t spoil the story for you, but it doesn’t end well for the Hasselblad! Cavanaugh also shared the main actress in the film, Corrina VanHamlin, tragically passed away after it was made.

View this post on Instagram

Link in bio || We all had a really amazing time making this short film for the Capital City Film Festival. Watching it now is a little more difficult for me as well as anyone who might have known the amazing lead actress, Corrina VanHamlin. She tragically passed away this year and her performance in this film is but a glimpse into the wonderful and talented person she was. I’m extremely grateful that we were able to make this piece of art together. Huge thanks to the rest of the team, @xiaoxinghan @ryanzern @danhartleyvideo @lukepline • • • • • • #cinematic #shortfilm #hasselblad500cm #hasselblad #fujiframez #framez #sonyframez #fujifilm #sonya7sii #sonya7riii #sonya7iii #fullframe #atomosshogun #groundglass #mediumformatfilm #mediumformat #mediumformatphotography #mediumformatcamera @hasselblad @hasselbladfeatures @hasselbladculture @hasselblad.japan @petapixel @phoblographer

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See the GxAce YouTube channel to watch Casey’s other films. Cavanaugh is the same guy behind the DIY XPan camera video DPReview shared last week.

Articles: Digital Photography Review (dpreview.com)

 
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Pixelmator Photo AI-powered image editing app for iPad will launch this year

02 Nov

Pixelmator has announced plans to release an image editing app called Pixelmator Photo for the Apple iPad. The new app utilizes Apple’s Core ML machine learning technology to power multiple features including ML Fix, an algorithm trained using 20 million professional images.

Pixelmator Photo is an AI-powered app offering non-destructive image editing with desktop-class adjustments on the iPad. The software features ML Fix, ML Crop, and ML Presets, all features that utilize machine learning to enhance images. ML Crop’s algorithm offers crop suggestions that fit the user’s desired aspect ratio, for example, while ML Fix intelligently adjusts color, white balance, and exposure.

The ML Preset feature, meanwhile, offers film emulation presets enhanced using machine learning. The presets are designed to imitate film products that include Ilford HP5, Kodak Porta, and Fujifilm Superia. The feature works by first adjusting an image’s colors and lighting, then applying the film preset.

Other Pixelmator Photo features include adjustment tools like Curves, Levels, Saturation, Exposure, and Brightness, as well as support for raw images from more than 500 cameras, cropping, grain adjustment, and the inclusion of a Repair tool.

The app will launch in the Apple App Store this year as an iPad exclusive. The price hasn’t yet been revealed.

Articles: Digital Photography Review (dpreview.com)

 
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Recovering From Disasters During Photo Sessions

01 Nov

As a photographer who captures rare and priceless moments, you can’t afford to have disasters during photo sessions. However, sometimes things go wrong regardless.

If you have a recovery plan in action before anything goes wrong, you’ll never have to freeze up and panic at that moment. You’ll never have to fear a photo session getting ruined.

If you psychologically prepare yourself for disasters in advance and rehearse the crisis in your mind, then you can switch to autopilot when it happens.

Let me walk you through what to do when cameras fail, families fight, or photos fall short of your vision.

Recovering From Disasters During Photo Sessions 1

Knowing that you are prepared for any disaster will allow you to banish your worry and focus on the moment.

1. Technology

If you show up to a session with only one camera and one lens, you’re asking for a disaster to happen. You should always have a backup camera with you. Even if you have no intention of using it during the session, you need to have something to fall back on.

I heard of a wedding photographer who showed up with one camera and one dead battery. The wedding was delayed for an hour while she searched around for somebody to help her find a battery. Don’t let that be you!

Instead, bring two cameras and two lenses to every photo gig (along with spare batteries). I bring a Fuji camera with a 56mm lens. It’s the only camera and lens I’m interested in using.

However, I keep a Nikon with an ultra-wide 10-24mm lens tucked in my camera bag (from before I switched to Fuji). It’s there in case I want a unique wide-angle photo. It’s also there in case of disaster.

Golden hour, wide angle, landscape portrait, Disasters During Photo Sessions

This is the sort of photo that I would take with my spare Nikon camera and wide angle lens. A couple of nice wide angle photos like this balance out the look of the photos taken with the portrait lens.

Last spring, I timed a maternity session for the golden hour. If you’ve ever photographed during the golden hour, then you know how quickly the time passes. When the family arrived, I pulled out my camera, dialed in my settings, and then noticed with surprise that the battery was dead. ‘That’s strange; I always charge my batteries,’ I thought. I reached into my camera bag to pull out a spare battery and panicked when I realized I hadn’t brought any!

Decide right now what you’ll do when your camera stops working, or you make a foolish mistake as I did. Decide right now what your backup plan is so that when it happens, you can switch to autopilot and get the job done.

Most likely, you’ll reach for your second camera. That’s what I did.

I had no choice but to shoot the whole session with an ultra wide angle lens! It’s the last lens I would ever choose to photograph portraits.

Golden hour maternity photo - Recovering From Disasters During Photo Sessions

All of the photos in this article are from the photo session with the ultra-wide lens. You can let a family down with your mistakes, or you can rise above and make whatever you’ve got work. I’ve seen enough episodes of “Pro Photographer, Cheap Camera” to know that beautiful photos can be made with nearly any camera and lens.

Recovering From Disasters During Photo Sessions 3

During one session, I was waist deep in a river. There was one camera around my neck and one in my hand. After a few minutes, I realized I had been dunking the camera around my neck into the water. Panic rushed through my head and chest – I just drowned a $ 2000 camera. But I calmly walked ashore, packed away the camera and got back to work. Nobody knew but me. I allowed the need to capture memories to overcome the panic I was feeling in the moment. I could deal with the camera later, there was a family counting on me. Decide in advance not to let your negative feelings rule you.

Recovering From Disasters During Photo Sessions 4

I’m more concerned about the people I’m photographing than the gear I’m using. Personality knows nothing about cameras and lenses, it shines whenever it wants to.

2. People

Beyond technology, other disasters can happen during your photo session.

How about a family that arrives at the photo session in miserable moods and arguing? They probably found it stressful getting ready for the photo session.

It’s uncomfortable for the photographer and might even lead to the family completely blowing up at each other.

You can get upset and stressed out (how dare they treat me like this as a professional photographer?), or you can diffuse the situation.

These scenarios can be tricky to figure out. Try to get them focusing on something else by asking questions and bringing up topics they love. Focus more on the kids first. If you can cheer them up, their excitement becomes contagious. You’ll find the moment that the tension is released, the scene turns to laughter.

Recovering From Disasters During Photo Sessions 5

Laughter is so contagious. My wife always comments that I come home from photo sessions in a better mood. It’s because there is so much laughter.

Challenging Kids

Once in a while, families bring me very challenging kids. One mom came with her non-verbal child. He didn’t take direction at all, and immediately ran off into the woods! All of the photos from that session were candid because the child didn’t sit long enough to pose. It wasn’t until he rested with exhaustion that I finally got a photo of him and his mom.

It was the first session where I thought I had failed. However, upon reviewing the photos, I discovered many wonderful moments, and the mom loved them.

You need to begin every tough situation by telling yourself, ‘there is a way.’ I now know that completely candid photo sessions are possible.

Recovering From Disasters During Photo Sessions 6

As a photographer, I prefer candid moments over posed ones. Even when posing a photo, I wait for the candid moment to appear.

Terrified Kids

I remember one little guy who was terrified of cameras. Just the sight of one sent him into hysterical tears. Beginning with the phrase, ‘there is a way,’ I built a trusting relationship with the child. It naturally led to smiles and no fear of my camera. It took a while, but it worked.

3. Photos that Fall Short of Your Vision

Every master was once a disaster – T. Harv Eker

You may feel like some photo sessions were a disaster because you weren’t happy with how the photos turned out. It is perfectly reasonable for creative photographers struggling with their vision. It’s part of how you grow as a photographer. Allow that dissatisfaction to push you harder next time. Learn from your mistakes and let them prepare you to avoid future disasters.

Recovering From Disasters During Photo Sessions 8

In the end, I learned that an ultra wide angle lens can lead to nice photos. I broke my dependency on my favorite lens. It makes me wonder what other disasters will help me grow as a photographer.

What is Your Biggest Fear?

Technology, people, and our lack of creativity threaten our photo sessions all the time. But if you create and rehearse your backup plan in advance, you’ve got much less to actually worry about.

What’s your biggest fear about a photo session going wrong? Let me know in the comments and see if we can figure out your backup plan in advance.

The post Recovering From Disasters During Photo Sessions appeared first on Digital Photography School.


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Epson adds textured paper to Legacy photo inkjet lineup

27 Oct

A new textured paper has been introduced to the Epson Legacy range of premium inkjet media that the company claims allows dense blacks, vibrant colors and ‘outstanding’ print permanence. Epson Legacy Textured Paper promises to ‘simulate old-world handcrafted watercolor papers’ with a heavily textured surface, according to Epson, and is aimed at photographers who exhibit and sell their work as art pieces.

No optical brighteners have been used in the paper, and Epson says that it will have excellent lightfast properties. Permanence figures are not quoted, as the paper is still being evaluated by Wilhelm Imaging Research.

The matte finish paper is 100% cotton, using randomly layered fibres to prevent curling in sheets as well as in long rolls, and will weigh 310 GSM. The paper is due to ship in December this year. For more information see the Epson website.

Size Sheet/roll Price
8.5” x 11” Cut Sheet (25 pack) $ 45
13” x 19” Cut Sheet (25 pack) $ 119
17” x 22” Cut Sheet (25 pack) $ 179
17” x 50′ Roll $ 189
24” x 50′ Roll $ 249
44” x 50′ Roll $ 499
60” x 50′ Roll $ 679

Press release:

Epson Launches New Legacy Textured Paper

New Paper Provides Textured Surface and Matte Finish in Epson’s Distinguished Legacy Paper Line

Epson today introduced Legacy Textured, the latest addition to its sophisticated Legacy Paper line, offering the ultimate in quality and longevity for artists selling their work. Legacy Textured is comprised of a mould-made paper base that lays cotton fibers down randomly to virtually eliminate curl, and a heavily textured surface that simulates old-world handcrafted watercolor papers. In addition, Epson today announced that its popular Metallic Photo Paper in Luster and Glossy are now Signature Worthy® papers, moving into Epson’s line of paper designed for photography, art illustration and fine art prints. Both the Legacy Textured and the Metallic Photo Papers will be on display at PhotoPlus Expo in New York City from Oct. 25-27, 2018 at Epson’s booth, #707.

“A heavy, textured paper is what helps my images blur the line between photography and painting,” said Brooke Shaden, fine art photographer, author and motivational speaker. “Though my work is all photographic, having a painterly style has always been important to my aesthetic, and Legacy Textured provides that feeling of mixed media.”

Legacy Textured offers a heavily textured surface with a matte finish and is 100 percent cotton on a mould-made base. The 310 GSM textured paper is free of OBAs (optical brightening agents), delivers a high Dmax for deep blacks, an expanded color gamut volume, and accepts a high ink load. The cotton fibers are laid randomly to dramatically minimize curl in large rolls.

“Realizing the need for a heavily textured fine art paper, we collaborated with industry-leading photographers and artists to help develop a media that blends qualities of old-world handcrafted paper with the latest digital imaging enhancements,” said Jeff Smith, product manager, Professional Imaging, Epson America, Inc. “Designed to produce rich blacks and vibrant colors, Legacy Textured exhibits unparalleled qualities for artists looking to create and sell exhibition quality prints without compromising print quality.”

The Epson Legacy Textured paper is currently undergoing comprehensive eight-factor print permanence testing at Wilhelm Imaging Research (WIR), the world’s leading independent permanence testing laboratory. Testing includes color and black and white prints made with the current generation of improved-stability Epson UltraChrome® HD, Epson UltraChrome HDX, and Epson UltraChrome PRO pigment inks featured on Epson’s SureColor® P-Series printers. WIR is also testing Legacy Textured paper with high CRI (Color Rendering Index) museum-quality LED illumination. While final results are not yet available – the greater the lightfastness, the longer the test times – Epson is confident the new paper will exhibit outstanding print permanence.

Epson Professional Paper Line
Epson offers a complete line of professional papers to meet varying photography and fine art needs, no matter the finish or price point:

Standard Photo Paper: Available in multiple finishes, including glossy, semigloss, matte, semimatte, and velvet, Epson’s standard photo papers offer a solution for any photographer. Delivering high-performance output quality and color performance with extreme sharpness and clarity, these papers are offered in a range of cut-sheet and roll sizes for producing vivid, lifelike images.

Signature Worthy Paper: Epson Signature Worthy Papers represent the finest in color fidelity, smoothest tonal transitions, and exceptional Black density and longevity, each paper has been developed and tested at the highest levels to work collectively with Epson’s industry-leading professional printers and inks. The most demanding creative professionals use Signature Worthy papers because their reputations are on the line with every print.

Legacy Papers: As Epson’s most advanced line of photographic papers, Legacy Papers were designed in collaboration with many of the world’s greatest artists. The unique papers were developed for those who intend to exhibit and sell their prints, both to art collectors and investors. Working closely with revered European papermakers, galleries and chemical engineers to develop the finest papers available, the Epson Legacy Paper line produces outstanding black density and color fidelity, along with exceptional archival properties required for collectible works of fine art.

Availability and Pricing
The new Legacy Textured will be available in Dec. 2018 through authorized Epson Professional Imaging resellers.

For additional information, visit www.epson.com/legacypapers, www.epson.com/signatureworthy or www.proimaging.epson.com.

Articles: Digital Photography Review (dpreview.com)

 
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Why celebrity photographer Manfred Baumann uses ACDSee Photo Studio Ultimate 2019

22 Oct

Celebrity photographer Manfred Baumann has been using a pre-release version of ACDSee Photo Studio Ultimate 2019 for a while, and in this article he shares his impressions of using the software.


As a photographer, there are plenty of software programs out there that all want my attention (and my money). ACDSee is a name that will be familiar to many digital photographers, going right back to the 1990s. Designed originally as an image organization tool for digital photographs, ACDSee has evolved over more than 20 years to become a fully featured digital asset manager and editing platform. These days it’s basically a ‘one-stop shop’ for digital photographers.

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Like most photographers, I prefer taking pictures to sitting in front of a computer. For that reason, the software I use has to be fast, uncomplicated and self-explanatory. A Raw Converter is like a digital darkroom for me – everything else is optional. I’ve been using ACDSee for years. The latest version, Photo Studio Ultimate 2019, competes directly with the world’s best Raw editors, offering in-depth editing features alongside advanced image cataloging and organizational tools.

New in the 2019 version is face detection and automatic face recognition,

One of my favorite things about Photo Studio Ultimate’s editing power is the option to use layers when working on my Raw files. New in the 2019 version is face detection and automatic face recognition, which allows you to find photos of clients, friends or relatives at the click of a button. I don’t think many people would have difficulty recognizing some of my portrait subjects, but face detection and recognition are useful features when I’m organizing images for my clients.

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Photo Studio Ultimate also brings improvements to black and white editing, which let me individually adjust the contrast and brightness of different channels. I can even use the Edit Brush to paint these adjustments onto specific parts of an image. Monochrome editing is at the heart of a lot of my workflow, and the improved black and white mode features in Ultimate 2019 are really useful.

ACDSee is ideal for photographers who prefer to take photos rather than sit in front of the computer

It is important to continue growing, and as an artist, you always want to make sure that viewers can recognize your signature in your photographs. I like to think that I catch what others might not have seen. My primary focus is using images to say something about the essence of the person I’m photographing, and it’s all about the imagery: quality before quantity. Quality can be recognized by the fact that a good image doesn’t go out of date.

I would say ACDSee is ideal for photographers who prefer to take photos outdoors or in the studio rather than constantly sitting in front of the computer. It is cost effective, fast, and offers more features than most of its competitors. With Photo Studio Ultimate I really don’t need to use additional software in my workflow; I can usually do everything I need to do without leaving the app.

When it comes to image organization and cataloguing I do this exclusively in ACDSee Studio Ultimate now. It’s the quickest and easiest way for me to work.

Learn more about ACDSee Photo Studio Ultimate 2019


Manfred Baumann lives and works in Europe and the USA with his wife, Nelly. Throughout a long and varied career he has photographed celebrities from the worlds of acting, sports, and fashion for some of the top publications in the world.

A passionate advocate for animal rights, images from Baumann’s ‘Mustangs’ project have been exhibited in the Natural History Museum, Vienna.

See more of Manfred’s work


This is sponsored content, created by ACD Systems. What does this mean?

Articles: Digital Photography Review (dpreview.com)

 
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Pixelmator Pro 1.2 brings smart photo enhancements, batch processing and more

18 Oct

Pixelmator today released Pixelmator Pro 1.2 Quicksilver, a major update to its image editing app that brings support for macOS Mojave, machine-learning-powered automatic photo enhancement, and batch image processing among other new features.

“Users love Pixelmator Pro for making such powerful image editing tools so incredibly easy to use,” said Saulius Dailide, one of the founders of the Pixelmator Team. “And the new ML Enhance is our most powerful feature yet — it lets you dramatically improve the look of any photo with a single click, thanks to a machine learning algorithm trained on millions of professional photos.”

The new ML Enhance feature automatically adjusts color and exposure locally in the frame. The goal is to give the user an optimized starting point for their own edits. The feature was developed using a set of millions of photos to train the machine learning algorithm which analyzes photos to detect objects and scenes and applies the adjustments.

There’s also a new option to use a light-colored user interface in addition to a refresehed version of the dark theme, allowing for easy adaption to the light and dark modes in macOS Mojave. The app is also capable of automatically switching to adapt to the current appearance of macOS.

A lot of the new and existing features can now be applied via the Automator batch processing tool, making work with large numbers of files less stressful. Other improvements include support for colorful SVG Fonts, a Continuity Camera camera, an Eraser Mode for the Pixel Paint tool, as well as a range of performance improvements and bug fixes.

Pixelmator Pro 1.2 Quicksilver is available from the Mac App Store and can currently be purchased for $ 29.99, 50% off the regular price. More information is available on the Pixelmator website.

Press Release:

Pixelmator Pro gets major update with AI-powered photo enhancement tools

Vilnius, Lithuania — October 18, 2018 — The Pixelmator Team today released Pixelmator Pro 1.2 Quicksilver, a major update to the fast and powerful image editor for Mac. The update adds support for macOS Mojave, including an all-new light appearance, Core ML-powered automatic photo enhancement, batch image processing via the Automator app, and much more.

“Users love Pixelmator Pro for making such powerful image editing tools so incredibly easy to use,” said Saulius Dailide, one of the founders of the Pixelmator Team. “And the new ML Enhance is our most powerful feature yet — it lets you dramatically improve the look of any photo with a single click, thanks to a machine learning algorithm trained on millions of professional photos.”

The new ML Enhance feature in Pixelmator Pro automatically enhances photos — balancing the colors, evening out exposure, and making changes to individual color ranges — to give you the best starting point for making your own creative edits to a photo. Powered by Core ML and developed using a carefully refined set of millions of professional photos, the machine learning algorithm analyzes photos to detect the objects they contain, then enhances their colors and brings out missing details, leaving the final creative touches to the user.

The update also brings the option to use a gorgeous light appearance, giving users an entirely new way to experience Pixelmator Pro. In addition, Pixelmator Pro 1.2 Quicksilver includes a refreshed, much more native dark appearance, so the app now adapts seamlessly to the light and dark modes in macOS Mojave. And with automatic switching, Pixelmator Pro instantly updates to match the current appearance of macOS.

Automator support and five powerful, versatile actions now makes it possible to batch process images using the professional editing tools available in Pixelmator Pro. The Auto Enhance Images action uses the new ML Enhance feature to automatically improve photos, Auto White Balance Images automatically corrects white balance, Apply Color Adjustments to Images and Apply Effects to Images makes every single color adjustment and effect in Pixelmator Pro available in Automator, and Change Type of Images makes it a breeze to convert batches of images from one file format to another. So now, working with large sets of images and making repetitive edits becomes effortless.

Pixelmator Pro 1.2 Quicksilver includes many other improvements, including support for colorful SVG Fonts, the new Continuity Camera, an Eraser Mode for the Pixel Paint tool, as well as a range of additional performance improvements and fixes.

Pricing & Availability

Pixelmator Pro 1.2 Quicksilver is available exclusively from the Mac App Store and is currently on sale for $ 29.99, 50% off its regular price.

Pixelmator Pro requires macOS High Sierra and a Metal-compatible graphics card. Full system requirements and more information on Pixelmator Pro can be found at www.pixelmator.com/pro/

Articles: Digital Photography Review (dpreview.com)

 
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ACDSee Photo Studio Ultimate 2019 Review: Face Detection and Recognition

16 Oct

A question seen frequently on photography groups is “What software do I get to process my images in?”. There is the usual flurry of recommendations for the familiar choices and a few random ones thrown in. One option that doesn’t get mentioned as often as it should is ACDSee. In particular the Photo Studio Ultimate 2019 bundle is worthy of consideration for both beginners and more experienced users.

The 2019 version with the newly included Face Detection and Facial Recognition features is a step up from the previous 2018 program, indicating an intention towards AI-based digital asset management.

For anyone wanting a one-stop shop to manage, view, process RAW files, and edit with layers, etc, PLUS only having to pay once for a perpetual licence, ACDSee offers a compelling option in the marketplace.

My background is in Lightroom and Photoshop which is the basis for comparison in this review.

Let us assess this software from the point of view of what it offers a beginner.

CONTENTS

  1. Getting Started – installing and setting up
  2. Layout and Features
  3. Importing and Viewing Images
  4. Editing your RAW Image
  5. Advanced editing with layers
  6. New Features in 2019 version
  7. General Comments

1. Install and Setup

Setup and installation are fairly standard as per most software. ACDSee does require you to set up an account as part of the install process (it’s mandatory and cancels the install if you try to opt out), which then requires an extra registration step with an email confirmation. However, once sorted, no further registration is required. If you have registered before, you can use the previous login details.

It does allow you to choose which drive/directory/folder you want to install it into, as well as if you want to use a non-standard install path. As per the splash page below that opens on Startup—you can auto select the folder to open when the software starts.

Also new is the next screen, which helpfully shows you what the key functions and features are, and where to find them. Both of these can be turned off if desired. You can click on any of the words on the left panel and it will take you to the appropriate screen. Or click through on the NEXT button. Or close it.

 

Once you have navigated the splash pages, you will be taken to the Manage mode screen.

2. Layout and Features

ACDSee has five main modes in separate tabs for each function—Manage, Photos, View, Develop, and Edit.  There are some extra features but these are key ones used in general.

Summary of the features:

Manage mode has access to your computer, direction to find images where they are stored on the computer, and the default option is to view your images in thumbnail view (similar to Grid in LR). It shows EXIF data, histogram, and shot information for a particular image. You can colour code or rate images in Manage Mode.

Photos mode is similar to Manage. It allows a more comprehensive way of viewing image files on your hard drive, and you can drill down to specific day/month/year views.

View mode allows you to view a single image in full screen mode (similar to a single image view in LR) and has some basic editing functions included.

Develop mode is where you edit your RAW image files (similar layout and functions to LR or ACR).

Edit mode is where you can do advanced editing with layers (similar to PS).

There are also the 365 tab, Dashboard tab, and Messages tab. 365 is where you have access to your subscription information, if you opt for it. The Dashboard shows graphical data on image/camera information—if you want to know your most commonly used ISO setting, type, and number of files, it is visible here.

 

3.  Importing and Viewing Images

Importing is not required with ACDSee. The software will read folders directly off your computer, displaying and respecting its existing folder structure, just like Explorer. However, users can import off of external sources if they wish to achieve other organizational goals at the same time, such as culling, tagging, renaming, etc.

Once imported, you will then want to view them, cull, tag, and select the best ones for editing.

I have all my images stored on a NAS and it found those with no issues.  Above is the Manage page showing the hard drive directory structure and images in thumbnail grid view.

You can rate your images either using numbers or color tags. In the above image it has picked up the color rating I gave one image in LR. If you select the Catalog tab on the left hand menu, you can further refine your search parameters with selecting a specific rating or color tag. In the below example it has used the Red color tag to select images to view.

 

Also visible in the above image is the histogram (color graph below left) with camera settings above it for the selected image. The fine print at the bottom of the window has the name, file format, date/time taken, and file size information.

The full Manage mode window above, with directory tree/histogram/camera data on the left hand menu, and EXIF data for the selected image on the right hand pane, and all the images on display.

Other Image Viewing Options

ACDSee has two other image viewing options included. Photos mode and View mode

Photos mode opens with a splash screen explaining what it does.

It offers another way to sort and view your image files and has some granular control. You can get it down to a specific day quite easily and just see the images shot on that day. Probably very helpful for wedding or event photographers. Below is an example where it shows all the shooting days, with a blue bar that gives an idea of how many photos are stored under that day.

View mode is where you can see just a single image using the full screen size. You can zoom in to check the image quality using various zoom features. There is a floating Navigator panel you can activate and use that to ensure you are viewing the correct part of the image.  Similar to the Navigator in LR/PS.

There are some very basic editing tools available here, but better functionality is had in Develop mode.

4. Editing RAW Files

RAW image editing is done in Develop mode and it is laid out very similarly to LR. By default, the Editing tool panel is on the left but it can be moved.

Image with Edit Tool Panel on the left

It’s not immediately obvious, but the white section of the grey bar that ends with the triangle cut out of the bottom is the active slider. You move the light bar to the desired settings. Or type in a number or use the Up and Down arrows on the end.

There are 4 main tabs in the Tool Panel:

Tune – The usual tools for editing a RAW file, exposure, etc. Very similar to LR

Detail – Sharpening, Noise Reduction, and Skin Tuning

Geometry – Lens Correction, Cropping, Perspective adjustments

Repair – Heal/Clone and Red Eye adjustments

In Develop Mode with the Tune Panel open

In general, I found the sliders a bit fiddly to operate; it wasn’t smooth, but apparently it is easier to incrementally adjust sliders with a mouse wheel. My perception of the program is that its application of the settings is quite harsh, so careful use of the sliders is necessary.

While you can activate a second screen in Develop mode, the only purpose is to maintain a view of the unedited image for comparison.

The Tune tab also has some spot editing features—Develop Brush, Linear Gradient Tool and Radial Gradient Tool—the equivalent of Adjustment Brush, ND Grad, and Radial Tool in LR.

5. Advanced Editing With Layers

Edit mode gives most of the expected features you would find in Photoshop and other programs that offer layer/mask functionality. The Filmstrip is visible (similar to Bridge), although you can turn it off to gain the screen real estate back.

Edit Mode open with all the default settings and panels visible

Edit mode offers quite a few extra or useful features. The 2019 version also has an Adjustment layer for Color LUTs, which is a recent new feature brought into LR.

A new feature in the 2018 version was an Actions Menu—a range of preset creative edits you can apply with one click. The 2019 update to this allows you export and import actions as well.

Some of the actions have a really harsh effect like overdone HDR or similar, which was quite noticeable in the 2018 version. In the 2019 version they have toned down the effect in some of the actions, but not all of them. So it pays to pick and choose as it does depend on which action you choose as to what outcome you get. Also it applies it directly to the image so you can’t do it as a layer and then blend in, unless you duplicate the base layer and blend back which has its own issues.

One of the features that did impress me in both the 2018 and 2019 versions was how good a job the Heal tool did in tidying up spots and other issues. On the above image I have removed several spots and imperfections. On the right hand side, in the center of the flower, was a long black mark on a petal (near the small curled one), and that has been seamlessly removed.

An oddity also visible in the above image—in View mode I applied a LOMO preset and liked what it did, and further edited the image to mute the tones and lower the saturation.However, when you use the Navigator tool, as per above, it shows the original RAW file in its unedited state.

Finally I dragged some texture layers, (can be dragged from a second monitor into the Layer Palette), apply some blend modes, adjust the opacity, and soften areas with a mask to reach the final image.

New Features in 2019

Several new features have been included in the 2019 edition, but one key one is Face Recognition. A short video explains how to use it HERE.

I don’t shoot people/portraits generally but had a few tucked away to test. I could get the Face Recognition to function, however it didn’t automatically find all the other images and assign them correctly.  I suspect this is because I have all my images on a NAS and not in the usual directory. If I clicked on each image individually, it did recognise the face and the person.

General Comments

There are some things I find odd about how the program functions; three different ways to view the image can be a bit confusing. The second monitor view in Develop mode that only holds a copy of the unedited file for a comparison seems like a major waste of screen real estate.

Many new features were included in the 2018 version, and the ones assessed in this review of the latest version have been further enhanced and improved—I am guessing in response to user feedback.

This 2019 version adds a lot of nice new mature touches, and helpful splash screens to introduce you to different features.  More accessible help options is a vast improvement: there are links in the Help menu to a Support Community, a Facebook page, and a Twitter account.

Any new software program takes a bit of getting used to, but once you understand it, ADCSee Photo Studio Ultimate 2019 offers any beginner (and more experienced users) a compelling package. It has all the features you need for image management, RAW editing, and more advance editing in one place, with the advantage of a ‘pay once and it’s yours’ option instead of a subscription.  Although a subscription option is available, if desired.

At $ 149 USD for the single purchase perpetual licence, you get a LOT of capability all wrapped up in one software program.

Rating

8.5 out of 10

Disclaimer: ACDSee is a paid partner of dPS

 

 

 

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