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Tips for Doing a Backyard Photo Safari

09 Jun

The post Tips for Doing a Backyard Photo Safari appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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Have you ever thought about taking a trip to the other side of the world to get beautiful shots of exotic locations? You certainly can, and traveling is one of the best things you can do to take your photo skills to the next level. If flying across the world isn’t an option, what about stepping out of your door? A backyard photo safari is just a few meters away instead of a thousand miles, and you can take some beautiful photos without expensive gear too.

backyard photo safari dandelion
Nikon D7100, 50mm, f/2.8, 1/2000 second, ISO 100

While you could just drop what you are doing and head outside right now, it helps to do a bit of planning first. If you keep a few tips and techniques in mind, it will save you some frustration and give you a few ways to approach your very own backyard photo safari that will help produce the best possible results.

Timing is everything

Familiar places can take on dramatically different appearances depending on the time of day. It’s not just about the quality of light but the type of things you are likely to find – especially in your backyard. In the morning, plants are covered in dew, and bugs and insects are seizing the day. You might also find familiar sights shrouded in fog. Revisit the same patch of earth in the evening, and the scene will be dramatically different.

backyard photo safari frog
Nikon D750, 50mm, f/8, 1/90 second, ISO 800. This frog wasn’t just in my backyard. It was on my back door! I shot this after the sun went down after a rainy day.

You already know your own backyard well, but have you ever gone out in the early hours of the morning, or as the sun was setting, or even late at night? It’s not the same place at all. You will quickly notice things that you just don’t see during the day. Familiar objects take on a whole new appearance when photographed in the early morning or late at night.

You can even take great shots after the sun goes down by using a long shutter speed.

backyard photo safari night stars
Fuji X100F, 23mm, f/8, 15 seconds, ISO 1250. I took this from my back porch very early on fall morning. It was only a few feet away from where I shot the photo of the frog!

It’s not just time of day that matters, but the time of year as well. Revisiting familiar places, even your own backyard, throughout the year can reveal amazing photo opportunities that were hiding right before your very eyes.

Act fast though! When you see an interesting picture idea, take the shot. Waiting even one day can change everything and suddenly your beautiful photo is nothing more than dust in the wind.

backyard photo safari leaf on ground
Nikon D7100, 50mm, f/2.8, 1/1000 second, ISO 100. I saw a photo opportunity on a Saturday morning right as the sun came up, so I ran outside barefoot to get the shot. The very next day, the leaves had all blown away!

Spring, summer, winter, fall – everything changes throughout the year, and this has a profound effect on the photos you can take in your yard.

Rich greens in spring, deep colors in summer, browns and yellow in the fall, and shades of gray in the winter.

Even if you think you’ve seen it all, try revisiting familiar spots in your own yard at different times of the year. The result may surprise you and give you some interesting photo ideas.

Tips for Doing a Backyard Photo Safari
Nikon D7100, 85mm, f/4, 1/30 second, ISO 800. Composite of several shots of a lunar eclipse I took from my back yard over the course of two hours.

Look at the light

No matter the time of day or season of the year, it’s essential to look for where the light is coming from.

Then think about how you can use the light to make a more interesting or compelling composition.

Most objects look great with standard front-lighting – that is, with the main source of light positioned behind you, the photographer. You might need to scoot around or shift your position to make this happen, but your photos will be better off for your efforts.

backyard photo safari sunflower
Nikon D200, 50mm, f/2.4, 1/80 second, ISO 100. This sunflower was right by my back porch, with the sun positioned behind my shoulder so the flower was evenly lit.

Backlighting is a fun technique to use also, especially on a backyard photo safari where you get fun and interesting colors. This involves placing the main source of light behind your subject, which can create really fun effects and make ordinary objects take on a whole new appearance.

It’s loads of fun if you have flowers. Even ordinary, run-of-the-mill flora that you probably have in your own yard.

backyard photo safari crocus
Nikon D7100, 50mm, f/2, 1/3000 second, ISO 100. These crocuses show up for a few days every spring, and each year I enjoy taking their picture. I didn’t plant them, but I sure enjoy having them while they bloom for a few days. I used backlighting to make it seem like they were glowing.

It’s not all about sunlight either. There are other sources of light that you can keep in mind when looking for photo opportunities right where you live.

Streetlights can cast an eerie, moody glow over everyday streets and sidewalks. Passing cars can make really fun motion trails. You can even create amazing artwork right in your yard with nothing more than a tripod and a flashlight – all it takes is a little creativity!

backyard photo safari foggy morning
Nikon D200, 50mm, f/16, 15 second, ISO 200. This is looking down the street from my driveway on a calm, foggy morning.

Adjust your angle of view

Most of the time, we see the world around us, especially our own domicile, from the same point of view. Our eye-level remains roughly the same throughout the day, altering between three to five feet off the ground, depending on whether we are standing or sitting. To really find some interesting photo opportunities, particularly in your backyard, try getting low to the ground. Really low. A whole new world awaits you if you have eyes to see it.

backyard photo safari Indian Paintbrush
Nikon D750, 85mm, f/1.8, 1/200 second, ISO 125. I had to position my camera very low to the ground to get this shot, but it was worth the effort.

Lots of interesting things start to show up when you change the angle from which you see the world around you. Even familiar settings can be transformed with a simple change in perspective. While you could get some really good shots by getting up high and shooting with a ladder, I find that it’s a lot more fun to literally crawl around on my hands and knees when looking for photos in my backyard.

backyard photo safari toys on ground
Nikon D200, 50mm, f/1.8, 1/3000 second, ISO 400. I put a few of my kids’ toys on the ground, laid down on my stomach, and photographed them in my own backyard. This picture isn’t going to win any awards, but I had fun taking it.

It might not be the most glamorous or flattering photographic pursuit, but photography can be a messy hobby. And if you’re more worried about how you look when taking pictures instead of the pictures you are taking, it might be time to reevaluate your priorities!

backyard photo safari bubble on grass
Nikon D7100, 50mm, f/1.8, 1/1500 second, ISO 280. My kids were blowing bubbles in the front yard. I had to practically lay on the ground to get this shot but the result was worth it.

Look for wildlife

I live in a small town in middle America. The most exotic animal I’m likely to see on any given day is what we call a Texas Speed Bump. (Think of what happens when an armadillo crossing the road meets a pickup truck.) It might seem like any attempt to take wildlife photos on a backyard photo safari would be an exercise in futility. However, while you might not have lions, giraffes, or gazelles out your front door, you probably have more interesting animals than you realize. You just have to look for them.

backyard photo safari spider and grasshopper
Nikon D750, 50mm, f/8, 1/180 second, ISO 5600. Shot with a +4 close-up filter. This was right outside my garage door. Cue the Lion King song “The Circle of Life”

Bugs, insects, worms, and other multi-legged creatures might give you the willies, but they can be fascinating photography subjects. The same goes for bees, butterflies, or anything with wings.

If you look closely and have a bit of patience, you can find all sorts of wildlife right where you live.

backyard photo safari wasp
Nikon D7100, 50mm, f/4, 1/125 second, ISO 400. Shot with +10 close-up filter. This wasp was hanging out on the lid of my trash can on a chilly autumn morning.

I’m no entomologist or zoologist, and when I’m out in my backyard looking for photo opportunities, I don’t even know what most of the animals are that I’m photographing. If it’s interesting to look at, and if the lighting is good, then I’ll take a picture. Sure I get a little grossed out from time to time, but I get some really cool images too.

backyard photo safari cottonwood borer
Nikon D200, 50mm, f/1.8, 1/750 second, ISO 200. I don’t know what this thing is, but it was hanging out in a pine tree in my front yard and it made for a really interesting photo.

You don’t just have to think small when taking pictures of animals on a backyard photo safari. Rabbits, squirrels, snakes, and birds – you probably have lots of animals come through your property that would be fun to photograph. The trick is to keep your eyes open, and it helps to have the tiniest sense of adventure too.

You don’t have to just look for small things either. Always keep your camera ready in case something larger comes your way! It might not be especially exciting, but it’s fun to get shots of everyday wildlife like rabbits, squirrels, birds, or other critters that call your backyard home.

backyard photo safari cardinal
Nikon D500, 200mm, f/2.8, 1/400 second, ISO 1600. A little patience was all it took to capture this photo of a male cardinal on my backyard fence.

Every now and then, you might see something a bit more exotic too. When those moments strike, it can be supremely rewarding to attempt a shot. Even if you don’t get the photo, you will at least have a fun story to tell.

backyard photo safari snake in grass
Nikon D200, 50mm, f/4, 1/160 second, ISO 200. My wife saw this snake slithering across our front yard, so I grabbed my camera and a broom. After I got a few photos I gently encouraged it to vacate the premises.

Get a set of close-up filters

One of the best things you can do if you’re looking for a way to get great shots of the world around you is to buy a set of close-up filters. When you think of going on a wildlife safari, you might imagine huge camera rigs and giant telephoto lenses. Close-up filters are the opposite: they let you get very close.

Close-up filters are extremely inexpensive and screw on to the front of your camera lens. They take a bit of patience to learn, so make sure to plan some time to get acquainted with how to get the best results in order to avoid frustration when the moment strikes. Once you get the hang of it, close-up filters make even the most ordinary backyard subjects appear majestic and even otherworldy. In other words, they’re perfect for a backyard photo safari.

backyard photo safari mushroom
Nikon D7100, 50mm, f/11, 1/200 second, ISO 400. Shot with a +4 close-up filter.

Flowers, mushrooms, berries, leaves, sticks, even blades of grass take on a whole new appearance when shot up close.

These stationary objects work really well for macro shots because they allow you to try different focal lengths and experiment with manual focus.

When you’re ready for something a bit more challenging, you can combine close-up filters with bugs and insects. This involves a lot more skill, practice, and patience (as well as mastering the back-button focus technique, which I recommend for best results) but you will never look at your own yard the same way again.

backyard photo safari bee
Nikon D500, 50mm, f/5.6, 1/250 second, ISO 360, shot with +4 close-up filter. It took nearly a hundred shots over two days to get this image of a bee in my back yard, but it was worth the effort.

If you can find a bug that is relatively slow-moving, you can combine all the techniques in this article to get some really amazing shots. For this final image, I went out in the evening, looked at the angle of the sun, adjusted my own point of view accordingly, and used a close-up filter. I’m not even sure what kind of bug or insect this is, but I really like the photo.

backyard photo safari insect on tree
Nikon D750, 50mm, f/1.8, 1/100 second, ISO 900. Shot with a +4 close-up filter.

Conclusion

This list is really just scratching the surface of what’s possible when you go on a backyard photo safari. You don’t need a lot of expensive equipment, and you don’t need to hire a tour guide. These few simple tips will be enough to get you started, and then it’s up to you. How far will your creativity and sense of exploration take you when you’re right in your own yard? It could be a lot farther than you think.

Share your tips, tricks, and backyard safari photos in the comments below!

The post Tips for Doing a Backyard Photo Safari appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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Dreamstime increases royalties for stock photo contributors in response to COVID-19’s economic impact

09 Jun

The ongoing COVID-19 pandemic and its economic fallout have impacted everyone, including photographers. Many photographers have lost revenue due to canceled jobs, fewer events to photograph and potential clients, including commercial clients, not having the revenue to spend on photography. Stock photography website Dreamstime has launched multiple initiatives to help photographers and others impacted by the COVID-19 pandemic, including a newly announced increase in royalties.

As of June 1st, Dreamstime is rewarding contributing photographers with a 10% increase in the royalties value for all downloads, including those with exclusive or non-exclusive status. As Dreasmstime points out, this means that a download that previously would have awarded 50% royalties will now award the photographer 55%. Dreamstime itself has been impacted by the economic downturn resulting from the COVID-19 outbreak, so while they aim to offer the increased royalties for as long as possible, they are unable to make any guarantees about the eventual timeframe.

‘This means that financial aid will be now employed for a more community-centered strategy. For you, this means that all purchases beginning with June 1st will reward an extra 10% increase in the royalties value for all downloads, regardless of the exclusive or non-exclusive status.’ – Dreamstime CEO, Serban Enache

In addition to offering photographers increased royalties, Dreamstime has also worked on creating new tutorials and guidelines for photographers trying to stay financially secure during these trying times. Clients have also been offered relief in the form of a free two-month pause on subscriptions.

Further, Dreamstime has been contributing 5% of its sales to the World Health Organization’s Solidarity Response Fund since March. Additionally, active non-government organizations in need of visual content can contact Dreamstime for a free subscription.

As PetaPixel pointed out, the timing of the royalties increase is interesting. In late May, competing stock photo company Shutterstock announced a new earnings structure for its contributors and the response was very negative.

For comparison, Dreamstime’s new structure has been met with a very positive response. In the comment section on the company’s announcement blog post, many users have not only expressed gratitude, but some have even mentioned specifically that they have either shut down their Shutterstock accounts in response to its change in royalty structure.

Articles: Digital Photography Review (dpreview.com)

 
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My iphone shot from the Adorama photo contest

06 Jun

My shot of the Kimmel Center for the Adorama photo contest took  one of the 3rd place prizes!

http://contest.adorama.com/entries/36329

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Android smartphones can become soft bricked if you use the wrong photo for a wallpaper

05 Jun

A number of Android smartphones are at risk of suffering a fatal system error if the user sets a specific image as their wallpaper. The discovery was first publicized by popular Twitter account Ice Universe and has since been confirmed by users who tested the warning for themselves. The issue, it turns out, is the image’s color space and Android’s current inability to deal with it.

There’s nothing inherently malicious about the image shared by Ice Universe; it shows an idyllic landscape complete with water, mountains and clouds. The problem, investigators have discovered, is that its color space is incompatible with Android, which currently doesn’t have a method in place to detect this incompatibility and convert the image to color space it supports.

Setting the image as an Android wallpaper will cause the phone to crash; it will reboot, but soon crash again, in most cases doing this too quickly for the user to change their wallpaper to something else. As a result, the user is forced to factory reset the device, losing any images and other data that wasn’t backed up beforehand.

As expected, this issue isn’t limited to only this particular image — any non-sRGB image may potentially cause the same crash. Android Authority recently spoke with a developer who shed light on the problem with a long, technical answer for those who are interested. Put simply: Android can only deal with sRGB images as wallpapers and doesn’t currently know how to handle certain non-sRGB images, triggering an infinite loop of fatal errors that forces the user to factory reset their device.

As noted by multiple Android developers, as well as 9to5Google, not all Android phones are vulnerable to this bug, though many major ones are, including older Google Pixel phones, Samsung smartphones and more. 9to5Google‘s Dylan Roussel reports that the Pixel 4 XL running Android 11 doesn’t not crash from this image while the Pixel 3 XL on Android 10 does.

In Android 11, the system will detect if the wallpaper’s color space isn’t supported and will convert it to something it does support. Though Android 10 doesn’t have this same capability, it seems Google is already working on a fix for this problem, which means older Android phones that don’t update to Android 11 will eventually be protected from the bug, as well.

Until that happens, however, there’s a big problem for Android users: now that the bug has been widely publicized, there will no doubt be some people who deliberately seed these problematic images to mobile wallpaper websites in an effort to crash devices.

Though the bug doesn’t totally brick the device, it does often force a factory reset; many users report being unable to resolve the issue in Safe Mode. This means that many users who aren’t careful may end up losing some of their data.

Ice Universe notes that when the image is uploaded to other social media websites, it is converted and becomes safe to use with Android; only the image uploaded to Twitter retains its problematic color space.

To protect one’s self, Android users can avoid publically offered wallpapers until the Android 11 update arrives, they can limit their wallpapers to their own images or official manufacturer theme stores or there’s always the option of manually checking that an image is compatible before setting it as one’s Android wallpaper.

Articles: Digital Photography Review (dpreview.com)

 
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Adorama’s opens up ‘Perspective,’ the first of its new photo contest series for US residents

22 May

U.S. camera retailer Adorama has opened a competition as part of it’s ‘Create No Matter What’ campaign in which photographers based on the U.S can win a Canon EOS RP kit worth $ 3000. The theme for the contest is Perspective, but you’ll need to move quickly as the closing date is 27th May.

The store is running the campaign with an ongoing series of competitions to encourage creative people to remain active during the lockdown, and says it aims to inspire photographers, videographers, designers and audio artists while many may find it hard to work or enjoy their hobby.

The Perspective Challenge though is a photographic contest, and entrants are allowed to put forward up to five images. Judges will be looking for ‘adherence/appropriateness to the challenge theme, originality of expression, composition, lighting, and visual and emotional impact’.

The prize is a Canon EOS RP body and Canon RF 24-105mm f/4 L IS USM Lens along with a Manfrotto Befree Live aluminum tripod with fluid head, a Moment variable ND filter, a ProGrade Digital 256GB SD camera and a Peak Design backpack to put it all in.

For more information, and to enter, see the Create No Matter What page of the Adorama website.

Press release:

Adorama Announces #CreateNoMatterWhat Creative Challenge Series

First Challenge Theme: Perspective Offers Photographers a Chance to Win a Canon Camera Package

Adorama, the trusted source for market-leading photo, video, audio, and computer equipment and information, announced today the “Create No Matter What: Perspective Challenge” photography contest. Revealed by travel, outdoor and adventure photographer Nathan Lee Allen, the Perspective Challenge asks photographers to show how they create a different perspective of their art, for a chance to win a Canon EOS RP camera prize package worth more than $ 3,000.

“With more than 50 million impressions and even more engaged users, our #CreateNoMatterWhat campaign has really hit a high note within our community. To keep the positive momentum flowing, we are excited to launch a series of themed creative challenges and will be rewarding our community with really amazing prizes!” said Mary-Irene Marek, Director of Content and Social Media for Adorama. “Our first challenge is all about perspective within photography. Whether you’re capturing life from a different angle or using props to create a whole new environment, you’re using perspective to tell the story.”

Adorama’s #CreateNoMatterWhat campaign is a community-based hashtag to engage with and encourage creatives to create, learn, and think outside the box. Whether it’s photography, videography, audio, design or editing, #CreateNoMatterWhat challenges creators to keep their creativity flowing and to continue their passions while at home.

To enter the Perspective Challenge, photographers should submit a completed online entry form and up to five photographs that demonstrate their talents, skills and vision. Winners will be selected based on the following criteria: adherence/appropriateness to the challenge theme, originality of expression, composition, lighting, and visual and emotional impact.

The Perspective Challenge is open now through May 27th at 11:59 PM ET. The winner will be announced on May 29th at 12 p.m. ET.

To learn more about the Perspective Challenge and enter up to five images for a chance to win, visit www.adorama.com/cnmw.

Articles: Digital Photography Review (dpreview.com)

 
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ACDSee Photo Studio Home 2020 Review

21 May

The post ACDSee Photo Studio Home 2020 Review appeared first on Digital Photography School. It was authored by Glenn Harper.

dps-acdsee-photo-studio-home-2020-review

It’s not unusual for photo-editing software to be multifunctional. Any combination of browser, raw processor and pixel editor is normal. ACDSee Photo Studio Home 2020 offers a slightly different blend of digital asset management (DAM) and pixel editing. In this article, we’ll see what this combo can do for you.

ACDSee Photo Studio Home 2020 - View Mode
View Mode in ACDSee Photo Studio Home 2020

What is DAM Software?

Many programs that help you organize photos are, rightly or wrongly, described as DAM software. An example of this is the now-discontinued “Picasa.”

With that popular program, you could browse photos, edit them, add metadata, assign keywords, create albums, mark photos as favorites, and so on. It was comprehensive. But was it DAM?

What is DAM?

A defining feature of real DAM software is its ability to create a database of your photos. Lightroom does that, as does ACDSee Photo Studio Home.

These products aren’t just an extension of your OS. They record things, like the location of your photos and all the metadata attached to them. And they create thumbnails so you can fly through your collection at high speed whether you’re connected to it or not. This is what separates DAM software from fancy browsers.

First three modes for browsing and DAM

In ACDSee Photo Studio Home 2020, the first three modes are for browsing and DAM. The modes are as follows:

  • Manage Mode is where you can browse folders, filter out photos, create stuff like slideshows and contact sheets, and send images to various photo platforms. You can switch between photo editors from here, too, in case you have other software with different functionality. Manage Mode is the hub of the software. You can even add geographical data to photos from here using the Map tool and reverse geocoding.
  • Photos Mode is great if you want to see everything on your drive within a short space of time. Let’s say you need to root out photos without any keywords or identifying data—this is the place to do it. This mode lets you see all content at once, whether it’s in folders or subfolders, so there’s no hiding place when you’re trying to find specific pictures.
  • View Mode gives you a nice big preview of your photos one-by-one, and it’s quick. This is a good place for assessing the content of your photos and grading them. (In another article, I suggest a workflow for this software). You can scrutinize the technical quality of TIFFs and JPEGs* in this mode, too. A nice feature of View Mode is the set of experimental tools it gives you, which you can apply to the picture without committing to the edit.

*Note that View Mode is not a good place for assessing critical sharpness in raw files, as the software displays the embedded JPEG to maintain speed. This JPEG looks especially poor at 100%, but it’s fine for assessing content and composition.

Fast photo browsing in ACDSee Photo Studio Home 2020
Photos Mode. This mode shows all images, whether in folders or subfolders.

Importing and Cataloging

When it comes to importing files into ACDSee software, you don’t need to do it at all.

The software accesses the folder system of your OS, so it’s enough just to copy and paste the files onto your hard drive. They are added to the ACDSee database automatically when you browse them later. That being said, you can import files via the software if you want and adjust filenames or add metadata while you’re doing it.

If you need to catalog lots of pictures without browsing them all first, you can do that too in Manage or Photos modes. This is especially useful when you first start using the software, though you must wait a while for the process to complete.

Getting organized

It’s all very well cataloging your photos, but there’s still a way to go before they’re genuinely searchable.

In Manage and View Modes of Photo Studio Home 2020, you can open the Properties panel to the right-hand side. It’s here that you add keywords, captions, ratings, color labels, and categories to your photos.

ACDSee Photo Studio Home 2020 - IPTC data
I advise working on keywords in the ACDSee Metadata tab, then copying and pasting them into the IPTC field if you want them to be readable elsewhere. Alas, there’s no button to make this task quicker.

You can use any or all of these features to make your photos searchable, grade them, and track them in your workflow. In a recent sponsored article, I suggested using ratings to grade the quality of your photos and color labels to mark your workflow progress. This is a common use of these tools.

Keywords

Keywords make your photos searchable using a variety of criteria. For instance, you can add different photographic techniques to keywords as well as describing the subject of the photo. How thorough you should be in keywording depends on your needs, but you can import keyword lists to avoid having to create them yourself. That’s a new feature in 2020, and it saves loads of time.

Keywords
This was a raw file developed in ACDSee Photo Studio Home 2020. The conversion is fine for non-problematic images that you want to quickly get online or share without changing your camera settings.

To Tag or not to Tag

To the top left of the properties panel is a check box for “tagging” images. This is a good way to highlight your keepers and reject the rest (or vice versa).

It’d be nice if ACDSee added the ability to proactively reject photos with a dedicated reject flag. As things stand, an untagged file could be one that you’ve simply missed.

Image Baskets

A favorite ACDSee feature of mine is the image basket. This is like a virtual folder, where you can gather image files from various places without physically moving or copying them. It’s very handy for working on quick projects without cluttering up your drive with duplicate files. You can use image baskets for purposes of viewing, editing and sharing.

Face Detection and Recognition

ACDSee software is good at detecting faces, at least when they’re not obscured, and it’s impressively good at recognizing them thereafter.

Often, you only have to name a person once for the software to learn facial features. There are obvious limitations. It won’t necessarily recognize faces across several decades, for instance. But this feature is decidedly useful for cataloging pictures of friends and family.

Face detection technology - face recognition technology
ACDSee software asks for confirmation that this is Marcel Proust. It’s seen one picture of him at this point, so that’s pretty good going.

Edit Mode

Two-thirds of ACDSee Photo Studio Home 2020 is DAM software, aimed at getting your photos organized and being able to find them with ease. If that was all you got for your money, it’d already be good value. But there’s also an Edit Mode where you can work on rendered files (e.g. JPEGs, TIFFs) and get them looking good.

What about raw files?

You can open most types of raw files in Photo Studio Home 2020, but there’s no develop module like there is in ACDSee Ultimate, for instance, so you don’t get to choose the processing parameters.

If you want to benefit fully from shooting raw, you should link this ACDSee software to a raw editor and switch between programs. That, theoretically, would be a higher-quality workflow than having to address technical issues after conversion. And you still have the DAM side of the software for cataloging and grading your raw files.

ACDSee Photo Studio Home 2020 - raw files
This is why you can’t judge the technical quality of raw files in ACDSee View Mode (where they’re best viewed at low magnifications). The inset shows the same file at 100% in Edit Mode.

Edit Mode features

A bit like Photoshop Elements vs Photoshop CC, there are things missing in ACDSee Photo Studio Home 2020 that aren’t missing in ACDSee Ultimate. For instance, there’s no 16-bit color support, no layers, no perspective tool, no dehaze, no dodge and burn, and no Color EQ™. But these absent features are all forgivable since there’s a ton of stuff you do get.

Photo watermarks and logos - ACDSee Photo Studio Home
Using the watermark feature in Edit Mode to place a logo (quickly created elsewhere) into the corner.

Color and Tone

For basic work on color and tone, there are the usual levels and curves tools.

In fact, these tools are nicely implemented by ACDSee, with a built-in histogram and an exposure warning that tells you when you’re losing detail with your edits. You also get a basic version of the proprietary Light EQ™ tool, which lets you adjust shadows, mid-tones, and highlights separately.

Given that many people only use the basic version of this tool anyway, this is a valuable inclusion.

Photo exposure warning - clipping display
The levels tool in Edit Mode. The exposure warning draws attention to blown highlights and blocked shadows.

Cloning and Healing

I should mention once more that the clone tool does not work for me in ACDSee Photo Studio Home 2020 (nor its predecessor). I just get a black screen. That seems trivial when set against everything that does work, but it’s still a tad irritating. I can use the heal tool a lot of the time instead, though its pixel-blending function is a bit different.

Creative Tools

ACDSee could be forgiven for providing the bare minimum of Editing tools, but they go beyond that. You get a cross-section of some of their most creative features. Under the “Add” filter menu, for instance, you’ll find Special Effects. And there are many of them for you to try.

I like the “Orton” effect, which smooths details for a dream-like appearance.

ACDSee Photo Studio Home 2020 - special effects
The Purple Haze special effect at 50% opacity. Try experimenting with blending modes to see what else you can achieve with these effects.

You can modify all edits with blending modes, opacity, gradients and the Edit Brush. This means you can adjust localized areas of your photo a bit like you can in Adobe Lightroom and other programs. What you can’t do is work on multiple edits at the same time, but this is still useful versatility.

ACDSee Photo Studio Home 2020 Review - radial gradient
A radial gradient placed over a black and white LUT, causing color to fade out towards the edges. You can make this kind of localized edit using gradients or the Edit Brush. (Not all LUTs are color, despite ACDSee’s nomenclature.)

The Tilt-Shift filter appears under the “Add” menu.

The temptation with this is always to dig out high-angle views and create that miniaturized effect where buildings, people, and vehicles look like toys.

However, you can try this filter out on other subjects, altering their depth of field and bokeh. It works quite well on close-ups of flowers, for example.

tilt-shift filter on flower - ACDSee Photo Studio Home 2020
An atypical use of the tilt-shift tool, creating a very soft “bokeh” outside the center of this flower.

You’ll find the Convert to Black & White filter under the “Color” menu.

This lets you fine-tune your black-and-white conversions by adjusting brightness and contrast in all the colors that make up your picture. Also present here is the equivalent of Photoshop’s Channel Mixer, where you adjust the red, green, and blue (RGB) sliders to achieve your conversion, making sure the total value is at or under 100%.

convert to black and white ACDSee
Simple use of the Convert to Black and White filter. I’ve lowered brightness in greens and increased it in yellows and oranges to create pleasing contrast in this picture.

Color LUTs are found under the “Color” menu, too. These have become popular in recent years, allowing users to mimic the world of movie production by applying color grades to their pictures. The effect is often radical.

ACDSee comes with some color LUTs built in, but you can download more from various sources on the Internet.

Color LUT - orange and teal - color grading - ACDSee Photo Studio Home
The ACDSee “Film” color LUT adds a classic orange and teal look to pictures as well as increasing contrast. This color grading is often seen in movies or TV series.

Summing it up

Genuine DAM software, the kind that catalogs your photos, often costs well over $ 100. Or it’s part of a subscription plan that locks you in annually. ACDSee Photo Studio Home 2020 is appealing not only for its affordability but because it’s a great photo manager, period. On top of that, it’s a raw opener and pixel polisher with plenty of scope for creativity.

Orton special effect
“Orton” special effect, faded towards the top using a gradient.

If you’re sold on the benefits of shooting and editing raw files, you could pair this software with RawTherapee or DarkTable without spending more cash. Whatever you choose to do, rest assured it’s impossible to waste money on ACDSee Photo Studio Home 2020. This software is easy to use but has a depth that far belies its price.

Have you tried this software? Share your thoughts with us in the comments section.

The post ACDSee Photo Studio Home 2020 Review appeared first on Digital Photography School. It was authored by Glenn Harper.


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Slideshow: These are the shortlisted images for the Palm* Photo Prize 2020 contest

20 May

Shortlisted images for the Palm* Photo Prize 2020 contest

Palm* Studios recently announced the shortlisted images for its 3rd annual Palm* Photo Prize competition. Over 7,000 images were submitted from all over the world. 108 were selected for the shortlist and are now in the running for the annual prize. All of these photos are for sale as prints with 100% of the profits going directly to the artists.

The judging panel consists of Alastair McKimm, editor-in-chief of i-D, Karen McQuaid, senior curator at The Photographers’ Gallery, Sarah Allen, assistant curator at Tate Modern, David Campany, Jessica Lopez, photo editor at Polaroid Originals, and Lola Paprocka, founder of Palm* Studios.

Brooklyn, New York-based photographer Dino Kuznik is in the running for the annual prize.

20 overall award winners for the Judge’s Panel prizes, Peoples Choice Award, and Peoples Choice Instagram Award will be announced on May 30th. DPReview reached out to a handful of these shortlisted photographers and got the story behind their nominated images plus the information on the gear they used. Don’t forget to check out all the nominees and support their work.

Shortlist, 2020: Dimitri Djuric (London, United Kingdom)

Artist Statement: The image is a type of pylon for a high tension overhead power line. It’s part of an ongoing series of buildings and structures photographed at night.

Gear: Fujifilm XH1 camera and a big flash.

Shortlist, 2020: Ashley Bourne (Bristol, United Kingdom)

Artist Statement: My work centers around storytelling within society, drawing on ideas from personal experience to form the basis of my projects.

Gear and Film: Pentax 67 medium format camera, a 90mm lens, and Kodak Portra 400 film.

Shortlist, 2020: Mark Mahaney (San Francisco, California, United States)

Artist Statement: This is an image from my first book, Polar Night. The project is a passage through a rapidly changing landscape in Alaska’s northernmost town of Utqiagvik. It’s an exploration of prolonged darkness, told through the strange beauty of a snowscape cast in a two month shadow.

The unnatural lights that flare in the sun’s absence and the shapes that emerge from the landscape are unexpectedly beautiful in their softness and harshness. It’s hard to see past the heavy gaze of climate change in an arctic town, though Polar Night is a visual poem about endurance, isolation and survival.

Gear: Pentax 645z camera with manual focus 75mm lens.

Shortlist, 2020: Joseph Balestra (Philadelphia, Pennsylvania, United States)

Artist Statement: At the end of 2019, I spent a month out west in California as a way to wrap up the year and reflect. During this time I created a few portraits of local artist and personalities. This portrait was created on Venice beach of Artist Floyd Zion, a musician and model based out of LA. The shoot was approached in what is still to this day one of my favorite ways to work with a subject. No planning, just chasing light and enjoying a day of collaboration.

Gear and Film: Mamiya AFD II camera, Kodak film, self-scanned.

Shortlist, 2020: Alexander Beer (London, United Kingdom)

Artist Statement: Too many people stigmatize women who wear the hijab. There is nowhere in the the Holy Quran that tells them not to kick ass as human beings. These amazing girls and women are all taekwondo black belts.

Gear and Film: Asahi Pentax 67 6×7 camera, with 120 film.

Shortlist, 2020: Caitlin Chescoe (London, United Kingdom)

Artist Statement: My Father has been a life long KISS fan, we’ve grown up with bands like KISS playing throughout the house and it is very much a part of who we are as a family. On this occasion myself, Mum, Dad and Sister all dressed up as the band to watch a gig in Munich for KISS’ last ever world tour. We had front row seats and my Dad nearly cried he was so happy. This image represents an incredible memory that we all share together.

Gear: Hasselblad 500c/m camera.

Shortlist, 2020: Jan Kühr (Oslo, Norway)

Artist Statement: Ripe fruits and vegetables constitute a wild boar feast in the mountains in Alpilles, South of France.

Gear and Film: Mamiya 7 II camera with an 80mm lens, Kodak Porta 160 ISO film.

Shortlist, 2020: Rinchen Ato (Cambridge, United Kingdom)

Artist Statement: Rinchen Ato’s photographs are an exploration of her heritage and the fast-evolving culture of the Khampa people. Over multiple trips, spanning the past two decades, she has documented family, friends and the struggles and celebrations of the wider community of Tibetan people living in Kham.

It is an incredible place. The region is mountainous, consisting of high altitude grasslands, a remote and rugged land with a society where little had changed for centuries until recently. ‘My father often jokes that he was born in the Bronze Age and even in the 20 years I have been photographing there I have seen how quickly Kham has evolved.’ The inhabitants were mostly nomadic but, with rapid modernization, mass migration to the town of Jyekundo ????????????? and huge earthquake in 2010 which obliterated the area, many villages are now abandoned or only have a few families remaining.

Deeply aware of the visual tropes used by foreign photographers, depicting Tibetans as ‘other,’ Ato’s work employs a sensibility which comes from her connection to the community, a community which is familiar to her.

The project has been described as a mix of nostalgia and realism. ‘To photograph is the act of capturing a moment and this is my attempt to record and hold on to something precious, like a love letter, an homage, to the people I hold most dear and the country that I adore.’

The project started in a naïve way. Twins are an obvious subject for photographers as the very notion suggests the mirror-like rhetoric that photography has with the world. It’s also interesting because when you shoot subjects so similar, under scrutiny, it highlights the differences between them and how we’re all individuals. But as the project now stretches over such a long period it has evolved into something more, an uninterrupted sequence, a body of work in it’s own right marking the passage of time. As they have grown and changed, so too has the environment around them, yet the resemblance between the girls remains constant.

In this image they were 15. We’d finished lunch and were sitting around chatting but this year was different. They dashed off to their room to get ready and were gone about half an hour. They came out wearing these incredible gingham dresses and matching watches. It felt like a real transition, they’d become conscious of their appearance. We stood on the balcony overlooking the town. The rabbits were a birthday gift and they wanted to hold them, and there it was, the shot.

Gear: Hasselblad 503CXI camera with film.

Shortlist, 2020: Lotte Van Raalte (Amsterdam, The Netherlands)

Artist Statement: This January (2020) I published my very first book, BODY. Over the course of 16 months I photographed 46 women in their most natural form including my mom. This picture was taken on the 16th of October 2018 at the beach in The Hague, the city where I grew up. My mom – who is terminally ill – had just told me some bad news. Minutes after, we were driving to the beach, during which I was still processing what she had just said.

As soon as we started shooting she was running, dancing and playing. One of her oldest friends was at the beach too, so I photographed them together. My mom absolutely loves the beach and although she’s ill, looking at the images afterwards, she looks so full of life and joy. It’s one of my favorite images of the book and I still am fascinated by the fact that her body actually created mine. The title of this image is ‘Judy and Lily.’

Gear: Sony a7RIII camera.

Shortlist, 2020: Jon Ervin (Brooklyn, New York, United States)

Artist Statement: This project aptly titled ‘Boys Will Be,’ which references the common phrase ‘Boys Will Be Boys,’ is an ongoing photographic journey exploring the various ways in which men perform and construct their identity. In this project I use the camera as an active agent to witness these gestures of masculine performance through documentation, portraiture, and staged scenarios.

By turning the camera on these men, I am encouraging them to perform for the ‘other.’ That performance, framed between the lines of the viewfinder, is a subjective choice to display their constructed identity to the camera, myself, and the viewer. The use of staged adolescent experiences creates scenarios where innocent horseplay can become something of consequence and for impalpable power dynamics that are threaded throughout our society to become tangible.

It is in those moments where boys learn their own power and how it can be used to influence others. Despite the relation to “Boys Will Be Boys,” this project does not adhere to the belief of so-called excusable male behavior that is at times aggressive, violent, and toxic; instead it has importantly left off the last word — ‘Boys.’ That distinction allows the men of this project to simply be.

Gear and Film: Pentax 67II camera with a 300mm f/4 lens and 1.4x teleconverter, Portra 400 film.

Shortlist, 2020: Dylan Lewis (Richmond, Virginia, United States)

Artist Statement: This image is from my larger body of work, a photo book titled ‘Dusker.’ The images in Dusker act as physical expressions of interior states. Situated between exhalation and incantation, they construct a space where the ontological unease of ‘documentary’ photography, the aestheticizing eye of fiction, and the emotional texture of dreams within an always-already fractured reality intertwine.

Shortlist, 2020: Pat Martin (Los Angeles, California, United States)

Artist Statement: It was Easter afternoon and we heard Jeff was feeling lonely. She had thought that her whole family had forgotten about her, but to her surprise, we all showed up with a pack of American Spirits, wine, and a pair up bunny ears. Jeff may be 98, but she’s still a party-girl and loves some good company.

Gear and Film: MF Pentax 67II camera, and printed in a color darkroom. All Kodak film, chemicals, and chromogenic darkroom paper.

Shortlist, 2020: Hua Jin (Montreal, Canada)

Artist Statement: This photo is part of my long-term and ongoing project ‘My Big Family.’ A project I document my extended families in China.

I call the woman in the picture ‘Aunt,’ she is a distant relative who lives nearby. When I took this photo she was trying to dig some coppers and wires from the demolition sites where the old farmer houses had been destroyed. She could make a small amount of money in the market by selling these materials.

While local people were trying to make small amounts of money from the ruins that used to be their homes, the government along with big companies were trying to redesign and reuse the land by building residential and commercial high rises, meanwhile, to change the traditional life-styles in the rural area.

Gear: Plaubel Makina W67 camera

Shortlist, 2020: Kamila Lozinska (Bristol, United Kingdom)

Artist Statement: This is a candid shot of my dear friend Jasmine basking in the sun.

Gear: Mamiya RZ67 camera.

Shortlist, 2020: Laura Pannack (London, United Kingdom)

Artist Statement: At the age of 16, Baruch chose to leave his Orthodox Jewish community and to study. The dramatic and challenging decision forced him to question his identity and future. Einstein says: ‘The important thing is to not stop questioning. Curiosity has its own reason for existing.’ The project explores how we choose our paths in life and questions how much control we have to change who we will become. The project was commissioned by 1854 Media and supported by Panasonic.

Gear: Panasonic SR1

Shortlist, 2020: Imogen Forte (London, United Kingdom)

Artist Statement: Last Summer, I moved out of my house, put my stuff into storage, and spent three months traveling the coast of England documenting the people and places I encountered. I wanted to explore more of the country I’d always called home and familiarize myself with new people and new places.

I met this girl in Cornwall, where she was stood in the street with her family. I approached and asked if she wanted a portrait and she agreed. I spotted this amazing backdrop in the cafe beside us and so we popped inside to have a drink and a chat and take some portraits.

Gear: Mamiya RZ67 camera.

Shortlist, 2020: Tais Sirote (London, United Kingdom)

Artist Statement: Tais Sirote, also known as Taisido, is a London-based photographer specializing in still-life and product photography. She has a background in graphic design and loves anything related to self-publishing books. Her style has always shown attention to lighting, showing her strengths on taking bold images, and having an eye for detail. Her pictures are sometimes mistaken for 3D renders and attempt to trick the eye of the viewer to make you wonder how it was taken.

Gear: Canon 5DS

Shortlist, 2020: Valeria Moreno (Richmond, Virginia, United States)

Artist Statement: This image is from a photo series meant to serve as an image as film sequence portraying young womanhood.

Gear: Panasonic Lumix G7 camera.

Articles: Digital Photography Review (dpreview.com)

 
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Duchess of Cambridge launches photo competition to document lockdown life in the UK

08 May

The Duchess of Cambridge has launched a photography competition in partnership with the National Portrait Gallery to document stories of human kindness and suffering during the coronavirus pandemic lockdown in Britain. A keen and very capable amateur photographer herself, the Duchess says that she hopes the competition will showcase life under the lockdown and tell stories of how the inhabitants of the UK were affected.

The contest, called Hold Still, will culminate in an online exhibition of 100 of the best images entered. Though not categories as such, the themes of Helpers and Heroes, Your New Normal and Acts of Kindness have been suggested, and Kate expects to see images depicting harrowing stories, stories of sadness as well as uplifting stories that show how the population has come together to help each other.

The competition will be judged by the Duchess herself along with the Director of the UK’s National Portrait Gallery, Dr Nicholas Cullinan as well as members of the gallery team. Entry to the competition is free and you can one images along with a short explanation of what the picture is about. The Gallery says ‘Images must involve people, and can be captured on phones or cameras. Each image will be assessed on the emotion and experience it conveys rather than its photographic quality or technical expertise.’ The images must also have been taken in the UK.

The Duchess of Cambridge is a patron of the National Portrait Gallery as well as being patron of the Royal Photographic Society. She has become recognised for her touching pictures of her children, and is known to be a Canon DSLR and Powershot user, and has taken lessons from a well-known UK press photographer. She recently released images taken as part of a project to commemorate the 75th anniversary of the end of the Holocaust.

The competition is open now, and closes on 18th June 2020. You can find more information and submit your entry on the National Portrait Gallery website.

Press information

Why is the project called ‘Hold Still’?

Today our society had been told to isolate, to stay inside, not to travel unnecessarily or go out unless vital –to hold still to protect our helpers and heroes.And while many people’s lives are on hold, there are some that work harder than ever, and others that endure the upheaval of hardship and loss.

Through this project we hope to record these experiences, holding still to capture moments in time.

So for both those whose lives have been forced to slowdown and those working at a hectic pace, we hope this project will provide an opportunity to record our personal experience through one still image. And that by bringing together these individual moments we can create a collective portrait of lockdown reflecting resilience and bravery, humour and sadness, creativity and kindness and tragedy and hope.

‘Hold Still’ is a portrait of our nation as we pause for the good of others, and a celebration of those who have continued so we can stay safe.

What are the three themes?

  • Helpers and Heroes
  • Acts of Kindness
  • Your New Normal

These have been suggested to help entrants think about what they may like to photograph.

Please note these themes are not categories that entrants will specifically enter but are intended as inspiration for the content and will be in the minds of the panel when they are selecting the final 100.

What are the entry dates?

Entry opens on 7 May 2020 and the closing date 17.00 on 18 June 2020

Are there any restrictions on who can enter?

The project is about recording the experience of people in the United Kingdom so we would like the photograph to have been taken in the United Kingdom.

There is no age restriction, and the project is open to adults and children alike. However, when submitting an image, entrants will need to confirm that the image is their own work and is not defamatory and does not infringe any UK laws (see Terms & Conditions for full details) and that anyone under the age of 18 has the consent of a parent/guardian to enter. Consent will also be needed for any sitter who is identifiable in the photograph (for those under 18 from a parent/guardian).

We will ask entrants to follow current social distancing rules when taking part.

How do I enter my photograph?

Visit www.npg.org.uk/holdstill, complete the entry form and upload your image, along with a short title telling the story of the photograph.

How many images can I upload?

You can upload one digital image.

Any format restrictions on entries?

What are the requirements for the image that I upload?

Each image must be saved as a JPG/JPEG and be smaller than 3 MB.

How many photos will end up in the final selection?

The final selection will be 100 photographs.

What other requirements will be needed?

If your image is part of the 100 selected, you will be required to complete a form to provide information about yourself and the image.

Will there be a cap to the total number of entries to the project?

There will be no cap on the total number of entries to the project.

Who will be making the selection?

The selection will be made by a panel including members of the National Portrait Gallery team, The Duchess of Cambridge and Director of the National Portrait Gallery, Dr Nicholas Cullinan.

When will the selection be on view?

The selection will be available to view as a ‘virtual’ exhibition on the Gallery’s website in August 2020. Following this ‘virtual exhibition’ we hope to show the images across the country later in the year although we are unable to confirm details at this point due to the current restrictions.

Can I send in my application by post?

All submissions must be made online via the website.

I would like to take a picture via an app of someone I miss who is based in another country, is this allowed?

Yes, this allowed as the picture is taken in the United Kingdom.

What will you do with my personal information?

Please see terms and conditions. All personal data given will be held securely by the Gallery and only be used to administer your entry. It may be used for internal research/statistical purposes. It will not be passed to any third parties apart from the project partners for administration of the project.

Articles: Digital Photography Review (dpreview.com)

 
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Slideshow: Winners of All About Photo Awards, the Mind’s Eye, 2020

06 May

Winners of All About Photo Awards, the Mind’s Eye, 2020

The 5th Annual Mind’s Eye competition from All About Photo attracted submissions from all over the world. Even though a majority of the entries were color photographs, 4 out of the 5 top category winners are black and white and came from women. The Photographer of the Year 2020 was awarded to Monica Denevan (United States) for her image ‘Across the River, Burma’ from the series ‘Songs of the River: Portraits from Burma.’ She received a $ 5,000 cash prize.

A panel of 7 jurors selected the 40 winning and finalist images. Compared to previous years, they were more inclined to choose calming images compared to those depicting unsettling or violent situations. ‘Perhaps a subconscious need has arisen in each one of us to escape the terrible events that are happening in the world right now,’ reads the official press release.

In a field dominated by men, women received a majority of the top honors in this competition. Elena Paraskeva was recognized in the Particular Merit Mention category for her image ‘The Lost Swimmer.’

Winners will be showcased on the daily fine art photography site Lenscratch, art streaming platform Daylighted, All About Photo’s online gallery, and in the print edition of AAP Magazine. All About Photo hosts a variety of competitions, year round, that can be found on their ‘Photo Contests’ page.

1st Place Photographer of the Year: ‘Across the River, Burma’ by Monica Denevan (United States)

Artist Statement: From the series ‘Songs of the River: Portraits from Burma.’

2nd Place Winner: ‘Florida’ by Gabriele Galimberti (Italy)

Artist Statement: Avery Skipalis (33) – Tampa, Florida / THE AMERIGUNS – In the States there are more guns than people. ‘120.5 registered firearms for every 100 residents’ and the statistic doesn’t count ‘not-registers firearms.’ As a European, I started wondering if owning many weapons by a single person or family is a common habit in the US. I traveled across the US and created a series of 45 portrait of families or single individuals, including all races and beliefs, together with their firearms.

3rd Place Winner: ‘Philomena’ by Rebecca Moseman (United States)

Artist Statement: A little Irish Traveler girl looks out of her family car before going home to her family’s Illegal encampment.

4th Place Winner: ‘Sustenance 4’ by Nadia De Lange (Switzerland)

Artist Statement: Desert: ‘a waterless, desolate area of land with little or no vegetation, typically one covered with sand.’ And yet, there is life in the desert. More than most people realize. In the Namib this is thanks to the wonderful miracle of fog – the clouds that roll in from the Atlantic Ocean bring with them moisture that sustain the fauna and flora living in this beautiful, harsh landscape.

5th Place Winner: ‘Jump of the Wildebeest’ by Nicole Cambre (Belgium)

Artist Statement: Annual migration of the wildebeest at Northern Serengeti, Tanzania. This wildebeest did not wait for its turn and jumped on top of the others.

Particular Merit Mention: ‘Polarbearpet’ by Marcel Van Balken (Netherlands)

Artist Statement: Climate change, and the loss of sea ice habitat, is the greatest threat to polar bears. More and more polar bears are being forced ashore, away from their sea-ice hunting grounds. But it does not make sense to make your home (or bathroom) available as a haven for the polar bear. It’s better to spread awareness about the real and pressing threat of climate change.

Particular Merit Mention: ‘Untitled’ by Kosuke Kitajima (Japan)

Artist Statement: A monkey entering a Japanese hot spring. Had various expressions like a person.

Particular Merit Mention: ‘Break Away’ by Tony Law (Australia)

Artist Statement: A man falling off a bull in a rodeo event held in Taralga, Australia.

Particular Merit Mention: ‘Untitled’ by Yoni Blau (Israel)

Artist Statement: This image was taken while on a trip to the Suri tribe in the Omo Valley in Southern Ethiopia.
The model was not dressed, simply recorded as is. No artificial lighting was used.
The picture was taken within a dark tent with the light coming in from the entrance of the tent.

Particular Merit Mention: ‘Woman Mursi’ by Svetlin Yosifov (Bulgaria)

Artist Statement: The Mursi tribe are an African tribe from the isolated Omo valley in Southern Ethiopia near the border with Sudan.

Particular Merit Mention: ‘Eye Sea’ by Anuar Patjane (Mexico)

Artist Statement: A school of Bigeye trevaly and divers at Cabo Pulmo National Park, Mexico.

Particular Merit Mention: ‘Beyond the Wall’ by Francesco Pace Rizzi (Italy)

Artist Statement: Sometimes a shot cannot contain emotions, memories, moods…you need more … you have to ‘chisel’ the image to make that evolutionary-creative leap necessary to reach the right size.

This photo is intended as a small tribute to a great Master: Henri Cartier Bresson, the one who first knew how to show me the reality of ever with new eyes: more human, artistic, poetic. His photos taken between the 1950s and 1970s in Basilicata (my homeland) and around the world have changed the perspective of things in me, creating a fantastic ‘imprinting’ and becoming a source of great inspiration.

Particular Merit Mention: ‘Untitled’ by Chin Leong Teo (Japan)

Artist Statement: The Wallace’s Flying Frog is a moss frog found in Malaysia and western Indonesia. It is generally quite photogenic given its large size, brilliant colors and calm temperament. This is a shot taken of a specimen swimming in water, with full extension of its beautiful long legs.

Particular Merit Mention: ‘Step by Step’ by Mustafa AbdulHadi (Bahrain)

Artist Statement: Impression Lijiang is a cultural show which demonstrates the traditions and lifestyle of local Naxi, Yi, and Bai ethnics of the area. It is the second outdoor production of famous film director, Zhang Yimou, which debuts an open-air performance at the foot of Yulong Xueshan (Jade Dragon Snow Mountain) about 3,500 meters above sea level. The performance stage is specially designed to showcase the mountain as the best backdrop of the show. More than 500 local people from ten ethnic groups (participate).

Articles: Digital Photography Review (dpreview.com)

 
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Stay creative in lockdown with these fun photo projects

05 May

A version of this article (‘Fun winter photo projects for the long, dark days of winter’) was first published in late 2019. Following the global restrictions on movement as a result of the coronavirus pandemic, this article has been updated with some additional ideas for photography in isolation.


It might feel that this lockdown situation has left our cameras totally superfluous while we can’t get out to shoot the things we would usually take pictures of. Not being able to go out means we have nothing to take pictures of. Right?

Wrong!

Just because we can’t get out and about like we normally would, doesn’t mean we have to stop taking pictures. There’s still plenty you can do, provided you’re prepared to use some imagination. Here are a few ideas to keep you shooting until normal life resumes.

Start a photo diary

A few months ago if you saw someone shopping for groceries wearing a respirator, you’d probably have called the police. As well as providing a creative outlet, a photo diary will serve as a reminder of the current weirdness, when things finally get back to normal.

Most photographers love to shoot the unusual, and you don’t get much more unusual than These Unprecedented Times. Right now everything counts as out of the ordinary.

There are a number of remarkable things about these lockdown days that are worth photographing now so we can remember them when it is all over. Streets empty that are usually busy are remarkable and can evoke the sense of historical pictures from before the invention of the motorcar. Other things that are different at the moment will be queues to get into stores and the lines marked out on the floor to show how far apart we should be.

For this abstract shot, I framed a social distancing guide inside the lattice of my shopping cart at a local grocery store.

People wearing masks and gloves – and sometimes full-body chemical suits – in the street, in stores and out exercising are also a sure reflection of the times we are in. There are signs too of social distancing, with people chatting from further apart than seems natural, delivery people standing at the end of the garden path waiting for someone to answer the door, and of course people at home making video calls to friends and family. And baking – suddenly everyone is making cakes, bread and cookies.

Perhaps start by making a list of all the things that have changed about your life, the lives of those around you and your environment, and then think about how you can record those changes with your camera.

Of course the project doesn’t need to be presented literally as a diary when this is all over, but if you think of it as a diary while you’re working, it will remind you to try shooting something every day.

Abstracts at home

It’s likely that there are abstract photographs to be had all over your house or apartment, if you use some imagination.

Most photographers find it hard to see interesting pictures in places in which they are most familiar. A trip somewhere new seems always exactly what our photography needed, as shooting away from home consistently inspires us to new artistic heights. The truth of course is that everywhere else isn’t more interesting than the place we are in, it just seems that way because over time it’s easy to become blind to the things staring us in the face at home.

Our houses, apartments, sheds, garages, bathrooms, stairways, windowsills and shoe cupboards are all harboring an infinite number of stunning, interesting, intriguing and fascinating pictures that, on a daily basis, we fail to see. If someone else came into our house they would see all those opportunities (which would be very annoying) and we would see them in theirs, but finding them in our own is a much more challenging matter.
Finding the interesting abstracts in your own home requires you to look with new eyes.

Here, the frosted glass window on a bathroom cabinet provides a frame for a simple abstract shot, without the need to go outdoors.

Pretend everything is new and that you haven’t seen it before, and then you will be free to notice the leading lines, the places where one edge meets another in delightful geometric harmony, and how the ordinary things in the kitchen are transformed when the light is on or off.

The trick here is to look slowly, and then look again. Take the time to look in detail and to look at the same thing from different angles, with different light, long lenses and wide lenses. Then move to the left a bit. You may never feel the need to leave the house again.

Country and urban landscapes

You don’t have to travel far to find nature. It doesn’t occur to a lot of photographers that there may be beautiful photographs waiting for them in their home towns and villages.

When it comes to landscapes, you should be careful, because the rules and regulations are different for each country. If you’re considering venturing out, be aware of what is allowed and not allowed where you live. In some places people aren’t allowed out of the house for any reason other than shopping for food or medical supplies. In others parts of the world, taking a walk for exercise is positively encouraged.

Where I live there are more people out exercising than ever before, so the popular places are, well, popular and too crowded for my liking. I’ve been avoiding those and walking in less obvious areas where the lack of traffic and the usual bustle has made for some interesting and unusual sights. I go early too, as it seems everyone else is taking the opportunity to stay in bed a little longer. I get the early morning light as well as empty places all to myself.

Where I live it is okay to take a camera with you when you are going out to exercise, but it’s not acceptable to just head off on a photo expedition with tripods, big bags and a pile of paraphernalia. I’ve actually been shooting a lot more with my phone, as I feel that is easier to justify to myself and I know it will delay me much less than having a proper camera with me.

Landscape photography doesn’t have to mean driving for hours to get to a beauty spot. This photograph was taken within walking distance from where I live. An emblematic image of lockdown: A completely empty highway, in the middle of the day.

Be conscious of what is acceptable in your region and don’t risk your health, or that of anyone else, by being out too long, standing in one place for ages waiting for the light, or putting yourself somewhere in which others can’t pass you without getting too close.

I live in an urban area in a mostly flat county, so I’m not expecting rolling hills and distant mountains, and I’m making do with roads, bridges, patches of green and the occasional field of crops. Landscape pictures don’t have to be of beautiful scenery, but you can usually find something aesthetically pleasing in an ordinary scene when you look hard enough.

Still life

I used a gold sheet of card from a craft store to send a little warmth back into the subject from the left hand side. The diffused flash was positioned on the right, and contrasting the white light from the flash with the gold light from the reflector emphasizes the warm effect

A good mastery of still life photography should help improve your photography across the board, and this is a good time to get some practice in. Working with a few objects on the table top with just a single light and a reflector is an ideal way to teach yourself more about lighting, exposure and composition.

If you are new to still life photography I suggest starting with just an orange and a table lamp, moving the lamp around the orange to see how the direction of the light changes the way the orange looks. Once you’ve done that and looked carefully at the way highlights and shadows control the sense of three dimensions in the image you can move on to everyday objects laying around the house.

Keep things simple by using just one or two objects in your scene, and try lighting with just one source and a couple of reflectors to moderate the shadows.

Here I used a single LED panel at the top of the frame, and a couple of mirror tiles to the left and right of the handle to throw some light back in the opposite direction. A wide aperture created a shallow depth-of-field to draw the eye diagonally up the handle to the point of focus.

The blueberry doesn’t need to be sharp for us to know it is a blueberry, and it is used as a counterweight to the main area of interest

Knives, forks and spoons offer interesting shapes and compositional challenges, and natural objects saved from the autumn, like nuts or dried leaves, give you the chance to bring nature into your work. The supermarket is also filled with interesting fruit and vegetables, and home stores and hardware stores stock nice cups, glasses and industrial looking bolts, screws, springs and fascinating sheets of metal/plastic/wood that will make interesting backgrounds.

One of the nice things about still life is that you can take your time and there is usually no rush, so you can look really carefully, try things out and try again when it doesn’t work the first time.

Tips:

  • Work slowly and really look at the effect of the light on your subject
  • Use silver, gold, white and black cards to bounce/block light
  • When used as a reflector, mirrors throw back so much light they can save you having to buy a second flash

Macro

Here a little light either side is used to demonstrate the three-dimensional qualities of the seed head and the stem, and to lift it from the black-cloth background. I used a pair of hotshoe flash units fired through mini-softboxes attached to an adapter ring

An extension of still life, macro photography will test your ability to see details and to look more closely than usual. Successful macro photography is all about finding hidden textures, patterns and features of everyday objects as well as capturing tiny plants and animals that might otherwise escape our attention.

Macro does require at least some specialist equipment, whether that’s a reversal ring, a coupling ring to mount one lens backwards on another or an actual dedicated macro lens. Using a lens designed for macro will make your life a lot easier and will deliver the best quality without too much effort, but high-quality macro lenses can be costly.

Extension tubes are very affordable, and can be added to a standard lens to help you get a little, or a lot, closer, and a micro adjustment platform for your tripod head can help when it comes to getting accurate focus in the closeup range without having to move the tripod.

Lights don’t need to be expensive. This was lit with a small pocket flashlight positioned to make these pasta shells glow in the dark. A sheet of white paper under the lens was enough to throw a touch of light back to reveal some of the details of side of the shells closest to the camera

Cable and remote release devices will help to avoid camera shake with dramatic magnifications and tethering software will allow a bigger preview to ensure anything is perfect before you trip the shutter. How about using these months of isolation to teach yourself focus stacking so you can control exactly what is and isn’t sharp in your images?

Tips:

  • Having a dedicated macro lens will make your life easier
  • Use a tripod or support, don’t think you can do this handheld
  • Be aware that depth-of-field is tiny in macro work, so add lots of light if you need small apertures

Window portraits of family

Late afternoon light on a winter’s day softly passing through a bay window was all that was needed for this portrait. I kept the sitter well back from the window to produce nice soft contrast but still retaining enough to show the shape of her head and features. Using the white balance in Daylight mode shows the coolness of the light and lets us know this is a winter image

It doesn’t matter what time of year it is – daylight gliding through a north-facing window will always provide some of the best kind of lighting for natural-looking portraiture. On rainy and overcast days the light levels might be lower but that light will also be softer and more flattering.

Position your subject close to the window if you want more contrast and further away for less, and try turning them 3/4 against the light to get a more dramatic effect. Using a black card on the unlit side of the face can help to deepen shadows if there’s more light than you want bouncing around the room. A net curtain or sheet of thin paper across the window can diffuse the daylight on a sunny day or when you only have south-facing windows to play with.

Positioning the subjects directly in front of a sunny window gives them this stark and very direct frontal lighting. I stood with my back to the window and pulled the shutters across to create the stripes on the groom’s jacket. The light on his face is reflected from the white top-side of the shutters.

As he is close to the window the light drops off quite quickly, leaving his friends visible but much darker. This helps to express who is the most important player in the scene, and who are the secondary elements.

Extra diffusion will also cut down the light making it easier to achieve a wide aperture if you want shallow depth-of-field.

Try experimenting with white balance too, so you can create a warm or cool effect whatever the conditions outside.

Tips:

  • Try positioning the sitter at different distances from the window to vary contrast
  • Move your sitter between each end of the window to alter how the light wraps around their face
  • Use net curtains, bubble wrap or paper to diffuse the light even more

Home studio

Using quite a small soft light creates strong direction but avoids razor-sharp edges to the shadows. The small light also allows a rapid fall off, so the subject’s head is lit more brightly than her body, and positioning the light just slightly behind illuminates the front of her face while leaving the side closest to the camera dark – drawing attention to her closed eyes. A small direct light from behind her lifts her shoulders from the background and helps to create a sense of depth in the picture.

Opera singer Golda Schultz for the BBC Proms Magazine

When there’s not too much natural light coming through the windows, or we need more for smaller apertures and lower ISO settings, it’s a good time to think about alternative light sources. Domestic lights can be very useful for lighting in a home studio but they don’t always deliver enough power, so sometimes we need to look at flash.

There have never been so many flash units available for photographers so we have plenty of choice. Big studio monoblock type studio flash offer the advantage of power and a modeling bulb so we can see what we are doing, but they can feel expensive for the enthusiast. A useful alternative is to use one of the host of hotshoe flash units that are available – either from the manufacturer of your camera or from one of the many independent brands that have sprung up over the last ten or so years.

This is the setup for the shot above. You can see that I believe in keeping things simple. The lights are Rotolight Annova Pro on the left and the Neo2 on the right. I used a Veydra Mini Prime 35mm T2.2 cinema lens – for a softer feel – on the Panasonic Lumix DC-G9

Modern hotshoe flash units are remarkably powerful, flexible and easy to use, and with auto and TTL modes they can be set to do all the work for you. In manual mode they offer more straight forward options and with wireless control becoming the norm you don’t have to leave the camera position to make your changes – or to check the results of any adjustments you’ve made.

What makes hotshoe style flash units so useful now is the mass of accessories and modifiers that can transform their light to be indistinguishable from that of a professional studio flash. I use adapter clamps so that my flash units can fit inside the softboxes, dishes and snoots that I use with my main studio units, and enjoy the convenience, the shorter set-up time and that they fit in smaller spaces.

Tips:

  • Keep the flash/light source away from the camera for a more three-dimensional effect
  • Bounce light from a white wall/ceiling to create a larger/softer light
  • Use an adapter that allows you to use soft-boxes and accessories with your flash head for a wider range of lighting looks

Summing up

Lockdown doesn’t have to mean putting down your camera. All that’s required is a little imagination and (ideally) a tripod. So take a look around your home to see what/who you can aim your camera at, start a photo diary, and keep on shooting until we can all get outside again.

Articles: Digital Photography Review (dpreview.com)

 
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