NiSi Optics USA has launched its new 150mm Explorer Collection of square neutral density (ND) filters, which it claims are twice as strong as other glass filters on the market thanks to a ‘special glass hardening process.’
The 150mm Explorer Collection is identical to its 100mm predecessor in all but size and work with any of NiSi Optics USA’s S5 and Q system 150mm filter holders. Like the 100mm options, the 150mm Explorer Collection is made from B270 tempered glass and includes the following 2mm-thick filters: 10-stop ND1000, 6-stop ND64, 3-stop ND8, 3-stop ND8 Medium Graduated ND and 2-stop ND4 Reverse Graduated ND.
What sets the Explorer Collection apart from other glass filters on the market is their durability. NiSi Optics USA says it treats the filters via a ‘special glass hardening process’ that doubles the strength of the glass with ‘no visible loss of image quality.’ While that sounds like quite the claim, the above video appears to back up the claims.
Each of the five filters in the 150mm Explorer Collection retails for $ 198 and is currently available to purchase through NiSi Optics USA online shop and authorized retailers.
Press release:
NISI 150MM EXPLORER COLLECTION FILTER RANGE
Hardened Glass Filters Now Available for The 150mm System
NiSi Optics USA have just launched the brand new 150mm Explorer Collection of neutral density filters which are compatible with all of our 150mm filter holder systems including very popular S5 filter holders and Q filter holders.?
The new range of 150mm Explorer Collection filters include the 10 Stop ND1000, 6 Stop ND64, 3 Stop ND8, 3 Stop ND8 Medium Graduated ND and 2 Stop ND4 Reverse Graduated ND. The Explorer Collection range of filters can be used in combination with the 150mm optical glass range of neutral density filters. Each filter in the NiSi 150mm Explorer Collection is priced at USD$ 198.?
When it comes to durability, the NiSi Explorer Collection filters are stronger thanks to the special glass hardening process that makes them up to double the strength of typical glass filter. For photographers shooting in more adventurous situations and harsher landscapes, the Explorer Collection filters may be the better choice when compared to our optical glass filters as they offer increased durability that will provide a great investment over time.
While using the NiSi Explorer Collection filter range, there is no visible loss of image quality when compared to the NiSi range of optical glass filters. The proprietary manufacturing methods used by NiSi ensure there will be no impact on visible image quality when using the tempered glass within the NiSi Explorer Collection series of filters.
Instagram has made a surprising announcement that will have big implications for photographers and anyone who uses its built-in ‘share’ function: it does not grant sublicenses to users for embedded images. The revelation comes amid lawsuits over embedded Instagram posts and allegations that embedding without permission or a license constitutes copyright infringement.
Instagram features a share button that, among other things, enables users to embed public posts on other sites. This is a common way to include social media content in an article or blog post, but that may change with the bombshell announcement from Instagram. In a statement to Ars Technica, Instagram’s parent company Facebook said that despite the fact that ‘while our terms allow us to grant a sub-license, we do not grant one for our embeds API.’
The company went on to state that users must get permission to embed the image from the copyright holder, this despite the fact that Instagram offers the embed function on all public images and does not allow individual users to disable the sharing option.
In light of this, users who embed Instagram posts without first getting permission or a license from the photographer may face a copyright lawsuit. We’ve seen two cases of this issue appear in court in recent months, one involving digital media website Mashable and, more recently, another involving Newsweek.
In the first case, photographer Stephanie Sinclair filed a copyright lawsuit against Mashable after it embedded one of her Instagram posts without permission. The court ultimately sided with Mashable and ruled that Instagram’s terms allowed it to grant a sublicense for images. In the Newsweek case, however, the court sided with photographer Elliot McGucken and found that more details are needed to determine whether Instagram’s terms cover sublicenses for embedded images.
In the Newsweek case, Judge Katherine Failla references the Mashable ruling, stating:
‘The Court finds Judge Wood’s decision to be well-reasoned and sees little cause to disagree with that court’s reading of Instagram’s Terms of Use and other policies … The Terms of Use unequivocally grant Instagram a license to sublicense Plaintiff’s publicly posted content … Nevertheless, the Court cannot dismiss Plaintiff’s claims based on this licensing theory at this stage in the litigation … there is no evidence before the Court of a sublicense between Instagram and Defendant … Although Instagram’s various terms and policies clearly foresee the possibility of entities such as Defendant using web embeds to share other users’ content … none of them expressly grants a sublicense to those who embed publicly posted content.’
Ars Technica contacted Facebook to find out whether its sublicense terms cover embedded images — and the company says it does not. The revelation was very surprising and will fundamentally change the way users share Instagram posts, though it is a win for professional photographers who are frustrated over how the platform currently operates.
As Sinclair pointed out in the Mashable lawsuit, Instagram is one of the most popular image-sharing websites, but it gives photographers little control over how their images are used: they can either make the images public and therefore open to embedding or make them private to restrict embedding, limiting the platform’s usefulness for photographers seeking an audience.
With Facebook’s public statement on Instagram’s lack of sublicensing for embedded images, future copyright cases will not be able to follow in Mashable’s footsteps. Instagram has been criticized for failing to give photographers more control over how their images are shared and this new revelation will likely add fuel to that fire.
Though users are warned when they embed an image that they must follow Instagram’s terms, most are unlikely to actually read those terms and may not understand the intricacies of sublicensing and how it relates to embedded content. This would put unaware users at risk of copyright lawsuits for using the feature Instagram makes readily available.
In a statement to Ars Technica, Instagram said that it is ‘exploring the possibility’ of allowing photographers to control whether their images can be embedded…presumably without having to make their account private. It is far from certain whether this feature will actually be deployed, however, and how long it may take to introduce this additional control.
Whether Instagram’s statement will have a far-reaching impact on copyright lawsuits and how content is shared on the Internet is yet to be seen, however. Questions remain over the ‘server test’ and whether Instagram, not its users, is liable for infringing use of its embed feature. It seems likely that Newsweek will appeal the judge’s ruling with a server test defense, but only the future will tell how this all plays out.
For those not familiar, Lighting Essentials are a series of workshops put on by Don Giannatti (you may know him as “Wizwow” on flickr). I am a big fan of Don, not only is he an excellent photographer, with years of commercial experience under his belt, but he is also a fantastic teacher – which is just as difficult a skill unto itself. He’s also a really down to earth guy with a low tolerance for BS and fools, which I find refreshing, particularly in the online photo community which can often turn into a bit of a hive-mind circle-jerk at times (you know what I’m talking about)…
Anyway, I got to go to his workshop in Philly in ’08 and it was awesome – definitely kicked my work up a couple of notches. At the time I was already somewhat experienced with lighting, so I wasn’t sure what to expect, but I was blown away; it was amazing to watch Don demonstrate things that I already “knew” lighting wise, and still be able to pick up something new – a new way of thinking about it, new ways of analyzing and constructing and deconstructing light.
A few weeks back, I had the opportunity to attend the advanced lighting essentials ‘shop down in Baltimore. Different than the standard workshop, this one assumed a baseline familiarity with lighting to begin with – getting a baseline exposure, balatncing flash/ambient, ratios etc… This was fantastic, as we were able to jump right into working with little “catch up” required. The format was well done. Don split us up into groups, with various assignments/challenges – in the morning we worked “in studio” talking about and working on precision lighting techniques for still life/objects. I gained a whole new respect for product photographers – it’s a lot more difficult than you’d think. One light, and lots of carefully placed white/black cards/diffusers etc… I particularly appreciated this as it really made you focus on analyzing and constructing light carefully rather than the “throw some strobes on it till it looks good” approach which many lighting novices seem to take.
In the afternoons we worked with models, but instead of the standard “how to light/balance” we focused more on creating a mood or complex lighting schemes – sometimes using 4, 5 or more lights – little accents and subtleties to construct a meaningful lighting scheme. Now I tend to be more minimalist in terms of my own lighting (I tend to favor zero, one or two lights – rarely more) but even so it was valuable to concentrate on the subtleties of the lighting scheme as a whole.
One of the things I like the best about Don’s workshops is that it’s all hands-on. There’s no “sit around and listen to the instructor talk about how great he is” for 6 hours, as is the case with many “workshops” – Don has everyone jumping right in and shooting right off the bat. It’s simply “talk about technique -> apply technique”. Good stuff. We also spent quite a bit of time talking business. Don has been a full time photographer as well as designer and creative director for many years, so he has a fantastic amount of the experience in the industry and shares freely. There are few things more valuable for a new photographer than the lessons of experience from someone who has “been there and done that”. It’s like going through the school of hard knocks without having to take the knocks.
To sum up, aka the TL;DR version: if you get a chance to attend one of Don’s workshops, go for it – it’s worth every penny. What boggles my mind is that folks who will drop thousands on a new camera body or lens, are so hesitant to spend money on education or workshops. I can say without reservation that the couple of hundred bucks for the LE workshops improved my work far more than any gear purchase I have made (and yeah, I’m also guilty of chasing the latest and greatest toys when it comes to gear).
This Sunday 8/4/2010 at 9pm EST (6pm pacific) Don Giannatti has been kind enough to do a live portfolio review with me on the air. We’ll be talking about making the final cut of images, and finalizing a portfolio. Maybe a bit about design and branding and style as well. Should be fun – tune in at:
The post Great Fruit and Vegetable Still Life Photography Ideas appeared first on Digital Photography School. It was authored by Rick Ohnsman.
Before there was photography, artists used paints and brushes to record their visions onto a canvas. Fruit and vegetable still life images were common subjects for many. Even today, in art schools, a fruit bowl might be an early subject. Learning to reproduce shapes, tones, color, and replicating the way light, shadow, smooth reflective objects, and dull matte objects look in the light – all those things would be part of your training.
We, as photographers, would do well to take a similar approach to our photography. We have it easier in many ways; not needing paints and brushes to create our images on a blank canvas. However, learning about light, composition, and technique are still foundational lessons.
If you are stuck at home, this could be a good opportunity to slow down, work on the kitchen table, relax with a slow-paced style of photography, and learn some new photography skills. A fruit and vegetable still life project could be just the way to spend a quiet day at home.
Putting these kiwi slices on an inverted glass pie plate, and then putting an LED flashlight under the plate, so the light shone through them, was the key to making this photo.
Subject selection
There are several reasons why fruits and vegetables make good still life subjects. They have interesting shapes, textures, colors, and details. As they are food, we can work to make them look especially appetizing, selecting the freshest and best subjects to be our “models.”
People who specialize in food photography will often use the talents of “food stylists” who carefully pick just the right subjects. They then use tricks, much like a fashion makeup stylist would use, to make their “models” as flawless and stunning as possible.
If you have access to choice fruits and vegetables right now, by all means, go seek such subjects. On the other hand, if being restricted to home means you need to use that somewhat sad-looking collection of carrots from the bottom of the refrigerator, just take your photo in a different direction.
If all you have is some sad looking carrots from the bottom of the refrigerator, go with what you have. Note the “wood backgrounds” here are actually printed sheets from a craft store.
Types and styles
In the early-to-mid 1600s, the Netherlands saw the rise of a collection of artists we now refer to as the “Dutch Masters.” A realistic style, emphasis on dramatic directional lighting, and the play of light and shadow are earmarks of the look. A good example of a Dutch Golden Age still-life artist is Willem Kalf. See his image below, “Still Life with Lemon Peel.” Now, as a photographer, how might we emulate that look?
Still Life with a Peeled Lemon – Willem Kalf (Dutch, 1619 – 1693) 1664 Oil on canvas * Rose-Marie and Eijk van Otterloo Collection * Courtesy Museum of Fine Arts, Boston
A favorite technique of mine for emulating the Dutch Master’s look is light painting. I discuss this at length in my DPS article, “Learn these Two Techniques for Dramatic Light-Painted Photos.”
A distinct advantage of still life photography is that shutter speed is not critical. If you need a multi-second exposure, no problem. Work from a tripod so your camera is rock-steady, lock up the mirror on a DSLR to minimize vibrations, and use a cable release or perhaps the 2-second timer to trip the shutter. Go to full-manual mode. Keep your ISO at the lowest setting to minimize noise. Select an aperture based on how much depth of field you seek, and select a shutter speed for however much time you need for the “painting.”
Grab your flashlight and paint away.
Seeking to emulate the style of the Dutch Master’s paintings, I made this light-painted shot using just the illumination of a small flashlight and a 10-second exposure.
A favorite photographer I follow now on Instagram is Carlo Denino. Often with just a single fruit, vegetable, or other subjects, he produces exquisite light paintings. I encourage you to give his images a look and see if you can then emulate his style. I know from personal experience it’s not nearly as easy as it might look!
Lighting
Light Painting
Light painting is just one way you can go when doing fruit and vegetable still life images. Natural lighting can often be great and will require nothing more than your camera.
Dutch Master’s images were typically painted to look like they were illuminated by a single light source off to the side.
Find a window where you can place your subject and see if you can create the look. If you need a little fill to reduce the shadows, a simple reflector or even a white card can do the trick.
Always keep an eye out for photo subjects. Both of these were done outside when I just happened across the scenes. The shot on the left was done with my LG V30 cellphone. The one on the right, when I happened to have my camera one day on a neighborhood walk.
Non-conventional lights
Explore how other lights that would be considered non-conventional for photography, such as LED-flashlights, can work. Yes, they will not usually be as bright as standard photo lighting, and their color temperatures can vary. But they do have the advantages of being cheap, small and portable, and perhaps something you already have on hand. Use long exposures to compensate for their lower light output, and when you shoot in Raw mode, finding a good white balance will be much easier.
When working close to small subjects, an LED flashlight might be all the light you need, especially when with still-life, your shutter speed can be as long as you want.
Flash
Speedlights can be another option. You will typically not want your light to come from the front of your subject, so your pop-up flash or hot-shoe-mounted Speedlight isn’t the best way to go. If you can, get the flash off the camera and fire it with a remote trigger. Or perhaps use a flash cord to get it away from the camera. If not, try bouncing the light off the ceiling, a wall or a reflector to redirect the light and soften it.
Bright sunlight and a shutter speed of 1/3200 second was the trick to freezing the motion of these shots. Splash photography with fruits and vegetables is a great combination creating a “freshness” look.
Tricks with conventional photo lighting
If you have dedicated photography lighting, that’s great. Give it a try and perhaps use your fruit and vegetable still life subjects to explore some new lighting techniques. Try different ways to modify the light with snoots, reflectors, flags, diffusion, gobos, colored gels, or whatever else you can think of.
Unrestricted by time or pressure to get it right quickly will open you up to experiments you might have never tried. If you fail twenty times but come up with a new and exciting technique just once, you can consider your experimental lighting play a great success.
Lighting direction
With their interesting colors and sometimes translucent nature, fruits and vegetables can lend themselves to some interesting lighting techniques. Rarely will you want to light from the front of the subject as this will produce rather flat and uninteresting light.
Instead, try side lighting to emphasize texture, backlighting to perhaps create some nice rim-lighting, or if you want to get some really creative looks, lighting through your subject.
Fruits and vegetables that can be sliced thin work great for this. For example, I made thin slices of a kiwi, then made a platform from a glass pie plate under which I placed an LED flashlight. The light shining up and through the slices really emphasized the color and detail. Citrus fruits work well for this technique too.
Experiment and see what you can create.
Citrus fruits sliced thin make great subjects for backlighting as the colors and textures are so interesting. We also expect to see them in drinks and scenes like this.
Backgrounds
As with any other photo subject, carefully consider the background when you stage your fruit and vegetable still life image. You will want a background that complements and doesn’t interfere with your subject.
Quite often, the best background will be the simplest. Consider using a completely white or black background if that works for the image you’re trying to create. Lightroom makes it very easy to blow out whites or totally blackout shadows with the adjustment brush aided by other tools like the clipping indicators and Auto and Range Mask. Paint out what you don’t want to keep the focus on your subject.
The fruit here is more the “supporting cast” in this shot of a raspberry lemonade cupcake. However, all the elements of this shot were carefully chosen. The background is a piece of scrapbooking paper from the craft store.
Of course, the other option you always have with photography is blurring, and thus simplifying, your background with a limited depth of field.
If you are a new photographer just trying to get your head around how depth of field works, the slow and deliberate nature of making fruit and vegetable still life images is a great way to experiment and understand the relationships of apertures, focal lengths, and their effects on depth of field.
Spritz things up
A favorite trick of food photographers looking to make their fruit and vegetable still life images look fresh and also add interest is to use a spray bottle to spritz their subjects with water. Sometimes to create larger droplets that hang better and last longer on the subject, they will add a bit of glycerine to the water.
Macro
The structure of living things is often fascinating, and being able to explore fruits and vegetables up close can reveal some really interesting things. Whether you use a dedicated macro lens, extension tubes, bellows, close-up filters, a reversed lens, or a combination of these, macro work is just the thing to divert your attention from your troubles while you focus on the unseen world.
Working inside in a controlled environment with no wind and complete control of the lighting will also help you learn macro techniques.
Get close and explore the detail with a macro shot. Often my LG V30 cellphone rivals even my dedicated DSLR macro lens.
Tell a story
When making fruit and vegetable still life images, it can enhance your photo if you add other objects to help “tell a story” about your scene. Rather than simply take a photo of an apple, slice the apple, add a cutting board and a knife to invite the viewer to consider what might have been going on. Add props that enhance the theme and avoid those that distract. Consider what makes sense in that particular scene and things you would naturally find paired together.
Add other items to your fruit and vegetable still life images to help tell a story.
High and low key
Fruit and vegetable still life photography can sometimes lend itself to high and low key renditions. To briefly define the terms, high-key is a lighting and exposure style that is very bright and contains little or no shadow. Contrast ratios, that being the difference between the lightest and darkest tones, are minimized. High-key photos will often have an “ethereal” look to them.
Two high-key images done very differently. The raspberry shot used a fast 1/1000 second shutter speed, the onion a slow 1/13 second shutter speed.
Low-key images are the opposite and typically quite dark, often with shadows that are totally black. They will often be quite contrasty with few mid-tones. Sometimes a low-key shot will use highlights in certain places to emphasize shape and form. Back and rim-lighting can lend itself well to a low-key look.
Here’s an exercise to try; take a fruit or vegetable, compose your shot, and make a “normal” exposure. Then, without moving the camera or subject, change the lighting and exposure to give it a high-key look. Now change the lighting and exposure again and see if you can get a low key look. This is a fun way to explore lighting techniques and understand the dramatic difference lighting can have on a scene.
Still life that moves
We call it “still” life because, most often, the subject doesn’t move during the exposure and is static. But need it be that way?
Fruits and vegetables can make great subjects for some dynamic images. In my article “Making the Shot: Your Guide to Creating Stunning High-Speed Splash Photos Without Flash,” I show some fun ways to make some really exciting images. You’ll note that almost all of my subjects were fruits and vegetables.
Still-life doesn’t have to be still. The short duration flash of a Speedlight froze the action in these shots.
There’s also this image from my “How to Use Multi-flash to Capture Compelling Action Photos” article. The orange pepper stood out nicely on a dark background and allowed me to make the stroboscopic image as it flew through the air.
Mom may have told you not to play with your food, but here, it’s entirely appropriate and a whole lot of fun.
Mom might have told you not to play with your food, but for photographic purposes, you have my permission to go crazy.
Conclusion
Many of you may be homebound and looking for creative ways to keep up your photography practice. Making fruit and vegetable still life images has some advantages;
It uses subjects you may already have at home.
It lends itself to a variety of different lighting techniques.
Macro photography is a possibility.
You can explore all kinds of new techniques.
If you get some really good shots you may be able to sell them as stock images.
After you’re done, you can eat your subjects!
Get back to your roots. A shot one day when visiting a farmer’s market.
Have fun with your fruit and vegetable still life photography, and post some of your great shots in the comments below.
If you’d like feedback, critique, and have a question about how to do something better, post that too. I try to answer all comments and look forward to hearing from you. Best wishes and be well!
The post Great Fruit and Vegetable Still Life Photography Ideas appeared first on Digital Photography School. It was authored by Rick Ohnsman.
Years after selling off his Leica M7, 35mmc’s Hamish Gill once again began to feel the desire to shoot with an automated M-mount camera creep into his conscious. So when the opportunity to pick up a near-mint Konica Hexar RF for a reasonable price presented itself, he jumped on it. And then wrote a review of it.
By most measures, the Hexar RF is a more advanced camera than the M7, but as Hamish notes, that does not necessarily make it a better camera. Still he finds plenty to like about it and plenty of things that set it apart from its German competitor (like a film window!). And though it scratches the automation itch, hesitations about long-term reliability keep him from singing its praises too loudly.
Read: Konica Hexar RF review
About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at 35mmc.
The Olympus E-PL10 is a beginner-friendly mirrorless camera that first debuted in Asian markets late last year, and earlier this year arrived in North America. Its rear touchscreen flips 180° to face forward for selfies, and its compact size makes it a good candidate for documenting the every day. We’ve put together a gallery of samples taken as the weather turns warmer and all kinds of creatures begin to emerge in the wild.
Photographer Mathieu Stern is often using interesting camera gear, lenses and even trying unusual photographic processes. His latest project was to create an ‘anthotype’ print, also known as a phytotype. This photographic process was invented all the way back in 1842 by Sir John Herschel.
To create an anthotype print, you must use photosensitive material from plants. Materials ranging from flower petals, fruits and vegetables can be used. A sheet of paper is coated with the photosensitive material and then partially covered with an object or a photo positive before being exposed to light. The area of the paper which was not covered is essentially bleached, leaving color behind only in obscured areas of the image. There is no fixer used in this photographic process, so the paper remains sensitive to light.
As you can see in Stern’s video below, for his anthotype print, Stern used beetroot juice. After filtering the juice, Stern applied it to a piece of paper and let it dry. He then repeated the process for a second and third coat. After preparing his paper, Stern placed one of his transparent positives over the paper and placed them both in a wooden frame. He then left the positive and beetroot paper in the sun for a week. You can see the full process and result in the video below.
If you are looking for a fun project to try at home, creating an anthotype is a neat option. Stern also recently tried his hand at the cyanotype photographic process. You can learn how this went by clicking here.
To view more of Mathieu Stern’s work, be sure to visit his website. If you’d like to see his videos, you can view them on his YouTube channel. There you can find a lot of interesting experiments, including Stern creating a lens using ice, adapting many old lenses to his modern mirrorless cameras and much more.
Returning to Stern’s inspriration, the creator of the anthotype photographic process, Sir John Herschel, led a very interesting life. Born in the late 18th century in England, Herschel spent time as a mathematician, astronomer, chemist, inventor and experimental photographer. Herschel also invented the cyanotype photographic process, which became the blueprint. His contributions to science were many.
With respect to photography, Herschel made numerous contributions. In addition to creating cyanotype and anthotype photographic processes, Herschel is credited as the first person to use the term ‘photography’ itself in 1839 and the first to use the terms ‘positive’ and ‘negative’ within the field. Also in 1839, Herschel’s fixing agent was used by his friend, Henry Fox Talbot as Talbot raced against Daguerre to perfect a photographic process using negatives. That same year, Herschel himself made what is considered to be the first glass negative.
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.
WARNING??? Never set this picture as wallpaper, especially for Samsung mobile phone users! It will cause your phone to crash! Don’t try it! If someone sends you this picture, please ignore it. pic.twitter.com/rVbozJdhkL
— Ice universe (@UniverseIce) May 31, 2020
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.
I am quickly becoming a big fan of Northern California. I first went out last year for my birthday, had a blast, drank lots of wine. This was my second trip up to SF/Sonoma – Hung out for a day or two in the city, then drove up to the wine country. Only carried my GF1, but it served me well. (although my buddy who isn’t a photographer himself had an old Hasselblad 503cw from his dad, which we took out for some shots!) Early winter seems the perfect time to go as well – the countryside was a rainbow of reds and yellows… the vine covered hillsides were shockingly bright, especially when viewed from afar – the highly maicured vines created an almost solid carpet of color across the rolling hills.
Lots of pictures, lots of wine… what more could you ask for? (slideshow below)
http://www.vokle.com/events/4284-editing-a-portfolio-with-don-giannatti-and-ed-zawadzki
You must be logged in to post a comment.