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DJI unveils the Matrice 300 RTK drone platform and Zenmuse H20 series camera systems

07 May

DJI has lifted the veil on its latest commercial drone platform and its first hybrid camera series, the Matrice 300 RTK (M300 RTK) and the Zenmuse H20.

While the M300 RTK and Zenmuse H20 are both packed with features designed specifically for commercial use-cases, the systems feature a number of groundbreaking technologies and features that will inevitably make their way into more consumer-centric drones.

M300 RTK

The M300 RTK features a unique design with a top-mounted body and bottom-mounted blades, opposite of its 210 predecessors. This unique design allows advanced AI-powered technologies to get a more expansive overview of the environment for less obstructed viewing. The chunky array atop the drone features a six directional sensing and positioning system that offers a maximum object-detection range of up to 40m (130ft) horizontally, as well as an Anti-Collision Beacon for making the drone more visible in low-light environments. DJI has also included its AirSense (ADS-B) technology that will alert pilots if other aircraft or drones are nearby.

DJI has also improved its OcuSync Enterprise technology to enable triple-channel 1080p video transmission up to 15km (9.32m) thanks to its 2.4GHz and 5.8GHz connections, which will switch in real-time based on what offers the clearest connection.

Together these systems work together to power the Primary Flight Display (PFD) that ‘merges real-time flight and navigation data into one integrated display.’ Aside from the usual flight telemetry, the pilot will also see obstacle data and other details to ensure a proper flight path in tricky conditions.

The M300 RTK also features DJI’s new Advanced Dual Operator Mode, which gives two separate pilots equal access to flight controls, telemetry and other data. ‘Now, if one pilot becomes compromised or their controller loses battery or connection, the other pilot gains full control over the M300 RTK and its payloads,’ says DJI. This feature can also be used for training new pilots, where the teacher can take over control of the drone if need be.

When paired with the new Zenmuse H20 camera system, the M300 RTK will also offer two new means of syncing the drone’s location with objects of interest for more precise location tracking in coordinated missions, such as search-and-rescue operations and critical infrastructure repairs. The first is PinPoint, ‘a function that allows users to mark the subject of interest and instantly share the precise location data to a second operator or if necessary to ground teams via DJI FlightHub.’ The second method is Smart Track, ‘which allows users to automatically detect and track a moving object, even at extreme distances, while synchronizing the subject’s dynamic location in real time.’

The M300 RTK is capable of carrying up to three payloads—two on the bottom of the drone and one on the top. Below are a few product photos, including a trio of images showing one-, two- and three-camera setups.

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Additional data collection tools include Live Mission Recording, AI-Spot Check and Waypoints 2.0. Below is a description of each of the three systems from DJI:

Live Mission Recording [is] for recording sample automated missions in real time; AI-Spot Check which enables data collection from exactly the same location every time, greatly improving the accuracy of automated missions. After photos from a sample waypoint inspection mission have been recorded, operators are able to mark the subject of interest. During subsequent automated flight missions, AI algorithms perform a comparison between the marked subject and current live view, thus correcting the camera orientation accordingly to deliver accurate and consistent results; and Waypoints 2.0 [is] an improved mission planning system offering up to 65,535 waypoints, while supporting an array of consecutive actions, 3rd party payloads, and more.’

DJI says the M300 RTK offers up to 55-minutes of flight time on a single battery, offers AES-256 Encryption of its data between the drone and its connected controllers, has IP45 Protection with an operating temperature window of -20 to 50° C (-4 to 120° F) and a self-heating battery when running in the lower temperatures.

Zenmuse H20

While the M300 RTK can be used with other payloads, including previous camera systems from DJI, the Zenmuse H20 series is designed to make the most of the new technologies inside DJI’s latest drone. The H20 series comes in two versions: the H20 and the H20T.

The H20 is a triple-sensor unit with a 20MP, 23x Hybrid Optical Zoom Camera, a 12MP Wide Camera and a Laser Range Finder that covers distances from 3–1200 meters (3–1312 yards). The H20T, on the other hand, adds an additional Radiometric Thermal Camera (640 x 512 pixels), that ‘allows operators to see what is invisible to the human eye thanks to high thermal sensitivity.’

DJI has also updated its Pilot app to make it easier to switch between the various sensors onboard the H20 series payloads and added a few new modes to make the most of the multi-camera array. One-Click Capture will capture photos or video from all three cameras simultaneously without having to switch between cameras mid-flight, as well as a Night Scene mode that will capture better low-light images when lighting conditions are less than ideal.

Both the M300 RTK and Zenmuse H20 series payloads are available to pre-order from authorized DJI Enterprise dealers. the first units are expected to ship in the second quarter of 2020.

Articles: Digital Photography Review (dpreview.com)

 
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Four Essential Beginner Photographer Tips

07 May

The post Four Essential Beginner Photographer Tips appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

beginner photographer tips

If you are new to photography the possibilities can seem endless and the options almost overwhelming. Buttons, dials, apertures, shutters, flashes…where do you even start? Of course, it’s always good to learn basics like the exposure triangle, but there are some simple beginner photographer tips that will immediately elevate your picture-taking prowess.

A bee pollinating a pink flower
Nikon D7100, 50mm, f/5.6, 1/250 second, ISO 100, +10 close-up filter

Look for the light

The first of the beginner photographer tips is tho look for the light.

Does your camera have a flash? Great!

Does it turn on all the time? Not so great.

This is usually a sign that your camera thinks your picture is too dark, so it tries to add a bit of light to fix things. From that perspective, the flash makes a lot of sense, but often it can end up ruining what might otherwise be a perfectly good photo. Instead of a pleasing, well-lit image, you end up with red eyes, harsh shadows, and bright spots of light reflecting off windows.

An adult hand embracing a baby's hand
I shot this in a well-lit room with a lot of windows letting in the sunlight. Nikon D750, 50mm, f/5.6, 1/90 second, ISO 6400.

Instead of relying on the flash, look for the light that’s already available and reposition yourself accordingly. If you are indoors, put your subject in front of you and put your back to a window. If you are outdoors, look at where the sun is. Move yourself and your subject so that the light is behind you, not behind the person or object you are shooting. Better yet, re-compose your shot so your subject is in the shade and evenly lit.

beginner photography tips – a silhouette of two children looking out of a window
Nikon D7100, 50mm, f/2.8, 1/750 second, ISO 100.

In the picture above, the light was so bright that my kids were entirely shrouded in shadow, creating a silhouette.

The only way to save the photo was to make it black-and-white in Lightroom! I could have also waited until the light was more overcast to get a more even exposure. Or I could have intentionally used the pop-up flash as a fill flash to add a touch of light to the two shadowy subjects.

This technique works for casual snapshots, formal portraits, or pretty much any style of photography.

To get this group photo of three generations of women in a park, I had to get a little creative with light and positioning. I found a spot that was in the shade of a tree, so all their faces were well lit. You can see a swath of light going across the foreground that would have wreaked havoc on the photo if everyone was two steps forward.

a family portrait
Nikon D750, 70-200mm f2.8, f/4, 1/200 second, ISO 360

Looking for the light is one of those beginner photography tips that sound constraining, but with practice, it will become second nature. You will automatically find yourself thinking about light and shadow and how to create the best composition without resorting to that pop-up flash. It’s also one of the most impactful things you can do to differentiate your photos and make people think twice when considering you as more than just an amateur.

Use Continuous Autofocus

Modern DSLRs and mirrorless cameras are outstanding when it comes to autofocus – certainly much more than their counterparts from a few years ago.

Modern focusing systems can track people, objects, and animals with ease. The latest mirrorless cameras can even lock focus on a single eye and reacquire in an instant if the person turns their head or another object momentarily blocks your view.

beginner photography tips – a child playing soccer
Nikon D750, 140mm, f/2.8, 1/3000 second, ISO 100

Action shots are almost impossible without rock-solid autofocus. Almost any camera you get is probably going to be up to the task as long as you’ve got the right lens.

There’s one mistake that a lot of beginner photographers make that can really hold back your action shots or even just everyday photos of people or pets. They use single-shot autofocus instead of continuous autofocus.

When you half-press the shutter button you probably here a sound to let you know that your shot is in focus. It might be a quick beep-beep along with a little dot or square lighting up to indicate that your picture will be tack sharp. Continue pressing your finger and you’ll get just what you expect: a crystal clear image in bright, vivid color.

beginner photography tips – a child playing sport
Nikon D7100, 50mm, f/1.8, 1/6000 second, ISO 100

This is all well and good, but what if your subject moves in that brief moment between the time you lock focus and press the shutter button fully? Worse, what if you want to take another picture?

You have to lift your finger off the shutter button, do a half-press to acquire focus, and then push the shutter down all the way to complete the shot. It might not sound like much, but a lot can happen in that short time!

The solution is to enable your camera’s continuous autofocus setting.

Instead of focusing once, continuous autofocus means your camera will keep your subject locked no matter where your subject goes. It will be in focus as long as you never fully lift your finger from the shutter button. This technique is incredibly useful for everyday shots and almost mandatory for fast action, especially when paired with back-button focus.

Four Essential Beginner Photographer Tips
This child moved around a lot! Continuous autofocus helped me make sure these images were sharp. Nikon D750, 120mm, f/4, 1/250 second, ISO 1400.

Every camera does this a little differently and you’ll find it by looking in the menus under the focus settings.

While it’s not always required, especially if you are shooting still objects or doing macro work where manual focus is preferred, I have found that I generally prefer continuous autofocus in most situations. If you are shooting with a prime lens wide open, where depth of field is razor-thin, it can really help you get better photos with minimal effort.

Use Program instead of Auto

The next of the beginner photography tips is to use Program Mode instead of Auto.

Every camera has a few different exposure modes, and if you are new to photography, you might find comfort in using the familiar green Auto setting. And there’s nothing wrong with that! Auto is great for a lot of people, and camera manufacturers have tweaked the auto setting so well that it really does produce good results.

Most of the time.

beginner photography tips – a person graduating from college
My dad shot this photo of me when I graduated with my Master’s Degree. He shoots in Program Auto all the time, and he’s able to get lots of great shots with it. Canon Rebel T4i, 270mm, f/6.3, 1/50 second, ISO 1600.

Even though there’s a lot to be said for learning Aperture or Shutter Priority, or even going all the way with Manual Mode, there’s a good middle ground that a lot of beginners don’t know about. It’s called Program Auto, and if you want a little more control than what Auto has to offer, it might very well be the solution for you.

Program Auto is kind of like regular Auto, but you get a little more control over the exposure. The camera starts by setting a value for lens aperture and shutter speed that it thinks will give you a properly-exposed image. You can see these numbers in the viewfinder or on the rear screen, but if you don’t like what the camera selects all you do is turn a dial.

beginner photography tips – a butterfly on flowers
Canon Rebel T4i, 270mm, f/7.1, 1/400 second, ISO 320. Shot in Program Auto mode.

You’ll see the aperture and shutter change but the exposure will remain constant.

Want a little more depth of field? Rotate the control dial on your camera until the aperture value is larger.

Want a faster shutter speed? Spin the dial until the shutter speed increases. Program usually lets you control the ISO as well. And if you still don’t like your picture, you can use exposure compensation to make it brighter or darker.

While the green Automatic mode on cameras is a great way to get started, Program is a good way for beginners to take a bit more control over their photography without getting too confusing.

Adjust your eye level

This final of the beginner photography tips applies no matter whether you have a fancy expensive DSLR or a basic mobile phone. It’s about getting yourself on the same plane as your subject or shooting your subject from a more interesting angle. It’s particularly useful when taking pictures of children, but applies in almost any photographic situation.

Four Essential Beginner Photographer Tips
I had to lay on the ground to get this picture. It’s a lot more interesting than if I had stood up and shot at a downward angle. Nikon D750, 122mm, f/3.3, 1/500 second, ISO 100.

The default position for a lot of beginner photographers is to take a picture from an eye level that works for you. It’s usually standing up, sitting down, or whatever position you happen to be in when a picture opportunity presents itself.

For better photos, it’s important to move around and look for a more interesting, compelling, or exciting vantage point.

beginner photography tips – a close-up photo of a flower with backlight
A normal flower became much more interesting when I shot it crouched down and positioned with the sunlight coming from behind. Nikon D7100, 50mm, f/1.8, 1/2000 second, ISO 100.

This a simple thing to do, but it takes repeated practice until it becomes second nature. If your subject is short, crouch (or lay) down to get a more interesting shot, and if your subject is tall, find a way to elevate yourself.

It might not be easy or even comfortable, but your pictures will be much better because you took the effort to adjust your eye level.

Four Essential Beginner Photographer Tips
This young man was so tall I brought a stepladder to his photo session. I had to elevate myself about a meter off the ground to get on his eye level! He and his family were extremely pleased with the results. Nikon D750, 200mm, f/3.3, 1/250 second, ISO 110.

Conclusion

These four beginner photography tips are just the tip of the iceberg. There’s so much more to learn when you start down your exciting journey to learn more about photography.

Everyone has to begin somewhere and if you’re not sure where to start, give these a try. If you have any recommendations from what you have learned over the years, share your thoughts in the comments below!

The post Four Essential Beginner Photographer Tips appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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DPReview TV: Laowa 12mm T2.9 Zero-D Cine review – Do you need an ultra-wide for video?

07 May

Ultra-wide lenses pose special challenges when shooting video, but can create dramatic effects. We review the Laowa 12mm T2.9 Zero-D Cine lens, which shares the same optical formula as the company’s 12mm F2.8 lens for full frame cameras.

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

  • Introduction
  • Using ultra-wide lenses for video
  • How the Cine version differs from the standard Laowa 12mm F2.8 Zero-D
  • Lens breathing
  • Distortion
  • Sharpness
  • Sunstars and flare
  • Do you need an ultra-wide for video?
  • Which version should you get: Stills or Cine?
  • See you next time!

Articles: Digital Photography Review (dpreview.com)

 
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The Flashpoint XPLOR 300 Pro is a Profoto B10 competitor for 1/3rd the price

07 May

Adorama’s house brand Flashpoint has formally announced the much-anticipated XPLOR 300 Pro. The 300W/s battery-powered monolight, which is a rebranded version of the Godox AD 300 Pro, is available starting today for $ 499.

As its name alludes to, the CPLOR 300 Pro offers 300W/s of power with nine stops of control, a minimum flash duration between 1/220 and 1/11490, a recycle time between 0.01 and 1.5 seconds depending on the power level and a 2,600Ah battery that can fire off up to 320 max-power flashes on a single charge. The light also features a bi-color 12W LED modeling light, TTL metering, high-speed sync up to 1/8000th of a second and a 328-foot range when used with Flashpoint’s R2 Pro Mark II trigger.

The XPLOR 300 Pro measures in at 19cm (7.48”) long, and 10cm (3.94”) in diameter, and weighs just 1.25kg (2.76lbs). It comes with a Bowens S-Type bracket, but Flashpoint also offers a number of adapters for mounting lighting modifiers from Broncolor, Elinchrom and Profoto.

Below is an overview video of the Flashpoint XPLOR 300 Pro from Adorama:

As is the case for many of Flashpoint and Godox products, the XPLOR 300 Pro is meant to be a direct competitor to Profoto’s more expensive 250W/s B10 monolight, which retails for $ 1,695—more than three times the price. You won’t get all of the extra controls or fine-tuning the B10 offers, but for less than 1/3rd the price, Flashpoint drives a hard bargain.

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The Flashpoint XPLOR 300 Pro is currently available to purchase at Adorama for $ 499 and comes with the monolight, a single rechargeable Li-Ion battery, the flashtube, a charger with a power adapter, a basic reflector, a protective cap and a case to carry it all in. While the light is also sold as the Godox AD 300 Pro, the Flashpoint unit carries a two-year warranty when purchased in the United States through Adorama.

Articles: Digital Photography Review (dpreview.com)

 
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Filmmaker uses COVID-19 work lull to make and sell $10 3D-printed camera battery cases

07 May

A documentary film maker from Utah has designed and built a series of battery holder magazines that he says help to solve the problem of knowing which batteries are fresh and which are depleted. The 3D printed magazines hold three or four batteries from common cameras and allow the batteries to be inserted contacts up for dead batteries and down for fresh ones.

Tim Irwin, who is printing the magazines in his basement, had been meaning to come up with a solution to this problem for a while, and had tried downloaded plans for 3D printed magazines in the past, but found they always broke. ‘I originally found files on Thingiverse that worked for a bit. But all the designs I tried from there ended up breaking because of a weak point in the print’ he explains. ‘When the travel restrictions around Covid 19 hit every one of my gigs was cancelled or postponed, so it seemed like prefect time to dive into this side mission. I designed my own from scratch and refined it over a long period of time until I was happy with the product. I’m always looking for ways to make my kit more efficient, quick, and organized. The Battery Mag was born out of that.’

Tim has designed the magazine so that when fresh batteries are loaded with their contacts down they are isolated from each other and from anything else the magazine might come into contact with, so the risk of shorting is avoided. And with deads loaded with the contacts facing up it is easy to see at a glance which battery to reach for next in fast moving situations.

Tim, who owns Functional Films, makes commercial video documentaries and says he is usually on the road shooting about 140 days a year. That has all stopped due to the coronavirus out-break, so this is how he is filling his time.

The Battery Mags are available for Panasonic DMW-BLF19, Canon LP-E6/N, Pentax DLI90, Sony NP-FZ100, Sony NP-FW50 batteries and he says a unit for Panasonic S cameras is also in production. The magazines are $ 9, $ 10 and $ 14 each, respectively, and can be ordered via the Battery Mag website.

For examples of Tim’s work see his Instagram page.

Articles: Digital Photography Review (dpreview.com)

 
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SLC-2L-11: The “Magic” of Medium Format

07 May

There's something about shooting medium format — especially in black and white. The look is unmistakeable: creamy highlights supported by lush, detailed shadows.

So it's perfectly understandable why many photographers shell out big bucks for pricey medium format gear. In fact, it's possible that some of you are at this very moment casually thinking about how cool it would be to shoot with a MF camera system.

And why not? I mean, don't you deserve it?

Except for, a) the photo above was shot with a small-chip Fuji, and b) those shadow gradients were made with a second, $ 69 speedlight.
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Adobe’s 12th Annual 99U Creative Conference will be free and virtual this year

07 May

Adobe has announced its 12th Annual 99U Creative Conference, which is usually a paid, in-person event, will be hosted on Adobe Live for free as a virtual event this year amidst the ongoing COVID-19 pandemic.

Tickets for the annual event normally cost around $ 1,000, so being able to take in the event for free, in the comfort of your own home, is quite the discount. This year’s event will take place on Wednesday June 17 and will feature a mix of keynotes, creative workshops and masterclasses throughout the day. The presentations will be available stream via Adobe Live or available on-demand shortly after completion of each event.

A few of the individuals who will be presenting at this year’s virtual conference.

You can find out more information and register to ‘attend’ the event for free on Adobe’s Behance website.

Articles: Digital Photography Review (dpreview.com)

 
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How to Create a Pep Ventosa Inspired Still Life

06 May

The post How to Create a Pep Ventosa Inspired Still Life appeared first on Digital Photography School. It was authored by Charlie Moss.

pep-ventosa-inspired-still-life

Pep Ventosa is a Catalan artist who creates incredible images that explore the boundaries of photography. Made from multiple layers of similar photographs, they create an abstract and often surreal effect with a painterly feel. Ventosa usually creates pictures outside, but you can borrow his ideas to create a Pep Ventosa inspired still life.

How to Create a Pep Ventosa Inspired Still Life

This is an ideal experiment for someone new to working with layers in Photoshop who wants to try and create a fine art inspired still life. You’ll find that even the most mundane objects can create beautiful, ghostly images.

Shoot your base images

First of all, you’ll need your base images. I started with a simple tabletop set up next to a window so that I could work with natural light. You could also use studio lights or lamps for this technique, and different lighting will produce quite different results!

How to Create a Pep Ventosa Inspired Still Life

Once you have your camera set up and an interesting object in place to photograph, take your first image. Then rotate the object a small amount and shoot another. I like to take at least ten images, which seems to always create a good effect. If you choose to start working with lots more images, you begin to run into Photoshop’s file size limitations quite quickly!

Make sure that you place your camera on a tripod the first time you try this out. This will keep your background consistent and allow you to move the object without worrying about having your camera in the same place each time. Once you’ve mastered the technique, you can experiment with moving the camera as well as the object in a different variation of the Pep Ventosa inspired still life.

Work in Lightroom Classic

You can choose to import the images straight into Photoshop and layer them into a stack manually if that’s your preferred workflow. However, I really like the Lightroom Classic functionality that can do all this for you.

How to Create a Pep Ventosa Inspired Still Life

As you can see, the images are all very similar, but each one is slightly different from the last. I’ve tried not to blow out any highlights or get too much black in the shadows. Having the images quite flat in this respect can be helpful when you start to work with the layer blending modes in Photoshop.

Take this opportunity to also clean up any blemishes or marks on the backdrop. Anything left in now will be harder to tidy up later.

How to Create a Pep Ventosa Inspired Still Life

When you’re ready to start layering your images, select them all in Lightroom Classic and then select the “Open as Layers in Photoshop” option. This will create an image file that has all of your base photographs stacked on Photoshop layers. Now you’re ready to start the fun bit of editing your Pep Ventosa inspired still life.

Work with Photoshop blend modes

Blend modes can be intimidating if you’ve never used them before, but this experimental image can be a great time to play with them. There are 27 different blending modes in total, which gives you lots of options for your Pep Ventosa inspired still life.

How to Create a Pep Ventosa Inspired Still Life

At the top of the layer stack is a drop-down box that is available as long as you have a layer highlighted. This is where the blend modes are hiding. Each option allows the layers underneath to show through according to different computer algorithms.

For the image above, I set each layer to “multiply” blend mode and changed the opacity to between 25% and 50%. This results in an extremely dark image at the end (because the colors multiply together mathematically), so I also added a Curves Layer to bring the exposure back up to something normal.

Spend some time experimenting with different blending modes. In my experience, Soft Light and Overlay also give interesting results. Some of the others might, too depending on your base images.

Finishing your image

Once you’ve finished adjusting your layers, you can save the image, close Photoshop, and open Lightroom Classic back up. Now you can polish the image, adjusting the colors and tone to suit your style.

Once you’ve edited an image in Photoshop and taken it back into Lightroom Classic, you can treat it as you would any other image. That means you can apply any effects, filters, or presets to the image.

How to Create a Pep Ventosa Inspired Still Life

If you’ve never worked with presets in Lightroom Classic before consider buying a large set to get you started. As you experiment with them and use them more and more, you’ll get to know how the settings work, and then you can start building your own.

Changing the colors in Lightroom Classic can change the whole mood of a photo. A dark, shadowy blue image can feel quite melancholy and introspective, while a warmer-toned image can feel more hopeful and even joyous.

When you shoot a still life image, it’s not just the subject that conveys emotion, but the colors too. So while you’re finishing off the colors in Lightroom Classic, make sure that they’re helping to communicate your message.

Consider how you’ll print your image

These kinds of images are really begging to be printed quite large on beautifully textured paper. And there are plenty of labs that will do this for you. A textured paper can really enhance the fine art feel of a Pep Ventosa inspired still life, working sympathetically with the multiple layer effect that you’ve created in Photoshop.

If you don’t intend to print your image, you could try adding textures to your work instead. Open the image (again) in Photoshop and try out different textures until you get an effect that you’re happy with. Remember, textures are always best kept subtle!

How to Create a Pep Ventosa Inspired Still Life

Conclusion

There are so many different ways you could use this technique. You could combine it with other photographic techniques, or different post-processing. And of course, there is an infinite number of different subjects that you could photograph.

Please do try your own Pep Ventosa inspired still life. And don’t forget to post your results in the comments – I’d love to see the different ways that we all interpret this idea!

The post How to Create a Pep Ventosa Inspired Still Life appeared first on Digital Photography School. It was authored by Charlie Moss.


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Capture One teases upcoming Capture One 20 update, including new heal and clone brushes

06 May

Earlier today, Capture One showed off a trio of major new features coming via a free update to Capture One 20 later this month. The announcement came in a live stream, which you can watch the replay of below, hosted by Product Manager Alexander Flemming and Business Development Manager David Grover.

In the live demo below, the first major new feature coming to Capture One 20 later this month is a revised healing brush for retouching images and removing unwanted spots. In the current version of Capture One 20, the healing workflow comprises creating a new heal layer, select your brush and pick a source point. Further, you can only select a single source point per layer.

In the upcoming update, the software will be able to quickly and intelligently select a source point for each instance of using the heal brush on a single ‘Heal Layer’. Per Flemming, there will be no limit to how many different heal points you can have on a single layer nor has the team found any performance issues when utilizing many heal points.

In the livestream, Flemming and Grover shared a few interesting tidbits about how the new healing brush operates. The first time you use the brush on an image, the software caches the entire image, so that all subsequent uses of the heal brush are much faster. Further, the new healing technology is adept at adjusting the luminosity of your source point to match the area you wish to heal or touch up. For example, if an area in the image with the best match for texture is brighter or darker than the area you are trying to heal, the software can match the source area by brightening or darkening it.

In addition to the new healing brush, there’s also a new clone brush. The clone brush works similarly to the new heal brush, but it creates a ‘Clone Layer’ rather than a ‘Heal Layer’. The clone brush creates a pixel-for-pixel clone, rather than replacing a healing area via a source selection. Basically, the clone brush allows you to copy a selected set of pixels from one area of your image to another area.

In this screenshot from Capture One’s presentation, the new clone brush is being used. Image credit: Capture One

Another addition is the new before and after button, which can be found on the toolbar. In prior versions, seeing a before and after comparison was done via a convoluted process whereby you reset the image and then undid the reset. Now you will be able to simply press the before/after button, which creates a sliding before/after split view, showing before on the left and after on the right. This works at all zoom levels and can be used across multiple images. Users will even be able to edit in this view if they so desire. There’s also a secondary before/after mode where you can view the entire image in its before and after state, rather than using a slider.

The upcoming free update to Capture One 20 includes a new before/after view. You can use this view across multiple images at once as well, as can be seen here. Image credit: Capture One

As mentioned, the update is scheduled to arrive by the end of the month. The update will be free for all existing Capture One 20 users, including those who use Capture One Fujifilm and Capture One (for Sony). For more information on Capture One 20, including pricing information for both subscriptions and perpetual licenses, click here.

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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