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DPReview TV: Instant Camera Roundup

In anticipation of our in-depth buying guide, our friends in the North have been looking at a handful of the latest instant cameras.

Chris and Jordan stocked up on Instax Mini film to feed the twin-lens reflex Mint TL70 and the simpler (and strangely similar) Fujifilm Neo 90 and Leica Sofort. Then, just for some variety, they grabbed the square-format Fujifilm SQ6.

Which seemed like a good excuse for a party…

And make sure to subscribe to our YouTube channel to get new episodes of DPReview TV every week.

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Articles: Digital Photography Review (dpreview.com)

July 1, 2018
How to Choose the Right Color Profile For Sharing Images Online
Many people have problems with the color of their photos when they publish them online. There are several reasons why this might be so, but the most common culprits are the color space of the image and whether or not the profile is embedded. Both color settings can radically affect web browser color and how your photos look.

Let’s look at some of the potential pitfalls more closely.

The Importance of Embedding the Color Profile

Whenever you edit your photos in an editing program like Photoshop, you are doing so using a specific RGB working color space. To be sure of preserving the color you see when you’re editing, you need to embed the profile before saving the image.

In simple terms, the ICC profile is a translator. It enables different apps and devices to interpret the color as you intended. If you get into the habit of embedding profiles into your images as you save them, you’ll reduce the chances of color looking wrong on the web or in print.

The rich color in this ProPhoto RGB image will look okay in many browsers despite not being sRGB as normally advised. If it looks muted and drained of saturation to you, it’ll be because you are viewing it in a non-color-managed browser. By embedding the profile, I’ve given it the best chance of looking as intended to the majority of people. On a wide-gamut monitor, the colors will pop a bit more.

Embedding the profile into an image adds about 3-4 kB to the file size, so the only time it makes sense to exclude it is when you’re uploading vast quantities of photos to the Internet.

If you must leave the profile out, making sure that the image is in the sRGB color space will limit any resulting damage. Two or three of the more popular browsers will still display the color faithfully because they automatically guess the profile correctly (i.e. sRGB).

Although most browsers have improved in their handling of color recently, it’s still good practice to embed the profile. Don’t leave it out without good reason.

Because the profile has been left out of this same ProPhoto RGB image, the brightness and color will look terrible in most browsers and on most monitors. By contrast, a missing profile for an sRGB file would be undetectable to a large number of people.

How to Embed the Profile

Embedding the profile into images is usually just a case of checking a box when you export the photo. If such an option doesn’t exist, the default will either be the predefined working space of the program, or it’ll be sRGB for web-specific output.

If you want to check the color of your web images before publishing, open them directly in a browser (preferably a reliable one like Chrome) and see how they compare to the original in your photo-editing program. Be a little wary of uploading images to platforms that strip out the profile, though these will not typically be photo gallery sites.

Embedding or stripping out profiles usually only requires you to check or uncheck a box when saving. This is the “save as” pane in Photoshop.

Converting to Profile

You can use “convert to profile” in Photoshop to create an sRGB image, which is the safest color space choice for the web. Be sure not to overwrite the original file and save it this way, because larger color spaces are a better choice for outputs such as inkjet printing.

Do not use “assign profile” for profile conversion, as it causes a color shift and is not meant for this purpose.

Using “assign profile” in Photoshop to convert between profiles will cause a color shift. Color in the right-hand image above has gone flat as a result of assigning an sRGB profile to an Adobe RGB image. You must use “convert to profile” if you want to create an sRGB version of your photo for the web.

Why Monitor Gamut Matters

Color management needs at least two profiles to work (image profile and monitor profile in this case). If you publish images without profiles embedded, you’re relying on the viewer’s browser to guess the color space correctly.

When color management is absent from the browser or app for whatever reason, the following statements are true:
- An Adobe RGB image looks roughly correct on a wide-gamut display.
- An Adobe RGB image looks muted in color on a standard-gamut display.
- sRGB images look roughly correct on a standard-gamut display.
- An sRGB image looks oversaturated in color on a wide-gamut display.
Note that an Adobe RGB image without a profile embedded looks muted in most situations and must be avoided. Browsers will guess the color space to be sRGB if they guess at all.

The graph above shows the difference between a standard-gamut Dell monitor (colored outline) and the sRGB profile (dotted outline). Even on a regular desktop monitor, some colors are quite likely to exceed the sRGB color space and look too saturated when viewed in Microsoft browsers.

In the monitor above, it’s reds that are most exaggerated in that situation. If you haven’t profiled your monitor or if the gamut of the screen is contained by sRGB, you won’t encounter this.

Browser Behavior 2018

To understand color profiles, it helps to know how different browsers behave with color. I tested five browsers for this article to give you an idea of what to expect. Feel free to query this if you think any of these observations are wrong:

Google Chrome

Chrome is a fully color-managed browser that assigns sRGB to any “untagged” images (i.e. those without profiles embedded). It reads all embedded profiles.

Opera

Opera is a color-managed browser that automatically assumes photos to be sRGB if the profile is missing. Like Chrome, it reads all profiles, including Adobe RGB or ProPhoto RGB.

Firefox Quantum

You can configure Firefox to assign sRGB to any untagged photo. It reads all embedded color profiles.

If you happen to run two monitors, Firefox does not maintain full color management across both of them. For optimum color, you must dial in one monitor profile then stick with that monitor. This only applies if your monitors have custom profiles.

Microsoft Edge/Internet Explorer

Microsoft Edge has a half-baked solution to color management. It reads different color profiles and converts everything to sRGB for display. The main problem is that it doesn’t use the monitor profile. Thus, it works best if your monitor does not exceed sRGB in gamut. Otherwise, you’ll see wayward colors.

Safari (for Windows)

Safari can read profiles in images and uses the monitor profile (unlike MS Edge or MS IE), but it does not assign a profile to an image if one is missing. In that situation, it displays color wrongly as Microsoft Edge does.

In Photoshop, you can use “Monitor RGB” proof colors to show you what the photo will look like in Internet Explorer on your own monitor. You’ll need to convert the image to sRGB first. If colors look brighter than they do without proofing, it means your monitor’s native gamut exceeds the sRGB profile.

A second experiment is to view the proof colors of an Adobe RGB or ProPhoto RGB image using “Internet Standard RGB”. This will show you how photos in bigger color spaces look on the internet if you omit the profile.

Choosing sRGB for the Web

The reason why sRGB is a safer choice of color space for the web is that most displays or monitors are not wide-gamut. Thus, if the profile goes astray or is stripped out, or if a device or app doesn’t support color management, the color will still look okay. This is what Microsoft’s browsers rely on to work.

If you want the color of your photos to look “okay” to the widest possible audience you need only do two things:
1. Make sure the image is in an sRGB color space either by using it as your working space or by converting to sRGB before uploading to the web.
2. Embed the sRGB profile into the image before saving.
Photoshop’s “Save for Web” lets you convert to sRGB at the very last moment by checking a box. If you leave the box unchecked, the photo is saved in whatever color space you edited it in. You can’t strip the profile out with this checkbox: it’s purely for conversion.

Other Choices: Adobe RGB and ProPhoto RGB

Since most popular browsers are now color savvy, the possibility of using other color spaces on the web exists. You could, for instance, publish photos with an Adobe RGB or ProPhoto RGB profile embedded, and they’d still look good to most people. To a minority, they’d look better.

The color of wide-gamut monitors typically exceeds Adobe RGB in places. Hence, there is theoretically a reason for publishing photos in ProPhoto RGB. However, this is offset by the dire color that results when the profiles are missing or ignored. It’s high risk.

Adobe RGB is an interesting prospect for the web because it still benefits users of wide-gamut monitors. Importantly, it doesn’t look as bad as ProPhoto RGB when things go wrong. However, if you publish in Adobe RGB, you’ll still be doing so for a relatively small audience.

If you do use these wider-gamut color spaces for the web, you absolutely must embed the profile. As soon as that goes astray, the color in your photos will look a bit flat to many people. In the case of ProPhoto RGB, it’s likely to look awful.

This 3D diagram (above) shows the sRGB profile encompassed by the profile of a wide-gamut monitor. In particular, you’ll note the extended range of cyans and greens in the latter.

The idea of using larger color spaces on the web is appealing, especially if you’re a landscape photographer for whom these colors are often truncated. It means you’d be making more use of your camera’s capabilities. However, it’s inherently riskier and you’ll be playing to a relatively small audience. The safe choice is still sRGB.

In Summary

Although modern browsers are more flexible, sRGB is still the safest choice of color space for the web. Again, this is because it roughly matches the gamut of most electronic displays. Using bigger color spaces risks draining your photos of color, especially on tablets or smartphones that may not be color-managed.

I hope this has been of some use. Feel free to ask questions if you need any clarification.

The post How to Choose the Right Color Profile For Sharing Images Online appeared first on Digital Photography School.

Digital Photography School
July 1, 2018
Five Common Macro Photography Mistakes and How to Fix Them

Macro photography requires a unique set of skills, but along with these skills comes a new set of mistakes to overcome. Fortunately, many of these macro photography mistakes are easily fixed.

In this article, I discuss five common mistakes made in macro photography. Then I give you the tools to correct them in the field, which will result in instantly better macro images.

1. Shooting in direct midday sunlight

The first mistake often made in macro photography is heading out when the sun is high in the sky (midday). While the light during this time is bright, it’s also very harsh and contrasty. Images taken at this time are difficult to expose well, and colors are far less saturated.

The angle of the sun causes additional problems. It beats directly down on your subject, causing the underside to become shadowy.

I try to avoid going out to shoot on sunny afternoons. This tulip image was taken on a cloudy spring day.

How can this problem be fixed?

You have a few options. First, try waiting until the evening, when the light is warm and soft. This will reduce contrast and light your subject more evenly. You could also cast a shadow on the subject yourself, or find a subject in the shade. This will reduce the extent to which your subject encounters the harsh and contrasty light.

These tulips were photographed in the evening, when the light was far less harsh.

Cloudy days are the third option. Then, the sky acts like a huge softbox, and the light is diffused across the subject.

Another photograph on a cloudy day: notice the soft, delicate feeling and more saturated colors.

If you do decide to go out in midday, you might consider bringing a flash or a reflector to add some punch to your images and reduce midday shadows. While this won’t negate the problems described above, it will reduce them.

2. Shooting dying or dirty subjects

A second common mistake made in macro photography is shooting subjects that are either dying or dirty.

This isn’t really a problem with insect photography, but when photographing flowers, the condition of your subject is something to watch out for. If the edges of a flower are turning brown, I generally wouldn’t photograph it. Same thing if the center has some fraying stamens.

I searched through a number of dahlias until I found one in peak condition.

Flowers can also become dirty, especially if they are low to the ground. A few small pieces of dirt isn’t much to be worried about—it’s nothing that cloning can’t take care of—but too much dirt, and it becomes difficult to get a strong image.

How can this problem be fixed?

The first method just involves inspecting your subject carefully before shooting. If the flower is dying or dirty, find a different flower. You might also consider wiping away small pieces of dirt with your finger or shirtsleeve.

Checking the center of flowers is important; it’s easy to miss anthers that are on their way out. Fortunately, this rose allowed for a few images.

The second method is more difficult and involves hiding the dying parts of the flower through creative compositions. For instance, you can ensure that the wrinkled parts of petals are out of focus, or obscured by another part of the flower.

The outside of this flower was a bit worn, so I chose to emphasize the stamens instead.

3. Centering the subject

This is a common mistake in all types of photography – placing your subject in the dead center of the frame.

While this might make sense from a visual perspective, it generally results in an uncomfortable, less-than-desirable image. The composition feels imbalanced or boring.

How can this problem be fixed?

Placing this flower off center allowed for a slightly stronger composition.

Instead of placing the subject in the center of the image, place it off to one side. Try using the rule of thirds. Additionally, you might add some dynamism to the composition by tilting your camera and placing the flower along a diagonal line. This will ensure a much more dynamic image that holds the viewer’s eye.

4. Using busy backgrounds and foregrounds

A fourth macro photography mistake often made is using foregrounds and (especially) backgrounds that are messy.

For example, messy backgrounds might have splotches of colors, might be crammed with slightly out-of-focus elements, or have sudden transitions from light to dark or dark to light. Messy foregrounds, on the other hand, consist of branches, twigs, or other flowers that distract the viewer and get in the way of the main subject.

While this bleeding heart photograph may seem chaotic, it’s not particularly messy—there is a clear point of focus (the flower) that is not dominated by the background.

How can this problem be fixed?

I write about this a lot, but that’s because it’s such a common (and easily rectified) problem. It involves a bit of measured consideration before shooting. Simply make sure there are no distracting foreground or background elements. As discussed above, these include branches, twigs, or sticks. It also might simply be contrasting colors or dark spots.

Notice the smooth, uniform background in this flower image.

5. Capturing a subject as the subject

This final macro photography mistake is a bit less straightforward: capturing a subject as that subject.

What do I mean by this? In truth, it’s not all that complicated. Basically, macro photographers often see an interesting subject and attempt to photograph that subject efficiently. The problem is that the subject then lacks interest. It feels like it’s part of a snapshot when you want it to feel like a deliberate photograph.

How can this problem be fixed?

If you photograph a flower, don’t try to just capture it as a flower. Look for interesting aspects of the subject. What is it that made you want to photograph it in the first place?

Try to go beyond that basic “it’s a flower” essence, and communicate something about the flower. Does it have a photogenic center? Colorful petals? A beautiful shape? Emphasize this through your photography.

I chose to get extremely close to this dahlia in order to emphasize the pattern of its petals.

Conclusion

I have discussed five common macro photography mistakes, as well as a number of simple ways to fix them. By following these guidelines, you should be able to enhance your macro photography and ensure consistently better images.

Know any mistakes that I missed? Let me know in the comments!

The post Five Common Macro Photography Mistakes and How to Fix Them appeared first on Digital Photography School.

Digital Photography School

July 1, 2018
Leica introduces new features and enhancements to five cameras in mass firmware release
Leica has released new firmware for five of its camera models, making significant changes to the way existing features operate while also adding totally new functions in some cases. The updates effect the M10 rangefinder, the Q compact and the new CL, as well as the TL2 and the T/TL.

The highlights of the update include allowing four minute exposure times in the M10 at base ISO, and the addition of aperture value recording in the camera’s EXIF data – even though it will be an estimate. Q users get a favourites menu that can hold up to 15 items for especially quick access, and the ability to determine that the electronic shutter should be constantly on. They will also welcome faster processing of the camera’s DNG Raw files.

The CL now offers users the option to transfer the functions of the two main dials between each other, and for those who find themselves accidentally pressing buttons on the small body a new lock feature deactivates access points to keep them from being unintentionally altered.

Control over the shutter mode comes to the TL so users can choose when to shoot with the electronic or mechanical shutter, and the firmware brings focus peaking to users of the M adapter and to those using R lenses on this little camera. The T and TL bodies get better chromatic aberration correction and support for the Elmarit-TL 18mm F2.8 ASPH lens.

The firmware is available to download now, or you can take your camera to a Leica store and have someone do the job for you. For more detail see the listing from Leica below, or visit the Leica website.

Press Information
Extensive updates for Leica Cameras: New firmware releases with numerous improvements and entirely new functions.

Leica Camera AG has released a series of extensive firmware updates for the Leica M10, Leica Q, Leica CL, Leica TL2 and Leica T/TL camera models. Alongside further improvements of existing features, these updates also introduce a considerable number of new camera functions.

Leica M10 (v2.4.5.0)
- Optimisation of the delete menu: The graphic user interface for the deletion of pictures has been revised.
- Longer exposure times: Exposure times of up to four minutes are now possible at base ISO.
- New continuous shooting mode with lower frame rate: An additional continuous shooting mode is now available (Continuous Low Speed, three frames per second).
- ‘Load profile’ is now available in the favourites menu.
- Aperture value in EXIF data: The camera compares the brightness measured through the lens with the measured ambient brightness to estimate the aperture used. This value is then written to the EXIF data. In some cases, the interpretation of the subject or scene may lead to incorrect estimation of the aperture value, for instance when shooting subjects or scenes with high contrast and black or white objects.
- LED deactivation: The red LED on the back of the camera can now be deactivated in the control elements menu.
- Auto-ISO setting: Auto-ISO for base ISO is set to the default value of ISO 200 to optimise dynamic range.
Leica Q (v3.0)
- Favourites Menu: Users can now enter and save up to 15 settings for faster access in a Favourites Menu.
- Power Saving Mode: If required, the camera can now be set to switch to Stand-By Mode after 10 seconds.
- Extended functions for the Fn button: Even more options can now be selected for programming the multi-function button.
- User Profiles: Profiles can now be imported from and exported to a memory card.
- OIS – optional ‘Auto’ setting: This setting enables automatic activation of optical image stabilisation at shutter speeds of 1/60 s and slower.
- EVF/LCD setting options: This menu item can now be assigned to the Fn button.
- Settings for the electronic shutter: The electronic shutter can now be set to permanently active.
- DNG files: The processing speed of DNG files in the camera has been increased.
- Autofocus fields: The last AF field used is now memorised and recalled when switching the camera off and on again.
- Self-timer: The setting is now memorised and recalled when switching the camera off and on again.
- Exposure preview deactivation option: Exposure preview can now be deactivated in manual mode (especially useful when shooting in the studio with flash systems, underexposed settings or in dark environments).
- Image review: Automatic image review remains active as long as the shutter release button is pressed.
Leica CL (v2.0)
- Programming of setting dial functions: The programming of the two setting dials can now be swapped from one to the other.
- Button lock: Pressing and holding the left-hand setting dial activates button lock (this does not lock the on/off switch, the shutter release or the left-hand setting dial).
- Power Saving Mode: If required, the camera can now be set to switch to Stand-By Mode after 10 seconds.
- Touchscreen autofocus: The AF metering points can now also be shifted with the joystick control in Touch AF mode when using the electronic viewfinder.
Leica TL2 (v1.4)
- Selection of LCD / viewfinder settings: It is now possible to select when and where the content is displayed (up until now, display was simultaneous).
- Customisable left function menu: The items of the left function menu can now be customised by the assignment of up to six of a total of thirteen functions.
- Extended functions for the Fn button: Now, one of a total of six different functions can be assigned to the Fn button.
- Settings for the electronic shutter: The electronic shutter can be deactivated, permanently activated or set to complement the mechanical shutter.
- Focus Peaking in AF Mode: Manual focus corrections can now be applied in AF Mode with the MF-ring. In the meantime, Focus Peaking is available from FW 1.4.
- Focus Peaking with M-/R-Lenses: Focus Peaking is now also available when using M- R-Lenses with the M-Adapter L.
- Exposure correction during video recording: The left-hand setting dial can now be used to apply exposure correction during video recording.
- Zoom-in when reviewing images in the EVF: The right-hand setting dial allows users to zoom in while viewing images in the EVF.
Leica T/TL (v1.8/v2.3)
- Simpler connection between the camera and a smartphone by app
- Reduction of chromatic aberration for all TL-Lenses
- Support and auto-update for the Elmarit-TL 18 mm f/2.8 ASPH.
The firmware updates are available from the Leica website (https://www.leica-camera.com). Users can either download and install the update themselves or have it installed within the scope of the free update service offered in all Leica Stores.
Articles: Digital Photography Review (dpreview.com)
June 30, 2018
Weekly Photography Challenge – Bridges
I hope you haven’t burned any bridges lately, literally or figuratively. Because it’s time for this week’s photography challenge which is – you guessed it – bridges.

Here are some articles to give you some ideas and tips:
- Tips for Shooting Blue Hour
- Tips for Location Scouting to Get the Perfect Sunset Photograph
- Find the Perfect Photography Location Using Google Maps
- 26 Sublime Images of Bridges and Connection
Weekly Photography Challenge – Bridges

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

The post Weekly Photography Challenge – Bridges appeared first on Digital Photography School.

Digital Photography School
June 30, 2018
SD Express SDUC memory cards will give you 985MB/s transfer speeds and 128TB of storage

The SD Association has released the name and official specifications for SD Express, the latest Secure Digital (SD) memory card format, as part of its SD 7.0 specification. Created as a successor to UHS-III cards, SD Express is next-next-gen technology that will work alongside a new SDUC card to provide fast, high-capacity memory cards in a familiar package.

As the name suggests, SD Express cards are going to be fast. The SD Express format uses third-gen PCIe and NVMe transfer protocols on top of the dual-level pin layout interface to achieve a maximum transfer speed of 985MB per second—almost a gigabyte per second and roughly 1.5 times faster than UHS-III cards, which still haven’t hit the market yet.

In order to achieve the maximum transfer speed of SD Express cards, you’ll need a camera or device that supports the new format as well. If you end up sticking your brand new SD Express card inside your 5D Mark III, it’ll simply default back to the speed of UHS-I cards.

SD Express cards will be available in SDHC (High Capacity) and SDXC (Extended Capacity), as well as an all-new SDUC (Ultra Capacity) format. The new SDUC cards will have a maximum storage capacity of 128TB, a large leap from the maximum 2TB capacity of SDXC cards.

Infographic provided by the SD Association that details the various specs and classifications of different SD cards.

It also appears as though it’ll be possible for memory card manufacturers to make SDUC cards for slower SD bus interfaces. So, according to the above graphic, you could theoretically have a 128TB High Speed SD card. With a little back-of-the-napkin math, that means it would take 1,481 days to transfer all 128TB of the card based on the 25MB per second speeds of High Speed SD cards.

To find out more and read more details about the SD Express and SDUC formats, be sure to check out the SD Association’s press release. The SD Association has also released a white paper detailing the new capabilities and features found in the SD 7.0 specifications if you’re interested in really digging deep.

Articles: Digital Photography Review (dpreview.com)

June 29, 2018
How to Create an Exploding Sandwich Food Photo
Here is a fun tutorial to try if you enjoy food photography. Anyone can photograph a sandwich on a plate, but you can you make it explode and capture all the layers in a photo? Here’s how it’s done as shown by photographer Skyler Burt.

How to do it

If you enjoyed that and want to brush up on your food photography in general, check out these dPS articles:
- Are You Making These Five Food Photography Mistakes?
- Five Essentials of Doing Dark Food Photography
- 4 Tips for Beginners to Food Photography
- Household Items to Bring to Your Next Food Photography Shoot
- The Secret to Finding the Hero Angle in Food Photography
The post How to Create an Exploding Sandwich Food Photo appeared first on Digital Photography School.

Digital Photography School
June 29, 2018
2018 National Geographic Travel Photographer of the Year winner announced

2018 National Geographic Travel Photographer of the Year winners

Nature 1st Place – and Grand Prize winner
Photo and Caption by Reiko Takahashi / National Geographic Travel Photographer of the Year Contest | MERMAID

Reiko Takahashi’s image of a humpback whale calf’s tail has been named Grand Prize winner of this year’s National Geographic Travel Photographer of the Year contest. Her caption for the photo reads:

I was fortunate to have encountered a humpback whale with her calf on my first day snorkeling near Japan’s Kumejima Island. Most of the time, the calf stayed close to her mom. At one point, the calf began jumping and tapping its tail on the water near us—it was very friendly and curious. Finally, the mother, who was watching nearby, came to pick up the calf and swim away. I fell in love completely with the calf and it’s very energetic, large and beautiful tail.

Winners in three categories have also been chosen, from over 13,000 total entries. Takahashi’s photo, titled Mermaid, also took first place in the Nature category – Cities and People round out the categories.

Take a look through the winning images above and see more outstanding photos from the weeks leading up to this announcement at National Geographic’s website.

2018 National Geographic Travel Photographer of the Year winners

Nature 2nd Place
Photo and Caption by hao j. / National Geographic Travel Photographer of the Year Contest | FLAMINGOS TAKING OFF

Thousands of flamingos are seen taking off from the colorful Lake Natron in Tanzania. Before taking off, flamingos need to take a short run on water to build up some speed. At that moment, their long, red legs create a series of water ripples on the surface of the lake. Looking down from the helicopter, these ripple lines look like giant aquatic plants flowing in the water. This photo was taken from a helicopter.

2018 National Geographic Travel Photographer of the Year winners

Nature 3rd Place
Photo and Caption by Marco Grassi / National Geographic Travel Photographer of the Year Contest | MARS

These natural sand towers, capped with large stones, are known as the Earth Pyramids of Platten. They are situated in Northern Italy’s South Tyrol region. Formed centuries ago after several storms and landslides, these land formations look like a landscape from outer space and continuously change over the years and, more accurately, over seasons. This natural phenomenon is the result of a continuous alternation between periods of torrential rain and drought, which have caused the erosion of the terrain and the formation of these pinnacles. As the seasons change, the temperatures move between extremes and storms affect the area, pyramids disappear over time, while new pinnacles form as well.

2018 National Geographic Travel Photographer of the Year winners

Cities 1st Place
Photo and Caption by Hiro Kurashina / National Geographic Travel Photographer of the Year Contest | ANOTHER RAINY DAY IN NAGASAKI, KYUSHU

This is a view of the main street from a tram in Nagasaki on a rainy day. The tram is vintage, but retrofitted with modern ticketing equipment. A conductor is no longer on board—only the lone driver. The quiet streetscape seen through the front windshield of the tram somehow caught my attention. This view presents quite a contrast to busy urban centers in Japan, such as Tokyo and Osaka. The ride on a vintage tram through the relatively quiet main street was a memorable experience during our week-long visit to the historic city of Nagasaki.

2018 National Geographic Travel Photographer of the Year winners

Cities 2nd Place
Photo and Caption by Enrico Pescantini / National Geographic Travel Photographer of the Year Contest | Geometry of the Sun

Teotihuacan means ‘the place where the gods were created,’ and that’s the exact feeling visitors have when they walk along the Avenue of the Dead at this Mexican archeological site. This pyramid was dedicated to the god of Sun, and I found it mesmerizing how the rising sun in the picture conquered just half the image, while the other half is in the shadows. I have always loved archeology and ancient civilizations, so I couldn’t wait to visit Mexico and explore the remains of the pre-Columbian civilization. I planned my visit to Teotihuacan at sunrise, to get a combination of golden sunlight, play of shadows, and few crowds around. I flew my drone to see if the image I had in my mind was really out there: luckily for me, this frame was just waiting for my camera!

2018 National Geographic Travel Photographer of the Year winners

Cities 3rd Place
Photo and Caption by Gaanesh Prasad / National Geographic Travel Photographer of the Year Contest | REFLECTION

On an early morning, I wanted to photograph the fog, which is epic in Dubai every year from December to January—and almost every photographer’s dream in this part of the world. Sadly, I could not get access to the rooftop and so I peeped through the glazed window on a lower floor. I was overwhelmed and excited to see how beautiful the city looks, and my excitement was quadrupled as soon as I saw the reflection of the road and building on the building that I was in. I immediately opened the window to the maximum permissible amount and clicked a single shot with stretched hands.

2018 National Geographic Travel Photographer of the Year winners

Cities Honorable Mention
Photo and Caption by Gary Cummins / National Geographic Travel Photographer of the Year Contest | ALONE IN THE CROWDS

In this photo, I tried to bring the intense and stacked living conditions that Hong Kong is famous for into perspective for the viewer. With so many people living in small spaces, it’s strange to see all these amenities empty. As a solo traveler, I’m often alone in crowds and this photo resonates with me. I barely scratched the surface of this incredible urban environment, but this image really summarizes my experience here.

2018 National Geographic Travel Photographer of the Year winners

People 1st Place
Photo and Caption by Alessandra Meniconzi / National Geographic Travel Photographer of the Year Contest | TEA CULTURE

For a long time, I have been fascinated by the ancient Mongolian method of hunting with Golden Eagles. In early 2018, I followed one family of eagle hunters during their migration from winter camp to spring camp. Mongolia is sparsely populated, but the inhabitants have a very hospitable and welcoming culture. Tea for Kazakh culture is one of the attributes of hospitality. Tea isn’t just a drink, but a mix of tradition, culture, relaxation, ceremony, and pleasure. Damel, seen here wrapped in heavy fur clothes, drinks a cup of tea to keep warm from the chilly temperatures in Western Mongolia.

2018 National Geographic Travel Photographer of the Year winners

People 2nd Place
Photo and Caption by TATI ITAT / National Geographic Travel Photographer of the Year Contest | LEIDA AND LAELLE – I WILL LIFT YOU UP

Since 2016, I’ve been involved with Haitian immigrants and refugees living in my city, Estrela. I have become friends with some families, and especially with twin sisters, Leïda and Laëlle. They say living in Brazil is like living in paradise—very different from the reality of their country of origin. They dream of becoming models and teachers, as a way to earn money to bring their other relatives from Haiti to Brazil, to live all near one another. On this day, they were playing in front of their home, improvising exercises to develop their imagination and creativity, as if they were actresses, and playing an imitation game with poses. Laëlle reached for Leida’s face and lifted her head up, showing her where she should look. At this brief moment, I took the photo.

2018 National Geographic Travel Photographer of the Year winners

People 3rd Place
Photo and Caption by MD Tanveer Hassan Rohan / National Geographic Travel Photographer of the Year Contest | CHALLENGING JOURNEY

This photograph was taken from Dhaka’s airport rail station during the Eid vacation. People were returning to their village homes to spend Eid with families, and the rush at the last hour was immense. One man caught my attention: he was dangling on a train’s handle with his family, trying to get inside the train. At that time, rain started and the train began to slowly move. The family had tickets to board the train, but couldn’t get to their seats. There are many people like him, who come to Dhaka for work—leaving their families and home villages—so when they get vacation, they don’t want to miss the opportunity to spend time with dear ones, no matter what.

Articles: Digital Photography Review (dpreview.com)

June 29, 2018
Canon EOS Rebel T7 sample gallery

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The Canon T7/2000D is about as affordable as DSLRs come – the 24MP camera goes for €470 with a kit lens in Europe and $ 500 in the US (from Canon directly only at the moment). We’ve been out shooting it with both the 18-55mm F4-5.6 IS STM and the compact 24mm F2.8 STM for good measure – take a look.

Articles: Digital Photography Review (dpreview.com)

June 29, 2018

Pentax FA* 50mm F1.4 SDM AW lens shipping in July for $1199

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First announced last October, Ricoh is ready to ship the HD Pentax-D FA* 50mm F1.4 SDM AW, a weather-sealed fast prime for the company’s full-frame DSLRs. The lens has 15 elements in 9 groups: one anomalous dispersion and three aspherical. A newly developed SDM ring-type motor has 7.5x as much torque as previous models in order to move all of that glass quickly and smoothly. As the lens uses an electromagnetic diaphragm, it is fully compatible with only the K-1 Mark II, K-1, K-3 II, K-3, KP, K-70, K-S2 or K-S1.

HD and Aero Bright II coatings reduce flare and ghosting while a Super Protect coating on the front element should help repel dirt and precipitation. The lens is sealed against dust and moisture and weighs in at 910g / 2lbs. The 50mm F1.4 has nine rounded aperture blades, and a minimum focus distance of 40cm / 15.6″. The maximum magnification is 0.18x.

You’ll be able to pick up the FA* 50mm F1.4 SDM AW in late July at an MSRP of $ 1199.

Official samples:

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Press Release:

RICOH ANNOUNCES AVAILABILITY OF HD PENTAX-D FA^?50mm F1.4 SDM AW STAR-SERIES LENS

First model in new generation of high-performance K-mount lenses delivers exceptional imaging performance and superior dependability in a wide range of shooting conditions

WEST CALDWELL, NJ, June 28, 2018 ?Ricoh Imaging Americas Corporation today announced the availability of the first model in its new generation of PENTAX Star series lenses, the HD PENTAX-D FA^?50mm F1.4 SDM AW. This large-aperture, prime lens delivers stellar imaging performance and maximum light transmission—the hallmarks of the acclaimed Star series line—and is the perfect companion to any K-mount digital SLR camera including the full-frame PENTAX K-1 and new PENTAX K-1 Mark II models.

Premium-quality Star-series lenses deliver the highest performance among the PENTAX SLR interchangeable lens series, and have enjoyed enthusiastic support from PENTAX SLR camera users since the days of film. In addition to the initial design concepts of optimum image quality and large apertures for maximum light transmission, the series has embraced the additional concepts of exceptional toughness and outstanding operability, achieved through the development of a dustproof, weather-resistant lens housing. The resulting lenses provide superior dependability in wide range of shooting conditions.

The HD PENTAX-D FA^?50mm F1.4 SDM AW lens delivers exceptional resolving power from the center to the edges of the image field, even when set to open aperture. The lens incorporates state-of-the-art PENTAX-developed lens coating technologies — including the new Aero Bright Coating II for exceptionally low reflectance and high-grade high-definition (HD) Coating — that enable it to produce extra-sharp, high-contrast images free of flare and ghost images. The lens’s dustproof, weather-resistant body also makes it extremely dependable and durable for shooting in demanding outdoor conditions. Its PENTAX K-mount covers the image circle of a 35mm-format full-frame image sensor.

The new lens is the first produced following Ricoh’s extensive review of standards for the top-of-the-line Star series. Engineers evaluated a variety of approaches to minimize aberrations and deliver the highest image quality. The HD PENTAX-D FA^?50mm F1.4 SDM AW lens is designed to deliver optimum imaging performance with all compatible camera bodies, including next-generation digital SLRs.

| Key Features |

New-generation, high-performance Star-series lens with large F1.4 maximum aperture

This lens has been developed as a new-generation member of the high-performance Star series — a lineup designed to deliver extra-clear, high-contrast images with edge-to-edge sharpness while keeping aberrations to a minimum. The lens, which is the result of an extensive review of traditional Star-series standards, provides greatly improved resolving power, which enables it to deliver excellent imaging performance even with more advanced, next-generation camera bodies. Developed as the first model of the new-generation Star-series lenses, the new lens boasts an extra-large F1.4 maximum aperture, useful with many different subjects in a range of applications, including portraiture with an effectively de-focused (bokeh) background, and handheld shooting of indoor scenes. It provides exceptional image quality even at open aperture, as well as outstanding performance at close ranges.

State-of-the-art optical technology

The lens is treated with PENTAX-developed Aero Bright Coating II — a lens coating developed using a state-of-the-art nanotechnology process. It consists of a silica aerogel layer with a uniform porous structure over a regular multi-coating layer that reduces surface reflections across a wide wavelength range and produces crisp, high-quality images.

By coupling this advanced lens coating with the high-grade, multi-layer HD (high definition) Coating, average reflectance in the visible ray spectrum is reduced to less than 50% compared to conventional multi-layer coatings. As a result, the lens effectively reduces flare and minimizes ghost images even in demanding lighting conditions, such as backlighting. The lens incorporates three super-low dispersion glass elements and one aspherical element to effectively compensate for chromatic and spherical aberrations, enabling it to produce brilliant, high-contrast images with edge-to-edge sharpness. Since distortion is minimized even at a focusing distance of approximately one meter, the lens produces crisp, distortion-free images over the entire focusing range, from the minimum focusing distance to infinity.

Dustproof, weather-resistant construction

Developed as an AW (all weather) model, this lens features a dependable dustproof, weather-resistant body with eight special seals to prevent the intrusion of water and dust into the lens interior. When paired with a PENTAX weather-resistant digital SLR camera body, it forms a durable, reliable digital imaging system that performs superbly in demanding conditions — even in rain or mist, or at locations prone to water splashes or spray.

Newly developed ring-type motor

This lens features a newly developed ring-type SDM (supersonic direct-drive motor), which generates as much as 7.5 times the torque as the SDM installed in previous-generation lenses. This enormous driving power assures a smooth, high-speed shift of the heavy, multi-element rear lens group during focusing operation.

Other features

?Nine-blade, round-shaped diaphragm produces a natural-looking de-focus (bokeh) effect up to an F2.8 aperture setting, while minimizing the streaking effect of point light sources

?A minimum focusing distance of 0.4 meters, effective for capturing images with a de-focus effect

?Electromagnetic diaphragm-control mechanism,* for flawless, high-precision exposure control during movie recording

?SP (Super Protect) coating to keep the front surface free of dust and spots

* This mechanism is available when the lens is mounted on a PENTAX K-1 Mark II, K-1, K-3 II, K-3, KP, K-70, K-S2 or K-S1 camera body.

| Pricing and Availability |

HD PENTAX-D FA?50mm F1.4 SDM AW will be available in late July 2018 at www.ricohimaging.com and retail outlets nationwide for a manufacturer’s suggested retail price of $ 1,199.95.

HD Pentax-D FA* 50mm F1.4 SDM AW specifications

Principal specifications
Lens type	Prime lens
Max Format size	35mm FF
Focal length	50 mm
Image stabilization	No
Lens mount	Pentax KAF4
Aperture
Maximum aperture	F1.4
Minimum aperture	F16
Aperture ring	No
Number of diaphragm blades	9
Optics
Elements	15
Groups	9
Special elements / coatings	1 aspherical + 3 anamalous dispersion elements, Aero Bright II + HD + Super Protect coatings
Focus
Minimum focus	0.40 m (15.75″)
Maximum magnification	0.18×
Autofocus	Yes
Motor type	Ring-type ultrasonic
Full time manual	Yes
Focus method	Internal
Distance scale	Yes
DoF scale	No
Physical
Weight	910 g (2.01 lb)
Diameter	80 mm (3.15″)
Length	106 mm (4.17″)
Sealing	Yes
Colour	Black
Filter thread	72 mm
Hood supplied	Yes
Tripod collar	No

Articles: Digital Photography Review (dpreview.com)

June 29, 2018

Blog

The Importance of Embedding the Color Profile

How to Embed the Profile

Converting to Profile

Why Monitor Gamut Matters

Browser Behavior 2018

Google Chrome

Opera

Firefox Quantum

Microsoft Edge/Internet Explorer

Safari (for Windows)

Choosing sRGB for the Web

Other Choices: Adobe RGB and ProPhoto RGB

In Summary

1. Shooting in direct midday sunlight

2. Shooting dying or dirty subjects

3. Centering the subject

4. Using busy backgrounds and foregrounds

5. Capturing a subject as the subject

Conclusion

Extensive updates for Leica Cameras: New firmware releases with numerous improvements and entirely new functions.

Weekly Photography Challenge – Bridges

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2018 National Geographic Travel Photographer of the Year winners

2018 National Geographic Travel Photographer of the Year winners

2018 National Geographic Travel Photographer of the Year winners

2018 National Geographic Travel Photographer of the Year winners

2018 National Geographic Travel Photographer of the Year winners

2018 National Geographic Travel Photographer of the Year winners

2018 National Geographic Travel Photographer of the Year winners

2018 National Geographic Travel Photographer of the Year winners

2018 National Geographic Travel Photographer of the Year winners

2018 National Geographic Travel Photographer of the Year winners

Official samples:

RICOH ANNOUNCES AVAILABILITY OF HD PENTAX-D FA? 50mm F1.4 SDM AW STAR-SERIES LENS

HD Pentax-D FA* 50mm F1.4 SDM AW specifications

RICOH ANNOUNCES AVAILABILITY OF HD PENTAX-D FA^?50mm F1.4 SDM AW STAR-SERIES LENS