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  • Cyberpunk City: World’s First Self-Driving Grocery Store Hits Streets of Shanghai

    [ By WebUrbanist in Architecture & Offices & Commercial. ]

    It’s a tale as old as time, or at least: science fiction films — an autonomous grocery store on wheels (staffed by a holographic assistant) that can deliver late-night snacks as well as everyday essentials.

    The Wheelys “Moby Mart” looks the part as well, sporting a trapezoidal shape, illuminated display in front, vintage neon sign on top, and mysteriously uniform boxes on the shelves inside.

    But that retrofuturistic look is just part of the package: fueled by solar panels on the roof, this driverless shopping center operates staff-free 24/7.

    When it runs low on stock it returns itself to a warehouse automatically for reloading — eventually, its makers hope to task a fleet of rooftop drones to do those pickups (maybe they could be extended to make deliveries, too).

    Like other new grocery store prototypes, there will be no need to check out — items taken are automatically tallied and added to a shopper’s bill. If you need any help, the aptly named Hol (a holographic store assistant) is on hand to assist.

    To top it all off, the Moby Mart has the potential to be carbon-negative, at least in terms of its urban travels — soaking up the sun for fuel, it also captures and cleans smog on its grocery runs.

    A project of Himalayafy, Hefei University and Wheelys the first prototype is currently being tested out in Shanghai, a sweet spot for cyberpunk fans but a bit far for some of us to travel. But don’t worry: if all goes well your city may get one soon, too.

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    [ By WebUrbanist in Architecture & Offices & Commercial. ]

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    WebUrbanist

  • Enter the Photojojo Weekly Photo Challenge!

    Here in the Photojojo office, we love, love podcasts. We listen to comedy podcasts, music podcasts, educational podcasts, and even podcasts for making podcasts.

    That last one inspired and encouraged us to start our very own podcast about something we also love SO much – photography! And the Photojojo Photo-a-Week Challenge was born.

    Read on for some info about how to enter our podcast challenge and learn about some of our other favorite photography podcasts.

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    Read the rest of Enter the Photojojo Weekly Photo Challenge! (477 words)


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    The post Enter the Photojojo Weekly Photo Challenge! appeared first on Photojojo.


    Photojojo

  • Verizon officially acquires Yahoo including Flickr

    It’s been written on the wall for a while, but now US network operator Verizon has confirmed its acquisition of Yahoo in a deal worth $ 4.48 billion. This also means that Yahoo’s online image sharing platform Flickr is now in the hands of Verizon. With both AOL and Yahoo now owned by Verizon it seems the network giant is planning to combine the two companies and a few of its other subsidiaries into a new service called Oath.

    “We’re putting together one of the largest companies on the planet that’s focused on brands,” says Tim Armstrong, CEO of AOL. “Oath is our house of 50+ media and technology brands. We reach over 1 billion consumers around the world.”

    In the process of merging Yahoo and AOL 2,100 employees will be made redundant but Flickr users should, at least in the short term, not expect any major changes to the service as Verizon says it has no immediate plans to change Flickr pricing.

    It appears the Oath service has been structured to compete with other major ad platforms, such as Facebook or Google but it remains to be seen what the move will mean for Flickr. Under Yahoo ownership the service has not necessarily been developed in a way that users and photographers would have liked. We’ll have to wait and see if Verizon and Oath can increase the rate of innovation at Flickr and bring the site back to its former glory.

    Articles: Digital Photography Review (dpreview.com)

  • Paralenz is an underwater action cam for scuba divers

    Action cameras and compatible underwater housings have been available for any budget for years but now Danish company Paralenz is taking a new approach by designing an action cam specifically for underwater use by scuba divers.

    The Paralenz can go to 200 metres depth without any additional housing and automatically corrects color, using a pressure sensor to detect the depth you’re diving at. Conventional action cams typically require the use of filters to correct for underwater light conditions.

    In addition the Paralenz can act as a dive computer. The camera logs your dive, and an accompanying app then generates a dive profile with photos and videos registered at the time and depth they were taken at. The camera can capture 8MP still images or 1080p 30fps video recording for 3.5 hours and 4K footage for 2 hours and 15 minutes. Images are stored on a 128GB microSD card. The Paralenz underwater action cam can now be ordered for €649 ($ 728) on the Paralenz website.

    Articles: Digital Photography Review (dpreview.com)

  • 21 Images That Show a Trip to the Market

    Markets the world over are fascinating places. A photographer’s paradise, with a cornucopia of things to aim the camera at. Here are 18 images from a trip to the market:

    By Carsten ten Brink

    By Roberto Verzo

    By David Stanley

    By jpellgen

    By Brook Ward

    By Bud Ellison

    By swong95765

    By sara marlowe

    By Rod Waddington

    By Vanila Balaji

    By aotaro

    By David Guyler

    By Neil Howard

    By Leticia Roncero

    By eugenuity

    By James Merhebi

    By Ryan Bodenstein

    By Grant Matthews

    By sdosani

    By Carla Cometto

    By Didier Baertschiger

    The post 21 Images That Show a Trip to the Market by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Kowloon Walled City: Drone Photos Reveal a Re-Growth of Urban Density

    [ By SA Rogers in Drawing & Digital. ]

    Once notorious both for its lawlessness and a maze of urban density so intense that sunlight couldn’t penetrate to its lowest levels, Kowloon Walled City was demolished in the 1990s, but a new version of it is rising from the ashes. Standing in stark contrast to the modern towers of Hong Kong just beyond its borders, Kowloon was an autonomous ‘city of anarchy’ built up from the ground like lasagna. 500 buildings were packed into less than seven acres, and there were no municipal services like trash collection or running water.

    Outsiders called it the City of Darkness, and it certainly had a squalid appearance, but former residents remember it with fondness as a friendly and tight-knit community where everyone worked together to uphold their own poor but inventive society. But Hong Kong (and later, Britain – check out our previous coverage for the history) wasn’t too fond of the fact that it was run by the mob and packed with gambling dens and brothels, not to mention concerns about its structural soundness. So in 1993, all 50,000 inhabitants were cleared out and the whole thing was razed to the ground.

    In its place came a 330,000-square-foot park full of paths and pavilions named after the city’s former streets and buildings. Ponds, gardens and floral walkways took the place of layer after layer of haphazard architecture. That park is still there – but it seems that the wild profusion of growth associated with Kowloon’s spirit couldn’t be contained. It may be modernized, with orderly rows of skyscrapers instead of a labyrinthine network of mismatched towers, but it’s growing more packed every year, and this level of density is creeping into the rest of Hong Kong, too.

    Photographer Andy Yeung proves as much with his new drone photography series, Walled City. “The Kowloon Walled City was once the densest place on Earth. Hundreds of houses stacked on top of each other enclosed in the center of the structure. This notorious city was demolished in 1990s. However, if you look hard enough you will notice that the city is not dead.”

    “Part of it still exists in many of current high density housing apartments where the only view out of the window is neighbor’s window. I hope this series can get people to think about claustrophobic living in Hong Kong from a new perspective.”

    See the whole series at Andy Yeung’s website or on 500px.

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    [ By SA Rogers in Drawing & Digital. ]

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    WebUrbanist

  • Weekly Photography Challenge – Markets

    Start off your shopping trip by browsing this collection of 21 images of markets.

    By Adam Baker

    By Eduards Osis

    By Cocoabiscuit

    Weekly Photography Challenge – Markets

    This week’s photography challenge is about shopping. Just like we have a weekly challenge, many cities of the world have weekly markets. Wherever you live, find your local market and get out and shoot it.

    Don’t forget to take your shopping bag and bring home some fresh veggies, and maybe some lovely flowers.

    By Mark Shahaf

    By Stephen Cysewski

    Share your images below:

    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 on the dPS Facebook group as the challenge is posted there each week as well.

    The post Weekly Photography Challenge – Markets by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Image Editing Software Review: PortraitPro 15

    mWhen it comes to portrait photography, there seem to be two predominant schools of thought. The first says that retouching is bad, that people should be presented as they are and retouching is a no-no. The second school of thought says that when people have their portrait taken, it should be an idealistic representation of the person, flattering the subject and minimizing any flaws.

    The truth, however, probably lies somewhere in the middle. When people have their portrait taken, they want the photographer to make them look as good as possible. Most portraiture requires some level of retouching, and truth be told, retouching was in vogue long before the digital age. Digital photography, however, has brought with it some new tools. One of those tools is PortraitPro 15, from Anthropics Technology.

    An example of a portrait retouched using PortraitPro 15

    An example of a portrait retouched using PortraitPro 15.

    Overview of PortraitPro 15

    PortraitPro 15 is available as a standalone application, or as a plugin for Photoshop, Lightroom, or Aperture. There are three different versions available; Standard, Studio, and Studio Max. PortraitPro Standard is the standalone version, which also has a few other limitations. PortraitPro Studio and Studio Max can both be used as plugins, and they also offer a variety of other options including RAW file support, color profile support, the ability to read and write TIFF and PNG files in 16-bit mode, and a batch dialog. The Studio Max version also offers a Full Batch Mode to greatly speed up your workflow. Compare all editions of PortraitPro 15 here.

    Before and after using PortraitPro 15

    Before and after using Portrait Professional 15

    Getting started with PortraitPro 15

    Getting started in PortraitPro 15 is simple. If you’re using the standalone application, simply open the file you wish to work on. From Photoshop (if you’re using the Studio or Studio Max version), go to the Filters menu and Select Anthropics > Portrait Professional.

    Once your image is open, PortraitPro 15 will detect the facial outline of the subject. It will sometimes detect gender and age, or it may ask if the subject is male or female or a young girl or boy under 12. You will then be shown a side-by-side comparison, with the image on the left showing the outlines of the face that the software will use for its retouching. These outlines can be adjusted to provide better accuracy, but the software does a pretty good job of selecting facial features on its own. On the right is a preview of what the subject will look like after the retouching is applied.

    On the far right, you will see a navigator window that allows you to move around the image easily. Beneath that is a list of presets so you can easily apply a particular look to your subject. Beneath the presets is a group of “Portrait Improving Sliders”. These sliders include;

    • Face Sculpt Controls
    • Skin Smoothing Controls
    • Skin Lighting Controls
    • Makeup Controls
    • Eye Controls
    • Mouth and Nose Controls
    • Hair Controls
    • Skin Coloring Controls
    • Picture Controls

    Each of these groups of sliders affects different aspects of the image and provide an incredible amount of control over the retouching process.

    Before and after using PortraitPro 15

    Before and after using PortraitPro 15.

    Some of these sliders, particularly Face Sculpting may seem a bit controversial. Like most digital photo editing tools, you can certainly go too far with its use. But, there are times when it has come in handy and improved the subject, such as when one eye may not be fully open. As with all things, moderation is the key to using these sliders.

    The Basic Retouch

    Gender Selection in PortraitPro 15

    When you open an image using PortraitPro 15, the application will ask you to confirm the gender and age of your subject.

    Whether you choose to use the plugin version or the standalone version, the workflow is the same. From Photoshop you’ll select Portrait Professional from the Filters menu, and from Lightroom, you’ll select “Edit In”, which will open the current image in PortraitPro 15. If using the standalone version, simply go to File > Open.

    Facial features selection

    PortraitPro 15 will try to automatically detect the age and gender of your subject and try to select their eyes, nose, and mouth. If it is unable to detect the gender and age, or any facial features, you will be prompted to do this. Selection, if needed, is easy. You’ll click the outer corner of the left eye, hit next, then click the outer corner of the right eye. Hit next again, and you’ll be prompted to click the tip of the nose. You’ll continue until the eyes, nose, and mouth are selected. PortraitPro will then find the top of the head and the jawline.

    The main screen of PortraitPro 15

    The main screen of PortraitPro 15

    First editing steps

    Once the selection is made, PortraitPro will automatically adjust your image using the Standard settings. From here, you are free to choose a different preset or start moving the sliders to better retouch your portrait.

    The first slider I adjust is the Face Sculpt Controls. I will say that I’m not a huge fan of this adjustment so normally I just turn it off. There are times it can get too aggressive and will really alter the look of the subject’s face. You can minimize the amount of adjustment using the Master Fade slider to amend the overall look, or the individual sliders to only affect certain features. For instance, I will often set all the sliders to zero but then use the Eye Widening slider if the subject happens to have a sleepy eye. I do try and keep the digital plastic surgery to a minimum.

    Skin Smoothing

    The next slider group is the Skin Smoothing Control. This set of sliders does a nice job of minimizing wrinkles and removing blemishes. You do need to be careful when you have a subject with freckles or beauty marks that you want to retain. Again, adjusting the individual sliders will help you find the right amount of smoothing without making things look too plastic, and the Touch Up Brush will allow you to remove strong blemishes without affecting the overall skin texture.

    Skin Selection PortraitPro 15

    If you need to adjust the area affected by skin smoothing and lighting, you can manually paint in your selection.

    PortraitPro offers some quick tips when you select the various sliders. In addition, you may notice that the application hasn’t quite selected all of the skin you want to be retouched, due to changes in tone. Or, conversely, that it has selected areas which you don’t want to be affected, such as clothing with colors close to the skin tone, or hair. You can adjust the skin selection by clicking View/Edit Skin Area and adding or subtracting from the skin selection using a brush, similar to applying a selection by using a layer mask in Photoshop.

    Before skin smoothing

    Medium skin smoothing applied.

    Heavy skin smoothing applied.

    Skin Lighting

    The Skin Lighting slider controls can actually adjust the lighting on your subject. This is another set of sliders that are best used with care, but a judicious adjustment can help improve your image. Going too far with it, on the other hand, will result in images that have a definitive fake look to them. You have the ability to adjust shadows to the left or right, a kick light to the left or right, and even adjust the angle of your main light.

    Before skin lighting effects applied.

    Skin lighting medium applied.

    Skin lighting heavy applied.

    Makeup

    The Makeup Controls sliders allow you to add digital makeup to your subject. Everything including lipstick, mascara, eye shadow and eyeliner can be added or enhanced here. As with the Face Sculpting and Lighting Controls, you will want to be careful not to overdo things here. But again, I’ve had occasions where a little eyeliner or a change in lipstick color has helped the image.

    By the same token, if you are taking a portrait as a starting point, you can create some incredibly different looks by changing the subject’s makeup. This makes it an excellent tool if you are creating a digital illustration from a photo.

    Skin Smoothing Controls PortraitPro 15

    The skin smoothing controls inside PortraitPro 15

    Before make-up applied using PortraitPro 15.

    Make-up added.

    Make-up added heavily, this is over done.

    Facial feature control sliders

    The Eye Control sliders do a nice job of enhancing the subject’s eyes and bringing them out. Brightening the irises, sharpening the eyes, and whitening them are all done here. You can even change the eye color and add catch lights. The biggest mistake I’ve made (and seen others make) is going too far with the whitening, giving the eyes an unnatural glow. Eyes can be adjusted individually, so you have a lot of control over their look.

    Before eye controls applied.

    Eye controls medium applied.

    Eye color change applied.

    Mouth & Nose Controls are sliders to enhance the mouth and nose. Here you can adjust the saturation of the lips, their brightness, and contrast. You have the ability to make the same adjustments to the nose.

    Hair and skin sliders

    Hair Controls is a set of sliders that I like a lot. You have the ability to re-color hair, adjust the shine, reddening, and vibrance. In addition, as with the skin selection, you can adjust the hair selection. Especially cool is the Hair Tidying Mode, which allows you to smooth and soften the hair. It can give the hair an almost painted look, which is one I tend to like, but again, it is possible to go too far.

    Skin Coloring Controls allow you to adjust skin color, add a glow, or a bit of a tan. In addition, you can add cheek coloring here and adjust the exposure on the face.

    Before skin coloring

    Tan skin coloring applied.

    PortraitPro 15

    On the right side of the application window, you’ll find a navigator, a list of presets, and the Portrait Enhancement Sliders.

    Picture Controls

    Finally, the Picture Controls slider allows overall adjustment of the color temperature, tint, exposure, contrast, and vibrancy. You can also crop here. If you’re using Photoshop or Lightroom, these adjustments are better handled there, after retouching. But if you’re using the standalone version, this is an excellent way to finish off your image.

    Once you’ve finished with the face you’re working on, you click the Next button at top right, and either click “Return from Plugin”, or “Enhance Another Face”, if you have more than one subject in your photo.

    Pros of PortraitPro 15

    PortraitPro 15 is an excellent application for quick and easy retouching of portraits. Blemish retouching, eye enhancing, and cleanup of hair is simple and can PortraitPro 15 can provide a nice finished look to a portrait. In addition, the ability to adjust lighting can give added pop and make a flatly lit portrait much more interesting. The same goes for the ability to add or enhance makeup. It’s easy to see the effects of the changes you make usingPortraitPro and compare them to the unretouched photo, so you can judge the edits as you work.

    Before and After

    Before and After

    Cons of PortraitPro 15

    My biggest issue with PortraitPro 15 is that it’s easy to go too far with an adjustment and suddenly your image looks fake or digitized, almost like a 3D animation. Like most photo-enhancing filters, a little goes a long way and moderation is required. In the right hands, PortraitPro can be an awesome editing tool. In the wrong hands, it can return some ugly results. Additionally, PortraitPro appears to have some issues when one eye is covered by hair or a hat, or when the face is at a 3/4 angle to the camera. So in those situations, you’ll need to pay extra attention to your selections, and in the case where one eye is hidden, set all sliders for that eye to zero.

    My other issue with PortraitPro is that it does seem to be a resource hog. As soon as I enter the plugin from Photoshop, the fan on my 2014 iMac (with the max amount of RAM) starts up and keeps going until I’m done. Some of the adjustments are slow, and on my machine, adjusting the outlines takes a moment as my computer catches up.

    Before & After PortraitPro 15

    Before & After

    Bottom Line

    Overall, I love PortraitPro 15 and the ability it has to retouch portraits quickly and easily. While I prefer not to use all of the features all of the time, such as face sculpting or skin lighting, things such as skin smoothing and eye retouching really help give my portraits a finished look. The learning curve is not terribly high and it is fairly easy to tell when you’ve gone too far. It’s become an essential part of my portrait workflow.

    See the three editions available on Amazon. The Studio version is a great value.

    Before & After PortraitPro

    Before & After PortraitPro

    Before & After PortraitPro

    Before & After PortraitPro

    The post Image Editing Software Review: PortraitPro 15 by Rick Berk appeared first on Digital Photography School.


    Digital Photography School

  • Undercooked: Canon’s first CMOS-based compact, PowerShot SX1 IS

    Canon was producing some impressive superzoom cameras back in 2008. Its PowerShot S5 IS had solid image quality, a capable autofocus system, pleasing color and respectable image quality.

    In September of that year, the company split its superzoom line in two. Both the PowerShot SX1 and cheaper SX10 IS had 20X, 28-560mm lenses, 10MP sensors, fully articulating LCDs and decent electronic viewfinders. What differentiated the two – in a major way – was the type of sensor used. The S10 IS went with a traditional 1/2.3″ CCD, Canon made the SX1 its first compact with a CMOS sensor, which was both a blessing and a curse.

    Canon had been marketing the PowerShot S-series as ‘hybrid’ cameras since their inception, and the SX1 continued that tradition. Canon used a USM (ultrasonic motor) in that 20X lens, which allowed for quiet focusing that is required when capturing video. The zoom was also capable of zooming slowly, like a camcorder. The SX1 had a prominent movie record button, flip-out widescreen LCD and HDMI output. Heck, even the EVF had a 16:9 aspect ratio, though its resolution was considerably lower than that of its cheaper sibling.

    The use of a CMOS sensor rather than a CCD brought an immediate benefit to video-shooters. Unlike previous Canon superzooms, which topped out at VGA resolution, the SX1 could capture 1080/30p video. In 2008 this was a very big deal.

    Another benefit of the switch to CMOS was that SX1 could shoot bursts at 4 fps, compared to 0.7 fps on the SX10. While we can’t draw firm conclusions about this, the addition of Raw capture could be due to the faster readout speed of the CMOS sensor, though it could also be a marketing decision.

    The PowerShot SX1 was considerably noisier than the lower-end, CCD-based PowerShot SX10 that shared the same design. Old studio scene taken at ISO 400.

    So what was the downside? Images were quite noisy as soon as the SX1 left its base ISO of 80, and by the time you got to around ISO 200-400, the CCD-based PowerShot SX10 produced images with less noise and more detail. Compared to its peers from Sony and Panasonic, the PowerShot SX1 was the noisiest.

    It’s telling that Canon didn’t release another CMOS-based superzoom for three years. The SX20 and SX30 were both CCD-based, until the arrival of the SX40 HS in 2001, which used a BSI-CMOS sensor.

    Were you a PowerShot SX1 owner? Share your memories in the comments below. That’s also the place for leaving suggestions for future TBTs!

    Read our PowerShot SX1 IS review


    Sample Gallery

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    Articles: Digital Photography Review (dpreview.com)

  • How to Use a Cell Phone for Dramatic Night Photography

    Night has fallen. All of the beautiful golden light that flooded across the landscape during sunset has slowly slipped away over the horizon – replaced by inky darkness and twinkling stars. But that doesn’t mean that you need to put away your camera until tomorrow! In fact, you most likely have an excellent source of light in your pocket or purse right now – your cell phone flashlight!

    A man photographed using a phone flashlight as the key light -How to Use a Cell Phone for Dramatic Night Photography

    A man photographed using a cell phone flashlight as the key light.

    Whether you’ve packed your camera bag light or are simply looking for a creative way to make a picture work in extremely dark conditions, your mobile phone flashlight is a surprisingly capable and adaptable lighting tool.

    Creating dramatic off-camera lighting

    You might be wondering; “Why bother with this at all? My camera has a pop-up flash. If it’s dark outside, my flash can provide all the light I need.”

    It’s true that you can use your on-camera flash to light a picture even in near-complete darkness. However, the light that comes from a pop-up flash is direct. This isn’t how we experience light on a daily basis; we experience light coming down on us from the sun or light fixtures in the ceiling.

    Directional light is that which comes from an angle, and creates pleasing shadows and depth, whereas on-camera flash erases shadows and textures, resulting in a flat look.

    A photo of a man lit by one camera flashlight as the key light - How to Use a Cell Phone for Dramatic Night Photography

    Even using light from one phone flashlight can create dramatic shadows and interesting directional light.

    Another problem with on-camera flash is that it often kills the ambient or existing light of a scene. If you want to save the soft glow of city lights in the background of your shot, you’ll often find that your on-camera flash is too overpowering and unnatural looking.

    A photo of a man taken using on-camera flash to illustrate the lack of depth and shadow that occurs with this technique - How to Use a Cell Phone for Dramatic Night Photography

    This picture is taken in Automatic Mode, which used the on-camera flash. The light on the subject is flat, the background is dark and all drama or depth in the picture is lost.

    Directional light is often what makes or breaks a photo. This isn’t just for photographers using flash. Natural light photographers can spend years learning how to properly position their models in relation to the sun and natural reflectors in order to create pleasing lighting on the subject.

    Using a cell phone flashlight allows you to bring the light on your model in from an angle, which can be used to add dimension, enhance textures and create a sense of drama.

    Taking the picture

    The main advantage of using a cell phone flashlight is accessibility. Most people carry their phone wherever they go, so it shouldn’t be hard to quickly get two or even more light sources that you can use for your picture.

    Behind the scenes of lighting a model with light from a cell phone flashlight

    Using a cell phone flashlight gives you a mobile lighting kit that is ready for use within five seconds.

    A portrait of a man lit by two cell phone flashlights he is holding in his hand

    Looking to add more light into your scene? Simply add a second cell phone flashlight!

    Things to watch out for

    Of course, there are also some drawbacks that you need to be aware of when taking pictures with this technique. First off, most mobile phone flashlights aren’t very powerful. Fortunately, there are three ways to make the light more effective.

      1. Open your aperture wider. With a wider aperture, the camera will collect more light – including the light from your flashlight. Bear in mind that this will also make the whole scene brighter, background and all, so there needs to be a balance.
      2. Turn up your ISO. A higher ISO means your camera’s sensor picks up more light. Again, this effectively makes your cell phone flashlight stronger. Just like with the previous point, this will also make the background brighter.
      3. Move the flashlight closer. Saving the most practical method for last – if you aren’t getting enough light on your subject, try moving the light closer. Sure, you may not want to have a hand holding a cell phone in your image, but getting as close as you can, will add as much light as possible.

    The second drawback with using mobile phone flashlights is that the color of the light may not be consistent or carefully balanced like you would find in a typical camera flash. This means that using more than one camera flashlight in a shot could result in slight differences of color.

    The last drawback is that a phone flashlight is a small light source and, consequently, produces hard light. If you want an exceptionally soft light that leaves very faint shadows, you would need to use a large softbox or umbrella. But we’re aren’t expecting studio light when we pull out our phone – this is a quick and dirty solution to light.

    Examples and comparison

    But even with these drawbacks, using a phone flashlight allows you to create directional light that results in more interesting images. Consider the following two examples:

    A man photographed in the city, lit by on-camera flash - How to Use a Cell Phone for Dramatic Night Photography

    This picture is taken on Automatic Mode. In the darkness, Auto decided to use the on-camera flash. Once again, all shadows and textures are gone from the subject’s face and the pleasant night-time ambience of the city in the background is lost.

    A man photographed in the city, lit by a flashlight on a cell phone as the key light

    By using a cell phone flashlight just to camera left to light the side of the subject’s face, I was able to add depth and drama for a shadowy, film-noir style image.

    Post-processing

    A picture lit with a cell phone flashlight will always benefit from some work in the editing room. It’s a good idea to shoot in RAW rather than JPG in order to have as much flexibility as possible with your edits.

    The good news is that if you took the time to properly position your lights during the picture, you should have a pretty decent image right out of the camera.

    How to Use a Cell Phone for Dramatic Night Photography

    This is the unedited, straight-out-of-camera image. It’s already pretty close to the final product.

    The first step is to make some corrections to the color of the lighting. You may need to play with the White Balance, or even selectively reduce the saturation on a specific color in order to get natural skin tones.

    For example, some cell phone flashlights might produce an overly green light. Pulling saturation back on the greens in your editing program will help to fix that.

    You might also need to tackle some hot spots in the post-processing phase. A hot spot is when the center of the light is significantly brighter than the edges. This can be corrected with by using a brush to “paint” the hot spot a bit darker.

    How to Use a Cell Phone for Dramatic Night Photography - processing

    This is the final edit of the photo shown above. Converting to black and white was a way to add mood while also helping remove some color issues that came with using a cell phone as a key light. This image was shot at 1/100, f/1.4, ISO 1000.

    Play, experiment and have fun!

    Practice, practice, practice. Taking the time to experiment will help you to better understand the benefits and drawbacks of this style of lighting.

    Of course, if you need high-quality lighting for a shot, don’t expect your cell phone flashlight to produce the same results as a softbox. But if you’re in a pinch and need to improvise some lighting in a hurry, remember that you’ve got a ready-made light source right in your pocket.

    The post How to Use a Cell Phone for Dramatic Night Photography by Frank Myrland appeared first on Digital Photography School.


    Digital Photography School