Well, we suppose it's a sign of the times, but anyway a new app, appropriately called Nude, claims to have developed technology that can identify, group, and make your nude pictures stored on your smartphone disappear from public access, all without your help.
Currently, the app is only available for iOS devices but an Android-based app is in development according to the team behind Nude.
Automating the process of removing potentially embarrassing photos from your phone might sound promising but is it safe?
Well, you decide.
The app works by examining your photos for sensitive material using algorithms designed just for that purpose. Nude then removes your photos from your phone and iCloud storage and keeps them stored locally, within the app. The pics are then stored in a PIN-protected vault.
For iOS 11 users, the entire process is local and uses no outside source to view your photos, relying instead upon the app's built-in machine learning.
That is unless you use iOS 10. The iteration of the app for iOS version 10 and under, utilizes Amazon Rekognition technology which means the photos are, if only briefly, sent to a cloud according to DIY Photography.
So, if you're cool with letting this app's cloud AI potentially looking at your candids (or someone else's for that matter), then this app is probably a solution for youif you also happen to have so many nudes on your smartphone that you can't possibly be bothered to catalog them manually.
To use Nude, new subscribers will need to sign up for the service. An annual subscription costs $10 dollars.
Nude photos are not the app's only specialty it also works to protect sensitive documents and materials stored on your phone as well, such as driver's licenses, credit cards, and other information.
The app has a built-in camera just for this functionality. Additionally, Nude has other security measures: In case someone tries to access your app with the wrong PIN number, it will take a picture of the user with the front-facing camera.
Reactions to the app are mixed, with Gizmodo's Melanie Ehrenkranz complaining about the app's lack of a basic understanding of human anatomy, seemingly classifying innocent photos as NSFW images that needed to be archived.
Ehrenkranz is pretty unequivocal in her criticism, writing after letting Nude troll through my camera roll, I'm not convinced this algorithm has ever seen a naked body.
According to Ehrenkranz, she let the app analyze over two thousand images, which took it approximately thirty minutes. While she didn't have a lot of explicit images on her phone, the app nonetheless deemed images explicit seemingly for the hell of it classifying memes and images of Pokemon as in need of top-secret classification.
Addressing this discrepancy, app creators Jessica Chiu and Y.C. Chen told Gizmodo in an email: When it comes to the sensitivity of nude detection, we tried to play it safeThere will always be some borderline false positive, and we are leaning towards catch-them-all rather than failing to detect some sensitive content. With that being said, we do recommend all our users update their iPhone to iOS 11 before installing our app. CoreML has proven to be the most accurate when running our ML model, unfortunately, Apple makes it so that CoreML would only work on iOS 11.
Of course, the creators' promise of improvement over time might not be enough to convince a lot of people to fork over a $10 annual subscription now while the service is still in its infancy. Still, if you're somebody that stores a lot of personal photos on your smartphone, it might be worth a look.
You can download Nude for iOS or visit their website by clicking here to learn more.
The post This App Makes Nude Photos on Your Phone Disappear. What Could Possibly Go Wrong? appeared first on Light Stalking.
If you just updated to Photoshop CC 2018, you may have noticed a small purple line that follows your brush around, and until you figure what it is, you may be frustrated by it. RetoucherPratik Naik put out a great video explainingexactly what this purple line is. Turns out this purple line is an indication 
The post What is that purple line on your Photoshop Brush tool, and how to turn it off appeared first on DIY Photography.
Yesterday at Adobe Max in Las Vegas, Adobe announced the newest version of Lightroom. Let me restate that they announced the newest versions - that's plural. As of yesterday, you have the option of getting either Lightroom Classic CC or Lightroom CC.
Overall, I feel quite positive about the announcement of Lightroom's new versions and what this means for the future of the program. However, they are indeed two distinctly different versions of Lightroom, and I'm sure that some photographers will be left scratching their heads wondering what this all means. "How will I be affected? Do I have to use both? If not, which version should I use?" And of course, without fail, there will be a percentage of photographers asking, "What the hell was Adobe thinking?"
We, the Disgruntled, fear change, and I'm most certainly included in that we. Change terrifies me. Taking all this into account, let me first speak to this head-scratching stuff, because I think once we get past that, there are some very cool things about these new releases, and for the future of Lightroom.
Lightroom CC Vs. Lightroom Classic CC: The Basics
If you are a veteran Lightroom user, the name of your program will change from Lightroom CC to Lightroom Classic CC. And Adobe has announced a whole new product, called Lightroom CC - let the head scratching commence.
Lightroom CC isn't what we current Lightroom users will be using anymore. Lightroom CC is instead something else. It's a totally new cloud-based product. To say this another way, existing Lightroom users will now be using a version that's branded as Lightroom Classic CC. Now before we all make our justifiable comparisons to the marketing genius of Classic Coke vs. New Coke, there are silver linings beyond the naming.
For starters, the lives and workflows of existing Lightroom users will not change. Lightroom Classic CC (a.k.a. Lightroom-As-We-Knew-It)is the unchanged Lightroom we have grown to depend on. So, that's good news. Lightroom Classic CC will also work better than ever.
Adobe's primary focus for upgrades for Lightroom Classic CC has been performance, not sparkly new tools or sliders. This has been a long needed upgrade for Lightroom, and overall, it works much faster. Needless to say that much faster is relative. Different users have different hardware with different resources, so Lightroom's speed is relative to what system you are using it with. But relativity aside, I feel confident that most everyone will experience a noticeable performance boost.
Here is a list of changes in Lightroom Classic CC:
Who Is The New Lightroom CC For?
Who Lightroom CC is for is yet to be well defined. I suspect that there will be as many answers to the question as there are photographers. Personally, I'm going to use it right away, but not to replace my existing catalog or workflow. I can't. I have terabytes and terabytes of data, and Lightroom CC is not for the pro or semi-pro user with sizable image archives. Its online capacity as of now is 1TB, so it's limited to users that don't shoot a ton, but want something more robust than Apple Photos or Photoshop Elements, and want something that's designed to seamlessly work across your device chain - and I mean seamlessly. Lightroom CC easily integrates how you tag and keyword your photos and how you develop or edit your photos between your computer, your phone and other portable devices. Yes, Lightroom As-We-Knew-It could sync to the cloud as well, but not like this - it has allowed us to sync Collections we create to our mobile devices, but Lightroom CC is a completely cloud-based ecosystem.
Speaking quite generally, Lightroom CC is designed for the userwho wants a simpler experience that is easily integrated into their lifestyle. And Adobe knows there's a whole new demographic of photographers out there who want that, but don't have the patience for a program as robust as Lightroom As-We-Knew-It.
The Potential of Lightroom CC
When Lightroom 1 was released back in 2007, it was released to solve the ongoing problem of photographers using multiple applications in their workflow. My personal workflow consisted of using Photoshop, Bridge, Photo Mechanic and a slew of Photoshop plug-ins. My images bounced from application to application, and my folder system was an ever-growing mess.
Lightroom's release fixed all that. It gave me the ability to manage, develop and share my work through an all-encompassing application that was specifically designed for the workflow of a photographer, unlike Photoshop.
Now ten years later, we are at another industry crossroads. People aren't buying SLRs like they used to, and the vast majority of photography is being made with our portable devices. Our culture is creating images on-the-go, and the need to be plugged-in and connected while we are on the go is exploding. Lightroom CC is Adobe's attempt to meet that need.
Now imagine if there were a version of Lightroom CC (meaning cloud-based) that was designed for the pro user, the user with terabytes and terabytes of data? I believe this is coming. Whether Adobe will eventually merge Lightroom CC with Lightroom Classic CC as its functionality evolves, or whether Lightroom Classic CC changes to also meet this growing need still remains to be seen. But, it's coming, I am sure.
Another possibility for Lightroom CC is its potential to work in multi-user environments. Since the beginning of Lightroom this has been a problem. Sharing catalogs with colleagues to share workloads just doesn't work well. Currently Adobe allows Lightroom CC to be added to two devices at a time, but there is potential for that to expand. Again, overall, I'm feeling excited for the future of this technology, as Adobe answers our growing need for device integration.
The Fate of Perpetual Licensing
Here's the bad news for those of you who have been holding on to your ability to own your software outright. Those days are gone. Lightroom 6 will have a few more updates to handle bugs and camera compatibility, but that's it. It is time to put on your big-boy/girl pants and move to CC. I know there are still many that won't like this, so if you're one of those, take comfort in the fact that Lightroom Classic CC works the same way that Lightroom 6 does, except it's better. You are not forced to use the cloud service, and for $9.99 a month, you can get Lightroom Classic CC, Lightroom CC, and Photoshop. That's a smokin' deal.
This day was inevitable. I'm honestly surprised it came as quickly as it did, but Adobe sees urgency in solving the problems that creating and managing software with perpetual licenses creates, and there are many. But, that's a whole other article/blog rant. For now, trust those of us in the digital deep-state, CC is better.
Lightroom CC & Lightroom Classic CC Resources And Pricing
Pricing is still quite reasonable for Lightroom, and there are a few approaches. You can acquire just Lightroom CC, or Lightroom CC bundled with Classic CC and Photoshop. There are also different choices for cloud storage. There are 20GB and 1TB choices only right now, but I'm confidant this will expand as CC evolves.
Below are videos that Adobe has released to further explain what's in these two programs. I, too, will soon produce some videos, so stay tuned for those. Happy Lightroom'ing, and please feel free to comment with questions about Lightroom.
Are you one of those people who winces every time you take a photograph that's slightly skewed, with a foot cut off, overblown highlights, or too much grain? Well let me tell you something, sometimes the problem might not be with the photograph it may be you. Are you a perfectionist? Is it affecting how you view your photography?
In this article let's take a look at this concept and see how it applies to you and your work.
How much does it matter?
Needless to say, there are many situations where a skewed horizon, a cutoff limb, or a white sky will ruin the photograph. But there are just as many situations where it won't matter at all, yet many people will think it does, and they will trash their perfectly good photographs because of this.
It's hard not to over-think your photographs, especially if you are a bit of a perfectionist or like as much order as possible to things. And even if you're not, you probably have moments where you over-think the details in your images. We all research cameras that have the sharpest lenses and most megapixels for a reason, don't we?
But a lot of the time, this stuff doesn't matter that much. What matters is that the photograph looks beautiful, that it's interesting, and that it has an alluring quality that engages the viewer. In those situations, straight lines and perfect sharpness are just a bonus.
A big purveyor of this way of thinking comes from photo competitions or photo clubs. While I'm not knocking photo clubs they are an amazing place for the knowledge, enthusiasm, and comradery. But they can also have the effect of making us question our photos in the wrong way.
In a room full of people, there will always be a few that are hyper-focused on an element that they see as out of line, and this disregards the photo as a whole. No matter what image you show, there is guaranteed to be one person who will find something wrong with it, and that puts a lot of pressure on you.
Similarly, think about the difficulty for judges in photo competitions, where they have to stare at hundreds or thousands of photos to pick a winner. They are just looking for any reason to disregard a photo. Nitpicking the little details is the easiest way to do this, so that becomes a prerequisite for your photo to do well.
Find a balance
The result of all of this is that I work with many photographers who get so nervous about making the slightest mistake, and it throws their whole photography experience off. Where they should spend their time enjoying themselves and looking for something amazing, they question their abilities and over-think each detail.
I'm not trying to disregard the importance of technical quality in photography. It's vital and necessary. You have to have good technical skills to become a good photographer, but the technical aspects should be in the back of your mind instead of in the front.
After all, the only people that pixel peep and gaze at a photograph from six inches away, are other photographers.
Going to galleries to view the work of the old masters is a great way to learn this. For every Ansel Adams, there was a Garry Winogrand. Cameras were often downright primitive compared to what we have today. Some of the most famous photographs of all time are slightly blurry or have technical elements that would make the judges of a photo contest today cringe.
Some photographers even look to add imperfection into their work, often by skewing their photographs or including elements in strange compositions. Other photographers even will shoot at high ISOs in all lighting situations because they like to have a grainy look to their images. In this way, imperfections can improve your photographs by making them feel more real and of the moment. It shows that the photograph was a special and unplanned event.
I do not want you to forget to think about the technical qualities of your photographs, but I want you to be more in the moment. Take the pressure off yourself. Be more spontaneous, enjoy yourself, and try to get lucky. Focus on the moment more than the photograph, and share that moment with us. If it's a great moment, it won't matter how off the horizon is.
Bring back a photo that you love, that you relate to, that you want to put on the wall, and I guarantee there will be others that will love it as much as you do. Don't worry about the ones who feel differently. Take their opinions into account, but try not to let it consume you.
Just make sure not to photograph someone with a tree coming out of their head.
The post Are You Too Much of a Perfectionist With Your Photography? by James Maher appeared first on Digital Photography School.
Adobe has announced new versions of its Photoshop and Premiere Elements apps. Both apps utilize the Elements Organizer to automatically catalog and sort image files. they also offer a wide range of guided or automatic edits that allows users to automatically swap backgrounds, create double exposures, freeze frames and fix action cam footage.
The new apps are available now, priced at 99.99 for each as a stand alone and $149.99 as a bundle.
New, Easy-to-Use Adobe Photoshop Elements, Premiere Elements 2018
Adobe has just announced the newest release of its consumer photo and video editing applications, Photoshop Elements and Premiere Elements 2018, for Mac and Windows. In the professional editing industry, Adobe has been one of the few top names for many years. Adobe Photoshop, Premiere Pro, and After Effects are found in virtually every studio. The Elements versions are for those editors who want to make creative and polished photos and videos, but quicker and easier than possible in the pro versions, and they're designed with the weight and sophistication of Adobe's resources and experience.
The Elements versions provide a more automated process backed by advanced Adobe algorithms. Click a button or two, and Elements will analyze your photo or video intelligently, and determine the best solution in each case. You can also make further adjustments based on personal preference, but even this process is designed to be quicker and simpler.
In as little as just minutes or even less, you can have beautiful photos and videos (including batches of photos) ready to be shared on social media, printed, or burned to DVD. They'll be complete with all the right parts highlighted, issues that need fixing fixed, titles, music, menus, and more. Advanced one-click features, like Whiten Teeth and Open Closed Eyes, will ensure that your subjects come out looking impressive. There are also special side features for creating calendars and greeting cards that you can print at home or send to a professional printer, scrapbooks, and photo and video collages.
Photoshop Elements and Premiere Elements are powerful and comprehensive solutions for moments we capture during family vacations, kids' school recitals, and similar adventures and events. They're also great for YouTube videos and vlogs, sales presentations, and the like, as well as for beginner enthusiasts. Both support high-resolution files and popular file formats, so you can work with your high-megapixel and 4K smartphone, DSLR, action cam, or any other camera.
Adobe Photoshop Elements 2018
A major feature is that the two programs integrate well for those who like to shoot still photos and videos. They have a similar user interface and similar workflow, and share the same file manager, an exceptional stand-alone tool called the Organizer. Not many editing applications have such a self-contained file manager. Normally, you're limited to importing files and selecting them as needed, but the Organizer kind of has a mind of its own. It takes all the hundreds of photos and videos on your computer, automatically arranges them in one place by criteria such as dates, people, places, and faces, and gives you a visual view of them all. It additionally allows you to tag them as you like, including by tagging faces using your Facebook friends list.
Adobe Premiere Elements 2018
The same Organizer appears in both applications, so one can jump between the two programs and have access to the same media in both. There are also other features that are found in both applications, such as Slideshow, and the Organizer allows these features to work cross-platform. For example, click a few buttons, and Slideshow will dig into the Organizer and produce a fancy, animated slideshow of your best photos and short video clips, along with a theme. Once it's done, you can make manual adjustments, adding/removing photos and videos as you like.
Both applications also have many Guided Edit features, which lead you step by step through applying a specific effect or function. Photoshop Elements offers 49 Guided Edits, such as Replace Background. This Guided Edit will walk you through placing a more interesting background behind the subject of a photo. Although the Guided Edit process works step by step, it takes only seconds. Premiere Elements has 19 Guide Edits, like Fix Action Cam Footage, which guides you through quickly making trims, correcting color, and fixing lens distortion in your action camera videos.
The overall workflow in both applications is largely based on one-click tools that are also highly automated, like the Guided Edits. In Photoshop Elements, one-click tools allow you to add effects, looks, border frames, and textures, turn photos into illustrations, paint on effects, add photo text, make panoramas, and much more. You can also let Photoshop Elements analyze a photo and suggest five effects that it thinks would be ideal for your photo. And you can make many different corrections to perfect your photos, such as turn frowns into smiles, open closed eyes, whiten teeth, remove pet eye discolorations, remove camera shake in selfies, and remove haze in landscapes. A lot of this can also be done to batches of photos at a time.
You may wonder, how can closed eyes be open? Photoshop Elements will search through your photos in the Organizer, find a photo of the subject with open eyes, and blend it into the photo of the subject with closed eyes. Open Closed Eyes is a new feature in Photoshop Elements 2018. Other new features include multiple new Guided Edits, Auto Curate, major enhancements to the Organizer, and a redesigned and upgraded Slideshow.
Using one-click tools in Premiere Elements 2018, you can add graphics, text, effects that move with the subject, standard graphics, cartoon looks, transitions, animated titles, slow-motion, fast-motion, motion menus, fancy credits, and much more, as well as choose from more than 50 musical scores and 250 sound effects and easily remix music to match up to the length of your movie. You can even go as far as select to make instant-themed movies. When shooting video, one is prone to camera shake and other issues need correcting. Premiere Elements 2018 lets one auto-fix shaky footage, adjust color with sliders, auto-balance audio elements, fix audio problems easily, combine elements from different videos, and much more.
Adobe Photoshop Elements & Premiere Elements 2018
Both Photoshop and Premiere Elements 2018 allows one to share creations with friends and family on social media right from the interface. Also, even with all the automated and easy-to-use features, you can still get help right within the interface via eLive. They're offered individually, as well as combined in one package for those who want both. Create beautiful photos and videos in seconds.
Thanks to cameras like the Hasselblad X1D and Fujifilm GFX 50s, there's been a lot of fuss over medium format the last couple of years. And while those two cameras have helped to drive down the cost of getting into medium format, it's still not cheap. So, is it worth getting into? This video from 
The post 5 reasons why you should consider buying into medium format appeared first on DIY Photography.
We know that the Nikon D850 autofocus system isn't that great for video. This wasn't really going to be much of a surprise. But it seems that it's not as quite good as it could be when it comes to stills, either. The Nikon D850 autofocus is the same as that found in the flagship 
The post The Nikon D850 has the same autofocus system as the D5 but it's not as good appeared first on DIY Photography.
Large format photography is probably the most technical and methodical process of all methods of shooting, but you're rewarded with prints that have mind-blowing renderings and resolution. Along with that technical process come some pretty unique powers, however. This video shows off one such capability and how it helped the photographer realize his creative vision.
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During last week's Save Analog Cameras live broadcast, it was announced that Bellamy Hunt of Japan Camera Hunter (JCH) is working on a new 35mm compact camera project, according to Kosmo Foto. This revelation follows Hunt's recent launch of the JCH StreetPan 120 B&W film, which itself followed JCH's first film launch about a year and a half ago.
Hunt reportedly didn't reveal much about the planned 35mm camera, though he did refer to it as a 'premium compact,' indicating what potential future buyers can expect. The project aims to fill a growing void in the camera market, giving analog enthusiasts a modern compact 35mm option, although it could be many months before the camera actually launches.
Kosmo Foto reports that the camera may be ready for testing some time next year, though they didn't mention whether they got that information directly from Hunt or elsewhere. Hunt discussed the topic of compact film camera scarcity in a blog post earlier this year, saying, among other things:
I would dearly love to make a compact camera, and I know what I want too ... A simply [sic] point and shoot with a decent 28mm or 35mm lens, flash, iso selector and manual override. As simple as possible and made from metal for durability. The less electronic components the better, so that it can be easily serviceable and less prone to breaking down.
Whether the camera discussed last week will follow these design principles is yet to be seen, but we'll definitely be keeping a eye out for Hunt's creation.
With space exploration currently making bigger and bigger leaps in technology and scope, it's not surprising that more and more creative minds are filling the gaps with their imagination. It's interesting to see how conceptual photography has been picking up the pace, oftenborrowing themes, aesthetics, and story lines from some iconic space-themedscience fiction flicks. Portland-based Mako Miyamoto brings us yet another interesting take on mankind's quest to find the next alien lands to colonize.
DJI will announce a new product on 11 October that it says will introduce 'the future of aerial cinematography', according to reports.
The Digital Circuit reports that DJI has sent out a teaser for a new product that it will announce at 5pm PST in Los Angeles on 11 October.
The graphic published by The Digital Circuit bears the tag line 'Your Film. Our Innovation.' And The Digital Circuit says the invitation adds 'experience the future of aerial cinematography.'
After an exhaustive search, we could find nothing else about this on DJI's website, its social media channels nor even on any other website. So grains of salt and all that.
Nevertheless, we'll be watching in anticipation
The post Is DJI announcing the 'future of aerial cinematography' on 11 October? appeared first on Camera Jabber.
This is article #18 in theDSLR Video Weekly series. If you'd like the whole thing in one shot, check out the bookCreating DSLR Video: From Snapshots to Great Shots. Once you get the hang of video, be sure to monetize it by becoming a contributor to Adobe Stock. The greatest challenge you'll face when shooting
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Today's Photo Of The Day is Afternoon at the Oxbow by Michel Hersen. Location: Grand Teton National Park, Wyoming.
Equipment & Settings: Nikon D7100, Nikkor Zoom Lens (18-200mm), Hoya Circular Polarizer,Gitzo Tripod and Arca-Swiss Head. ISO 200, F/20, 1/8th-second exposure, and a focal length of 62mm.
Photo of the Day is chosen from various OP galleries, includingAssignments,Galleriesand theOP Contests. Assignments have weekly winners that are featured on the OP website homepage,Facebook,TwitterandInstagram. To get your photos in the running, all you have to do is submit them.
Fall foliage season is upon us, so I'm going to share some tips for you to try when you head to your favorite deciduous grove to capture it in its glory. The sound of shutters will ring louder than the whistling wind that causes leaves to detach themselves from their summer homes. Landscape photographers feel their adrenalin pump and await the arrival of reds, yellows, oranges and a morning chill in the air. If you've read this far, capturing nature's arboreal fireworks interests you. Read on to see what you can do to make your autumn captures as spectacular as the color you'll encounter.
Capture that Reflection: Early morning is a prime time to make autumn images. Be at your location before the sun comes up because dawn light may produce dramatic photos, there are less people, and animals may appear. Another reason to be out at sunrise is there's less wind, which translates to calm water. Calm water means clean reflections. Incorporate the reflection into your composition. Spin the polarizer to lighten it up. The effect is visible through the viewfinder and can be verified on the LCD. A graduated neutral-density filter can help darken the real part. This will bring the exposure value of the reflection and the real part close together to get an even exposure and softer contrast ratio.
Details: Don't overlook details that appear everywhere. Spend an entire session with nothing but your macro lens. Force yourself to go beyond the gorgeous tree, rolling hillside of color or iconic S curve in the river. Go close to the bank and look for small pockets of still water and capture the reflection on its surface. Find the fallen leaf that sits atop a stone and make an intimate portrait. Slow down the shutter to capture the effect of water dancing around its perimeter. Head back into the forest and look for details at your feet, at eye level and on branches. Find a lone leaf dangling from its stem that awaits its inevitable descent. Incorporate a blue-sky background or play with depth of field to create a wash of out-of-focus color. Study the forest floor to find a macro landscape. Look out at eye level for a leaf that may have gotten lodged in a section of bark. You may wind up with so many winners, you keep the macro lens on for more than one session.
Use a Polarizer: Deepen the blue sky with a polarizer. Not only will it enhance its color, it removes glare from the leaves, which allows more saturated color to come through. Work at right angles to the sun so the polarizer has its maximum impact. If you feel the sun warming either of your cheeks, you're in the right position. If the sun is in your eyes or hitting the back of your head, the polarizer will have little or no effect. Create compositions that have balance. Simply including blue sky and yellow foliage doesn't produce a winner. If the sky lacks interesting clouds, minimize it and include just a small section of blue at the top of the frame.
Sweet Light: Regardless of the subject matter you shoot, the time of day at which it's photographed is critical. Since photography is All About The Light, choosing the right time of day to make your photos determines their success. The quality of light at sunrise and sunset is unrivaled for its beauty and color. It provides a rich warm tone, it's low on the horizon and rakes your subjects with magnificent sidelight. There's a softness that can't be had at any other time of day. Getting up early for sunrise may not be easy, but in the autumn it's easier to accept, as the hour at which the sun rises is later than if you were photographing sunrise in mid-June. As if these factors weren't enough to convince you to photograph early and late in the day, there's also the potential for a magnificent autumn sunrise or sunset to add drama and intrigue to your photographs.
Colors That Have Contrast: Colors found on opposite sides of a color wheel are great to incorporate into a composition. If you're familiar with the color wheel, blue and yellow are opposites. Talk about an autumn match made in heaven. Crisp, clear, blue skies integrated with the fall color of yellow, and life is good. Since red and orange are in the same color family as yellow, it's no wonder why fall foliage set against a blue sky works so well.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
Nikon's latest DSLR, the D850, offers up 45.7MP of resolution that you can capture at a rate of seven frames per second (nine with the optional battery grip). Topped off with the autofocus system from the flagship D5, it's clear that the D850 is designed to be a highly versatile tool.
On a recent Nikon press trip to Bend, Oregon with our tester D850, we had a chance to stretch our legs a bit with some landscape shooting, fashion portraiture, peak action and more. Take a look at our latest samples and see for yourself just what Nikon's latest is capable of.
As photographers, keeping our data safe is of the utmost importance. Being able to trust your hard drives to work and survive all types of conditions and hardships is something to consider. As a wildlife photographer, I often find myself out in the elements, and when traveling, my gear has to put up with the rugged nature of travel, while still being ready to work when called upon. Recently I have been putting the G-Technology G-Drive ev ATC hard drives through their paces and I think these might just be one of the best rugged and solid ways to keep data safe on the move.
G-Drive ev ATC hard drive features
The ATC is part of the G-technology ev series, a set of drives offering a simple workflow from the field to the studio. The ATC builds upon the standard RaW and ev drives by adding a polycarbonate protective shell to the main drive offering protection from bumps, dust, sand and even full submergence in water to keep your drive and data safe.
The case itself is solid the simple blue and black design that is stylish and bright enough to easily find in dark conditions. The polycarbonate shell feels very solid in the hand and fits the drive like a glove. It seals closed with a latch system that might seem flimsy, but offers a solid click and seal to ensure the drive is closed off from the elements.
The G-Drive ev ATC comes in two varieties, offering Thunderbolt or USB-3 connections for your chosen device. The cords are built into the case itself so you don't need to worry about forgetting them, a really well thought out design. Of course, the case adds an extra amount of bulk to the setup that might be a problem for those photographers wanting to keep things as small as possible, but personally, I think the extra size is a worthy trade off for the added protection.
Testing the drives during travel
Testing the drives out, they have accompanied me on a few international trips, coming as my primary and backup drives for work in the Falklands, Canada, and Finland. On each trip I have worked with two drives, keeping one as a primary and the other as secondary backup. The fast data transfer speeds were great, 1GB of data transferred in less than a minute over USB-3 meaning backups were swift and simple.
On returning flights keeping data separate is important (in case of a lost bag) and I had no worries about packing one of these with the G-Drive ev ATC hard drives into my checked baggage, knowing the solid construction would keep it protected from any rough handling from the dreaded baggage handlers! On all of my trips, the hold drive never skipped a beat, being ready to upload as soon as I got home to my office.
In the office the workflow is simple. Popping the drives out of the housing I can easily slot them into the Ev docking station (called G-Dock) that gives me Thunderbolt speeds to upload images directly to my main drives for editing, backup and archiving. The ease of being able to just slot in one drive saves faffing around with multiple SD and CF cards again, keeping my workflow streamlined.
To further test the drives I wanted to put them through the mill so I decided to rough them up with some real world testing. Grabbing one of the drives in the ATC case I took it out onto location and basically treated it like I didn't care it was full of precious data. Dropping it onto the ground, into muddy puddles and even throwing it into my local river before rescuing it again down stream.
Each test was passed with flying colors and even after fully submerging the drive underwater with my hand for a minute, it was in perfect working order. Of course, one problem with the drive is that you do need to check that everything is latched down. Human error, not fully closing the latch or getting something stuck into the gasket could compromise the waterproofing and seal, so it's best to always be careful. I mean I doubt too many of us regularly throw our drives in a river intentionally
As a drive, they are built solidly, but one area that I feel would be a great improvement is the use of SSDs rather than normal disk drives. Including an SSD would just add another level to the rugged nature of the drives making them even more durable for life on the road, while also giving faster transfer speeds. This would be especially useful for those editing and working with video files on the move as well.
As a photographer, G-Drive ev ATC hard drives suit my needs very well. The large 1TB hard drive easily has enough storage for a long photoshoot on location and with the protective shell offering great durability to my drives I am sure they will be part of my workflow for many years to come.
The post Review and Field Test of G-Technology G-Drive ev ATC Portable Hard Drives by Tom Mason appeared first on Digital Photography School.
The RX10 IV, as the name suggests, is the fourth in Sony's series of 1"-type sensor, long zoom compacts. The Mark IV is the first to offer phase detection autofocus alongside a series of changes designed to boost the speed and capability of the camera, for both stills and video shooting.
Sony is adamant that the camera is much more than an RX10 III with an RX100 V sensor in it. Let's take a look at what the latest version brings.
One of the biggest changes in the Mark IV is the addition of on-sensor phase detection autofocus. There are a total of 315 phase-detect points, which cover 65% of the total sensor area. This is a significant update as it should eliminate the RX10 III's need to hunt for focus, which was a particular problem at the long end of the zoom.
In addition, we're told the camera has "exactly the same" processor as used in the company's flagship sports camera: the a9. This means the RX10 IV has the same autofocus algorithms for subject tracking and the improved Eye AF mode we saw on the a9.
The RX10 IV also becomes the first camera in the RX series to gain a touchscreen. This can be used for tap-to-focus in both stills and video mode. In video mode it is designed to offer a smooth focus transition between subjects which, combined with on-sensor PDAF, should make it relatively easy to shoot good-looking video without having to worry about manual focus.
The screen can also act as an AF touchpad when the camera is held to your eye, with the option of limiting the active area of the screen to one of nine regions of the rear panel, including the top (or bottom) right or left quadrants. There's also a choice as to whether the AF movement is 'absolute' (pressing the left of the screen places the AF point on the left of the image) or 'relative' (swiping left anywhere on the screen moves the AF point left from its current position), as different photographers prefer different methods. These are all welcome improvements over previous touchscreen implementations from Sony.
Continuous shooting speeds have been dramatically improved since the RX10 III, with the max frame rate increase from 14 to 24 fps, with continuous AF. The buffer is substantial, to say the least, topping out at 112 Raw and 249 Fine JPEGs.
If that's too fast for you, middle (10 fps) and low (3.5 fps) options are also available.
Speaking of (very) quick, the camera's electronic shutter allows for bullet-stopping 1/32,000 sec shutter speeds. The RX10 IV uses the e-shutter in order to shoot at 24 fps, by the way.
4K and proxy shooting
The RX10 IV can shoot 4K video from the full width of its sensor, which is rendered and downscaled to give very detailed, "oversampled" footage. This can be shot at 30, 25 or 24p in either 100Mbps or 60Mbps using the XAVC S codec. Dropping down to Full HD (1920 x 1080) you'll find 120p, 60p, 30p and 24p frame rates. If you're so inclined, a 60i option is available if you switch to AVCHD. (The PAL equivalents for these are also available, of course.)
As mentioned earlier, the new touchscreen display allows for tap focusing. You can use this to "rack focus" with zero effort, and there are three transition speeds to choose from. Unfortunately, 'Spot Focus' continues to confuse, and there's still no easy way to 'tap to track' a subject, as all Lock-on AF options are greyed out in 4K video mode. It is available in 1080p video, but only via the rather clunky (and old) 'Center Lock-on AF' method.
The Mark IV also gains a 'Proxy' shooting mode, where it captures a 720p stream of video alongside the main 4K stream, meaning you can edit using the proxies and then apply the edits to the full-res footage at the end of the process. This greatly speeds up the workflow, especially when using slower computers.
High frame rate shooting
In addition to 4K capture, the RX10 IV is able to shoot 1080 at up to 120p, which can either be saved as 100Mbps or 60Mbps clips or slowed down, in-camera, to 60, 30 or 24p.
The camera has the ability to capture at 240, 480 or 960 fps, with footage taken from increasingly low-res crops from the sensor (250, 500 or 1000 fps in PAL modes), which can then be output as 60, 30 or 24p super slow-mo footage (50 or 25p in PAL).
The RX10's focus peaking has also been improved, with three intensity settings designed to make the peaking easier to see and distinguish between, as you shoot.
A new focus limiter button, found on the left side of the camera, lets you choose between the whole focus range or 3m to infinity. Sony has also added an "AF-A" mode, which will choose between AF-S and AF-C based on its assessment of subject movement.
Fans of back-button focus will be pleased to hear that you can now activate autofocus with any of the custom buttons (we figure most folks will use the AE-lock button).
Another new feature is Bluetooth connectivity, which can be used to share location data with the camera. We'll see what else it can do when we spend more time with the camera.
Something that's a slight step backward is battery life, which drops from 420 to 400 shots per charge (CIPA standard).
The Mark IV uses the same 24-600mm equivalent, F2.4-4 zoom lens as its predecessor. As, no doubt, people will be highlighting in the comments, this is an equivalent aperture range of F6.5-10.9. This is not significantly less light than the F6.8-9.5 equivalent you'd get from an F4.5-6.3 tele zoom on an APS-C camera. On top of this, we've always been impressed with the quality of this lens, especially considering its long reach.
As one would expect, the lens is stabilized, and Sony claims 4.5 stops of shake reduction using CIPA's testing methods. The company says that it has improved the IS system at the long end of the focal range, which should framing subjects and keeping your AF point on them easier.
Those who were hoping for the return of an ND filter (found on the RX10 II) will be sorely disappointed, as the RX10 IV lacks one as well. The lens is threaded for 72mm filters, however.
$1700 is a lot of money, but Sony believes the combination of capabilities: high speed shooting, autofocus performance and 4K video capture, together with a 24-600mm equiv. zoom, is what makes the Mark IV a compelling offering.
What do you think? Share your thoughts in the comments below.
In the first of a three-part series, underwater shooter Alex Lindbloom travels to Mexico's most photogenic dive spots to put the Panasonic Lumix GH5 to the test. The journey begins in the cenotes of the Yucatn Peninsula