BREAKING NEWS: Photography

Chile’s Amazing National Parks (30 photos)

Wed, 24 Apr 2024 18:55:12 +0000

Across the length of Chile, stretching 2,650 miles (4,265 kilometers) from north to south, more than 40 national parks have been established in the past century, protecting many endangered species, wild landscapes, and natural wonders. Collected below are images of several of these parks, from Lauca National Park, in the altiplano of Chile’s far north, to the dramatic mountains of Torres del Paine National Park, in the southern Patagonia region.

A view of the Cuernos del Paine, a cluster of steep granite peaks in Chile's Torres del Paine National Park. ( Lukasz Nowak1 / Getty)

A littler splash and a Cuban mystery – readers’ best photos

Wed, 24 Apr 2024 15:00:11 +0000

Click here to submit a picture for publication in these online galleries and/or on the Guardian letters page

A kite festival and horses bolt in London: photos of the day – Wednesday

Wed, 24 Apr 2024 14:31:29 +0000

The Guardian’s picture editors select photographs from around the world

Most significant cameras and lenses of the last 25 years, according to the manufacturers

Wed, 24 Apr 2024 14:00:00 +0000

The most significant products of the past 25 years

As part of our twenty-fifth anniversary, we asked manufacturers to reflect on the most significant products of the past quarter century.

As you might imagine, all the senior executives picked one of their own products. But some patterns also emerged. Some simply named their current flagship as the pinnacle of the company's R&D history so far. But we were also interested to hear about the products that have been significant for the company's history, because they represented major challenges to develop, were risky expansions into new territory or ultimately moved the whole industry forward.

In each instance, we asked for a personal choice, rather than what might be the official company line. And, if they couldn't narrow it down to one, we were happy to hear the rationale for other products they thought were significant.

Nikon: Z9

Yusuke Adachi, Section Manager, UX Strategy Section, UX Planning Department in Nikon's Imaging Business selected the Z9 with its electronic shutter and Stacked CMOS sensor

"So many products were rolled out to the market in the past quarter century!" Nikon's Yusuke Adachi says: " However, I would say the Nikon Z9."

Choosing the current flagship model could simply come across as the choice that the marketing department would be happiest with. But Adachi makes an argument for is also being a landmark in technology, pointing to the capabilities made possible by its parallel readout sensor.

"One of the biggest challenges in the history of the company is [electronic shutter], which means that when you remove the mechanical shutter. You can actually see exactly the same thing with your camera that you see with your bare eyes. It’s completely synchronized, and it’s called dual streaming. This is something that DSLRs couldn’t do, but the mirrorless camera allows customers to capture things they couldn’t do before."

Fujifilm: Finepix X100

Yuji Igarashi, Divisional Manager of Fujifilm's Professional Imaging Group highlighted the importance of the original X100 to the company today

Fujifilm's Yuji Igarashi chose the original Finepix X100, which makes sense, given its role in establishing the brand as we recognize it today.

"That was the first camera when we stepped up from selling point-and-shoot, entry-level compact cameras," he remembers: "Smartphones were becoming popular and demand for point-and-shoot cameras was declining so fast."

"But we were determined to continue and to grow in this industry, so we thought very hard, how can we change our business model. This was our first attempt to do that, using the APS-C-sized sensor. X100 was a huge success, which gave us confidence."

"We wouldn’t be here if we didn’t have the X100," he says Fujifilm's "If that failed, we would have been in a very difficult position."

Sony: RX1 and G Master lenses

Masaaki Oshima (L), Head of Sony's Imaging Entertainment Business, and Masanori Kishi (R), Head of Lens Technology & Systems Business picked out the DSC-RX1 and the original G Master lenses

Sony's history in the camera industry goes back a long way, including the Mavica models that were among the first we tested. But its Execs both choose products that represent the seeds of the brand as it's seen today. Interestingly, they eschew the first full-frame mirrorless camera (the a7, or perhaps NEX-VG900, depending on your perspective) and choose instead a camera that showed that the company was serious about photography.

"From my personal perspective, there are two cameras, RX1 and Alpha 9," says Masaaki Oshima: "Because they were very hard to produce. I have a lot of memories of launching these two cameras."

"The [Cyber-shot DSC-] RX1 is the beginning of our photography culture. Before that, we had launched RX100 series but still inside the world of Cyber-shot, kind of. RX1 is definitely a different world compared with our previous circumstances. That was a very memorable development period."

"From the point of view of lenses, the first G-Master lenses are very very memorable," says Masanori Kishi: "The first G-Master lenses were the 85mm F1.4 and 24-70mm F2.8. From these G Master lenses, our technology improvement accelerated and our customers also changed. Customers rated our product highly and that's become a very big motivation for our designers and our engineers. This generated a very positive momentum from this point onward."

Tamron: 28-75mm F2.8 Di III RXD

Kota Misawa, Manager of the Marketing Planning Department in Tamron's Imaging Products Business chose the Tamron 28-75mm F2.8 Di III RXD

Tamron can trace its history back nearly 75 years, so the quarter-of-a-century we're discussing only represents a small portion of its existence. Despite this, its choice was a product that's emblematic of how many people are now likely to think of the company.

"Probably the first generation 28-75mm F2.8," says Kota Misawa: "That was a new concept because it was a fast lens, but we changed the focal length from 24mm to 28mm, and users accepted this concept. We knew that if we had a unique concept and we could let users know what that concept was, then people would understand. After that, we started to change, and we started developing unique lenses."

"That lens was controversial, even in our own company, and some people were not confident that it would be accepted by users, so we were really relieved that it was."

Sigma: 35mm F1.4 Art and 18-35mm F1.8 Art

Sigma CEO Kazuto Yamaki named the 35mm F1.4 DG HSM Art as one of its most significant products

It's not a dissimilar story for Sigma, which has gone from a respected producer of affordable lenses to an acclaimed maker of top-class photographic gear. Kazuto Yamaki chooses the lens that marked the beginning of that change, the 35mm F1.4 Art.

"It’s the first Art lens in the series and it’s the first lens after we introduced the three series: Art, Contemporary, Sports," he explains: "If we’d failed with the launch of the 35mm F1.4, Sigma may not have survived until today. It was very fortunate that the customer received it very well and we could survive in the industry."

"If I could pick another it would be the 18-35mm F1.8 for APS-C," he says, looking to the more adventurous side of the company's products: "We wanted to implement the first F one-point zoom lens: that was the only motivation. But after we launched the lens, we realized that videographers and cinematographers really loved that lens. So with the introduction of this lens, we started getting interested in joining the cine lens business, so I love these two lenses."

OM System: Olympus Camedia C-2000 Zoom

Kazuhiro Togashi, Vice President of Brand Strategy & Product Planning at OM Digital Solutions looked back to a camera from the start of his time in the industry.

Hats off to OM System's Kazuhiro Togashi for staying true to the question and giving us his personal choice, and the story behind it. Rather than simply naming a recent model, Togashi looked back to just the eighth camera reviewed here.

"If I had to name one model, it would be the Camedia C-2000 Zoom," he says.

"When I first joined Olympus, maybe 60% of the market was film cameras." he explains: " About three years before I entered Olympus the first digital camera emerged from Casio, so for me, the digital camera was very impactful in these 25 years. Before digital cameras launched, only a limited number of people used and enjoyed cameras, because shooting skills were required and to develop photos cost money. Digital cameras influenced culture for a lot of people worldwide"

"Then smartphones expanded interest in still images and movies even more. But the change from film to digital left a big impression for me."

Canon: EOS Digital Rebel

Go Tokura: Senior Managing Executive Officer, Deputy Head of Canon's Imaging Group and Chief Executive of Image Communication Business Operations opted for the original Digital Rebel.

Known to us as the Canon EOS 300D (DPReview was based in London at the time), the original Digital Rebel was the first DSLR with a list price under $1000. This helped maintain Canon's position as the World's largest camera maker into the digital era, as well as playing a key role in popularizing CMOS sensor technology.

"It played a very important role in shifting [the market] from film to the digital DSLR," says Go Tokura: "Since 2003, Canon has sold more than 1 million of them."

"And if we can add one more product, it would be the ‘hero’ model of our mirrorless lineup, the EOS R5."

Panasonic: Lumix DMC-G1

Toshiyuka Tsumura, Executive Vice President and Director of Panasonic's Imaging Business recognized the importance of the Lumix DMC-G1, not just to his company, but the industry as a whole

Panasonic gave us one of the shortest answers, but perhaps it's a choice that doesn't need much further explanation. The Panasonic Lumix DMC-G1 was the first camera of its kind, prompting us to have to find a way to describe it. Despite concerns from some manufacturers that it could imply their products were somehow lacking, we settled on "mirrorless," for this new generation of cameras.

"[I'd choose] the Lumix G1," says Toshiyuki Tsumura: "Fifteen years ago, no professional photographer used mirrorless, but now almost all professional photographers use mirrorless."

This focus on professionals risks under-selling the importance of the G1, in the nearly fourteen years since its announcement, mirrorless cameras have come to dominate almost every part of the camera industry. Not bad for a company that didn't even release a digital camera until nearly two years into this website's history.

Article based on interviews conducted at CP+ 2024 in Yokohama, Japan, by Richard Butler and Dale Baskin.

Earth Week: Hugh Kretschmer: Plastic “Waves”

Wed, 24 Apr 2024 13:00:27 +0000

These bodies of work are linked by this thematic lens: making the often-invisible nature of the global climate and the ecological crisis more visible using conceptual, lens-based art techniques. Each body of work speaks to a different aspect of the climate and ecological crisis: sea level rise; coral bleaching; habitat loss and environmental destruction; deforestation;

View the rest of Earth Week: Hugh Kretschmer: Plastic “Waves” on LENSCRATCH.

Lomomatic 110: First Impressions with Dana T.

Wed, 24 Apr 2024 13:00:00 +0000

Film-enthusiast Dana T. has enamored us with her 110 photography for quite some time now, so it is no surprise that she also impressed us with her results from the Lomomatic 110. Today she has returned to the magazine to share some thoughts on this brand new pocket camera!

The photography studio with four wheels and a sunroof: Adali Schell’s best shot

Wed, 24 Apr 2024 12:33:27 +0000

‘The sun trickled in just as we were coming down the mountain. When I looked back at Victoria and Keni, the wind was rustling their clothes and hair. I was screaming because it was so beautiful!’

Los Angeles is a city dominated by cars. Neighbourhoods are divided by highways that were constructed to cut certain communities off. The idea that LA is a superficial place arose from each of us being in our own automobile bubble, not having face-to-face interactions. As a photographer, I always felt stifled in the car. I had an itch to be outside. But I was thinking about how I could use the car as part of my work. Eventually I realised it could be a mobile studio, with sunroof, windows, tail and headlights. I drive a 1983 Mercedes that was my dad’s for 20 years. I bought it off him two years ago. It runs on vegetable oil that I “dumpster dive” for, from restaurants throughout LA. So not only am I driving for free through the city, I’m also producing fewer emissions. It’s my way of surviving in a car-centred society.

There are so many examples of really, really good car photos: Mike Mandel’s shots of people driving cars, Henry Wessel’s work on traffic, Nan Goldin’s Misty and Jimmy Paulette in a Taxi, NYC, Bruce Davidson’s couple intertwined in the back of a car. I intentionally wanted to address that American tradition, but making it about the inside more than the outside of the car – the vehicle is the destination.

Making The Remarkable – An Interview with Film Photographer Andrew Contreras

Wed, 24 Apr 2024 11:00:00 +0000

Why do you shoot film? For Andrew Contreras, analogue photography is a way to document future history and to turn a moment into something remarkable. We talk about this and more in our interview with the South Korea-based photographer.

Orange Sahara dust haze descends over Athens

Wed, 24 Apr 2024 10:47:08 +0000

The Greek capital was covered in a haze of dust which has blown from the Sahara desert.

‘This one’s like a castle!’ The hunt for the world’s wildest, daftest and most beautiful hedges

Wed, 24 Apr 2024 10:39:37 +0000

They can swallow road signs and trigger lethal neighbour feuds. From suburban Britain to industrial Germany and parched Arizona, we explore a show celebrating green borders

Somewhere in the leafy depths of British suburbia, a thick circular hedge sprouts from the top of a grassy hill in the middle of a roundabout. The top of the hedge is carefully trimmed with rectangular crenellations, giving it the look of a motte-and-bailey castle, while a second more threadbare hedge encircles the foot of the mound, like another layer of defence. The surrounding streets are lined with more hedges, some neatly trimmed, some left wild, some poking up behind high brick walls, others climbing even higher than the homes they shield.

This single image, taken by photographer Gareth Gardner, somehow encapsulates all of the anxieties and ambitions of the great British hedge. This trophy clump of privet – part defensive barrier, part symbol of domestic pride – stands as a shrubby monument, raised aloft on a grass plinth for all to admire, as they drive past on the way back to their own hedge-fringed homes.

Gardner happened upon the roundabout by chance, in Kingsmead, near Northwich in Cheshire, when he was retracing the footsteps of the late architecture critic Ian Nairn. In the 1950s, Nairn undertook a rage-fuelled road trip from Southampton to Carlisle, railing against what he called “subtopia”, the kind of mindless identikit sprawl that was taking over the country like “creeping mildew”.

Huge protest in Argentina against education cuts

Wed, 24 Apr 2024 10:39:12 +0000

Thousands took to the streets in Buenos Aires calling on President Javier Milei to preserve university funding.

A photographer documented Black cowboys across the U.S. for a new book

Wed, 24 Apr 2024 09:00:45 +0000

NPR's A Martinez speaks with photojournalist Ivan McClellan about his new book documenting Black cowboys, Eight Seconds: Black Rodeo Culture.

(Image credit: Ivan McClellan)

Subways, sphinxes and the Stones: highlights from NYC’s Photography Show – in pictures

Wed, 24 Apr 2024 06:00:33 +0000

A cover shoot for New York magazine and the subversive work of Lee Miller join a selection from top galleries at Aipad’s photography bonanza

Wed, 24 Apr 2024 04:44:05 +0000

What created this giant X in the clouds?

Harnessing Soft Light: Where & When to Find Diffused Lighting

Tue, 23 Apr 2024 22:32:39 +0000

As a photographer, understanding light is as fundamental as understanding your camera. One of the most flattering and universally appealing types of lighting is diffused light. This kind of light is soft, gentle, and does not cast harsh shadows, making it ideal for a variety of photography genres. But where and when can you find the best diffused lighting? Let’s dive into some key tips to help you harness the power of diffused light for your photography.

Related reminder: only a little while left for the new Photo Lighting Cheat Sheets at 80% Off

1. Golden Hour – Dawn and Dusk

Golden hour is that magical time just after sunrise or just before sunset. The sun is low in the sky, and its light is filtered through a greater amount of the Earth’s atmosphere, which scatters the direct sunlight and reduces its intensity. This natural diffusion creates a warm, soft light that is not only less intense but also casts long, gentle shadows. It’s perfect for portrait photography, landscape shots, and even urban scenes where the golden tones can bring a new dimension to your compositions.

2. Overcast Days – Natural Soft Boxes

Cloudy days might seem dull to the untrained eye, but they are actually perfect for diffused lighting. The clouds act like a giant softbox in the sky, scattering and softening the sunlight. This eliminates harsh shadows and provides a clean, even light that is excellent for shooting portraits, macro photography, or any scene where you want subtle details and colors to emerge without the interference of strong shadows.

3. Shaded Areas – Soft Shadows

When the sun is too intense, look for shaded areas under trees, buildings, or other large objects. These spots can provide a sanctuary of diffused light. The key here is to find areas where the sunlight is not directly hitting the subject but is instead filtered through or bounced off other surfaces. This setup is particularly useful for achieving beautifully lit portraits without squinting subjects or harsh facial shadows.

4. Using Windows – Indoor Diffusion

Indoors, windows can serve as excellent sources of diffused light, especially when covered with sheer curtains. The fabric acts to scatter the light, mimicking the effect of a softbox used in studio photography. This method is ideal for product photography, food photography, and portraits. The directional light from a window can also create a dynamic range of light and shadow, adding depth to your indoor shots.

5. The Blue Hour – Twilight Ambience

Following the golden hour, the blue hour provides a brief period where the sky takes on a predominantly blue tone with a cool, soft light. This light is diffused through the absence of the direct sun and offers a unique quality that is excellent for cityscapes, landscapes, and even nighttime portraiture. The softness helps to smooth out imperfections and brings a tranquil and ethereal mood to photographs.

6. Tools to Enhance Diffusion

While natural light provides many opportunities for diffused lighting, sometimes manipulation is necessary to achieve the perfect shot. Tools like diffusers, reflectors, and softboxes can help recreate or enhance the qualities of diffused light. These are particularly useful in harsh lighting conditions or when shooting in direct sunlight.

Summary:

Finding the perfect light can sometimes be a challenge, but with an understanding of where and when to find diffused light, you can significantly improve the quality and aesthetic of your photographs. Whether utilizing the golden tones of the early morning, the soft evenness of an overcast day, or the subtle hues of twilight, mastering diffused lighting can transform your photography. Always be prepared to observe and adapt to your environment to make the most of the light available to you, and don’t hesitate to use tools to create or enhance light diffusion where necessary.

For Further Training:

Lighting is arguably the most important aspect of photography; but do you know how to use it? These new Photography Lighting Cheat Sheets are designed to help. With critical information on ALL the types of natural light and artificial light you can use, you’ll never be unprepared again.

New! Cheat Sheets for Photography Lighting (see how they work)

Whether you’re a seasoned professional or just starting out, photography cheat sheets can be a valuable resource for improving your skills and taking your photography to the next level. By having all the key information you need in one place, you can focus on what’s important – capturing amazing photos.

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This post Harnessing Soft Light: Where & When to Find Diffused Lighting appeared on PictureCorrect.

Fujifilm X100VI added to studio scene

Tue, 23 Apr 2024 14:00:00 +0000

As part of the work on our review of the Fujifilm X100VI, we've shot and processed our standard studio test images with the camera.

Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

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Given the camera is based on a sensor we've seen before, there are few surprizes in terms of its performance. It produces more detail than the 26MP sensor in the X100V. Inevitably it shows more noise at the pixel level than lower-res sensors, but is comparable when viewed at the same output size, up until the very highest ISO settings.

Lens performance

The studio scene is not intended as a lens test: we typically use very high-performance lenses at an aperture that delivers high levels of cross-frame consistency with little risk of diffraction limiting the performance. However, with the X100VI, we have no choice but to use the built-in lens.

The 35mm equiv field of view means we have to move much closer to the target but this is still at over 40x focal length, so not especially close-up. An aperture value of F5.6 means we're not being especially challenging.

And the X100VI's lens appears to acquit itself well in these circumstances. In the JPEGs it's comparably detailed near the center as the X-H2's results, using our standard 56mm F1.2 R testing lens (though the X100VI is possibly having to apply more sharpening to deliver this result). Things get a little softer towards the corners and exhibit (easily corrected) lateral chromatic aberration and some vignetting in the Raw conversion, but overall the lens appears to be doing a good job in front of a high-resolution sensor.

As with all the other 40MP X-Trans cameras, the Adobe Camera Raw conversion isn't showing the same levels of contrast or sharpening that the camera's own JPEGs do, so it's worth downloading the Raw files to see whether your preferred software and processing workflow produce results you're happier with. But overall, we feel it does well.

iOS app mood.camera aims to recreate the experience of shooting film

Tue, 23 Apr 2024 13:00:00 +0000

Image: mood.camera

A new camera app that wants to offer a film-like experience is now available. The mood.camera app (iOS only) targets fans of analog photography and consists of 14 film-like filters. I was given early access to the app to test it out and see if it offers anything different from similar apps on the market.

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There's been a resurgence in analog photography recently. Though many desire the look of film, they don't necessarily enjoy the process (and time) of using analog cameras. mood.camera aims to bridge the gap between film and digital by offering filters that emulate film stocks such as Kodak Portra, CineStill and Chrome.

Inside the app, users can imitate a change in ISO (ranging from 100 to 3200) and will notice less detail and more grain the higher you go. There's also a digital tonal range dial that impacts the amount of contrast and saturation in an image.

Image: Dan Ginn (made with mood.camera).

This isn't the first app trying to emulate the look of film photography. Other apps, such as 1998 Vintage Camera and VSCO, offer filters that provide a classic look, as does Hipstamatic, one of the first smartphone apps within this niche.

What sets mood.camera apart is how it provides an analog-esque process to image making. Whereas other apps provide a live preview of filters and simulations, mood.camera doesn't.

The app's developer said the intention was to "mirror the classic film camera experience." To see how the images turn out, you must view the photos in Apple's Photos app.

Some obvious features are missing in the app. There's no portrait mode, which the developer says is because "Apple does not let you capture ProRaw and depth data." There's no night mode either, which the developer claims is possible to add but isn't interested in doing so at this time.

Image: Dan Ginn (made with mood.camera).

Having used the app for a week, it did bring a new sense of enjoyment to mobile photography. I liked not having a live preview of my images. Its absence allowed me to worry less about the outcome and focus more on the process of creating photographs.

There was a distinct difference in each of the filters, and while they'll never be 100 percent like stock film, they're close. Unlike some apps I have tried before, I found it easy to navigate through the different filters in mood.camera, and the app itself was quick and responsive.

Image: Dan Ginn (made with mood.camera).

If you want to adapt your smartphone photography workflow and like the classic look, then mood.camera is worth trying. There's a seven-day free trial available before committing to a paid subscription.

mood. camera is now available on the App Store and costs $1.99 per month or $14.99 as a one-time purchase. A free trial is available to evaluate the app.

The Minilab - Lovable Imperfections with the Diana F+

Tue, 23 Apr 2024 11:00:00 +0000

The Minilab are an independent processing lab in Northampton, UK. They recently tested out the Diana F+ camera and talked to us about their love of shooting in medium format.

A lost astronaut, looted treasure and a hit naked Turk: the 60th Venice Biennale – in pictures

Tue, 23 Apr 2024 06:00:14 +0000

From the thrice-daily Swan Lake to a tragedy in an asbestos factory, Guardian photographer David Levene went behind the scenes at the ‘Art Olympics’

Woman hopes to reunite 1970s photo album with owner

Tue, 23 Apr 2024 05:26:02 +0000

Carly Young and her partner found the album in a bundle of second-hand items they bought online.

Census captures faces and stories of city people

Tue, 23 Apr 2024 05:06:29 +0000

A photographer aims to "create a narrative" about what is happening in one part of Plymouth in 2024.

Sigma announces six APS-C lenses for Canon RF mount

Tue, 23 Apr 2024 04:00:00 +0000

Image: Sigma

Sigma has announced it will be offering six of its DC DN APS-C lenses for Canon's RF mount, making it one of the first third-party manufacturers to sell autofocus RF lenses under license.

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The DC DN 18-50mm F2.8 fast standard zoom will be available from July 2024, offering a 29-80mm equivalent range on Canon's 1.6x crop APS-C bodies.

This will be followed, later in the year, by the DC DN 10-18mm F2.8 fast wide-angle zoom, giving 16-29mm equivalent coverage.

The company's four F1.4 primes will follow on from this, giving EOS R100, R50, R10 and R7 users a choice of 16mm, 23mm, 30mm and 56mm lenses that give 26mm, 37mm, 48mm and 90mm equivalent focal lengths.

The lenses, all part of the company's Contemporary series of mid-priced lenses, are already available for Leica L, Fujifilm X and Sony E mounts, with three of the four primes also available for Nikon Z mount.

With the lenses being made under a license from Canon, Sigma says it's been able to optimize the AF speed and support features such as image stabilization and lens aberration correction. The news coincides with Tamron also launching a licensed RF-mount APS-C lens.

No details of pricing have been provided.

SIGMA launches interchangeable lenses for Canon RF Mount system

SIGMA Corporation (CEO: Kazuto Yamaki) is pleased to announce the upcoming launch of interchangeable lenses for Canon RF Mount system. This addition allows users to enjoy high performance, and high quality SIGMA lenses in native mount on their Canon RF Mount system.

[Lineup]

For detailed product information, please refer to the link below.

< Launch in July, 2024 >

SIGMA 18-50mm F2.8 DC DN | Contemporary

Petal Type Lens Hood (LH582-02) supplied

Product information：https://www.sigma-global.com/en/lenses/c021_18_50_28/

< Launch in fall of 2024 and onwards >

SIGMA 10-18mm F2.8 DC DN | Contemporary

Push-on Petal Type Lens Hood (LH706-02) supplied

Product information：https://www.sigma-global.com/en/lenses/c023_10_18_28/

SIGMA 16mm F1.4 DC DN | Contemporary

Petal Type Lens Hood (LH716-01) supplied

Product information：https://www.sigma-global.com/en/lenses/c017_16_14/

SIGMA 23mm F1.4 DC DN | Contemporary

Petal Type Lens Hood (LH554-01) supplied

Product information：https://www.sigma-global.com/en/lenses/c023_23_14/

SIGMA 30mm F1.4 DC DN | Contemporary

Lens Hood (LH586-01) supplied

Product information：https://www.sigma-global.com/en/lenses/c016_30_14/

SIGMA 56mm F1.4 DC DN | Contemporary

Lens Hood (LH582-01) supplied

Product information：https://www.sigma-global.com/en/lenses/c018_56_14/

* These products are developed, manufactured and sold under license from Canon Inc.

[Main specifications and features]

Control algorithm including AF drive and communication speed optimization has been developed specifically for Canon RF Mount interchangeable lenses. In addition to realizing high-speed AF, the lens also supports AF-C (Continuous AF), in-camera aberration correction* and in-camera image stabilization. The mount is rubber-sealed to cater for use in a variety of environments.

* Available on supported cameras only.

Tamron developing 11-20mm F2.8 Di III-A RXD for Canon RF mount

Tue, 23 Apr 2024 04:00:00 +0000

Image: Tamron

Tamron has announced it's developing a version of its 11-20mm F2.8 Di III-A RXD fast wide-angle zoom lens for Canon RF-mount APS-C cameras.

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The 11-20mm F2.8, which is already available for Sony E-mount, will offer an 18-32mm equivalent range on Canon's 1.6x crop cameras.

The lens, released under license from Canon, was announced simultaneously with SIgma's announcement that it will offer six of its DC DN range of APS-C lenses for the same mount. Notably all seven lenses are for the smaller format RF-mount models.

The company says the 11-20mm will be available before the end of 2024. No details of pricing has been given.

TAMRON announces development of first CANON RF mount lens

The compact, lightweight, fast-aperture F2.8 ultra wide-angle zoom

11-20mm F/2.8 Di III-A RXD (Model B060)

April 23, 2024, 12AM ET / April 22, 2024, 9PM PT, Commack, NY – Tamron Co., Ltd. (President & CEO: Shogo Sakuraba; Headquarters: Saitama City, Japan; “TAMRON”), a leading manufacturer of optics for diverse applications, announces the development of TAMRON’s first CANON RF mount lens, 11-20mm F/2.8 Di III-A[1] RXD (Model B060), an ultra wide-angle zoom lens for APS-C mirrorless cameras. The lens is expected to launch within 2024.

TAMRON’s lenses for mirrorless interchangeable lens cameras are highly regarded for their combination of superior optical performance and compact, lightweight designs. After receiving many requests from customers to offer lenses compatible with the CANON RF mount, TAMRON made the decision to develop a lens for the CANON RF mount under a license agreement.

The 11-20mm F2.8 is a fast-aperture zoom lens covering a focal length range from ultra wide-angle 11mm to 20mm[2], with a maximum aperture of F2.8 across its full range of focal lengths. With a surprisingly compact and lightweight design for a fast, ultra wide-angle zoom lens, the lens feels well balanced when attached to a compact APS-C mirrorless camera body, making it ideal for regular use. Despite its small, lightweight design, it also delivers high-level imaging power with an uncompromising optical design. Wide macro shooting is possible at 11mm with an MOD (Minimum Object Distance) of 0.15m (5.9”) and maximum magnification ratio of 1:4, and its stunning close-range shooting performance enables creative use of perspective at the wide end. The lens also incorporates an AF drive system with an RXD (Rapid-eXtra-silent stepping Drive) stepping motor unit that is remarkably quiet. The lens accurately captures not only still images but also video. It is also highly practical, with Moisture-Resistant Construction, Fluorine Coating, and other features designed for outdoor shooting, enabling users to easily enjoy the high image quality of this ultra wide-angle large-aperture F2.8 lens under a range of conditions.

Product Features

Fast-aperture ultra wide-angle zoom lens
Compact and light weight
Outstanding optical performance
MOD of 0.15m (5.9”) and maximum magnification ratio of 1:4
High performance autofocus RXD stepping motor for both still and video use

[1] Di III-A: For APS-C format mirrorless interchangeable-lens cameras

[2] The full-frame equivalent of 17.6-32mm.

Don’t Take Bear Cubs for Selfies Like These Tourists

Tue, 23 Apr 2024 03:48:37 +0000

One of the recurrent headlines we write about around here in our news section is the mishaps that befall people when taking photographs. Sometimes they are accidents, but more often than not, they are the result of deliberately stupid actions on the part of participants. Selfies, in particular, seem to be a dangerous genre with […]

The post Don’t Take Bear Cubs for Selfies Like These Tourists appeared first on Light Stalking.

Maximize Image Quality Efficiency with Photo AI 3.0 Update

Mon, 22 Apr 2024 21:35:09 +0000

In the world of photography, editing is just as vital as capturing the moment. Topaz Labs understands this, continuously innovating to enhance the photo editing experience. The latest updates in Photo AI 3.0 bring a host of new features and improvements that streamline the editing process and expand creative possibilities.

Photo AI 3.0 (see how it works)

Introducing Presets: A Time-Saver for High-Volume Editing

One of the standout features in this update is the new Presets capability. Photographers can now save their frequently used filter combinations—including settings and selections—into a single stack. This can significantly speed up editing, especially when dealing with large batches of photos. Whether you’re editing hundreds or thousands of photos, these presets can be applied across any image with just a single click, accessible directly from the enhancement menu. Additionally, managing these presets is effortless; you can delete old presets simply by hovering over them in the menu.

Enhanced User Interface with Docking and Collapsing Features

Topaz Photo AI has also improved its user interface to offer more flexibility. The floating control panel can now be docked on the right side of the viewport for easy access or undocked to be moved as needed over your working preview area. For those who need maximum screen real estate, the right panel is collapsible, which allows for an unobstructed view of the image during critical editing phases.

Dynamic Editing with Reordering Capabilities

The ability to reorder and combine enhancements dynamically on the right panel is another addition. This feature lets you chain effects in any sequence, which can alter how the final output is processed. For instance, you might choose to sharpen your entire image first, denoise the background, and then sharpen the subject again for precise results. This flexibility opens up new avenues for creative expression and fine-tuning.

Advanced Adjustments for RAW Files

Topaz Photo AI now extends its powerful AI-based filters to include RAW Balance Color and Adjust Lighting, enhancing the previous RAW Denoise capabilities. This means photographers can achieve optimal image quality directly from the camera within the application, eliminating the need for external adjustments even for RAW files.

Additional Updates and UI Refresh

The update doesn’t stop there. Features like Face Recovery and Preserve Text have been enhanced to allow multiple applications on different subjects or areas within the same image, providing more control over the strength of the effect. The underlying performance improvements and bug fixes further refine the overall user experience.

Moreover, Topaz Photo AI now sports a refreshed user interface consistent with the Topaz standardized UI framework. This update includes new colors and icons across Topaz Labs apps, ensuring a unified and streamlined look.

See how it works: Topaz Photo AI Version 3.0

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Photography, like any art or skill, thrives on consistency. The journey to becoming an adept photographer is paved with regular practice. Learn how PictureCorrect Insiders can help.

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For Earth Day, a Photo Appreciation of Birds (30 photos)

Mon, 22 Apr 2024 18:24:13 +0000

On this Earth Day, a day set aside to remember and appreciate the environment and our responsibilities and roles within it, I wanted to gather a selection of images of the incredibly diverse bird life that we share this planet with. Tens of billions of individual animals are divided among some 10,000 species, inhabiting nearly every environment on Earth. These fascinating creatures are at home on land, at sea, or in the sky, from our polar regions to the tropics. On a day meant for us to care for our environment, it seemed appropriate to feature some of those we share it with.

A rufous-crested coquette seeks out nectar from porterweed, photographed in Panama. ( Juan Carlos Vindas / Getty)

Moment T-series review: premium build quality but limited image gains

Mon, 22 Apr 2024 13:30:00 +0000

Launched in 2023, the T-series is Moment’s current line of premium add-on lenses for smartphones and comprises an entire lens ecosystem, including cases, filters, filter mounts, and other accessories.

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Compared to the previous M-series introduced in 2017, the new T-series has been designed for the larger image sensors and bigger pixel counts in the latest generation flagship smartphones, using 25% more glass, an additional lens element and a larger bayonet mount. In addition, the larger dimensions should help avoid vignetting on smartphone cameras with focal lengths of 24mm equivalent or wider.

We had three Moment T-series lenses available to test: the Tele 58mm telephoto lens, the Wide 18mm lens and the Fisheye 14mm lens. The Moment T-series line-up also includes a 10x macro and anamorphic lenses for video shooters, the Anamorphic 1.33x and the Anamorphic 1.55x.

Moment offers a variety of options for attaching the lenses to your smartphone, including a universal lens mount that should work with most smartphones. We used Google’s latest top-end smartphone, the Pixel 8 Pro, with its dedicated Moment case for our tests.

Buy now:

From $130 at Moment

From $130 at Amazon

Build quality and ergonomics

All three lenses come with a metal body and are reassuringly hefty, giving you the impression of having shelled out your money for a premium product. In the box, you’ll find a lens cap and a pouch, and in the case of the 18mm lens, also a screw-in metal hood. The 58mm tele and the 18mm wide lenses offer a filter thread. There is no way of attaching filters or hoods to the fisheye lens.

All lenses come with a pouch in the box.

The Google Pixel 8 Pro dedicated case looks like any generic plastic lens case but comes with a bayonet-style mount for attaching the lenses. Lenses are attached with a 1/4 turn motion, similar to a mirrorless camera or DSLR, but lack the reassuring click sound when the lens locks into place. Still, the connection is solid and tight.

Lenses are attached to the bayonet mount in the lens case with a quarter-turn motion.

Moment recommends mounting their lenses in front of the smartphone’s primary camera module, which offers better overall image quality on some smartphones than the ultra-wide or tele modules. The Moment case for the Google Pixel 8 Pro allows you to mount lenses in front of the phone’s tele module. This would, of course, only make sense for the 58mm tele, but in practice, it does not work. With the lens attached, the Pixel camera automatically switches to its primary camera and uses digital zoom instead. Moment offers a dedicated app that can be configured to force the device to use its telephoto camera. However, the app is currently only available for iOS.

The tele lens adds quite a bit of bulk and weight to your smartphone.

Image Quality

Moment Wide (18mm equivalent) lens

On the Pixel 8 Pro, the Moment wide lens expands your options in terms of wide-angle shooting. It widens the field of view of the primary camera module but is still closer to the primary camera than to the Pixel’s ultra-wide in terms of focal length.

Overall image quality is not massively impacted by the add-on lens, across all light conditions. The camera tends to use a very similar ISO value with the lens attached, and global image parameters, such as color, dynamic range or contrast, are very close to the Pixel image without the lens attached. The same is true for image noise, but the Moment lens introduces a slight corner softness, and our lens sample also had a soft spot towards the bottom center of the frame.

The Moment lens was also somewhat prone to lens flare when shooting in bright sunlight, even with the hood attached. Focus was still working well, though, and both distortion and vignetting were well under control.

Moment Fisheye (14mm equivalent) lens

The Moment fisheye lens offers a slightly wider field of view than the Pixel 8 Pro’s built-in ultra-wide camera, but the difference is relatively moderate.

As you would expect from a fisheye, its images display a much stronger distortion than the built-in ultra-wide camera, but depending on the use case, this can be a desired effect and a legitimate reason for using the Moment lens. You’ll have to live with quite soft corners in your images, though.

With the Pixel 8 Pro’s ultra-wide camera delivering excellent detail and low noise, even in low light, using the Moment fisheye with the primary camera doesn't offer any real benefit in this respect. Like the wide lens, the fisheye is a little more prone to flare than the built-in cameras. Focus works just as well with the lens attached as without.

Moment Tele (58mm equivalent) lens

When mounted in front of the Pixel's primary camera, the Moment tele 58mm tele lens achieves, as one would expect, a narrower field of view, but not as narrow as the Pixel’s own 2x tele mode, which is achieved through digital zoom.

Shooting through the Moment lens with the Pixel's primary camera gives you a slight advantage in terms of fine detail over the digitally zoomed image. Still, given the Moment image's wider field of view, this advantage is canceled out when viewing the same crop area. Given both images are captured by the image sensor in the primary camera module, there is no noticeable difference in terms of image noise, but in some conditions, we noticed a slightly reduced contrast with the Moment lens and, surprisingly, chromatic aberrations appear to be better controlled with the Moment glass.

You can also combine the Pixel’s 2x zoom with the Moment lens for roughly a 4x tele factor, but the result is pretty underwhelming. The Moment lens magnifies the digital zoom’s imperfections, resulting in a relatively obvious lack of detail. You’re better off using the Pixel’s dedicated tele camera with its native 5x tele in almost any situation.

The Moment Tele provides some advantages in terms of portraiture. Background blurring is not as pronounced as with the artificial bokeh of the Pixel's portrait mode, but you do not get the same segmentation errors around the subject, especially in fine details, such as hair. This said, current flagship smartphones, such as the Pixel, have become very good at isolating the subject from the background, and you have to zoom in fairly closely to spot the imperfections.

Conclusion

The Moment T-series lenses are nicely made, and the case and lens mount designs work well together, giving you the impression of converting your smartphone into a much more serious piece of photographic equipment.

However, out of the lenses we have tested, the fisheye is the only one that offers a unique perspective unavailable through one of the Pixel’s built-in cameras. In addition, shooting with the add-on lenses mounted in front of the Pixel 8 Pro’s primary camera does not really give you an advantage in terms of image quality. The built-in ultra-wide and Google’s 2x tele zoom mode are just too good for that.

You also do not get any aperture control, as you would get on an interchangeable lens camera and the Moment lenses eliminate one of the most apparent advantages of a smartphone camera: ultimate compactness and simplicity.

Overall, the Moment T-series lenses are an interesting option for smartphone photographers who like to experiment with gear. The fisheye provides a unique look, and the telephoto's natural bokeh is nice for portrait shots, but you should not expect massive improvements to your smartphone's camera capabilities.

The Moment lenses might make more sense on smartphones with less capable ultra-wide and tele cameras, but if you own a current top-end device, it's hard to justify the cost and added bulk.

What we like:

Premium build-quality
Well-designed Bayonet mount
Expansive lens ecosystem
Fisheye lens adds a new perspective
Telephoto lens provides natural bokeh for portrait shots

What we don't like:

No real image quality advantage on to-end smartphones
Added weight and bulk
Some corner softness and flare on the wide and fisheye lenses
Some local softness on the telephoto lens

Buy now:

From $130 at Moment

From $130 at Amazon

Didi Satriadi Explores Medium Format with LomoChrome Turquoise and Lomography Color Negative 120 film

Mon, 22 Apr 2024 13:00:00 +0000

Indonesian photographer Didi Satriadi recently tried out our LomoChrome Turquoise 120 and Lomography Color Negative 120 ISO 800 film. Read his interview and check out his photos here!

Lushi Song Takes Us Behind the Scenes of the Chevalier Ballet in NYC ft. the Lomo LC-Wide

Mon, 22 Apr 2024 11:00:00 +0000

Today, LomoAmigo Lushi Song is back, shifting gears from her usual wedding photography to share behind-the-scenes photos that she took of the ballerinas of the Chevalier Ballet Company in New York City.

The origin of all things: Kyotographie 2024 – a photo essay

Mon, 22 Apr 2024 06:00:17 +0000

The 12th annual Kyotographie photography festival features 13 exhibitions staged in striking locations across the Japanese city of Kyoto. Photographers from around the world submitted pictures on the theme of ‘source’

The Kyotographie international photography festival runs until 12 May

Spring in Kyoto ushers in cherry blossom season, but it also marks the return of one of the biggest photo festivals in Asia. Kyotographie, now in its 12th year, fuses the past and present with its striking images and unique locations. The 13 exhibitions are staged in temples, galleries and traditional private homes across the Japanese city, showcasing the work of national and international photographers.

The festival is loosely centred on a theme – and this year the directors, Lucille Reyboz and Yusuke Nakanishi, asked participants to focus on the word “source” by delving into the essence of beginnings and the nexus of creation and discovery.

The Yamomami struggle. Photograph by Claudia Andujar

Storyteller: photography by Tim Hetherington – in pictures

Mon, 22 Apr 2024 05:00:15 +0000

The Imperial War Museum is to open its first exhibition dedicated to work of the multi-award-winning conflict photographer Tim Hetherington, who died 13 years ago on assignment covering the Libyan civil war

‘He could create beauty out of horror’: the extraordinary life and photography of Tim Hetherington

Mon, 22 Apr 2024 04:00:15 +0000

He joined rebel convoys in Africa and turned his time with GIs in Afghanistan into an Oscar-nominated film. But his subject wasn’t war – it was people. Ahead of a major show, our writer remembers his former colleague

Tim Hetherington used to get so hung up about time. This was his issue on every photography assignment, his main bone of contention: how much time did he have? He could never understand why a writer was allowed a full hour with a subject while the photographer had to shoot around the edges, grabbing 10 minutes here and there. “Hold on, hold on,” he would say, whenever I dared hurry him. He had important work to be doing. He absolutely refused to be rushed.

Tim and I were colleagues back in the late 1990s when we were both at the Big Issue magazine. The editorial office was like a dysfunctional family: everyone fighting their corner and mostly learning on the job. For some of us, it was home, but Tim was only passing through, bound for wilder places and greater glories. He joined rebel convoys in west Africa, bunked alongside GIs in Afghanistan and chronicled the first green shoots of the Arab Spring. He won a quartet of World Press Photo awards and earned an Oscar nomination for Restrepo, the war documentary he made with US author Sebastian Junger, drawing on their 15 months embedded in Afghanistan’s Korengal Valley. On assignment, his approach was methodical and deliberate. In life, he went at things full-speed. It was as if he was running to his own internal stopwatch, subconsciously aware that he had to make the most of each moment.

A Rough Guide to Timelapse Photography

Sun, 21 Apr 2024 21:39:24 +0000

Timelapse photography is an awe-inspiring technique that compresses hours of footage into just a few seconds, revealing the subtle beauty of slow-moving changes. Whether it’s clouds scudding across a blue sky, a bustling cityscape, or a blooming flower, timelapse allows photographers to capture the dynamics of scenes that would otherwise be too subtle for the naked eye. In this post, we’ll explore the essentials of timelapse photography, providing you with the knowledge to start capturing your own stunning timelapse videos.

Related reminder: only a little while left for the Creative Visionary Launch Sale

Photo captured by Paul Pastourmatzis

What is Timelapse Photography?

Timelapse photography involves taking a series of photos at regular intervals and combining them into a seamless video. By speeding up time, timelapse photography can turn seemingly mundane scenes into captivating sequences.

Equipment You’ll Need

Camera: Any camera that has a manual mode and can shoot in RAW will work well. DSLRs and mirrorless cameras are popular choices due to their high-quality sensors and versatility.
Tripod: Stability is key in timelapse photography. A sturdy tripod will ensure your camera stays immobile during the shoot.
Intervalometer: This device or camera feature allows you to program the shooting intervals. Some cameras have built-in intervalometers, but external ones offer more flexibility and reliability.
Memory Card: Since timelapse photography involves taking a large number of photos, a high-capacity memory card is essential.
Extra Batteries: Running out of battery during a shoot can ruin your timelapse, so having extra batteries on hand is crucial.

Setting Up Your Shoot

1. Choosing a Subject

Pick a dynamic subject that changes over time, like a sunset, a busy pedestrian area, or changing weather patterns.

2. Framing Your Shot

Compose your shot as you would any other photograph. Remember, though, you’re capturing movement over time, so anticipate how elements might move within the frame.

3. Setting Intervals

The interval between shots depends on the speed of the subject’s movement. Faster movements (like clouds on a windy day) might require shorter intervals (e.g., 2-5 seconds), whereas slower movements (like shadows moving across a building) can use longer intervals (e.g., 30 seconds to 1 minute).

4. Manual Settings

Set your camera to manual mode to keep exposure consistent throughout the shoot. Aperture, shutter speed, and ISO should be manually adjusted based on the lighting conditions and desired effect.

Shooting and Post-Processing

Shooting

Start your intervalometer and let your camera do the work. Monitoring the process is crucial, especially for long-duration shoots, to ensure everything operates smoothly.

Post-Processing

Once you have your series of images, you can use software like Adobe Lightroom and LRTimelapse to edit and stitch your photos into a timelapse video. Post-processing allows you to adjust exposure, color balance, and other elements to ensure a consistent look across all frames.

Tips for Success

Weather Check: Always check the weather forecast before heading out. Unexpected weather can not only ruin your shoot but also damage your equipment.
Golden Hours: Shooting during sunrise or sunset provides beautiful lighting conditions and adds dramatic effects to your timelapse.
Experiment: Don’t be afraid to experiment with different intervals, settings, and subjects. Each location and subject will require a unique approach.

Timelapse photography is not just about capturing stunning videos; it’s about viewing the world in a new way. With patience and practice, you can unveil the hidden patterns of nature and human life, providing a mesmerizing perspective on the world around us. Happy shooting!

For Further Training:

For photographers seeking to expand their creative horizons from the comfort of their homes, The Creative Visionary training suite emerges as a comprehensive resource. Designed to uplift the artistic journey of every photographer, whether amateur or professional.

The Creative Photographer Training

“The Creative Visionary” isn’t just a collection of projects; it’s an invitation to learn from seasoned photographers. This peer-to-peer learning approach is invaluable, offering insights and inspiration that are both practical and transformative.

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This post A Rough Guide to Timelapse Photography appeared on PictureCorrect.

Cloud companies may lease your images for AI learning; what can you do about it?

Sun, 21 Apr 2024 13:00:00 +0000

Photo sharing site Photobucket recently revealed that it might license the images it hosts to teach AI models.

Photobucket’s recent reveal that its 13 billion images may soon be licensed to teach AI models raises questions about copyright and how to protect your images.

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Cloud storage is a useful tool that allows us to back up our images and share them with others quickly. It’s not perfect, though. Constant monthly payments and the possibility of data loss or leaks turn many people away. Now, with the rise of cloud-based companies potentially using your data for AI machine learning, it begs the question: what can we do to keep our files safe and, most importantly, under our own control and private?

We learned recently that Photobucket, one of the internet’s oldest photo and video storage sites, was in talks to license user data to companies wanting to use it to train AI models. In an interview with Reuters, the company’s CEO, Ted Leonard, said, "We need to pay our bills, and this could give us the ability to continue to support free accounts.” This means granting third-party access to the 13 billion images and videos uploaded to the platform.

Changes to T&Cs

It’s possible for Photobucket to do this thanks to an update in its terms and conditions, which gives the company carte blanche to analyze and incorporate data from user images. The privacy policy states, “We, and those third parties we may contract with, may also use your images in a general and anonymous way for training artificial intelligence ("AI") algorithms and/or machine learning models and subsequent commercial uses derived therefrom.”

Cloud companies having the ability to scan user images is nothing new. Popular services such as Dropbox, Google Drive and Adobe Cloud can all scan images, as can many others. Google and Adobe have both been accused of accessing user data to train AI, though both companies deny doing so.

"It’s possible for Photobucket to do this thanks to an update in its terms and conditions."

Personally, I’m not comfortable with anyone other than myself and those I authorize accessing my images. That’s even more true now when there’s no clarity on how severely AI technology will impact those working in the photo industry.

Some may suggest reverting to backing up images locally to a hard drive. For many, including myself, this isn’t a realistic option. As someone who travels a lot, I find storing my files in the cloud much easier than carrying multiple hard drives whenever I’m on the move.

Finding privacy in the cloud

Thankfully, there are alternatives to the status quo and several cloud services that emphasize keeping user data private, away from the eyes of company employees and third parties. Of course, every service can update its T&Cs, but it would be bad business for those who have marketed themselves as taking user privacy seriously.

Over five years, I’ve tested and reviewed dozens of cloud storage services. The first question I ask when looking at a service is: does it offer zero-knowledge encryption? This type of encryption gives the user a unique key, which even the software developer can not access, and by extension, means they can’t grant third-party companies access to your files. This means only the user, or those they share their encryption key with, can access their data.

"The first question I ask when looking at a service is: does it offer zero-knowledge encryption?"

When considering platforms that offer zero-knowledge encryption, it can be difficult to know where’s best to back up your files. Having tried the good and the bad, there are some services I feel confident recommending to others.

The two I’m currently using are pCloud and Sync.com, as I find them the easiest to use, and the pricing, overall, is affordable. They’re both available on desktop and mobile and offer useful features for photographers and videographers, which I’ll break down in more detail.

pCloud

pCloud was one of the first services I used. It has fast sync speeds and no file size limits, making it ideal for those working with large files. It also has a built-in native media player to view high-resolution images and videos.

pCloud has fast sync speeds and no file size limits, but charges extra for zero-knowledge encryption.

Unfortunately, pCloud charges extra for zero-knowledge encryption, so you’ll pay $4.99 more on top of your standard monthly fee, which is between $4-$8 per month on selected plans. Personal plans max out at 2TB of storage space, which some users may find limiting.

Buy now:

From $49.99/year at pCloud

Sync.com

With Sync.com, users don’t need to pay extra for zero-knowledge encryption, as it’s incorporated into all plans, including the free plan. Personal plans also offer up to 6TB of storage space and unlimited monthly data transfers.

Sync.com includes zero-knowledge encryption by default, but sync speeds can be slow.

One limitation: sync speeds are not the quickest, with uploads and download speeds being considerably slower than other options. Also, moving files around can feel cumbersome, with the drag-and-drop function not being the smoothest.

Buy now:

From $8/month at Sync.com

Other zero-knowledge cloud alternatives

If you find these services' storage space too limited, Mega is a good alternative. Personal plans reach up to 16TB of storage space, and zero-knowledge encryption is included at no extra cost, although monthly plans are costly. Personal plans can cost up to $32 per month, though you can reduce this to $26 if you pay annually.

IDrive is a good option for those not ready to go all-in with cloud storage, as it offers both local and cloud-based backup for your data. You can clone your entire disk (including operating system and applications) and IDrive will mail out a copy in the event of a complete machine malfunction. The cloud aspect works like any other service, allowing you to upload, download and share your files with others, and they’re all protected with zero-knowledge encryption.

The wrap

In closing, my intention here is not to fearmonger. The reality is more brands are using AI imagery. More apps are being made to generate AI imagery, and cloud companies are gaining the power to use our (real) photographs to help it all happen while making more money.

I want no part of that. It’s more important than ever to have complete control over our photographs and to ensure cloud companies don’t maximize their bottom line at the expense of our privacy. To not be complicit in this, we must seek out alternative services to store our images. Not only to ensure our privacy but also to ensure we help protect the future of our industry.

London Marathon and Coachella: photos of the weekend – in pictures

Sun, 21 Apr 2024 12:14:32 +0000

The Guardian’s picture editors select photographs from around the world

Purposeful Thoughts and Personal Touches: Mia Amphlett’s Tips on Instant Photography

Sun, 21 Apr 2024 11:00:00 +0000

When we're hyper fixated on producing one picture after another, we can be faced with creative burnout. Luckily experimental instant photographer Mia Amphlett is here to share her tips on finding inspiration and meaning in one's works. Consider this a sign to remember why you do what you do!

Designers, denims and diversity: Paris Olympic and Paralympic kit unveilings – in pictures

Sun, 21 Apr 2024 07:00:52 +0000

As the uniforms for the Olympics and Paralympics are revealed to the world, we cast an eye over the threads that different countries will be wearing at Paris 2024

Diamonds in the Sky

Sun, 21 Apr 2024 06:05:48 +0000

Diamonds in the Sky

The big picture: Gueorgui Pinkhassov’s shadow play in a 90s Tokyo hotel

Sun, 21 Apr 2024 06:00:50 +0000

The Russian Magnum photographer’s work celebrates the abstract side of vision, with a vivid exchange of form, light and pattern

In an exchange with a student in 2015, the Russian photographer Gueorgui Pinkhassov said that one goal of taking pictures was to “transform everything into form”. His experience, he suggested, showed that the more “irresponsibly” a photographer approached the high seriousness of getting a good picture, the more likely they were to succeed. He referenced something that the French poet Paul Valéry wrote in 1894: “Most people see with their intellects much more often than with their eyes. Instead of coloured spaces, they become aware of concepts.”

Pinkhassov, mentored in Russia by the film-maker Andrei Tarkovsky, was elected to the Magnum agency in 1988, just before the collapse of the Soviet Union. He put his philosophy of concentrating on “coloured spaces” into practice in his 1998 book Sightwalk, a collection of photographs from the streets of Tokyo. This image from that book, taken in a hotel in the city – and included in the forthcoming Magnum square print sale – reflected all of his thinking about framing and light. Our minds may want to reduce the scene to a mundane idea of hotel foyers, but our eyes are thrilled by the patterns of shadow.

Weekly Update 21-Apr-2024

Sun, 21 Apr 2024 04:40:02 +0000

This weeks Editor's Choice images and top discussions at Nikonians - 21 April 2024

How to Fit Photography Practice into a Busy Schedule

Sun, 21 Apr 2024 04:10:41 +0000

In the hustle and bustle of modern life, finding time for hobbies and personal interests like photography can be a challenge. However, with a bit of creativity and planning, it’s possible to carve out time for your passion. Here are some effective strategies to incorporate photography into your busy schedule.

Related note: enrollment opening soon for PictureCorrect Insiders

Photo captured by Jiawei Chen

1. Carry Your Camera Everywhere

The best way to ensure you get more photography done is by having your camera accessible at all times. Whether it’s a DSLR, a compact camera, or just your smartphone, having your camera handy means you can capture those unexpected moments of beauty or interest in the midst of your daily routines.

2. Make it a Daily Ritual

Set a daily goal, even if it’s just taking one photo a day. This could be during your morning walk, on your commute to work, or even during lunch. The key is consistency. Over time, this daily habit not only improves your skills but also helps you see the world through a more artistic lens.

3. Utilize Your Lunch Break

Instead of spending your lunch break scrolling through social media, grab your camera and go for a walk nearby. Even a short, focused photography session can be refreshing and creatively fulfilling. This also helps you to explore and photograph your local area more extensively.

4. Join a Photography Group

Participating in a photography group can motivate you to practice more regularly. These groups often organize weekly or monthly meet-ups and challenges, which can be a great way to schedule your photography practice. Moreover, being part of a community provides you with immediate feedback and tips to improve your skills.

5. Attend Workshops or Classes

Enrolling in a photography class or workshop can force you to dedicate specific times to your photography. It also adds the benefit of learning from professionals and networking with fellow photography enthusiasts. This structured approach can be particularly effective if you find self-directed practice challenging.

6. Plan Photography Trips

Occasionally, plan for longer photography sessions during weekends or on days off. A half-day or full-day trip dedicated to photography can significantly boost your skills, allowing you to experiment with different techniques and subjects that you don’t usually encounter during your daily routine.

7. Set Project Goals

Create a personal project with clear objectives and timelines. This could be a 365-day photo challenge, a thematic portfolio, or a documentary project. Having a specific goal helps to maintain focus and gives your practice purpose, making it easier to justify and set aside time regularly.

8. Combine Activities

Combine photography with other activities that you do for relaxation or exercise. For example, if you enjoy hiking, bring your camera along to capture landscapes. If urban exploration is your thing, a camera can accompany you on city walks. This way, photography complements your lifestyle rather than competes with it.

9. Use Technology to Your Advantage

Utilize apps and tools that can help streamline your photography practice. Apps like Lightroom Mobile allow you to edit photos on the go, and various online platforms provide tutorials that you can watch during downtime.

10. Reflect and Adjust

Regularly reflect on how well your current schedule is integrating photography. If you find certain strategies aren’t working, adjust them. Flexibility is key to maintaining any hobby alongside a busy life.

Incorporating photography into a packed schedule requires intentional planning, but the rewards are well worth the effort. As you progress, you’ll not only improve your photographic skills but also find that photography enriches your daily experiences, providing a creative outlet that nurtures your overall well-being.

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This post How to Fit Photography Practice into a Busy Schedule appeared on PictureCorrect.

Your pictures on the theme of 'signs of spring'

Sun, 21 Apr 2024 00:12:44 +0000

A selection of striking images from our readers around the world.

Intimate portraits of Indigenous Alaskans – in pictures

Sat, 20 Apr 2024 16:00:32 +0000

Around 1900, several photographers, including Missouri-born Beverly Bennett Dobbs and two European emigrants to the US, HG Kaiser and Albert F Johnson, followed a gold rush to Nome, Alaska. Among the clients they ushered into their portrait studios were a number of Indigenous Alaskans, whose striking pictures were later collected by the British film producer Michael G Wilson. “The portraits are remarkable for their intimacy,” says Richard Ovenden, head of the Bodleian Library in Oxford, which has recently acquired Wilson’s collection of photographs. Little is known about the subjects but Ovenden values the portraits as a record of a “moment of encounter and exchange” between “the international community of prospectors [and] the Inuit communities who had lived in peace for thousands of years”.

Ricoh’s big bet on a film renaissance: We interview the team behind the upcoming Pentax film camera

Sat, 20 Apr 2024 13:00:00 +0000

Interview participants (all with Ricoh Imaging Company, Ltd.)
Second from Right: Tomoki Tanaka, General Manager, Pentax Division

Others, left to right:
Kazuhiko Shibuya, Pentax Division, Business Management Department, Overseas Sales Section
Hiraku Kawauchi, Marketing Group, Marketing Communication Department
Takeo ("TKO") Suzuki, Designer, Pentax Division
Ryutaro Aratama, Group Leader, Overseas Sales Section, Business Management Department

Everything analog is suddenly cool again, and photography is no exception: There's an incredible renaissance happening in film photography, led by a generation who grew up never knowing anything other than digital cameras.

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The growth has been explosive by any measure; on a recent tour of used-camera stores in Tokyo, owners consistently told me that they're seeing about 3x the level of film camera sales now compared to pre-pandemic times. More remarkable is that I don't think I saw any customer older than 40 in any of the mainstream shops I visited.

Old cameras are just that, though: old. They may or may not work, and if they stop working, the only option is usually to fork out for another one. Wouldn't it be great if there were a brand-new film camera with a warranty and service available?

That's exactly what the Pentax division of Ricoh Imaging has been thinking, led by a passionate young designer, Takeo "TKO" Suzuki, the designer who first had the idea of Pentax developing a new film camera, with the full support of Pentax's General Manager, Tomoki Tanaka.

In this recent YouTube video, designer Takeo "TKO" Suzuki discusses some of the design choices on the upcoming Pentax film camera.

The project has been ongoing, albeit largely under wraps, since late 2022, but Pentax revealed the following details about the camera in an announcement and a YouTube video where TKO went into more depth on March 1 this year:

The project is going forward; the camera will ship sometime this summer
Compact design with a half-frame format (2x the exposures on a 35mm roll)
Manual film advance and rewind
Vertical image format
A wide-angle fixed lens
Zone focusing
Mostly automatic exposure, but with "shooting modes" for user control

I was in Tokyo when the announcement was made and managed to interview Tanaka, TKO and team members about a week later. We covered Tanaka's vision for Pentax going forward, as well as many details about the camera itself. Here's how that went, with some slight paraphrasing on my part for clarity:

Ricoh Imaging's vision for the Pentax brand

Dave Etchells: What's your vision for the Pentax brand? What do you see as your unique place in the market, and how do you plan to leverage that going forward? What do you see as the relationship between film and digital products, say, five years from now?

Tomoki Tanaka: Our vision is to offer products to photography enthusiasts; that's the main point. Photography doesn't just mean digital cameras or analog cameras, though, but both. As of today, we don't know the future of these categories, but it's clear that film camera use has been increasing in recent years. Five or ten years from now, there might be new technology that will change everything, so it's hard to say that far in the future. We believe that both digital and analog cameras will be available though. Some people prefer digital, some people prefer analog, and some may like both. Our mission, our vision, is based on user demand; we always try to offer products to users based on their demand.

We, of course, can't speak for other manufacturers, but so far, we are the only one to have the potential to offer both analog and digital to the users. That is our vision for now: whether they are film or digital users, we want to be able to serve the enthusiasts.

"Our mission, our vision, is based on user demand; we always try to offer products to users based on their demand."

The biggest surprise in the latest announcement about the Pentax Film Camera is that it will use a half-frame format with vertically-oriented frames on 35mm film.

Photo: Ashley Pomeroy, CC BY-SA 4.0 via Wikimedia Commons

The future of film cameras

Dave Etchells: I know you can't read the minds of your competitors, but I think there's going to be a very robust market for new film cameras, given the high level of interest, especially with the Millennials and Gen-Zs. Do you think other companies might enter the market for advanced compact film cameras once you've demonstrated success?

Takeo "TKO" Suzuki [TKO]: Yes, we don't know the situations of our competitors, but we expect that some will enter the film market. We even hope that what we are doing will stimulate the market overall. The analog photography industry is supported by many people with great dedication to it. It's wonderful to have such people, and we'd like to support them as a camera manufacturer. It's very difficult to try to do that only by ourselves, though, so we hope we can do it together with other manufacturers to pass on the film culture to the next generation.

"We want to be a pioneer, but we don't want to be alone."

Dave Etchells: Ah - as they say, a rising tide floats all ships; if you can get other companies to participate, that would be good for you, too, vs just having a monopoly.

Tomoki Tanaka: We want to be a pioneer, but we don't want to be alone.

Making the new film camera a reality

Dave Etchells: For a long while, you weren't sure that it would even be possible to manufacture a new film camera, but you announced just a week before our meeting that you've firmly decided the project is feasible and you're going ahead with it. When was that decision finally reached, and what was the last piece of the puzzle that made you realize it was possible?

TKO: It was when we were able to create a prototype, and I could take a picture with it. I didn't expect that anyone would give us the OK to proceed with this project without a first shot actually being made by the prototype, so that was the moment. I was very moved when I was able to take the first picture with the prototype. It even brought tears to my eyes.

"I was very moved when I was able to take the first picture with the prototype. It even brought tears to my eyes."

Dave Etchells: I can imagine; you'd had a dream, and finally, it was in your hands.

TKO: A dream, yes.

Dave Etchells: It must have been a lot of work to build the prototype - and you had to have a lens for it. Did you just take an existing lens that you had and kind of hack it together into something for the sake of a test?

TKO: It's newly designed for this project specifically. We, of course, referred to other cameras' lens designs, but we didn't just use an old one as it was; we redesigned it. To make the prototype, we had to make a whole new lens just to be able to build one prototype camera. We actually didn't have the necessary equipment or molds to rebuild old designs, so we had to start over from scratch.

Dave Etchells: Wow, that's a big investment to make, just to decide if the project would be possible or not.

TKO: Yes, it was a lot.

The new film camera will carry the Pentax brand, a famous name in photo history. In 1957, the Asahi Pentax (AKA the Asahi Pentax AP) arguably kicked off the SLR boom. Some aspects of its design became industry standards, including its rapid-wind film advance lever, film-rewind crank, instant mirror return and microprism focusing aids on the viewfinder screen.

Photo: Andriy Matusevich, CC BY-SA 3.0, via Wikimedia Commons

Pentax vs Ricoh branding

Dave Etchells: Part of the announcement was that the camera will carry the Pentax branding. How did you decide on that? I was kind of expecting to see the Ricoh name used, given that the GR series has more of a compact rangefinder feel to it than current Pentax models.

TKO: Actually, this was simply because we considered this product to be a Pentax brand product from the very beginning; we simply started working on it as a Pentax project and announced it as the Pentax Film Camera Project in December of 2022.

You mentioned the Ricoh Auto Half when we were talking earlier - We didn't start off thinking of it as a half-frame camera. That's why we only just now declared that it will be half-frame format; we decided to do that during the process, but we didn't have the Ricoh Auto Half in our minds in the beginning.

"We considered this product to be a Pentax brand product from the very beginning."

Dave Etchells: Ah, so you actually started out thinking in terms of full-frame and only later turned to half-frame when the idea of making it vertical-format came about.

TKO: Yes, we only decided on half-frame later. When we made the first announcement in December 2022, we didn't have any such details yet. We communicated with the market [and that led us to the idea of vertical format and half-frame].

Dave Etchells: I like that. It's a story about having a vision for a product but then talking to the market to refine it. I've always appreciated that about the Film Project; you've gotten very close to the users to see what they actually want.

Incorporating feedback from film photographers

Dave Etchells: Before we talk about some of the details you just announced, what was the most surprising thing you discovered as the concept developed?

TKO: It was the fact that we have so many friends and supporters in the analog world. There were many, many more than we expected, so we were very surprised. We were very moved by how cooperative they were and how much they wanted to help with our project. It was also very encouraging to have a sense of such camaraderie that we're not alone in doing this. There are many many supporters, that's very encouraging.

Tomoki Tanaka: There were many strong friendships that contributed. Once we had an opportunity to talk with someone for example, they would introduce us to the next person, and the next and the next. 'Film' people have many connections, and everyone has been so cooperative. So their friendliness, their connections … I don't know if that's a good English word. The connections and relationships with each other really increased our opportunities to talk with analog camera people.

The used film camera market is red hot right now. The owner of Used Camera Box in Shinjuku (Mr Tanaka, above) told me he's getting 100+ customers per day, 80% from outside Japan. (Stay tuned for an upcoming article on used-camera shopping in Tokyo.)

Photo: Dave Etchells

Dave Etchells: I can imagine that. Film shooters are a very passionate, supportive and close-knit group. For a manufacturer to come along and say, "Hey, we're with you, we're going to make this happen," it's very powerful; I can see it really being embraced.

TKO: We receive comments directly through our distribution channel, and also via SMS comments [phone texts]. We watch these comments every day and try to understand what they're thinking. But we were also surprised that many comments were from overseas countries, not just Japan.

Dave Etchells: It was interesting to me as I was touring the used camera stores here that first, I don't think I saw a single customer over the age of 40 the whole time, except in some of the small, very collector-oriented shops. Secondly, there were a huge number of foreigners from all over the world. One shop owner said that 80% of his customers are from other countries. So as strong as the interest is in Japan, it might be even more in other countries.

Tomoki Tanaka: It's just a guess, but maybe it's that there's demand outside of Japan, but the product is available here [so that's why there are so many foreigners hunting for film cameras here.]

Dave Etchells: Yeah, there's really nowhere in the US where you can go and put hands on remotely as many cameras as you can here in Tokyo. There's a large used-gear dealer in Atlanta (KEH) that has perhaps 500 film bodies on hand and another in Portland, Oregon (Blue Moon Camera) that has a similar number in stock, but only people who live nearby can visit either one, and you can probably find 5-10x as many bodies just in Shinjuku.

Ryutaro Aratama: I've heard that some camera fans from overseas countries first stop in Shinjuku and find a favorite camera, then go to Kyoto or Osaka or for another trip.

Dave Etchells: Ah yes - I came across a couple of stories exactly like that, just among the people I met. One person was buying a camera and a couple of lenses before going to Kyoto to shoot with them. It's nice to see people using old cameras again; it's like they're still loved and they still have a place.

I'd never given a second thought to cranking a film-advance lever, but the moment TKO mentioned it, it brought a flood of memories. So many moments in my life are connected through that quick flick of a finger. I dug out an old and battered family K-1000 to pose for this shot.

Photo: Dave Etchells

Sweating the little details

Dave Etchells: Some design choices seemed obvious to me, while others were quite surprising. I immediately loved the idea of mechanical film advance and rewind, but TKO mentioned that this approach was more costly. What makes a manual mechanism more expensive, and can you give us a rough idea of how much more it costs to make a fully mechanical system?

TKO: At this moment, we cannot disclose any figures, but it is true that to have a mechanical film winding means the number of parts, such as screws or gears, is many more than with an electrical system. So it's more difficult to assemble, and it needs more training, much more training, even for experienced assembly workers. It's not just the parts cost itself, but everything around it takes more time and money. Despite the fact that it costs more, though, we decided to equip the camera with a mechanical system because we believe that one of the fun parts of using a film camera is winding the film. I really wanted to make that happen and deliver it to the users, our target users.

[Author's note: There aren't just more parts, but they have to be strong enough for people to crank on them, applying much more force than a tiny electric motor would. This adds cost as well.]

‘The model loved the departure from traditional portraiture’ – Kamzy Nuel’s best phone picture

Sat, 20 Apr 2024 09:00:22 +0000

The vibrant colours of Lagos take centre stage in this bold image by the Nigerian photographer

When location scouting for this shoot, Kamzy Nuel was primarily hunting for colour. He settled on the National Stadium in Surulere, Lagos, Nigeria. “There are so many vibrant colours around, giving room to have as much as possible in the frame to work with,” the Nigerian photographer says.

Hoping to “portray a fine blend of modernism and culture” in the styling, Nuel chose the red and yellow outfit for his muse, Kommie, a professional model. This was the pair’s first time working together; they have since become friends. “She’s a great person,” Nuel says, “and she loved the departure from traditional portraiture.”

The Great Carina Nebula

Sat, 20 Apr 2024 04:36:00 +0000

The Great Carina Nebula

12-19 April 2024

Sat, 20 Apr 2024 04:21:02 +0000

A selection of striking images from around the world, taken over the past seven days.

Rembrandt Lighting: Creating Mood & Depth in Portraits

Fri, 19 Apr 2024 23:44:32 +0000

Rembrandt lighting, named after the famous Dutch painter Rembrandt Harmenszoon van Rijn, is a popular lighting technique used in photography and cinematography to create a dramatic effect that draws attention to the subject’s features. This technique is characterized by an illuminated triangle under the eye of the subject, on the less illuminated side of the face. This lighting style emphasizes depth and dimension, making it a favorite among portrait photographers.

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Why Use Rembrandt Lighting?

The allure of Rembrandt lighting lies in its ability to add a sense of volume and drama to a portrait. It enhances the facial features and brings a sculptural quality to the photograph. This technique is particularly useful for creating moody and evocative images that convey emotion and character, making it ideal for artistic portraits, actor headshots, and even moody fashion photography.

Setting Up Rembrandt Lighting

To achieve Rembrandt lighting, you’ll need to follow these steps:

Light Source: Begin with a single light source, such as a strobe or continuous light. The key is to use a light modifier like a softbox or an umbrella to soften the light, reducing harsh shadows.
Positioning the Light: Place the light at a 45-degree angle from the subject, slightly above the head level, so that the light points down towards the face. This angle is crucial as it determines the shape and presence of the characteristic triangle of light.
Adjust the Subject: Have the subject turn their face away from the light until the shadow of the nose and cheek meets to form a small triangle of light on the cheek opposite the light source. This triangle should not be larger than the eye and no longer than the nose.
Experiment with Modifiers: Utilizing different modifiers can alter the softness and spread of the light. Experiment with reflectors to fill in shadows mildly, which can be particularly useful in softening the contrast for female portraits or commercial shots.

Visual Examples and Their Analysis

When examining photographs that utilize Rembrandt lighting, you’ll notice the play of light and shadow creates a compelling visual narrative. For instance, a portrait with Rembrandt lighting can highlight the rugged features of a male subject or the gentle curves of a female subject’s face, adding layers of depth and emotion to the image.

Common Mistakes to Avoid

Overexposing the lit side of the face, which can lead to loss of detail.
Underexposing the shadow side, which might bury essential facial features in darkness.
Misplacing the light, which fails to form the triangular highlight and loses the effect.

Applications in Different Photography Genres

While traditionally used in portraits, Rembrandt lighting can also be adapted for use in various other genres like fashion photography, where it can add a dramatic flair, or in product photography, where it can enhance texture and contrast.

Rembrandt lighting is more than just a technical skill; it’s a creative tool that allows photographers to explore the interplay between light and shadow. By mastering this technique, photographers can elevate their portraits, capturing not just images, but stories and emotions. Whether you’re a budding photographer or a seasoned professional, incorporating Rembrandt lighting into your photographic repertoire can significantly impact your visual storytelling.

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Mastering portrait lighting techniques is an art form that presents its own set of intricate challenges. Each style demands a precise understanding of light placement, shadow control, and subject orientation to achieve its signature effect. These new Lighting Cheat Sheets (Including Portrait Setups) are designed to help.

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TTArtisan releases AF 56mm F1.8 lens for Fujifilm and Sony APS-C cameras

Fri, 19 Apr 2024 21:20:00 +0000

Image: TTArtisan

Today, TTArtisan has officially released its AF 56mm F1.8 autofocus lens for X and E-mount cameras. The APS-C portrait lens is another budget offering from the China-based company. The company's website also includes specs for a Nikon Z-mount version but lists it as "Sold Out."

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The 56mm F1.8 lens has ten elements in nine groups and has nine aperture blades. The lens is built with a stepper motor, which TTArtisan claims delivers fast and quiet autofocus. It has a minimum focusing distance of 0.5m (19.6") and a minimum aperture of F16.

TTArtisan says the lens has a full aluminum build, weighs between 233-245g (8.2-8.8oz), and includes one ED (Extra-low Dispersion) element. This should help reduce the amount of color fringing that may occur in an image. This makes it a very different optical formula from the Viltrox AF 56mm F1.7 for Fujifilm X mount and Nikon Z mount announced last week. Like the Viltrox, the TTArtisan lens has no aperture ring.

This is only the company's fourth autofocus lens, but it's the second one it has announced in recent weeks, following the TTArtisans AF 35mm F1.8 released early this month for Sony E-mount cameras.

Pricing and availability

The TTArtisan AF 56mm F1.8 ships globally and is available immediately. It has a suggested retail price of $158.

Buy now:

$168 at Amazon

$158 at TTArtisan