“You Break It, You Buy It!” Photographer Takes Adobe to Court for “Deleting” Photos Worth $250k
Have you ever accidentally deleted a ton of stuff?
I know I have, and I’m sure many of the readers of this blog have as well.
And, boy, what a time that can be in life.
From hating yourself to the whole world, accidentally getting rid of troves of digital data can be a compromising situation for anyone.
One photographer, however, who claims Adobe deleted his files, is taking it to the next level: A full-fledged lawsuit.
Alleging that Adobe deleted $250k worth of files, photographer Dave Cooper claims that an error with Premiere Pro CC 2017 version 11.1.0’s “Clean Cache” feature accidentally deleted non-temporary files.
Adobe, for its part, was aware of this error and issued a fix in May 2017, posting the following message: “The update changes the behavior of the media cache deletion. With 11.1.1, only files that are within the Media Cache folder’s subdirectories will be deleted. Files that sit next to it will no longer be affected. However, we still strongly recommend keeping the Media Cache folder separate from your original media.”
Cooper claims he moved the “Media Cache” folder to another drive but the “Clear Cache” feature still deleted all items beyond 90 days old, including “JPEG files, PSD files, PDF files, and 100,000 individual video clips representing about 500 hours of footage captured between 2010 and 2017 in countries around the world” according to PetaPixel.
Dave Cooper works as a professional commercial photographer and commands high sums for his work. The lawsuit alleges, “Plaintiff captured the Footage using professional-grade video equipment, including Canon C100 and Canon 5D Mark II and Mark III cameras and lenses. Plaintiff estimates that the Footage cost approximately $250,000 to capture and create.”
He apparently tried to work with Adobe to come to a settlement but they were unsuccessful. Now he wants a jury trial and is seeking “compensatory, incidental, or consequential damages” that will be set by a jury.
The post “You Break It, You Buy It!” Photographer Takes Adobe to Court for “Deleting” Photos Worth $250k appeared first on Light Stalking.
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November 14, 2018 at 02:55PM
NASA shares high-resolution satellite images of California's Camp wildfire
NASA shares high-resolution satellite images of California's Camp wildfire
NASA has shared images of the California Camp Fire as seen from space. The wildfire started on November 8 and quickly spread, ultimately destroying nearly 8,000 buildings and burning 135,000 acres, according to Cal Fire, as well as claiming at least 50 lives.
Some of the images were captured using the Moderate Resolution Imaging Spectrometer on NASA's Terra satellite, according to the space agency, which says the images show natural colors. Unlike images from the ground, NASA's aerial snapshots reveal the sheer scale of the blaze and how far its smoke has dispersed westward across the state and over the ocean.
NASA is home to its Earth Observing System Data and Information System (EOSDIS) Worldview, a platform that provides access to high-resolution images from more than 700 satellites. The images in this application are updated within three hours of being captured, according to NASA, providing a near-real time look at every corner of the planet. Imagery of the Camp Fire, as well as other California wildfires, can be accessed through the platform.
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No Nikon camera we've tested to date balances stills and video capture as well as the Nikon Z7. Though autofocus is less reliable than the D850, Nikon's first full-frame mirrorless gets enough right to earn our recommendation.
Nikon's Coolpix P1000 has moved the zoom needle from 'absurd' to 'ludicrous,' with an equivalent focal length of 24-3000mm. While it's great for lunar and still wildlife photography, we found that it's not suited for much else.
As a stills camera the Fujifilm X-T3 is a pleasant update to one of our favorite APS-C cameras, significantly improving the autofocus. If you're interested in stills and video, though, it's knockout.
Oct 16, 2018 at 13:17
The Nikon Z7 is slated as a mirrorless equivalent to the D850, but it can't subject track with the same reliability as its DSLR counterpart. AF performance is otherwise good, except in low light where hunting can lead to missed shots.
The Canon EOS R is the first full frame mirrorless camera to use the new RF mount. We're well underway putting it through our range of standard tests – take a look at how it compares to the competition and our thoughts on using it so far.
What's the best camera for under $500? These entry level cameras should be easy to use, offer good image quality and easily connect with a smartphone for sharing. In this buying guide we've rounded up all the current interchangeable lens cameras costing less than $500 and recommended the best.
Whether you've grown tired of what came with your DSLR, or want to start photographing different subjects, a new lens is probably in order. We've selected our favorite lenses for Sony mirrorlses cameras in several categories to make your decisions easier.
Whether you've grown tired of what came with your DSLR, or want to start photographing different subjects, a new lens is probably in order. We've selected our favorite lenses for Canon DSLRs in several categories to make your decisions easier.
Whether you've grown tired of what came with your DSLR, or want to start photographing different subjects, a new lens is probably in order. We've selected our favorite lenses for Nikon DSLRs in several categories to make your decisions easier.
What’s the best camera for less than $1000? The best cameras for under $1000 should have good ergonomics and controls, great image quality and be capture high-quality video. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing under $1000 and recommended the best.
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November 14, 2018 at 02:18PM
Google’s Night Sight is Blowing Minds: Shoot Photos in Near Darkness
Google’s new Pixel 3 and 3XL smartphones are packed with new AI camera features, including one called Night Sight that lets you shoot natural-looking photos without a flash in near darkness. The first reviews are starting to emerge, and the technology is blowing people’s minds.
“Night Sight is a new feature of the Pixel Camera app that lets you take sharp, clean photographs in very low light, even in light so dim you can’t see much with your own eyes,” Google writes. “It works on the main and selfie cameras of all three generations of Pixel phones, and does not require a tripod or flash.”
Google says its goal in developing Night Sight was to allow for photos between 3 lux and 0.3 lux with a single shutter press and without any artificial lighting. Smartphone cameras generally begin to struggle at 30 lux.
Here’s a scene captured with the new iPhone XS camera:
And here’s the exact same scene captured with a Google Pixel 3 camera with Night Sight enabled:
After you press the shutter, Night Sight captures between 15 frames of 1/15s each and 6 frames of 1 second each. It then aligns the frames, merges them to reduce image noise, performs auto white balancing using a new AI algorithm, and does tone mapping for natural colors.
The result is an AI-assisted camera that can even shoot in less than 0.3 lux when the human eye can barely see anything.
“Below 0.3 lux, autofocus begins to fail,” Google says. “If you can’t find your keys on the floor, your smartphone can’t focus either. To address this limitation we’ve added two manual focus buttons to Night Sight on Pixel 3 – the ‘Near’ button focuses at about 4 feet, and the ‘Far’ button focuses at about 12 feet.”
Since Night Sight merges multiple frames, it doesn’t work well if the scene you’re trying to capture contains obvious movement. But in extremely low-light situations in which no other smartphone camera is up to the task, Night Sight shines.
Tech reviewer Marques Brownlee has been testing Night Sight. His opinion: “Dear God it’s basically magic.”
“[…] Google’s sophisticated camera feature was worth the wait,” writes Gizmodo. “Night Sight is exactly what the Pixel 3 needed to really round out its photo toolkit.”
“Google Pixel’s Night Sight is revolutionizing low-light photography,” The Verge says. Here’s its 6-minute review of the feature:
Other people are taking to social media to share comparison photos as well.
Night Sight is being released starting today through the Google Play store as an update to the camera app for the Pixel 3, Pixel 2, and Pixel 1.
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November 14, 2018 at 01:48PM
High And Low Key Photography Kingfishers And Beautiful Landscapes Heres What You Missed This Week On The Forums
High And Low Key Photography, Kingfishers, And Beautiful Landscapes – Here’s What You Missed This Week On The Forums
Last week we had a lot of very interesting Low-Key/Hi-Key photographs thanks to the weekend challenge. We also want to welcome more than 100 new Light Stalkers that joined our beloved family this past week. We are sure you'll find a warming place to learn about photography.
Don't be afraid to ask any photography related questions you have at our forums. There are a ton of posts created in our forums, so you can also use the search box to find good information too!
Photo Of The Week – November 12, 2018
Photo by Lenny Wollitz
Kent DuFault again chose an outstanding and interesting photo of the week. A very big thank you to Kent for highlighting really interesting images from our community every week. This is what Kent had to say about this image from Lenny Wollitz:
This week the POTW goes to Lenny for his image title, “The Big Red M”. I really like the extreme graphic depiction of this building.
The use of two warm power colors, red and yellow, framed by the much cooler color of the teal building begins the viewer's journey with a strong push inward. I'm always rambling on about the power of shape in photography, and this image is a prime example.
Of particular interest is the repetition of the upward angle- first in the letter M and secondly in the different levels of the building, the yellow roof in the background- and finally at the roofline at the top of the image.
There was some debate about whether the man at the bottom should be more prominent visually than in Lenny's original upload. I think Lenny nailed it because the man isn't the subject. The subject here is really just a graphic abstract. It really isn't even about the building.
The interesting part of the inclusion of the man is that it brings a sense of reality back into the image.
A very big congratulations to Lenny – such an interesting shot!
What Are Our Members Up To?
Here are some great shots from the participants at the 407th-weekend photography challenge, Low-Key/Hi-Key photographs! We asked resident Light Stalking Photographer and Writer – Federico Alegria – to give us his thoughts:
Photo by LeanneC
This is an excellent example of High Key used in a color based composition. This image is so abstract – brilliant capture.
Photo by LeanneC
Low Key always adds drama to every photograph, and this is a very good example of the drama that a decaying flower can have when captured underexposed.
Photo by Tom M
Photographing snow is highly complex due to the extreme amount of white. This photograph, even when overexposed, looks soothing and even nostalgic.
Photo by Andre P
All this assembly is high-key friendly, and the shadows give it a nice extra touch.
Photo by Elin L
High key photography can enhance the abstract nature of pretty much everything, like the nose of this seal? otter? dog? Great shot
Photo by Elin L
Also, low key photography can unveil enough details to decode an object without showing it completely. This is exceptional
Photo by Chris Pook
This is an extremely beautiful portrait. Low-key of children is unusual, given the dramatic feeling that low-key can imbue in an image – but this portrait absolutely works, great creativity from Chris!
Photo by David Chesterfield
The most beautiful thing about this portrait is the shiny quality on the model's hair. The high-key gives the portrait an ethereal look and a shimmer that is super appealing
What You May Have Missed In The Forums
Personally speaking I must say, Kingfishers are perhaps my favorite bird ever. They are small yet fierce, and pretty hard to photograph as well. This past week Tobie shared a splendid photograph of a Kingfisher in flight.
Rob is aiming big! He wants to make Landscape Photography 101 the best and most helpful landscape photography page in the World! He wants to make it a huge living document, therefore it will evolve into a pretty large and detailed space for landscape photography. If you are interested, read this post.
Did you know that street photography is almost 180 years old? Here Robert Apple shared with us the most important section of one of Daguerre's most iconic photographs ever. Further, in the thread, I shared the larger image, but I think Robert's take is more important since many people watch the “Paris' Boulevard du Temple” photo and skip the human figure.
I have a favorite YouTube channel as one of my main photography resources, unfortunately (I understand, Ted has to eat), it has lately turned out to be more a gear oriented channel, and since I'm an academic, I enjoy more photography related content, rather than simply gear. Please, if you have anything that talks about the meaning of photography more than the latest and greatest, share it with us here!
It all started out with a question from Ann Wheatley, but it has quickly evolved into a very interesting resource for anyone who wants to understand the Histogram's behavior after post-processing an image in Photoshop. If you are still doubtful about the “destructive” nature Photoshop has with images when compared to standard Adobe Camera Raw, Lightroom or Capture One Pro, then this for you.
We'd Love To Hear Your Thoughts
Besides our friendly forums, we have another friendly place (despite its sharky name) built exclusively for constructive feedback. We truly believe that critique is the best way we can improve as photographers. Giving feedback on other members' images is also a great way to grow as a photographer.
Please help out these Lightstalkers:
We truly believe that constructive criticism is the best way for any photographer to improve fast in this discipline. Giving well-analyzed comments is way more useful than vanity metrics and superficial “what camera are you using?” questions.
Today we will leave you with a lovely landscape photo from Robert Apple – you can really feel the crisp chill in the air! Thanks, Robert
Fall Flurries by Robert Apple
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November 14, 2018 at 10:01AM
One of the most important lessons that astrophotography has taught me is the importance of planning. I’m a huge advocate of planning your photos in advance, no matter what your subject may be. With most genres of photography, you can wing it and still come home with some great photos. With astrophotography, you’re a lot less likely to get lucky if you don’t plan ahead.
There are many factors that come into play when photographing the night sky. You can’t just pick a location and hope for the best. A successful image will depend on sunrise/set, moonrise/set, the phase of the moon, milky way position, galactic center visibility, time of year, and light levels.
If all that feels a bit overwhelming, don’t stress. There are many tools available to help you research and plan your night sky photos. I’ve used a number of them over the years, but there’s really only one that I rely on these days.
The PhotoPills App
You may have heard of PhotoPills already. It’s a popular app among landscape photographers. I’ve used it for a while now, and I can’t imagine planning my travel and landscape photos without it.
PhotoPills is a great tool for figuring out the best time to photograph the outdoors. It gives you a bunch of useful information about the sun and moon at a specific time and location, which is great for planning sunrise and sunset photos.
It does so much more than that, though. It’s actually an incredibly feature-rich app that provides far more tools than I could cover here. If you’re new to PhotoPills, I recommend learning the basics of the app first. I’m just going to show you how to use PhotoPills to plan astrophotography.
The single most important factor in successful night sky photography is darkness. There are three main factors that will affect the amount of ambient light in the scene and potentially ruin your photos.
The first, and most obvious, is daylight. Photographing the night sky while the sun is still shining is difficult. While you may think that you just need to wait until after sunset, it’s not quite that simple. The light from the sun illuminates the sky for a lot longer than you may realize.
As the ambient light from the sun fades in or out at the end of the day, it goes through four phases. You’ve likely heard of golden hour and blue hour. There’s also nautical twilight and astronomical twilight. You don’t need to understand what these terms mean, just that there will still be light from the sun that your camera will see.
For the darkest sky possible, you want to shoot after astronomical twilight ends and before it begins again. In the PhotoPills app, open the Sun pill, select the calendar view, and tap on the date you’re planning to shoot. You’ll be able to see the exact times from golden hour and sunset, through the twilight phases, and into night time. The sky will be darkest between that time and the beginning of astronomical twilight the next day.
The second factor is light pollution caused by man-made light. This is most noticeable in or near built-up areas, so getting away from these is crucial.
The simplest way to find locations that have minimal light pollution is to look at a light pollution map such as Blue Marble Navigator. You can easily find locations far enough away from light pollution to photograph the night sky.
The third factor that can affect the amount of ambient light in your night sky photos is the moon. The moon can reflect a surprising amount of the sun’s light and wash out your night sky photos. It can also illuminate the foreground, which may be something you want to take advantage of. Unfortunately, you can’t have the moonlight on the foreground without it illuminating the sky also.
If you want to eliminate moonlight from your night sky photos, there are two ways to do it. The first, and easiest, is to shoot during a new moon. A new moon is the opposite to a full moon, meaning it’s completely dark. No matter where it is in the sky, it won’t reflect any light or affect your photos at all.
The second way is to plan your photos so that you’re shooting while the moon is below the horizon. That means before moonrise and after moonset. This isn’t as effective as timing your photography with a new moon, but you can come home with some great images using this technique.
PhotoPills makes it easy to plan using both these options. To plan for a new moon, open the Moon pill and go to the calendar view. You’ll be able to look ahead and see the date of the new moon each month. The new moon is completely black with the little circle next to the date. A day either side is also usually safe.
To figure out what time the moon will rise and set on a specific date, tap on that date while still in the calendar view. You’ll be shown a list of events for that date, including moonrise and moonset.
The Milky Way
If you want to include the Milky Way in your night sky photos, you’ll need to consider a couple of things. Firstly, although the Milky Way is visible all year round, the galactic center is only visible for part of the year. This is between March and October, or slightly longer in the Southern Hemisphere.
The second thing you need to remember is that the Milky Way moves through the sky as the earth rotates, just like the sun and moon. What this means is that when planning your astrophotography, you’ll need to consider the time that the galactic center is visible.
PhotoPills makes this super easy. Going back to the Sun pill, you’ll see that galactic canter visibility appears in the event list for your selected date. Note that this may not be the time that the galactic center rises and sets, it may be the time that the sky is dark enough to see it.
One of the coolest and most useful features of the PhotoPills app is augmented reality (AR). In the Planner pill, go to the date and location you’re planning to photograph, then tap Night AR in the option bar at the bottom. This will show you an AR view that superimposes the Milky Way over your screen.
This is useful for seeing where the milky way and galactic center will be at your selected date and location. You’ll be able to see the angle and relative position of the Milky Way, as well as watch how it will move across the sky by sliding your finger across the screen.
PhotoPills makes it super easy to see all this info in one place. Instead of having to go into each pill to find the relevant information you want, you can take a quick look at the PhotoPills widget and see times for the next sun, moon, and galactic center events.
This won’t work for planning future photos, but if you want to see if tonight is a good night for astrophotography, you can find out at a glance. I’m sure you’ll find it useful once you have a good understanding of the right conditions for night sky photography.
Dig Deeper Into PhotoPills
As I mentioned, the PhotoPills app is incredibly powerful and feature-rich. It includes many more useful tools, such as Star Trails, Spot Stars, and Time Lapse. If you want to dig deeper and find out what PhotoPills can really do, I encourage you to buy the app and spend some time working through the User Guide on their website. There’s a wealth of tutorials and how-to videos that will help you make the most of the app.
I would love to see the night sky photos that you create with PhotoPills. Feel free to share them below.
The post How To Plan Astrophotography With The Photopills App appeared first on Digital Photography School.
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November 14, 2018 at 07:04AM
Insta360 One X hands-on review
The One X is Insta360's latest consumer 360-degree cam and is controlled via an iPhone or Android smartphone, and retails for $400. The big news on the new model is the 5.7K resolution which means you can reframe the spherical footage and extract a standard 16:9 video with good resolution after capture. During recording you don't have to worry where the camera is pointed at.
5.7K video is recorded at 30 frames per second. For smooth motion in action videos or slow-motion effects you can also opt to record 4K footage at 50fps or 3K video at 100fps. In photo mode the camera captures 18MP still images.
The One X also comes with an improved version of Insta360's FlowState stabilization and a new TimeShift feature that lets users adjust the speed of different parts of a clip to put the focus on key moments, using either slow-motion or hyperlapse effects. The "Bullet-time" special effect was already available on the predecessor Insta360 One.
We've had the chance to play a few days with the new Insta360 One X. Read this article and find out how we got on.
The One X only has two buttons, making stand-alone operation very straightforward. The small button is the power button and also used to cycle through shooting modes and settings. The larger button is the shutter and also used for confirmation when navigating the menus which are displayed on a small circular OLED display.
The display isn't always easy to view in bright light but you can enable a QuickCapture mode that powers the camera up and immediately starts recording when you long-press the shutter. This is a useful feature for shooting while riding a bike or doing any other activity that demands your full attention.
At the bottom of the device is a standard tripod mount which allows you to attach the camera to all sorts of supports and selfie-sticks. With an adapter, you can use the One X with a GoPro-style mount, and if you don't have any other means of support, the flat base allows you to place the camera on any flat surface.
The One X connects to mobile devices via WiFi, or, for better transfer speeds, via a supplied USB-cable. Via the same connection you can also trigger and control the camera from the dedicated mobile app. Parameters such as ISO, exposure compensation, white balance, and shutter speed are user adjustable.
The dedicated One X app lets you transfer, view, edit and share both 360-degree videos and still images.
The One X can record 5.7K 360-degree video which allows you to reframe on your phone and extract a 16:9 1080p standard video at very good quality. The easiest way to achieve this in the app is through the Viewfinder feature.
In Viewfinder mode the 360-degree video is played back on your device. You can then move the phone just as if you were recording a video in real-time. Whatever is visible on the display of your device will be "re-shot" and saved as a new video.
The video below is totally uncut to give you a better idea of what's going on. After starting to record I hand the camera to my buddy who then simply rides along with the camera in his hand, not worrying about where the lenses are pointing.
Back home I "re-shot" the video using the Viewfinder function and aiming to keep myself in the frame. With a conventional action camera this type of video would have been a lot more difficult to shoot, especially from a bike.
Viewfinder also allows you to "recycle" your 360-degree footage and re-shoot several versions of the same footage. The sample clip below was recorded from the same 360-degree footage as the one above, but this time with different framing, creating more of a typical rider point-of-view video you would get with a conventional action cam in a chest or handlebar mount.
For this third version of the same video I applied a Tiny Planet effect to the 360-degree footage. The feature won't particularly useful to more serious video makers but makes for a nice party trick.
As you can see in the video samples above, the camera is capable of capturing decent detail, even when using only a portion of the full 360-degree footage. With the sun always visible somewhere in the frame, there is inevitably some clipping in the brightest areas of the sky but overall dynamic range is pretty good and, although occasionally visible, stitching artifacts are well under control.
The real highlight is Insta360's FlowState stabilization, though. Footage is very smooth and almost looks like it was shot from a gimbal, despite the hand-held capture.
Footage is very smooth and almost looks like it was shot from a gimbal
The sample below was recorded with the Insta360 selfie-stick to give a perspective from higher up than usual. Camera movement was created using Insta360's pivot points instead of Viewfinder mode. You can set as many pivot points as you like in a video and the app creates smooth transitions between them. Pivot points are a good alternative to Viewfinder mode if you prefer a more automated solution.
The app also offers a subject tracking option for controlling camera movement during editing. This works generally well but will stop tracking if the subject is momentarily obscured by another object, so depending on your footage it's not always the best solution.
Below is the same video in 360-degree format as a reference. If you pan the video to see myself you can see that the Insta360 app is doing quite an impressive job at making the selfie-stick disappear from the footage.
In lower light, like the indoor scenes below, the camera is still capable of producing good detail and noise-free footage. When light conditions get really dim the otherwise excellent FlowState stabilization loses some of its efficiency. However, you have the option to sacrifice some image detail for faster frame rates which allow for a very similar stabilization performance as in good light.
I've also created a "Bullet-time" video using the optional Bullet-time handle that allows you to swing the selfie-stick over your head in a circle. In bullet time mode the camera records at 100 frames per second, allowing for a slight slow-motion effect in playback. The feature is fun to play with and with some more practice more impressive results than mine should be easily possible.
The Insta360 One X will likely be most attractive to video shooters but the camera is also capable of capturing 18MP spherical still images. In still image mode you can activate HDR mode, configure interval shooting and capture in Raw format. A self-timer is on board as well.
In the app you can view and export images in several formats including full 360-degree fisheye, tiny planet and crystal ball formats. Below you can see a few samples, in original 360-degree format and Tiny Planet or Fish-eye variations.
The camera is capable of producing good quality 360-degree image output that in terms of detail, noise, color and dynamic range is roughly on the level of a good smartphone camera. While in some video clips some stitching artifacts are just about noticeable, they are as good as invisible in most still images, making the camera an interesting and affordable option for professional users, such as property agents or wedding photographers.
I've used a couple of Insta360's earlier models before, for example the Insta 360 Air. Those older consumer cameras were easy and fun to use but had one important limitation: the video resolution would not allow for the extraction of standard video at a sufficiently high resolution. The cameras were fun to play with but ultimately not of much use to anyone serious about video.
At a retail price of $400 the One X now makes high-resolution 360-degree footage available to the masses, allowing for the creation of Full HD video from the camera's 5.7K 360-degree output. During recording this means it doesn't matter where you are pointing the camera because you can select the final frames in post-production in the app.
This makes the camera extremely useful for use on a bike, while hiking or running or doing any other kind of physical activity during which you don't really want to think about where to point your camera.
At $400 the One X makes high-resolution 360 footage available to the masses, allowing for Full HD standard video from the camera's 5.7K 360-degree output.
I've never been a big fan of using GoPro-style action cams on a bike for example. If you mount it to the handlebars or your chest, the footage gets quite boring quite quickly. But if you hold it in your hands and try to frame an interesting video, you dramatically increase the risk of crashing. The One X makes shooting interesting video on a bike so much easier, which is why I have been carrying it on every single bike ride since I received the camera for testing.
Both video and still image quality are on the level of a decent smartphone camera, all editing can be done on a mobile device and the dedicated app is intuitive and straightforward to use, making the Insta360 One X an easy recommendation to anyone who has a use case for 360-degree video and still images but a limited budget.
If you find the features of the One X appealing, you may also want to read our reviews of the Rylo Camera and the GoPro Fusion, two other 360-degree cameras that we liked and which include similar feature sets.
What we like:
What we don't like:
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November 14, 2018 at 07:05AM
The 7 Secrets Of Getting Better Photos In Low Light
If you’re new to photography and you hear people talk about shooting in low light, it’s important to understand that low light photography doesn’t strictly refer to shooting at night. At the risk of oversimplifying the topic, low light photography is really just shooting when there isn’t much light available — whether day or night, indoors or outdoors.
While photographing in poorly lit conditions can be intimidating at first, there are a number of strategies you can use to tackle the challenge head-on.
Daylight + Low Light
Just because it’s daytime doesn’t automatically mean the light is ideal. Cloud cover, for example, can account for a significant drop in light. Or if you live in a city densely packed with skyscrapers, there will be times when you encounter heavy shadows.
Let’s say you’re shooting street photography. In either of these situations, one’s first impulse might be to increase your shutter speed to avoid blurry images. This will work if there’s enough. Otherwise, a faster shutter speed is just going to get you underexposed images.
What are your other options for shooting in “visible low light”?
1. Use a fast lens.
I keep 90% of my photos on external drives, and because of this I got in the habit of creating smart previews as part of the Import process. All you need to do is check the Build Smart Previews box in the File Handling panel of the Import window to add that into your import process.
By having smart previews for those photos I can continue to work on them in Develop, export or email a small JPG, do a quick HDR or pano merge, or just basically continue my workflow for the most part with or without the external drives connected.
Over time, those smart previews do build up in the special preview cache stored alongside the catalog file. If you go to Catalog Settings > File Handling, you’ll see a running tally of how much space is being used by your smart preview cache.
In my case, the smart preview cache is at 22 GB, which isn’t too bad considering that represents almost 21,000 files. How do I know how many files have smart previews? Simple, by creating a smart collection that Has Smart Preview is True as its only rule.
I keep this in my “catalog dashboard” along with other useful smart collections to keep tabs on my catalog. To manage the amount of space taken up by smart previews I can select any number of photos (via Grid view) within my Smart Previews is True smart collection, then go to Library > Previews > Discard Smart Previews to remove smart previews for older photos that I no longer need them for.
Likewise, you can use that same Library > Previews > Build Smart Previews (with photos selected in Grid view) to create new smart previews at any time (obviously, you’d need the originals online at the time). I feel this gives me a lot of flexibility with very low overhead, and ease of management over time. Hope that helps!
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November 14, 2018 at 02:05AM
Nazi Salute in Wisconsin High School Prom Photo Goes Viral
An annual ritual for the average American high schooler, prom is typically a routine, even boring affair.
Sure, some people go all out for their outfits, and a few even rent exotic cars for the occasion. Yet, for the most part, the tradition is pretty fixed in how the night plays out.
One of the biggest highlights of the evening, no matter where you are, is the taking of prom photos.
For students at Baraboo High School in Wisconsin, those photos have brought a ton of bad attention to the school. That’s because there’s a group photo of a bunch of alleged Baraboo High School students standing on the steps of the school giving the “Sieg Heil.”
Why they were doing the gesture has an explanation, though it makes about as little sense as this whole story.
Apparently the boys were egged on by the photographer to do this. Again, why the photographer would do this, no one knows.
As you can imagine, the photo hit the web and the rest is history.
The Auschwitz Memorial was the first to draw attention to the photo, writing on their Twitter account: “It is so hard to find words… This is why every single day we work hard to educate. We need to explain what is the danger of hateful ideology rising. Auschwitz with its gas chambers was at the very end of the long process of normalizing and accommodating hatred.”
The photographer, Pete Gust of WheelMemories, was present as the father of one of the boys in the photo.
Originally, the photo was posted to a parody account for the town of Baraboo. That photo had the caption “We even got the black kid to throw it up #BarabooProud.”
To ram it all home, the kid in the center of the photograph is giving the “ok” sign widely associated in the United States with white supremacists according to some Internet observers. So it is tough to pretend that someone didn’t know what was up.
Gust, for his part, is doing just that and feigning ignorance as to what could possibly be the issue with the picture.
In response to the public reaction, he posted on his website: “Due to malevolent behavior on the part of some in society; this page has been modified. It is too bad that there are those in society who can and do take the time to be jerks; knowingly and willingly to be jerks! The internet can be a wonderful tool but for some there is an overwhelming urge to destroy. The destruction may not be physical but instead, it can be bullying that is intellectual or emotional. To anyone that was hurt I sincerely apologize. To those who have harmed them, we as society often ignore them I have chosen not to do that. YOU ARE JERKS! Grow up!”
Since the story has blown up, he has since told website Madison365: “And the last picture that I shot, I said, ‘All right boys, you’re on the steps. … give me a high sign, a wave that you’re saying goodbye to your parents…And I called it high five, ‘give me a high five.’ … And so I stuck my hand up, and I said, ‘this is what I want…I didn’t tell them to salute anything. There was none of that that was taken at that point in time that it was a salute of any kind. It was waving goodbye to their parents (and) having a good time. High five.”
However, this is completely refuted by one member of the photo – the guy in the upper right corner very obviously not participating.
His name is Jordan Blue and he said that Gust instructed them to do the “Sieg Heil” sign.
He released a statement to journalist Jules Suzdaltsev refuting Gust’s claims.
Mandela Barnes, Lieutenant Governor-elect of Wisconsin, released a statement on Twitter, saying: “Wish I was shocked, but the comfort they share in embracing supremacist culture is the most obscene part…This happens when the behavior is increasingly more excused and/or promoted. It cannot be tolerated, ignored, or inconsequential. This will not be us.”
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November 13, 2018 at 06:37PM
The New York Times opens up free applications for its 7th annual portfolio review
The New York Times has opened up applications for its 7th annual New York Portfolio Review on March 30 and 31 in New York City, New York.
The applications, which are free to submit, are now open on The New York Times' website for the review, which is put on by The New York Times Lens column, the Craig Newmark Graduate School of Journalism at the City University of New York and United Photo Industries.
So long as you're over 18 years old, you're free to apply. The New York Times says "all types of photography will be considered." The deadline for applications is December 10, 2018 at 11:59 p.m. Eastern Time.
"The first session, on Saturday, March 30, will be for photographers 21 and older," reads The New York Times announcement post. "Each participant will receive six private critiques. The second session, on Sunday, March 31, will be solely for photographers 18 to 27 and will consist of at least four private critiques for each participant, as well as free workshops on how to best present, promote and publish photographs. We will screen all applicants and choose 100 participants for Saturday and 60 for Sunday."
The New York Times specifically mentions anyone who attended last year's review is ineligible to apply. Also, if someone has attended more than twice in the seven years the portfolio review has been going on, they too are ineligible.
When a photographer is chosen for a portfolio review, they will be able to requiem their top choices for who is to review their work. The New York Times has provided a partial list of the reviewers on the bottom of its announcement page.
To enter, head over to The New York Times' application page and fill out the required form. In addition to personal details, such as first name, last name, age, contact information, and a short biography, applicants can upload up to 20 photos from one or two projects. The images must be JPEGs and no more than 1,200 pixels across at 72 DPI.
Applicants who have been selected will be notified by January 12, 2019. The New York Times warns "Be sure to triple-check the email address you submit, because in past years some people were accepted into the review, but couldn’t be contacted with the good news because of a typo in their address. Don’t be that person."
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November 13, 2018 at 03:36PM