Leica reveals matte black M Monochrom 'Stealth Edition' with glow-in-the-dark markings

DP Review News - Thu, 08/03/2018 - 15:56
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Leica today unveiled a new "unprecedented" special edition version of its black-and-white sensor camera. Meet the Leica M Monochrom (Typ 246) ‘Stealth Edition’: an even more understated version of Leica's monochrome digital rangefinder that features all matte black styling, jet-black cowhide leather trim, and glow-in-the-dark engravings "for optimal use in low-light situations."

The Stealth Edition is a product of the collaboration between Leica Camera and Marcus Wainwright, the Founder, CEO, and Creative Director of fashion brand rag & bone.

“For me the Leica M system personifies the pursuit of perfection in an object designed for a singular purpose," says Wainwright. "Inspired by that, I was aiming to try and further refine and perfect the M Monochrom—an almost impossible task—by distilling it to its purest form and highlighting the stealth nature of the camera and lens."

Only 125 sets of the matte black 'Stealth Edition' will be made, each with its own matching Summicron-M 35 mm F2 ASPH lens, a black fabric carrying strap, a metal front cap for the lens and, of course, a certificate of authenticity. According to our Leica press contact, the price for the camera and lens is $15,750, and will begin shipping March 20th.

To learn more about this camera, head over to the Leica website. And if you want to see what this black-and-white camera is made of, check out our studio scene and real-world sample galleries below:

Leica M Monochrom Typ 246 Real-World and Studio Samples

Press Release

Leica Camera and Marcus Wainwright of rag & bone Collaborate for Special Edition M Monochrom (Typ 246)

The new ‘Stealth Edition’ set underscores Wainwright’s quest for purity and perfection with a sleek, matte black version of the distinctive Leica M Monochrom

March 8, 2018 – Today, Leica announced an unprecedented special edition of its unique digital rangefinder camera with a black-and-white sensor: the Leica M Monochrom (Typ 246) ‘Stealth Edition.’ Limited to just 125 sets worldwide and designed by Marcus Wainwright, CEO, Founder and Creative Director of the New York-based fashion brand rag & bone, the special edition camera and accompanying Summicron-M 35 mm f/2 ASPH. lens matches Leica’s high standard for quality and craftsmanship, with a new twist. With the M Monochrom camera, Wainwright, a longtime Leica photographer and enthusiast of black-and-white photography, has intensified the highly coveted unobtrusive nature of the camera with a unique matte black look and glow-in-the-dark accents for added functionality.

“For me the Leica M system personifies the pursuit of perfection in an object designed for a singular purpose. Inspired by that, I was aiming to try and further refine and perfect the M Monochrom - an almost impossible task - by distilling it to its purest form and highlighting the stealth nature of the camera and lens,” Wainwright said.

Staying true to Leica’s integrity and his focus on the essentials, Wainwright sought to perfect the iconic design of the Leica M camera with an aesthetic that marries purity with function. The ‘Stealth Edition’ of the Leica M Monochrom is quite possibly the most discreet camera on the market today, with both camera and lens dressed in an unassuming black matte finish and minimal branding to eliminate any distractions from the purity and integrity of the design. Only the most important engravings for photographic settings are highlighted on both the camera and lens, each crafted with a with a striking glow in dark fluorescent paint for optimal use in low-light situations. A jet-black, extremely smooth cowhide leather trim adds a layer of texture to the camera and excellent grip for the on-the-go photographer.

The ‘Stealth Edition’ set maintains all the hallmark features of the original M Monochrom (Typ 246) and Summicron-M 35 mm f/2 ASPH. lens. The sensor of the Leica M Monochrom is liberated from color filters, recording only luminance values to capture light with unparalleled sharpness and integrity, even at high ISO ranges. Along with its low susceptibility to image noise, bright viewfinder and rangefinder, ultra-quiet shutter release, and unique design, the ‘Stealth Edition’ set enhances the pursuit to “see in the dark” by broadening horizons for available-light photography and the creation of dynamic atmospheric images.

Meanwhile, the lens has the classic street photographer’s focal length of 35 mm and impresses with high imaging performance and uniquely pleasing bokeh. Despite its high speed and exceptional image quality, its dimensions are astoundingly compact. Paired with this lens, the Leica M cameras become extremely compact, versatile and elegant photographic tools.

The Leica M Monochrom (Typ 246) ‘Stealth Edition’ will be on sale from March 20, 2018. The edition is strictly limited to only 125 camera sets worldwide, each of which bears a distinctive serial number. The set also includes a comfortable, black fabric carrying strap, a metal front cap for the lens and a certificate of authenticity.

Categories: News

Romano Cagnoni obituary

Photographer admired all over the world for his images that ranged from the Vietnam war to Churchill’s funeral

The photojournalist Romano Cagnoni, who has died aged 82, created some of the most memorable images of war in Vietnam and Nigeria and, according to Harold Evans, the legendary editor of the Sunday Times from 1967 to 1981, was “one of the five most important photographers of the 20th century” alongside Henri Cartier-Bresson, Bill Brandt, Don McCullin and W Eugene Smith.

In 1965 Cagnoni became the first non-communist photographer to enter North Vietnam, visiting the country in the company of the journalist James Cameron and the news cameraman Malcolm Aird. He travelled into the countryside to capture the lives of ordinary Vietnamese as they struggled to work the land during ferocious aerial bombing by the US.

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Categories: News

Sony a7 III sample gallery updated

DP Review News - Thu, 08/03/2018 - 14:00
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We've just updated our Sony a7 III sample gallery with more photos from Sony's press event, representing a variety of shooting situations. All photos are straight-out-of-camera JPEG files, but we have also included Raw files so you can download and test them with your favorite Raw processor as soon as support becomes available.*

We found no further examples of PDAF-related striping as we selected additional images from our other shoots - notably none of which were shot with the FE 85mm at F1.8 in flare-inducing light setups. This leads us to believe the issue is prompted (rarely) by certain combinations of cameras, lenses, and lighting conditions. We'll be continuing to investigate this relationship as soon as a production camera arrives.

See our updated Sony a7 III gallery

* Note some JPEGs in the gallery appear underexposed, shot intentionally to retain blacks and because there is little noise benefit to ISO amplification beyond the a7 III's dual gain step at ISO 640. We'll process the Raws of these images when support is available and update this gallery. The underexposure is not indicative of metering issues.

Categories: News

Giant tulips and polo players on elephants: Thursday's best photos

The Guardian’s picture editors bring you photo highlights from around the world

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Categories: News

Bird Photographer of the Year 2018 – in pictures

The shortlist for the coveted Bird Photographer of the Year awards has been announced by Nature Photographers and the British Trust for Ornithology. Here we display a few of the entries in the running for the awards, which will be announced by Chris Packham in August at the annual Rutland Birdwatching Fair

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Categories: News

Cities, deconstructed: Hatakeyama's offbeat urban visions – in pictures

For 30 years, Japanese photographer Naoya Hatakeyama has probed the intimate lives of cities – from the quarries where they are blasted from the rock to the secret subterranean rivers that sustain them

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Categories: News

Google 'LIFE Tags' uses AI to organize LIFE magazine's 4 million-photo archive

DP Review News - Wed, 07/03/2018 - 20:42

Earlier today, Google revealed a few new projects that utilize its artificial intelligence technology at the intersection of education and culture, and one of those projects is called Google LIFE Tags. For the LIFE Tags project, Google used a computer vision algorithm to intelligently sort through, analyze, and tag 4,000,000 photos from LIFE Magazine's publicly available archive.

LIFE Magazine initially ran from its launch in 1936 until 1972; it then resumed distribution in 1978, only to be suspended again in 2000. According to Google, the publication only used 5% of the millions of images that were taken for the magazine during its decades of operation—an archive that spans 1800m / 6000ft of space across three warehouse.

The archive's enormous size makes it difficult to browse, and that's where Google LIFE Tags comes in. The project, which is available now for anyone to use, organizes the archive based on objects found within the photos. Each object—such as "1937 Ford," "Airbus," "American bulldog," and thousands more—are presented on the Google LIFE Tags website in the form of an interactive encyclopedia.

Visitors can browse images from LIFE Magazine's photo archive that contain the particular objects or subjects they're interested in by clicking the related tags on the project's website.

Clicking the "camera" tag, for example, prompts the system to present more than 800 images containing cameras. Each category's page includes a definition pulled from Wikipedia, as well as related tags that the visitor may be interested in, such as (in this case) things like "camera lens," "filmmaking," "photographer," and "film camera."

"Using thousands of automatically created labels," Google explained in a blog post, "the tool turns this unparalleled record of recent history and culture into an interactive web of visuals everyone can explore."

And honestly, we can't imagine a better way to spend a few hours of time this evening than browsing through this incredible archive of imagery. Enjoy... and our apologies to your productivity.

Categories: News

Venus Optics officially launches the Laowa 25mm F2.8 2.5-5X Ultra Macro

DP Review News - Wed, 07/03/2018 - 20:14
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About a week ago, Venus Optics' Japanese distributor Sightron announced two new lenses: the Laowa 9mm F2.8 Zero-D and 25mm F2.8 2.5-5x Ultra Macro. And while the 9mm F2.8 Zero-D still hasn't made its way onto the English language Venus Optics site yet, today did see the official announcement of the strange Laowa 25mm F2.8 2.5-5x Ultra Macro.

Nothing has changed about the lens' design since last week's debut: the 25mm F2.8 2.5-5x Ultra Macro is still made from 8 elements in 6 groups—including an ultra low dispersion lens and multilayer coating on each element—which allow for a max working distance of 40 mm (5x) to 45 mm (2.5x). Ultimately, this lens was designed to be as portable as possible, as this comparison between it and the Canon MP-E 65mm F2.8 1-5x Macro demonstrates:

Size comparison: Laowa 25mm F2.8 2.5-5x Ultra Macro vs Canon MP-E 65mm F2.8 1-5x

The Venus Optics Laowa 25mm F2.8 2.5-5x Ultra Macro will be available starting in March for the price of $400 USD. You can also purchase an optional tripod collar ($30), Micro Four Thirds adapter ($30), or Fuji X mount adapter ($30).

For more information, if you'd like to pre-order your own, or if you want to scroll through a series of official sample images, head over to the Venus Optics website.

Categories: News

Halide update adds 'blazing fast portrait mode,' depth maps and more to the iOS app

DP Review News - Wed, 07/03/2018 - 18:56

Halide—the feature-rich third-party camera app for the iPhone—just released version 1.7 which adds support for the dual-camera setups of the iPhones 7 Plus, 8 Plus, and X, using the two lenses to "see" in three dimensions.

When shooting a photo, you can now apply a background-blurring portrait effect or darken the background, similar to Apple's 'Portrait Lighting' effect. But this isn't just Apple's portrait mode pasted into Halide, the app allegedly does it better:

In an App Store first, Halide’s Portrait mode uses a combination of smart facial detection and point-of-interest detection to allow Portrait mode with zero waiting; users can snap a shot at any time to get beautiful background blur effects on a subject.

Additionally, the app is capable of storing the actual depth map as a separate .png-file for later fine-tuning of the results in an image processor, and a new 'Augmented Reality Depth Photo Viewer allows you to "place Depth-Enabled captures like images shot with Portrait Mode in AR."

Once placed into 3D space, you can walk around and through the captured scene and 'explore' your depth map. It's gimmicky... but actually really cool:

Halide 1.7 is already available to purchase on iTunes for $3. To learn more about the app's new depth mapping feature set, head over to the Halide blog. And if you're curious about Halide in general, you can read our hands-on of the app's launch version here.

Categories: News

Major ON1 Photo RAW update adds tethered shooting, better noise reduction and more

DP Review News - Wed, 07/03/2018 - 17:33

ON1 just released a major update to its photo editing software ON1 Photo RAW. The update, version 2018.1, brings with it a host of feature upgrades, including: better auto-alignment for the HDR mode, improved high ISO noise reduction, and more detailed image sharpening. The update also includes a new tethered shooting function for certain Nikon and Canon DSLRs, as well as a new import utility that allows metadata to be added as images are sucked in from the camera.

Video files can now be seen in the browser, and new sort features allows user to browse imported images in a number of ways, such as by file type, date, file name or rating. Users can also batch rename groups of images, and a date-and-time editing function lets you adjust the recorded moment an image was shot.

Finally, the company has also made some changes to the way images are debayered to improve the amount of micro detail preserved in the final render.

ON1 says its priorities are image quality and processing/handling performance:

“Version 2018.1 isn’t just about the new features, although there are many powerful new additions," says ON1 Director of Product Dan Harlacher. "Image quality and performance are the top priorities in every update, and we are very excited for our customers to experience these improvements for themselves in this update."

New users can take advantage of a free trial, or purchase the software in its entirely (usually $120) for a special limited-time price of $80. If you're already using Photo Raw 2018, the new version is free.

For more information, visit the ON1 website.

Press Release

ON1 Photo RAW 2018.1 – New Update Available

Portland, OR – March 1, 2018 – ON1, Inc. is pleased to announce the immediate availability of the new ON1 Photo RAW 2018.1, the first major free update to Photo RAW 2018. Version 2018.1 includes image quality enhancements, performance improvements, and key features to optimize the photographer’s workflow.

“Version 2018.1 isn’t just about the new features, although there are many powerful new additions. We’ve been very focused on image quality and the results customers get from using ON1 Photo RAW. Image quality and performance are the top priorities in every update, and we are very excited for our customers to experience these improvements for themselves in this update,” says Dan Harlacher, Director of Product at ON1.

New Improvements
  • Debayering – The algorithms have been improved to increase the amount of micro detail while reducing aliasing, yielding photos that are noticeably crisper with less color artifacts.
  • HDR – HDR alignment and deghosting have improved, yielding sharper results with less ghosting, noise, and color fringe. Users now have the ability to select which frame is used for deghosting and can also adjust the amount of motion visible in water and clouds.
  • Faster Cataloging – The thumbnail and preview generation of images is now faster. Searching photos has also been improved.
  • Noise Reduction – Improvements to reduce large noise from very high ISOs. Automatic hot-pixel removal has been added, and green and purple color aberration reduction has improved.
  • Sharpening – The sharpening algorithms have been improved to enhance micro details and provide sharper initial results.
  • Panorama – The panorama merge dialog now does a better job with vertical panoramas as well as really large ones. It can now stitch together up to 25 photos at a time. Blending of photos to compensate for differences in exposure and white balance have been improved.
  • Preview Quality – The preview window has been improved to more accurately reflect the details and sharpness in photos at different zoom levels.
New Features
  • Import – Get photos from your camera to your computer, choose where you want the photos to go, assign metadata, and more.
  • Tethered Shooting – Get your photos to your computer instantly and apply import settings. Currently supports Canon and Nikon.
  • Soft Proofing – Simulate what your photo will look like when it’s printed.
  • Metadata Templates – Add metadata to a group of photos using presets. This allows you to choose and save only the information you want applied to your photos.
  • Video Browsing & Organizing – Now supports viewing video files so you can organize those as well. Copy, move, name, add metadata, and more.
  • Custom Sorting – This option in Browse allows you to put your photos in any order you choose.
  • Batch Rename – Rename all of your photos in a batch to add unique information to filenames.
  • Edit Capture Date – Adjust date and time on your photos so they match the actual date and time they were taken.
  • Auto Advance – Automatically switch to the next photo during the culling process when rating or tagging photos.
  • Additional Camera & Lens Support — Added support for several new cameras and many new lenses. See the full list here.
About ON1 Photo RAW

ON1 Photo RAW 2018.1 is the only photo editor designed by photographers for photographers. ON1's unique community-driven development approach via The Photo RAW Project gives customers a voice in how it’s designed, allowing users to submit ideas and vote on new features. With fast photo management, hundreds of customizable photo effects, powerful masking tools, HDR, panos, layers, and other Lightroom and Photoshop-like features, Photo RAW 2018.1 is the ultimate all-in-one photo editor and raw processor with no subscription.

Craig Keudell, CEO of ON1 says “Our vision for Photo RAW has always been that it would the fastest, most flexible, and easiest-to-use raw processor and photo editor on the market. A single photography centric photo editor with powerful Lightroom® and Photoshop®-like features photographers can own and enjoy for many years. Photo RAW has come a long way in a short time and we are both excited and very busy building new exciting technologies for our next update.”

ON1 Photo RAW 2018.1 isn’t just for raw files. Supported file formats include JPEG, TIF, PSD, PSB, PNG, and DNG are supported and benefit from the speed, performance, and abundance of editing tools in the app. Photo RAW 2018.1 continues to work seamlessly within current photography workflows. The app integrates as a plug-in for Adobe® Lightroom® Classic CC and Photoshop® CC and further builds its case as a complete standalone photo editor or alternative to the Adobe Photography Plan. Version 2018.1 also integrates with the major cloud services to allow for uploading, managing, and editing photos across multiple computers. This allows users to sync photos and their edits across multiple computers or in a studio setting.

Price and Availability

ON1 Photo RAW 2018.1 is available now for an introductory price of $79.99 for a limited time (Reg: $119.99). A free and fully functional 30-day trial is also available on the ON1 website. A single purchase of ON1 Photo RAW 2018.1 will include both Mac and Windows installers and activation for up to five computers. It comes with a 30-day money-back guarantee, world-class customer support, hundreds of free video tutorials, and free ON1 Loyalty Rewards every month.

For More Information

* ON1 Photo RAW 2018.1 Introductory Special
* Free 30-Day Trial
* The Photo RAW Project
* About ON1

Categories: News

Cosina announced three new Voigtlander lenses at CP+

DP Review News - Wed, 07/03/2018 - 17:02

Japanese optical manufacturer Cosina has announced three new lenses at the CP+ show in Yokohama. The trio consists of two lenses for full frame Sony E-Mount cameras, and a new Nokton 50mm F1.2 lens that will come with a Leica M fitting.

COLOR-SKOPAR 21mm F3.5 Aspherical | Sony E-mount

The COLOR-SKOPAR 21mm F3.5 Aspherical is designed for Sony E-mount cameras and measures only 39.9mm in length. Its 10-bladed iris promises attractive out-of-focus highlights, while the closest focus will be 20cm (~7.9 inches). The optical design uses nine elements in eight groups, and Cosina claims the lens has excellent contrast and resolving power even when used wide open.

The lens will be manual focus, and will feature electronic contact with the camera.

MACRO APO-LANTHAR 110mm F2.5 | Sony E-mount

The other E-mount lens is the MACRO APO - LANTHAR 110mm F2.5, which will offer close-up shooters 1:1 reproduction from a closest focus point of 35cm (~13.8 inches). Cosina says it aims to eliminate chromatic aberration, and that it will use a floating focus group to ensure maximum sharpness at all focusing distances.

The optical design packs 14 elements in 12 groups into a 99.7mm long housing, and the iris will contain 10 blades. Again, focus is manual, but electronic contacts allow the lens to communicate with the camera.

NOKTON 50mm F1.2 Aspherical | Leica M

The lens for Leica M-mount cameras is a new standard NOKTON 50mm F1.2 Aspherical VM that will feature two double aspherical lenses and a coupled rangefinder focusing system.

Cosina claims the lenses performs very well wide open, and that it will produce attractive blur in out-of-focus areas. The 12-bladed iris will contribute to the out-of-focus effect, and the closest focusing distance of 70cm (~27.5 inches) will ensure users can make the most of it. The 4.9cm-long lens will use eight elements in six groups and will accept filters in the 52mm fitting.

This lens joins the existing 50mm F1.1 and F1.5 versions in the Voigtlander Nokton series.

Cosina has not said yet when these lenses will be available or how much they will cost when they arrive; however, the company did have working reference samples on display at the show that visitors could try on their own cameras, so it's reasonable to expect that we won’t have to wait too long.

For now, the Voigtlander website hasn't been updated to include the new lenses.

Categories: News

Yto Barrada's best photograph: the prawn factory where women can't talk

‘The women peel prawns all day while a big tube pumps in cold air, making a deafening noise. They get few breaks and a manager walks up and down telling them to get back to work’

In 1998, I was studying anthropology in Paris, but went home to Tangier for the summer. I’d been given an assignment on food so when a friend mentioned she had a job in a prawn processing factory, I decided to go along and take some shots.

It was a Dutch plant on Moroccan soil, an early example of globalisation. The prawns were fished from the North Sea and brought to Tangier to be peeled. I was told women were preferable as employees because they had less union representation.

Just being there made me tense. I kept waiting for someone to ask: 'What are you doing?'

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Categories: News

How two photographers captured the same millisecond in time

DP Review News - Wed, 07/03/2018 - 16:00

On March 3rd, during a large East Coast winter storm, I headed to the ocean to capture some wave action. My travels eventually took me to Great Island Commons in New Castle, NH where Whaleback Lighthouse is prominently featured 0.8 miles offshore. I was hoping to capture big waves crashing around the lighthouse, and Mother Nature didn’t disappoint.

Great Island Common is a wide open park where people come to picnic during the summer and to watch the ocean during the winter. After arriving, I set up my tripod and my Canon 5D Mark IV with Sigma 150-600mm lens on a tripod and positioned myself just to the right of a tree in order to help reduce the pummeling Northerly winds. As many of you know, it’s a challenge keeping 600mm stable in high winds, even on a tripod.

I set the camera up and then waited until I saw a wave starting to hit the lighthouse. I then kept firing until the splash ended, not knowing ahead of time the action of the wave. Most shots never panned out, but about three of them over the course of about 45 minutes were pretty decent.

Once back at home, I culled through the images and choose one to edit and upload to Instagram, replacing an earlier upload that was done in haste while still in the parking lot.

When a local TV station shared the photo to their Facebook page (with permission) it started to receive a large amount of shares, comments, and likes; however, there was one comment that mentioned that I had stolen the image from another New England photographer, Eric Gendon. After letting the commenter know that it was indeed my image and that I possess the original RAW file, I headed over to the other photographers page and was blown away.

We had what looked like the exact same image, taken at the exact millisecond in time, from what looked like the same exact location and perspective.

Aside from choices made in Lightroom, the photos at first glance look virtually identical aside from water in front and some of the white caps being in different position. Even then, the white caps were identical in size and shape—and I know those things are easily moved using the clone stamp in Photoshop—so I was concerned that maybe MY image was stolen and altered a bit.

Initially, I only had access to his shared, low-resolution, image so I wasn’t able to make out some of the very fine details that ultimately helped to convince me that we both had originals. After overlaying and aligning the images in Photoshop I was blown away that the lighthouse and waves were carbon copies, almost to the pixel. As mentioned already, there were many differences in the foreground water and the white caps on the horizon, and it was these differences that held me back from claiming he stole my image.

It wasn’t until another local photographer started comparing my photo to a higher resolution version of Eric’s image that he noticed that the iron gating around the top of the lighthouse had slightly different spacing between the vertical bars compared to my image. This would indicate that the other photographer was likely standing just a little bit left of where I was standing.

Since the 60D uses an APS-C sensor he would have also likely been back a little further to compensate for the 1.6x “zoom” / crop of the sensor or using a shorter focal length to compensate. This would also explain the white caps being in different positions.

However, the fact that the lighthouse doesn’t really show any rotational changes—and the crashing wave is an exact match—makes this all the more remarkable that these were captured randomly from two different photographers.

The next morning, Eric woke up to a flood of messages from me as well as other photographers, and immediately contacted me to share his EXIF data, and to agree that it was astounding that we both captured the exact same image of water motion at the exact millisecond in time. What makes this even more amazing is that this wasn’t a planned event (aka. sporting event, shuttle launch, etc.).

I also didn’t know Eric—we each chose this location randomly, and we both shot with different cameras (60D and 5D Mark IV) with different size sensors.

The 60D has a burst mode of 5.3fps, the 5DMKIV is 7fps; we both used a 600mm focal length; our exposures and depth-of-field were almost the same as well (F8 aperture, ISO 400, 1/1600th shutter vs. F8, ISO 320, 1/1000th shutter); and, ultimately, we both selected the same photo from that day to promote. Come to find out we were only 28 meters away from each other. He was hunkered down under a picnic enclosure to help block some of the wind and I was up against a tree to help reduce the wind.

I did a Google search to see how often this happens and could only find one article from 2011 where two photographers filming a surf competition on Huntington Beach ended up catching a virtually identical image of a surfer and its wave action.

If you shoot water in burst mode you know how different each exposure is even when the difference in time is just 1/7th of a second between shots. And I have been leading night-sky photography workshops for five years and have had well over 200 photographers who are often aiming at the same subject, shooting with similar cameras and lenses, and capturing at the same moment in time, even doing continuous shooting for time lapse, and until now I have never seen two images that were so close as to be virtual clones of each other.

While this is a rare occurrence, I believe that with cameras getting faster and photographers taking more time to prepare for their shots, I have to imagine that these situations will happen more frequently. It happens every day with stationary or slow motion objects (buildings, sun/moon rise) but almost never with water movement.

One commenter on my FB post mentioned how this mistake brings to light the importance that post-processing plays in making your images your own. Here we had two essentially identical images—one edited to preserve a more natural feel, while the other image was edited to enhance the drama and emotion of the scene.

Photographer Information

Ron Risman
Instagram: Timeographer
Facebook: risman

Eric Gendron
Instagram: ericgendronphotography
Facebook: ericgendronphotography

Ron Risman is a New England-based photographer, cinematographer, and time-lapse specialist with over 30 years of experience behind the camera. You can find more of his work on his website, Instagram, and Facebook page.

Categories: News

AI-powered Google Lens feature is now available on all Android devices

DP Review News - Wed, 07/03/2018 - 15:16

The latest update to the Google Photos app in the Play Store expands the Google Lens feature's availability from Google's own Pixel devices to all Android smartphones.

Google Lens uses Artificial Intelligence to power its visual recognition algorithms and provides information about whatever your smartphone's camera is pointed at—for example, what type of flower you are looking at or reviews and other information about a restaurant. You can also identify landmarks, look up movies, books or works of art and scan barcodes/QR codes and business cards.

With Google Lens, your smartphone camera won’t just see what you see, but will also understand what you see to help you take action. #io17

— Google (@Google) May 17, 2017

As you can see from the embedded tweet below, Google says current Android users should update to the latest version of Google Photos in order to use the feature. What's more, an iOS version of Google Lens is reportedly "coming soon."

Rolling out today, Android users can try Google Lens to do things like create a contact from a business card or get more info about a famous landmark. To start, make sure you have the latest version of the Google Photos app for Android:
Coming soon to iOS

— Google Photos (@googlephotos) March 5, 2018

To learn more about Google Lens, how it works, and what it does, head over to the Google Lens support page.

Categories: News

Buying Guides updated: Panasonic GH5S selected as best camera for video

DP Review News - Wed, 07/03/2018 - 14:00

As part of an update to our Buying Guides, we've crowned a new winner in the video category: the Panasonic Lumix DC-GH5S. Its excellent video quality and extensive range of support features see it take top honors from its sister model, the DC-GH5, which we recognize as a better fit for run-and-gun style shooting.

Read our updated Best Cameras for Video Buying Guide

The GH5S's sensor allows it to continue shooting excellent quality footage in a wider range of lighting conditions than the regular GH5, and the provision of 10-bit capture ensures its footage is tremendously gradable, even in high dynamic range conditions.

Meanwhile, the higher bitrate capture and in-body stabilization of the Fujifilm X-H1 see it displace the X-T2 in our 'also consider' list for video cameras, and the a7 III's lower price and full-width, oversampled 4K capture see it take the a7R III's place, pending full review.

We've also added the Canon EOS T7 and EOS M50, and the Panasonic ZS200/TZ200 to the appropriate Buying Guides. This way, anyone shopping for a camera is aware of these models, while we continue to work on their full reviews. Each will be considered for recommendation as soon as our testing is complete.

Read our updated Buying Guides

Categories: News

Salt mountains and Egyptian geese in flight: Wednesday's best photos

The Guardian’s picture editors bring you a selection of photo highlights from around the world

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Categories: News

Lava, yaks and frogs: the Smithsonian magazine photo contest – in pictures

The finalists in six categories have been chosen out of 48,000 submissions from photographers in 155 countries. Here we showcase a few. See all 60 finalists from’s 15th Annual Photo Contest and vote for the Readers’ Choice winner.

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Categories: News

Freckles, milkshakes and 9/11: on the prowl with Joel Meyerowitz

His brilliantly observed street images changed photography and influenced a generation to come. As he turns 80, Joel Meyerowitz is publishing a photobook autobiography, Where I Find Myself, spanning his whole career

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Photography legend Joel Meyerowitz: phones killed the sexiness of the street

He chased parades, ambushed hairdressers and refused to leave Ground Zero. Over PG Tips and ricotta at his Tuscan barn, Joel Meyerowitz relives his most stunning shots

One day 55 years ago, Joel Meyerowitz was roaming the streets of his native New York with a 35mm camera when he glimpsed something through an arcade window that stopped him in his tracks. A young woman was standing with her back to him, tenderly grooming her boyfriend’s pompadour with a comb, just as Meyerowitz imagined she had curled the hair of dolls when she was a girl.

As we sit in front of the log fire in his converted barn in Tuscany in the February dusk, Meyerowitz remembers what happened next. “I snuck up as close as I could and tried to capture the intimacy of that moment. I was very shy and it took all my courage – if the plate glass hadn’t been there, maybe I wouldn’t have dared get so close.” In the resulting print, the boy glances from the shadows into the camera with furrowed brow, a moment of pure vulnerability that a split second later might have curdled into rage at Meyerowitz’s intrusion. And, just possibly, the photographer might have got his ass kicked.

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Adelaide Biennial of Australian art – a contemporary snapshot tackling big social issues

Divided Worlds straddles ideological and geographical gulfs with its collection of sculpture, photography, installation, video and painting

At the launch of the 2018 Adelaide Biennial of Australian Art, guest of honour and Adelaide festival co-director Neil Armfield offered his summary of the exhibition and its theme: Divided Worlds. “Somehow we are longing for healing and becoming whole,” he says. “When it’s in art, it’s just one step from the real world.”

Divided Worlds is an exhibition that aims to describe the divide between ideas and ideologies, between geographies and localities, between communities and nations, and the subjective and objective view of experience and reality itself.

Related: ‘I have a post-9/11 mentality’: creating art while Muslim in Australia

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