Bloglikes - Pics en-US Mon, 25 Mar 2019 16:25:06 +0000 Sat, 06 Apr 2013 00:00:00 +0000 FeedWriter With A.I.-powered autofocus, the Sony a9 just got even better with new firmware The speedy Sony a9 is a download away from more accurate autofocus. New firmware version 5.0 for the Sony a9 brings artificially intelligent autofocus modes to the action-oriented camera, as well as a boost to image quality with updated processing.

The post With A.I.-powered autofocus, the Sony a9 just got even better with new firmware appeared first on Digital Trends.

Mon, 25 Mar 2019 11:30:34 +0000 BlogLikes - Find Most Popular Blogs News Photography AI in photography Camera Firmware Update Sony Sony a9
The Most Amazing Thing About Photography Circa 2019 Bob Gary was right in saying that the "Complexification" post the other day "hit a nerve." I think so too.

The best thing I got out of the discussion was the "aside" in the Featured Comment by Dennis, who wrote:

I know plenty of people who have turned away from entry level cameras (ILC or fixed lens) in favor of their phones, but I think that's due to the ease of sharing photos taken with a phone.

As an aside, I truly believe that many people do not think that their phone is a 'good enough' camera (how many times do you read that phones are good enough for most people?)—it's just that the ease of use/sharing is worth the compromise. I think a lot of people who shoot phones as their primary camera would love a better camera in their phone (and that is driving phone manufacturers to compete on camera capabilities).

That's brilliant, and I think it's spot on—"many people do not think that their phone is a 'good enough''s just that the ease of use/sharing is worth the compromise." Couldn't have said it better.

It highlights a really astonishing development in photography as a whole. Just to make the point a little more deliciously, I'd like to digress with a description of how I was practicing photography in the late '90s in my little house in Woodstock, Illinois, USA (the town where the greatest movie ever made, Groundhog Day*, was filmed). This is long, but I think you'll find it entertaining, whether or not it sounds familiar to you.

Before I start, though, I should mention that I shot Kodak Plus-X, at an exposure index (E.I., meaning a film speed that departed from the official ISO rating) of 64, and Kodak Tri-X at E.I. 200. I made no adjustments of the film speed from picture to picture or roll to roll, or for that matter from year to year. And I got 35 exposures (more on that later) per roll of film, so you had to be mindful how many shots remained, and "pick your spots" for changing rolls to minimize any chance of missing the action. And there was no possibility of shooting color with the same click of the shutter—if you had B&W film in the camera, that's all you got, B&W.

So here we go. First, using a contraption called a Watson loader, I took 100-foot rolls of 135mm film—it was originally movie film, and, in long rolls, still looked like it—and loaded it into a number of reusable cassettes, leaving the leaders sticking out. Then I had to clip the leader into a "tongue" using scissors, for easier loading into the camera. After shooting the pictures, I collected the exposed films, and went upstairs to my bedroom closet, which I darkened completely by stuffing a bathrobe under the door. I could only do this at night, by the way, or the daylight bouncing around the bedroom would overwhelm my defenses. I prepared by cutting the tabs or tongues off square across and attaching the end of the filmstrip, sticking out of the cassette, to the inner core of a "King Concept" stainless-steel film reel. Then I switched off the light. In pitch darkness, sitting cross-legged on the floor of the closet, working by feel, I wound three films on to reels, and placed the reels into a large four-reel tank, with the three loaded reels on the bottom and an empty reel at the top (I got better agitation by using a generous airspace, but leaving the airspace meant the solution wouldn't quite cover the fourth, or top, reel). All done, I put the light-tight top on the tank, turned the lights back on, and set myself free from the closet.

I shot only 35 pictures per roll so that all the negatives, cut into strips of five, would fit into a single Printfile negative sleeve and could be proofed (contact printed) on a single piece of 8x10 photo paper. So I was preparing to develop 105 pictures.

Downstairs, by the kitchen sink, I had already "tempered" the solutions (i.e., brought them to the right temperature) by preparing a 66°F water bath in a large Rubbermaid kitchen tub. While I rolled the film onto the reels upstairs, I had the developer, stop bath, fixer, and surfactant standing in the tempered water to bring them to the 68°F processing temperature. I tempered the water using a plastic gallon jug of plain water I keep in the refrigerator to keep it cold; sometimes the water from the cold tap was warmer than 68°F.

To prepare the developer, every couple of weeks I had to mix a "stock solution" of Kodak D-76 from packets of powder and heated distilled water, which I then decanted into 16-oz. amber brown pharmaceutical bottles. Mixing developer stock solution took the better part of an hour, but I got eight 16-oz. bottles of stock from each mixing session, enough for 24 rolls of film. The developer stock had to be aged. Because D-76 took a few days to stabilize and got more active as it got older, I didn't use it for the at least 72 hours after mixing it, and after 90 days, if there was any left (there never was), I threw it out. But that meant that the bottles had to be labeled with the date and time of mixing.

Before processing, I took one bottle of stock and mixed it 1:1 with distilled water, tossed out four ounces to leave 28 oz., and cleaned and dried  the stock bottle. That 28 oz. of 1:1 developer was what I was bringing to the processing temperature.

Using two bi-metal dial thermometers and one mercury one for calibration, I then performed a ritual I had performed well over a thousand times: I processed the film. First, the tank was brought to temperature with one-minute tempered water bath. Then the developer for 8.5 minutes, with ten precisely choreographed agitations by inversions. The agitations took ten seconds out of every minute. Then the developer was dumped into a beaker so I could check the finishing temperature, and then stop bath was poured into the tank and agitated continuously for a timed period, then ditto for the fixer. The processed film was then rinsed and washed under the tap. Finally, I poured in a solution of four drops of Edwal LFN, a surfactant, and distilled water to prevent water spots when drying.

Then I took the wet films to another closet, on the ground floor of the house, and hung them up to dry overnight. By the way, this closet had to be wiped down and spritzed with Endust every few weeks to keep dust at bay.

The next morning, I carefully clipped the three films into strips of five frames each and loaded them into the transparent Printfile negative sleeves, which had three holes on the left for insertion into a binder and were about the size of letter-sized paper. This was my least favorite chore in the process. Then the Printfile sheets went down to the darkroom to be added to the pile to be proofed.

Once I had maybe nine, or 12, or 15, or 18 sheets ready to be proofed, I went into the darkroom, mixed three trays of chemicals, and contact printed each sheet. I used 8.5x11" paper that I kept for that purpose (I also liked that size for work printing).

At that point, I was ready to begin dealing with the pictures I'd taken.

The first step was to determine which frames to workprint. My rule was that I had to workprint at least one frame from a roll of film (this was to prevent laziness, since it kept me from tossing the whole roll aside as worthless), and no more than six (this forced me to make hard choices when I was examining the contact printed frame with a lighted loupe). Sometimes I took a number of days and repeated viewings before marking the contact sheets for workprinting.

A "workprint" for me was a quick-and-dirty 8x10 full-frame print of the image, so I could further evaluate the picture, edit them, and strategize how to print the selects. The next step was a darkroom session for workprinting. As with contact printing, I had a standard exposure time, contrast, and enlarger head height setting for workprints, and the job was simply to rotate all the selected negatives into and out of the negative carrier and expose all the paper, which I kept in a paper safe as I worked. I might make 10 to 50 workprints in one session, but I processed them about every 15—that was as many sheets as I could comfortably put through the solutions together, agitating by "interleaving," which meant continuously rotating the sheets of paper from the bottom to the top of the pile. Once processed and washed, all these prints were squeegeed and laid out on our couch or the carpet till the next morning to dry.

The next step in my workflow was to figure out which negatives to make "fine prints" of. As I mentioned earlier this week, I made finished prints on 11x14 fiber-base paper to several standard sizes. A 2–3 hour darkroom session was usually good for four to seven finished prints.

I won't even go into the process of making finished prints.

Here's what's funny about that...

It's kind of hilarious now to reflect that I was doing all this because it was the most convenient alternative!! Makes me laugh, now. But with 2 1/4 rollfilm, I could only develop 24 exposures per tank; with sheet film, I could only tray-develop maybe six to 12 exposures in one session. Both larger formats had other costs, such as smaller maximum apertures on the normal lenses, more expensive lenses of more limited focal lengths, more film changing, and fussier film handling. With 35 exposures per roll, fast lenses, and the ability to develop a whopping 105 exposures per tank, I was making the "slacker" choice...I was "compromising" (cf. Dennis's quotation) with the smaller 24x36mm negative size because, well, yes, it was easier.

I'm sure you don't need me to compare all that preposterous effort to today, but I'll mention a few high points. Now, I can:

  • Carry the equivalent of dozens of film cassettes on one tiny card
  • Shoot hundreds of exposures per card, with no film changing and no appreciable per-exposure cost
  • Use ISOs of up to 5000**
  • Shoot B&W and color simultaneously
  • Carry much smaller lenses thanks to having a sensor that's much smaller than the 24x36mm of 35mm film
  • Stitch frames together easily after the fact
  • Review what I've shot instantly
  • "Develop" my shooting instantaneously and with almost no effort
  • Proof and store with a few clicks of the mouse and some keyboard notations
  • Manage colors much more easily
  • Make color prints that are arguably the most beautiful and longest lasting of any method in history

And so on. The list goes on. You know what I'm talking about...all the advantages of large-sensor (I mean anything over 1"), dedicated digital cameras.

Here comes the amazing part

But that's not the amazing thing I wanted to point out. With all that—all these vast, overpoweringly superior. hugely more convenient advances in photographing, affecting almost every aspect of current workflows, which taken together amount to approximately the same qualitative change as traveling from one place to another using a horse-drawn buggy vs. a Camry—even with all that, it's not enough.

It's not convenient enough. Or it's getting to be that way. For some number of people, a number that's growing all the time, Dennis is exactly right. They will accept picture quality that's not quite good enough in exchange for the improved convenience of having their camera in a slim little pocket-sized wafer they have to carry with them anyway, and for the convenience of superior pointing-and-shooting abilities (the iPhone really is better than a "real" camera in the software department—it balances exposure, corrects color, and applies HDR more intelligently), and for the ability to share with others and post on social media immediately.

When I shot 35mm Tri-X with my old manual, metal, mechanical 35mm cameras, I was actually compromising for the sake of convenience. In May of 2000, by the time the $3,000, three megapixel Canon D30 came out, convenience had improved by—what? Ten times? Fifty times? over the old-fashioned film workflow described above that I was using in Woodstock. The D30 (I couldn't afford one) was the camera that Michael Reichmann of Luminous-Landscape famously declared to be as good as 35mm film (as long as you uprezzed carefully!). At Photo Techniques we sold Michael Reichmann example prints in our Collector Print program, to show people what was possible with "affordable" digital.

But in 2019, Y2k-era convenience is not only no longer news, it is no longer sufficient.

As I say, amazing.

Change is gonna come

You know what I'd really like to see? A comparison of image quality between a Google Pixel 3, Samsung S10, or Apple iPhone XS of today and a Canon D30 of the year 2000. That would really be interesting. Because it's possible we're at a similar stage in the third really major change in cameras in my lifetime. The first was the advent of point-and-shoots in the 1980s. The second and by far the most significant was film to digital. And the third might turn out to be standalone, large-sensor cameras to smartphones. (The one prior to those was rangefinders to SLRs, but I was two years old when the Nikon F heralded that the era of the SLR had arrived in 1959, so I didn't witness that.)

Time will tell.


(Thanks to Dennis)

*Is so. And since we're talking about Zen Buddhism, is this a good time to mention the concept of the Root Teacher? That's when you trace your teaching lineage from your own teacher, to your teacher's teacher, to his teacher, and so on. Well, my first photography teacher was David Vestal (I learned photography with his book The Craft of Photography open in my tiny darkroom under the basement stairs, and later hired him to write for Photo Techniques), and his teacher was Ralph Steiner, and Ralph's teacher—and thus my "root teacher"—was the pictorialist Clarence H. White, the founder of the first photography school in the United States. During one of his most creative periods, according to Ralph, Clarence White could only afford to expose eight (8) plates of film per month—two per week, and "he would spend every spare moment planning what he would do with those two plates on his weekend." And a surprisingly large percentage of those pictures were among his masterpieces.

There's probably a lesson in that, but I suspect I'd have to rewrite this exact same post for an infinite number of days before I achieve enlightenment as to what that lesson is.

**I don't believe I've ever shot a "keeper" picture at an ISO higher than that. Your mileage may vary.

Original contents copyright 2019 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

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Featured Comments from:

Dave Jenkins: "It was complicated, shooting film. And of course, Photoshop has complications and difficulties of its own. It's just a different skill set, and I found the complications of film much more satisfying. On another note—I think yours was the first mention I've ever read or heard anywhere about D-76 gaining strength as it aged. I experienced that effect when I had my studio in the '90s—I used to mix a gallon at a time and found it giving me denser negs as I got toward the bottom of the jug. Rather than go through your process, I just switched to T-Max developer and mixed as needed."

Stan B.: "The complexification part in the analog days came from the shooting/developing routine described above. It was arduous, but...just that—routine. Today, endless choice is readily available; the complexification arrives when accessing that cornucopia of choice—it often comes with deciphering programs that are seldom routine and forever changing, evolving and becoming more...complex."

Mike Ferron: "Mike, I would describe your ritual when shooting, developing and printing film based photos now simply as 'keeping the faith.' About a month ago I picked up the most beautiful Leica IIIf and Summitar 5 cm ƒ/2 lens that was screaming at me from the local dealer's showcase. A total jewel to handle and admire and a PITA to actually use. And I love that. From the crazy loading of film to taking off my hat and glasses to actually be able to use the rangefinder then the viewfinder. Load Tmax 400, meter at 320 and the world is a better place in the end!"

Joseph Reid (partial comment): "There are cameras these days that will get your pictures to your phone wirelessly, such as the Nikon Z line, but they lay off the real work, processing your pictures and distributing them via the interweb, to the app and phone makers. As others have said, the old-line camera makers need to fix this. It's blisteringly obvious...."

[Ed. Note: You can read the full text of partial comments in the comments section. Click on "Comments" in the post footer.]

JOHN GILLOOLY (partial comment): "I purchased a very low serial number Nikon D1 the week they were available. The early days of digital were very difficult as the flash technology was crap and lab printing didn't really exist. My 64MB cards (32 JPEG fine images on a card—no chance you were shooting RAW) cost $349 and I eventually purchased a 1GB CFII card for $1200.00 after dropping a 'very delicate' IBM Microdrive. Everything was painfully slow. Downloading from the card was excruciating. Burning a CD took 40 minutes! Your description of B&W darkroom sounds so painfully slow and work-intensive from where we sit now. The first ten years of digital was a constant trial and error process with sacrifices in quality for many years relative to our analog world. I felt the time of the Nikon D3 was when digital finally came of age."

[Ed. Note: The next two comments came in one right after the other in this order. Coincidence?!?  :-) ]

Christopher Mark Perez: "Sony could easily solve the problem of convenience by replacing their mirrorless product line display interface with a full Android OS. Marry their high quality imaging system with a high quality fully functional networked OS and call it done (for now). They are an electronics company, after all. They could do that and make a whole lot of people happy."

Martin Doonan: "I love the irony that Android, as an operating system, was originally intended for digital cameras."

Neil Swanson: "Fifty years of shooting in formats from 35mm to 8x10, 22 years of making my living with a camera and what do I miss? Prints. I just don’t print or pay someone else to. It’s not a photo till it’s a print and yet I’ve got no idea what to do with dozens of boxes of prints I did make and nobody ever sees. But I miss prints."

Tom Frost: "I saw a cartoon that showed a roll of 2 1/4 film, a 35mm cassette, and a compact flash (CF) card. The caption, one under each device, said '12 exposures, six are good. 36 exposures, six are good. 600 exposures, six are good.'" 

Ian: "Found one of the very first images I shot on my D1 and my then new iPhone 8. Interesting to see how far things have come."

David Lee: "Loved to read your story Mike. I had a similar workflow. The part I enjoyed the most was the printing of full-frame negatives on 8x10 or 11x14 paper. I was using a Heiland Splitgrade that would give me a perfectly good working print at the first try 99% of the time. I designed a mounting and framing work table with slots for glass, cotton rag mats and frames. I was in total control of the photograph, from the shutter release to the hanging of the framed print. Almost eight years into digital and I still don’t have a printer. Shame on me."

[Author: Michael Johnston]

Mon, 25 Mar 2019 08:44:25 +0000 BlogLikes - Find Most Popular Blogs Cameras New Old Michael Johnston
Height of Tech Here's an intriguing hypothetical question. How good would your smartphone camera have to be to make you completely satisfied with it as your only camera?

First of all, is that even possible for you? It will never be for some people. John Coffer, for instance, who I ran into at the gas station in Dundee the other day as he was gassing up one of his Model T Fords. He makes tintypes on found metal substrates and sells them in NYC galleries. Or Stephen Scharf, who shoots motorcycle racing with long lenses and very fast and responsive cameras. Or Jack MacDonough, who uses a Leica S to make prints that need to be ten feet wide sometimes.


Jack with a small print

It's an idea I only want to entertain cautiously myself, since I've long believed that "tech for the masses" tends to dive to a lowest common denominator, and I usually want to go in the other direction. I live in fear of being trapped into using whatever is just barely "good enough" for the casual consumer. But I'm probably one of those people who could use such an imaginary device, since I tend to use a camera as a "notepad" for visual exploration and I've long preferred shooting with two or three prime lenses.

I personally love the dual module of my iPhone 7+ (28mm-e and 56mm-e). If the shorter lens were 35mm-e and the longer 85mm-e, I'd like that better. I'd need it to have the low-light capability of a 16-MP APS-C sensor, the ability to make good 15-inch-wide prints, approximately the image quality, highlight-recording ability, and DR of a topnotch Micro 4/3 of today, and considerably improved ergonomics over what it has now. The latter would include, among other things, a dedicated physical shutter release that's better placed, and better visibility of the viewing screen in daylight. It would need a way to lock the selections on the touchscreen while shooting, among other things—I'm always accidentally resetting to Video or Pano when I'm struggling to touch the virtual shutter button. If it had all that, I might even be happy with it.

Can't believe I just said that. This is only a thought experiment, n.b.

But then, I don't want to be like the writer I encountered in a Camera Annual once who was scorning the then-new "miniature" format—his word. He shot with a Speed Graphic (4x5-inch film in holders) like real photographers did, and the "miniature" cameras he was denouncing were 2 1/4 -inch square TLRs like the Rolleiflex. Ugh! Those people, who compromised quality for convenience with 12 exposures on one film. Right? No standards.

Of course a smartphone I'd be completely happy with seems a long way off at this point, but then, today's smartphones themselves would have seemed like science fiction when I was half the age I am now. At that time, the height of personal tech was that doctors and other VIPs had beepers on their belts. When the beeper made a noise (usually at the emotional climax of a movie at a theater), they had to go find a pay phone to call in to whomever had alerted them and retrieve the very important message that awaited. Woo-hoo. Was that ever cool.

So things do change.  :-)


Original contents copyright 2019 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

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Featured Comments from:

Gary Nylander: "I like using my iPhone for most of my everyday 'snapshots' but I prefer to use a real camera, digital SLR, or film camera when I want to photograph something of importance.

"I remember those beepers. I had one when I worked as a newspaper photographer in the 1990s. It was a real pain when it would start beeping when I was driving along the road somewhere, then I would have to find a phone booth to call into the office. Later we upgraded to ones that would show the message on a tiny LED screen, scrolling along from left to right which was impossible to read at times!"

Jez Cunningham: "You do know...that the volume control button(s) on the side of an iPhone can be used as shutter release button(s)?"

Mike replies: Yep. The larger point is that the ergonomics of the phone-as-camera aren't very good. I feel I could spec out a much better solution.

David Zivic: "I love the way a camera feels in my hands. My phone feels sort of feels a little bit like a phone."

Mike Plews: "My biggest complaint is with the screen. Even with the brightness level at a battery-killing max it is worthless in sunlight. I have to use mine at work every day and a Speed Graphic wire frame finder would be an improvement on the screen at high noon."

John Krill (partial comment): " I make calls on my phone and take pictures with my camera. Fujifilm makes it easy to transfer images from the camera to the phone. Then I'm at a loss as to what I do with them. Social media is like going to a party and knowing no one but everyone calls you friend. Creepy."

John: "I could live with your list, Mike, if you just kept the 28mm-e lens and added easy raw capture built in. I don’t even need the ergonomic stuff. We live in the golden era for those of who love the 28mm lens, by the way."

Mike replies: The raw capture part is easy. Just get the Halide Camera app. Then you're shooting in raw by default.

Charles Rozier: "Re dynamic range vs. Micro 4/3—I have an E-P5 and an iPhone XS. I would say the iPhone, using its default always-on HDR mode, has at least 3–4 stops more effective dynamic range than the Olympus. Sometimes the effect is slightly exaggerated, but it is easier to fix that in Photoshop than to add dynamic range. I can point the iPhone directly into a scene containing lamps and get a good image with decent shadows and no blown highlights almost every time. As for print size, by my (arbitrary) standards the phone makes a pretty good 17x22 print if shot in bright light. It is maybe one print size less sharp than the Olympus.

"I completely agree re the ergonomic and viewing problems. And I would really, really like for the 'portrait mode' simulation to work at 28mm-e and not make any mistakes...."

Dennis: "It would be impossible. Leaving out the theoretical plausibility of satisfying my spec wants (21mm through 600mm FF equivalent coverage with IQ at least equal to a Sony RX10 and the ability to produce—simulated or not—shallow DOF)...I do photography for fun and part of that fun is using a good camera."

Don McConnell: "The image quality improvements are certainly coming but my main issue is one of ergonomics. A slim shiny oblong makes a rubbish camera in my opinion. I would be happy with a plug-in grip, perhaps with its own battery, that replicated something like a Ricoh GR grip on the phone. If it was well enough designed I’d probably keep it on the phone all the time."

[Author: Michael Johnston]

Mon, 25 Mar 2019 08:44:25 +0000 BlogLikes - Find Most Popular Blogs Michael Johnston
Smartphone Sunday Phone camera

The two side-by-side camera modules in the Apple iPhone 7+

It's smartphone Sunday, apparently.

I finally downloaded a raw app (one of many) for my phone—Halide Camera. It lets the iPhone 7+ shoot in raw as the default, and improves the camera controls. It's allegedly an "expensive" app, but at $5.99 it's one of the cheapest camera accessories I've bought in years (he said ruefully).

Phone raw test shot-2-small

I shot this quick torture test on the iPhone with the Halide app and the result was pretty good. I was easily able to adjust the exposure for the highlights. The shadow recovery wasn't what it would be with a Fuji GFX, of course, but it was adequate, just—by balancing the shadow, highlight and exposure sliders in Photoshop and then applying some judicious noise reduction I was able to get this acceptable result. It's not up to the standard of Micro 4/3 but it's certainly better than the OOP (out-of-phone!) JPEG.

Phone raw test shot detail

The problem here was highlighted by Marco in a comment the other day. "Maybe I am digressing," Marco wrote, "but this point comes to me often when reading posts like this. How do you decide that you are going out to take snapshots (phone) or something more serious (camera)?"

That's been a big issue for me my whole life. No matter what my "current practice" might be, I'm always afraid of having the wrong thing with me when I stumble across something I really want to make a picture of.

Back when I "saw" in B&W, just having color film in the camera was a big liability—because I'd see a picture I wanted my "real" film for, and I was blocked. My camera bags always contained a few half-shot rolls of color film, because I'd encounter something I wanted to shoot with Tri-X and I'd hurry and get the dang color film out of the camera so I could load some of my "real" film. It was frustrating.

Because when I'm out with a camera I'm not just seeing. I'm seeing like the camera sees. Where "camera" means my preferred technique of the moment. Other cameras look different, and aren't always acceptable as a substitute.

So of course a big problem arises, as Marco says, when you're out and about and you only have your phone with you and you want your camera but it's not with you. Because you never know when you're going to see a picture.

And sure enough, I have maybe two dozen pictures I've taken with my phone which I dearly wish I had taken with my camera. In certain cases it's okay, I can live with it. But in about half a dozen cases it's just a loss. I got something good, something precious, but on the wrong camera. Too bad.

So maybe having the raw app on the phone is a capitulation of sorts—it's an acknowledgement that I actually photograph with an iPhone and not a dedicated camera* some of the time. Now, when that happens, I'll be able to shoot raw and stand a better chance of getting a decent file out of the thing.

(Wish I had taken those six precious pictures with the Halide app? I guess.)


(Lead photo by Kārlis Dambrāns from Latvia)

*By the way, how long before "camera" means "camera phone" in the culture, and we need a separate term for what we now call cameras? That day is coming, I'll bet. I already find myself using the term "dedicated camera" to say what "camera" used to mean. In the early days of digital we always had to distinguish "digital" cameras from cameras. Now it's the other way around—"cameras" are digital and we have to specify "film camera" when we mean one that shoots film. Ah, the warp and woof of terminology through time!

P.S. Today's the big day I migrate to my new computer. I spent half the day yesterday preparing. Wish me luck, although I hope I won't need it.

Original contents copyright 2019 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

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Featured Comments from:

Ned Bunnell: "Mike, I’ve been testing quite a few Halide images which I’ve printed at 8x10 and the results are actually pretty nice...especially the B&W’s. I’m also doing a lot more processing on my iPhone. You should try using Darkroom to convert your Halide images. It does a nice job."

[Author: Michael Johnston]

Mon, 25 Mar 2019 08:44:25 +0000 BlogLikes - Find Most Popular Blogs Cameras New Photo-tech Visual Culture Michael Johnston
Lights, shadow and highlight – How I lit this dramatic portrait Creating a dramatic portrait, moody ,emotional, edgy, dark, the subject/model, scene and clothing help portray all of those but one ingredient that remains constant to help achieve the drama is light, shadow and highlight, in this blog post I cover how I lit this image I will show you the position of the lights and […]

The post Lights, shadow and highlight – How I lit this dramatic portrait appeared first on DIY Photography.

Mon, 25 Mar 2019 08:35:36 +0000 BlogLikes - Find Most Popular Blogs Tutorials Barry Mountford Dramatic Flash Photography Lighting Studio Photography
To stage or not to stage in travel photography With the recent polemics surrounding a certain image that won a photography competition this week, I feel like we need to talk about travel photography. About people photography, in our case. And to set up boundaries as to what’s acceptable in both cases. Honestly, in my opinion, it’s a matter of common sense – but it seems that’s […]

The post To stage or not to stage in travel photography appeared first on DIY Photography.

Mon, 25 Mar 2019 08:15:53 +0000 BlogLikes - Find Most Popular Blogs Inspiration Ethics Etienne Bossot Staged Travel Travel Photographer Travel Photography
5 Easy Tips For Improving Your Sunset Photography [[ This is a content summary only. Visit my website for full links, other content, and more! ]]]]> Mon, 25 Mar 2019 08:00:44 +0000 BlogLikes - Find Most Popular Blogs Light Here are five tips for realistic photo composites in only 90 seconds We’ve seen some stunning work created by combining photography, Photoshop and lots of imagination. But when you start compositing images, one of the greatest challenges is to make them look realistic. In this video from Advancing Your Photography, Rikard Rodin shares five tips for raising your photo composites to a new level, and all that […]

The post Here are five tips for realistic photo composites in only 90 seconds appeared first on DIY Photography.

Mon, 25 Mar 2019 07:49:11 +0000 BlogLikes - Find Most Popular Blogs Tutorials Advancing Your Photography Composite Composite Image Composite Photography Composites Marc Silber Rikard Rodin
Sony’s new firmware v5.0 for the A9 is out now, adding AI-enhanced real-time Eye AF tracking Announced in January, the first of two new firmware updates for the Sony A9 is now available. Sony A9 firmware v5.0 adds real-time Eye AF as well as specific eye preference detection, better low light autofocus performance, increased AF accuracy, and a whole host of other new and updated features. One word of warning – Installing […]

The post Sony’s new firmware v5.0 for the A9 is out now, adding AI-enhanced real-time Eye AF tracking appeared first on DIY Photography.

Mon, 25 Mar 2019 06:44:38 +0000 BlogLikes - Find Most Popular Blogs News Eye AF Firmware Firmware Update Sony Sony A9
Lightroom Classic: What You Need To Know About Backing Up to a Secondary Drive Backing up to a secondary drive on Import? Absolutely. Highly Recommended.

However, here’s where people have told me they’ve gotten burned by not really understanding what that means. For example, they imported some images say…three or four months ago. They made collections, edited a bunch of images, added keywords, the whole nine yards. One day their computer’s hard drive crashes (hey, it happens), so they go to their secondary backup drive (the one where they auto-backed up their images on import — see above), and thankfully their original images are there.

However, none of their final images will be there, or images they edited using a Lightroom plug-in, or PSDs or TIFFs that they edited in Photoshop, and none of their sorting, editing, metadata, keywords are there either (those edits are stored in your Lightroom catalog, which is gone, just like the images on your crashed computer). So, unless you backed up your Lightroom catalog (here’s how), and at some point you manually replaced that original secondary backup folder with a more recent one, you’re basically having to start over from scratch.

So, what’s on that secondary drive?

Your digital negatives, just as they were the day you originally imported your images. That’s it. Lightroom doesn’t go and update that secondary backup drive ever. It literally is a copy of the images from your camera’s memory card the day you imported them, and that’s it, but the photographers in this bind have told me they assumed it somehow kept everything up to date. That images they saved, or editing in Photoshop, or a plug-in, etc., would also be on that backup drive. They’re not.

Here’s what I do…

Once I’m completely done editing all my images from that shoot, I go back to the secondary backup drive, and I drag the folder with the images I’ve been working on, over onto that secondary drive and replace that backup I made originally on import. When my computer asks me if I want to replace that folder with the newer one I’m moving (see below), I click “Replace.” That way, all my finals, PSDs, etc., are now all there, up-to-date, and backed up on my secondary drive

And I do this…

I also back up my Lightroom catalog daily, to a separate hard drive, so all my edits are intact in case I ever need them. It helps me sleep at night. I help this helps you, too.



P.S. If you’re thinking of joining us in Orlando for the Photoshop World Conference (May 31-June 2), our host hotel (The Hyatt Regency) is filling up fast, so get your rooms right now (last year, we sold out the entire hotel, and folks had to stay off-site. Stay where we’re all staying — at the Hyatt). Here’s the link with our room discount for attendees.

The post Lightroom Classic: What You Need To Know About Backing Up to a Secondary Drive appeared first on Lightroom Killer Tips.

Mon, 25 Mar 2019 04:16:21 +0000 BlogLikes - Find Most Popular Blogs Featured Import
Facebook agrees to remove multiple targeting options for housing, employment, and credit card ads in the US ...]]> Mon, 25 Mar 2019 02:03:06 +0000 BlogLikes - Find Most Popular Blogs News ACLU Advertising Facebook Facebook messenger Instagram Internet Messenger Mobile Regulation Social Media Targeted Ads An image of hope: how a local photographer captured the famous Ardern picture Kirk Hargreaves reveals lucky break behind a picture of the New Zealand prime minister that symbolised the nation’s grief

In the wake of the Christchurch massacre stunned residents were looking for images of hope.

They found it in a photograph of prime minister Jacinda Ardern, clad in a black headscarf and overlaid with flowers reflected on the glass outside.

Continue reading...]]>
Sun, 24 Mar 2019 23:00:07 +0000 BlogLikes - Find Most Popular Blogs Jacinda Ardern World news New Zealand Asia Pacific Photography
Now Taking Submissions! The National Geographic Travel Photo Contest [[ This is a content summary only. Visit my website for full links, other content, and more! ]]]]> Sun, 24 Mar 2019 21:01:57 +0000 BlogLikes - Find Most Popular Blogs News Tokyo urban oranges Tokyo oranges that have a distinctly urban flavour.

Sun, 24 Mar 2019 19:30:40 +0000 BlogLikes - Find Most Popular Blogs Photography
At Seattle Center, celebrating all the places where French is spoken
Sun, 24 Mar 2019 18:11:07 +0000 BlogLikes - Find Most Popular Blogs Local News Photography
Huge List of Free/Cheap ShopRite Unadvertised Deals for The Week image
Free at ShopRite 3/24/19 – We’ve put together a huge list of all the unadvertised free deals at ShopRite this week. This is not the full list of ShopRite unadvertised deals but include some of the super cheap and FREE items you can get this week in addition to the regular ShopRite Coupon Match Ups. ... Read More

Read more about Huge List of Free/Cheap ShopRite Unadvertised Deals for The Week

Sun, 24 Mar 2019 15:00:14 +0000 BlogLikes - Find Most Popular Blogs Instagram ShopRite Trending
30 Amazing Examples Of Drone Photography [[ This is a content summary only. Visit my website for full links, other content, and more! ]]]]> Sun, 24 Mar 2019 11:00:12 +0000 BlogLikes - Find Most Popular Blogs Cool Photos & Photographers The ethics of internet culture: a conversation with Taylor Lorenz Taylor Lorenz was in high demand this week. As a prolific journalist at The Atlantic and about-to-be member of Harvard’s prestigious Nieman Fellowship for journalism, that’s perhaps not surprising. Nor was this the first time she’s had a bit of a moment: Lorenz has already served as an in-house expert on social media and the internet for several major companies, while having written and edited for publications as diverse as The Daily Beast, The Hill, People, The Daily Mail, and Business Insider, all while remaining hip and in touch enough to currently serve as a kind of youth zeitgeist translator, on her beat as a technology writer for The Atlantic.

Lorenz is in fact publicly busy enough that she’s one of only two people I personally know to have openly ‘quit email,’ the other being my friend Russ, an 82 year-old retired engineer and MIT alum who literally spends all day, most days, working on a plan to reinvent the bicycle.

I wonder if any of Lorenz’s previous professional experiences, however, could have matched the weight of the events she encountered these past several days, when the nightmarish massacre in Christchurch, New Zealand brought together two of her greatest areas of expertise: political extremism (which she covered for The Hill), and internet culture. As her first Atlantic piece after the shootings said, the Christchurch killer’s manifesto was “designed to troll.” Indeed, his entire heinous act was a calculated effort to manipulate our current norms of Internet communication and connection, for fanatical ends.

Taylor Lorenz

Lorenz responded with characteristic insight, focusing on the ways in which the stylized insider subcultures the Internet supports can be used to confuse, distract, and mobilize millions of people for good and for truly evil ends:

Before people can even begin to grasp the nuances of today’s internet, they can be radicalized by it. Platforms such as YouTube and Facebook can send users barreling into fringe communities where extremist views are normalized and advanced. Because these communities have so successfully adopted irony as a cloaking device for promoting extremism, outsiders are left confused as to what is a real threat and what’s just trolling. The darker corners of the internet are so fragmented that even when they spawn a mass shooting, as in New Zealand, the shooter’s words can be nearly impossible to parse, even for those who are Extremely Online.”

Such insights are among the many reasons I was so grateful to be able to speak with Taylor Lorenz for this week’s installment of my TechCrunch series interrogating the ethics of technology.

As I’ve written in my previous interviews with author and inequality critic Anand Giridharadas, and with award-winning Google exec turned award-winning tech critic James Williams, I come to tech ethics from 25 years of studying religion. My personal approach to religion, however, has essentially always been that it plays a central role in human civilization not only or even primarily because of its theistic beliefs and “faith,” but because of its culture — its traditions, literature, rituals, history, and the content of its communities.

And because I don’t mind comparing technology to religion (not saying they are one and the same, but that there is something to be learned from the comparison), I’d argue that if we really want to understand the ethics of the technologies we are creating, particularly the Internet, we need to explore, as Taylor and I did in our conversation below, “the ethics of internet culture.”

What resulted was, like Lorenz’s work in general, at times whimsical, at times cool enough to fly right over my head, but at all times fascinating and important.

Editor’s Note: we ungated the first of 11 sections of this interview. Reading time: 22 minutes / 5,500 words.

Joking with the Pope

Greg Epstein: Taylor, thanks so much for speaking with me. As you know, I’m writing for TechCrunch about religion, ethics, and technology, and I recently discovered your work when you brought all those together in an unusual way. You subtweeted the Pope, and it went viral.

Taylor Lorenz: I know. [People] were freaking out.

Greg: What was that experience like?

Taylor: The Pope tweeted some insane tweet about how Mary, Jesus’ mother, was the first influencer. He tweeted it out, and everyone was spamming that tweet to me because I write so much about influencers, and I was just laughing. There’s a meme on Instagram about Jesus being the first influencer and how he killed himself or faked his death for more followers.

Because it’s fluid, it’s a lifeline for so many kids. It’s where their social network lives. It’s where identity expression occurs.

I just tweeted it out. I think a lot of people didn’t know the joke, the meme, and I think they just thought that it was new & funny. Also [some people] were saying, “how can you joke about Jesus wanting more followers?” I’m like, the Pope literally compared Mary to a social media influencer, so calm down. My whole family is Irish Catholic.

A bunch of people were sharing my tweet. I was like, oh, god. I’m not trying to lead into some religious controversy, but I did think whether my Irish Catholic mother would laugh. She has a really good sense of humor. I thought, I think she would laugh at this joke. I think it’s fine.

Greg: I loved it because it was a real Rorschach test for me. Sitting there looking at that tweet, I was one of the people who didn’t know that particular meme. I’d like to think I love my memes but …

Taylor: I can’t claim credit.

Greg: No, no, but anyway most of the memes I know are the ones my students happen to tell me about. The point is I’ve spent 15 plus years being a professional atheist. I’ve had my share of religious debates, but I also have had all these debates with others I’ll call Professional Strident Atheists.. who are more aggressive in their anti-religion than I am. And I’m thinking, “Okay, this is clearly a tweet that Richard Dawkins would love. Do I love it? I don’t know. Wait, I think I do!”

Taylor: I treated it with the greatest respect for all faiths. I thought it was funny to drag the Pope on Twitter .

The influence of Instagram

Alexander Spatari via Getty Images

]]> Sun, 24 Mar 2019 10:58:08 +0000 BlogLikes - Find Most Popular Blogs Community Entertainment Media Social TC Facebook Gab Instagram Jack Dorsey Mark Zuckerberg Twitter YouTube The Insta360 ONE X is a 5.7K 360° “action camera” which completely eliminates the need for a gimbal The pace at which some technologies are developing today is just amazing. One area that’s seen particularly rapid progress over the last few years is 360° cameras. But I’ve often felt that the technology still wasn’t quite there – at least when it came to the 360° cameras that fit in our pockets. The YI […]

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Sun, 24 Mar 2019 09:24:37 +0000 BlogLikes - Find Most Popular Blogs Reviews 360 Camera Gear Review Insta360 Insta360 One X
Free 8×10 Photo Print From Walgreens Stores Sun, 24 Mar 2019 08:13:08 +0000 BlogLikes - Find Most Popular Blogs Free Stuff Photos How To Photograph In The Early Morning And Avoid Your Lens Fogging Up [[ This is a content summary only. Visit my website for full links, other content, and more! ]]]]> Sun, 24 Mar 2019 08:00:57 +0000 BlogLikes - Find Most Popular Blogs Gear 24 March 2019 Eastern States Road Race Results

Matt Sawyer of Eliot ME wins the Half Marathon & AMANDA RICHMOND of Newmarket NH was the winner on the female side

Sun, 24 Mar 2019 06:43:11 +0000 BlogLikes - Find Most Popular Blogs Photos AMANDA RICHMOND ANDREW HUEBNER JENNIFER MORTIMER Matt Sawyer
How to Unblock Someone on Instagram 2019 Be it Facebook, Instagram, Twitter, WhatsApp or any other social network, at times we have no other choice than to block a person. Blocking a user becomes necessary when you don’t want a certain person to see your Instagram posts or stalk you. Whatever might be the reason, there is a time when you have to block people on Instagram. And in case you wish to unblock them afterwards then that’s possible too. In the new version of the Instagram app for iOS and Android, the setting to view the list of blocked users has been changed. Here’s how you can block or unblock someone on Instagram 2019.

Steps to Unblock someone on Instagram for Android
  1. Open the Instagram app on your phone.
  2. Tap the profile icon from the bottom right to open your profile.
  3. Tap the menu (hamburger icon) in the top right.
  4. Now tap on “Settings” from the bottom of the menu.
  5. Select “Privacy and security”.
  6. Choose “Blocked accounts” from the listed options.
  7. All the users blocked by you will be shown.
  8. Tap the specific account to go to their profile.
  9. To unblock them, simply tap on the “Unblock” button. Select unblock again to confirm.
  10. That’s it! The person will be unblocked.

Note: Instagram does not notify the person when you unblock them. Also, there is no option to unblock all the blocked accounts at once.

How to Block someone on Instagram
  1. Tap or search their username and open their Instagram profile.
  2. Tap 3 dots in the top right.
  3. Select the “Block” option. Tap on Block to confirm.
  4. That’s it! Instagram won’t notify the person that you’ve blocked them.
What happens when you block someone on Instagram?

When you block a user on Instagram, they won’t be able to access your profile, post or stories on Instagram. Do note that the blocked person will also be removed from your followers and you’ve to follow them again after unblocking. This way they can determine that you blocked them. At the same time, likes and comments made by someone you block won’t be removed from your photos and videos.

The post How to Unblock Someone on Instagram 2019 appeared first on WebTrickz.

Sun, 24 Mar 2019 05:35:02 +0000 BlogLikes - Find Most Popular Blogs How To's Android Instagram iPhone Privacy Tips Unblock
New to real estate? Make these 8 things your first-year’s mission Sun, 24 Mar 2019 05:00:26 +0000 BlogLikes - Find Most Popular Blogs Agent Lead Generation Marketing Opinion Select Accountability Partner Coach Database Facebook Facebook Stories Farm Farming Instagram Instagram Stories Local Market Matt Kaestner Mentor Motivation Social Media Sphere Of Influence Awesome Tech You Can’t Buy Yet: Robotic companions and computer-aided karaoke Check out our roundup of the best new crowdfunding projects and product announcements that hit the web this week. You may not be able to buy this stuff yet, but it's fun to gawk!

The post Awesome Tech You Can’t Buy Yet: Robotic companions and computer-aided karaoke appeared first on Digital Trends.

Sun, 24 Mar 2019 04:00:04 +0000 BlogLikes - Find Most Popular Blogs Cars Computing Emerging Tech Gaming Health & Fitness Home Theater Mobile Outdoors Photography Smart Home Wearables
Profoto Might Sue Godox Over A1 Patent [[ This is a content summary only. Visit my website for full links, other content, and more! ]]]]> Sat, 23 Mar 2019 22:45:27 +0000 BlogLikes - Find Most Popular Blogs News Final Construction, Japanese Style Construction-Site Entrance a large hotel in Kyoto -- Copyright 2019 Jeffrey Friedl,
iPhone 7+ + iPhone 7 Plus back camera 3.99mm f/1.8 at an effective 28mm — 1/30 sec, f /1.8, ISO 40 — map & image datanearby photos
Construction-Site Entrance
a large hotel in Kyoto

The scene above is the entrance to a new large hotel nearing completion of construction. The workers putting the finishing touches on the interior have left their shoes at the entrance, and are presumably walking in socks or slippers. This mimics what one does at a Japanese home.

When the hotel opens, people will walk in this public area with shoes like any other business, but until the construction company turns it over to the owner, they treat it with great care, so that it's turned over in pristine condition.

I doubt that this would ever happen in America. When I last lived in America, asking a visitor (such as the cable installer) to take their shoes off inside the house would be met with the same face as if I had asked them to take their pants off.

Sat, 23 Mar 2019 22:15:39 +0000 BlogLikes - Find Most Popular Blogs General Japan
This Beer Develops Kodak Super 8 Film [[ This is a content summary only. Visit my website for full links, other content, and more! ]]]]> Sat, 23 Mar 2019 22:09:31 +0000 BlogLikes - Find Most Popular Blogs News Wagner Education Center opens at the Center for Wooden Boats
Activities continue at the center Sunday from 10 a.m. until 5 p.m.]]>
Sat, 23 Mar 2019 21:50:44 +0000 BlogLikes - Find Most Popular Blogs Local News Photography
The easy way to create colour grade LUTs in Photoshop for your videos Lookup Tables (LUTs) are a wonderful feature of most video editing software. They’re sort of like presets that allow you to get a consistent look across multiple clips that when edited together form a sequence. They allow you to remap one set of colours and brightnesses to another. Generally, there are two different types of […]

The post The easy way to create colour grade LUTs in Photoshop for your videos appeared first on DIY Photography.

Sat, 23 Mar 2019 17:09:23 +0000 BlogLikes - Find Most Popular Blogs Tutorials 3D LUTs LUTs Nathaniel Dodson Photoshop Premiere Pro Tutvid