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Canon EOS Rebel SL2 / EOS 200D Review

Digital Photography Review - Di, 19/09/2017 - 15:17

The EOS Rebel SL2 (known as the EOS 200D outside of North America) is Canon's second-generation ultra-compact digital SLR. It's largely packed with Canon's latest tech, including Dual Pixel AF, a DIGIC 7 processor, Wi-Fi with NFC and Bluetooth, and a new user interface for beginners.

While its small size may lead one to believe that it's an entry-level model, similar to Nikon's D3400, the SL2 actually sits above the bottom-end Rebel T6 (EOS 1300D), which costs $150 less.

The SL2's main competitor is the aforementioned Nikon D3400, which is just a tad larger and heavier. The SL2s' other peers are all mirrorless and include (in our opinion) the Canon EOS M5, Panasonic DMC-GX85 and the Sony a6000 which, after 3+ years on the market, is still competitive.

Key Features
  • 24.2MP APS-C CMOS sensor
  • Dual Pixel autofocus (for live view and video)
  • 9-point autofocus (through the viewfinder)
  • DIGIC 7 processor
  • 3" fully articulating touchscreen LCD
  • 5 fps burst shooting (3.5 fps with continuous AF)
  • 1080/60p video
  • External mic input
  • Wi-Fi with NFC and Bluetooth
  • Available 'Feature Assistant' user interface

Just about everything in that list is Canon's latest and greatest, and the external microphone input is a nice extra. The one feature that's not new is the 9-point autofocus system that you'll use when shooting through the viewfinder – it's identical to what's found the original SL1, which is over four years old. You'll get a much better focusing experience by shooting in live view, which uses Canon's excellent Dual Pixel AF technology.

Compared to... The SL2 (left) is the mini-me to the still-small Rebel T7i.

First, let's take a look at how the SL2/200D compares to the step-up model, the Rebel T7i (EOS 800D). Here's what you get for another $200 (with kit lenses for both models):

  • 45-point AF versus 9-pt AF
  • 7500-segment RGB+IR metering versus 63-segment (from which we'd expect better subject tracking)
  • 6 fps versus 5 fps bursts with S-AF
  • 4.5 fps versus 3.5 fps bursts with C-AF
  • Significantly larger buffer
  • Color tracking for AF in Single AF as well as Continuous AF
  • Semi-transparent LCD in viewfinder that can overlay grids, different AF points, an electronic level, and more
  • Built-in flash can trigger wireless strobes

Does the average point-and-shoot user need any of that? Probably not. If you plan on gaining more experience in the world of digital photography or want a more robust autofocus system, though, the extra $200 might be worth it.

Now, let's take a look at how the specs compare between the the SL2 and the peers mentioned a few paragraphs earlier.

Canon SL2 Nikon D3400 Canon M5 Panasonic GX85 Sony a6000 Resolution 24MP 24MP 24MP 16MP 24MP Sensor size APS-C APS-C APS-C Four Thirds APS-C Lens mount EF F EF-M Micro 4/3 E Image stab. Lens-based Lens-based Lens-based In-camera Lens-based AF system (live view) Dual Pixel Contrast-detect Hybrid
(Dual Pixel) Contrast-detect Hybrid AF system (viewfinder) 9-point 11-point N/A N/A N/A LCD 3" fully articulating 3" fixed 3.2" tilting 3" tilting 3" tilting Touchscreen Yes No Yes Yes No Viewfinder type/mag. OVF / 0.54x OVF / 0.57x EVF / N/A EVF / 0.7x EVF / 0.7x # control dials 1 1 2 2 2 Video 1080/60p 1080/60p 1080/60p UHD 4K/30p 1080/60p Wireless Wi-Fi + NFC + BT BT Wi-Fi + NFC + BT Wi-Fi + NFC Wi-Fi + NFC Battery life 650 (OVF)
260 (LV) 1200 (OVF)
N/A (LV) 295 (LV) 290 (LV) 360 (LV) Dimensions (mm) 122x93x70 124x98x76 116x89x61 122x71x44 120x67x45 Weight 453 g 445 g 427 g 426 g 344 g

Strictly comparing the SL2 and D3400 you'll see that they each have their own strengths and weaknesses. While there are 'little things' like the type of LCD, viewfinder size and wireless functionality, live view autofocus is the main differentiator. It's simply no contest there with the SL2's AF system blowing away the D3400 in live view and movie mode.

With the exception of the Sony a6000, the SL2 is close in weight, and not far off in size, to the three mirrorless cameras in the group. All three of the mirrorless cameras have an additional control dial, making exposure adjustment quick, and their EVFs are larger than the optical viewfinders on both DSLRs. None of the mirrorless models can compare to the DSLRs in terms of battery life, but only when you're using the latter with their optical viewfinders.

Kategorien: Fotografie

You can now use Adobe Spark with your own custom logos and colors

Imaging Resource - Di, 19/09/2017 - 14:30
Adobe Spark is a web-based platform for blogging and storytelling, and it got an update with "premium features," which lets you create and share branded stories in all three Spark formats: Post (for graphics), Page (for web pages), and Video (for video stories). Now instead of carrying Adobe's branding wherever it went, Spark stories can carry your own and be a better representation of you and your business. Adobe has baked in what they are calling "design intelligence," so all you need to do is add your brand ingredients to get...
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Kategorien: Fotografie

Profoto enters new territory with the announcement of their first speed light: the Profoto A1

Imaging Resource - Di, 19/09/2017 - 14:00
Announced today by Profoto comes a new product in a market we haven't seen them even show a desire to really enter. Until today, Profoto is most notably known for their pro-level strobes and lighting kits that cost thousands of dollars (but those who use them will say they're worth worth every penny). So what is their next step? Well, apparently speed lights, with the announcement of the Profoto A1. Friend of Imaging Resource Zach Sutton is in Sweden for the launch, and was kind enough to give us the down-low as well as his first...
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Kategorien: Fotografie

The Ten Essentials for Good API Documentation

A List Apart - Di, 19/09/2017 - 14:00

API documentation is the number one reference for anyone implementing your API, and it can profoundly influence the developer experience. Because it describes what services an application programming interface offers and how to use those services, your documentation will inevitably create an impression about your product—for better or for worse.

In this two-part series I share what I’ve learned about API documentation. This part discusses the basics to help you create good API docs, while in part two, Ten Extras for Great API Documentation, I’ll show you additional ways to improve and fine-tune your documentation. 

Know your audience

Knowing who you address with your writing and how you can best support them will help you make decisions about the design, structure, and language of your docs. You will have to know who visits your API documentation and what they want to use it for. 

Your API documentation will probably be visited and used by the following audiences. 


Based on their skills, experience, and role in projects, developers will generally be the largest and most diverse group. They’ll be using your docs in different ways.

At Pronovix, we started conducting developer portal workshops with our clients to help them learn more about what developers need and how to best support their work—and what they’re really looking for in API documentation. This is also supported by solid research, such as the findings published in Stephanie Steinhardt’s article following a two-year research program at Merseburg University of Applied Sciences.

Newcomers: Developers lacking previous experience with your API tend to need the most support. They will take advantage of quickstart guides that encourage them to start using your API—clear, concise, step-by-step tutorials for the most important topics, and sample code and examples to help them understand how to use it in real projects. If you can make onboarding pleasant for newcomers, they will be more likely to devote themselves to learning every nuance of your API.

External developers: Developers already working with your API will come back repeatedly to your docs and use them as reference material. They will need quick information on all the functionality your API offers, structured in an easy to understand way to help them quickly find what they need.

Debuggers: Developers using your API will encounter errors from time to time and use your documentation to analyze the responses and errors that crop up.

Internal developers: API providers tend to focus so much on their external audience that they forget about their own developers; internal teams working on the API will use the API documentation, as well.

These are just the most common use cases.

Decision makers

Decision makers like CTOs and product managers will also check out your API documentation and evaluate your API. They need to determine whether your API will be a good fit for their project or not, so it’s crucial to your business that this group can easily and quickly find what they’re looking for.

Other audiences

Although not as common, journalists, technical writers, support staff, developer evangelists, and even your competition might read your API documentation. 

Remember the purpose of documentation

The foundation of your API documentation is a clear explanation of every call and parameter.

As a bare minimum, you should describe in detail:

  • what each call in your API does
  • each parameter and all of their possible values, including their types, formatting, rules, and whether or not they are required.
Context-based structure

People won’t read your API documentation in order, and you can’t predict which part they will land on. This means, you have to provide all the information they need in context. So following the best practices of topic-based authoring, you should include all necessary and related information in the explanation of each call.

Context.IO, for example, did a great job documenting each of their API calls separately with detailed information on parameters and their possible values, along with useful tips and links to related topics.


In order to be able to implement your API, developers need to understand it along with the domain it refers to (e.g., ecommerce). Real world examples reduce the time they need to get familiar with your product, and provide domain knowledge at the same time.

Add the following to the description of each call:

  • an example of how the call is made
  • an explanation of the request
  • sample responses

Studies have shown, that some developers immediately like to delve into coding, when getting to know a new API; they start working from an example. Analysis of eye-tracking records showed that visual elements, like example code, caught the attention of developers who were scanning the page, rather than reading it line by line.  Many looked at code samples before they started reading the descriptions.

Using the right examples is a surefire way to improving your API docs. I’ll explore ways to turn good API docs into great ones using examples in my upcoming post “Ten Extras for Great API Documentation”.

Error messages

When something goes wrong during development, fixing the problem without detailed documentation can become a frustrating and time-consuming process. To make this process as smooth as possible, error messages should help developers understand:

  • what the problem is;
  • whether the error stems from their code or from the use of the API;
  • and how to fix the problem.

All possible errors—including edge cases—should be documented with error-codes or brief, human-readable information in error messages. Error messages should not only contain information related to that specific call, but also address universal topics like authentication or HTTP requests and other conditions not controlled by the API (like request timeout or unknown server error).

This post from Box discusses best practices for server-side error handling and communication, such as returning an HTTP status code that closely matches the error condition, human-readable error messages, and machine-readable error codes.

Quickstart guide

Newcomers starting to implement your API face many obstacles:

  • They are at the beginning of a steep learning curve
  • They might not be familiar with the structure, domain, and ideas behind your API
  • It’s difficult for them to figure out where to start.

If you don’t make the learning process easier for them, they can feel overwhelmed and refrain from delving into your API. 

Many developers learn best by doing, so a quickstart guide is a great option. The guide should be short and simple, aimed at newcomers, and list the minimum number of steps required to complete a meaningful task (e.g., downloading the SDK and saving one object to the platform). Quickstart guides usually have to include information about the domain and introduce domain-related expressions and methods in more detail. It’s safest to assume that the developer has never before heard of your service.

Stripe’s and Braintree’s quickstart guides are great examples; both provide an overview of the most likely tasks you’ll want to perform with the API, as well as link you to the relevant information. They also contain links to contact someone if you need help.


Tutorials are step-by-step walkthroughs covering specific functionality developers can implement with your API, like SMS notifications, account verification, etc.

Tutorials for APIs should follow the best practices for writing any kind of step-by-step help. Each step should contain all the information needed at that point—and nothing more. This way users can focus on the task at hand and won’t be overloaded with information they don’t need.

The description of steps should be easy to follow and concise. Clarity and brevity support the learning process, and are a best practice for all kinds of documentation. Avoid jargon, if possible; users will be learning domain-related language and new technology, and jargon can instill confusion. Help them by making all descriptions as easy to understand as possible. 

The walkthrough should be the smallest possible chunk that lets the user finish a task. If a process is too complex, think about breaking it down into smaller chunks. This makes sure that users can get the help they need without going through steps they’re not interested in.

Twilio’s tutorials explain the most-likely use cases with sample apps in a wide variety of programming languages and frameworks. Universal topics

To implement your API, there are some larger topics that developers will need to know about, for example:

  • Authentication. Handled differently by each type of API, authentication (e.g., OAuth) is often a complicated and error-prone process. Explain how to get credentials, how they are passed on to the server, and show how API keys work with sample code.
  • Error handling. For now, error handling hasn’t been standardized, so you should help developers understand how your API passes back error information, why an error occurs, and how to fix it.
  • HTTP requests. You may have to document HTTP-related information as well, like content types, status codes, and caching.

Dedicate a separate section to explaining these topics, and link to this section from each related API call. This way you can make sure that developers clearly see how your API handles these topics and how API calls change behavior based on them. 

Layout and navigation

Layout and navigation are essential to user experience, and although there is no universal solution for all API docs, there are some best practices that help users interact with the material.

Dynamic layout

Most good examples of API documentation use a dynamic layout as it makes navigation easier for users than static layouts when looking for specific topics in extensive documentation. Starting with a scalable dynamic layout will also make sure you can easily expand your docs, as needed.

Single page design

If your API documentation isn’t huge, go with a single page design that lets users see the overall structure at first sight. Introduce the details from there. Long, single page docs also make it possible for readers to use the browser’s search functionality.

Stripe managed to present extensive documentation in an easy to navigate single page. Persistent navigation

Keep navigation visible at all times. Users don’t want to scroll looking for a navigation bar that disappeared.

Multi-column layout

2- or 3-column layouts have the navigation on the left and information and examples on the right. They make comprehension easier by showing endpoints and examples in context.

Clearbit’s three-column layout displays persistent navigation (table of contents) on the left, references in the middle, and code examples on the right. Syntax highlighter

Improving the readability of samples with syntax highlighting makes the code easier to understand.

The syntax highlighter in action on Plaid’s API documentation site.

If you’d like to start experimenting with a layout for your docs, you might want to check out some free and open source API documentation generators.

To learn about the pros and cons of different approaches to organizing your API docs in the context of developer portals, this is an excellent article by Nordic APIs.


All writing that you publish should go through an editing process. This is common sense for articles and other publications, but it’s just as essential for technical documentation.

The writers of your API docs should aim for clarity and brevity, confirm that all the necessary information is there, and that the structure is logical and topics aren’t diluted with unnecessary content. 

Editors should proofread your documentation to catch grammar mistakes, errors, and any parts that might be hard to read or difficult to understand. They should also check the docs against your style guide for technical documentation and suggest changes, if needed.

Once a section of documentation is ready to be published, it’s a good idea to show it to people in your target audience, especially any developers who haven’t worked on the documentation themselves. They can catch inconsistencies and provide insight into what’s missing.

Although the editing process can feel like a burden when you have to focus on so many other aspects of your API, a couple of iterations can make a huge difference in the final copy and the impression you make.

Keep it up-to-date

If your API documentation is out of date, users will get frustrated by bumping into features that aren’t there anymore and new ones that lack documentation. This can quickly diminish the trust you established by putting so much work into your documentation in the first place.

When maintaining your API docs, you should keep an eye on the following aspects:

  • Deprecated features. Remove documentation for deprecated features and explain why they were deprecated.
  • New features. Document new features before launch, and make sure there’s enough time planned for the new content to go through the editorial process.
  • Feedback. Useful feedback you get from support, or analytics should be reflected in your docs. Chances are you can’t make your docs perfect at the first try, but based on what users are saying, you can improve them continuously.

For all this to work, you will have to build a workflow for maintaining your documentation. Think about checkpoints and processes for the above mentioned aspects, editing, and publication. It also helps if you can set up a routine for reviewing your docs regularly (e.g. quarterly).

Following these best practices, you can build a solid foundation for your API documentation that can be continuously improved upon as you gain more insight into how users interact with them. Stay tuned for part two, where I give you some tips on how to turn good API docs into amazing ones.

Kategorien: Webdesign

Shutter Release: 3 videos about lighting techniques, dramatic black and white images and more

Imaging Resource - Di, 19/09/2017 - 12:00
In our regular roundup feature, Shutter Release, we share and summarize interesting photography content we see from around the web. It could be video tutorials about Photoshop, an opinion piece about a new camera or really anything that we think our readers would enjoy seeing. We are dedicated to bringing you the best original content we can, but we also want to share the great work our colleagues are doing as well. Today's Shutter Release kicks off with a pair of lighting videos from two regularly-featured photographers on...
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Kategorien: Fotografie

YI M1 Review: A Micro Four Thirds body with lens and Sony sensor for under $300—so what’s the catch?

Imaging Resource - Di, 19/09/2017 - 02:42
Late last year, Shenzhen, China-based XiaoYi -- known stateside as Yi Technology -- launched the YI M1 to great fanfare. Its first standalone camera (and an interchangeable-lens camera, at that!) the Yi Camera drew plenty of attention for its reserved Leica-like looks, its quality Four Thirds-format Sony Exmor image sensor, and its broadly-supported Micro Four Thirds lens mount. But more than that, what got folks talking was its pricetag. Originally shipping at around US$350 list (and that's with a 12-40mm kit lens), the...
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Kategorien: Fotografie

Video: Four common composition mistakes and what to do instead

Digital Photography Review - Mo, 18/09/2017 - 22:10

When you're first starting out, the great big world of photography composition can seem like a long list of rules and a bunch of videos where photographers paste grids on top of iconic photos. It's all a bit abstract. So if you're looking for concrete advice, this video by photographer Evan Ranft is a much better place to start.

In the video, Evan discusses four common composition mistakes many photographers make, and then shows you how to fix them. Each tip is accompanied by a very useful "do this not that" before and after, and the advice is genuinely a lot more helpful than slapping a bunch of grids and golden ratio spirals on top of famous photos.

You can check out the video up top for a full rundown with before and after images, but the tips (in short) are:

  1. Double Subject – Don't place your main subject side-by-side with an interesting background feature, it will split your viewer's focus. Emphasize a single subject instead.
  2. The Look Out – If your subject is on one side of your photograph, have them look into, not out of, the frame. A subject looking out of the frame divides your photo in half, leaving a bunch of confusing negative space. If they're looking into the frame, their gaze will balance out your composition.
  3. Tangent Lines – Avoid having anything in your background draw lines through your subject and scene. Use the lines of your photo to lead your viewer's eye TO your subject instead.
  4. Being Lazy – Not the most obvious composition tip, but it counts: don't be lazy. Once you've picked a subject, find an interesting composition. Don't just take the easiest, most convenient photo in that moment

There you go: a few simple but effective tips that help create photos that emphasize your subject and lead your viewer where you want them to go. As Ranft says in the video, these are easy mistakes to correct, you just have to be aware you're doing them.

To see more tips and how-tos from Evan, head over to his YouTube channel. And if you have your own simple composition tip (or common mistake) to share, drop it in the comments!

Kategorien: Fotografie

Kodak PixPro Orbit360 4K VR camera now on sale in the US

Digital Photography Review - Mo, 18/09/2017 - 20:34

The 360-degree camera Kodak unveiled at Photokina 2016 is now available to buy in the US. The PixPro Orbit360 is a rugged, compact action camera with a pair of 20MP sensors, one on the front and the other on the back, joining by two curved 155-degree and 235-degree lenses, a microSD slot for storage, a 1" LCD, and an included selfie stick (depending on bundle).

JK Imaging, the company behind the camera, designed the PixPro Orbit360 to be rugged for outdoor use. The camera has an IP6X dustproof equivalency, an IPX5 splashproof equivalency, a shockproof design able to withstand drops from 2m / 6.6ft when using the lens cover, and the camera is also freeze-proof to temperatures as low as -10C / 14F.

The PixPro offers users three recording modes: a fully 360-degree spherical mode, a 235-degree 'dome' mode, and a 197-degree 4K Ultra-Wide mode. It works with a related mobile app (Android | iOS) that makes it possible to directly upload the PixPro's videos to YouTube and Facebook.

The camera's full specs sheet is available here.

The Orbit360 is being sold in the US through the Kodak PixPro website and through It $500 USD in the "Adventure Pack" (arriving later this year) and $550 USD for the "Satellite Pack" (available now). The Satellite Pack includes some accessories not included with the Adventure Pack, such as the aforementioned selfie stick.

Kategorien: Fotografie

Bookmark this HEIC to JPEG converter if you're upgrading to iOS 11 tomorrow

Digital Photography Review - Mo, 18/09/2017 - 20:27

iOS 11 will launch officially tomorrow—it's been in beta for months—and one of the most relevant photo-centric features coming to Apple's new mobile OS is the introduction of a high efficiency image file format (HEIF) called HEIC. This format should, in theory, make images smaller without sacrificing quality, in addition to a bunch of other useful features.

There's just one problem: Windows users can't natively view HEIC files on their computers. Enter JPEGmini creator Beamr and their new HEIC to JPEG converter.

Beamr says they created the Web tool in response to user feedback—ever since the new format was announced people have been asking for a way to convert HEIC to JPEG. Well, now they can by simply following this link and uploading up to 30 photos at a time. And since this is made by the same folks behind JPEGmini, HEIC images converted using the tool are then further optimized using the JPEGmini technology to spit out more manageable JPEGs.

We're not sure for how long this tool will be needed. There are a lot of advantages to the HEIC format—the ability to store single images or sequences, the ability to store audio/text alongside the image, the ability to store image editing operations, and both lossy and lossless compression, to name a few—so it would make sense for the format to gain wide-spread integration quickly.

But until then, if you're upgrading to iOS 11 tomorrow and need/want a way to convert those images to JPEGs, there's on option waiting for you.

Kategorien: Fotografie

ImageRights expands copyright registration, adds new blockchain protections

Digital Photography Review - Mo, 18/09/2017 - 19:10

Photo protection company ImageRights International, a Boston-based business with offices in Seattle and Berlin, has launched a new image copyright registration system that anyone can use, not just subscribers. The company offers both a Lightroom plugin and a website-based registration tool that streamlines registrations, including automatically checking for errors and filling in forms.

ImageRights' new copyright registration option costs $100 on top of the US Copyright Office fee ($35 or higher). This is compared to ImageRights' subscriber plans, which charge $69 for registering a single image and $89 for registering multiple images. On top of that, the company offers subscribers additional services such as assessing infringement claims, finding unauthorized uses of a registered photo, and more. But now you don't need to subscribe to take advantage of their streamlined registration system.

In addition, ImageRights is taking a cue from Binded (formerly Blokai) by launching a Bitcoin blockchain record that uses the technology to save the ImageRights Deposit Copy Certificate of Warranty document it creates when someone uses its service to register a photo. Talking to PDN about this, ImageRights CEO Joe Naylor explained:

We make a hash of this [warranty] document and inscribe it into the Bitcoin Blockchain. This is a tool that helps us during an infringement settlement discussion when the other party questions whether or not an image was really covered by the USCO registration certificate that we say it is. We can show them the warranty where they can now see a visual representation of the image (the thumbnail) associated with the USCO Registration number. And to help prove that we didn’t just fabricate the document when they challenged us, we can show that from the blockchain inscription records that this document existed at that date.

ImageRights is one of multiple services that helps photographers register their image copyrights, though it says it is the only one with a fully automated registration system. Binded is a popular alternative, and it recently announced free one-click registrations.

Kategorien: Fotografie

Lens Rentals test shows all circular polarizing filters work great, price doesn't matter

Digital Photography Review - Mo, 18/09/2017 - 18:17
Photo: Roger Cicala/Lens Rentals

Our friend Roger Cicala over at Lens Rentals is at it again: buying up super expensive optical testing equipment because someone asked him why LR carries the circular polarizing filters they do. The answer, until now, was simple: make the expensive one on the market their high-end rental, and the cheapest one their "basic." But is there really any difference?

That's what Roger set out to figure out, and the answer might save you a little bit of cash.

You can read the full post and see all of the detailed results on the Lens Rentals blog, but the most surprising and positive conclusion was this:

All circular polarizers, regardless of price, are 99.9% effective at polarizing light.

Translation: if you're looking for a circular polarizer because ... well ... you want to polarize light then save your money because the cheaper ones work just as well as the more expensive ones.

In addition to their ability to do what they say they do, Cicala and LR team tested CP filters for overall transmission (how much light to they let through) and transmission by wavelength so you can see what effect each filter has on the colors your camera sees. Check out the results here.

Kategorien: Fotografie

GoPro Hero6 leaked again: Shoots 4K at 60fps, 1080p at 240fps, and costs $500

Digital Photography Review - Mo, 18/09/2017 - 17:19
Newly leaked photos of the GoPro Hero6 form a Best Buy in Canada. Photo credit: The Verge

Days after the first photo of the upcoming GoPro Hero6 action camera leaked online, showing that the little cam will finally be able to shoot 4K at 60fps, another set of images has appeared after the camera was put up (by mistake, we assume) at a Best Buy in Canada. The photos were sent to tech site The Verge by a tipster who got to see that camera, and the leak reveals two more tantalizing details about the Hero6.

In addition to confirming the 4K 60fps news, the photo shows that the Hero6 will also be able to shoot FullHD 1080p video at 240fps slow motion, and the camera will sell for $650 CAD, or approximately $500 USD when it's released.

The Verge is also reporting that GoPro will no longer use an Ambarella processor from the Hero6 onwards. Instead, the new camera will reportedly contain a custom-built processor known at GoPro as the "GP1," leaving many to hope that this new chip will translate into better battery life and higher performance from GoPro's future models.

Finally, the last piece of the puzzle is a release date, which was also leaked today. According to Twitter user Konrad Iturbe, who was able to gain access to GoPro's staging website, the announcement/release date is set for September 28th.

Kategorien: Fotografie

Shutter Release: Portrait lighting setup, large format portraiture, Photoshop tips, Yashica’s return and more

Imaging Resource - Mo, 18/09/2017 - 16:30
We hope you all had a pleasant weekend and for those of you were out taking photos, we hope the conditions were favorable! In today's edition of Shutter Release, our regular roundup feature here at Imaging Resource, we will be looking at six articles and videos covering a wide range of topics. We start with an article and a video showing portraiture behind the scenes, then look at 10 tips for landscape photography before moving to a pair of Photoshop tutorial videos and finish up with an interesting teaser video from Yashica. We've...
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Kategorien: Fotografie

WD G-Technology unveils portable, rugged SSD for photographers

Digital Photography Review - Mo, 18/09/2017 - 15:19

Western Digital has announced the launch of a new portable storage drive under its G-Technology brand: the G-Drive mobile SSD R-Series. This USB-C storage drive is marketed specifically at photographers and other content creators, and is formatted to work with Mac computers out of the box, though it can also be used with Windows if reformatted.

To complement its portable nature, Western Digital has housed the SSD in a rugged water- and dust-resistant body able to withstand drops from 9.8ft / 3m onto a concrete surface and up to 1,000lbs of pressure. The drive itself, which is offered in capacities up to 2TB, has a maximum transfer speed of 560MB/s. Western Digital will launch the R-Series some time this year at the following prices:

  • 500GB: $200
  • 1TB: $380
  • 2TB: $700

Press Release


New G-DRIVE mobile SSD R-Series Will Provide Content Creators with a Larger, Faster, and Rugged Portable Solution

SAN JOSE, CA – Sept. 14, 2017 – Western Digital Corporation (NASDAQ: WDC), a global data storage technology and solutions leader, today announces the new G-Technology® brand G-DRIVE® mobile SSD R-Series device, the fastest G-Technology portable SSD. With the latest-generation USB-C™ connectivity and transfer speeds up to 560MB/s*, digital content creators will be able to unleash their creativity in new places and work with large creative files like videos, photos and music faster.

"Larger and more powerful cameras breed larger file sizes and that has brought about an important need for equally large and powerful storage solutions," says Brian Matiash, G-Technology G-Team ambassador. "I need to know that my drives will not only keep up with the growing demands of my photo and video workflows, but also ensure that they can endure the environmental rigors of wherever my work takes me." With G-Technology's G-DRIVE mobile SSD R-Series, not only do I get an additional 2TB of capacity beyond what my laptop is limited to with blazing fast file read and write speeds, I also get peace of mind knowing that these drives will stand up to the unpredictable and inclement conditions.

Working with large 4K RAW video means large file sizes and is undoubtedly one of the largest pain points for content editors. Saving time means getting more done, which means booking more jobs over the course of a year. Featuring transfer speeds up to 560MB/s*, the G-DRIVE mobile SSD R-Series device will enable editors to quickly save and edit large video, photo and audio files in real time with speeds fast enough to keep up with your content.

Rated R for Rugged

When the luxury of indoor production isn't an option, the G-DRIVE mobile SSD R-Series device is built using hand-picked components to withstand tough conditions in the field and provides a rugged solution you can trust. In addition, it will have an International Protection Rating of 67 (IP67) for water and dust resistance and has been tested to withstand up to a 3-meter drop on a carpeted concrete floor and 1000 lbs of pressure (crush resistance).

Think Big. Travel Light.

When preparing for outdoor production, limiting the space and weight of gear is vital. The G-DRIVE mobile SSD R-Series device is compact in size, and will give photographers high-capacity storage without sacrificing speed. With capacities up to 2TB, the G-DRIVE mobile SSD R-Series device is a lightweight, pocket-sized solution that will enable photographers and editors to keep 4K footage, RAW photos, and more to edit and save, wherever, whenever.

Being an on-the-go photographer requires being confident and secure with tools to work with. The G-DRIVE mobile SSD R-Series device is protected by an industry-leading five-year limited warranty and is designed to provide high-performance storage for years to come.

Pricing and Availability

The G-DRIVE mobile SSD R-Series device offers a 5-year limited warranty and will be available at select G-technology resellers around the world this year with up to 2TB capacities.

Manufacturers Suggested Retail Price (MSRP) in the U.S. will be $699.95 for 2TB, $379.95 1TB, and $199.95 500GB, USD, respectively from and will be available this year through G-Technology resellers around the world. For more information on G-Technology offerings, please visit

Kategorien: Fotografie

Tamron SP 24-70mm F2.8 G2 sample gallery

Digital Photography Review - Mo, 18/09/2017 - 14:00

Fast, stabilized and affordable is a winning combination when it comes to zooms. With this latest version of its 24-70mm F2.8, Tamron aims to upgrade autofocus speed and stabilization. Along with the Sigma 24-70mm F2.8 Art, it provides an appealing alternative to more costly Canon and Nikon 24-70mm F2.8 zooms. We've been out and about in the last long days of summer with this versatile lens.

See our Tamron SP 24-70mm F2.8 Di VC USD G2 sample gallery

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Kategorien: Fotografie

Photographing Jennifer Lawrence: A photographer's dream come true

Digital Photography Review - So, 17/09/2017 - 16:40

Clay Cook is an Advertising and Editorial photographer who has worked with clients ranging from the NFL to Red Bull, and been published in Forbes, Popular Mechanics, Adweek, USA Today, ESPN, and more. To see more of his work, visit his website or follow him on Instagram.

This article was originally published on Clay's blog, and is being reprinted in full on DPReview with express permission.

We all have our dreams, some are simple while others are complex, buried with the overwhelming mountain of hurdles. I began my creative career in the one of the most complex industries: music. The business of music is just like any other business, except it's competitive and hard to navigate as a poor teenager who lives in their parent's basement.

But somehow I survived for a few years, and I have the scars to prove it. We toured and recorded albums, yet never seemed to make it where we always dreamed to be. One minute we had a breakthrough, the next we took ten steps back.

I often think about what was to blame, or who was to blame. But in the end I chock it up to timing. We happened to choose one of the worst times in the history of music to succeed. Free music was the new thing and the sales of compacts discs were crashing at an alarming rate. I often felt like my band was running on a treadmill, covered in sweat, yet never making any big leaps toward fame, fortune and my dream: to be my own boss.

It’s not often that people live out their dreams. But, what happens when you do? What happens when you achieve every single goal in your path? How do you plan for the future when you have nothing to chase?

These are questions I recently had to ask myself, because I accomplished the one dream that had been hanging in my head since I started photography. It may seem simple, but for me it was complex. My dream was to photograph Jennifer Lawrence

I grew up most of my adolescent life in a nice neighborhood, my family owned and operated a successful distribution business, so we lived a good life. Through the music industry I learned a lot the hard way, but was setup to succeed from an early age. Several houses up from ours lived the Lawrence family: Karen and Gary, two brothers Blaine and Ben and a bright-eyed, spunky-blonde Jennifer. Throughout high-school, my older sister dated Ben for a few years and often babysat young Jennifer. While I didn’t have much of a connection to Jennifer or the Lawrence family, my sister certainly did.

As we grew older, we went to different schools and Jennifer eventually moved and didn't think much about it. That is until some years ago, when I received an email from my mom alerting me that Jennifer Lawrence, the girl down the street was to be in a movie with Charlize Theron called “Burning Plain.” I watched the film and smiled. When Jennifer starred in "Winter’s Bone" and took home the Academy Award, I felt proud. In a small town such as Louisville, Kentucky everyone seems to have their connection to Jennifer. While my connection may be more significant than the grocery clerk that helped Jennifer's cousin find powered sugar one day, it’s not a connection where I claim to be close.

Today, Jennifer Lawrence is considered one of the most popular A-List celebrities in the world, a title that is well-deserved. I not only wanted to photograph her, but I wanted to do it organically. I wanted to work as much as possible to be the photographer chosen to capture Jennifer for "X" client. I constantly kept it in the back of my mind and didn’t tell many. It was a long term goal, one I expected to require years to achieve.

I wanted to earn it.

Shortly after the safe return from our adventure in Iraq, I received a call from my friend Coury Deeb, Founder of Nadus Films—a production company based in Louisville that works heavily the non-profit industry. Coury had been working closely with Meredith and Karen Lawrence, who collaborate with Jennifer for her foundation. The Jennifer Lawrence Foundation supports various other non-profit organizations with a primary focus of children in need.

The Lawrence family were neck deep in planning the "The Power of One" fundraising event presented by the Jennifer Lawrence Foundation and the Frazier History Museum; which recently just opened the doors to The Hunger Games: The Exhibition. The interactive exhibit features actual costumes and props from the production of The Hunger Games series. It’s a massive exhibit that soaks up the focus of the entire museum. It totally made sense to utilize that atmosphere to host this fundraiser. Lucky for us, the foundation was interested in having the event captured Nadus style.

While over numerous meetings and countless ideas, we landed on a plan of action. Nadus Films would document the event while I photographed Jennifer in two studio sessions. One being a portrait sitting with various children that the foundation supports and the other being a portrait sitting with her solo and a few friends who are attending the event with her. Leading up to the event we hit a few hurdles. The portrait sitting would have to be quick, it would have to feel more candid and most importantly, we had to keep it fun. No big deal.

I then made a few calls to some friends in the photography industry. First, Sarah Oliphant of Oliphant Studios. I had envisioned a dramatic black and white candid portrait with the children. A mood that felt very light-hearted, yet natural and intimate. I wanted to use a dark background, but with enough character to float behind the subject. In other words, I didn’t want Jennifer to fall into blackness, I wanted some gray surface texture to lift the contrast. I don’t often work with black as a background but gray, so I was thrilled when Sarah provide an option that could cater to my vision.

On the flip side, it would be an alternate background with more of a warm tone and a strong vignette. A background that more of a standard style of what you would see in a Leibovitz photograph. I would use both of these canvas backdrops over a period of two days.

The next call was to Digital Transitions—a New York based retailer for Phase One and various other top professional photography brands. I can depend on Digital Transitions for providing a quick rental program for the Phase One system. In this case: a Phase One IQ3 80MP XF Medium Format Camera with a Schneider Kreuznach 40-80mm LS f/4.0-5.6 Lens.

The reason I chose to shoot with a medium format over my workhorse a Canon 5D Mark III is actually several reasons.

Firstly, I wanted the resolution. I didn’t quite know what to expect. I knew the shoot would be very quick and fast-paced so the massive resolution of the digital file would provide a breath of options in post-processing. We could crop in dramatically or alter exposure without sacrificing the image quality—in other words, it was a safety in case I just can’t nail it in camera.

Secondly, I wanted the beautiful buttery look that a medium format camera offers, which if used right can resemble film. While I prefer a deep depth of field in most of my photography, I wanted this particular series to feel warm and soft with a dramatic aura.

I felt confident about the tools in play, I just needed a plan of action for the setup including lighting, logistics and safety. With Jennifer Lawrence, I wanted to provide as much breathing room as possible. I knew we wouldn’t have but a few moments, so I needed the set to be versatile. It had to be the right light, open enough to offer multiple posing options without a change. Therefore, we went big and soft.

For both sessions we opted to use a Profoto D1modified with a 51” Large Profoto Deep White Umbrella with a 1.5 stop Profoto Umbrella Diffuser as a key light. As a fill light, we used a Profoto D1 modified with a 65” Extra Large Profoto Deep White Umbrella with a 1.5 stop Profoto Umbrella Diffuser. We feathered the key light to soften shadows and offer a more natural nature of light. The entire set was draped in black cloth to negate the bouncing of light and increase the density of the shadows on her face.

I was nervous. Although the bath of anxiety wasn’t caused by the fact that this was the most popular and successful celebrity that has stepped in front of my lens. It was because I wanted the image to honor Jennifer, and for my photography to align with her brand and our client The Jennifer Lawrence Foundation.

We arrived at the venue early, only to receive some bad news: the shoot with the children was cancelled. I felt disappointed, but was thankful for the opportunity to have the second day. Nevertheless, we loaded in all of our equipment just in case... I’m glad we did. Within an hour of the event taking place we received word that our portrait session with the children was a go, with only an hour window to prepare. Fortunately, this wasn’t our first rodeo with this style of project and we were prepared for anything to be thrown our way.

We had our location, we had our equipment and my assistants prepare the set while I mingled and covered the opening of the event. I spent a brief time pre-staging, pre-lighting and make sure all the preparations were made which we had planned for. After a quick autograph session, I tagged along with Jennifer through The Hunger Games: The Exhibition and led her to our “mock-studio” where we would photograph her with a few select children. This walk provided the time to briefly catch-up and make a connection.

As we arrived to the set, I pointed to a stool we had setup and began to hand-select various children. I made sure to keep her attention while we made slight adjustments to the light and brought in our first subject.

Jennifer had never met most of these children, so it was then my job to make the awkward moment fell just right. I fired the shutter while I did my best to guide Jennifer and the children to have more of a conversation, at the same time punched in awkward jokes to bring out some laughter. Instinctively, Jennifer jumped in and helped the process.

While I was only able to fire several frames per child, I was confident in what we we captured. After four sets of children, a small technical glitch and nearly 30 frames later, Jennifer bailed and headed out of the venue for the evening.

After the shoot, I felt fairly confident in the candid portraits, but naturally was hard on myself for my equipment acting up. Apparently, radio signals from the radios used in the building for the event had conflicted with our radio triggers used in the portrait setup and caused the lights to fire in an extreme rapid pace, resembling a theater strobe for about four seconds.

Luckily, it was during our final set, but it was certainly a learning experience.

The second day started early as we had a lot of setup and didn’t want a repeat of the hiccup from the previous day. Therefore, we spent meticulous time with the lighting and staging. While the set would primarily be used for a professional “portrait-booth” for guests of the fundraising event for the evening, our priority was the solo portrait of Jennifer. After nearly four hours of staging, we were ready.

I vividly remember pacing back and forth several minutes before Jennifer arrived on set. We got word that she would be arriving with an entourage, which included Frances Lawrence, Director of The Hunger Games film franchise, which only added to the pressure. This was my opportunity to open doors and it had to be right, it had to be perfect.

As Jennifer walked towards the set I gave her a gentle hug, asked her take a breath and sit next to a posing table we had pre-staged hours beforehand. After a 10-second spew of small talk, I picked up the Phase One IQ3 Medium Format Camera, focused and snapped the shutter. With one sudden pulse of the flash all the anxiety went away and I felt a push of adrenaline. With a swiftness, we blazed through various positions I had pre-set and thought out.

While Jennifer needed little direction, the smallest ideas helped her provide the expression I was seeking. After just eight photographs, Francis jumped in a for a couple of frames. I did my best to make a stiff moment more awkward, which resulted in both of them bursting in laughter. We kept it fun, we kept it light-hearted, and it was quick. Just 10 minutes later, after a gracious good-bye, Jennifer and her entire crew were off to the next engagement.

I set the camera down, stepped back and exhaled a burst of air. After a moment of pause, I promptly walked over to my MacBook and reviewed the imagery; I was proud. The rest of the evening came as a relief and we blew off some steam with a few cocktails.

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As a professional photographer, it’s my job to make the process easy and quick. Despite having been in hundreds of campaigns, dozens of films and on nearly every major magazine cover in the world, Jennifer and her team relied on my professionalism, intuition and eye. She trusted me to produce something special. Those 48 hours were a thrill ride, I’ll never forget.

If you’re struggling to attain your dream: wander, investigate and inquire. You never know what’s around the corner or what a handshake can do. Your life can change in a instant, mine certainly did. When I first watched Jennifer on the big screen, I had no idea that our paths would one day cross. At that time, I wasn’t a photographer, just someone who desired more and worked relentlessly to accomplish a dream. I can only hope I have another opportunity to photograph J-Law, but in the mean time, I’ll be climbing the mountain towards the next dream.

A special thanks to Nadus Films, Jennifer Lawrence, Karen Lawrence, Meredith Lawrence, Andy Treinen, Frazier History Museum, Ina & Marcella Events, JP Davis, Fund For The Arts, Jordan Hartley, Hunter Zieske, Louis Tinsley, Stacy Swiderski, Digital Transitions and Oliphant Studios.

Kategorien: Fotografie

Nikon Director of Development: 'If Nikon will go mirrorless, it must be full-frame'

Digital Photography Review - So, 17/09/2017 - 15:51
Photo by Joseph Chan

We've known for some time now that Nikon is working on a mirrorless camera—in fact, Nikon confirmed this to DPReview directly. But one question has remained tantalizingly unanswered: will it be a full-frame system, or simply an evolution of the old 1-inch Nikon 1 system?

The answer, at least according to one high-level Nikon director, seems to be what we were all hoping for. The mirrorless camera will be full-frame.

This information came to light in an interview with Tetsuro Goto, Director of Laboratory Research and Development at Nikon Japan, who told Chinese website Xitek that, "full frame is the trend. If Nikon will go mirrorless it must be full frame." A statement that immediately set the photography world on fire with speculation.

You can read the full translated interview at this link. Most of it focuses on the Nikon Df and other topics, but page 4 of the interview begins to cover new ground including competition from Sony, Fuji, and the like, and the future of Nikon mirrorless. The other, slightly controversial statement shared by Mr. Tetsuro during the interview had to do with Nikon's market share and penetration vs the competition (translation courtesy of Nikon Rumors):

Nikon customer base is very broad, from novice to enthusiasts to prosumer to professional, that’s Nikon’s advantage. Olympus, Sony and Fujifilm can only cover a small part of that. So far there is no professional using their products. So when they develop products, even like retro style, they only try to meet these people and that’s only what they can do. Their customer base is limited anyway so they have limited view in developing products.

Read the full interview here, and then feel free to go speculation crazy in the comments. We'll update you as soon as we have something official from our sources at Nikon.

A Nikon representative was not immediately available for comment at the time of publication. We will update this news story as soon as we have an official response from Nikon USA about Mr. Tetsuro Goto's comments.

Kategorien: Fotografie

iPhone X vs. Samsung Note 8

Digital Photography Review - So, 17/09/2017 - 14:00
iPhone X vs. Samsung Note 8

Two big flagship devices, two big price tags: with the introduction of iPhone X, Apple now has a horse in the "all screen, all the time" smartphone race. Here's a breakdown of the specs with particular attention to the things that really matter – at least to people who prioritize photography features.

Dual cameras

You'd expect no less in the year 2017: each of these devices has a dual camera module. Both use two 12MP sensors with apertures as listed below.

iPhone X Note 8 Wide-angle F1.8 F1.7 Telephoto F2.4 F2.4

It's welcome news that both of these dual cam units are dual-stabilized, meaning the wide and telephoto lenses offer optical image stabilization. The iPhone 7 Plus was only equipped with OIS in its wide-angle lens.

The Note 8 offers 26mm and 52mm equivalent focal lengths, and if the iPhone X is consistent with the 7 Plus, it will come with a 28/56mm combo. The Note 8's ever-so-slightly wider view of the world may have some advantages, but that depends on your preferences.

The 12MP sensors used by the Note 8 measure 1/2.55" in the wide-angle unit and 1/3.6" in the tele lens. Apple doesn't specify what size sensors it uses in the X, just that they're bigger, faster, and have deeper pixels than what was used in the 7 Plus. Relatively speaking, a slightly larger smartphone image sensor is still pretty small. Even if they are bigger than the Note 8's sensors, that's likely to have less of an impact than improvements in image processing and camera software.

Still shooting features

Apple and Samsung put their devices' depth-of-simulation modes front and center among camera features. It's called Portrait Mode on the iPhone X and Live Focus on the Note 8, but they do the same thing: use information collected from the dual cam to create a depth map of the scene and blur the background.

Samsung lets users specify the amount of blur, while the Apple sticks with its classic "you get what we give you" approach and decides on your behalf how blurry the background should be. The Note 8 will also let you save a photo taken with the wide-angle camera; not so on the iPhone X. And Apple means it when they call it Portrait Mode: it can only be used when a face is detected. Samsung doesn't require a face to be in the scene.

Apple promises better low-light results and more natural looking bokeh with its latest iteration of Portrait Mode. Additionally, iPhone X will include a new beta feature called Portrait Lighting, allowing users to apply different lighting effects, either in live view or after the photo is taken.


Apple doesn't go into specifics about its camera sensors and is pretty short on details at this point about the autofocus used by the iPhone X. The company claims autofocus is faster compared to the iPhone 7 thanks to a new image processor. Both the Note 8 and iPhone X offer some level of phase detection autofocus, which Apple calls Focus Pixels and Samsung calls dual pixel.

Front-facing cameras

Those who indulge in the occasional selfie will be glad to know that front-facing camera specs are improving with each smartphone generation. The Note 8 users an 8MP F1.7 unit and the iPhone offers a 7MP sensor with an F2.2 lens. That would seem to lend a slight advantage to the Note 8, though the X's differentiating factor is that it lets you use Portrait Mode with the front camera, as well as its Portrait Lighting feature.


On paper at least, the iPhone X appears to slightly edge out the Note 8 in the video department. The iPhone records 4K at up to 60 fps and is capable of slow-motion capture at 1080p/240 fps. That's just a step ahead of the Note 8's 4K 30 fps recording and 720p/240 fps slow-motion capture. The Note 8 does offer slightly larger 9MP still capture during 4K recording, compared to the iPhone's 8MP stills.


Some people just like really huge phones. For them, the Note 8 and its 6.3" AMOLED screen were created. The iPhone X has Apple's biggest iPhone screen yet, but at 5.8" it's still significantly smaller than the Note 8's. It's also lower resolution at 458 ppi vs. the Samsung's 521 ppi.

It is smaller, but it's inarguably better in terms of color management. The iPhone X's wide gamut OLED is the most color accurate device on the market, partially thanks to iOS' internal color management but also because of display calibration. That's a benefit to anyone who takes and looks at photos on their mobile device.

There's more: to our knowledge, the iPhone X is the first device to display photos in HDR (we're not talking about HDR capture). And they look great. HDR as a display technology has immense potential to make both photos and videos look more real, but so far it's only being talked about in video circles. We're glad to see Apple bring the conversation to the stills world.

Storage, durability, and other niceties

Anyone who takes a lot of photos with their device cares about storage space. There's no surprises here: Apple offers the X with 64GB or 256GB of storage space and doesn't provide a microSD card slot. The Note 8 is sold with 64GB (your only option in the US right now), 128GB or 256GB built in and provides a MicroSD card slot for up to an additional 256GB of space. We've got to consider that a Note 8 advantage.

Both devices are also fairly durable, which seems only fair since you'll pay top dollar for either one. The iPhone X has an IP67 rating – the "6" in that number indicates that it's dustproof, and the "7" indicates it's protected against immersion in water up to 1m in depth for 30 minutes.

Long story short, the Note 8 has a better water resistance rating, but they're both fairly sturdy.

Fairly solid, but the Note 8 has a better IP68 rating, meaning it's dustproof and has the highest rating for water resistance. Samsung specifies that this entails "submersion in up to 1.5M of fresh water for up to 30 minutes." Long story short, the Note 8 has a better water resistance rating, but they're both fairly sturdy.

And then there's battery life. Assuming that Samsung straightened out its well-publicized battery problems, it's pretty much a wash in this category. The iPhone X promises 21 hours talk time or 12 hours of internet use, and Samsung claims 22 hours of talk time with 12-14 hours of internet usage, depending on whether you're on Wi-Fi or data.


Finally, the thousand dollar question: how much do these devices cost? The iPhone X with 64GB costs $999/£999, and the 256GB version costs $1149/£1149. An unlocked 64GB Note 8 is $930/£869, and ranges from $930-960 if purchased outright through a US carrier. Any way you slice it, these are flagship devices with prices to match.

Do you think one of these devices comes up stronger than the other in terms of photography features? Let us know in the comments.

Kategorien: Fotografie

These are the winners of the 2017 EyeEm Awards, the world's largest photo competition

Digital Photography Review - Sa, 16/09/2017 - 20:30
Photo © Sasha Dudkina, EyeEm 2017 Photographer of the Year

A month and a half after revealing the finalists of the 2017 EyeEm Awards, the photo sharing community and licensing marketplace has finally revealed the winners.

The 2017 EyeEm Awards have a few distinguishing factors. First, if you go by number of submissions, they are the world's largest photo competition—over 590,000 photos were submitted by over 88,000 photographers. Second, for the first time in the awards' short history, all of the winning images come from a full series. And finally, this year EyeEm added a Community Vote category.

Scroll down to see all of the winning series, along with a short description of the photographer and what they were trying to capture.

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Sasha Dudkina is a 19-year-old photographer from Moscow, Russia. She shoots with a Canon 650D and occasionally her iPhone.

Sasha’s photographic style is characterized by glances and holding on to fleeting moments. She considers herself an observer, always taking in the people and events around her, often times snapping candid photos of her friends and strangers. Her photography is inspired by her home country of Russia, its literature, music, diversity of nature and especially the people.

“Sasha has been a super engaged community member since joining EyeEm in 2014,” said Brada Vivi Barassi, Head of Photography at EyeEm. “She regularly participates in Missions and shares life through her lens in a really consistent, intimate way. Sasha is brimming with potential. We’re so excited to work with her, help unleash her creativity to the full and provide support throughout her photography journey.”

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Guiga Pira was asked to join the crew of an anti-poaching ship as the drone pilot for a campaign to protect the most endangered marine mammal in the world from illegal fisherman. Drones were used to locate, identify and document illegal fishing activities in a protected area.

Pira said as the drone pilot in this campaign “I saw too much of the dark side of humanity in such a beautiful place. I decided to make the best of my time while flying, so every time the drones were launched I tried to capture the beautiful side of the area I was patrolling.”

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The lead photo was taken as part of Julie Hrudova’s series, ‘LEISURE,’ which is an ongoing series Hrudova says is “core to what my work is about.” It’s a play with photography being a trustworthy and truthful medium by creating some confusion about what is actually happening in the image, or why. Hrudova says her subjects are focused on their leisure activities and often isolated.

The photos from the series are taken in Moscow, Tokyo and Amsterdam.

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Denise Kwong went to a popular spot in Hong Kong to shoot the markets below, when she looked to the left and saw this block of units. Kwong said: “With its lighting scheme, it was giving off a cinematic vibe and I also love how how each lit balcony made the building facade look like a sheet of negatives - each telling its own story.”

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The winning image was taken as part of Adeolu Osibodu’s series, ‘Losing Amos.’ Osibodu says: “My Grandfather Amos died in 2014. It was then that I realized how casual my idea of him was. I constantly asked myself why I couldn’t see beyond his heavy grins, why I couldn’t define him as more than the man who was never unhappy... these were unsettling thoughts that meddled with my conscience.” Osibodu decided to take a series of self-portraits wearing different clothes his grandfather owned at various times in his life.

“Maybe this is inspired by an urge to find consolation or my intimate affection for a time before, or me just being Adeolu. Regardless, I’m forever glad I happened to find myself in this state.”

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The winning image is from Ramin Mazur’s series, “The Process,” documenting a production of Hamlet put on in a prison in Moldova.

The Republic of Moldova has one of the highest numbers of inmates per capita in Europe, including the highest rate of the long term convicted. To shed a light on the issues of penitentiary system, art centre “Coliseum” directed a play in the most secure prison in Moldova. For several months inmates were studying the craft of acting to perform on the same level as professionals from the National Theatre. Some of the inmates had already been in prison for more than half their lives. Through this play, directors Mihai Fusu and Luminita Ticu aimed to draw attention to conditions of lifers in Moldova, the penitentiary system as whole and most importantly, stereotypes.

Inmates and their right to be changed is a taboo topic among people and, paired with poor economical conditions and corrupted institutions, leaves little chance for those who want to be changed or forgiven.

The Community Vote Category Winner $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_1205950056","galleryId":"1205950056","isEmbeddedWidget":true,"standalone":false,"selectedImageIndex":0,"startInCommentsView":false,"isMobile":false}) });

Robert Torrontegui's portrait series captured in Manila, Philippines was selected by the EyeEm community from all of the finalists.

Kategorien: Fotografie

Photo of the week: Swimming with Humpback whales in Tonga

Digital Photography Review - Sa, 16/09/2017 - 15:00
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Tonga is the only country in the southern hemisphere where you can actually swim with Humpback whales. Every year, starting around June/July, thousand of whales undertake the longest migration known, crossing half of the world to meet near the island of Tonga.

Before this, the last time I had had the opportunity to see humpback whales was in Antarctica, but I had never had the opportunity to swim with them. We purposely decided to go early in the season, and so Craig Parry and I headed out to Vava’u, Tonga in July. Going early in the season meant less whales, but also less tourists visiting those islands—a prime time if we were hoping to increase the quality of our interactions. And I have to tell you... we got really lucky.

Literally 3 minutes later, this young whale was swimming toward us, looking to play with us.

On day two, while we were swimming with a mother and cub, we noticed a lone teenage whale playing around. We slowly approached him and gently slipped into the water, hoping not to scare him. Literally three minutes later, this young whale was swimming toward us, looking to play with us.

A scary moment, you might say, when you realize that you can’t fit this airplane-sized animal into your fisheye lens. When his nose and tail are about to touch you... missing by just a few centimeters. This whale would swim in front of us, roll next to us and swim under us, only a few centimeters from our fragile human body.

We understood that this animal meant no harm to us, and as this realization seeped in confidence replaced fear, and we literally spent the next 2 hours playing with this beautiful creature. Those two hours were magical, intimate, and powerful. Having previously shot whale sharks underwater, I didn’t believe Craig when he told me that I would constantly need an ultra-wide angle lens. I couldn’t have been more wrong, and both of the shots you are seeing were taken with a fisheye lens.

We understood that this animal meant no harm to us, and as this realization seeped in confidence replaced fear, and we literally spent the next 2 hours playing with this beautiful creature.

In fact, I used the following configuration for this trip: Aquatech underwater housing, Sony A7r II, and a 28mm with Fisheye adaptor (16mm). I also used the Sony 11-22mm.

I decided to shoot 7 bracketed exposures in 0.3 stop increments, hoping to either get (1) A high dynamic range composition or (2) A correctly exposed photo (given how fast the whale was coming to us, I had no time to adjusting the metering of the camera). Regarding autofocus, those two lenses seems to focus too much on the picoplankton at wide aperture. Reducing the f-stop from F6.3 to F8 increased the amount of keepers. And finally, regarding shutter speed, I wouldn’t recommend going below 1/640s, given the movement of water and the speed at which the whale moves around.

Josselin Cornou is an explorer, contemporary and landscape Photographer, and an addict of the unknown. He's travelled all over the world capturing some of the most stunning photographs you've ever seen. You can find more of his work on his website or by following him on Instagram.

Kategorien: Fotografie