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  • The Unexpected Joy of Street Photography with the Sigma BF

    The Unexpected Joy of Street Photography with the Sigma BF


    I recently took to the bustling streets of New York City with Sigma’s revolutionary new BF camera, putting this innovative device through its paces in one of the world’s most iconic and photogenic urban environments. The Sigma BF, with its philosophy of “Radical Simplicity,” proved to be an intriguing tool for capturing the essence of New York’s vibrant street life.


    The Sigma BF: A New Era of Simplicity

    The Sigma BF, launched in February 2025, represents a paradigm shift in camera design. With its sleek unibody aluminum construction and minimalist interface, the BF stands out as a testament to Sigma’s commitment to simplicity and style.

    Unibody Construction: A Solid Foundation

    The Sigma BF’s unibody construction immediately caught my attention. Carved from a single aluminum block over seven hours, the camera boasts unprecedented rigidity and durability. This seamless, all-metal body harmonized perfectly with the attached I series lenses, providing a reliable and comfortable weight that I found ideal for long days of street photography.

    Single Finger Operation: Streamlined Shooting

    One of Sigma BF’s standout features is its emphasis on single-finger operation, which was designed to offer the easiest and simplest user interface for daily use. I appreciated this streamlined approach, allowing me to focus more on capturing fleeting moments rather than fiddling with complex controls.

    Dual Layer Menu System: Intuitive Control

    The Sigma BF’s dual-layer menu system impressed me with its intuitive design. All essential settings are organized into two screens: the Main Menu and the Optional Menu. This configuration allowed me to quickly access critical shooting parameters without diving into convoluted menu structures.


    Street Photography Performance

    The Sigma BF’s 24.6MP full-frame, backside-illuminated CMOS sensor delivered excellent image quality, particularly considering street photography’s challenging lighting conditions. The camera’s wide dynamic range and native ISO sensitivity of 100-102400 proved valuable in capturing the nuances of New York’s diverse urban scenes.

    The hybrid phase detection and contrast detection autofocus system ensured quick and accurate focusing, crucial for my style of capturing spontaneous moments. The ability to shoot continuously at up to 8 fps allowed me to easily capture fast-moving subjects.

    Aesthetic Appeal and Practicality

    The Sigma BF’s striking design didn’t go unnoticed on the streets of New York. I noticed numerous curious glances and pointed fingers from passersby, intrigued by the camera’s unique appearance. However, the Sigma BF proved to be more than just a pretty face, offering practical features like 230GB of internal storage, eliminating the need for memory cards, and providing ample space for a full day of shooting.

    Color Profiles and Creative Options

    I was particularly impressed with the Sigma BF’s color profiles, including the new “Calm” and “Rich” modes. These options allowed me to experiment with different looks, from muted and low-contrast to vibrant and dramatic, directly in-camera. Monochrome mode, with its various toning options, also proved to be a valuable tool for creating striking black-and-white street images.


    Final thoughts on the Sigma BF

    This camera’s unique philosophy of “Radical Simplicity” resonated with my approach to street photography. The camera’s intuitive operation, distinctive visual style, and seamless integration with modern lifestyles made it an excellent companion for capturing the essence of New York City’s streets.

    I found that the purposeful limitations of the Sigma BF encouraged creativity, leading me to focus on composition and timing rather than relying on complex features. As a tool for the discerning street photographer who values simplicity and style, the Sigma BF proved to be a compelling option in my hand.



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  • Leadership Headshots And Environmental Portraits For A Grocery Retailer – A Photo Editor


    Andrew Souders. Wonderful Machine

    Each month, we explain a recent cost estimate, contract, or purchase order in the form of a Pricing & Negotiating article. By redacting the names of the photographer and the client, we can share useful information that would otherwise be confidential. You can read more about our Building Estimates service on the Consulting Services page of our website.

    Concept: Executive Headshots and Environmental Portraits
    Licensing: Perpetual Publicity and Collateral use of 7 images
    Photographer: Portrait and Lifestyle Specialist
    Client: National Grocery Store Chain

    Summary

    I recently collaborated with a photographer to develop an estimate for a corporate portraiture photoshoot for a US-based grocery retailer. The project’s goal was to capture the authenticity, approachability, and leadership of the company’s Chairman/CEO and President/Vice-CEO.

    We planned for the shoot to take place in a single day at a store location in the Southwestern US. The client would plan to coordinate the schedule to minimize disruption to store operations and, at the same time, allow the photographer to accomplish everything they needed to.

    Deliverables included 4 high-resolution headshots and 3 environmental portraits, all licensed for perpetual publicity and collateral use. They intended for these visuals to enhance the company’s marketing materials, reinforce its brand ethos, and connect with its customer base on a more personal level.

    Fees

    The client’s brief outlined a need for Publicity and Collateral use for the imagery, which informed the pricing structure. We determined that perpetual usage rights were appropriate for this particular project.

    • Perpetual usage relates to the duration the client can use the images. Perpetual usage means the client can use the images indefinitely. But, the usage is still confined to the agreed-upon media (in this case, publicity and collateral).
    • Unlimited usage, on the other hand, implies no restrictions on the type of media placement, often making it broader usage for things like paid advertising.

    Why Perpetual Usage?

    • Leadership portraits don’t stay relevant forever. Executives update their photos every few years, so setting a time limit on usage would likely expire after the images are already outdated.
    • It simplifies things for both the client and the photographer. No need to track expiration dates or negotiate renewals for images that won’t be used long-term anyway.
    • It encourages repeat business. Even with perpetual rights, occasional leadership changes (just in the age and look of the person, or who’s in the actual role itself) mean new photos will be needed. Making the process easy builds goodwill and increases the chance they’ll return to the same photographer.
    • The intended use is long-term but not commercial. Since these images are for PR and internal branding (not paid advertising), perpetual licensing makes sense — it’s a one-time cost for the client, with not much downside for the photographer.

    The creative and licensing fee was set at $3,500, a rate reflecting the project’s somewhat smaller scope balanced with the longevity of the usage rights. We also included a tech/scout day, priced at $500, to allow the photographer to familiarize themselves with the location and refine logistical details.

    Crew

    We included a first assistant at $500/day, with an added 25% payroll fee, bringing the total to $625 for the shoot day. Given the shoot needs, the inclusion of the photographer’s trusted first assistant to handle equipment setup, lighting adjustments, and management of digital workflows was of great importance.

    Styling

    We allocated $875 for a men’s groomer/hair and makeup stylist to be present on shoot day. This role would also include light wardrobe adjustments, providing the professional polish necessary for high-quality headshots and portraits.

    Equipment

    We allocated a conservative budget of $250 to cover any supplemental equipment needs. The photographer owned most of the required equipment, but additional backdrops were necessary to achieve the desired aesthetic for the headshots.

    Misc.

    To cover incidental costs such as meals, parking, and mileage, we included a budget of $200. We noted these expenses were to be billed at cost to provide flexibility while maintaining transparency.

    Post-Production

    We budgeted $300 for the initial edit and client review, hosted on a web gallery. We allocated an additional $700 for retouching seven selected images, priced at $100 per image to include up to one hour of retouching work each. This process ensured each image met the client’s expectations and upheld the brand’s standards.

    Results

    The photographer was awarded the project, and the shoot was scheduled to take place within the following weeks!

    Follow our Consultants @wonderful_at_work.





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  • David Attenborough Turns 99 and He Wants You to Fight for It

    David Attenborough Turns 99 and He Wants You to Fight for It



    May 8th is David Attenborough’s 99th birthday, and in his new documentary, Ocean, he’s marking the occasion with a veritable call to arms. “If we save the sea, we save our world,” says Sir David.

    Over the last seven decades, the beloved English presenter has made many films focused on our marine world, but this latest one is something different. Of course, there’s awe-inspiring cinematography aplenty, as you’d expect, but this time, the camera shows us the full extent of the tragedy occurring on the high seas today: The colorful reefs teeming with fish abruptly give way to vast deserts of broken, gray, lifeless coral—the aftermath of dragging huge nets along the ocean floor, killing everything in their path.

    “When I first saw the sea as a young boy, it was thought of as a vast wilderness to be tamed and mastered for the benefit of humanity,” says Attenborough in Ocean. “But now, as I approach the end of my life, we know the opposite is true.” Elsewhere, he admits: “After living for nearly 100 years on this planet, I now understand the most important place on Earth is not on land, but at sea.”

     

    https://www.youtube.com/watch?v=v5J7aP2FYH4


    While Sir David may have been criticized in the past for not doing enough to sound the alarm regarding the destruction of the natural world, in this documentary he doesn’t mince his words as he explains all the shocking ways we are harming our seas—with a particular emphasis on the blanket destruction caused by bottom trawling. Not only is he enraged that this practice is legal, but he’s also incensed by the fact that it is actively encouraged by governments through subsidies. “Three billion people rely on our ocean for food,” he points out in Ocean. “But ships sent by a few wealthy nations are starving coastal communities of the food source they have relied on for millennia. This is modern colonialism at sea.”

    Ultimately, though, Sir David is still hopeful. What he calls the “most remarkable discovery of all”—that the ocean can “recover faster than we had ever imagined”—has kept him from despair. He remembers a time, as a young man, when large-scale commercial whaling had all but wiped out our ocean’s largest inhabitants, but how—against all odds—a global powers bowed to public pressure and worked together to save the whales by enacting a moratorium on commercial whaling. In Ocean, he shows us places where conservation measures have been effective and marine life is thriving, and he’s optimistic about the global commitment to protect 30 percent of the world’s ocean by 2030, established at the 2022 UN Ocean Conference.

    At 99, Attenborough’s mellifluous voice is still strong: “It is my great hope that we all come to see the ocean, not as a dark and distant place with little relevance to our lives on land, but as the lifeblood of our home,” he says.

    Ocean is in cinemas from May 8th, and will stream on Disney+ on June 8th—UN World Oceans Day.

     

     





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  • This Photographer Just Choked Out a Camera Thief!

    This Photographer Just Choked Out a Camera Thief!


    When photographers travel abroad, one of the most crucial matters they need to be aware and take care of is safety for their gear and themselves. There are many incidents of thieves snatching cameras from photographers all around the world and a very few are usually able to get their equipment back.

    Photo by Filtergrade

    In Barcelona, Spain, a Chinese photographer, Jia Daming, was able to choke down the thief who snatched his camera and this news has gone viral for his heroic act. Footage of the incident can be found here on X. The photographer was not harmed and was able to get his equipment back.

    The photographer who travels the world to shoot for fashion, celebrity brands and wedding photography, was filming a newlywed couple in a famous landmark in Barcelona, Spain, when a group of three men tried to steal the camera. The photographer got hold of one of the thieves while the other two fled the scene.

    Witnesses in that area, besides capturing this incident, quickly called the local police to report the incident. The thief was choked by the photographer in an act of self-defence and to restrain him till the police arrived. The police handcuffed the thief and according to other reports, the police are investigating this matter.

    The footage from the scene have been shared on social media and has attracted millions of views. Onlookers and social media users applauded the photographer for his brave act. While it can be very dangerous to restrain a thief, it looks like the photographer used martial arts to neck choke hold the thief and this can sometimes even cause death because of the restricted air and blood flow to the brain.

    We have more news for you to read if you are interested at this link here.





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  • Howard Schatz – A Photo Editor


    The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

    Today’s featured artist:  Howard Schatz

    Dancers In The Museum

     I worked for three days making photographs of the innumerable spaces and galleries at The Metropolitan Museum of Art in New York City, using my imagination to “picture” what it would look like with ballerinas in the various spaces.

    In my studio, working with two dancers from The American Ballet Theater, Camila Ferrera and Betsy McBride, as well as a fashion stylist, Nikko Kefalas, hair stylist, Anike Rabiu, and make-up artist, Magdalena Major, I made images that would “fit” in the Museum’s spaces.

     

     

    To see more of this project, click here

    Instagram

    Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist. Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.

    As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.

    Instagram





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  • SeaLife Shipping Red, Magenta and Yellow Filters for SportDiver Smartphone Housings

    SeaLife Shipping Red, Magenta and Yellow Filters for SportDiver Smartphone Housings


    SeaLife Shipping Red, Magenta and Yellow Filters for SportDiver Smartphone Housings

    Alongside the release of the SportDiver S, SeaLife has announced a trio of color filters that can be used with all models of the underwater smartphone housing, including the original model and the “Ultra” model as well as the new “S” model. The original red filter—which ships with the SportDiver Ultra but not with the SportDiver S—is joined by a new magenta color-correcting filter for green water applications and a yellow barrier filter for fluorescence imaging. Each filter comes with a lanyard.

    Priced at $20 each, the red, magenta and yellow are available from Backscatter and other good retailers.

     



    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.



    PRESS RELEASE

    SeaLife Offers Color-Correcting Filters for Popular SportDiver Smartphone Housings

    MOORESTOWN, NJ – SeaLife, the maker of the SportDiver Underwater Smartphone Housings for iPhone and Android smartphones, has added color correcting filters to their accessory assortment including the original Red color filter for most diving applications; a new Magenta color-correcting filter for green water; and a Yellow filter is available for Fluorescence and UV Imaging, and certain blue water applications.

    The filters are designed to restore and correct for color-loss underwater, especially in the red color spectrum. They’re made of an optical acrylic that uses proprietary color pigments. The filters are most effective at depths of 10ft/3m to 60ft/18m and are easily attachable and removeable to the SportDiver optical lens frame while underwater. The filters fit all SeaLife SportDiver models, including the original SportDiver, SportDiver Ultra and the new SportDiver S.

    The color filters may be used with or without external underwater lights, depending on the shooting distance and water conditions. The filter also serves as a protective cover for the SportDiver’s optical glass port.

    A lanyard is included for attaching the filter to the housing to prevent loss.







    Item Description US Retail
    SL40007 SportDiver Red Color Filter – for most Blue water applications $20
    SL40003 SportDiver Magenta Color Filter – for Green water $20
    SL40005 SportDiver Yellow Color Filter – for UV, Fluoro Lights, Blue water $20

    SeaLife SportDiver S with red filter





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  • US Tariffs Drive Leica Prices Up

    US Tariffs Drive Leica Prices Up


    High-end cameras are never cheap.

    black Leica M6 camera
    Black Leica M6 camera. Photo by Simon Woehrer

    But they’re about to become even less so, at least in the United States.

    For those of you that watch the news, there’s a little bit of a trade war going on between the USA and its trading partners. And while tariffs aren’t the buzzword everyone expected for 2025, it’s certainly become a part of the popular zeitgeist.

    Issued to achieve some political and economic goal – some say moving product back to the United States or just to get people to the bargaining table – the tariffs are, nonetheless, going to become less of a theoretical thing and more of a real hit to the wallets of citizens in the USA that buy a range of products.

    Leica, for example, announced price increases of up to 90% on some products, placing them firmly out of the reach of many. If you were ever sitting on the fence about scooping something up, now would be the time, these reports indicate.

    One example cited by PetaPixel to illustrate how much of a price increase we are looking at for some items is the MagSafe Lux Grip from Leica for iPhone, currently priced at $USD 329. After the tariffs, this price is expected to be $USD 625. That’s a lot for a grip already. The price hike makes it even more questionable from the standpoint of value for your money. Certainly there are other capable grips out there but they might be more expensive, too, because of the tariffs. Welcome to the new age of discerning consumers in the United States.

    Any thoughts you might have on Leica’s pricing going forward in the United States are welcome in the comments.

    We have some other news for you to read at this link.





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  • Andy Anderson – A Photo Editor


    The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

    Today’s featured artist:  Andy Anderson

    90% of farmers and ranchers in the US are family owned. A tradition that is under stress if OUR Public Lands are sold!  More information

    Artist Statement: 

    Excerpt from Doug Burgum’s confirmation hearing……….IN HIS OWN WORDS.

    Instagram

    APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world.  She has been involved in the photography and illustration advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her on Instagram





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  • How to Fix Blurry Sports Photos

    How to Fix Blurry Sports Photos


    Taking crisp action shots of sports figures can be challenging, and sometimes an otherwise perfect shot is just a little out of focus. 

    In this tutorial, you’ll learn how to fix blurry sports photos—including methods you can use to sharpen and fix out-of-focus sports photography, as well as tips to ensure your next sports photos are crisp and clear.

    How to fix a completely blurry sports photo

    A completely blurry sports photo is when nothing in the frame is in focus. This often happens in action shots. If this happens to you, there are several filters you can use in Photoshop to sharpen the entire image.

    Using the Unsharp Mask Tool

    Photoshop has a filter specifically designed to sharpen images, known as the Unsharp Mask tool. A blurry image can never truly be “sharpened,” but Unsharp Mask attempts to detect the edges of your photo by looking for side-by-side pixels that are different in color. Then, the tool allows you to adjust the contrast of those pixels and create the illusion of a sharpened image.

    To use this tool, open your blurry sports photo in Photoshop. Make sure you have the layer containing the image you want to sharpen selected (in a JPEG, this would be the Background layer).

    Photoshop 2025 showing the locked background layer selected in the Layers panel, displaying a motion-blurred cyclist on a bridge.

    Next, choose Filter > Sharpen > Unsharp Mask… from the dropdown menu at the top of the application window.

    Photoshop 2025 Filter menu with the Unsharp Mask option highlighted, used for image sharpening and edge refinement.

    A dialog box with Unsharp Mask settings will appear. Within this window you can adjust the Unsharp Mask settings. These settings allow you to finely tune how much contrast Photoshop will apply to the pixels within your image. 

    You’ll see a portion of your image displayed within the dialog box. You can use your cursor to drag until a critical portion of your sports photo appears in that image window. In the example below, we’ve positioned the cyclist’s face in the window.

    Next, you’ll see three sliders: 

    1. Amount: The Amount setting adjusts the increase in contrast between pixels. 
    2. Radius: Radius adjusts the number of pixels along an edge that will be affected by the contrast increase. 
    3. Threshold. Threshold tells Photoshop just how different those pixels must be from each other before they’re considered an “edge.”

    Make sure Preview is checked so you can see how the image will change when you make adjustments within this dialog box.

    Unsharp Mask filter window in Photoshop 2025 previewing sharpening adjustments on a cyclist’s face with fine-tuned radius and threshold settings.

    Each image you adjust will have different settings for these three sliders, because no two images are identical. Play with the sliders until you figure out which combination of settings works best for your image without creating an overly contrasted result.

    Once you’re happy with the final image, click OK.

    Side-by-side comparison of a cyclist image before and after photo retouching, showing improved sharpness and contrast after editing.

    So, it’s not perfect, but it is an improvement

    Sharpen blurry sports images using High Pass Filter

    Another Photoshop tool for sharpening blurry images is the High Pass Filter. In fact, you can use High Pass Filter and Unsharp Mask together to create an even sharper image.

    To use the High Pass Filter, first duplicate the layer that contains the image you want to sharpen (most likely your Background layer). You can do this by clicking on the Layers panel menu (four little horizontal lines in the upper right corner of the panel) and choosing Duplicate Layer….

    Photoshop Layers panel with Duplicate Layer option selected, preparing a new layer for non-destructive image editing on a cycling photo.

    With the new layer selected, choose Filter > Other > High Pass… from the dropdown menu at the top of the application window.

    Photoshop 2025 interface with the Filter menu open, highlighting the High Pass filter option used for edge sharpening and image enhancement.

    Your image will go completely gray. You’ll only see the outlines of your edges in the image. 

    In the High Pass dialog box that appears on the screen, move the Radius slider to the left to reduce detail or to the right to increase the details of the edges. Make sure “Preview” is checked so you can see the effects of moving the slider. In general, keep the radius at 7.0 Pixels or less so your end result will look natural.

    Photoshop High Pass filter preview with layer mask applied to cyclist photo, used for edge sharpening in a non-destructive workflow.

    Click OK.

    Next, go back to your Layers Panel. Change the Blending Mode of the top layer to “Overlay.” (By default, the Blending Mode will be set to Normal.)

    Photoshop Layers panel displaying the Overlay blending mode applied to a duplicated background layer for contrast enhancement.

    Your image will now appear sharper.

    Side-by-side comparison of a motion-blurred cyclist image before and after Photoshop sharpening, highlighting improved focus and clarity.

    For an even sharper image, you could apply Unsharp Mask, and then a High Pass Filter on top of that. 

    You capture the action, we’ll look after the edits. Sports photo editing services start at 25¢ per image.

    How to fix a specific area of a blurry sports photo

    Sometimes, you want to capture motion blur and keep the visual effect, but you also want your subject’s face, or some other portion of the photo to be crisp. There are multiple ways to do this, including using selections, using layer masks, and using Photoshop’s Sharpen Tool.

    How to use a selection and layer mask

    Go back to the image you just sharpened using a High Pass Filter. Now, you’re going to remove the sharpened effects from every part of the image except the cyclist’s face—and then add additional effects to that area to create even more crispness.

    Using the Marquee Tool in Photoshop’s Toolbar, draw an ellipse or a rectangle around the area of the photograph you want to remain crisp.

    Photoshop 2025 showing the Elliptical Marquee Tool in use to select a circular area around a cyclist’s head for localized editing.

    Next, choose Select > Modify > Feather… from the dropdown menu at the top of the application window.

    Photoshop 2025 Select menu showing the path to the Feather option under Modify, used for softening selection edges during image editing.

    In the dialog box that appears, type in a value between 100 and 250. This will give you the smoothest feather of your selection.

    Photoshop feather selection dialog box over a cyclist image, demonstrating how to soften selection edges with a high feather radius.

    Now, go back into your Layers panel and choose the layer that contains your High Pass Filter. Click on the Mask icon at the bottom of the Panel. This icon looks like a black rectangle with a lighter circle inside of it.

    Photoshop 2025 Layers panel showing a duplicated background layer with a layer mask applied and set to Overlay blend mode for localized adjustments.

    Once you click on that icon, you’ll see a mask appear in your layer. It will look all black, except for the area of your selection, which will appear white.

    You’ve now made it so the High Pass Filter will only appear on the area where you originally created your selection, or in the case of this example, on this cyclist’s face.

    How to use the Sharpen Tool

    You can sharpen the cyclist’s face even more by using Photoshop’s Sharpen Tool.

    Select the Sharpen Tool from the Toolbar to the left of the application window. The Sharpen Tool may be sitting behind the Blur Tool or the Smudge Tool.

    Photoshop toolbar showing the Sharpen Tool selected from the Blur Tool group, used for enhancing image clarity and detail.

    In your Layers panel, select your original laye—the layer that does not contain the High Pass Filter. Then, with your Sharpen Tool selected, “paint” over the areas of your image that you want to be a bit crisper. In the below example, we went over the cyclist’s eyes and mouth with the tool.

    Photoshop 2025 interface showing the Sharpen Tool in use on a cyclist’s face, with the background layer selected and tool settings highlighted for precision image enhancement.

    Like all tools in Photoshop, you have the option to adjust the strength and size of the Sharpen Tool in the Options Bar.

    Before and after comparison of cyclist photo sharpening, demonstrating enhanced image clarity and edge definition using Photoshop tools.

    How to remove a blurry background from a sports photo

    Sometimes a photographer will want a clear subject and a blurry background in a sports photo. However, there are times where a crisp background makes more sense. In these instances, it works best to remove the background altogether and replace it with a new image.

    For the following examples, let’s use this image of a young woman holding a basketball.

    Photoshop 2025 interface showing the Remove Background button active beneath a basketball player image during automated background removal.

    Use AI to remove a background in Photoshop

    The easiest way to remove a background is to use the “Remove Background” tool, which is part of Photoshop’s new AI tools. However, while fast, this tool isn’t always the best option, as you’ll see in a minute.

    To use the tool, make sure the Contextual Task Bar is visible. By default, it is—however, if you don’t see it, make sure Contextual Task Bar is checked under the Window dropdown menu.

    Photoshop 2025 interface showing active contextual task bar and layer panel during sports image editing workflow.

    With the Contextual Task Bar visible beneath your image, you’ll see the option to Remove Background. Click on that option.

    Photoshop 2025 interface showing the Remove Background button active beneath a basketball player image during automated background removal.

    The result will be…okay. But not perfect. To really remove the background from an image, you’ll need to add a human touch.

    Young female basketball player isolated on a transparent background after precise clipping path and background removal.

    [cta text=”Save a ton of time with pro background removal from 39¢ per image” button=”Learn more” link=”https://pathedits.com/pages/background-removal”]

    Remove background using Select and Mask

    Another option to quickly remove the background of your image is to use the Select and Mask feature in Photoshop. To do this, go to Select > Select and Mask… from the dropdown menu at the top of the application window.

    Photoshop 2025 Select menu with 'Select and Mask' highlighted, preparing to refine selections for precise cutouts of a sports portrait.

    A new window will appear. In this window, choose Select Subject. You can refine the subject by using the “Refine Hair” button and the tools on the left-hand side of the window, including the Magic Wand Tool.

    Once you have your subject selected to your satisfaction, scroll to the bottom of the Properties tab at the right-hand side of the window. Change “Output to” to “Layer Mask.”

    Photoshop interface showing 'Select Subject' and 'Layer Mask' options in use for isolating and masking a basketball player on a transparent background.

    Click OK.

    Back in your regular image window, you can now refine the subject more. For instance, Select and Mask didn’t do a very nice job of selecting the model’s hair, and parts of her left hand are cut off. You can fix this manually using Photoshop’s Pen Tool and Background Eraser Tool.

    Refine selection using the Pen Tool

    You can use the Pen Tool to refine crisp edges of your subject. 

    First make sure you have the mask portion of your layer selected. Then select the Pen Tool from the Toolbar at the left-hand side of the application window and draw along the edge of your subject. Create a selection from your path, then delete or add portions of your image back in to achieve the desired edge to your subject. 

    Photoshop 2025 interface showing the Pen Tool and active layer mask while creating a clipping path around a basketball in a background removal workflow.

    Use the Background Eraser Tool

    Next, you can use the Background Eraser Tool to refine the hair of our subject. You can get to the Background Eraser Tool by clicking and holding down the Eraser Tool in the Toolbar.

    It’s best to work in stages around the edge of the subject’s hair, so choose one side of the head to start on. Then, set your background color to the color of the background behind that portion of hair. Use the Background Eraser Tool to refine the edge of the hair and continue to change the background color as needed as you work around the entire head.

    Photoshop 2025 close-up view of masking curly hair using the Brush Tool and selection refinement tools on a transparent background.

    Once you’ve sufficiently removed the background from your subject, you can insert a new, crisp background into your image.

    Retouched image of a female basketball player placed on a new outdoor court background after background removal and replacement.

    How to avoid taking blurry sports photos

    While Photoshop offers many options to reduce motion blur, the best way to get a crisp photo is adjusting your camera and equipment settings for the scene you’re shooting. Take plenty of test shots before the event to get your setup close to perfect, based on subject speed and lighting conditions. Shooting in RAW instead of JPEG gives you more flexibility to rescue blurry or underexposed photos later. Even if you don’t have the time to spend on fixing photos, you can outsource photo editing to Path using your captured RAW images. 

    Below are some simple but effective shooting tips to make sure your next sports photos are perfectly in focus.

    Fast shutter speed

    When you’re trying to capture a moving subject, you will need to use a fast shutter speed if you want the subject to appear clear, or “frozen.” How fast a shutter speed you need (and can use) depends on how fast the subject is moving, how much light you have to work with, and how wide or narrow the aperture of your lens is.

    For subjects that are moving at high speed, such as running athletes, cyclists, or racing cars, you will need a shutter speed at least 1/1000 sec, and probably closer to 1/4000 sec. Different cameras offer different shutter speed options, and some new mirrorless options offer shutter speeds up to 1/64,000 sec.

    If you want to create a blurry background with your subject still sharp, use the panning method. Reduce the shutter speed to create a blur and move the camera in the same direction as your subject when they move past you. It takes plenty of experimentation to get your settings and hand movement right, so don’t worry if you don’t get it on the first try.

    High-speed group cycling race with motion blur emphasizing dynamic movement and competition intensity on city streets.

    Adjust light 

    When you reduce your shutter speed (meaning you make it faster, such as going from 1/250 sec to 1/1000 sec), you reduce the amount of light that hits the sensor through the shutter. Therefore, in order to have a bright image, you need to compensate for the high shutter speed by raising the ISO, widening the aperture, or both. 

    Taking photos with plenty of light is important to ensure that the photo comes out at the correct exposure, at the zoom level you need, without the increased film grain that can occur from high ISO values in low-light. Taking photos outdoors during the day will provide a lot of light, as will using a flash. Before you use a flash at an indoor sporting event, however, check the event’s rules for flash photography. Many sporting events don’t allow flash photography from professional photographers, unless they’re the official contracted photographer.

    Reduce camera shake

    Camera shake happens because even when you try to stand perfectly still, your hands naturally make tiny movements that can blur images. Using your camera’s neck strap pulled tight against your neck can add a bit of extra stability when shooting handheld. 

    When you zoom in to your subject, you increase your focal length, and you need to increase your shutter speed to compensate, or else you risk your image blurring from shaking. For a still subject, your shutter speed needs to be at least the inverse of your focal length, so if you zoom in to 400mm, you will need to set your shutter speed to at least 1/400 sec to avoid camera shake. And then you will need to increase your shutter speed from there, depending on how fast your subject is moving and the available lighting conditions.

    Most sports action shots are taken with hand-held cameras or with monopods. You’ll often see sports photographers with large lenses use monopods to support the weight of their kit, which still allows them to quickly move the camera around.

    Many modern cameras and some lenses also have powerful shake reduction capabilities. Look for terms like ‘In-Body Image Stabilization’ (IBIS) in camera bodies or ‘Optical Stabilization’ (OS/IS/VR) in lenses. This technology can help you shoot at slower shutter speeds while still getting sharp images.

    Let us fix your sports photos

    While not every blurry photo can be saved, with the right tools and techniques, you can rescue many of them—and capture crisp, clear shots moving forward. 

    Shooting, organizing, and editing sports photos takes a lot of time and work. Wouldn’t it be great if you could outsource the most tedious, repetitive aspects? With Path, you can! Send us all your background removal, retouching, and image masking needs—so you can get back to the creative work that really matters. 

    Ready to send your photo edits our way? Get started now—and get your edits back in as little as 6 hours.

    Simple pricing for stress-free, pixel-perfect photo edits tailored to your needs

    How to fix blurry sports photos FAQs

    How do you make sports pictures not blurry?

    To make sports photography less blurry, use a fast shutter speed—ideally 1/1000s or faster—to freeze motion. Set your camera to continuous autofocus (AI-Servo or AF-C mode) and track your subject. Good lighting, a higher ISO if needed, and steady panning techniques also help capture sharper images.

    Why are my pictures blurry in sports mode?

    Sports mode usually tries to select faster shutter speeds, but it can still struggle in low light or if the autofocus isn’t keeping up with the action. Your pictures might also be blurry if the camera is focusing on the wrong spot, or if there’s not enough contrast for the autofocus to lock onto the subject properly.

    How do I get my sports pictures sharp?

    Use a fast shutter speed, continuous autofocus, and a wide aperture (like f/2.8 or f/4) to let in more light. Track the subject carefully, and if possible, pre-focus on an area where you expect the action to happen. Shooting in burst mode can also increase your chances of getting a tack-sharp frame.

    How do you take clear sports pictures?

    Clear sports images start with the right camera settings: fast shutter speed, continuous autofocus, and an appropriate ISO. Also, practice good technique—like following your subject smoothly with the camera and anticipating the action. Using higher-quality lenses with image stabilization can make a big difference too.



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  • SeaLife Announces SportDiver S Underwater Housing for Smartphones

    SeaLife Announces SportDiver S Underwater Housing for Smartphones


    After the runaway success of their SportDiver Ultra housing, SeaLife Cameras has unveiled the SportDiver S, which offers a more-compact form factor along the lines of the original SportDiver. According to SeaLife, the new version of the housing offers compatibility with all current iPhone models, as well as all but the very largest Android smartphones.

    Depth-rated to 100 feet (30 meters)—a little less than the 130-feet (40-meter) rating of the Ultra version—the SportDiver S has similar controls and functionality to its bigger sibling. The housing features the same rectangular port used on the original SportDiver and the SportDiver Ultra, ensuring compatibility with accessories such as their six-inch Wide Angle Dome Lens and 52mm Wide-Angle Dome Lens (via their 67mm-52mm Lens Adapter)

    Like the Ultra, the “S” model boasts the Leak Avoidance System, which features a pre-dive pressure test to ensure the housing is properly sealed before entering the water. Should your waterproof seal be compromised, the system also includes a moisture sensor that activates an on-screen warning. Unlike the Ultra, the new model does not ship with a red color-correction filter. Filters—red, magenta, and yellow—must be purchased separately.

    Available now from retailers such as Backscatter, the SportDiver S costs $300—a full $100 less than the price of the Ultra model.

     



    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.



    PRESS RELEASE

    SeaLife Unveils New SportDiver S Underwater Smartphone Housing

    MOORESTOWN, NJ – SeaLife has introduced the all-new SportDiver S, an underwater smartphone housing designed for divers & snorklers of all abilities. The new compact housing dives to a depth of 100 feet (30 meters) and offers several updates over the original SportDiver model, the new “S” version offers compatibility with all iPhone models including Max sizes, as well as many Android smartphones.

    Engineered for absolute reliability and ease of use, the SportDiver S allows divers and snorkelers to capture stunning photos and videos with their smartphones down to depths of 100 feet (30 meters). Constructed from premium polycarbonate, stainless steel, hard-anodized aluminum, and optical-grade glass, the housing weighs just 22.6 ounces pounds (641 grams) on land while offering almost neutral buoyancy in water, depending on the smartphone used.

    Ergonomically designed for comfortable handling and ease of use, the SportDiver S features a large shutter lever and rear control buttons, enabling effortless operation even while wearing dive gloves. Photographers can expand their creativity by utilizing advanced camera settings such as zoom control, exposure adjustment, auto/manual focus, white balance, lens selection, RAW+JPEG mode, and much more, depending on the phone model.

    The new housing works with the free SportDiver camera app, available for both Android and iOS platforms. The app when combined with the housing, turns a smartphone into a highly capable underwater camera, and easily switches between photo and video modes, harnessing the native camera technology of the smartphone to deliver the high-quality images and videos users have come to expect. Additionally, the app’s power-save mode temporarily turns off the camera and dims the display, conserving battery life while keeping instant accessibility with a single touch.

    The SportDiver S housing uses Bluetooth® Low Energy wireless technology, which automatically connects to the user’s smartphone when opening the SportDiver app. The free SportDiver app is compatible with iPhones and Android smartphones, which are available for free download on the Apple App Store and Google Play Store under the name “SportDiver”.  Unlike most other apps, the SportDiver app does not request your email address or personal information, ensuring your complete privacy.  The SportDiver housing features ultra-low power consumption, powered by two AAA batteries that last over 50 hours of continuous use.

    For enhanced imaging results, three optional removable underwater color-correction filters are available for purchase; Red for restoring natural underwater colors, Magenta for color correction of green water, or Yellow for deep blue water and fluorescent lights. The filters can be attached or removed while submerged and include a safety tether to prevent loss.

    SeaLife also offers optional lenses and a 52mm/67mm lens mount to further expand divers imaging creativity.

    Designed for added lights and versatility, the SportDiver S housing features three 1/4-20 tripod mount options, which allows it to be seamlessly mounted with any standard tripod-threaded light or light tray, such as SeaLife’s own Sea Dragon underwater photo/video lights. For best results, SeaLife recommends using an attached light source when diving with the SportDiver S.

    SportDiver S with Sea Dragon 3000F Color Boost Photo-Video Light

     

    Ensuring maximum protection for the user’s smartphone, the SportDiver S incorporates a sturdy holding spring and rubber grip tabs that securely holds the smartphone in place, providing shock-protection for small and larger phone models.

    Protecting your valuable smartphone remains a top priority. A Leak Avoidance System features a pre-dive pressure test to ensure the housing is airtight and waterproof before entering the water. In addition to the pre-dive pressure test, an internal moisture sensor activates an on-screen warning in the unlikely event the waterproof seal is compromised.

    The SportDiver S features a new interior design that protects sensitive components and electronics from damage in the event water drops accidentally enter the housing when opening the door after diving. The anti-fogging “Moisture Muncher” capsule prevents fogging and internal condensation.

    The housing is sealed with a high-temperature resistant silicone O-ring seal and a robust cam-lock sealing latch, ensuring a secure, waterproof seal.  Extra O-rings and O-ring lubricant are included.

    To ensure compatibility, users should consult SeaLife’s “fit-guide” on the website (www.sealife-cameras.com/sportdiver-compatibility/) or simply scan the QR code provided to determine if their phone model will fit seamlessly into the SportDiver S housing.





    Item Description US Retail
    SL408 SportDiver S Underwater Smartphone Housing $299.95

     




    Included with SeaLife SportDiver S, Model SL408:


    • SportDiver S Underwater Smartphone Housing
    • Three ¼-20 Accessory mounts (for lights, trays & grips)
    • Vacuum pump
    • Rubber Grip Tabs (12x Small, 12x Medium and 12x Large)
    • Spare O-rings (1x Main Seal and Vacuum Check Port O-ring)

     


     


    • O-ring lubricant
    • O-ring removal tool
    • Anti-Glare Strips (3)
    • Moisture Muncher sample pack (1 capsule)
    • AAA alkaline batteries (2)
    • SportDiver EVA Carry Case
    • Wrist lanyard


    For larger smartphones, including Samsung’s range of Galaxy Ultra models and Google’s Pixel range, users can select the deeper diving (130’/40m) SeaLife SportDiver Ultra, which includes a red color-correction filter, seven ¼-20 accessory mounts, and a custom-fit EVA travel case.  All SeaLife SportDiver models function with the same SportDiver app, and adapt to all SportDiver accessories.

    SeaLife’s SportDiver S phone housing will be available worldwide in late April 2025.

    SportDiver S with six-inch Wide Angle Dome Lens

    SportDiver S with Lens Adapter and 52mm Wide-Angle Dome Lens

     

    SportDiver S with Sea Dragon 6000 Color Boost Auto Photo/Video Light Kit





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