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  • US Tariffs Drive Leica Prices Up

    US Tariffs Drive Leica Prices Up

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    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

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    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

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    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

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    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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  • DJI Has Released A Teaser Clip “Spin Your World” Ahead Of Its Product Launch

    DJI Has Released A Teaser Clip “Spin Your World” Ahead Of Its Product Launch

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    DJI has been one of the leading manufacturers for high quality drones and they have constantly been innovative and bringing drones into the market that suits every photographer’s needs. Their drones range from beginner’s to professional models and the technologies, hardware used are constantly improved with each new model.

    While a lot of drone professionals have been waiting for this new drone that has been rumoured about, DJI released a new teaser on its channels, which is a very short video clip titled “Spin Your World.” It looks like the drone’s gimbal is capable of rotating, which means it will be a great feature for filmmakers and content creators to capture dramatic aerial footage.

    The released video can be seen below:

    https://www.youtube.com/watch?v=hHYubl5JlRs

    The video released by DJI shows how the drone is capable of capturing more dynamic videos using unique perspectives. The footage on DJI’s social media like X and YouTube, also shows a three camera system which is spherical with “Hasselblad” written on top. The spherical system may allow for more flexibility for the cameras to move sideways, up and down and may come with advanced stabilization features.

    A lot of rumoured information have been flooding online sites and forums about the new drone and its specifications. Followers on social media and especially drone enthusiasts, seem to be very excited about this new technology and predict this drone could be a Mavic 4 Pro following DJI’s Mavic 3 series.

    The new drone seems to have a compact foldable design like its predecessors and may be weighing less than a kilogram. This also means that the drone pilot will need a license to fly the drone in most countries. The product is expected to be launched next week on the 13th of May.

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



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  • Food/Drink Product Photography For A Holiday Campaign – A Photo Editor

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    By 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 Pricing & Negotiating services on the Consulting Services page of our website.

    Concept: Product Photography for a Holiday Campaign in collaboration with a celebrity
    Licensing: Publicity and Collateral use of 4 still photos and 1 animated GIF for 1 year
    Photographer: Still Life/Product and Food/Drink specialist
    Client: Sparkling beverage brand

    Summary

    I recently worked with a photographer to develop an estimate for a holiday-themed product photoshoot for a well-known beverage brand’s collaboration with a high-profile celebrity. The project involved creating still life images of a holiday table centerpiece featuring the client’s product alongside the celebrity’s co-branded food item. We considered the various creative needs, including product shots and lifestyle setups where hands would interact with the product.

    The deliverables included up to four high-resolution still photos and one animated GIF intended for digital PR, social media, and the client’s website, with a one-year global license. The shots were primarily designed for web use, however, there was also the possibility of some print use.

    Fees

    The client provided a shot list outlining key visuals and requested Publicity and Collateral licensing for one year of global use. The creative and licensing fee was set at $5,500 for producing the still images and animated GIF, which we felt was in line with the single shoot day and somewhat limited use. Additionally, we added a pre-production day to help with coordination, studio setup, and creative planning, at a cost of $750.

    Crew

    Though the project’s production requirements were relatively simple, we decided to include the photographer’s preferred assistant to ensure everything ran smoothly. This covered the assistant’s day rates for both the prep/set build day and the shoot day, with a rate of $500 per day, bringing the total to $1,000 for two days.

    Styling

    The creative brief emphasized the importance of some festive styling for the tablescape, which would serve as the backdrop for the products. The photographer took on the basic prop styling, and we included $250 for 5 hours of prop sourcing and $800 to purchase props and décor items. We also brought in a food stylist for two days to ensure the products looked their best on camera. The food stylist was responsible for sourcing supplemental ingredients and food items to complement the products, so we budgeted $2,000 for two days of prep and styling work.

    Casting and Talent

    The brief called for a hand model to interact with the products in several shots, so we budgeted $360 for the hand model’s session, which included a $300 half-day rate and a 20% agency fee. The model’s usage fee for one year of global publicity and collateral use was budgeted at $1,200.

    Locations

    The photographer had a local studio they worked with regularly, so we included one rental day for the set build and one for the shoot. The studio rental was budgeted at $500 per day, bringing the total to $1,000 for both days.

    Equipment

    While the photographer was able to provide most of the necessary gear, we included a supplemental budget of $750 for any extra equipment rentals and their kit of cameras, lenses, lighting, grip, and a workstation.

    Meals

    We allocated $300 to provide light meals for the crew on the shoot day, ensuring everyone had breakfast and lunch.

    Miscellaneous

    We included a $250 budget for miscellaneous expenses to cover any potential additional costs, such as parking and mileage.

    Post-production

    For post-production, we allocated $600 for retouching four images, with each image receiving up to one hour of work at $150 per image. Additionally, we allocated $500 for editing a 15-30-second animated GIF to complement the still images.

    Results

    The photographer was awarded the project, and the shoot is slated to commence before the holidays!

    Follow our Consultants @wonderful_at_work.



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  • Aquarium Builds Retirement Community for Penguins

    Aquarium Builds Retirement Community for Penguins

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    By Joe Tepper, March 19, 2025 @ 05:00 PM (EST)
    Source: Boston.com


    It’s easy to dream about retiring to a private island. But the New England Aquarium is making that a reality for its lucky elderly penguin population.  

    The Boston-based aquarium has constructed a new “retirement island” dedicated to its geriatric African penguins. The birds, which range in age from 14 to 34, will receive more attention and care in the separate environment. Additionally, the newly built island boasts all the features the flippered friends may need as they age: flat areas for resting, mats for safety and ramps for mobility.

    “We think of this island like assisted living, where we’re helping the birds be more comfortable in a calmer environment,” Diana Major, the aquarium’s Manager of Penguins, told Boston.com.

    The New England Aquarium’s 150,000-gallon penguin exhibit is regarded as one of the best of its kind—spanning four stories as a centerpiece attraction in downtown Boston. Amazingly, more than half of the penguins have surpassed their expected life expectancy.

    Fortunately, it seems like these penguins have a nice nest egg.

     



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  • Low-Light Portrait, Storytelling Frames and Good Vibes!

    Low-Light Portrait, Storytelling Frames and Good Vibes!

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    Welcome to the Light Stalking weekly community wrap-up!

    If you’ve been following these words for the last couple of weeks, you might have noticed the strong duality between light and time when attempting to capture the essence of movement. Curiously enough, the upcoming set, which always matches our current contests, spins around another classic of photographic practice; storytelling in a single frame!

    But what makes such storytelling differ from the regular one? Personally, I see storytelling as the attempt of transmitting a broad story with the aid of visual and written information. However, when thinking about a single frame —capable of telling a story all by itself— things tricky quite fast.

    However, I’ve witnessed a tendency towards thinking that these sorts of images are products of a single serendipitous shot. And to be honest, I blame this a bit on all the hype surrounding the oddly translated title from HCB‘s famous book “The Decisive Moment”. Originally titled in French as Images à la sauvette, which most closely translates to “images on the sly” or “hastily taken images”, this book has sort of aided the false belief that great photographs are those perfectly captured just once on silicon or film.

    This way of thinking builds up the idea that if you don’t capture something perfectly on camera, you are doing it wrong. Or at least I thought of great iconic photographs as that, until I had the life-changing opportunity of coming across contact sheets; that’s when I knew we only get to see the decisive shot from the perspective of the editing board, not the author of the frame.

    For today’s wrap-up, we’ve picked a fine selection of single storytelling frames shared on this week’s challenge. So, without more horsing around, let’s dive into what our talented community shared with us!

    Photo of the Week

    And speaking of sly, if you ever feel the need of illustrating how technology blends with photographic skills to capture sharp images on the run, this one can do a great job! Nocturnal street imagery, is both gorgeous and challenging; and of course, is better enjoyed with fast tools like the ones used on this magnificent — and full manual capture at ISO 1250, 1/400s, ƒ3.5:

    copyright – davidc

    A day in sales!

    Congrats David, the light on this shot is just exquisite and the notorious expression of the subject makes it unique; thanks for sharing such a high quality photograph with us!

    Weekly Photography Challenge Digest

    Thanks again to Diane and Dahlia for pushing our creative boundaries one step forward every week!

    copyright – Robert Apple
    copyright – Michael
    copyright – Wendy P
    copyright – Pat Garrett
    copyright – Pat Garrett
    copyright – davidc
    copyright – Timothy S. Allen
    copyright – Wendy P
    copyright – Patrick
    copyright – Patrick
    copyright – Patrick
    copyright – Frogdaily
    copyright – Robert Apple
    copyright – Tersha
    copyright – Tersha

    To contribute, check out the original challenge post!

    A Highlight on the Latest Activity at our Community

    Rob shared this fantastic non-ai generated image, ergo a stunning photograph!

    copyright – Rob Eyers

    Patrick shared this simple yet effective example of some basic composition understanding:

    copyright – Patrick

    Diane shared a familiar phenomena to all of us light stalkers:

    copyright – Tersha

    Last but not least, Patrick sends us all some nice good vibes

    copyright – Patrick

    Don’t forget to check the photo contest winners for the Essence of Movement; and remember, this month’s photo contest is now open for entries. The theme revolves on “Storytelling in a Single Frame“. Submit your photos for a chance to win $250, and please don’t forget voting as well. Last but not least, keep an eye out for the Members Picks — the instructions are pretty straightforward:

    Members reference what you might consider a five-star photo. Give a call out to the photographer and share their photo even if it lies in the Shark Tank and feel free to give a Critique on why it trips your Trigger. Be sure to mention the photographer and the Thread you saw it in.

    And if you want to make out the most of your LightStalking user account, make sure to check the latest posts. Also, don’t forget to swim the Mobile Monday Challenge! Last but not least, Check out the current reading throwdown, it has some nice insights and recommendations!

    We’d Love To Hear Your Thoughts

    Our Feedback Forum is a fine place for all those people wanting to grow fast as photographers. Here, you’ll get your work reviewed by well-intended photographers, but you’ll also have the chance to comment on the work of others. We believe in the power of feedback, and here are the latest shots shared in the pool:

    The Shark Tank is a great place to learn and to discuss, but please read the instructions in order to get a better experience. Share your comments, opinions and doubts on any or all of the images above. We will also be delighted to see some of your own images. Remember, all comments are given to the photographs; not the photographers. Also, don’t forget to participate in our upcoming challenge!



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  • British Wildlife Photography Awards 2025 Winners Announced

    British Wildlife Photography Awards 2025 Winners Announced

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    Winner, Black & White: “Guillemot Kingdom” by Mark Kirkland

     

    The winners of the British Wildlife Photography Awards 2025 have been announced, and Simon Withyman took the overall win with a delightful capture of a fox patrolling the city center of the southern English city of Bristol. The shot, which was one of more than 13,000 other entries, also won the Urban Wildlife category.

    But, of course, there were winning images in other categories that underwater shooters will find particularly interesting. Two underwater images stood out in the Black & White category, for instance: category winner by DPG Photographer of the Week Mark Kirkland and a Highly Commended shot by regular DPG contributor Henley Spiers. In the Coast & Marine category, it was another DPG Photographer of the Week, Nick More, who took the category win. It was great to see underwater shots being recognized in other categories, too, including Habitat and Urban Wildlife.

    To see all the winning images, head over to the British Wildlife Photography Awards website.

     

    Highly Commended, Black & White, “Underwater Flight” by Henley Spiers

     

    Winner, Coast & Marine, “Blue Shark” by Nicholas More

     

    Highly Commended, Coast & Marine, “Crab Ride” by Kirsty Andrews

     

    Runner-up, Habitat, “Hunter, Hunted” by Sandra Stalker

     

    Highly Commended, Habitat, “Catshark” by Henley Spiers

     

    Highly Commended, Urban Wildlife, “Urban Rainbow” by Paul Colley

     



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  • Stefan Falke – A Photo Editor

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    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:  Stefan Falke

    Moko Jumbies

    “Dragon” Glen de Souza founded the Dragon Keylemanjahro

    School of Art & Culture in Cocorite, a suburb of Port of Spain, the capital of Trinidad and Tobago in 1986. The main purpose of the school is to keep children off the streets and away from drugs. Searching for artistic activities to engage them in, he rediscovered the art of stilt-walking, a tradition known in West Africa as the Moko Jumbies, protectors of the villages and participants in religious ceremonies. The art was brought to Trinidad by the slave trade but was forgotten soon after. Dragon Glen De Souza can be credited with bringing this tradition back to Trinidad and Tobago in a large-scale fashion. Today his school has over 100 members from age 4 and up. The stilts are made by Dragon and his students and can be as high as 12-15 feet. The children show their artistic talents mostly at the annual Carnival (celebrated in Trinidad and Tobago on February 12 and 13), which today is unthinkable without the presence of the Moko Jumbies. A “band” can have up to 80 children on stilts and they have won many of the prestigious prizes and trophies that are awarded by the National Carnival Commission. Designers like Peter Minshall, Brian Mac Farlane and Laura Anderson Barbata create dazzling costumes for the school which are admired by thousands of spectators. Besides stilt-walking the children learn the limbo dance, drumming, fire blowing (often all done on stilts) and how to ride unicycles. Between 1997 and 2004 New York City based photographer Stefan Falke took countless trips to Trinidad and Tobago to work on this essay which resulted in the book “MOKO JUMBIES:

    The Dancing Spirits of Trinidad”, published by Pointed Leaf Press.

    The images were in the official selection of the photo-journalism festival Visa Pour L’image in Perpignan, France, in 2004. This is the first time they’re exhibited in New York.

    Between 1997 and 2004 New York City based photographer

    Stefan Falke took countless trips to Trinidad and Tobago to work on this essay which resulted in the book “MOKO JUMBIES: The Dancing Spirits of Trinidad”, published by Pointed Leaf Press. The images were in the official selection of the photo-journalism festival Visa Pour L’image in Perpignan, France, in 2004 and at Deutsches Haus at NYU in New York in 2018.

    Stefan Falke is a German born photographer who lives in New York City and works for international magazines, film studios and corporate clients. He has published four books: “MOKO JUMBIES: The Dancing Spirits of Trinidad“, about a stilt walking school in Trinidad, and “LA FRONTERA: Artists along the US-Mexican Border“, for which he photographed 200 artists on both sides of the entire 2000 miles long US-Mexico border to document the vibrant cultural activities in that region. His last two books, “Keep Going New York !!” and “Reflecting New York” where self-published on Blurb.com.

    To see more of this project, click here

    Interview

    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



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