برچسب: Tool

  • The Right Tool for the Job: Sigma 16-300mm F3.5-6.7 DC OS Contemporary

    The Right Tool for the Job: Sigma 16-300mm F3.5-6.7 DC OS Contemporary


    For every photographic project that we undertake, there is going to be a best “tool for the job”. If you are heading to northern Canada to photograph the aurora borealis, then a fast, wide prime lens like Sigma’s 15mm F1.4 DG DN Diagonal Fisheye | Art would be a great choice. Heading to Yellowstone for wildlife? Then a super-telephoto zoom like the 60-600mm F4.5-6.3 DG DN OS | Sports lens would be ideal. For my latest adventure, the perfect piece of gear was Sigma’s 16-300mm F3.5-6.7 DC OS | Contemporary lens for crop sensor cameras.


    Why was this lens the best choice?

    Well, I suppose I should start by telling you what I was getting myself into. After almost thirty years exploring the mountains around my hometown of Breckenridge, Colorado, I was looking for a backpacking trip that would sum up the entire area into one big, unifying hike. Going over my maps, I found the perfect route and it would begin and end at my front door. It would be almost forty miles in length and include about 10,500 vertical feet up, and over 11,000 down. I would hike over four mountain passes on the east and south side of town, and then link four remote drainages on the west side of town. Most of my hiking would be done off-trail and require significant effort and route finding skills, and would take me four nights and five days to complete.

    Of course, there’s no way I’m doing an adventure like this without a camera in hand. There would be opportunity for both landscape and wildlife photography during my time in the field. Clearly the best tool for the job would be something lightweight yet powerful. Wide enough for epic landscapes but also with plenty of telephoto power to bring in distant wildlife. Luckily, Sigma had just released a lens that fit the bill perfectly – the 16-300mm F3.5-6.7 DC OS | Contemporary, available for Sony E-mount, L-Mount, Fujifilm X Mount, and Canon RF Mount. I paired it with the relatively small Canon EOS R7 for an easy-to-carry combo.

    The Canon mount version of this lens weighs just 22 ounces (625g) a with a nice, compact size that fit perfectly in my Think Tank front mount pack. This was great because much of the photography would be a bit more documentary in style and I wanted instant access during the entirety of the hike. The lens also features Sigma’s updated OS2 (optical stabilization) system which meant I could easily handhold many of my shots. The very close focusing distance (minimum is 6.7 inches at the wide end) was awesome for getting close-up images of the many wildflowers that were absolutely peaking on my hike.

    It was great to have the extensive range of the 16-300mm. On a Canon APS-C camera, this is the equivalent of a 26-480mm lens on a full-frame camera. With that kind of range, I was able to capture everything from epic mountain vistas to simple snapshots documenting my journey.

    The image quality of the Sigma 16-300mm was even better than I had expected. It’s been a long time since I last used a crop sensor super zoom lens. I had decent results back then and was kind of expecting the same, but I was pleasantly surprised to find the results approaching that of the high-end Art and Sport line lenses. Images were nice and sharp, and chromatic aberration was held in check even when shooting in extreme lighting situations, which I often like to shoot. Autofocus was fast and accurate, and seemed to work very well with the Canon AF system.

    One other welcome feature on an excursion like this is the dust and splash-resistant construction – it’s actually the first Sigma Contemporary lens to have weather sealing throughout the entire lens body. There was plenty of adverse weather to deal with including rain, hail and sleet daily, and the 16-300mm handled it all nicely.


    Consider the Sigma 16-300mm

    A backpacking adventure like this calls for a lens that can handle everything thrown at it, from gorgeous wide vistas to distant wildlife and colorful wildflowers. If you have an upcoming trip where keeping size and weight to a minimum are paramount, take a good look at the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary. It’s sharp, fast, light and portable, making it the perfect one-lens solution for many of your photographic endeavors. Pick one up today, and hope to see you out there!



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  • Ethical AI? New Video Generation Tool Is Trained on Licensed Data

    Ethical AI? New Video Generation Tool Is Trained on Licensed Data


    By Ian Bongso-Seldrup, July 9, 2025 @ 10:30 PM (EST)
    Source: Time

    An underwater video generated by the AI model Marey

     

    As photographers and filmmakers, many of us are observing the rapid emergence of generative AI tools with a mixture of skepticism and trepidation. We’re doubtful that AI can replace us—especially as we’re working in the underwater realm—but we’re alarmed at the idea that our content is being “scraped” and at some point, AI software will indeed be able to generate the images and video we work so hard to capture. Which makes the arrival of Moonvalley’s AI model Marey both encouraging and scary—not least because the company shows off impressive underwater images and video generated by the model.

    While AI company Midjourney is being sued by Disney and Universal for copyright infringement, Moonvalley—which was founded by DeepMind researchers and has close associations with the film industry—is developing Marey by training it on licensed data and with the consent of filmmakers. This should mean filmmakers and studios can avoid the ethical quagmire and copyright lawsuits that have become all too common in the nascent AI industry. Naeem Talukdar, Moonvalley’s CEO and co-founder, tells TIME: “We have to make sure that we’re building these tools the right way: building with the filmmaker and the artist at the center of it, rather than trying to automate their job away.”

     

    An underwater image generated by the AI model Marey

     

    Aimed at pro filmmakers, Marey offers functionality that many other AI-powered video generation tools lack. Most AI video models are black-box systems: They generate a scene from your text prompt, and if you try to modify one aspect, others may change, making it difficult or impossible to achieve the result you want. Marey aims to offer filmmakers precise control over every detail. You can input storyboards or frames and then tweak the results to taste. You can create cinematic camera moves using just a single image by turning a 2D scene into a 3D environment. You can draw a trajectory for an element and watch your direction come to life. You can even pull motion from a reference video and apply it to new subjects or scenes.

    “It’s this iterative process where you start with some input guidance and then you build up towards the scene that you want, which really isn’t very different from how VFX workflows are today,” Talukdar tells TIME. “If you’re an independent studio that doesn’t necessarily have massive infrastructure, you can now, even in a small space, create and curate these scenes in a very granular way.”

    Moonvalley claims that Marey is trained entirely on footage licensed from intellectual property owners. According to Talukdar, around 80% of that footage is B-roll created by independent filmmakers and agencies, and this means the model is trained on about one-fifth of the data used by competitors like Google’s Veo 3. Talukdar says Marey would definitely be more powerful if they scraped data, but he claims they are overcoming this with better technology. “Our inclination is that you don’t necessarily have to be the number one model—you just need to be among the best,” he says.

    Marey is now available to filmmakers for subscription tiers of $15, $35, and $150 a month.





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  • How to Use the Photoshop Magic Wand Tool

    How to Use the Photoshop Magic Wand Tool


    Photoshop’s Magic Wand Tool: You’ve definitely heard of it and, depending on how much you use Photoshop in your day-to-day, you may have even used it.

    Learn what the Magic Wand Tool is and how to select and mask in Photoshop with it. This Photoshop masking tutorial will turn you into a pro in no time.

    The Photoshop Magic Wand Tool is a quick and easy way to select and mask certain portions of an image, giving you the ability to alter one part of your image while leaving other parts intact. One of the most common uses of this tool is to swap out or remove the background of a product photo, leaving the subject of the image in place. 

    Related: Clipping Path vs. Masking: What’s the Difference?

    The Magic Wand Tool works by selecting an area of solid color within an image. Once your selection is made, the Magic Wand Tool gives you multiple options for refining that selection. 

    The Magic Wand Tool is a go-to tool when you want to display a product in various settings by showing it against different backgrounds, or when you want to remove a background altogether so your product stands on its own.

    This is often the case for marketplaces like Amazon or eBay, which have product photo requirements of their own that outline the approved backgrounds your images can have.

    Tutorial: Learn how to create a ghost mannequin in Photoshop

    https://www.youtube.com/watch?v=e_y3vFhp_Bs

    For the following tutorial, we’ll be working with this photo of a soccer player. You’ll learn how to remove the background from the player using the Magic Wand Tool, so that you can later put the player into different scenes. The Magic Wand Tool is a great option for removing backgrounds on photos with a mostly solid background.

    soccer player photo with black background, standing on grass

    Step 1: Unlock the background and select the Magic Wand Tool

    Before you can use the Magic Wand Tool, you’ll need to make sure your layers are set up correctly. Go to your Layers panel, located by default in the lower right-hand corner of Photoshop 2024’s application window. If you don’t see the Layers panel, you can bring it forward by choosing Window > Layers from the dropdown menu at the top of the application window.

    Within the Layers panel, double click on the Layer entitled Background.

    Layers pop-up menu from Photoshop, showing Background layer

    A pop-up window will appear, prompting you to rename the layer “Layer 0.” Click OK.

    New Layer pop-up menu from Photoshop, showing Layer 0 with a red circle over the OK button

    Within Adobe Photoshop 2024, choose the Magic Wand Tool from the Toolbar. By default, the Toolbar is placed to the left of the application window. The Magic Wand Tool may be hidden behind the Object Selection Tool or Quick Selection Tool.

    Photoshop menu showing where the Magic Wand Tool is located

    Note: To select any tool that is hidden “behind” another tool, choose the tool that is in front, and then hold the mouse button until other tools are visible. Then, select the visible tool you need.

    Save time and outsource it: Our background removal services start at $0.49/image

    Step 2: Select the solid areas of the background using the Magic Wand Tool

    There are several different ways to use the Magic Wand Tool to remove a background. We’ll start with the simplest method and work our way to more advanced methods as we refine our selection.

    When you click on a portion of your image using the Magic Wand Tool, the tool selects the pixel you selected along with adjacent pixels of the same (or similar) colors. 

    Once you have the Magic Wand Tool selected, you’ll see several different options in the Options Bar at the top of the screen. You can adjust the Tolerance of the Magic Wand Tool here. The higher the Tolerance, the more similarly colored pixels will be selected alongside the pixel you select with the tool.

    Photoshop main menu showing Tolerance at 0

    For this example, we will keep the Tolerance at 10.

    Click somewhere within the background of the image. The Magic Wand Tool will create a selection of all contiguous portions of your image that are roughly the same color as the background portion you selected.

    soccer player standing on grass with black background and checked lines around the black background border

    The Magic Wand Tool did a relatively decent job, but there are some portions of the background (such as between the player’s legs and under his right arm” that are not selected.

    To select areas of the background that did not get selected, hold down the SHIFT key and click within those areas that need to be selected. Holding SHIFT allows you to add to the existing selection without deselecting anything.

    soccer player with black background standing on grass and the borders of the athlete and the background are outlined

    Step 3: Select other portions of the background and foreground

    The ground in this photo is not a solid color like the background. It is, however, all varying shades of green. In order to select an area that is all about the same color but has a lot of detail, we need to adjust the Tolerance of the Magic Wand tool to a higher value. In this example, we’ve set the Tolerance to 50 and selected the grassy ground area of the photo.

    soccer player standing on grass with black background and everything is outlined and starting to be edited

    The results are less than perfect, but if we were to make the Tolerance much higher, we might accidentally select portions of the player’s legs.

    To smooth out the selection, choose Select > Modify > Smooth… from the dropdown menu at the top of the application window.

    Photoshop editing window showing how to Modify and Smooth your photo

    In the Dialog Box that appears, set the smooth value to something large enough to smooth out the edges of the selection but small enough to keep the integrity of the selection’s outline. For this example, we’ll set the value to 5.

    Photoshop Smooth Selection pop-up window, with 5 pixels set as the Sample Radius

    Click OK.

    The selection now looks almost close to perfect. Almost.

    soccer player standing on grass with black background and everything is outlined to be edited in Photoshop

    Step 4: Create a mask

    Select the inverse of your current selection by choosing Select > Inverse from the dropdown menu or by typing SHIFT + CTRL + I (SHIFT + COMMAND + I on a Mac).

    Photoshop editing, showing the menu that has the Inverse option

    Now, your subject is selected (instead of your background).

    Next, go to Select > Modify > Contract… to tighten the edges of the selection. This is to compensate for any artifacts that may have appeared in the selection when we smoothed it earlier.

    Photoshop editing options and menus showing Modify > Contract…”> <p>In the dialog box that appears, set a Contract value to something between 1 and 4 pixels. The amount you set it to will vary depending on the image you are working with. In this example, I’ve set the value to 3.</p> <img class=

    Click OK.

    In your Layers panel, look for the Mask icon at the bottom of the panel. It will look like a black rectangle with a white circle inside of it.

    Photoshop editing showing Layers and Mask options

    With Layer 0 selected, click on the Mask icon. You will now see your subject isolated against a transparent background.

    soccer player image being edited in Photoshop, showing with a transparent background

    We’re almost there, but there are a few things we need to fix before we’re done.

    Step 5: Clean up the selection using the mask

    As advanced as Photoshop 2024 is, nothing can match the human touch for perfecting a selection. In order to finalize your image, you will need to use your Brush Tool, and your judgment, to modify and perfect certain areas of your selection.

    In Layer 0 of your Layers Panel, make sure you have the new layer Mask selected. When the Mask is selected, you’ll see a small, black outline around the Mask. Look closely as it’s a little hard to see.

    Photoshop Layers menu showing different layers

    Next, select your Brush Tool from the Toolbar to the left of the application window. In the Options Bar at the top of the application window, you can set the width and hardness of your brush.

    If you have correctly selected the Mask icon in Layer 0, then the Foreground and Background colors in your Toolbar will be black and white. When white is the Foreground color, you can “paint back” portions of your masked image. When black is in the Foreground, you remove areas of your selection and they become masked.

    Photoshop editing screen with mask icon layers features

    For instance, in our example image, certain portions of the player’s sleeves disappeared when we created our initial selection. Therefore, using the Brush Tool, we can “paint back,” or add those portions of the sleeve back in.

    refining armpit edit details in Photoshop

    Changing the size of the brush and switching between a white foreground and a black foreground, fix any edges of your selection that need finessing.

    Other ways to select and mask in Photoshop 2024

    Photoshop 2024 also offers another option for Selecting and Masking that may or may not be easier for you. Let’s start with the original image again to learn this second method.

    When your Magic Wand Tool is selected, you’ll notice there are some selection options available in the Options Bar at the top of the application window. At the far right of the bar, click Select and Mask….

    select and mask menu from Photoshop

    A new window will open showing most of the image erased. Don’t worry–the image is still there; it’s just been “masked.”

    At the top of the screen, click the button that says Select Subject.

    Photoshop menu showing select subject

    Photoshop will attempt to interpret and select the subject of your image. Though, as you can see in the image below, the results are not always perfect.

    Photoshop editing screen with different options

    At the top of the window, you will find Add and Subtract buttons. These work to add to your selection or subtract from it using the modification tools on the left-hand side of the window. You can also control the size of the tool.

    list of Photoshop tools and also the menu

    On the left side of the window are tools you can use to modify the selection. These tools are rather intuitive to use. 

    The first tool, the Quick Selection Tool, allows you to grab whole blocks of color at once. This is a good tool to use to “paint back” the ball in the image.

    Photoshop editing of a soccer player holding a ball

    The next tool, Refine Edge Tool, helps when defining or redefining the edge of your selection. Below that is the Brush Tool, which works just like the regular Brush Tool in Photoshop (and like the Eraser Tool when the Subtract button is activated). 

    Photoshop editing a person's arm

    The Object Selection Tool tries to figure out where certain objects begin and end in your image, the Lasso Tools allow you to freeform select areas of the image, and the Hand Tool and Zoom Tool help you navigate around the image as you work to refine the selection.

    Once you’re satisfied with the selection, click OK. You will see that nothing has changed in your original image, but there’s a “marching ants” selection around your subject.

    soccer player standing on grass with black background and everything is outlined to be edited in Photoshop

    Next, just like in the first method listed above, you’ll need to make your Background Layer into an unlocked Layer 0, and create a Layer Mask.

    soccer player holding a ball, cut out on a transparent background

    Whichever way you choose to create your selection, you now have your subject isolated from its background, and you can place your subject into whichever new setting works best for your branding needs.

    Learning how to select and mask in Photoshop with the Magic Wand Tool is helpful because it’s a technique you can apply to a range of photos—sports, product, ecommerce, portraits, headshots, and more. Here are a just a few scenarios where it comes in handy:

    • Show your subject in various environments. Help your audience connect with your subject emotionally by seeing it in a beautiful or familiar setting when changing the background. This can also help you prepare the image for different target segments, so you can swap out backgrounds that make more sense for your audience.
    • Select your subject so you adjust its size or color without altering the setting in which it has been photographed. This means you can show different color variants for your product without having to take multiple photos.
    • Remove the background from a photo so your subject stands out on its own.
    • Create a white background image so you can list products on third-party marketplaces, like Amazon or eBay.

    Not up for the tedious task yourself? Get a quote for your background removal needs



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