Thursday 28 February 2019

US Bans Lithium-Ion Batteries in Cargo of Passenger Flights

The United States has officially banned lithium-ion batteries from being transported in the cargo holds of passenger planes. If you travel with camera gear, you’ll need to bring all your lithium-ion batteries into the cabin in a carry-on bag.

The major new rule was announced by U.S. Transportation Secretary Elaine L. Chao and the FAA “to strengthen safety provisions.”

The FAA’s 2018 fact sheet about lithium-ion batteries didn’t ban them completely from cargo holds:

Devices containing lithium metal or lithium-ion batteries, including – but not limited to – smartphones, tablets, and laptops, should be kept in carry-on baggage. If these devices are packed in checked baggage, they should be turned completely off, protected from accidental activation and packed so they are protected from damage.

In addition to prohibiting the transport of lithium ion cells or batteries as cargo on passenger aircraft, the Interim Final Rule (IFR) also requires that lithium-ion cells and batteries shipped on cargo planes to not have more than 30% charge.

“This rule will strengthen safety for the traveling public by addressing the unique challenges lithium batteries pose in transportation,” says Chao.

The FAA published a warning against storing spare lithium ion batteries in checked bags back in 2015, and the US began urging airlines to ban cameras and other large electronics in checked bags in 2017.

The main concern is that lithium ion batteries can (in rare cases) catch fire and explode.

TechCrunch notes that the UN International Civil Aviation Authority already implemented the same restriction for member countries back in 2016, so the US regulation is codifying the guidance that has already been in place.



from PetaPixel https://petapixel.com/2019/02/28/us-bans-lithium-ion-batteries-in-cargo-of-passenger-flights/

Sony Jumping Into CFexpress with an Ultra-Tough 1700MB/s Card

The rise of CFexpress memory cards is accelerating. Just months after ProGrade Digital unveiled the world’s first 1 terabyte CFExpress card, Sony has announced its own tougher and faster CFexpress card.

The upcoming Sony TOUGH CFexpress Type B memory cards will boast blazing-fast speeds of up to 1700MB/s for reading and 1480MB/s for writing. By comparison, the ProGrade 1TB card tops off at 1400MB/s read and 1000MB/s+ write speeds.

The Sony card will be about 3 times faster than Sony’s fastest CFast memory card (which has a 530MB/s read speed), perfect for high-res cameras.

“With a write speed of up to 1480MB/s, this card meets future requirement needs for secure industry data-recording or requirements from professionals to capture hi-resolution images or high-bitrate video,” Sony says.

But with more speed comes less capacity: Sony’s card will initially be launched in a 128GB capacity, with 256GB and 512GB models planned for the future.

In addition to being fast, Sony’s upcoming card will be extremely durable. Sony says the card’s strength is three times stronger than the CFexpress standard — it’s able to withstand 70N of bend force. The card is 5 times better (than the standard) at surviving falls as well, as it’s rated for falls from up to 16.4 feet (5m).

The card is also temperature proof, X-ray proof, anti-static, and features a UV guard.

If you have an XQD-compatible camera, you’ll likely be able to use CFexpress cards if/when the manufacturer pushes out a firmware update that adds CFexpress compatibility.

Sony TOUGH CFexpress Type B 128GB memory card (and a card reader) is set to hit the market sometime in the summer of 2019.



from PetaPixel https://petapixel.com/2019/02/28/sony-jumping-into-cfexpress-with-an-ultra-tough-1700mb-s-card/

Photographer Finds Owner of Camera That Fell 1,500ft in Zion 3 Years Ago

New Zealand photographer Luke Riding was hiking around the base of Angels Landing in Zion National Park when he stumbled upon a smashed-up Fujifilm camera that had clearly fallen from atop the 1,488-foot-tall rock formation. The memory card was intact and Riding found a number of photos on it.

After trying and failing to find the owner through posts on Instagram and Twitter, his friend (and fellow photographer) Ben Horne got involved with the search. On February 20th, Horne shared this 3-minute video in an effort to track down the owner to return the photos.

Here’s the camera that Riding found:

And here are some of the photos that were discovered on the memory card:

Amazingly, the owner was identified less than 24 hours after Horne published his YouTube video.

“I posted the video at 6am Pacific time, and it was in turn posted on Reddit by a third party,” Horne tells PetaPixel. “On the Reddit page, a guy named Patrick recognized one of the girls in the photo as a high school acquaintance from nearly 10 years ago.

“He remembered her name, saw he was still Facebook friends with her, then reached out to her. The girl confirmed that it was indeed her sister’s camera, and by 7:30pm that same day, I got a message from Sarah on Instagram. The whole thing took place in just over 12 hours.”

It turns out the camera’s owner is a gal named Sarah Salik who had been hiking Angels Landing with her sister in mid-2016. Upon reaching the top, the pair stopped to have lunch, at which time Salik accidentally knocked her camera over the edge.

Luke is now working to send the camera and memory card back to Sarah (seen on the left in the photo of the two sisters) so that she can be reunited with the gear and photos she lost nearly three years ago.

“It’s a pretty simple story really, but it shows how interconnected we all are and the power of social media,” Horne says.



from PetaPixel https://petapixel.com/2019/02/28/photographer-finds-owner-of-camera-that-fell-1500ft-in-zion-3-years-ago/

How to Use Photoshop to Resize and Sharpen Images for the Web

The post How to Use Photoshop to Resize and Sharpen Images for the Web appeared first on Digital Photography School. It was authored by Peter Dam.

Do you struggle with getting your images to look super sharp when you use them online? Do they even look blurry? No matter if you share your images on social media platforms or photo sharing sites like Flicker and 500px, you want your images to look as sharp as possible.

Most photographers come across web sharpening issues at some point. But did you know that most of the web sharpening issues you experience come from the resizing process? Resizing your image can make your image look blurry and a lot less sharp than the full sized image. You might have spent a long time processing your image so it would be a shame that it should end up as a less sharp online version.

In this article, you will learn the common pitfalls to sharpening your images for web use, and more importantly, how to sharpen in a way that gives you both full control and the best results.

However, let’s take a look at how not to resize images for online use before we dig into the best way to resize and sharpen in Photoshop.

Milford Sound Mitre Peak © Peter Dam

How NOT to resize and sharpen your images for online use

To get sharp and great looking images online, avoid uploading a full-sized image and relying on the website to handle resizing for you. You don’t have any control over the amount of sharpening (if any) that a website’s upload function add to your image.

You should also avoid just using the export dialogue in Photoshop. Even though it is good, it is not great. You can still end up with blurry images, especially if there is a dramatic size change. Like if you want to resize a 6000px wide image to being only 1200px.

Also, avoid just resizing in Photoshop and then let the export tool do the rest if you want the best results. Even though you resize the image, you have little control of the sharpening process when you only use the export tool.

How to sharpen your images in Photoshop for the best results

To follow along, open a copy of an image that you have already processed in Photoshop, as we go through the best method for resizing and sharpening your photos for online use.

Note: Make sure you use a copy of the image and not the original because you are going to resize your image to a much smaller version. If you accidentally save the image without renaming and close Photoshop, you can’t recover the image back to its full size.

The Chute © Peter Dam

It would be logical to go straight ahead and resize your image to the output size you want. However, this won’t lead to the best results as it may be difficult for Photoshop to properly sharpen an image that suffers from a quality loss when you resize a lot.

Instead, resize in two steps and sharpen in between the steps.

Let’s go through the process step-by-step using the dimensions from above as an example, resizing from a 6000px wide image down to 1200px wide.

The first step is to resize your image down to approx. 1.6 of the final output size that you want to use online. In this case, this would be 1.6 X 1200px = 1920px.

To resize your image in Photoshop, you should go to Image->Image Size and enter the width.

This gives you an image that hasn’t degraded too much from being resized but is still relatively close to the final image size.

Before resizing to the final output size, you should add sharpening. You do this by going to Filter->Sharpen->Sharpen.

If you like to keep track of what each layer does, I suggest renaming the layer to “Sharpened.”

After applying this first layer of sharpening, duplicate the layer. You can do this by pressing CMD+J (on Mac) or CTRL+J (on Windows).

Then apply another round of sharpening by using the menu Filter->Sharpen->Sharpen. Rename this layer to “Extra sharpening.”

Now you are ready to resize to the final image size. You do this by going to Image->Image Size and enter 1200px as the width.

Now that you have resized the image to the final output size, you should see that the image looks very sharp when you view it at its actual size.

If you think that it looks somewhat over-sharpened, you can easily adjust it by just changing the opacity of the of the topmost layer (the one called “Extra sharpening”). Pull down the opacity to around 60-70%.

Now you are done with the sharpening process. However, you should know that there are additional issues that occur when resizing images.

Sharpening an image also tends to make it a tiny bit brighter. If you want to address this, you should add a Levels adjustment layer and pull the midtone point slightly to the right. Usually changing the midtone point to 0.97 brings back the original brightness level. You can also use an Exposure adjustment layer if you prefer to use that instead of a Levels adjustment layer.

The colors in your image also suffer a bit when resizing and sharpening; however, it is not always visible. If you find that your image looks a bit less colorful now that it is resized, you should add a Hue/Saturation adjustment layer and add a bit of saturation back into the image. About +5 to +9 usually brings your image back to the level it was before resizing and sharpening.

That is the end of the web resizing and sharpening method used by many professional photographers using Photoshop.

If you are familiar with creating Photoshop actions, you can record the process of resizing and sharpening images to the dimensions you most often use online. This allows you to speed up the process significantly.

Exporting your image

The final step is to export your image. You can do this by going to File -> Export -> Export As…

The setting you choose when exporting your image depends on where you want to upload your image. For some sites, like image galleries or your portfolio website, image quality is more important than the file size. Whereas, blogs prefer to have smaller file sizes, but with a bit lower image quality.

One of the most important things, as discussed in this article, is that the result is a sharp looking image. You already took care of this by following the sharpening and resizing workflow above, where you resized the image to the output size you need. This means that you don’t have to worry about resizing the image or what resample method to use during export.

The only thing to worry about when following this sharpening and resize workflow is choosing the file format you want and the quality to use. The file format is most likely going to be JPG for web use. The image quality settings depend on whether you prefer a really small file size (so the image loads lightning fast online), or whether you prefer to maintain the best image quality possible. Usually, you can lower the image quality to 80% without a visible drop in image quality. This is my preferred personal setting for image quality. You can optimize the file size even more by using a lower image quality. However, I would never recommend going lower than 50% to get smaller file sizes. There are also some image optimizing sites you can use, such as TinyJpeg, that lower your file size without compromising your image quality too much.

Conclusion

Admittedly, it is a lot more complicated method for resizing your images than using the inbuilt Export feature in Photoshop. However, it also leads to much better results. What use is it to put much effort into capturing and processing an image, if it doesn’t look as great as it could when you show it online?

What method do you use for sharpening your images before using them online? Feel free to share your thoughts in the comments below.

The post How to Use Photoshop to Resize and Sharpen Images for the Web appeared first on Digital Photography School. It was authored by Peter Dam.



from Digital Photography School https://digital-photography-school.com/photoshop-sharpen-images-web/

Leica Unveils the Summicron 35mm f/2 ASPH L-Mount Lens

Leica has announced the new APO-Summicron-SL 35mm f/2 ASPH prime lens for the L-Mount, which is found on Leica’s SL mirrorless camera as well as all cameras that are launched as part of the L-Mount Alliance between Leica, Panasonic, and Sigma.

“Innovative production methods and new technologies paired with impeccable imaging performance make the latest lens of the Summicron-SL series the new benchmark for the classic reportage focal length,” Leica says.

The company says it paid particularly close attention to preventing stray light and reflections in the lens. Thanks to the optical and mechanical design as well as the coatings on each lens surface, the lens provides a high level of image quality from corner to corner, even at f/2.

The front lens element features a hydrophobic Aquadura coating that repels dust and moisture.

“[T]he lens can be used without a second thought to perform in almost any weather conditions,” Leica says. “By design, the Leica SL-System and its lenses instill confidence in the user that they will always be able to get the shot regardless of extreme environmental elements.”

Inside the lens (and all Summicron-SL lenses) is a powerful Dual Syncro Drive (DSD) stepping motor that can travel the entire focus range in just 250 milliseconds, ensuring ultra-fast focusing that won’t cause you to miss moments.

The new Leica APO-Summicron-SL 35mm f/2 ASPH will be available starting in mid-April 2019 with a price tag of $4,595.



from PetaPixel https://petapixel.com/2019/02/28/leica-unveils-the-summicron-35mm-f-2-asph-l-mount-lens/

This Robot Shoots Stunning Slow-Mo Portraits on Red Carpets

3 Reasons to Create Your Own Lightroom Presets

When I first began dabbling in the world of landscape photography, I was enticed by the instant gratification of purchasing Lightroom presets. I was originally drawn in by the fact that I could instantly download these presets and I could instantly import them into Lightroom and instantly “improve” my own photos.

I spent the majority of my first year of photography fussing around trying to make other peoples presets look good on my photos and eventually threw in the proverbial towel. It wasn’t until last year that my mindset surrounding presets began to change. In this 13-minute video, I discuss three reasons why I think everyone should create their own Lightroom presets.

1. Better Workflow Efficiencies

I found that when I began my editing process I would repeatedly start by applying the same “robotic” edits to my images – Enable Lens Profile Correction > Boost the Vibrance > Reduce the Saturation > bring down the Highlights > bring up the Shadows and so on. I thought to myself why not create a preset that would allow me to apply all of these initial edits without having to select each individual adjustment.

With that said, I created a series of “quick start” presets that have proven to be an incredible time saver for my Lightroom editing workflow – I just apply them at the start and then make the fine adjustments after that. If you have your own set of mundane steps you habitually apply to your photos, then a quick start preset might be beneficial to your overall editing workflow.

2. Find Your Own Creative Style

In the past when I would purchase presets I felt that I was suffocating my own creativity as I was leaning on someone else’s creative style as a way to “improve” my own photos. I ultimately ended up constructing my own creative presets where each individual preset contained a singular edit like a split-tone combination or a specific tone curve that I liked as opposed to an entire edit contained within a single preset. I consistently struggled when applying purchased presets to my photos as they always contained an entire edit of an image and the odds that an entire edit is going to look good on any photo is slim to none.

Once I built my own creative presets, I would apply an edit to a specific image and then apply a split tone or tone curve preset or both on top of my original edit – this approach is when I began having success with presets.

3. Practice Practice Practice

I know it sounds cliché, but it’s true – practice makes perfect. When I was using purchased presets I never took the time to dig into the specific edits that were used to create said presets, I would just apply them, spend about 20 minutes trying to make them look good and then export them – that was my workflow. But, it wasn’t until I started making my own presets that I began to understand the specific edits that I liked and what worked well and what didn’t work well on my own images.

Putting the block on purchased presets is one of the best choices I made not only from a creative aspect but also from a post-processing stance — plus saving a few bucks along the way is always a good thing as well.


P.S. If you enjoyed this video and article, you can find more by subscribing to my YouTube channel.


About the author: Mark Denney is a landscape photographer based in North Carolina. The opinions expressed in this article are solely those of the author. You can find more of his work on his website, Facebook, Twitter, and Instagram.



from PetaPixel https://petapixel.com/2019/02/28/3-reasons-to-create-your-own-lightroom-presets/