One of the Marines in Iconic Iwo Jima Photo Has Been Misidentified for Over 70 Years

The Marine Corps has confirmed that one of the six marines in the iconic photograph “Flag Raising on Iwo Jima” has been misidentified for over 70 years. The man who was thought to be Pfc Rene Gagnon was, in fact, Cpl Harold “Pie” Keller.

The photograph, captured on February 23rd, 1945 by photographer Joe Rosenthal, shows a group of six soldiers raising the American flag atop Mt. Suribachi in Iwo Jima, Japan. And for years, these soldiers have been identified as: Ira Hayes, Harold Schultz, Michael Strank, Franklin Sousley, Rene Gagnon, and Harlon Block.

But as reported by The Guardian, three historians—Stephen Foley, Dustin Spence and Brent Westemeyer—were able to use archival film footage and photos captured at Iwo Jima to establish that Cpl Keller has wrongly been identified as Pfc Rene Gagnon for over 70 years.

The trio of historians are setting the record straight, and their discovery has since been
confirmed by a Marines investigative board and investigators from the FBI’s digital evidence laboratory.

Notably, this isn’t the first case of mistaken identity when it comes to the men in this photo. Reports of misidentification have poured in ever since the original inquiry into the subjects’ identity was conducted by the Marine Corps in 1946, and three years ago it was discovered that Pfc Harold Schultz had been misidentified as Navy pharmacist’s mate 2nd class John Bradley.

But while it’s important that these facts be set right—Keller’s family was notified and is glad for the correction—the Marine Corps perhaps captured public sentiment best in a statement released Wednesday, which reads:

Regardless of who was in the photograph, each and every Marine who set foot on Iwo Jima, or supported the effort from the sea and air around the island is, and always will be, a part of our Corps’ cherished history. In the words of General David H Berger, Commandant of the Marine Corps, ‘they are all heroes’.

Image credits: Photograph by Joe Rosenthal/AP

Cruise Passenger Banned for Life After Posing for Dangerous Photo on Her Balcony’s Railing

A Royal Caribbean cruise line passenger has been banned from the company’s cruises for life after she climbed onto the railing of her room’s balcony to pose for a dangerous photo in front of the ocean.

We’ve seen our fair share of dangerous selfies and photo shoots, but this stunt made international headlines today thanks, in part, to a photo of the incident taken by fellow passenger Peter Blosic.

Blosic was standing on his own balcony when he saw the woman climb onto the railing of hers as the ship pulled into Labadee, Haiti. Unsure what was happening, he immediately alerted the crew and snapped this photograph of the lady posing in front of the ocean with her hands above her head:

Royal Caribbean later confirmed that the woman was removed from the ship in Jamaica, but the cruise line didn’t stop there. In fact, they’ve banned the unnamed passenger for life. In a statement obtained by CNN, the cruise line said:

Earlier this week on the Allure of the Seas a guest was observed recklessly and dangerously posing for a photo by standing on her stateroom balcony railing with the help of her companion. Security was notified and the guests were later debarked in Falmouth, Jamaica as a result of their actions and are now banned for life from sailing with Royal Caribbean.

Most of the online community is applauding Royal Caribbean for its swift, maybe even harsh, response to the incident. Given the number of selfie-related deaths and idiotic stunts we’ve seen over the past several years, a strict enforcing of the rules—and it is against the rules to climb up onto your balcony’s railing on a Royal Caribbean cruise—might not be the worst way to try and curb people’s worse social media-inspired instincts.

(via Fast Company)

Image credits: Header image by Fernando Jorge

IN THE TALL GRASS: VFX Breakdown by Spin VFX

You will probably not want to go for a walk in the fields after watching this VFX Breakdown by Spin VFX about their work on IN THE TALL GRASS:

Spin VFX: Dedicated page about IN THE TALL GRASS on Spin VFX website.

© Vincent Frei – The Art of VFX – 2019

The post IN THE TALL GRASS: VFX Breakdown by Spin VFX appeared first on The Art of VFX.

London researchers develop plant-powered camera system for conservation efforts

ZSL London Zoo has detailed the results of a new scientific trial that successfully powered a tiny camera using plants. At the core of the system are microbial fuel cells designed to harness the energy produced by bacteria in the soil, which works to breakdown biomatter produced by plants. The end result, according to ZSL, may one day be plant-powered cameras that can be used as part of conservation efforts.

The microbial fuel cells were installed in the London Zoo’s Rainforest Life exhibit for use with a maidenhair fern named Pete. Unlike batteries, which need to be regularly recharged using sunlight or an external power source, plant-based fuel cells can be used to power many low-energy sensors, cameras, and other devices in a variety of environments.

‘We’ve quite literally plugged into nature to help protect the world’s wildlife: Pete has surpassed our expectations and is currently taking a photo every 20 seconds,’ said ZSL Conservation Technology Specialist Al Davies. ‘He’s been working so well we’ve even accidentally photobombed him a few times!’ Below are a few photos captured with the system:

By utilizing this technology, conservationists may be able to monitor plant growth, temperature, and other data using remote hardware without relying on solar panels and batteries. Following additional refinement, the team plans to test the technology in the wild.

Image credits: Photos shared with kind permission from ZSL London Zoo.

Why I Switched from Nikon to Fuji: A Landscape Photographer’s Perspective

Let me get this clear right from the start: this is not a Nikon bashing post. Rather, it’s a Fuji X Series love story.

I love Nikon. The first ever DSLR I owned was a Nikon, and since then I’ve upgraded a number of times without ever feeling the need to consider a different system.

Why would I? I’m primarily a landscape photographer and have a beautiful 36MP full-frame Nikon D810, and my eyes were firmly set upon the D850 in the not too distant future. Image quality is king for landscape photographers, so switching to an APS-C only system with a maximum resolution of 26MP would be foolish, right?

But a few months ago, my eyes started to wander…

What Changed?

Back in spring, I decided I wanted a small camera that I could carry around everywhere. After much deliberation and testing, I settled on an entry-level Fuji body: the Fuji X-T100.

This was to be the gateway to my newfound love for Fuji.

The Fuji X-T100 packs an impressive 24.2MP APS-C sensor, deviating from the X-Trans sensors in Fuji’s higher-end cameras. Nevertheless, it produces some stunning images, despite not packing as heavy a punch as my 36MP Nikon D810.

My entry-level walkaround isn’t without its flaws. Due to it being aimed at the lower end of the market, the constant menu-diving to get to advanced features is frustrating, the EVF isn’t quite as snappy as I would like and the eyepiece itself is a pain to use.

It also ships with a, quite frankly, horrific 15-45mm Powerzoom lens. Some people, apparently, love the powerzoom feature. I’m yet to meet one of them, but considering Fuji’s retro aesthetics I’d be surprised if there was a single Fuji X-Series user that likes this lens.

That being said, it still got more use than my Nikon D810…

The retro styling, the beautifully intuitive ergonomics and the fantastic Fuji Film Simulation modes are all joys to use. And then there’s the size difference: it cuts about 30% off the size of the D810 and weighs less than half as much.

The fact I was using this entry-level mirrorless camera with a lens I hated was enough of a sign for me that I should start considering my options.

After much deliberation, I decided to jump ship from Nikon. I bought a Fuji X-T2 and a couple of primes and waited with bated breath for the delivery man.

What Fuji Gear Did I Buy?

Good question!

I didn’t go the full nine yards straight away. Instead, I dipped my toe in the water by buying the camera body and two highly rated but affordable prime lenses. Because I love prime lenses!

Fuji X-T2

Before the release of the Fuji X-T3 (we’ll get to that later), this was Fuji’s flagship APS-C camera body.


It has the same resolution as the Fuji X-T100, although it uses one of Fuji’s X-Trans sensors instead of the X-T100’s Bayer offering. This is proposed to offer improved color rendition, but in the real world the differences are negligible.

The feature list is respectable, although not exactly mind-blowing in this day and age. It has two SD card slots, 8fps continuous shooting, a 325-point autofocus system, tilting LCD, focus peaking and 4K video recording. Pretty standard stuff at this point.


However, the handling and ergonomics are just out of this world. The body itself feels sturdy and premium (and is fully weatherproof, I might add), and going back to the use of mechanical dials to change settings is a refreshing change of pace. Fuji’s film simulation modes are famously gorgeous too.

Not to mention that, after using a DSLR for all these years, being able to actually see my exposure preview in the viewfinder before pressing the shutter is massively helpful.


The one glaring downside is the decreased battery life of just 340 shots, but the overall improvement in handling more than makes up for this.

My experience with the X-T100 had me on the fence between Fuji and Nikon. I bought the Fuji X-T2, but couldn’t let go of my trusty D810 until I was sure this was what I wanted.

The X-T2’s improved handling and quality-of-life improvements had me convinced within a couple of days. The sale of the Nikon gear followed soon after.

Samyang/Rokinon 12mm f/2

Every photographer’s favorite manual-focus third-party lens manufacturer was the first on my hit list: Samyang (or Rokinon, depending on where you live).

I wanted a wide-angle prime lens that would be suitable for astrophotography, and this fit the bill perfectly.

Build Quality and Image Quality

Despite being towards the more affordable end of the spectrum, the Rokinon 12mm f/2 feels very well made. The aperture and focus rings both have a nice level of resistance, and while the lens is made of plastic it doesn’t feel plasticky.

Image quality is excellent too. It’s not quite up there with Fujifilm’s high end prime lenses, but you have to look pretty hard to find any faults here.

Autofocus (or not)

Obviously there’s no autofocus capabilities, but with such a wide lens it really isn’t difficult to achieve perfect manual focus. This is especially true when combined with focus peaking, which is by far one of my favorite feature of mirrorless cameras.

Set this lens to infinity and you won’t go far wrong!

Fujinon XF 35mm f/2 R WR

One thing that attracted me to Fuji in the first place was their stellar reputation for producing incredible lenses. You’d be hard-pressed to find a poor quality Fuji lens.

In fact, that 15-45mm Powerzoom (which I hate) that comes with the X-T100 is about as bad as your going to get, and even it delivers more-than-respectable image quality.

This particular lens, the Fuji 35mm f/2 R WR, is one of the cheaper options in the line-up, but it doesn’t scrimp on image quality. We’ll see that a bit later on when we compare it to the Nikon D810 with 50mm f/1.8 attached.


The 35mm f/2’s nearest competition is the Fuji XF 35mm f/1.4, which obviously offers a wider maximum aperture. However, it’s also much more expensive, bigger, heavier, and not weather-sealed. Even when budget is no consideration, it’s a very close call between these two lenses.


One thing to note about this lens is the slightly peculiar design. Unlike other lenses, the 35mm f/2 is widest at the lens mount, tapering off to its narrowest at the end. It’s a bit odd to look at, but it shouldn’t affect your shooting in any way.

Why the Fuji X-T2 Instead of the X-T3?

Simply put, it was a cost-benefit analysis. The Fuji X-T3 would have cost significantly more than the X-T2, and I could put that extra cash into the purchase of a new lens instead.

Sure, if you have no concerns about budget then the X-T3 is a better choice, but for me it just didn’t make sense. There are plenty of improvements in the Fuji X-T3, but none of them would have made a tangible, real-world difference to my style of photography.

That style, for the most part, is slow and considered landscape photography with the odd blast of action photography; however, even when shooting galloping horses I don’t think I’ve ever maxed out continuous shooting on any of my cameras.

That’s not to say that the X-T3 isn’t worth the extra money for other photographers though. Take a look at the improvements for yourselves and then decide:

  • Improved Sensor – 26.1MP compared to 24.3MP, but with a new backside illumination design. This should improve dynamic range and low-light performance, but it seems to make minimal difference in the real world.
  • Touch Screen – The X-T3 adds touch screen functionality to the LCD screen and increases EVF resolution to 3.69 million dots compared to the X-T2’s 2.36 million.
  • Autofocus – This is the biggest real world improvement, with claims that it can focus 1.5x faster than the X-T2, and adds improved low-light capabilities and face & eye detection.
  • Burst Shooting – The X-T3 ups the maximum burst speed from 8fps (mechanical shutter) or 14fps (electronic shutter) to 11fps and 20fps, respectively.
  • Video Improvements – The Fuji X-T3 can record 4K up to 60fps and records 10-bit color, that’s twice the frame rate of the X-T2’s 4K capabilities. There are also a bunch of other video upgrades, with the general conclusion being that, if you want to shoot video, the X-T3 is the obvious choice.
  • Battery Life – Minor improvement of 390 shots vs 340 shots.
  • Bluetooth – Does what it says on the tin.

There you have it! If any of those upgraded features are deal-breakers for you (the new autofocus system would be massively advantageous in portrait or wedding photography), then the Fuji X-T3 may well be worth the extra money.

How Does the Fuji X-T2 Compare to the Nikon D810?

So, does it stack up? How does this semi-pro mirrorless camera compare to the professional grade, heavy duty Nikon D810, which was basically designed with landscape photographers in mind?

Bear in mind that this is entirely my own opinion. I’m not the sort of person to delve into extensive lab tests to discover minute differences between the cameras. There are plenty of excellent websites out there that already do that labour intensive work (such as CameraLabs).

For me, it’s all about day-to-day usability and whether the image quality is up to standard in the real world. That is to say, on screen and on paper.

Image Quality

This was my big concern when jumping ship from Nikon to Fuji. My D810 was a 36MP, full-frame sensor beast that was perfect for my favoured landscape photography. High ISO capability is excellent thanks to the full-frame sensor, and the resolution from those 36 million pixels is insane.

Would the 24MPs of the Fuji X-T2 even compare?

As it turns out, yes! 24MP may be modest by today’s standards, but it’s still plenty. Resolution is excellent, the color rendition is gorgeous, and many scientific tests have shown the high-ISO capabilities to be fantastic all the way up to 12,800.

Enough talking, here’s a real world comparison. These were shot within minutes of each other at the same aperture and similar effective focal length. Both RAW and both unedited (save for importing to Lightroom and then instantly exporting).

Straight out of camera image from the Fuji X-T2 with Fujinon 35mm f/2 R WR
Straight out of camera image from the Nikon D810 with Nikkor 50mm f/1.8D

There’s very little to choose from between the two SOOC shots. I prefer the colors of the Fuji X-T2 shot, but it’s a close call.

Now, here’s the 100% crop of them both. Pretty impressive on both counts, right?

100% crop of the Fuji X-T2
100% crop of the Nikon D810

Obviously the resolution of the Fuji X-T2 isn’t quite up there with the D810, but I love the color rendition and the famous Film Simulation modes available to me. I can and have printed images to an excellent standard at A3, and to be honest if I was going any bigger than that I’d probably choose to stitch a panorama whether I had 36MP or 24MP at my disposal.

Finally, here’s the fully processed versions of the original shot:

Processed version of the Fuji X-T2
Processed version of the Nikon D810

Verdict: Nikon D810 edges it in resolution but the Fuji X-T2 is more than capable and has superb color rendition.

Build Quality and Handling

This is where I always knew that the Fuji X-T2 would outshine the D810. As I’ve already mentioned, it’s the main reason I decided to make the switch in the first place!

Size and Weight

The first thing you notice is the size difference. The X-T2 is much smaller (133x92x49mm vs 146x123x82mm, to be precise) and almost half the weight.

That may not seem like a deal breaker, but when you factor in the size and weight difference of the lenses (APS-C lenses are generally smaller and lighter than full-frame lenses) it makes a huge difference. My camera bag is half the weight it was, and that’s not an exaggeration!

Build Quality

There’s not much to say here. Both the Fuji X-T2 and the Nikon D810 are wonderfully built. Both feel solid as a rock and both are weather sealed. Everything about both of these cameras oozes quality.

That being said, I do prefer the Fuji’s aesthetics. The retro styling is gorgeous, but that shouldn’t really come into consideration when buying a camera!

Verdict: Both excellent, but the Fuji X-T2 wins it hands down for me.


Mirrorless cameras have been paving the way in innovation for a while now, but if I’m honest all these added bells and whistles don’t do too much for me.

I tend to shoot still images in manual mode 90% of the time, so most of the features are wasted on me. That being said, there are a few added extras on the Fuji X-T2 that I absolutely love:

  • Focus Peaking – Makes using manual focus sooo much easier. My macro photography has improved massively since getting the X-T2.
  • Articulating Screen – It doesn’t have the full tilt-swivel LCD screen like many other cameras, but the articulating screen makes shooting from low angles much more tolerable.
  • Focus Bracketing – Need that perfect depth-of-field? The Fuji X-T2 will automatically take shots at different focus points.
  • Longer Exposure Time – DSLR shutter speed tends to max out at 30 seconds before you have to go into Bulb mode and use an external shutter release. The Fuji X-T2 goes up to 900 seconds in-camera though!
  • Shorter Exposure Time – This also goes the other way, allowing you to shoot with shutter speeds up to 1/32000 of a second compared to the D810’s 1/8000s
  • Film Simulation Modes – Sure, you can get these on your computer for other cameras, but it’s nice having them in-camera.

That’s about all I’m bothered with, but there are plenty of other major features included with the Fuji X-T2:

  • 4K Video Capability
  • In-Camera Panoramas
  • Built-in WiFi
  • On-Sensor Phase Detect – Improved autofocus in live view and video.
  • Much Faster Continuous Shooting – 13.7fps vs the D810’s 5.1fps

The Fuji X-T2 certainly isn’t at the pinnacle when it comes to features, but it does more than enough for my needs (although the D810 did enough too!)

So, if you want as many extra features as possible, mirrorless is certainly the way to go right now.

In the interest of fairness, I must mention that there are plenty of reasons to choose the D810 too. It has that epic 36MP full-frame sensor, a built-in flash, longer battery life, a top panel LCD screen and a huge lens selection, to name a few of its advantages.

Verdict: Another win for the Fuji X-T2.

Conclusion – Do I Regret the Switch?

In a word – No.

Maybe it’s the honeymoon phase talking, but I’ve absolutely loved shooting with the Fuji X-T2. I’ve been taking it everywhere thanks to the reduced size and weight, and the focus peaking has made me fall in love with manual prime lenses again (not to mention rediscovering my passion for macro photography.)

It no longer feels cumbersome to take my photography gear on an afternoon stroll with the family, and that makes it worth its (admittedly small) weight in gold!

It might sound strange for a landscape photographer to make the choice to downgrade in resolution. After all, we are a breed that like long battery life, big sensors and huge resolution. However, there’s an awful lot to be said for portability and convenience. I spend a lot of my photography time hiking up hills and mountains, so being weighed down by 10kg of camera equipment is a real energy drain.

Plus, the Fuji X-T2 is more than capable when it comes to image quality, so there’s no complaints there!

Fuji X-T2 Sample Images

About the author: Alex Wrigley is the owner and lead writer for Click and Learn Photography. He is an avid landscape, equine, and pet photographer living and working in the beautiful Lake District, UK. You can find more of his work on his website, or by following Click and Learn Photography on Facebook and Instagram. This post was also published here.

“A Black and White Movie in a Stupid Aspect Ratio”: Robert Eggers on The Lighthouse

Eulogized debuts draw ravenous, patient cynics, who stalk the scent of a fledgling’s success to their second movie, hoping their foe might slip. Robert Eggers, a name of contention after headlines announced he would remake Nosferatu (TBD) before his Sundance debut The Witch was released theatrically for audiences to decide if he were worthy themselves, has made his second move.  The Lighthouse, a sophomore effort especially susceptible to readied blows, has made it back with critics on the festival circuit and will now see appraisal from the mainstream on its theatrical bout. But the film expels farts and sailor vulgarity, an […]

‘Making Moon’ Reveals Great BTS Pics From This Sci-Fi Gem

If you never saw Moon, go watch it now! Then get this book!

BirthMoviesDeath reported that Making Moon is now available and along with insights into the film are some very cool never before seen BTS images.

Moon came out in 2009, written and directed by Duncan Jones and starring Sam Rockwell as a blue collar worker stuck on the most dead-end job in space: Working on the moon. But, with a twist. It’s one of those little movies that did so many little things so well (pun intended).

Because aside from being a taught drama that explores the loneliness one finds at the edge of sanity, Moon delivered practical VFX and miniatures at a time when that was still pretty uncommon. Moon cost only $5 million to make, which is pretty impressive considering what most sci-fi can cost.

According to BMD, the book includes “rare concept art” and “excerpts from the shooting script” which makes it a solid opportunity to learn more about the creative process behind such a strong movie.

Read More

How Christopher Nolan’s ‘Dunkirk’ Used IMAX Cameras to Put You on the Frontlines

The lengths Christopher Nolan went to capture authenticity in Dunkirk makes the film a modern marvel of filmmaking.

Christopher Nolan’s 2017 WWII film Dunkirk is not your average war movie. Sure, there are epic battle scenes, heart-pounding aerial dog fights, and the well-earned gravitas one would expect to see in a film about the Great War.

However, Nolan took this well-trodden genre and put himself through a near-impossible cinematic gauntlet in order to create a film that was as real and harrowing as its source material, from shooting on location at the actual evacuation site in Dunkirk, France to mounting 80 lb. IMAX cameras to Spitfire cockpits while they performed maneuvers in the air.

In this video essay, Oscar Watson explores the massive scale of the Dunkirk production by highlighting the many practical effects (and the incredible techniques used to create them) that made the film not only memorable but a wildly visceral experience.

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Shooting Professional Ink-in-Water Product Photos on a Budget

Photographer Isaac Alvarez of Unplug Productions is at it again in a video that shows you how to capture striking, professional-grade “ink-watch” photography in your own living room using only the most basic equipment.

The video, created in honor of the popular Inktober art challenge, walks you through the whole process—from setup, to shooting, on through post-production—and the good news is: the actual lighting and shooting setup is quite simple.

To set up his living-room studio, Alvarez uses:

  • A $9 terrarium to hold the water
  • A basic funnel with which to dump the ink
  • Various colors of DecoArt Acrylic Paint
  • A couple of black and white poster boards
  • A side table to set everything down on

In terms of actual gear, he uses:

The actual shots are composites. First, he shoots the ink falling into the water against a white backdrop; then, the watches themselves are photographed against a black backdrop using either a single one-light setup or capturing multiple shots with multiple lighting angles so that you can really dial in and highlight the features of the watch in post.

The final step, obviously, is the actual compositing in Photoshop. This is where you really have to take your time properly editing each shot and masking together the ink and watches to create the most realistic image possible. Done right, the results are striking.

Here are the final shots from the shoot above:

And some other photos taken using a similar setup:

Check out the full walkthrough above to see how these images were captured and processed, and find out how you can create the same effect for yourself. And if you like Alvarez work, be sure to check out his website or head over to the Unplug Productions YouTube channel for more tutorials like this one.

Image Credits: Photos by Isaac Alvarez and used with permission.

ON1 Photo RAW 2020: the all-in-one photo workflow solution is now available

ON1 Photo RAW 2020, the all-in-one photo workflow solution

New AI features, new filters, SmugMug sharing, X-Rite integration and improved processing on Fujifilm Raw files are some of the new things included in the all-new ON1 Photo RAW 2020.

Finally available, after a public beta that allowed photographers to test its new tools, ON1 Photo RAW 2020 is part of the all-new ON1 ecosystem for photographers. The whole new, I dare to call it, creative suite, will gain more elements in the coming months, and in preparation for the launch of the new products ON1 even changes its logo, as well as the ON1 Photo RAW logo.

ON1 Photo RAW 2020 is ”a professional-grade photo organizer, raw processor, layered editor, and effects app”, a solution that has grown from the original plugins from the company to become an all-in-one photo workflow solution, and an alternative to those who don’t want to be tied to a subscription. It’s a clear reference to Photoshop and Lightroom, to which the first ON1 apps were plugins.

RAW files open up to two times faster

ON1 is an open system giving you control over photo organization, storage, editing, creative style, and how you purchase. While most mainstream software solutions restrict your organization and editing in closed systems, says the company, “ON1 gives you an open system for complete control over your storage, organization, editing, and method of purchase. ON1 will also never be a subscription-only model.” ON1 gives you control of your photography and what matters to you – it’s “Photography Your Way, The ON1 Difference”, the company keeps saying.

The new version introduces a whole series of new things, but it is also very much about speed, as the app’s speed has been a concern for users. “Customers will immediately notice the speed and quality improvements we’ve made under-the-hood. A lot of great feedback came in from our beta users, and we were able to deliver on their requests in this version,” says Craig Keudell, President and CEO.

First  real-world reports do suggest that ON1 Photo RAW 2020 is faster, an aspect that the company has been keen to point out to, stating that “opening raw files in Edit is up to two times faster, and brushing is smoother, even on integrated graphics cards.” New speed and performance updates are essential aspects that keep users happy and attract more photographers looking for alternatives.

ON1 Photo RAW 2020  and macOS 10.15 (Catalina)

ON1 was quick to issue a waring to Mac users when the beta was launched, telling them that the ON1 Photo RAW 2020 (Beta 2), 2019, 2018 and 2017 will work with macOS 10.15 (Catalina) but have known compatibility issues listed on the company’s website. The suggestion made to Mac users was “to avoid upgrading to Catalina until the compatibility issues are fixed if they will impact your work”, with the promise that the final shipping version of ON1 Photo RAW 2020 coming later this month will be fully supported. Now that it is available, users who encounter issues not already documented should submit a support request to ON1. Mac users were also told that legacy versions of ON1 were neither designed nor tested to work on macOS Catalina.

ON1 issued a long list of new and updated features present in ON1 Photo RAW 2020, some of which are familiar to users of the app, or known to whoever read the fitrst announcements about the software. Here is that list, with a brief descprition of each feature. The videos published on this page will reveal more about some of the key features.

What’s new in Photo RAW 2020

  • New AI Match — Match how your raw photos look to what you saw on the back of the camera. This automatically detects when you shoot in black and white or custom film looks in your camera.
  • New AI Auto Tone — The new algorithm does a much better job on all types of photos, also controls the amount of auto-tone you want. By analyzing thousands of photos, the algorithm has learned how to do an even better job, especially on tough images.
  • New Speed & Performance Updates — Opening raw files in Edit is up to two times faster, and brushing is smoother, even on integrated graphics cards.
  • Enhanced Raw Processing for Fujifilm – The decoding of Fujifilm X-Trans raw files has been improved to reduce scalloping and other artifacts.
  • New Hottest and Trending Presets — Over 100 new looks and styles curated from today’s hottest photographic trends. We also added tons of new skies, backgrounds, and textures for your masking pleasure.
  • New SmugMug Integration — Select photos and videos, then publish them to any of your SmugMug galleries. Even create new galleries and control the size of the photos you upload.
  • New Custom Camera Profiles — Get predictable, natural color results by creating custom profiles for your camera and lights. We have partnered with X-Rite, the leader in color management, to make this easy. Photograph an X-Rite target with your camera, then import it into ON1 Photo RAW, then send it to the X-Rite Camera Profiler software to build a custom camera profile.
  • Better Noise Reduction — The new state-of-art noise reduction algorithm can reduce noise, both color and luminance independently, while maintaining detail, even with today’s ultra high-ISO cameras.
  • New Color Balance Filter — Remove a cross color cast from the shadows or highlights or create unique duotone or tritone tints by adjusting the color and brightness of the highlights, mid-tones or shadows.
  • New Weather Filter — With the new Weather filter in Effects, you can add rain, snow, and fog to your photos to create a realistic atmosphere.
  • New Channel Mixer Filter — For precise black and white conversions, channel swaps for infrared, or shift entire color ranges.
  • New Sun Flare Filter — Add realistic sun spots, lens flares, and bokeh to your shots all powered by real photographs from renowned photographer and educator Matt Kloskowski.
  • New Print Module — Print contact sheets, a wall portrait, or tile multiple photos into package prints, the improved print dialog can handle it all. Easily print individual images. Also, print multiple photos on one piece of paper to create packages like 2 5×7’s or 4 4×5’s. Add watermarks and sharpen before you print.
  • New Timeline Albums — Exploring your photos by date has never been easier. The new automatic timeline albums organize your photos by year, month, and day.
  • New Map View — View where your photos were taken on a map, explore photo locations, and add location metadata to photos that don’t have GPS metadata. Even search by location address to find photos quickly, without having to add additional metadata.
  • New Focus Mask Overlay — Now you can view what’s in-focus in our photos easily. The new Focus Mask overlay marks the areas of best focus with green so you can compare similar photos and pick out the sharpest photo quickly.
  • More Language Support — ON1 Photo RAW is now localized into eleven languages, giving many more photographers access to the best photo editor out there. It currently supports English, German, Spanish, French, Japanese, Korean, Simplified Chinese, Russian, Portuguese, Italian, and Dutch.
  • New Enhancements — Before/after image preview splitter, control preset opacity from the preset browser, Windows installer now gives the option to install on other drive, UNC paths on Windows, Lossy Canon CR3 support, Visualize brushstrokes with a red overlay.
  • New Camera and Lens Support Added

ON1 Photo RAW 2020, the all-in-one photo workflow solution

The good and bad things about AI

The presence of AI is now a constant on many of these apps. While it opens a whole new series of options, AI is looked by photographers – and others – as something that can be both good and bad. We’re seeing some exercises of altering reality that, while not the software’s fault, seem to suggest that photography is now more a desktop editing trick than an art done with a camera. From changing skies to altering faces beyond any recognition, AI introduction seems to be all about creating final images that bear no connection to the original capture.

There is nothing wrong about editing one image for a specific reason, presenting it as a composite for editorial or illustrative reasons, but suggesting that all your holiday photos with dull skies can be transformed in glorious sunrise and sunsets, is taking it a bit too far, as it suggests your real world memories can be erased for a picture that grabs more “likes” in social media. This said, the option of changing skies has been around since the first days of photography, AI just makes it easier, if needed.

Things as the New Weather Filter in Effects, which allows the user to add rain, snow, and fog to photos “to create a realistic atmosphere”, also seem to be a concession to the times we live in, although I must admit that, if it works, it can be helpful to alter images for editorial purposes. Not that I see users using it regularly to add a touch of rain to their holiday images…

Better noise reduction and custom camera profiles

Fortunately, the AI implementations in ON1 Photo RAW 2020 also explore some interesting options, like AI Match, which matches how your raw photos look to what you saw on the back of the camera, and AI Auto Tone, whose new algorithm does a much better job on all types of photos, also controls the amount of auto-tone you want. Obviosuly, a touch of human control will always be welcome.

The other features introduced in ON1 Photo RAW 2020 interest me more, though: better noise reduction, a new color balance filter, to remove a cross color cast from the shadows or highlights, or the new channel mixer filter, which can be used for precise black and white conversions, channel swaps for infrared, or shift entire color ranges, expand the set of tools digital opened to photographers. The option to create custom camera profiles, resulting of a partnership with X-Rite, is something photographers will appreciate, while the new SmugMug integration will make the creation of galleries by SmugMug users an easier task.

The next updates to ON1 PHOTO RAW 2020

There is enough in this version to justify downloading a trial and exploring it. And this is just the beginning of a new phase, as ON1 plans to release several free updates to ON1 Photo RAW during 2020. Here is a look at the new features currently scheduled to be included as updates in version 2020.

  • New ON1 Photo Mobile Integration — Capture raw photos on your smartphone using the pro-level controls you are familiar with on your interchangeable-lens camera. Photo editing tools for color & tone, enhancing shadows, removing distractions, or adding vignettes, from ON1 Photo RAW will also be available in the new ON1 Photo Mobile 2020 app.
  • New ON1 Sync Service Integration — View and edit photos on all your devices without requiring you to store them in the cloud or a closed system. You choose to put your photos on your laptop, desktop, external drive, cloud, or mobile phone, and ON1 Sync will take care of the rest. This new service will also sync albums, presets, and more between all your devices. ON1 Sync 2020 gives you the benefits of the cloud for less and allows you to control where your photos live.
  • New AI Integrations — Includes new technologies for faster photo organization, sky replacement, object recognition, color enhancements, and skin retouching.
  • New ON1 Video Integration — Use the powerful browser in ON1 Photo RAW to download, preview, and manage our video files as well as your stills. Then seamlessly send them to ON1 Video 2020, the only video editor built specifically for photographers coming soon.

ON1 Photo RAW 2020, the all-in-one photo workflow solution

Waiting for ON1 Video 2020

As I mentioned earlier, I am eagerly waiting for ON1 Video 2020, the “only video editor built specifically for photographers”, which is coming soon. ON1 says its features will include tools for trimming, enhancing, adding audio tracks, grading and sharing video clips using tools, adjustment sliders, and techniques typically found in a photo editing workflow. Additional features will include the ability to create professional time-lapse videos, slideshows, high-quality still-frame captures, and seamless integration with ON1 Photo RAW. A public beta for ON1 Video will be available sometime between mid-November and mid-December with the final release in early Spring 2020.

For now, we’ve ON1 Photo RAW 2020 to explore. This version expands the number of RAW files from cameras, to more than 800 models. Supported file formats also include JPEG, TIF, PSD, PSB, PNG, and DNG. Photo RAW 2020 also continues to work seamlessly within current photography workflows. Version 2020 can be used as a plug-in for Adobe Lightroom Classic CC, Photoshop, and Apple Photos without purchasing a new plug-in version. ON1 Photo RAW 2020 is also perfect for those looking for a standalone photo editing workflow solution.

ON1 Photo RAW 2020 is available for download from the ON1 website. Previous owners of any ON1 product can order the upgrade for just $79.99, and those who don’t own earlier versions of ON1 can order the full version for $99.99. For a limited time, ON1 Photo RAW 2020 is bundled with launch bonuses that include an additional 100 pack of presets covering some of the hottest looks and trends. A single purchase of ON1 Photo RAW 2020 works with both Mac and Windows and is a perpetual license (own it forever) for activation on up to five computers. A free 30-day trial with no watermarking and no credit card required is also available from the ON1 website.

ON1 Photo RAW 2020, the all-in-one photo workflow solution

ON1 Photo RAW 2020 from A to Z

One final note for the Official ON1 Photo RAW 2020 Guide Book, or ON1 Photo RAW 2020 from A to Z which is the guide to better understand the software. It’s a 210 pages .pdf manual that takes you through the different interfaces and features of the program, helping new users to get to grips with the interface. The complete guide should always be complemented with the video tutorials available online, which make it easy to understand how the different techniques available in the app can be used. Don’t forget to read or at least browse the guide book, to find the sections that interest you the most.

The post ON1 Photo RAW 2020: the all-in-one photo workflow solution is now available appeared first on ProVideo Coalition.

Luna Display now lets you use an old Mac as a secondary display

Products like Luna Display, Astropad or Duet Display have been offering the ability to turn iPads into secondary displays for the Mac for quite some time. However, with its latest macOS version Catalina Apple has integrated this feature into its own operating syste, MacOS, making the third party solutions pretty much redundant.

Duet Display has responded to the challenge by making the feature work with Android tablets in addition to Apple’s iPads. The latest update of Luna Display, version 4.0, now brings the ability to use a second and/or older Mac as a secondary display. Luna Display calls this the Mac-to-Mac mode.

Apple’s in-house solution only works with macOS Catalina and the iPad. It is also limited to newer Mac models. This is where Luna Display adds value. In addition to the iPad you can use an old Mac as a secondary display, and it also works with older Mac computers – the main Mac has to run macOS El Capitan or later – and the secondary Mac which is used as the external display can run the even older macOS Mountain Lion which was launched in 2012. This makes Luna Display a good way of making use of an old and unused Mac that might otherwise be collecting dust hidden away in storage.

Luna Display comes in the shape of a hardware dongle that plugs into the main Mac and is available in USB-C or Mini DisplayPort versions. On the software side of things the Luna Display has to run on both machines. For the system to work both computers have to be connected to the same Wi-Fi network.

Luna Display is available now for $69. Early adopters can benefit from a 25 percent launch discount. More information is available on the Luna Display website.

Razer’s Top of the Line Photo and Video Editing Laptop is Cheaper than Expected

If you’re looking to pick up one of the (if not the) best photo and video editing laptops on the market, and your wallet is trembling at the prospect, today is a day for good news: Razer has revealed the pricing for its top-of-the-line Blade 15 Studio Edition “creative workstation,” and it’s more affordable than people expected.

Razer has long been a name synonymous with gaming, but their Studio Edition laptops are build for creative professionals who demand the ultimate performance when photo editing, video editing, or working with 3D modeling programs.

The Razer Blade 15 Studio Edition is the brand’s top-of-the-line beast of a 15-inch laptop, and given that it packs an NVIDIA Quadro RTX 5000 graphics card, everyone expected it to come in at a staggering price tag. But as Engadget reports, the newly announced pricing is downright reasonable at only $4,000.

That price will get you laptop with a 15.6-inch OLED 4K touchscreen display that promises up to 100% DCI-P3 coverage, and includes a 9th-Gen 6-Core Intel Core i7-9750H processor, 32GB of dual-channel DDR4 RAM, a 16GB Quadro RTX 5000 card, and a blazing-fast 1TB M.2 NVMe SSD.

And while $4,000 probably sounds very expensive to some, keep in mind that the Quadro RTX 5000 graphics card by itself costs $2,300.

Many of us Apple folk are waiting and wondering and wishing for a killer new MacBook Pro in the coming months—maybe that rumored ultra-powerful, properly cooled 16-inch model with edge-to-edge display and a better keyboard—but with offerings like this one and the other NVIDIA RTX Studio PCs that have been revealed, the wait is beginning to feel less and less comfortable.

To learn more about the Blade 15 Studio Edition, head over to the Razer website where you can configure your own.

MUAHS Submissions Close October 23rd

Online submissions for consideration for the Make-Up Artists and Hair Stylists Guild Awards (MUAHS, IATSE Local 706) honoring outstanding achievements for make-up artists and hair stylists in motion pictures, television, commercials, and live theater will close next week on Wednesday, October 23, 2019 at 5 PM (PT). This year’s awards gala returns to the NOVO in L.A. […]

The post MUAHS Submissions Close October 23rd appeared first on Below the Line.

Using an iPhone 11 Pro to Capture the Northern Lights

The latest crop of smartphones all feature incredible low-light photography modes that can capture things that were unthinkable just one year ago. Case in point: Zach Honig, Editor-at-Large of The Points Guy, recently captured the Northern Lights in Coldfoot, AK using just an iPhone 11 Pro Max… handheld!

Honig shared his experience on his popular travel blog, where he also shared some tips for anyone else who wants to photograph the Northern Lights with a smartphone—whether that’s a Pixel 4 or any of the iPhone 11 models.

Honig shares five tips in all:

  1. Consider your composition and put something int he foreground
  2. Ensure proper focus by using a flashlight to light the foreground while focusing
  3. Confirm that night mode is active (iPhone only)
  4. Capture plenty of frames, since the aurora changes quickly
  5. Review your work every few shots to ensure that you’re happy with focus, exposure and other details.

By following these basic tips, Honig was able to capture this photograph—a 3-second handheld exposure shot with the iPhone 11 Pro Max:

After a bit of processing, he wound up here:

Funny thing is, Honig tells PetaPixel that he actually took a tripod and a “better” camera. But in the end, he preferred the results from his smartphone.

“As it turns out, I overpacked a bit for my trip to see the Northern Lights, bringing along a tripod, smartphone adapter and a Sony RX100 VII,” says Honig. “My best shots ended up coming from the iPhone 11 Pro Max, using the native app and 3-second Night Mode exposures.”

“Since Night Mode appeared automatically, most of the time it was as simple as pointing the camera at the sky and tapping the shutter button,” he continues, “though I did need to use a flashlight to illuminate an object and help the iPhone focus for a few of the shots.”

To read all about this experience or find out how Honig processed the image, head over to The Points Guy for the full story. And if you’re using one of the latest Samsung, Apple, Huawei, or Google phones and have captured some amazing Aurora or astrophotography of your own, drop it in the comments.

Image credits: Photo by Zach Honig/The Points Guy and used with permission.

SEXTUPLETS: VFX Breakdown by Image Engine

Come discover how Image Engine have duplicated Marlon Wayans for SEXTUPLETS:

Image Engine: Dedicated page about SEXTUPLETS on Image Engine website.

© Vincent Frei – The Art of VFX – 2019

The post SEXTUPLETS: VFX Breakdown by Image Engine appeared first on The Art of VFX.

Get More out of Your Tablet When Editing in Photoshop or Lightroom

Get More out of Your Tablet When Editing in Photoshop or Lightroom

Are you using a tablet for your Photoshop and Lightroom editing? Yes? But are you getting the most out of your Wacom tablet? Probably not if you are like most photographers. You probably set it up on the first day and haven’t gone back to activate all those remaining features.

[ Read More ]

Eizo announces 27″ 4K ColorEdge CS2740 monitor with USB-C connection, 10-bit input

Eizo has announced the upcoming release of the ColorEdge CS2740, a 27″ 4K monitor with USB-C connectivity. The CS2740 monitor is a successor to Eizo’s ColorEdge CS2730 that quadruples the resolution, adds new connectivity options and now offers 10-bit input.

An illustration from the CS2740 product page showing the gradation differences between 8-bit and 10-bit color graphics.

The updated monitor features a 4K (3840 x 2160 pixels, 164 ppi) resolution (compared to the 2560 x 1440 pixel, 109 ppi resolution of the CS2730), new backlight uniformity technology and 10-bit color support (over HDMI) for computers capable of outputting 10-bit images.

An illustration from the product page showing Eizo’s background uniformity technology at work.

On the connection front, Eizo has swapped the DVI-D port found on the CS2730 for a USB-C port, as well as swapped one of the USB-B ports for two USB Type-A ports. In addition to transferring the image to the CS2740 over USB-C, the USB-C port also supports 60W power delivery so laptops can both transfer the image and charge at the same time. This not only saves time, but also cleans up how many cables you’ll need when using the CS2740 as an external display with a laptop.

Eizo claims the CS2740 can be calibrated in just 90 seconds when using its ColorNavigator 7 software with a compatible calibration system. Additional accessories available alongside the CS2740 include a blackout hood and a dedicated calibration sensor. Eizo offers five-year warranty for the CS2740 (or up to 30,000 hours of use).

Currently, there’s no pricing information available for the CS2740, but the product page notes the product will officially be available starting October 24, 2019, so we should know more within the week.