Getty Images is phasing out rights-managed ‘creative images’ in favor of royalty free content

Getty Images has announced that in an effort to streamline the complexities of imaging licensing it will be phasing out rights-managed content in favor of royalty-free imagery for its creative image submissions.

According to the blog post, Getty Images will move to a royalty-free-only creative images offer ‘during 2020,’ with no specific date mentioned. Once the transition goes into effect, image buyers will only see royalty-free creative images.

In the meantime, Getty Images is in the process of a ‘phased retirement’ of rights-managed creative images. To kick off the transition, Getty Images contributors can no longer submit new rights-managed creative images to GettyImages.com (as of November 6, 2019) and by the end of January 2020, all rights-managed images will ‘be removed from single image licensing (sometimes called à la carte) on GettyImages.com.’

After being removed from the single image licensing option, photographers ‘will be able to distribute [their] RM images as [they] wish, with the exception that [they] must not license any rights-managed images (or similar) in a way that conflicts with any active, unexpired exclusive licenses.

A screenshot of the Getty Images creative content search with the search inquiry ‘mirrorless camera.’

Getty Images says in the announcement it’s ’confidently concluded that the [rights-managed] creative image licensing model no longer meets our [buyers] needs’ following ‘extensive customer research and testing on royalty-free versus rights‑managed [content].’

Getty backs up these claims in an FAQ section at the bottom of the article, titled ‘What evidence do you have for customers rejecting rights‑managed?’ saying it’s seen a steady ‘year‑over‑year decline in Creative [rights-managed] à la carte licenses over the last five years, with declines accelerating over time.

Without seeing the data Getty Images is referencing, it’s difficult to confirm or dispel its reasoning for the transition. The move to royalty-free licensing for creative images gives photographers less control over how their images are used, but should simplify the process for buyers, which in turn could make it more likely their photographs are licensed. Getty Images says ‘Licensing complexity has only led [image buyers] to other content, and in many cases, another provider as the broader industry is now essentially a royalty-free‑only model.

Rights-managed licensing will still be available for Getty Images editorial stills and rights-ready video content, so for the time being it’s only creative images that are affected. If you currently have creative images submitted for inspection, Getty addresses how those images will be handled in the FAQ in the announcement post.

wikiview is a Powerful Photo Browser for Exploring Wikimedia Commons

Wikimedia Commons has millions of public domain and freely-licensed photos available to the world, and now there’s a powerful new tool that helps you dive into the ocean of imagery for exploring or locating exactly what you’re looking for. It’s called wikiview, and it’s a graph-based visual image navigator.

The project was developed by Visual Computing at HTW Berlin, the same researchers behind Picsbuffet (a Fotolia stock photo explorer) and Akiwi (a semi-automatic image tagging service).

wikiview puts 12 million Wikimedia Commons images at your fingertips. You can start off your journey by entering a search term, starting with a random search, choosing a color, or by uploading a photo you’d like to find similar images for.

Photos results are grouped by similarity and displayed in a visually-sorted 2D image map. You can zoom in and out on “similarity,” and you can also drag the map around to find more similar results.

wikiview was presented last month at the ACM Multimedia 2019 conference in Nice, France, and won 2nd place for the “Best Demo Award.”

Head on over to wikiview.net if you’d like to start using the powerful tool yourself.

The Professional Photographer ‘Life Cycle’

For the last four or five years, I have tried to produce one annual workshop for aspiring architecture and interior photographers. While I hope that they are technically helpful and the students come away with new skills and knowledge, one thing that I’ve noticed is that every year each workshop inevitably transforms into a session of group therapy for all involved.

It’s no secret that freelancing can be boom and bust, amazing and terrible, discouraging and empowering. Anyone who has tried to carve out a living in a creative field knows this in every fiber of their being. So when I stumbled across a hysterical graph created by writer Guillame Morisette, I was immediately inspired and had to adapt it to photography, noting plenty of parallels in my own career.

Without further delay, please enjoy this all-too-real attempt at humor and the highest form of fine art, the shoddily created meme:

I’m not sure if this is a “problem” specific to architectural photography or all photographic genres in general, but without fail, the most requested topics at workshops is the psychology and business of photography, rather than the techniques or equipment.

On one hand I’m grateful for this, as it means my workshops are attracting photographers who have moved beyond the simple “what camera do I use to get that look” phase and are usually well on their way to a career in photography; on the other hand, it can be tough to have a delicately planned day of workshops and light-chasing consumed by business questions and concerns—and believe me, those subjects are a huge source of curiosity, frustration, and anxiety.

At the end of the day it feels great and is clearly helpful to let everyone get their frustrations, questions, and vents out, and I’m happy to be able to provide a platform for that—there aren’t many other places to do it in a private, professional setting in a field that is as independent and personal as photography.

Hey, business idea for the budding therapist: focus on small business owners. I’m sure you’d have a steady client base!


About the author: Mike Kelley is an architecture and fine art photographer based in Los Angeles, CA. He regularly travels on assignment for architects and developers, and his art photography has been exhibited in museums around the world. You can see more of his work on his website, www.mpkelley.com, or by following him on Instagram @mpkelley_. This post was also published here.

Cartoon Animator now works with popular PSD tools and Wacom tablets

Cartoon Animator 4.1 now works with mainstream PSD tools

Cartoon Animator (CTA), has a new version, 4.1, which opens to all mainstream PSD tools, such as Adobe Photoshop, Krita, Affinity, Clip Studio, and Photopea, turning illustrations into animations.

Cartoon Animator (formerly known as CrazyTalk Animator) is a 2D animation software designed for both ability of entry and productivity. You can turn images to animated characters, control characters with your expressions, generate lip-sync animation from audio, accomplish 3D parallax scenes, produce 2D visual effects, access content resources, and wield a comprehensive photoshop pipeline to rapidly customize characters and create content.

The most recent version of Cartoon Animator is able to do even more, as it opens to all mainstream PSD tools, such as Adobe Photoshop, Krita, Affinity, Clip Studio, and Photopea. Users of these PSD tools and WACOM tablets can now swiftly turn their creative concepts into animation using their original processes via Cartoon Animator.

“Reallusion enables artists with a clean, roundtrip workflow between digital content creation tools and Cartoon Animator,” said John C. Martin, VP of Product Marketing, Reallusion. “Now, the mutual connection between Cartoon Animator and mainstream PSD tools enables users to simultaneously work on their concept art and drive it to a final look while animating from even initial sketches. That means that through every stage of art from doodles to production there is an opportunity to send your drawings to Cartoon Animator already auto-rigged for animation and then return to edit the PSD and roundtrip to CTA without losing a single keyframe animation. “

Key features of CTA

These are the major features of Cartoon Animator 4.1:

  • Turn PSD to Scenes
    Manageable scene elements can be created from PSD layers and sent to CTA for the arrangement of Z-depth. Use 3D depth to sort 2D scene elements and decide the relative order of characters and props.
  • Turn PSD to Props
    Import a PSD file as a prop and apply Elastic Motion effects to generate organic animations or follow PSD layer naming rules to group items and set object hierarchy for Compound Prop Animations.
  • Turn PSD to Characters
    Rig any imaginable 2D character design with the Free Bone Tool or utilize PSD Character Templates for biped human and quadruped animals. Simply replace the image layers with your own design to automatically setup the character rig.
  • Free PSD Editor – Photopea
    Reallusion’s alliance with Photopea provides this browser-based PSD editing service to all users for free. For those who don’t have a PSD editor at hand, this is a good option. CTA provides purchased users an AD free Photopea.
  • From Sketch to Final Production
    WACOM tablets users realize a pipeline for concept art to animation production. Start with storyboard sketches and bring them to CTA for animation. Keep updating the artwork while keeping the animation intact.

Cartoon Animator 4.1 is compatible with Windows and Mac. There is a trial version available to download from Reallusion that can be used for 30 days, to evaluate the software.

The post Cartoon Animator now works with popular PSD tools and Wacom tablets appeared first on ProVideo Coalition.

Cue the head spinning, The Canon EOS-1D X Mark III to be 20.1mp? [CR1]

Sometimes after we report something, it brings about some contradictory information soon after. Yesterday we reported that a source was “80% sure” than the Canon Read more…

Nothing Less Than The Future of Cinema Itself Is At Stake

Adobe MAX, HBO, Scorsese on Cinema, and more!

We talk the biggest stories out of Adobe MAX, specifically what auto-reframe means, plus Martin Scorsese’s op-ed, Olivia Wilde taking on censorship, and in a really fun “ask no film school” we try to figure out which great HBO series are the most under-watched.

Like, subscribe, comment, share, tweet, and email us!

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Drone registration and pilot testing will be mandatory in the UK

Even though no solid evidence has been presented in regards to drones being involved, incidents at both Gatwick and Heathrow airports, which saw thousands of flights grounded and delayed for days, have inspired the United Kingdom’s Civil Aviation Authority to enforce more regulations. The government agency is requiring all operators over the age of 18 to pass an online pilot’s test and register their unmanned aerial vehicle by November 30th.

This deadline applies to remote pilots flying model aircraft weighing between 250 grams (.55 pounds) and 20 kilograms (about 44 pounds). Exemptions to these mandatory rules have been granted to the following organizations:

  • The UK Drone Association (Arpas UK)
  • British Model Flying Association
  • Scottish Aeromodellers’ Association
  • Large Model Association
  • FPV UK

Besides registering the drone, owners must obtain their flyer ID which requires taking and passing a theory (pilot) test. Adults and children under 13 can still fly but they must pass the test, and kids must be registered to fly by a parent or guardian. The drone’s main operator must be 18 or older and is responsible for ensuring every person flying their aircraft is both registered and has passed their theory test.

Registration is relatively inexpensive at £9 ($12). Similar to U.S. rules, drone owners will be given a unique ID that must be affixed to their drone in a way that’s easily identifiable. Anyone caught flying a drone that is not registered could incur a fine of up to £1000 ($1290).

DJI has recently created the Mavic Mini, which weights under 250 grams, to circumvent registration requirements. While operators of these lightweight unmanned aerial vehicles many not need to register with the Federal Aviation Administration, Civil Aviation Authority, or other similar agencies (always check your local laws), remote pilots still need to abide by standard aviation rules or face the consequences if caught.

No Post Required: 5 Ways to Stylize Your Shots with In-Camera Effects

Want to give your shots a little style and flavor? Forget post-production trickery—try using these dope in-camera effects instead.

Whether you’re shooting a feature film or a music video, adding effects to your footage can add loads of style, depth, and intrigue to your work. But how do you go about achieving these looks?

If your mind immediately went to post-production and After Effects tutorials, you should know that there’s another way. I mean, yeah, you can definitely go that route and, depending on your skill level—produce some great results, but what if you could create stunning lens effects, like flares, ghosting, and kaleidoscoping, without ever having to open any post software?

In this video, learn how to craft these kinds of lens effects all in-camera from Jakob Owens of The Buff Nerds, who has shot countless music videos using these very techniques. Check it out below:

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7 Photography Composition Tips That Are Simple to Follow

In this 12.5-minute video and article, I’ll share 7 of the composition tricks that I use in the field all the time. First of all, let me say that composition is difficult. It is, without a doubt, the hardest part of photography. But there are some things that you can be doing in the field that can help.

I don’t mean the intersection of the thirds or odd numbers — those are rules and made to be broken. I mean tips that are practical and will help you in the field.

Here they are:

1. Think about the height of your tripod as it dictates the amount of mid-ground in the scene.

I usually shoot at eye height as it helps with the depth perception in the scene. These shots were taken at eye height.

2. Avoid the drop off in the scene.

We often see people stood on cliff edges in landscapes (especially on Instagram!). With a person that works well as they connect you to the view. But when you remove the person that changes. Think carefully about how you compose the scene with a big drop off without a person. It is always good to have foreground, mid-ground, and distance that are connected through the image.

3. If it doesn’t add to the image remove it.

This seems like a simple tip but I guarantee that the next time you are out you will be able to find something in your shot to remove. A simple crop or move can often help.

4. The longer the lens the easier the composition.

How often do you get out your 16mm lens only to struggle with composition? It happens to me all the time as it means you have more elements to connect together. Try using a longer lens and isolate elements in the landscape and it will massively help you.

The wide shot is good and it works but isn’t as strong an image as the 150mm shot.

5. Think about the bottom 3rd of the frame (especially with wide-angle).

If you do use a wide-angle then think about the bottom third of the frame as it needs to be simple elements are repeating patterns to help the viewer get into the image.

In this image, the grasses lead you into the image.

6. Create separation of elements.

It is really important to have a separation of elements in a photo. This isn’t a rule you have to stick to but if you think about it then it helps most photos.

Take these two tree shots (actually taken on an iPhone). The one where I got lower in this case helped to separate the tree from the ones in the background and create a stronger shot.

7. Move to the left or right to create a diagonal.

A small movement to the left or right can help create a strong diagonal in a scene. Try it next time you have a road, fence, or any other leading line. It works really well with a wide-angle lens.


About the author: Nigel Danson is a landscape photographer based in the UK. The opinions expressed in this article are solely those of the author. You can find more of Danson’s work on his website, Facebook, Twitter, and Instagram.

Sigma fp gallery: photos from the world’s smallest full-frame camera

The Sigma fp claims the title of ‘world’s smallest full-frame camera,’ offering a 24.6MP sensor in a svelte body that’s not much bigger than your standard compact camera. It’s equipped with plenty of features to keep a serious videographer happy, but we’re also interested in its still photo quality. Take a look at our first shots with Sigma’s surprising little full-framer.

See our Sigma fp sample gallery

Zeiss Supreme Prime Radiance Lenses Announced

ZEISS Supreme Prime Radiance ZEISS Supreme Prime Radiance (SPR) lenses are a new set of 7 lenses that artistically emphasize ghosting (flares) and are consistent across the entire set. They are based on Supreme Primes with a warmer color tone.

RadianceThey are not simply the same lenses with the coatings removed. There is no loss of light and no uncontrolled “white-out.” Instead, Radiance lenses have newly formulated T* Blue coatings. While there are 13 focal lengths in a set of Supremes, a Radiance set consists of 7, from 21mm to 100mm, all T1.5. There will be limited production runs

 

“The light sources became a very important point of the story. And the lenses allowed me to utilize the characteristics of them for storytelling. […] I would describe the look of the Supreme Prime Radiance lenses as relatively soft but with sharpness. These lenses don’t have an aggressive sharpness to them, they feel organic.”

 Rodrigo Prieto, ASC, AMC about shooting “R&R” with Supreme Prime Radiance lenses

In this film Zeiss shot a side-by-side look at the flaring behavior of the new ZEISS Supreme Radiance lenses in comparison to regular ZEISS Supreme Prime lenses under different lighting situations. This was shot shot by cinematographer Takuro Ishizaka (JSC) on SONY Venice.

Adding more character to your images

The ZEISS Supreme Prime Radiance lenses enable cinematographers to create beautiful and consistent flares but with one key ability – control. This is made possible by our newly developed lens coating T* blue. Under regular lighting, Supreme Prime Radiance render like modern and versatile cinematography lenses. With appropriate lighting however, the lenses start to flare. Cinematographers can decide and plan when they want to create flares rather than relying on unforeseen effects. Overall, Supreme Prime Radiance are a touch warmer than Supreme Primes but still retain all the other features that one might have experienced from using the regular Supreme Prime lenses.

RadianceCinematographer Takura Ishizaka, JSC talks about the making of “Metamorphosis,” a short film inspired by the studies of Swiss psychiatrist Carl Gustav Jung (1875-1961) and how ZEISS Supreme Prime Radiance lenses helped him and director Aki Mizutani to realize their project.

Cinematic large-format coverage and high speed

The ZEISS Supreme Prime Radiance lenses are designed for cinematic large-format sensor coverage, making them the ideal choice for current and future camera systems. At T1.5 the ZEISS Supreme Primes demonstrate their unsurpassed craftsmanship in tricky low-light environments.Radiance

Aesthetic focus fall-off and elegant bokeh

A very smooth transition between in-focus and out of focus areas characterize the unique look of the ZEISS Supreme Prime Radiance lenses. This adds richer texture and greater depth to the image.

The ZEISS Supreme Prime Radiance lenses possess a look, which ensures freedom in creating the look you want to achieve. Especially when capturing crucial textures such as skin tones, the unique quality of the ZEISS Supreme Prime lenses is a gentle sharpness that renders a crisp but organic look.

If you looking to buy the limited run Zeiss lenses you will have to wait until April 2020.

Radiance

The post Zeiss Supreme Prime Radiance Lenses Announced appeared first on ProVideo Coalition.

ZEISS Supreme Prime Radiance

ZEISS Supreme Prime Radiance (SPR) lenses are a new set of 7 lenses that artistically emphasize ghosting (flares) and are consistent across the entire set. They are based on Supreme Primes with a warmer color tone. They are not simply the same lenses with the coatings removed. There is no loss of light and no uncontrolled “white-out.” Instead, Radiance lenses have newly formulated T* Blue coatings. While there are 13 focal lengths in a set of Supremes, a Radiance set consists of 7, from 21mm to 100mm, all T1.5. There will be limited production runs. read more…

Leica SL2 pre-production sample gallery (DPReview TV)

Leica invited our team from DPReview TV to Germany to test drive the new Leica SL2 – and test drive they did. Check out these samples captured with a pre-production SL2 body.

View DPReview TV’s Leica SL2 pre-production sample gallery