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How to use ColorChecker Passport Photo for Perfect Color - YouTube

Learn how to use the ColorChecker Passport Photo for Perfect Color. In this video, I walk through the why and how to use the ColorChecker Passport in camera as well as in Lightroom and Final Cut Pro. I have had the ColorChecker Passport in my camera bag for years. I have the original Passport model, but they have since released a 2nd version as well as a Video version. I have not tried those yet. As someone with slight colorblindness, I rely heavily on the ColorChecker as well as my monitor calibration tool, also from X-Rite.

Transcription was done by Temi.com which means it’s an AI generated transcript. The transcript may contain spelling, grammar, and other errors, and is not a substitute for watching the video.

This is one of my favorite things in my bag, and it’s been in my camera bag for years. Iterations of this. This is the color checker passport. Hey, this is Scott Wyden Kivowitz, a storyteller with a camera and talking about all the things photographers like you and I are thinking about in this video. I want to talk about getting accurate color when you’re doing editing for stills and video. Before we dive in, I want to say a quick thank you to Mack worldwide warranty for partnering with me on this video. I get a Mack worldwide warranty on all of my equipment and especially their diamond warranty, which covers accidental damage. If you need a warranty on your equipment, check out Mack worldwide warranty, and by the way x right. Did Not sponsor me on this video, but x, right. If you want to send me the color checker passport two or end or the video version, I’d be happy to talk about those as well.

This is the color checker passport from x, right? This is the first version of it. Basically it is a color checker just like you might’ve been used to back in the day of the giant Color Checker, which x-ray still makes, but this is the passport version because it is a software-based version and it’s also a compact and can protect itself from sun damage because you can close it but also protect yourself from crushing and also it also stands up on its own. If I want to open it up, there’s actually multi-sided, I could actually go like this and stand it up perfectly like so. It’s got legs. So first things first on one side of the color checker passport is the gray card. This is a just a to do what your white balancing camera. That’s what that’s for. And on the other side is actually the color charts, which also has white balance tones for when you’re doing your edit to new want warmer or cooler white balance.

No. I’ve done a bunch of videos on color correction in, but today I want to show you how I use this for stills and videos, and then I’m going to go to the computer and show you the color checker passport software and how you do it from Lightroom and you can actually do your white balance and get accurate color profiles based on the light that you have at this moment and then also do your white balance for your photos in Lightroom but also in final cut pro. Now, right now I’m recording on auto white balance is video is on auto white balance and virus is switch this to the light that’s right there. My main light, that’d be 5,500 Kelvin. I will switch to that right now. Now the white balance is at the 5,500 Kelvin. This should be more accurate, but still I’m going to use this to ensure that my colors are spot on.

What I would do if I was doing a still and what I could do for video as well is just hold this right in front of my face. I’m going to go off the side. Do you hear me talking right in front of my face and so that the light is hitting it perfectly the way that I would hit my face and the exposure is good and I can then take this and she was a white balance color picker to get accurate color in the software. So if I’m doing a bunch of stills, I have my subject hold this once and then the rest of the photos are going to be good. Based on this, let’s go to the computer so you can see what I mean. If you like this video, click that subscribe button below. Now I publish new videos every Monday and Thursday whenever possible.

You don’t want to miss it and karate kid the notification bill. Okay, so I am here in Lightroom. You can see the timeline from the introduction to this video and all I’m going to do first is I’m going to create a quick break in the film and I’m going to just make sure that this one clip, this one piece of the timeline is selected and I’m going to go ahead and I’m going to choose this, a little magic button here and choose balance color. Now you’re going to see the color is going to be eh, it’ll be all right. You’ll see here if I select it and turn it on and off the eyes, the color has changed but I’m going to do is I’m going to switch it from the method to automatic to white balance and I’m going to zoom in on the clip itself and good to go down to the whitest white you can see in final cut pro is that to set the white balance, click or drag over an area that should be pure white.

So the bottom left of the color checker passport, this chart right here should be white. So I’m going to choose that. And then I’m going to de-select that and zoom back out. And now if you see, if I uncheck balance color, this is the original, this is now color balanced. That is all I need to do to ensure that I have accurate color bounds because I know that that white should be white and it should not be overexposure, not be underexposed, should be properly exposed. It is important to make sure that the exposure is good in camera before you even go to final cut pro. But now I could take this and I could create a preset of the white balance and I could copy that over to the rest of the film. So if I go ahead and I do save effect preset and I’m just going to choose just the effects of the color and I’m going to choose a color checker, passport demo, and I’m going to hit save.

And now all I have to do is I can go ahead and add it to the beginning of this clip and added to the end. So I bring up my effects panel and I go down to my, uh, custom effects. Here’s the color checker demo and let me go to the beginning where I had auto white balance. You can see this was the auto white balance and if I drop this in now it is actually the proper white balance of what it should have been the entire time. And all I do is copy it from one to the other. And you can see if I want to, I could actually just from this clip here, you can see the white is right here. I could actually go ahead and select this clip, choose the white balance and there we go. Did it again.

You can see it’s even better because it wasn’t just copied. And there you go. Now let’s head over to Lightroom so you can see it in Lightroom as well. Okay, so here we are inside of Lightroom and this is a closeup of the color checker passport on the floor of the set. Here it is further back. Here’s another one of this and but it really is important that you get a close image, especially when you’re doing the still and during the video to a little bit easier because it’s not as precise doing the video that it is with doing an enlightened in room. There’s actually the software to do this. Now I don’t have the x right? Video Color Checker, so I don’t know if they built a final cut pro or Adobe premiere, a plugin. I use final cut pro x, right.

If x right wants to send me the color checker passport video version, I can, you know, do a review on that and see what happens. But um, I am actually using the original color checker, not even the version to the new one. So this is the photo inside of Lightroom. Now I’ve actually done this. So if I was to show you the original, if I were to go to the develop module and it showed you the original, you’ll see that uh, this is what it originally looked like. This is what it looks like after color correcting. Basically what you do is you go take this photo and you go file and go to export and then you grab the color Checker, passport, calibration, you name it, you export it. And then what is it going to do is it’s going to tell you to, uh, restart Lightroom when it’s all done.

No, I’m not going to run through this. I already did it, so I don’t need to do it. But you then go to the, um, the profiles and choose the profile that you just made. So for example, you can see the profile right here for this kicked in that session that I made called Estella. Now every time I make one, I, you know, I leave it in there. And then when the client’s done all want to deleting the color profile goes, I just don’t need it to always be there. And my profile’s taking up space, making me, you know, browsing and stuff like that. I wanted to be quick. But what’s cool is I can then take that and sync this color profile over to all the photos. But before I do that, what I do is actually choose right here are the different white balance tones.

Now as you saw on final cut pro, you choose white. You saw we chose the white box down here, but for Lightroom you actually choose one of these boxes. These are cooler to warmer tones for white balance so I can actually make it cooler or warmer based on what I want it to look like. I’m going to undo those cause I actually have it set. Where I can then do is I can then sync it or copy this, the color treatment over to all the photos and as an example, here is the subject. She got a little bit close to the camera. That’s what happens during kicks my sessions. This is straight out of camera. This is a no corrections to it and then here it is with the new white balance. All I did was sync that color like color profile across to all of the photos in that session and you can see how beautiful that looks compared to the original.

Now there are many color checker varieties out there. The one that I have, I have the color checker classic, which I have not used in so long because, uh, when the color checker passport came out, I just found that it was just absolutely perfect, especially with the software side of things. Then you have the color checker passport photo, that’s what I actually have. And um, there is now a second version of that. And then there is the color checker passport video, which as you can see is a homeless $50. It’s $50 more. Uh, now the color checker passport to the second version of color checker passport photo has an improved white balance tool, sort of where, um, this like copyright material is, and, uh, the data when you first started using us, you know what the colors have changed and stuff like that. That has been replaced with another white balance tool. And then there’s the color checker passport video. Again, I have not used this one, but if x, y wants to send it to me, I’d be happy to give it a try. So there you go. That’s the color checker passport. I use this in my workflow. Uh, pretty much on a daily basis for my photography. That’s it. That’s, that’s in a nutshell. That’s the color checker passport.

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Denoise Ai - Remove Photo Noise Without Effort - YouTube

Topaz Labs has been knocking it out of the park with their latest AI based photo editing apps. The latest, DeNoise AI, removes noise in photographs using artificial intelligence. The app isn’t perfect and takes quite some time for each photo. But it does a nice job considering.

Transcription was done by Temi.com which means it’s an AI generated transcript. The transcript may contain spelling, grammar, and other errors, and is not a substitute for watching the video.

Reducing noise and photographs can be a pain in the butt. I can’t deny that. There’s software like Photoshop and light room that can remove noise. There’s software like on one foot or Raul that can remove noise and luminosity that can remove noise and so on and so on. There’s endless software that can remove noise, but I’m doing a series and an artificial intelligence in photography, so, so the software I want to show you is a new one from Topaz labs called de Noise Ai. It uses artificial intelligence to remove noise in photographs. Hey, this is Scott Wyden Kivowitz, a storyteller with a camera talking about all the things photographers like you and I are thinking about in this video we’re talking about removing and reducing noise in your photographs, but before we dive in, click that subscribe button below now because I publish new videos every Monday and Thursday whenever possible.

You don’t want to miss it and karate kick the notification bell quick. Thank you to Mack worldwide warranty for partnering with me on my videos. I get a macro do I warranty on all of my equipment from my computer to my lenses, to my cameras, everything all covered by Mack worldwide warranties. And that includes accidental damage. So let’s dive in to de Noise. Ai from Topaz labs were and go right to the computer and you’re going gonna see what I’m talking about. So this is Topaz de noise AI and you can see I can drag and drop a photo or I can select a photo. I’m going to just drag a photo right into here. The photo that I brought up is one that I underexposed and so it was very dark and this was an interior of a distressed house. And the photo I brightened it and then brought up the shadows to bring out more of the noise that would have been in the shadows.

So you can see if I was to show you the original, this is actually what it looks like. We can actually zoom out as well. Okay, so here is the full photo. Uh, almost a full photo. You can see that you don’t see all the edges, but this is basically the full photo and you can see that there’s a lot of noise in the shadows because I underexpose the image and then brightened it in post for this purpose. Now if I was to take away the original, you can see that it actually did remove the noise here. If I was to do a split, you can see is actually removing the noise. It did soften it a bunch and made it look a little fake. But you can actually enhance that. You can enhance that, the sharpness and every time you make an adjustment, the Ai is going to try and adjust that photo.

So you’re going to see the reprocessing every single time. So it can take a good amount of time to get this done. This software isn’t the fastest, uh, compared to other AI software that Topaz has done in the past. This one is probably the slowest of them all for good reason. It has a lot of things that it needs to do to correct. And you can see it did actually sharpen that a little bit. So now it looks a little bit better and I would probably keep that going on the turn off the automatically update preview and just sharpen a little bit more. And now I can manually update the preview on I’m ready. Um, we can even restore some detail and then let’s update the preview. Now this is going to take it again, it’s gonna take another minute or so to, for it to examine the photo and you know, add in that the changes I made in the settings.

But uh, once it’s done you, we should see even more sharpness in those shadow areas. Uh, but what you’re seeing is again, artificial intelligence doing this for us. We don’t have to figure it out so much. We’re letting the software do that thinking for us. So that’s kind of where artificial intelligence I think can be good and bad. It’s done. Let’s have a look. I think it did a pretty good job. If you look at this now the sharpness is actually pretty good, doesn’t like as fake. It still looks a little fake cause it’s still soft. But you could see it did remove all that. Now, what I would probably do at this point, because I don’t want, if you look at, if I take away that you can see that it’s also soft here, but if I was to do a split, you can see there’s actually more detail in the brick when it’s before.

And same thing for these, these pillars here, these beams here, there’s a more detail even over here, the wood, so I would probably save this and then bring it back into something like Photoshop or wherever and mask away the areas where I don’t want the noise to actually do anything, but there you go. That is Topaz labs de noise in a nutshell. You drag an image, it automatically detects what it needs to do, and then you can further adjust it as you want to pass the noise. Ai, check it out. You might like it. Thanks for watching. See in the next video.

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Accent Ai Filter | A Smart Tool in Skylum's Luminar - YouTube

Skylum, formally MacPhun, is driven by the team who originally developed Nik Software before Google acquired it years ago. The developers are some of the tops in the photo industry and they’ve been digging deep into artificial intelligence. A while back they released a tool called the Accent AI Filter and more recently released version 2.0 of the tool. In this video, I explore the slider that recognizes objects.

Transcription was done by Temi.com which means it’s an AI generated transcript. The transcript may contain spelling, grammar, and other errors, and is not a substitute for watching the video.

Artificial intelligence is beginning to grow on me, and if you have been following my youtube videos on artificial intelligence in photography, then maybe it’s growing on you as well. Today I want to share with you an update that Skyler made to luminaire and in particular is their accent AI version to hey, this is Scott Wyden Kivowitz, a storyteller with the camera talking about all the things photographers like you and I are thinking about. In this video, we’re going to be talking about Skyler rooms Luminor version three and their accent AI filter. The second version of now before we dive in, please click that subscribe button below because I publish new videos every Monday and Thursday whenever possible and you don’t want to miss it and karate kick the notification bell and a quick thank you to Mack worldwide warranty for partner with me on all of my videos, I get a makeover warranty on everything from the camera I’m recording on the computer I’m screencasting on and well it even covers accidental damage so can’t go wrong.

Check out Mack worldwide warranty available at camera stores all around the world. I’ve been working with Skylum software since they were called Macphun. And really I’ve been working with the team at sky them since they were at nic software before Google will acquire nick. So I’m a big fan of what skyline is doing now. I may not use their software on a daily basis, but I love that they innovate in so many different ways. And today I want to show you their accent. Ai Filter. Basically their accents, AI filter enhances details in very in many things including people and in buildings and in skies and things like that, all with one slider. And they recently updated luminar there. Their core software, they recently updated luminar, and the accent AI filter has been updated to version two. So let’s dive into the computer so you can have a look at what it does.

So here we are with a photo. Uh, this is a photo that I made for a client. I have a client who, uh, buys distressed properties and they fix it up and rent the properties, or they flip the properties. And um, so I do a lot of photographs for them. Of the exteriors, interiors for insurance purposes, for their marketing purposes and things like that. I also create content for them. So I’ve got a whole archive of photos of random houses that uh, you know, just all over the, all over New Jersey. So this photo is one of their properties. And you can see right here, I’m in the edit module, and I’m going to look at this accent AI filter. Let me bring it up to the top to, so you can see it better over here, the accent, AI filter and all I’m going to do, and you can see, by the way, there’s also the AI sky enhancer.

And I want to show you something interesting about this. But, uh, the accident I filter is going to increase the texture and the depth and the contrast and everything and the colors across the entire scene of every part of it and make it just look beautiful. Okay? So I’m going to do is boost it. Ready? I’m going to grab the slider and just bring it up and just pay attention to, for example, the siding of the house. Pay attention to, uh, the rust on the fence and pay attention to the sky over here versus over here. Okay, let’s bring up the slider

and you can see everything. It’s just getting punchier and punchier. Let me bring up this before, after. Look at the difference before and after. Look at the sky alone, right? Let’s sky looks really great. Look at the the, the fence against the siding. Look the details and the siding, everything would just enhance the, basically I’m going to say it’s kind of like doing auto without doing auto. Um, now some of this might be a little bit too saturated, right? The blues a little bit too saturated. So I probably bring it back a little bit. I probably wouldn’t have it as much as it is. So maybe what I would do is I would actually, uh, mask away. So I’m going to brush and I’m going to actually erase from the sky and not have it do the sky at all.

Because what I might want to do instead of that is I might want to enhance this guy with the AI sky enhancer instead and control that separate cause. Look how much better that looks. So now if I was to show you before and after, before and after, that looks like a really nice photo and all I did, the only thing I did was two sliders, both of which use this Skylum artificial intelligence. But in particular the one that did the most of the work is the accent AI filter that didn’t majority of the photo again before, after that did majority of the photo. And then I just added the AI sky in little because I didn’t like the saturation that the accident AI filter did to the sky. But again, I could always add another accident day. I filter and use that on the sky and just math go away.

Everything else, anything is possible. Um, you know, you can do whatever you want. Uh, you can even mask using a radio mask, a gradient mask and luminosity is, you don’t have to just brush it manually if you don’t want to. Now let’s go into a different photo. We’ll go to an interior photo so you can see what that will do with the accent day. I filter. So a lot of the properties I photograph, uh, are very distressed and some of them are gutted. Some of them have leaking roofs, some of them have fire damage and things like that. So this photo in particular, there’s, there’s basically no windows. There’s windows, but um, you know, it’s just blind that’s all out there. You can see that there’s a lot of natural light. You can see this, a lot of texture, but it’s also very dark. So I’m curious to see what happens when I use this accidentally. I filter version two in this photo. Here we go. We’re going to boost it.

And you can see it’s actually brightening the dark parts of the photo, but not making it too, too bad. You can see this, it’s getting a little bit of noise over here in this area, but it’s still, it’s not so bad. You can even see the, the light coming through the roof. It didn’t help with the windows too much as far as, um, you know, as far as, uh, you know, bring him back some of that because it’s, it’s not going to. Um, and there’s probably no detail on that because I was exposing for the interior now not worrying about the exterior. I didn’t need to do an Hdr in here even though I could have a, so it’s perfectly fine. But look what it did, you know, again, here’s before, after liquid did, uh, to this photo with very little effort and it actually looks pretty good, so I’m not gonna do anything else to this.

Uh, let’s move on to another one. Okay. So this one is also going to be one that should be really interesting or probably Brighton, ups on these areas. It’s not gonna do anything about the windows. I just love this perspective. I did this photo more for me than I did for the client, but we’re going to boost this one and see, boom, right there. Look at that. Look how beautiful that looks compared to the original sort of flat and dark versus, you know, Punchy. Uh, it’s not overdone. It to me, this looks like a great, you know, sort of Urbex type photo. So, um, yeah, you know, it is great. Let’s, let’s move on to another exterior photo. All right, so here we are with another exterior photo. This is another house that they flipped and I’m going to just boost the, uh, accident AI and see what it does for the photo.

Now you don’t always have to go all the way up, but sometimes going all the way up is good, but then it’s not so good in this in certain places. So the sky, it looks really, mm, little bit weird, but it looks great in the grass. Look at the grass before and after with the accent day I filter it really enhanced the, the, the foliage. It really enhanced the brick and the house itself, but not the sky. So again, maybe the accent that I filter is not the best for the sky. Maybe it’s okay. Uh, it really depends on, on your purpose, but okay. So what I’m going to do again is just take it away from the sky. We’re just going to quickly brush that away so it’s not impacting the sky at all. Let’s do the math cause make sure it’s okay. Yeah.

Yeah.

And then once that’s done, we are going to bring in the sky enhancer. Now here’s something really interesting that the artificial intelligence, the Ai Sky in hinter actually recognized that there’s not enough sky or it doesn’t need to enhance it. So it actually won’t let me do anything using the AI sky enhancer. So that’s actually how smart that the AI in Illumina or is that it has, if it can’t detect what the object is, what the tool is to be used for, it’s not going to let you use the tool. So that is pretty, pretty cool. Uh, so I don’t have to do anything to this guy. If you were to just use the, um, the, uh, accident AI filter and look at before and after it with the, with what it did to the sky removed, I think that looks like a pretty good photo as we move on to the inside of the house. Uh, this, uh, was a very distressed property and this is just an old TV in the corner of a room, very dusty. And I’m curious to see what it’s going to do when, why, when I enhance the, uh, the photo using the AI filter

so you can see it actually did brighten the photo, which I don’t want. I actually like it darker, so I’m going to bring it back down. But what it did was it brought a lot of the details out of the TV, which I thought was pretty good. Uh, I might even bring down the highlights and shadows a little bit to make it really, really moody. What else is cool about this is I could actually bring up the presets and we could, uh, we could make it look

very, very unique. Uh, we can make a classic look, a vintage that looks with the old, here’s an old film toning. I really like how that looks. And you can see it’s even using the accent AI filter, which we could increase, decrease, um, as we want. So there we go. So look at that. So here’s a, that’s true before and after again with this one look, that’s a little bit of Color Tony, and there’s a lot being used here and uh, the accent AI filter to bring out the details in that TV. So I am very impressed with the accent AI filter version two. I think it’s doing a really good job at, at uh, it bringing out details. I think that it’s not so good on the skies. I think it overdoes the saturation on skies, but there is the AI Skype filter that’s inside of are as well.

That again, will not work if it doesn’t think it needs it. So, um, you have to be the judge. Maybe what you do is you add two accidents, AI filters and you just mask it in like what I did for one of the photos, you mask it in for just the sky and then you can adjust the saturation of just that part using masking and things like that. There’s a lot you can do because Luminari is very flexible. So I’m like I said, I’m impressed. I liked the direction skyline is going with her. Ai, maybe they’ll take some, some cues from other AI going on in the photo industry and incorporate it as well. So great job, Skylum, and uh, thanks for watching and I’ll see you in the next video.

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Growing Your Photography Business | Get Beyond Bad Habits - YouTube

In order to grow your photography business, you need to get beyond bad habits. In this video, I share six bad habits I see photographers making in their businesses. Once you understand these bad habits, you can knock them down and move past them with education and tools.

Transcription was done by Temi.com which means it’s an AI generated transcript. The transcript may contain spelling, grammar, and other errors, and is not a substitute for watching the video.

Let’s talk about some bad habits that photographers have when it comes to their photography businesses. Hey, this is Scott Wyden Kivowitz, a storyteller with a camera and talking about all the things photographers like you and I are thinking about in this video, we’re going to be talking about bad habits that so many photographers have when it comes to their businesses, but before we get started, click that subscribe button below right now because I published new videos every Monday and Thursday whenever possible. You don’t want to miss it and karate kick, they notification bell so you’re notified when the next video goes live. What happens if you’re out in the field and you’re making photos and all of a sudden you just, that’s why I get a macro to a warranty on all of my equipment. Thank you Mack worldwide warranty for partnering with me on this video.

If you need a warranty for your photography equipment, check out Mack worldwide warranty, which actually covers accidental damage like that one bad habit, we all have them. Bad habits like, like not formatting your memory card before you start a new session or not backing up your memory cards after a session or not having proper workflows for what you do with your memory cards after you are done with a session or not having good workflows for the editing process. There are so many bad habits that photographers have, including sticking your elbow up, which we all do. Check out this video for the proper way to hold a camera. So many bad habits. We all have them. We all do them. Sometimes we learn from them. Sometimes we don’t. Hopefully if you’ve ever had a backup disaster you’ve learned from that mistake, but let’s talk about some bad habits in your photography business.

The first is procrastination. This is something that so many people suffer with. This is basically, instead of you editing your client’s work and delivering it, you’re doing something else like watching television or listening to a podcast or doing anything but getting the work done. If you weren’t productivity techniques, just Google it and you’ll find a whole bunch of different techniques to improve your productivity. But one thing that I can tell you is to close the door, put on headphones and get to work. Just ignore everything else. Even if you have to tell your family will leave me alone. I really want to get one of those on-air lights for outside my office. Wouldn’t that be really cool? Every time I hit record, all of a sudden the on-air light goes on. That would, that would be cool. Number two is the lack of schedule.

You know, you’ve got to do all these things and you’ve got to plan your session. You’ve got to do your session, you have to edit your session, you have to deliver the session and so on and so on and so on. If you don’t have a good schedule, then you are going to be just a cluster of a mess and I recommend getting a good schedule. Using something like Google calendar is a very basic and free way to do it. If you use square to accept payments from clients, you can now use square appointments for free and connected to Google calendar and accept appointments for freeing and have all of the tied in with invoicing and everything. It’s kind of streamlined so well if you want, if you need a square account, just click the link in the description below and you can use my referral link.

I do get a little tiny cut of that if you sign up, but it’s free for you to sign up and try it. So check out square. The next is the lack of direction for your business. If you got started doing portrait work and now you’re doing still life products and then you want to go and do something like, I don’t know, cars or airplanes or whatever it is, you don’t have a direction for your business. So you need to come up with what you actually want to do with your business, with your photography business, what you actually want to photograph for a living, and that will help everything else of all these other bad habits will help. Coming up with a direction will help you come up with a game plan for everything and by the way, coming up with a direction for your business and will help streamline your photography website which can help you increase your leads and then in turn your customers.

Now another bad habit which if you’re just starting out, I totally understand, is bad equipment. You need quality equipment to make quality photos. Yes, you can get by with a very low-end consumer base, digital SLR and a Kit Lens and you could do that for some time I been there, we’ve all been there. It’s okay, but when your business is growing, you need to kick it up a level. You need to have better quality equipment. The camera you’re using is not as important as the lens or using the glass is the most important part. If you’re going to invest in something as your business grows, invest in better glass. For example, if you’re going to use a 16 to 35 Lens, that’s a f/3.5 to 5.6 lens that comes with your camera and you can upgrade to something like an f four straight lens or an f 2.8 straight lens or even a private land that’s a 1.4 you are going to see drastic improvements in the sharpness of your, of your photographs, both in the center of your subject and the edges.

You’re also gonna see better bokeh, better depth of field and so on, better color rendering, all because of better class number five is not having a website in this day and age, every single business on this planet should have a website. If you don’t have a website for your photography business, you’re missing out. Do not use Facebook as your website. Do not use Instagram as your website. There is something called content ownership. If you click on description, the link below, there’s an article that I put together, content ownership, definitely check that out. Make sure you have a website. If you want to listen to a podcast all about photography websites, check out the WordPress photography podcast with me as your host. Now I’ve mentioned about procrastination and then being productive and when it comes to putting away the procrastination and becoming productive, this is the next tip.

Take breaks. You need breaks. I have workflows for everything. Everything in my life I have workflows for and when it comes to making the videos, I tend to batch produce my videos. I batch record them at batch, edit them my batch, upload them in batch, schedule them and so on. In fact, the last three videos that you have watched have all been recorded on the same day. You might notice that the shirt is the same. Two of them were done at my desk and this one is done in my studio set. And while I’m very productive, I need to take breaks. So when I’m done with this, I’m going to take a break. So there are six, six bad habits that photographers make in their photography businesses. There are much more. I would love to hear from you. What mistake are you see photographers making their photography businesses. So leave a comment and share with me those mistakes that you see. Thanks for watching. Thanks for subscribing. See you in the next video.

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Google Cloud Vision | Behind The Scenes of Artificial Intelligence - YouTube

Google Cloud Vision drives much of the AI photo software we see available today. In this video, I walk through what Google Cloud Vision is doing behind the scenes and how it can impact photography software you can buy and use.

Transcription was done by Temi.com which means it’s an AI generated transcript. The transcript may contain spelling, grammar, and other errors, and is not a substitute for watching the video.

Artificial intelligence, machine learning. These things are getting smarter and smarter, and it’s thanks to companies like Google and IBM and all these companies that these large companies that are creating these platforms to really experiment with Ai. We’re seeing so many different types of AI being used for photographers on a regular basis. Thanks to companies like sky loom and companies like Topaz who are pushing the limits of what’s possible right now in photography with Ai. But today I want to take a step back and show you some of the behind the scenes of what AI is doing, and I want to show you from Google cloud’s vision platform, what it can do in recognizing what’s inside of an image. Now, if you watched my video on colorize that Sg, you will recognize these two photos that I have used in that video to colorize old black and white photos and I’m going to use that in this video as well.

Those two photos to show you what Google clouds can do behind the scenes, but before we get started, please click the subscribe button below. Right now. I publish new videos every Monday and Thursday whenever possible. You don’t want to miss it and karate kick the notification bell so that you get notified when the next video goes live. And a quick thank you to Matt old I warranty. I partner with them for these videos and I get a Mac ward, a warranty on every product I own, including the computer and the camera that I’m recording on right now. Check out map auto warranty if you need coverage for your equipment, including accidental damage. So this is the Google Cloud Vision API action. This is the sort of the behind the scene. This is what happens when it’s companies like skyline utilize Google cloud. Look, I don’t, I don’t know if skyline would actually using Google cloud vision or if they’re using their own AI.

I don’t know. Uh, but this is what it looks like behind the scenes from a coding standpoint. What the software will be looking at. I’m going to just drag in an image. This is an image of my grandparent’s house from the forties or fifties I don’t know when it actually is. And you can see that it’s actually recognizing some of the objects. It’s recognizing a car. It’s recognizing another car and it’s recognizing a house. It’s 94% positive that this one has a car and it’s 69% positive that this is a car and a 61% positive that this is a house. I don’t know why it’s not 100% positive, but hey, you know, it did okay. It still recognizes that that’s what it is. We can move on to labels and you can see that it’s actually labeling some objects as well. These are basically label, these are like keyword that could be used.

Um, and you can see again, all these are over 54% positive. I’m led, it’s a sedan. It’s a vintage car, it’s a suburb. Um, classic car, residential area, neighborhood. It’s a snapshot. It’s giving all these keywords that could be used. Um, and think about this. This is all stuff that Google is now using in their search as well, which means that these keywords could in theory bring up this photo as well in a Google image search depending on what you searched for. Right? All right. Now if you go to web, again, here are some searches that you can do based on those keywords. We go to properties and you can see it’s giving me the color tones, the actual hex values, the RGB values and how often it’s being used. And of course I hit, this was a color photo. It would be showing it to you with the colors instead of just the grayscale colors.

So you can actually get you actually she pick out the color tone being used in a photo just from dragging an image right in here, which is a pretty smart thing. It also gives you some other aspect ratios and things that you know, uh, may not be that useful in this case. And then safe search, it tells you how safe this would be for, you know, is it adult photo, is that medical stuff like that. Is there violence? So it tells you that as well, which also can tell you how a photo might show up in search results. So if you are in a good word photographer, uh, and somebody has a McCount that has safe search turned on, maybe you may not come up. And the way to find out, it’s a look over here at the safe search values for the, for that photo.

And if you really want to, you can actually download a Jason file with all of this information in it. That’s not probably not very useful for most people, but you never know for developers it might be useful as a demo data. All right, so I’m going to reset this and we’re going to do one more photo. I’m going to do the photo of from Dachau of my wife’s grandparents grandfather being liberated from the concentration camp. And you’re going to see here that now it has a new, a new thing called faces because this is, there’s people in it. It’s actually going to show me that in a, show me how many people are happy, how many people are wearing headwear and, and all these different things. And you can see that there’s a lot of people who are happy because they were liberated. It was a bunch of people wearing headwear because they probably, they probably made it themselves.

Um, there’s, there’s a lot, there’s some people that are angry is some sorrow. There’s some surprise. Um, it’s there. It’s not a lot, but it’s there. Uh, there’s a lot more joy than there is anything else and that makes sense, doesn’t it? They were just liberated from a concentration camp. Um, you can see the next phase. It’s good basic going one by one and it’s showing you, you know, again, headwear um, joy headwear and it’s going face by face of all faces it can detect. Right? And that’s really, really cool thing. It’s telling you what the facial expressions are. We go to object and you’re going to see men, men over men of romance. So many men are being detected. No women have been detected at this one. And of course a flag has been detected. This is a homemade flag with maid, uh, to welcome to the American troops.

We go to label. And again, you’re seeing all these things that are, that are, uh, that are recognized troops, rebellion, military officer, infantry. Now these are not military. These are, you know, people who were kept as basically a slaves in the concentration camp. Um, but uh, you know, it’s, it’s not perfectly accurate but it’s got a good idea of what it actually is. We go to web and these are all different things that might be relevant search terms. And you can actually click in and click on these and bring up the actual search and you can see, uh, where this introduction shows up. So this, this image is in the Holocaust museum. So it shows up a lot of places, shows, evening shows, it even shows up on Getty images and, and so on. There’s a lot of places where this can be found. And then again, it’s going to show you a dominant colors.

If I was too, and I will actually drop in the color version of this so you can see the colors that it will pick a, but as you saw earlier with the other photo, it’s showing me the grayscale and then save search. It’s showing me, uh, that’s a little bit of violence right, is it does recognize it as they holocausts photo. So it is going to show a little bit of violence here, but otherwise safe search is okay. Now let’s reset this. I’m going to drop in the color just so you can see that it’s also picking up the colors, uh, in the um, with the hex values. I’m going to go to a, I think it was one was we have a properties. So here it’s picking up the colors. You can see the colors that is choosing, giving me the hex values and the RGB values and how much it’s much that is actually you.

So like this part of this guy is 53%. This part of the sky is 21. This part of the sky is 9% skin tones. You’re talking, you know, 2% and so on until all this is right there, which is really cool. So that is Google cloud vision. That is the behind the scenes of what Google is doing for anybody, for any developers, any software using Google cloud vision in their tools. This is sort of what data is given to that software. And I think it’s so cool to see how, how accurate and how much value can be provided from this artificial intelligence to software. Because that means that for example, Skylar rooms, a accent AI can actually pull in the sky because he literally recognizes the sky. It legally recognizes the sky and the sky is tones and the colors and things like that. It can literally pull in details from clothing or from the dense in cars because it recognizes those objects as well. So I hope you enjoy this. Uh, this, this other video on artificial intelligence in photography. I’ve got an entire series of, of, of videos that are about artificial intelligence in photography and photography software and whatnot. So it’d be sure to check that out. I really hope that you enjoy this video. And I’ll see you in the next one.

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Coloring A Black And White Photo in Seconds | Colorize with AI - YouTube

Coloring a black and white photo has never been easier. In fact, now you can colorize a black and white photo in seconds thanks to artificial intelligence. Colourise SG is a simple web app out of Singapore that enables you to upload one image at a time, and it will colorize it for you.

You can see the original photo here.

Transcription was done by Temi.com which means it’s an AI generated transcript. The transcript may contain spelling, grammar, and other errors, and is not a substitute for watching the video.

Don’t you wish it was sometimes easy to convert a black and white photo to color or a lot of black and white photos to color. Hey, this is Scott Wyden Kivowitz, a storyteller with a camera talking about all the things photographers like you and I are thinking about in this video, I want to show you a really cool website, a really cool tool that uses artificial intelligence to colorize your photographs. There are developers out of Singapore that have created a really cool tool which will convert your black and white photos. Two color photographs do. This tool does not get color a hundred percent accurate 100% of the time because it’s artificial intelligence. It has to rely on objects that it sees in the photographs to colorize the rest of the photos and it doesn’t colorize photos in bulk. You have to do it one by one. Even if you do a hundred photos one by one, it’s still saving you hours of colorizing time because you’re not doing it manually.

You’re letting the software do it for you. I published new videos every Monday and Thursday whenever possible. So click that subscribe button below. Now if you want to see more videos like this one and karate kick that notification bell so you are notified when an individual goes live. And also quick thank you to Mack or buy warranty for partnering with me on this video because without them I am not making videos. So there you go. Check out macro a warranty. So let’s head over to the computer so you can see exactly what I’m talking about. This is colourise.Sg and this website as you can see, shows you, you know, photo before and after and you can try this for yourself. And again, it’s one by one and I’m going to show you three photos and, and how and how cool is really can be.

So first things first you have to click this capture thing. In order to do this, I’m going to start with a photo of my biological father when he was six years old, literally on a sixth birthday. And I’m going to just drop this in here and it’s going to show me a before and after of this photograph. I’ll start with the before and you can see it’s just a dark black and white photo. You can tell it’s on his birthday, six years old, and you just have to grab that slider wreck where here it is. And then you can see as I colorize it now it has color and you can see he’s wearing a blue shirt or a shirt with a blue blue tint. It could be completely blue. Again, the software is not perfect, but it does a pretty good job at figuring out skin tone, hair color, lip color.

It can recognizes what color those should be. So it figures out the photo based on that. And you can see that even the balloons have color and the tablecloths. So, uh, there’s one example right there. You know, it’s doing really good job of colorizing a photo of my biological father on his sixth birthday. The next photo I’m going to show you is one of my grandparent’s house and it is a photo probably from a uh, forties 50s. This is another one that is not perfect, but it does a pretty good job to give you an idea of what the colors were. This is my grandparents’ house and you can see there’s two classic cars in here. And that’s the reason why I wanted to do this cause I was curious what color these cars were. Now, uh, if there was some detail in the sky, which there’s not because this is a very old photo that was already fading, plus I had to scan it so it, there’s no dynamic range in this photo.

But if there was, it would be able to pull the sky color from here. Plus based on the tree, it should be able to figure out that some of the colors of the tree and whatnot. So let’s go ahead and grab this slider and start colorizing. And you can see it did start figuring out the grass. We can see there’s some grays and blues. You can see some color in the house, some green and the grass over there. But as you can see, the sky is not changing. So this is where colorize is not perfect, right? It’s, it’s given me an idea of what the colors were, but it’s not filling in all the details cause there’s just, there was no details in the print in the first place. And there we go. Here is the colored version. Now again, think about this. If you were to do this, manually would take you hours to colorize a photo, whereas in seconds it did it for us.

The next photo I’m going to show you should have an impact on you because of what the photo is. The photo is actually one that is in the Holocaust museum. It is one that my wife’s grandfather is in. Okay. It’s when, uh, they were actually liberated from a concentration camp. This is the photo, this is her grandfather over here in that, in a long, a long trench coat. And the caption is inmates waving a homemade homemade American flag, uh, to greet the u s seventh army troops upon their arrival. At the AALAC concentration camp. This photo, uh, like I said, it’s in Holocaust museum and it is big. It is a, uh, it’s an impactful photo because it’s literally them waving a whole main American flag. Um, they’re happy. There’s, there’s sadness, there’s Yo, when you see this in color, okay, your is going to be even more impactful than the black and white photo.

Uh, now I’m going to upload this. Um, if you’re sensitive to this type of thing, just skip ahead. Uh, but if you’re okay seeing this, then, you know. Thanks rich. Thanks for sticking around. I just wanted to share how good call wise could be when there’s a lot of detail in the photo in an objects that are really recognizable. Now I think that if this American flag was not homemade, that if it was, uh, a perfect American flag and you could see it perfectly in the photo, I think that the color, would it be even better. But with that said, it’s pretty darn good when you see this result, even with a homemade American flag. So here we go. It’s worth noting that colorize works best with large photos. If you do one that’s tiny, it’s not going to do as well as it would with a large photo.

So actually got this from the Holocaust Museum, uh, their, their website because that’s where it’s, it’s even larger than the skin that we actually had in the family. Okay, so here’s the black and white photo. Again, this is my wife’s grandfather and there’s a bunch, a lot of other people you can see there’s, there’s happy faces, there’s, you know, sort of monotone faces. There’s the American, the whole American flag and you know, a lot of great things. Okay, now check out the color version. You can now see colors of the clothing, the skin tones, you can see how dirty they actually are. And you can see the American flag in color. You can see the sky, how blue was that day. So this is colorize dot. S G again, it’s a developers out of Singapore that used apparently Singapore military software code. And it adopted into this sort of prototype of what could be.

Now hopefully companies like Topaz and Skyler boom. And Antoine and all of these companies that are experimenting with artificial intelligence in photography software can use the technology like this and included in their software in bulk. Because now, if that’s possible, you can now colorize hundreds of thousands of black and white photographs in seconds each, not hundreds in a second, but like, you know, maybe a hundred seconds, something like that. So next time that you have a black and white photo that you want to colorize consider checking out colorize.sg because I am freaking impressed with how well it can colorize the photos, even if it’s one by one. Thanks for watching. Thanks for subscribing, and I’ll see you in the next video.

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Landscape Photography Tips - Light and Composition - YouTube

Finding the right lighting and composition for landscapes can be a challenge sometimes, for many photographers. In this short video, I will address that struggle faced by photographers. Landscape photography light is often out of our hands due to the nature of how light works out in a landscape environment. But there is one part of the equation you do control… the time you capture the photograph. For composition, many photographers often use wider lenses, but changing the lens you use can have a great impact on the overall composition in many ways.

Transcription was done by Temi.com which means it’s an AI generated transcript. The transcript may contain spelling, grammar, and other errors, and is not a substitute for watching the video.

In one of my Facebook groups, I asked what your biggest photography struggle is. What do you struggle with most when it comes to picking up that camera and making photographs? One of the answers I got was about landscape photography and light and composition. Let’s dive into that. Hey, this is Scott Wyden Kivowitz, with a storyteller with a camera talking about all the things photographers like you and I are thinking about in this video, I want to answer a question that I got about a challenge faced in photography. If you do landscape photography, then you know one of the most challenging things is composition and lighting, one of which you have very little control over. It’s out of your hands, kind of what you do have a lot of control over is the composition and I want to talk about both of those things right now before we dive in, click that subscribe button below.

Now I publish new videos every Monday and Thursday whenever possible. You don’t want to miss it and don’t forget to karate kick the notification and a quick thank you to Mack worldwide warranty for partnering with me on this video. If you need a warranty for your camera computer, whatever it is, check out the Mack Worldwide warranty, specifically their diamond warranty, which covers accidental damage. Now, one of the challenges faced by photographers these days is something that has always been a challenge for photographers and it’s not something I can just give you a straight, clear, definitive answer for, but hopefully I can guide you in the right direction. Now when it comes to lighting for landscape photography, you have to rely on whatever light is available. Yeah, you could like paint and then have a little bit more control, but really you’re relying on available light. My recommendation for capturing better landscape photographs is to photograph these landscapes at either sunrise or sunset.

In fact, a little bit before sunrise and a little bit before sunset because that way you’re catching that beautiful golden light, the blue light, whatever you want to call it, that gorgeous light that comes when the sun is in the best spot. Now when it comes to sky’s and sunsets, depending on where you are in the world and depending on what side you’re, what if you’re facing the sun or if you’re not facing the sun, the sunset could be better, could be worse. It really depends and then it also depends on the clouds in the sky and and what’s going on in space and things like that. There’s a lot of things that play a role in how your sunset will look, but typically if you capture sunrise or sunset, you’re going to have better light guaranteed to figure out the best place to, to capture your photograph and the best time to capture a photograph.

Checkout photopills. I’ve also got videos on photopills, which you can find by clicking that card right above. Now talking about composition, a lot of landscape photographers tend to go wide and that is a very common thing. In fact, it’s kind of pushed upon us by the camera manufacturers by supply them supplying these kit lenses that are, you know, 24 to 70 or 16 to 35 or whatever lens you’re, you wind up having. It’s usually this telephoto that starts widened, goes a little zoomed. What you might want to consider is actually using a zoom lens, a long telephoto Lens or a long fixed lens, something like a 200 millimeter, a 300 millimeter, a 400 millimeter, and you might want to consider going in closer to the landscape instead of going wider for two reasons. One, you’re changing the complete look of the photo you’re make. Taking something that was this grand wide thing that everybody is doing and instead you’re going and clothes and capturing the fine details of the scene and to when you use a long lens like that, you get much more compression, which completely enhances the depth of the photos, the depth of the scene.

That is what I would say to do to potentially improve your composition for landscape photography. Now again, I cannot say these two things where we’ll work for you 100% because every photographer is different. Every situation is different. Every location is different. All the equipment in the world are different. But if you consider the timing that you photograph and the focal length that you photograph, everything will change and potentially improve. So there you go. I hope you dig this. I hope you subscribe and I wait. Can’t wait to see you in the next video.

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Magmod Magring for Magbox - YouTube

The Magmod Magring for Magbox is an alternative method of mounting the Magbox to lights. In fact, unlike my previous video where I mounted the Magbox to my Godox strobes which are a Bowens mount, this Magring is meant for two small strobes. As you’ll see, I’m mounting two NIkon SB800 flashes into the Magring.

Transcription was done by Temi.com which means it’s an AI generated transcript. The transcript may contain spelling, grammar, and other errors, and is not a substitute for watching the video.

If you saw my video on the MagMod Magbox, then you saw how cool was that. The softbox can just magnet to the front of this mount. Today I want to show you how you can use little strokes like this with the same softbox. Now I’m not going to show you the softbox. You can watch that video. Just Click the card right there and you could be taking, you’ll be taken right to that video. You can see all that soft box. What I want to show you is how to use these two flashes with this part, this, this, this. Hey, this is Scott Wyden Kivowitz, a storyteller with a camera talking about all the things photographers like you and I are thinking about in this video. We’re going to be talking about this from magma od and a quick thank you to Mack worldwide warranty for partnering with me on these video because without the macworld or warranty, my equipment wouldn’t be covered.

Check out the diamond warranty from Mack worldwide warranty, which covers accidental damage, fire damage, water damage, and much more. So this is one of the adapters for the Magbox and I got it on the Mag shoe right here that you know you can put on a light stand. Basically your Magbox would magnet to the front of that. But what I want to show you is actually the backside of this and how cool it is of how these little flashes just go in here. So first you open the doors. That’s it. Now you have to have the, you have to have these Magadapters on your flash. This is for the normal, you know the normal Magmod is like the Dome and the grid and that kind of stuff, the snoot and so on. When you have this on here, this is awesome metal, so you can just take this, slap it in there.

You can see it’s actually holding. Didn’t even close the door yet. I’m going to put the other one on again. It’s there, it’s holding. I didn’t even close the door yet. Now if I close the door, it’s now secure. These are not going anywhere, and if you look at the front, I’ve got two strobes right there, ready to go. I can slap on the Magbox and and just have some fun. You can see as I did that, see how that’s given out a little bit, right? Maybe that’s a magnet that’s getting weak over time from a, a lot of use. This door, these doors are actually meant to secure. These flashes. Delay can’t pop out, they’re not going anywhere. They cannot pop out. And then when you want to take it out, do you want to do one flash instead of two? You just opened the door and take out the flesh. That’s it. See how easy that is? Let me just put it on. Close the door. Done. Now you can take your Magbox and slap it in front and beyond your way. Again, be sure to check out my video on the Magbox and my thoughts on it. And if, if you have any question, just common below.

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You might have noticed two companies in the photography industry doing things that are frustrating you. It’s possible one of these companies is even confusing you.

Today I want to share two mistakes that I know are frustrating me, and could likely be frustrating you.

My hope is that these companies notice some commentary here on Photofocus and respond to your frustrations.

Nikon

First up is Nikon, but before I dive in, know that I am a Nikon photographer. I have been forever and will continue as such. But when a company does something that I feel is wrong, even if I am a loyal user, I cannot stay silent.

If you were paying attention when Nikon first announcement the Z6 and Z7 cameras, then you might also know about the FTZ adapter. The FTZ costs nearly $250 when purchased on its own.

But until recently, when you purchased the FTZ along with a Z6 or Z7 kit, the adapter was only $100.

Maybe the FTZ wasn’t selling as well as Nikon hoped it would, or maybe they have a second version of the adapter coming out soon. But Nikon decided to make the FTZ adapter free for anyone who buys a Z6 or Z7 camera … in the United States only.

FTZ Lens Adapter is now free? Seriously, Nikon? - YouTube

Whatever is driving this decision from Nikon didn’t think through the ramifications they were going to have from making a $250 product free for new purchases.

Because people who purchased the FTZ adapter (like myself), are now out a lot of hard earned money.

I love Nikon. Heck, they’ve been extremely good to me as you will see here.

But this makes me mad, frustrated, and I want answers. I want to know how Nikon will make good on this change, and make their customers happy.

Adobe

Next up is Adobe. Here we are again, so many of us as Adobe users for many years. I’ve been using Photoshop and Lightroom for so long, I cannot even remember a day when I didn’t use it.

You might recall that when Lightroom first came out it was called Lightroom. Sometimes it was referenced as Adobe Photoshop Lightroom. I always thought that was odd.

But really it was just Lightroom.

Then one day, when Creative Cloud became a thing, it was decided that Lightroom was to be renamed. Because a lighter, simpler version of Lightroom was to be released.

Adobe Renames Lightroom Again - YouTube

Now, instead of calling the cloud-based version of Lightroom, Lightroom Elements — like Adobe does for the lighter, simpler version of many other products — they went with a more confusing naming structure.

Lightroom became Lightroom Classic CC (where CC stands for Creative Cloud). The new Lightroom (cloud version) became Lightroom CC.

This confused users and caused (and continues to cause) problems for developers. Now, when someone is looking to open Lightroom, they wind up opening Lightroom CC. Now, when people want to install a Lightroom (Classic CC) plugin, they get annoyed at developers that the plugin isn’t working with Lightroom (meaning Lightroom CC).

That frustration list can go on and on.

Here we are again, though, and Adobe has done a renaming to both Lightroom versions.

Lightroom Classic CC became Lightroom Classic. Lightroom CC became Lightroom.

As you will notice, they dropped the CC from each of the names. For those finally getting used to the change from Lightroom to Lightroom Classic CC, you have readjusting to do.

For those just now making the “upgrade” from Lightroom 4, 5 or 6 to the Creative Cloud versions, your Lightroom is no longer Lightroom. it’s now Lightroom Classic.

Sorry …

Frustrations and confusions

I know this might come off as a rant, and it kind of is.

My hope is that companies like Nikon and Adobe, and many others, stop making changes without doing further market research. Ask your users, your customers, your loyal fans. Find out if a change you’re going to make will have a positive impact on user experience, emotions and sales.

For example, if you have a pack of pre-release testers telling you to keep Lightroom the way it is, and make the new software Lightroom Elements, there is probably a good reason for that. Just saying :-)

I’m still going to be a loyal Nikon photographer, and I’m still going to be using Lightroom. But boy is it frustrating, and I feel so bad for all the developers and users who are confused by pointless name changes.

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Magmod Magbox Review and Setup - YouTube

The Magmod Magbox is one of the coolest designs for a softbox. I mean, it’s a softbox, so nothing new there. But the way it mounts, setups and breaks down, is so simple. The way a gel is used is so simple. The way you put on the diffusion screens are brilliant.

Transcription was done by Temi.com which means it’s an AI generated transcript. The transcript may contain spelling, grammar, and other errors, and is not a substitute for watching the video.

This is going to be fun because today I get to show you something that I am, I, I’ve been very excited about one of my favorite photography industry companies that has come to all the industry over the past few years. They released a product that I have been so excited about. I am a big fan of Mag Mod and well now we’ve got the MAG mod soapbox. This is not that product. This is the bag that the product is sitting in. I think we’re gonna have to go wide on this one. You could see it actually fits right in the frame. It is a, it’s not too big. It’s a very, it’s a small soft box. It’s a small soft box and um, but it’s really nice is this case is pretty good fabric. It is built very well. You can, it is padded on both sides. You can actually open it up from both sides.

Now I am going to open up from this side and just show you what’s going on here. First on this side, we’ve got a bunch of pockets inside here is actually the, uh, mag. I forgot what they called it. That’s what this is also in here, but on the other end, which I will have to get to from the other side is the diffusion screen, but it’s so far down there. I can’t get my hand all the way through, so I’ll have to do it from the other side. These pockets right here are actually made for your little flashes. They’re actually not deep. They stop right about there. They stopped about about here. They’re actually made to slip in your flashes because most of the time you’re magma is being used on your small little strobes. For example, Mag mod on an icon, SB 800 slipped right into there, so you can hold one, two, three, four, five flashes.

All right. In this case, along with your, um, you along with the softbox along with the stuff to go with the softbox end. What’s in here inside of here, I am actually storing these, these are gels that are actually to be used inside of the softbox and they’re nicely labeled. We’ve got your Magenta, [inaudible] purple, your green, kind of like hulk. You’re blue, you’re red, orange, yellow, and my daughter’s favorite teal. What she likes to call it meant blue. What’s really cool about these gels is now in deep, by the way, these are not color correcting jealousies or color effect gels. The nice thing about this is I can take these and put it, use a white backdrop and make the white backdrop, whatever color I want or I can add, you know, I can basically use a softbox and light something and change the color because of these.

On this side is the softbox. Now I’m going to pull it out and you can see right here is a soft box. We’ll get back to that in a second. Right here is a diffusion screen, so this is the soft box. This is a Octa, an octa box. It’s a 24 inch octobox and what you’ll notice is on the backside are a bunch of giant magnets. Now I opted to get the MAG box to fit my go. Docs Lights. It’s a Bowlin’s mount it. I’ll show you that in a second. But you can also opt to get this. So that actually holds your small strobes and they did it in a beautiful way. Here’s a clip from that. You just take these and you can stick them right into the back of the magazine. Check that out. Now Watch, I can secure these. So now that those flashes aren’t gonna go anywhere, so not only are the magnets holding them in place, but also these latch doors are basically holding them secure.

This is the inside of the Mag Bucks and all you have to do to open it up is push. Now it is set to go. I can take the diffusion screen and put it on top of the octobox and then go and just start shooting. Before that, I have one more thing to show you and then I’ll put it on a light stand. Remember this? Remember this gel? Well, this Gel would actually slip in like so right in front of the light, which means no light can get passed here. That is not already jelled. The gels, not out here, it’s not on the bulb itself. It fits perfectly in this little groove and that’s it. Now when it’s on a light and when you’ve got the diffusion screen in front, you might be wondering how do you get to the Gel? Well, that’s what that zippers for you basically unzip and then you stick your hand through and he just take off the jail and take it out.

Or if you want to put it back in, put your hand through and just snap right back in place. That simple. One thing that magma is very good at is making products simple. And when you’re all done, all you have to do is put your hand in there and pull the little tabs and then you can put her right back in the bag. It has a, one thing I noticed is that the, the softbox, it’ll get softer over time. It’s very rigid right now. It’s Kinda tough. So getting it in the bag, it’s kind of a hassle. But once you find the right place, it goes in perfectly. And again, once you went to get softer wants, this material softens up a bit. After use, it’ll fit much easier. Let’s put it on a light. And to do that, I’m going to need a light stand.

Good thing I got one right here. This is the [inaudible] that has a Bowen’s mount. If you would like to learn more about this light, just click on that card right above and you can see my video about it. So how do I get that Mag box onto this light? That’s where this comes in handy. This is the MAG box, mag speed ring, Mag box, speed ring adapter. Let’s open it up and put it on. This is nice metal. It’s not plastic. It is. This part is plastic. A little, you know, the little clip, but, but everything else is metal. Uh, pretty heavy duty. I’m impressed. All right, let’s flip it on.

The bone was mount is on my gold dock strobe. You can see that there’s this little lever here. This all this does is it is a little piece of plastic that pushes the softbox away from the mound, the speed ring so that you can remove it because you’ve got these heavy duty magnets on a thick piece of metal. He needs something to help separate and so you can get something to grab and pull it and whatnot. Listen to the sound. When I put the Mag mod on the speed ring, sound secure, doesn’t it? It’s not going anywhere. Now to open it up, like I said, you just push and now I have a softbox almost ready to go now because this is the mag mod around the ring are actually magnets. The magnets are, and there’s a little pieces of metal in the fabric here. Basically the magnets hold this in front.

The magnets are also really nice because it makes it so you don’t have to worry about holding one end while you put the other end on. It just stays okay. So as you can see it is on, I’ve got the modeling light on right now from the go dock flight. The modern light in here with an led, which is really nice. So let’s put a gel in two. You can see what happens when I slide a gel in here. Pick a color, any color. Let’s go with my daughter’s favorite mint blue, also known as teal. As you can see the light is now blue. All I do is flip in the colored Gel and it’s done. I don’t know if you’ll be able to tell a difference when I put this in front in the video, but I’m going to put it in front so you can have a look.

Okay.

Now we can put this right back in front. So I made a mistake. I’m, I was incorrect about the focus diffuser. I called a Bemer, right. Basically the focus diffuser is that clear, the trend that that sort of translucent filter that could go on over the MAG box. Um, so just it came with two that came with the regular white diffusion screen and then the focus diffuser, the focus diffuser is meant to be, or a placement of the light diffusion screen if you want. Basically what Mag mod is saying is when you use that and only that, you’re getting two more stops of light out of the, out of the MAG box, which makes the brightest softbox around because you can just add this and now your light is two stops brighter, which means you can lower your, the output of your life faster, recycle times, potentially lower your ISO if you need to and things like that.

So, so that’s what that’s for. I was incorrect. You don’t put the, you don’t have, you can’t put the white diffusion over on top of it if you want to, but you really don’t need to. You just put the focus, the fusion and that’s it. Or you put the white diffusion screen and that’s it. Let’s get back to this. That’s the MAG box. Now I can’t wait to put it to use. It’s just a softbox. So there’s no point in me showing you examples of the f the photos of with and without the softbox, but uh, cause it’s just a soft box, but it’s just the ease of the softbox is what I think is so amazing. The ease of use and the ease of use and the simplicity magnets. The fact that Mag mod, I mean their magnet and mod, the fact that Mag mod uses magnets for everything is brilliant because it really has simplify things.

In fact, look at what pro photo and go docs have done with their recent lights. So they’ve come out with that. Also have magnet based modifiers. They didn’t create that. They got that idea from magma. So magma has created a brand new market in the photo industry. I brand new niche in the photo industry that a lot of these lighting companies are going with, and it’s because of them. So more innovation. I can’t wait to see what else is coming from mag mod in the future. You gotta love it. Gotta love it when you put a light behind you and you have light in the front edge, the separation. I love it.

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