(posted on Tuesday May 21, 2013 at 01:14 AWST)
Read more of this story at Slashdot.
(posted on Tuesday May 21, 2013 at 00:30 AWST)
Read more of this story at Slashdot.
(posted on Tuesday May 21, 2013 at 00:23 AWST)
Just posted: Our review of the Tamron SP 24-70mm F/2.8 Di VC USD. In our latest lens review produced in collaboration with DxOMark, we look at Tamron's fast standard zoom for full frame cameras - the first in its class to include optical stabilisation. With its Ultrasonic Drive focus motor and drip-proof construction, it looks like a very tempting option for full frame shooters, especially as it costs rather less than its counterparts from Canon, Nikon or Sony. But is this all too good to be true? Click through to read our review and find out.
(posted on Tuesday May 21, 2013 at 00:08 AWST)
Read more of this story at Slashdot.
(posted on Tuesday May 21, 2013 at 00:06 AWST)
Canadian photojournalist – Ted Grant – is quoted as saying:
“When you photograph people in color, you photograph their clothes. But when you photograph people in Black and white, you photograph their souls!”
This quote often comes to mind when talking about portraiture and I thought it might make an interesting discussion starter.
Do Ted’s words resonate with you?
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
DISCUSS: When you Photograph People in Black and White, you Photograph their Souls
(posted on Tuesday May 21, 2013 at 00:04 AWST)
A Guest Post by Lynsey Peterson.
Nothing freaks me out like props. Every time I see a picture of flower girls holding an empty frame that is outlining a bride and groom kissing in the distance, I die a little inside.
Whenever I am subjected to a photo that attempts to bring in a letter jacket and a football and a casual I’m-just-hanging-out-here-in-my-letter-jacket-holding-my-football expression, I try to remember that I am terrible at making coffee and therefore cannot give-up photography immediately and go get an application at Starbucks. We have come to a place where portrait photography trends are natural and candid and while you would think that means we are leaving all props behind to die a formal, posed, and staged death, we just can’t help ourselves from wanting to put a little extra something in there.
Something personal. Or themed. Or fun. As a photographer, the logistics of getting something personal or themed or fun in an image and having it look natural are overwhelmingly complicated. Often leading to overwhelmingly complicated images. But if done right, a little extra something adds…….a little extra something. Photographing people with props comes down to one basic thing: how can you make this interact with that?

This shot doesn’t scream A PROP WAS USED HERE, though it was. This bride did not provide me with a “must have” shot list, which of course makes her my favorite bride ever, but she had one simple request: one picture of her drinking a can of PBR in her wedding gown.
Now admittedly when she told me that, I wanted to pass out from the biggest eye roll that has ever happened because……….how on earth was I going to pull that off? The goal was a tongue-in-cheek stylish effort that didn’t come across as a classless snapshot.
Had there been any posing or obvious mention of the can, it could have easily gone from sweet and funny to tasteless and tacky. Instead it’s a near romantic take on a candid moment at a reception. It’s rare that making a joke out of the prop or drawing obvious attention to it generates a beautiful and interesting portrait. Since it’s already on the losing side of “one of these things is not like the other”, there is no need to point it out.
When it comes to props in portrait photography, chances are good that it’s been done before. So do it different. Photography is just storytelling and a prop is just another subject in your cast of characters; how many lines it gets is totally up to you. High school seniors tend to be the group most interested in including a prop. Which is often sports equipment and getting creative and unposed with things like sporting equipment is not an easy task. Step out of the intended purpose and treat it like an object.
A soccer ball doesn’t have to go at the feet, a letter jacket doesn’t have to be worn, a lacrosse stick doesn’t have to……do whatever it is that lacrosse sticks do. The image is about a person—the viewer knows what the intended purpose is of a practical use prop.

Including a prop adds another level for the eye to process, so clean up everything else as much as you can. A tight frame, a clean background, and minimal distractions are all your friends. Stick with them and they won’t do you wrong.

As props go, the easiest of the bunch are the ones people want included because they are highly personal and mean a great deal. Wedding rings, special stuffed animals, maybe their cat (tip: avoid this one if you can). The interaction here will be easier, so the key is highlighting the connection between the person and their special prop.
The book in this photo was written by their great-grandmother and has obvious family importance. Before this shot I took dozens of them just holding the book, wanting badly to document the entire cover. Finally it dawned on me that the the story here was about kids having something so significantly personal and historic still able to generate their interest. Great images are never about the prop, but the people it connects to and why.

Props have a way of dating a photograph. Take a moment to consider what the image you are about to take will feel like in 10 years. Or 20. Or 50. If there is anything that can be changed, deleted, or moved so that in a decade this image will have every bit as much relevance as it has today, do it.
These kids had on screen print t-shirts featuring cartoon characters that most of us likely won’t know in a few years. T-shirts, messy faces, lollipops, and two boys makes for a complicated snapshot. Colorful props, interaction, and sweet expressions makes for a timeless portrait.

In my opinion, there is no tougher prop than a costume. And when these sweet girls showed up in tutus at a suburban park, I had no idea how PINK TUTUS and grass and dirt were going to mix together. Seemed a little like onion flavored ice cream. If you take it apart piece by piece, it’s easier to vision it as a whole.
I knew I wanted to show off the tutus full glory so the girls had to be standing. I wanted the relationship of the sisters to play a huge role. And I wanted it to have a feeling of magic. Much like how I feel when I go to the park in my own pink tutu.

With enough creativity, almost any prop can make an image fun, personal, and interesting. Unless someone shows up with their cat and lacrosse stick. Then you’re on your own.
Check out more of Lynsey Peterson’s work on her website.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Props Are Evil: How To Use Them For Good
(posted on Monday May 20, 2013 at 23:50 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 23:03 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 22:19 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 21:44 AWST)
BorderLineGtk3 0.5.2
(posted on Monday May 20, 2013 at 21:32 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 20:49 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 20:24 AWST)
Windows 8 modern UI (metro) 1.0(posted on Monday May 20, 2013 at 20:22 AWST)
Windows 8 modern UI (metro) GTK2/3 0.1
(posted on Monday May 20, 2013 at 20:04 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 19:21 AWST)
(posted on Monday May 20, 2013 at 17:00 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 14:03 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 11:32 AWST)
Steampunk Browsers Icons
(posted on Monday May 20, 2013 at 11:08 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 08:05 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 07:39 AWST)
NovaShell 0.6
(posted on Monday May 20, 2013 at 07:07 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 06:05 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 04:38 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 03:40 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 03:01 AWST)
Today Joe Decker shares some tips on wide angle photography.
One of the first lens purchases aspiring landscape photographers typically made is a wide or super-wide lens, anything (in full-frame 35mm terms) from 24mm on down, and with good reason, wides offer photographers the ability to capture the sweeping vistas of the natural landscape. But they can also be a challenge to use effectively, it’s all to easy to end up with a wide-angle shot that lacks the power and grandeur we felt when we were shooting. In this article, I’ll explain why that’s so often the case, and provide a few tips for working around those challenges, showing you how to use wide-angle lenses to create dramatic, effective images.

Nordenskjöld Lake, Torres Del Paine National Park, Chile. Image Copyright Joe Decker
Because wide-angle lenses take in a bigger angle-of-view than other lenses, using a wide-angle lens at the same distance from your subject will render that subject smaller than it would otherwise. To compensate for this, you’ll have to move closer to your subject. Don’t be bashful about getting close, particularly with super-wides&mash;it’s almost impossible to get “too close” to your subject with a 14mm lens. This emphasis in size that wide-angle lenses give nearby objects means that …
Contrary to what you might expect, this means that the most important element of your wide-angle landscapes is the foreground. While wide-angle lenses do capture the wider landscape, they also (almost inevitably, because of their wide field-of-view) capture quite a bit of foreground as well, and this foreground is emphasized by the wide-angle perspective. As a result, if your foreground isn’t interesting, your photograph won’t be interesting. This leads us naturally to the Josef Muench idea of the near-far composition, an image which uses a wide-angle lens to not only show a broad vista, but also to show one detail of that landscape in an up-close, intimate way. When you’re photographing wide, be sure to spend some time looking for the most interesting foreground available to combine with your grand vista. (If there isn’t an interesting foreground, you might want to consider using a longer lens to leave out that less interesting foreground.)

Fallen Redwoods, Stout Grove, Jedediah Smith State Park, California. Image Copyright Joe Decker
Wide-angle lenses tend to bend and distort verticals, as you can see in the tree trunks near the top of Fallen Redwoods. Now, you might decide you like that effect, or that you hate it, but it’s important to be aware of it and to make a conscious decision about it. For some images it’s fun to embrace, but more often I find myself having to work to avoid it or correct it later. Avoiding it can be as simple a matter as composing so that there’s only a single obvious vertical (and that that’s vertical), alternatively, using shift movements with a tilt-shift lens can correct some of this distortion in-camera. Post-exposure, Photoshop’s “Lens Distort” filter can also save the day.
Compositionally, lines (such as streams or railway tracks) leading from the bottom corners of an image towards the center often have a particular magic for guiding the viewers eye through the picture, making for strong images, and this is particularly the case for wide-angle images. Hot Stream is a great example of this, the viewers eye tends to wander from the corner back through the image along the stream. As the stream moves back into the image, the stream gets smaller (in terms of inches on the printed page) quickly due the wide perspective. This quick fade (in width) into the distance creates a real sense of depth in the image.

Hot Stream, Húsavík, Iceland. Image Copyright Joe Decker
Shooting wide creates two problems for those of us who use filters. Polarizers are a specific problem, the effect of a polarizer on a blue sky varies across the sky so greatly that wide-angle images including the sky are left horribly unnatural, so leave off the polarizer unless you know there’s no blue sky in your scene. Screw-in filters are a separate problem, it’s all too easy for the filter edges, particularly if you’re stacking more than one filter on the same lens. Filter systems, such Cokin’s P-series filters (with the wide-angle filter holder), can help you avoid these problems if you must use filters.

Dwarf Arctic Birch, C. Hofmann Peninusla, Greenland. Image Copyright Joe Decker
One of the things I enjoy most about working with wide-angle lenses is the ease of focusing them. As you move to wider and wider focal lengths, the depth-of-field at a particular aperture gets deeper and deeper. This allows you to make great use of the concept of hyperfocal distance, that is, the nearest distance you can focus a particular lens at a particular aperture and get “good focus”. At 24mm, by focusing about six feet out from the camera you’ll capture everything from about three feet to infinity in focus—even at f/11. At 17mm, focusing at the right point at f/11 will get you everything from infinity down to 17 inches away. Find (using a web site like this or any of a number of other sites, software tools or printed tables) and write down the hyperfocal distance for a couple of your widest lenses at a couple of your favorite apertures, and you’ll have an easy way of bringing the entire scene of near-far compositions into critical focus.
Using wide-angle lenses can certainly be tricky, but I love them all the same. Used well they can allow the photographer to create images that immerse us in a world with both small, intimate details and bold, dramatic vistas.
Joe Decker is a professional nature photographer and writer for Photocrati’s Photography Blog He also offers nature photography workshops and coaching around the western United States.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
(posted on Monday May 20, 2013 at 02:48 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 01:51 AWST)
New Faience icon pack 1.2
(posted on Monday May 20, 2013 at 01:29 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 01:21 AWST)
PinguyOS Waves 1.0
(posted on Monday May 20, 2013 at 00:32 AWST)
Read more of this story at Slashdot.
(posted on Monday May 20, 2013 at 00:28 AWST)
A Guest Contribution by Anotherphotograpbynoob.com.
What this tutorial will show you
In short: how I made the photo on the right become the photo on the left.
In this tutorial, we will cover basic tools of the free photo editing software GIMP.
Here is a quick rundown of the features covered in this tutorial:
Sound hard? Don’t worry. I’ll guide you through the whole process, step by step.
First of all, you need to have GIMP installed. Click here to download GIMP, and then follow the instructions provided with the software.
If you want to follow along with me in this tutorial, the original photo can be downloaded here. I shot the photo myself last year. The sportscar is a racing green Volvo P1800, just like the one Roger Moore drove in The Saint – yep, my dad tells me the story every time we ride in that car.
You are free to use the photo for whatever you may want, as long as it isn’t illegal of course.
If you are interested in the specifications of my camera, it is:
Enough with the anecdotes; let’s start editing.
After you have started up GIMP, open up the image you want to edit. If you have chosen to follow along and you haven’t changed too much in the standard layout in GIMP, it should look like this.
The first thing I want to fix is how I composed the image. I don’t like the license plate showing in the original photo. Ideally, I would like to see no license plate and at the same time as much as possible of both the car and sky.
The easiest way would be just cropping off the right of the photo until the license plate is gone.
But…
I know my mother will most likely print this photo – just as with all the other photos I’ve sent her. In order to make the process of printing the images as smooth as possible, I need to keep the proportions of the image in tact (I don’t want the print service computer system to decide how the photo is cropped).
With that in mind, choose the Crop tool from the toolbox on the left (Shortcut Shift + C).
To make sure proportions are kept, check the box labeled Fixed. From the drop-down menu, you should select Aspect Ratio and the value should be set to current. Like this:

Now you can drag out the area you want to keep. You can adjust it by dragging the corners around the image. When you are satisfied, hit enter and your photo is cropped.
So far, so good. The image is still dull, I know. Let’s get moving.
When you open up a photo in GIMP, a background layer will be created automatically. Don’t edit directly on that. Instead, you should make a copy of the layer by pressing Ctrl + Shift + D (Mac: Cmd + Shift + D).
Now you have the original background layer for reference while editing, and no matter the mess you make, you can easily start from scratch.
And now we must go back to the sports car!
The first thing I want to do is increase the contrast. This is mainly to darken the ugly details on the back of the car, in order to let the more shiny parts sparkle.
First, open op the Levels panel Color > Levels:

I’ve made a simple move. I just increased the darks by 10 and kept the whites at 255. I kept the whites at 255 to ensure most details are preserved in the sky; we’ve now set the best base for boosting the color of the image.
The first panel I use in this process is Adjust Hue/Lightness/Saturation.
Go to Colors > Hue-Saturation:

I won’t be explaining every panel I use in detail. Instead, I’ll focus on the settings I needed for this tutorial. I’ve only adjusted the master channel in this panel.
Hue
I’ve increased the hue a little. Six steps up isn’t a lot, but you’ll easily notice the difference. Increasing the hue removes the slight magenta shade in the sky.
Lightness
Even though I adjusted the Levels before, I want an even more warm and dark feeling. Almost like a classical sunset-silhouette – just keeping the details in the photo.
By decreasing the Lightness, I darken the photo and turn up the colors even more in the sky. The Volvo P1800 even starts looking right with dark green colour (the actual name is British Racing Green – another dad anecdote).
Saturation
The final step in the Hue-Saturation panel is increasing Saturation – a lot! I’m putting the pedal to the metal now. All in on sunset.
This is much better. But, I want to adjust it a little bit more. Next stop: the Color Balance panel.
Go to Color > Color Balance:

Again, I’m not going into detail on all functions. Just the ones I altered. In this case, it’s the Color Levels of the Midtones.
Cyan
Red
Everything got a little too blue when I boosted Saturation – especially the car. The first step is decreasing Cyan (by increasing Red). Now the car is getting warmer.
Magenta
Green
One step down is not doing much, but I really think it helped. It needed some compensation after increasing Red and Yellow.
Yellow
Blue
Let’s add even more color to the sky and some warmth to the chrome on the car.
I still don’t like the blue shade on the chrome. The last step is to add a color filter. It’s really simple.
First, add a new transparent layer. Just go to Layer > New Layer (Ctrl + Shift + N).
Name the layer “Warm Color Filter.” Choose a transparent layer and click Ok.

Now select the foreground color and set it to #F4B905. Actually, I just went for a warm orange and landed on this. Not freakishly important. Just go for a warm orange color.
Select the Bucket Fill Tool (Ctrl + B) and fill your new transparent layer with warm orange.
This should turn your entire image warm orange. Looking great, ay?
Ok. Now change the layer opacity to 10%, and set the blend mode to Dodge.
The result is a nice and warm feeling to the overall photo. And it also got us rid of that blue trouble in the chrome details. Nice.
As you may already know, GIMP does no longer save in JPEG. But don’t worry, the good people working with GIMP has just moved the function a bit and it is now called Export (Ctrl + E) and Export As (Shift + Ctrl + E), if you need to rename the file.
My mom actually ended up printing all the photos of my dad’s sports car. If you want to check out the rest of the sports car photos and even more GIMP tutorials, head over to my blog at http://anotherphotographynoob.com.
More specifically, the images of the sports car are here: http://anotherphotographynoob.com/sportscar/
And all my tutorials for GIMP are here: http://anotherphotographynoob.com/gimp-tutorial/
Anotherphotographynoob is a European blogger and photo enthusiast, blogging daily at Anotherphotograpbynoob.com. It all started as a simple blog posting a photo a day, but recently the blog has moved to a self-hosted solution and now tutorials are being written on a daily basis to help other photo nerds.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Make your Photos Sparkle with GIMP
(posted on Sunday May 19, 2013 at 23:26 AWST)
Read more of this story at Slashdot.
(posted on Sunday May 19, 2013 at 23:10 AWST)
UpstartX 0.2(posted on Sunday May 19, 2013 at 23:08 AWST)
Ubuntu Server Manager 0.7.4(posted on Sunday May 19, 2013 at 22:59 AWST)
Ramdisk 0.3(posted on Sunday May 19, 2013 at 22:59 AWST)
Hardwareinfo 0.4(posted on Sunday May 19, 2013 at 22:57 AWST)
Mangui 1.2