mfioretti: photography*

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  1. What is up guys, In this quick instructable, I am gonna show you how to engrave photos on different materials with our converted 3d printer to laser engraver.
    Tags: by M. Fioretti (2017-11-09)
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  2. Joseph Rodriguez drove a cab from 1977 to 1985, and in the last two of those years, he was studying to be a photographer. He lost his first set of gear in a classic ’70s New York stabbing and mugging, but with a new camera, he documented what he saw on the job.
    Tags: , , , by M. Fioretti (2017-10-30)
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  3. Imagine that, photographers who understand that their work has value. Who then copyright it to give them some legal recourse when people steal their work. And then pursue those who steal said work.

    I still love that he thinks we shoot images to upload to the Internet just so we can sue people for stealing them. That we have teams of people just waiting to pounce. That he actually calls it a “business model”.

    He also seems to not understand that images don’t actually need to be registered in order to have copyright protection. Sure, registration allows you to claim damages and whatnot, but you still own the copyright the instant you create the image. In other countries, there isn’t even a registration mechanism, and you get all the rights (including damages) regardless.

    So, it’s not much of a surprise then that he also doesn’t know that images are copyrighted even if there’s no actual copyright statement accompanying the image.
    Tags: , , by M. Fioretti (2017-10-23)
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  4. In my introduction to ImageMagick, I showed how to use the application's menus to edit and add effects to your images. In this follow-up, I'll show additional ways to use this open source image editor to view your images.
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  5. Each RAW file and its accompanying JPEG files are then grouped using the grouping feature in digiKam. This way, each stack contains a RAW file, an original JPEG from the camera, and a processed JPEG — with the latter being on top of the stack. It’s possible that a similar approach can be implemented more efficiently using the Versioning functionality in digiKam, but I prefer to do this manually.

    Color labels in action

    Color labels help me to keep track of the current status of each photo. I use the following system:

    Red labels mark processed photos ready to be uploaded to Flickr.
    Orange labels are assigned to photos uploaded to Flickr but not shared on social networks like Google+
    Tags: , , by M. Fioretti (2015-11-11)
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  6. If you ran out to buy GoPro’s new cube-shaped, waterproof camera, a heads up: if it breaks, you best hope it’s under warranty. Opening it up and fixing it yourself is probably a bad idea.

    Why? Because even the folks at iFixit, who gut electronics all day every day, couldn’t get it open without destroying it.
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  7. unless you want your memories to be fuzzy or slightly blurred then you might need to invest in a camera instead of relying on a phone for your photography.

    Phones with cameras changed photography by allowing people to have a camera on them at all times.

    This resulted in a surge in the quantity of photos but also a general drop in quality.

    This is due to smartphones using tiny sensors compared to the ones on digital cameras, especially DSLRs.
    Tags: , by M. Fioretti (2015-07-24)
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  8. This alarming-and-yet-cute picture became an internet meme spawning altered versions in which the woodpecker is lugging all sorts of passengers from elephants and giraffes to Vladimir Putin and John Terry. Journalists and bloggers around the globe used it freely; Le-May politely asked mainstream media to donate their usual fee to charity.

    Two months on, Le-May has no regrets he gave it away. “I take photographs for a hobby. I was lucky enough to see something that no one had been lucky enough to take a photograph of before. I hope this doesn’t sound too cringey, but if I’d been that lucky, I felt I should share it.”
    The week in wildlife – in pictures
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    This generosity might make the big beasts of wildlife photography roar with frustration. Earnings for this glamorous breed, who were once handsomely rewarded for spending months staking out snow leopards for National Geographic, have vanished in an era where everyone is a photographer. So, is the hard-pressed professional the woodpecker, and social media the weasel on its back? Or has new technology locked professionals and amateurs in a mutually beneficial embrace? And as technology changes what we can see, is it also changing our vision of the wild?

    Photographers are experimenting with time-lapse and multiple exposures, which create amazing, impressionistic effects. Chris Gomersall, another award-winning photographer who started out, like many traditional wildlife photographers, in nature conservation (working for the RSPB), deploys a CamRanger, which enables him to wirelessly connect his camera to his phone and adjust exposures and other settings via his phone, in what amounts to a sophisticated camera trap. But Gomersall draws the line at drones. “It might be a good boy’s toy, but I can’t be everything – an underwater photographer and the drone photographer.” Drones are complicated – commercial users require an annual licence and a qualification that costs several thousand pounds and is rubber-stamped by the Civil Aviation Authority.

    Such advances have opened up the once-exclusive worlds of aerial and underwater photography to the masses. With so many good photos around, do magazines need to pay for images? “We definitely do,”

    Rosamund Kidman Cox was a judge for the Wildlife photographer of the year competition from 1981 to 2012, and still edits the book of the Natural History Museum exhibition each year. It wasn’t until 2004 that a digital picture won the prestigious contest. With so much amazing technology, can everyone take great wildlife shots now? “No,” says Kidman Cox. “The ability to take a good wildlife photograph requires background knowledge and perseverance, and an eye and sense of composition. Some photographers go on expensive safaris, take decent pictures and sell them. There’s a lot more of those now, which is why stock photography is so cheap.” But Kidman Cox wants more: “Truthful reflections of nature that are more than records, and have an aesthetic quality are in the next league, and the number of photographers who get that point are far fewer. But it doesn’t mean they can earn much of a living.”

    It’s supply and demand,” he shrugs. He’s less phlegmatic about the rise of sub-agency deals, whereby one agency sell his pictures to another, and who sell to another, vastly reducing the photographer’s initial cut (50% at best). “It’s a murky world, and something that photographers never really challenge – they are all worried about upsetting the apple cart.” Despite that, however, Tipling stays positive: photos are much cheaper, but he sells far more because there are more outlets – more than 100 agencies sell his photos.
    Camera club Dulux competition: William Richardson
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    “Lots of people call themselves a professional wildlife photographer, but I’m not even sure I’m a full-time professional anymore,” says Gomersall. “Like the music business, people have tried to diversify and find other revenue streams.” Despite the flood of free images produced by amateurs, Gomersall and Tipling are not critical of these hobbyists: they are now their clients. “I write articles and books about how to photograph wildlife and I’m taking people out for photographic workshops,” says Tipling. “As far as I’m concerned, the more the merrier.” Like most professionals, Gomersall survives by running wildlife tours and workshops, as well as training sessions for institutions and corporations. “You have to be quite hard-nosed. You can’t think of what’s enjoyable for you, but what the amateur photographic community requires – what’s the service you can provide that appeals to their vanity or love of gadgets? Setting up photographic competitions is a good one.”

    Now I have to do what’s popular. A lot of subjects, such as reptiles and invertebrates, don’t get the attention. We’re in danger of neglecting biodiversity.
    Tags: , , by M. Fioretti (2015-05-16)
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  9. One of the most important decisions you face when scanning anything with your scanner is choosing what dpi (“dots per inch”) to scan with. And specifically for this post, what is the best dpi to use when scanning and archiving your 8×10″ and smaller paper photographic prints – which for most people, make up the majority of our pre-digital collection.

    Making this decision was very challenging for me and certainly a huge part of my 8 year delay. The reason for this is that dpi is the critical variable in a fairly simple mathematical equation that will determine several important outcomes for your digital images:
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  10. that is a great question. And you’re right, up until now I have not covered what I feel is the best file format(s) to save scanned photos with. But, as you astutely noticed, I did sort of allude to my personal choice in a couple of my posts. Especially in some of my images I used in my 3-part “naming convention” series you brought up called What Everyone Ought to Know When Naming Your Scanned Photos.

    I think your question actually deserves a slightly more complex answer than I could normally get away with. Had you simply asked, “Which do you prefer for scanning photos, the TIFF or PNG format?”, I would feel comfortable quickly answering you that in my humble opinion, the TIFF format is by far more superior for the purpose of scanning photos. But, since you brought up your interest in “archiving” your photographs, I want to make sure I elaborate a bit more to explain why our personal goals of scanning need to be considered when making the final decision which file format to save our master image files.
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