To capture its latest luxery car marketing image, Bently used the same gigapixel image technology that NASA currently uses to compile panoramic images of the Martian landscape to capture a sweeping image of a Mulsanne crossing the Golden Gate Bridge. At its widest (seen above), the bridge appears to the be the main subject of the image.
Looking a little closer, we can see a luxery car at the center of the image.
The image seen on the Bentley's website is comprised of 697 images and allows you to zoom in all the way to the embroidered logo on the sleek leather seats where you can see every individual thread.
Note that I didn't zoom all the way in for the last screenshot shown here. Instead, I opted to keep a bit of the headrest in the shot to provide context for the logo.
Want to know more about how photographer Simon Stock (and his team) captured the image? See the behind-the-scenes information here. If you want the Bentley Mulsanne Extended featured in the image, be ready to shell out a little more than $400,000.00.
Progress in estimating visual memorability has been limited by the small scale and lack of variety of benchmark data. Here, we introduce a novel experimental procedure to objectively measure human memory, allowing us to build LaMem, the largest annotated image memorability dataset to date (containing 60,000 images from diverse sources). Using Convolutional Neural Networks (CNNs), we show that fine-tuned deep features outperform all other features by a large margin, reaching a rank correlation of 0.64, near human consistency (0.68). Analysis of the responses of the high-level CNN layers shows which objects and regions are positively, and negatively, correlated with memorability, allowing us to create memorability maps for each image and provide a concrete method to perform image memorability manipulation. This work demonstrates that one can now robustly estimate the memorability of images from many different classes, positioning memorability and deep memorability features as prime candidates to estimate the utility of information for cognitive systems.
One of the keys to getting good wildlife photos around the house is of course having wildlife around the house. With even small yards able to attract wildlife (especially birds), the next key is having a camera with a good wildlife lens mounted and ready for immediate use when the wildlife shows up.
The incredible combination of the 1D X Mark II and EF 200-400mm f/4L IS lens has been taking on this duty for me recently. I have had a very high number of black bear sightings this spring (most frequently after the sun sets), and the range of focal lengths this lens has, including up to 560mm with the built-in extender, along with the f/4 aperture has been valuable.
On this rainy Wednesday, it was an ovenbird that made my day. This bird is typically found deep in the forest. While they tend to be low to the ground, the light levels there are dismal. On this day, heavy cloud cover provided reasonably bright and very soft lighting at the edge of the forest where this bird happened to be. The wet conditions provided a saturation boost and some tiny water droplets on the bird. The situation was ideal.
I quickly grabbed the camera and lens combo, threw the switch to place the extender in the optical path and went into action. I worked into a position that gave me an attractive background with a clear view of the bird, initially a profile. While I captured some ideal profile images, the bird began hopping into different positions and in this one, the tail wind ruffled its feathers. I'm still undecided between which of the two poses I like best, but decided to share this one as it appears more lively.
What is in the ovenbird's mouth? Good question. One item is an insect leg, perhaps from a grasshopper. The other is unknown, but perhaps a piece of moss or similar.
On this day, having a camera and lens ready to use for wildlife gave me a nice set of photos out of a very brief encounter with circumstances aligning nicely. The entire session only took a few minutes out of my day. Be ready and when opportunities arise, make the effort to go after them.
A larger version of this image is available on Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.
Regulations will create new opportunities for business and government to use drones
WASHINGTON – Today, the Department of Transportation’s Federal Aviation Administration has finalized the first operational rules (PDF) for routine commercial use of small unmanned aircraft systems (UAS or “drones”), opening pathways towards fully integrating UAS into the nation’s airspace. These new regulations work to harness new innovations safely, to spur job growth, advance critical scientific research and save lives.
“We are part of a new era in aviation, and the potential for unmanned aircraft will make it safer and easier to do certain jobs, gather information, and deploy disaster relief,” said U.S. Transportation Secretary Anthony Foxx. “We look forward to working with the aviation community to support innovation, while maintaining our standards as the safest and most complex airspace in the world.”
According to industry estimates, the rule could generate more than $82 billion for the U.S. economy and create more than 100,000 new jobs over the next 10 years.
The new rule, which takes effect in late August, offers safety regulations for unmanned aircraft drones weighing less than 55 pounds that are conducting non-hobbyist operations.
The rule’s provisions are designed to minimize risks to other aircraft and people and property on the ground. The regulations require pilots to keep an unmanned aircraft within visual line of sight. Operations are allowed during daylight and during twilight if the drone has anti-collision lights. The new regulations also address height and speed restrictions and other operational limits, such as prohibiting flights over unprotected people on the ground who aren’t directly participating in the UAS operation.
The FAA is offering a process to waive some restrictions if an operator proves the proposed flight will be conducted safely under a waiver. The FAA will make an online portal available to apply for these waivers in the months ahead.
“With this new rule, we are taking a careful and deliberate approach that balances the need to deploy this new technology with the FAA’s mission to protect public safety,” said FAA Administrator Michael Huerta. “But this is just our first step. We’re already working on additional rules that will expand the range of operations.”
Under the final rule, the person actually flying a drone must be at least 16 years old and have a remote pilot certificate with a small UAS rating, or be directly supervised by someone with such a certificate. To qualify for a remote pilot certificate, an individual must either pass an initial aeronautical knowledge test at an FAA-approved knowledge testing center or have an existing non-student Part 61 pilot certificate. If qualifying under the latter provision, a pilot must have completed a flight review in the previous 24 months and must take a UAS online training course provided by the FAA. The TSA will conduct a security background check of all remote pilot applications prior to issuance of a certificate.
Operators are responsible for ensuring a drone is safe before flying, but the FAA is not requiring small UAS to comply with current agency airworthiness standards or aircraft certification. Instead, the remote pilot will simply have to perform a preflight visual and operational check of the small UAS to ensure that safety-pertinent systems are functioning property. This includes checking the communications link between the control station and the UAS.
Although the new rule does not specifically deal with privacy issues in the use of drones, and the FAA does not regulate how UAS gather data on people or property, the FAA is acting to address privacy considerations in this area. The FAA strongly encourages all UAS pilots to check local and state laws before gathering information through remote sensing technology or photography.
As part of a privacy education campaign, the agency will provide all drone users with recommended privacy guidelines as part of the UAS registration process and through the FAA’s B4UFly mobile app. The FAA also will educate all commercial drone pilots on privacy during their pilot certification process; and will issue new guidance to local and state governments on drone privacy issues. The FAA’s effort builds on the privacy “best practices” (PDF) the National Telecommunications and Information Administration published last month as the result of a year-long outreach initiative with privacy advocates and industry.
Part 107 will not apply to model aircraft. Model aircraft operators must continue to satisfy all the criteria specified in Section 336 of Public Law 112-95 (PDF) (which will now be codified in Part 101), including the stipulation they be operated only for hobby or recreational purposes.
IRVINE, Calif. – June 21, 2016 – Western Digital Corporation ("Western Digital") (NASDAQ: WDC), a global storage technology and solutions leader, today introduces the WD Pro Series: My Passport Wireless Pro Wi-Fi mobile storage.
My Passport Wireless Pro
My Passport Wireless Pro Wi-Fi mobile storage lets creative professionals and enthusiasts leave the laptop behind when on a shoot. Using the direct Wi-Fi connection, creators can automatically backup files from compatible cameras, as well as save, edit and transfer work seamlessly from up to eight other devices connected to the drive. Tethered connections are also available for faster transfers and include a built-in SD card reader as well as a USB 2.0 port.
Available in capacities up to 3TB, the My Passport Wireless Pro device also features up to 10 hours of battery life* and a built-in battery pack that can even be used to charge phones and other devices like digital or video cameras.
To ensure creative professionals can continue to work while in the field, My Passport Wireless Pro devices include compatibility with Adobe's Creative Cloud for mobile photo and video editing, as well as compatibility with Plex Media Server, which is capable of playing up to four streams of content while on-the-go.
I love close, frame-filling wildlife photos, but I also love wildlife photos that show animals in their environment. Getting close enough to fill the frame with an animal is often quite challenging, but I often find environmental images even more challenging to obtain. Another thing I love is a challenge and the environmental wildlife portrait challenge one was one I took on during a recent photo trip to the Big Meadows area of Shenandoah National Park.
Be in the Right Location
Location selection is a big part of environmental wildlife portraits. Basically, you need to photograph wildlife in an environment that invites the type of photos you desire. I would not describe the scenery of all locations that hold wildlife as especially photo-worthy and the tighter-framed option works better in these less-desirable landscapes.
Just as important as a photogenic landscape is that wildlife, or more specifically, wildlife that interests you, is in the location. Location selection resources have never been more readily available. Simply search your favorite image sharing site for the subject that has your interest. Then determine where that image was captured.
Timing for Photography
With the location selection made, timing the photography in that location can be done. If you want fall-colored leaves, there will be a week or two out of the year that needs to be targeted. If baby animals are on your list, there will be an ideal time, likely in late spring.
For the example I share here, I knew that early June was a good time to photograph fawns and I knew that Big Meadows in the heart of Shenandoah National Park was a great place to find them. SNP scenery is very nice, though as with most locations, it can be challenging.
See the Image Coming
Within the chosen location, wildlife cannot be controlled (unless baiting, calling, etc.), so a photographer must work with the animals wherever they decide to be. Learning wildlife behavior goes a long way to set up the ideal shot, but wildlife is generally unpredictable. While locating wildlife, visualizing ideal shots will keep your mind focused on upcoming opportunities, including those that may present themselves at a later time.
The key for this white-tailed deer fawn image, in addition to being in a good location at the right time of the year, was thinking ahead. The deer were moving in a general direction and I knew that the white tree trunks in front of ferns and fronted with tall grasses were coming up on their route. The shorter green grass foreground would be ideal and I surmised that these fawns and their mother may pass through this location.
Be Ready with the Right Gear
I was partly right. The mother went slightly off-angle, but the fawns cooperated briefly by walking, broadside, in line and both within the plane of sharp focus, right into the scene I visualized. I was ready.
Under 10 seconds. That is how much time the fawns spent in my scene. That is both extremely short and very long. I had very few other decent opportunities that lasted longer, but 9 seconds is not much time to capture an image of wildlife in motion even when standing (head and ear angles were constantly changing). This was one of the last frames captured before they turned different directions and leaped off to explore somewhere new.
The 1D X Mark II was in manual exposure mode with Auto ISO selected. The light levels were changing rapidly due to clouds and both deer and grass are kind to autoexposure, making Auto ISO a great choice. The adorable fawns were running/leaping/frolicking constantly, so I was using a 1/1600 shutter speed most of time. It is usually better to have more noise due to a high ISO setting than to have a motion-blurred subject. With the fawns slowing down and with their distance being greater than usual (their movement was crossing individual sensor pixels at a slower rate), I quickly rolled the shutter speed down to 1/800. Auto ISO took care of the exposure adjustment, immediately selecting a lower noise level ISO 1000. High speed burst mode with Case 1 AI Servo AF and a single AF point placed on the lead fawn worked ideally.
The Canon EOS-1D X Mark II and Canon EF 200-400mm f/4L IS USM Lens combo performed impressively on the entire trip. While this lens has many benefits (including incredible sharpness), being able to zoom to ideally compose a scene, especially one with multiple animals, is a big one. Though this image does not take in a wide, grand landscape, it includes enough surroundings to qualify for at least my own definition of environmental. At 362mm, this lens could be set to an even much wider angle. However, I didn't feel that additional surroundings were going to be positive additions to the image. I had enough angle of view at the chosen focal length.
I'll talk more about the 1D X II's amazing frame rate and why it was so important for this location in another post, but ... I made full use of the 14 fps. Just to clarify, there really are two different fawns in this picture. This particular frame taken from a burst captured both in nearly identical positions. Upon a quick glance, my daughter suggested that I may have clone stamped the second deer into the image. I assure you that was not the case – there really were two fawns there. The slightly different leg positions are the biggest clue.
The 1D X II's AF system performed especially well in the tall grasses the fawns were commonly found in and was ready when the fawns started leaping and playing.
Note that I used a monopod exclusively for support on this trip. While a tripod provides better support, a monopod is faster to use. With only one leg to retract or extend and with no leg angles to set, I could quickly move into positions and set up, a key to getting many of the images I captured on this trip. A monopod also means less weight to carry around. The wildlife I was shooting required shutter speeds fast enough to avoid motion blur, especially with the support of the monopod.
Seize the Opportunity
Be ready to take advantage of all wildlife photo ops made available to you. Even if focused on the environmental images, take the tighter-framed images when availed to you. Wildlife photography is extremely challenging and no opportunity should be passed on. Having a mix of subject framing will make a portfolio or gallery appear more complete.
A larger version of this image is available on Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image. If you find these tips useful, please share them in your circle of friends!
Better collaboration with Libraries Manage distribution of read-only Creative Cloud Libraries so they can be used by team members, but not changed or deleted.
Updated Libraries panel Find the assets you need faster with new filtered search of the Adobe Stock and icons that make it easy to identify licensed Stock assets.
Selection and Masking Space This new dedicated workspace helps you make precise selections and masks more easily than ever. Use tools like Refine Edge Brush to cleanly separate foreground and background elements.
Everyday tasks, accelerated Photoshop CC opens documents faster and delivers greater responsiveness. Plus, Content-Aware Fill is up to 3X faster with even better results, and the Font menu shows lists of fonts up to 4X faster.
Content-Aware Crop Photoshop uses Content-Aware technology to intelligently fill in the gaps when you use the Crop tool to rotate an image or expand your canvas beyond the image's original size.
Match Font Photoshop can now analyze, identify and match Latin fonts from an image or photo, taking the guesswork out of finding the perfect font for your design.
Improved artboards Now you can duplicate a layer or layer group into other artboards, quickly change artboard backgrounds, and view artboards with transparent backgrounds.
Export enhancements A new checkbox makes it a snap to embed color profiles in PNG or JPG files.
Adjust facial features Face-Aware Liquify automatically identifies eyes, noses, mouths, and other facial features and then makes it easy to adjust them. Great for retouching portraits.
Work easier with glyphs Apply alternate glyphs for specific characters directly from an in-context menu.
3D printing to Microsoft 3MF Windows 10 users: Preserve all the rich color and texture of your 3D models by printing directly to Microsoft’s open-source 3MF format.
Create patterns with Capture CC Use Capture CC on your mobile device to turn any image into a pattern. Save it to a Creative Cloud Library, and then use it as a pattern or pattern fill in your Photoshop projects.
Showcase your work with Adobe Portfolio Now when you use Adobe Portfolio to create a beautiful website to show off your Photoshop images, you can include custom landing and contact pages to better connect with viewers.
Works with Adobe Experience Design CC (Preview) Copy and paste your Photoshop CC assets directly into Adobe XD, the new all-in-one tool for designing and prototyping user experiences for websites and mobile apps.
And so much more Also includes: A new preference to use the legacy Healing Brush, improved responsiveness of touch gestures, new options when exporting artboards, and so much more.
One of the most annoying things about Instagram – and the biggest reason why I don't personally use the service – is the app's inability to allow users to upload images from devices other than a smartphone or tablet.
Well that just changed.
A new plugin called LR/Instagram allows you to upload images to your Instagram account directly through Lightroom CC or LR 3.0 (or later).
From the author's website:
About the Lightroom Plugin
LR/Instagram is an unofficial publish plugin for Lightroom, allowing you to post photos directly to your Instagram account.
Simply install the plugin, add new service in Lightroom Publishing Manager and authenticate with your Instagram account.
Drag photos to the publish collection, then click Publish to immediately upload your photos to Instagram.
There simply is no faster way to publish from Lightroom to Instagram!
The plugin supports hashtags, padding, cropping, and multiple accounts and is free to try and only $10.00 to register. [Sean]
Visit the LR/Instagram for more information and to download the software.
Limelite by Bowens has announced the launch of groundbreaking Mosaic2 LED panels - with ultra-high CRI 94/TLCI 94 light output.
Available in Daylight (5600K) and BiColour (3000K-5000K) options, Mosaic2 uses 576 cutting edge high fidelity LEDs, dimmable from 100-0%, to create 1x1 panels that are extremely powerful and significantly more colour accurate than previous models.
Alan Walmsley, Bowens sales and marketing director said: “Mosaic2 is a powerful addition to our comprehensive portfolio of light tools. These new units, which target the full gamut of photo and video enthusiasts as well as working professionals, embrace the rugged build-quality synonymous with all Limelite products. They are quick to set up and easy to use. This is a truly multi-purpose lighting solution providing feature rich LED panels suitable for small or large studios.”
He added: “These metal-bodied panels, which weigh in at just 1.4kg, create high levels of soft, flattering light that can be further shaped and controlled with our comprehensive range of accessories.
They are also an ideal choice for photographers working with babies, small children and animals who might be startled by flash lighting. And users shooting heat sensitive subjects such as food will benefit from Mosaic2’s cool-running operation.”
The new panels, which will have an RRP of £654 (Daylight model) and £835 (Bi-Colour model), are also designed for video and broadcast work both in studio and on location (with optional battery mounting accessories)
Tim Haskell, Limelite business development manager said: “Mosaic2 1x1 LED panels are used by leading broadcasters and global news gathering operations. Mosasic2 can be controlled remotely via an external DMX mixer and multiple panels can easily be linked and used as a single panel.”
Mosaic2 key features:
Outstanding colour fidelity
Ultra-bright LEDs (up to 4000Lux@1m)
Exceptional build quality
Fully dimmable and user programmable
Pre-mounted AC adaptor and international cable kit (use anywhere in the world)
Wide range of light control, mounting and battery power accessories
Pembrokeshire-based photographer and Panasonic GH camera ambassador Ross Grieve added: “I trialled the new Mosaic2 lights and they are superb. They are now my go-to panels for events and training programmed. I also use them as reflectors when I need more bounce. These panels are child’s play to use and with full control over colour temperature and brightness I have all the power and control I need.”