Photoshop Fail: Australian PM Had Two Left Feet in Official Website Photo

Photoshop Fail: Australian PM Had Two Left Feet in Official Website Photo

Australian Prime Minister Scott Morrison was the victim of a humorous Photoshop fail this week after people noticed that the family photo at the top of his official website showed him with two left feet.

The second left foot.

Morrison had been wearing sneakers in the original family portrait, and it seems whoever was responsible for his website decided that the slightly dirty shoes were a little too casual and unbefitting of Australia’s government head. The Photoshopper presumably found a photo of a sparkly white left sneaker and used the same photo to replace both of Morrison’s shoes.

The shoddy Photoshop job was immediately mocked across social media:

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The website photo was soon replaced with the original unretouched shot showing the sneakers someone tried to hide:

Morrison says that the Photoshopping was done without his knowledge, and he responded to the social media jabs with a close-up photo of the original sneakers:

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“I didn’t ask for the shoeshine, but if you must Photoshop, please focus on the hair (lack thereof), not the feet!” Morrison writes.


Source: PetaPixel

Photoshop Fail: Australian PM Had Two Left Feet in Official Website Photo

7 Lightroom Tips to Transform Your Winter Photos

7 Lightroom Tips to Transform Your Winter Photos

The frigid winter months provide an exceptional opportunity to capture unique photos, but they aren’t the easiest to create due to extreme weather conditions and the many post-processing nuances related to snowy winter photography. In this 14-minute video, I review 7 Lightroom tips that have helped me along the way with my winter post-processing workflow.

1. Change Your Background

This tip actually has nothing to do with your image, but rather the canvas you’re working on. Right-clicking the background and changing the color to white creates a good reference point for absolute white and will certainly help you with the remainder of your edit.

2. Adjusting White Balance

Adjusting the White Balance can be a tricky proposition due to the reflective nature of snow. If you use the eyedropper to target a neutral color (snow) this will almost always result in Lightroom over warming the photo. I’ve found that setting the white balance to Auto and then reducing the settings by half provides a good starting point to begin the rest of your edits.

3. Resolve Exposure Issues

Many of my winter photos usually require a bit of positive exposure in Lightroom since most camera’s metering systems like to underexpose snow. I’ll usually hold down the Option key(Mac) and drag the exposure slider to the right until I see pixels beginning to bleed through. I do this to determine how far I can push the image from an exposure perspective and then I back it off until I find an exposure level that looks good.

4. Choose Your White and Black Point

I often try to fill out the histogram by setting an absolute white and black point, but I approach winter photos in a slightly different manner. With a snowy scene I’ll pull up the white point as far as I can before clipping the highlights, but rather than bringing the black point down I’ll bring that up as well. I like the softening effect this creates in the photo – sometimes I’ll even dial in a bit of negative Clarity to exaggerate the ethereal look.

5. Add and Remove Contrast

Next time you edit a winter image try removing global contrast using the contrast slider, then add contrast back in using the tone curve. I prefer this approach as it will typically result in a smoother less contrasty look, again creating a softer feeling image.

6. Get Creative With Colors

When I think of a creative edit I immediately think of colors. There are many different ways to get creative with colors within Lightroom, but I find that adding a subtle green or blue tone to the shadows using split toning produces a great look.

7. Walk Away

This should be the easiest step in the process, but it’s often the most difficult to accomplish. I recommend this with any image, but taking a break from your edit and allowing your eyes to reset is certainly time well spent. It becomes difficult to see minor changes that you’re making to an edit after you’ve been staring at it for a while, especially winter photos.

Winter is probably my overall favorite month for photography, but it certainly comes with a unique set of challenges during post-processing and while on location. The additional work is usually rewarded though with unique images that many folks wouldn’t dare venture out in the elements to capture.


P.S. If you enjoyed this video and article, you can find more by subscribing to my YouTube channel.


About the author: Mark Denney is a landscape photographer based in North Carolina. The opinions expressed in this article are solely those of the author. You can find more of his work on his website, Facebook, Twitter, and Instagram.


Source: PetaPixel

7 Lightroom Tips to Transform Your Winter Photos

10 Times Lindsay Lohan Gave Us Life

10 Times Lindsay Lohan Gave Us Life
For over a decade, the actress, singer and now aspiring business-mogul, Lindsay Lohan, has remained a prominent figure in American entertainment. Continuously delivering some of the most laughable and at times cringe-worthy moments, Lohan is truly a beacon in the landscape of pop culture. 

Squeezing lemons into lemonade, the recovered party-girl now embarks on her latest mission with a reality show on MTV titled “Lohan Beach Club”. Yas, queen. In the rare case that you had not served witn…

Keep on reading: 10 Times Lindsay Lohan Gave Us Life
Source: V Magazine

10 Times Lindsay Lohan Gave Us Life

This is Nikon’s Updated Mirrorless Lens Roadmap

This is Nikon’s Updated Mirrorless Lens Roadmap

Nikon just released its latest roadmap for upcoming Nikkor Z Series full-frame mirrorless lenses. There have already been changes to the roadmap since it was first shown at Photokina 2018 a few months ago.

Here’s the previous roadmap that Nikon shared during its Z Series announcement on August 22nd, 2018:

It seems the 20mm and 24mm have swapped places in the timeline. The 24mm f/1.8 that was originally planned for 2020 is now set to be unveiled this year, and the 20mm f/1.8 that was supposed to arrive this year has been pushed back to 2020.

Nikon is now planning to release 7 new Z Series lenses in 2020 (up from 6), with 4 of them still not yet announced. This seems to mean that one of the lenses planned for 2021 has been bumped up a year, as now there are 7 to-be-announced lenses planned for 2021 instead of the 8 that were on the original roadmap.

Nikon just officially announced the new 14-30mm f/4 S lens today, so there are 5 more official unveilings planned over the next 12 months. One of these is the highly anticipated 58mm f/0.95hands-on photos of that lens have already started showing up, so it seems likely that an official announcement is just around the corner.

(via dc.watch via NikonEye)


Source: PetaPixel

This is Nikon’s Updated Mirrorless Lens Roadmap

9 Things I Learned From My First Photo Exhibition

9 Things I Learned From My First Photo Exhibition

One of my photography New Year’s resolutions was to start to push my work to galleries and public photography showcases. In my mind, having my work in-print and in-public are some of the most significant steps in advancing my career as a fine art street photographer.

I’ve applied to gallery spaces before but always half-heartedly — part of me thought my work wasn’t up to scratch. However, after a recent review of my work, I feel that enough individual pieces have merit to be shown off.

I was contacted in late December by someone who had initially turned down my work due to a lack of thematic consistency. He was interested in featuring a few of my prints, along with some other photographers in a space near Canada Water, as one of a few gallery spaces they’d planned. As far as I know, this was the second gallery space set up and included a few photographers who had previously showcased their work.

This was the first time since university that I’d been included in a gallery space like this, and it was definitely a learning experience I feel is worth sharing. There were a few things I’m glad I learned about from this less formal setting, so that the next time I present my work I have a better idea for what to expect, and can take advantage of more opportunities.

1. Know Your Purpose

There are a few different reasons for wanting to have your work in a gallery space, and it’s important to be aware of these beforehand in order to focus your approach.

Some may be interested simply for the exposure; others may want to monetize it through print sales. Personally, it was a combination of market research and personal pride — I wanted to experience and learn a little more in-depth about the gallery scene for future projects, and also to start the year with a self-esteem boost by being able to finally say that my work had been in a gallery space. Although all of my prints were for sale (£45 per, in a small run of 5 prints of each image), I was not too worried about making sales. Having said that…

2. Hustle

From what I saw of my fellow exhibitors who were prioritizing print revenue, the level of hustle and marketing was excellent. It is a very different experience to selling prints online or by special request (which is my preferred way to do business), as you can more easily show a potential customer exactly what they’re buying, sign it in front of them, talk in depth about the specific piece and answer questions in person. It makes it a very intimate and engaging experience.

3. Don’t Price Yourself Out of the Market

Although every photographer must independently put a value on their work, it is still immensely important to know the market and to price your work accordingly. All prints were available as A4 Giclée, which is not a format I usually print my work in — I prefer an industrial matte personally — so after some research I decided on £45 (~$57) per print.

On the opening night, on a whim, I took a look over what all the other photographers were asking for, and was pleasantly surprised to find that I was about average. I believe the highest was £80 (~$102), and the lowest around £30 ($38). I know that I wouldn’t have sold many if I’d priced them the way I usually do, so the research was worth my time!

4. Who You Know

As with many things it is really important to invite as many people as possible and to ask them to bring anyone who may be interested. It isn’t just about inviting art buyers and collectors – anyone with an interest will elevate the event into a friendlier and more sociable experience for everyone – which leaves a much better impression overall.

Before the show, we all used a template with some of our work to send out on social media as invitations. This was a great way to personalize the event, and show a little of what to expect. I advertised on social media and was surprised that I actually had people replying, asking what time, and for specific directions – I suppose I’m not used to having actual fans of my work yet!

5. Camaraderie

Something that some people may find is an expectation that a space like this would be highly competitive — many photographers’ vs few potential buyers may lead to high tensions. Luckily that’s not something I encountered here — in fact, quite the opposite!

Ideally, you want everyone’s work around yours to be just as good if not better, as the highest possible standard makes everyone look good. All the photographers were very friendly and although I’m not the most sociable person I still felt comfortable in the environment.

Everyone supported each other, whether that meant showing their friends around and introducing everyone, or complimenting and critiquing freely.

6. Merchandise

Something that hadn’t really occurred to me was the role of merchandise at this kind of event. Of course, my prints were on sale, but I feel like there’s always some naivety about new things I try, and for this, it was definitely the merchandise. Many of the other photographers had “props” in the form of small books, Polaroids, additional prints in different sizes, and even T-shirts.

I turned up emptyhanded aside from some business cards and felt very under-equipped in comparison. This was easily fixed for the second and third days, as I managed to sort out a small 6×4 photo album of images not on show at the display, which I feel is the most “me” way to handle that sort of thing.

7. Understand the Theme

Curating your own work is one of the hardest things you can do as an artist. I was told that the show would have an open theme, so I was surprised that most of the photographs worked together thematically. I applaud the organizers for finding such a diverse set of artists whose workflows so well. I made my selection based off of recent film work I was proud of. It was not the best selection of my work overall but work with vibrant color and character, with a cinematic appeal.

Many of the images at the gallery were fine art portraits, and although this is a field I would love to work in more I feel any of my current efforts would have made me feel out of my depth if displayed alongside these arguably better examples. I’m happy with my selection, and happy that I was able to maintain my integrity without having to force a series out of existing work.

8. Ego

It was truly fascinating to eavesdrop on people talking to others about your own work. I found it surreal when they enjoyed it – sometimes waving their hands over the print, mapping out my composition, or mentioning aspects I’d never even considered – and peculiar when they found fault with certain aspects as well. I occasionally wanted to interrupt and clarify or explain things, but I’m a big believer in allowing my work to speak for itself, and for my audience to draw conclusions – although if questions are asked I’m always more than happy to answer.

I’m sure that tempering my ego is something I’ll have to learn to manage as my career progresses (and hopefully improves) but it was very interesting to experience at the time.

9. Exclusivity

This is something I’ve thought about a lot in regard to other galleries I’ve visited, but it was really on the forefront of my mind when it came to my own. My issue with many photography exhibitions, especially featuring contemporary artists, is that there will very rarely be any surprises. I am likely to have seen and studied most work either on Instagram or Flickr by the time I see it in person in print in a gallery. This reduces the impact of a lot of the work in my opinion, and it’s something I was worried about happening with my own.

I would like for any gallery showing my work to be a unique experience, and for people who visit to get to see something new before it hits any kind of digital or online publication. I have already reduced the content I put out, and monitor closely images I feel may be worth showcasing in an exhibition.

Social media has affected the way I perceive my work so greatly that I feel its purpose is to give a “sense” of an image, rather than to embody the image itself. Of course, a print is much larger than a phone screen, so you can see details you may have otherwise missed, but I don’t think that is really saying much when my compositions tend to be fairly straightforward, valuing clarity over ambiguity.

The exhibition space before and after.

All four of my prints from this space are work which I have previously shown on my social media, website, and featured in articles. However going forward I am going to be playing with the idea of manipulating any digital images to truly embody that idea of giving a sense of an image rather than the image itself. This could mean only publishing tight crops of detail, or releasing in black and white, reserving color for prints.

There are lots of ways I can explore this idea, and I look forward to seeing the effect it has on my work, and on the way my work is received.


I’d like to extend my thanks to Piccell who hosted the space, and also to my fellow exhibitors, in no particular order: Ed, Yolanda, Winston, Vasilis, Danny, Caroline, Francisco, Angelos, Kareem, Santiago, Annette, Michaela, Carly, and Giorgos.


About the author: Simon King is a London based photographer and photojournalist, currently working on a number of long-term documentary and street photography projects. The opinions expressed in this article are solely those of the author. You can follow his work on Instagram and you can read more of his thoughts on photography day-to-day over on his personal blog. Simon also teaches a short course in Street Photography at UAL, which can be read about here.


Source: PetaPixel

9 Things I Learned From My First Photo Exhibition

DJI’s New Smart Controller Remote Has a Built-In 5.5″ Display

DJI’s New Smart Controller Remote Has a Built-In 5.5″ Display

DJI has unveiled a new drone controller that does away with the need to pair a smartphone or tablet to the system. The new Smart Controller features a generous 5.5-inch screen built right into the controller.

Announced at CES 2019 in Las Vegas, the DJI Smart Controller can be paired with DJI’s latest drones such as the Mavic 2 Zoom and Mavic 2 Pro, which use DJI’s OcuSync 2.0 video transmission technology. A live view of what the drone sees is displayed on the screen in Full HD resolution.

The screen itself is an ultra-bright display that has been optimized for use in direct sunlight thanks to its output of 1000 cd/m2, which is twice the brightness you’ll find on standard smartphones.

On the screen, you’ll find a customizable Android dashboard that can run DJI GO 4, DJI Pilot, and third-party apps (including editing software).

SkyTalk in the DJI Go 4 app lets pilots livestream the drone’s view to social media services such as Facebook and Instagram. DJI GO-Share lets pilots quickly transfer photos and videos from the Controller to smartphones and tablets.

The new remote controller has a 5000mAh battery with a life of 2.5 hours and can operate in temperatures ranging from -4° to 104° Fahrenheit.

Here’s a short video introducing the new Controller:

The DJI Smart Controller will be available starting today for $649. DJI will also be selling the controller bundled with compatible drones as well.


Source: PetaPixel

DJI’s New Smart Controller Remote Has a Built-In 5.5″ Display

Venus Optics’ Laowa 9mm f/2.8 is the Widest Lens for DJI Cameras/Drones

Venus Optics’ Laowa 9mm f/2.8 is the Widest Lens for DJI Cameras/Drones

Venus Optics has just unveiled the Laowa 9mm f/2.8 DL Zero-D. It’s the widest lens ever made for DJI cameras and drones.

The Laowa 9mm f/2.8 was previously released for the Fuji X, Sony E, and Canon EF-M mounts in 2018, and this new version of the lens features the same specs and optical design/performance as its siblings.

Designed for the DJI X7 on Inspire 2 drones, the new lens features a 113-degree field of view (the previous widest DL lens is 80-degrees), covers a Super35-sized sensor, and has close to zero distortion.

Here’s how the Laowa 9mm compares to the DJI 16mm:

“The lens is carefully designed to reduce the optical distortion to a close-to-zero level,” Venus Optics says. “It allows straight lines to be perfectly retained and saves videographers tremendous time in post-processing.”

Other features and specs include a weight of 0.46lbs (210g), a length of 2.36in (60mm), 15 elements in 10 groups, a 49mm filter thread, and a 7-bladed aperture.

Here are some sample photos captured by Song Gu Chun:

Here are some videos with sample footage shot using the lens:

The new Laowa 9mm f/2.8 DL Zero-D is available now with a price tag of $499.


Source: PetaPixel

Venus Optics’ Laowa 9mm f/2.8 is the Widest Lens for DJI Cameras/Drones

Kenzo Launches LaChapelle-Lensed Campaign

Kenzo Launches LaChapelle-Lensed Campaign
There’s no mistaking a David LaChapelle production, as a new Kenzo campaign shot by the inimitable French photog has proven yet again. A visual buffet replete with Kenzo and LaChapelle trademarks, the campaign highlights the French-Japanese brand’s colorific SS19 collection, as seen in LaChapelle’s lush scenography.

In a series of live tableaus, ranging from forest floors to underwater seascapes, models are seen suspended mid-motion and embodying the timeless, Neverlandian quality of the…

Keep on reading: Kenzo Launches LaChapelle-Lensed Campaign
Source: V Magazine

Kenzo Launches LaChapelle-Lensed Campaign

Portraits of Japanese Parents and Their Children

Portraits of Japanese Parents and Their Children

OYAKO is a project by photographer Bruce Osborn that consists of portraits of Japanese parents and their children. The images show differences in things like occupation and fashion between generations.

Note: There’s slight nudity below.

“OYAKO is the Japanese word for parent and child and is the title of a series I have been taking since 1982,” Osborn tells PetaPixel. “It all started with a magazine assignment to photograph punk musicians when I hit on the idea of photographing them with their parents.

“I thought it would be an amusing way to bring out the differences in lifestyles and fashions between the two generations, but what came back was infinitely more. The pictures revealed so much about family relations that it made me want to continue exploring this theme as a way of looking at Japanese society and the changes it goes through from one generation to the next.”

Parent: Sogetsu Watanabe, tea ceremony instructor. Child: Keiko Mitsui, tea ceremony instructor
Parent: Mitsunari Kida, former sumo wrestler and restaurant owner. Child: Tsuyoshi Kida, preschool student and sumo wrestler. 1984 on left and 2000 on right.
Parent: Jisaku Yamada, sushi chef. Child: Eiichi Yamada, sushi chef
Parent: Yae Nakano, housewife. Child: Shigeru Nakano, musician. Taken over a period of 30 years (1982, 1993, 2002, and 2012)
Parent: Katsuji Suzuki, carpenter. Child: Katsuo Suzuki, jr. high school student
Parent: Sheena, rock musician. Child: Junko Ayukawa, high school student
Parent: Yujiro Nakamura, theater group leader. Child: Rika Matsumoto, acting school student
Parents: Mitsuaki Ohwada, tattooist and Akie Ohwada, housewife. Child: Keiko Ohwada, elementary school student
Parent: Takeshi Koike, farmer. Child: Yoshihisa Koike, policeman
Parent: Masanari Henmi, businessman and retired. Child: Yasunari Henmi, musician. 1982 on left and 2006 on right.
Parent: Taijun Kagenaka, Buddhist monk. Child: Akira Kagenaka, Buddhist monk

Osborn shot his first photos for the project in 1982, and it has since been an ongoing life-long series. He has done over 7,000 photo shoots thus far.

OYAKO was recently published as a book. Oyako: An Ode to Parents and Children is a 144-page paperback book featuring portraits Osborn has shot over three-and-a-half decades.


Image credits: Photographs by Bruce Osborn and used with permission


Source: PetaPixel

Portraits of Japanese Parents and Their Children

The Next iPhone Will Have This Huge 3-Camera Bump: Report

The Next iPhone Will Have This Huge 3-Camera Bump: Report

2019 may be a year in which the cameras on the backs of phones become bigger and more numerous. Apple is reportedly getting in on the camera count war by increasing the number of rear cameras to three and significantly expanding the size of the module.

Digit is reporting (based on info by the reliable @OnLeaks) that Apple plans to “use a triple-camera setup housed in a square camera unit with a rather large camera bump.”

OnLeaks has created a couple of 5K renders of the phone based on current design details in the Engineering Validation Test (EVT) stage — in other words, the final design may change between now and when the phone is announced (presumably in September 2019).

“The leaked renders reveal a square camera unit housing three cameras aligned non-linearly,” Digit writes. “There are two cameras aligned vertically, similar to the iPhone XS. The render reveals there will be a third camera placed between the two, on the side. Above that is an LED flash and a microphone on the bottom.”

Apple is said to have three new iPhones it’ll launch this year, and it’s unclear which one these renders show. Digit believes it’s most likely the top-of-the-line iPhone of 2019.

It’s also unclear what the third camera’s purpose will be, but Bloomberg has previously reported that Apple was interested in acquiring 3D camera sensors from Sony. The 3D camera would be able to create 3D depth maps by measuring the time it takes light to bounce off things in a scene.


What do you think of the iPhone camera module design seen in these renders?

Samsung announced its first triple-camera smartphone, the Galaxy A7, in September 2018. Nokia is reportedly getting ready to announce a 5-camera smartphone called the 9 PureView, and the light field camera startup Light has reportedly developed a smartphone with as many as 9 cameras.

(via @OnLeaks via DPReview)


Image credits: Renders by @OnLeaks and Digit


Source: PetaPixel

The Next iPhone Will Have This Huge 3-Camera Bump: Report