Zoom Anyplace uses AI technology to automatically track subjects during close-ups. And Samsung wants to create “Humanoid Sensors” that can copy human senses. The company reportedly has a roadmap that leads to the creation of AI image sensors that can capture invisible things by 2027. With 54% of the global image sensor market last year, according to Counterpoint Research, Sony is the company that uneasily wears the crown in the industry. Samsung was next with 29% and SK Hynix has slipped into the top five with 5%.

At its SK Hynix TechSummit 2023 event held last month, the Korean chip designer revealed that it has been embedding an image sensor onto an AI chip allowing it to process data at the sensor level. Traditional sensors have to send image information to the device’s CPU for computational processing. “On-sensor AI” is expected to improve image quality, reduce processing time, and lower energy consumption.

The image sensor market, which contracted during the pandemic due to a decline in smartphone sales, is now riding a new growth wave with demand coming from mobile devices, mixed reality headsets and other extended reality products, self-driving vehicles, and robots. Samsung is hoping that the image sensors it embeds with AI end up being used to back the mobile cameras found on its smartphones.

In the dynamic world of commercial photography, staying current and adaptable is crucial for success, especially in 2024. The industry has undergone significant changes since 2020, evolving rapidly and becoming almost unrecognizable. This video delves into the essential strategies that commercial photographers must adopt to stay relevant and avoid being left behind in this fast-paced environment.

Coming to you from Scott Choucino of Tin House Studio, this excellent video discusses commercial photography strategies for 2024. A key point highlighted in the video is the rising influence of AI in photography. Choucino reassures viewers that AI is not poised to replace traditional photography soon, much like how digital photography didn’t eliminate film. There’s a clear emphasis on the growing demand for diverse content due to the constant need to feed social media platforms. This shift has broadened the scope of work for photographers, from traditional billboard campaigns to creating daily content for platforms like Instagram and TikTok. The video stresses the importance of understanding and engaging with these platforms, even if they don’t align with one’s personal preferences. Knowing how to compose images that work across various aspect ratios is now a critical skill.

Furthermore, the video touches on the changing trends in image quality and aesthetics. There’s a move towards more natural, less polished content, which aligns with the current cultural zeitgeist. This trend suggests that photographers might not need to invest in higher-resolution cameras, as the market is shifting towards a preference for lower-resolution, more authentic imagery. The video also discusses the intersection of photography and video, encouraging photographers to explore video content creation as an additional creative outlet, without necessarily replacing their focus on still imagery.

The final takeaway from the video is about managing business overheads effectively. Emphasizing the profit-first system, Choucino advises photographers to keep their expenses well within their means, avoiding debt and maintaining financial stability. Check out the video above for the full rundown from Choucino! 

Explore

Just as many staid adults were once rebellious teenagers in interesting clothing, many marine fish species enter life as flamboyant larvae that bear little resemblance to their mature forms. The juvenile scalloped ribbonfish pictured here, for example, eventually loses its flowing fin rays and grows into a teardrop-shaped adult that can reach over a meter long.

Or take the ribbon sawtail fish, which begins life with charmingly dopey eye stalks a quarter of the length of its body, and later becomes a svelte-eyed monster with an underbite full of snaggled needle teeth. Still others have guts that dangle like a second tail or offer dazzling color displays that they shed with time.

The differences between larvae and adults can be so significant that, through the 19th and 20th centuries, many larvae were misclassified as separate species or genera from the adults they would become. Scientists believe that these body changes have to do with diverging evolutionary pressures on larvae and adults.

The food-rich zone near the ocean’s surface is, after all, a very dangerous place to be tiny. The scalloped ribbonfish’s resemblance to a jellyfish with a nasty sting may be an effective deterrent to potential predators. And the ribbon sawtail fish’s eyestalks may do double duty by both easing its own efforts to find prey, and allowing it to search the water with minimal body movement that could attract creatures hoping to gulp it down.

Larval marine fish and invertebrates across the globe also participate en masse in defensive vertical migration. During the day, they descend to deeper water to avoid predators that hunt by eyesight. But by night, under cover of darkness, they rise to the surface to feed. The U.S. Navy first discovered this phenomenon in the ocean during World War II, when pings from sonar revealed a deep layer of interference that disappeared at night, like some kind of phantom web.

The ocean’s surface is a very dangerous place to be tiny.

But some knowledge of larvae’s morphological adaptations is more current. The cone-shaped trawl nets that scientists have long used to collect zooplankton, including larval fish, can mangle and break off the creatures’ ostentatious parts. And the fixatives used to preserve specimens drain their color. Recently though, the emerging practice of blackwater photography has brought these animals into clearer focus. Blackwater divers enter the water in the dead of night with bright lights and macro lenses. The resulting images of tiny creatures going about their lives in full color reveal much more about their bodies and behaviors than do their bleached, partial corpses.

Hitchhiking, for example, is ubiquitous. Magnus Lundgren, the Swedish underwater photographer who captured this scalloped ribbonfish, has also photographed nautiluses riding atop jellyfish and fish swimming among their tentacles, as well as fish and octopuses traveling inside or atop floating tunicates. What these creatures accomplish by sticking together isn’t clear. But perhaps with enough teamwork of their own, scientists and blackwater divers will illuminate answers as spectacular as the creatures themselves.

Magnus Lundgren is a decades-long, Swedish-born professional photographer who has been taking images for as long as he can remember. He is widely regarded as one of the world’s leading underwater photographers and is honored to work in the field of conservation photography. For him, conservation is the ultimate motivation. 

This story originally appeared in bioGraphic, an independent magazine about nature and regeneration powered by the California Academy of Sciences.

• Sarah Gilman

  Posted on December 29, 2023

  Sarah Gilman is a writer, illustrator, and editor who covers the environment, science, and place from rural Washington state. She’s also a contributing editor at Hakai Magazine. Her work has appeared in The Atlantic, Audubon, Smithsonian, High Country News, National Geographic, and others.

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Up until recently, most introductory photography classes in colleges and universities still taught students the basics of the medium using film and darkroom processes. These days, though, the majority of schools have transitioned to digital since it is more affordable for students and doesn’t require a lab full of equipment and chemicals. But despite the obvious benefits of digital, analog photography still serves as a valuable tool for learning the medium.

There’s no denying the advantages of digital photography. Other than the sometimes hefty price of the camera and lenses, there are few additional costs that are absolutely necessary. With how superb new cameras are, it’s possible to create strong images without much thought about the camera settings. And, of course, you get your results instantly. There’s no waiting to develop the film and then print the photos. This also enables you to adjust your settings to get a better photo in the moment; no more hoping you got it right only to discover that you missed the shot when it’s far too late to do anything about it.

However, the same features that make digital an asset can have negative consequences. The same qualities that make shooting film challenging and, at times, frustrating make it extremely beneficial for learning the ins and outs of photography. The very nature of analog photography gives it advantages for use as a teaching tool, even today. I have taught college introductory photography classes using both film and digital and saw a significant difference in the quality of the work and student growth between those two classes.

So, what is it about analog photography processes that make it so excellent for learning photography? Let’s get into it.

Film Forces a Slower Speed

Most of what makes film photography great for learning and teaching boils down to how much it makes students slow down. The act of slowing down when shooting images has multiple consequences that aid in learning the medium more intimately.

First, and perhaps most importantly, shooting a roll of film means that you have limited exposures. There’s no 1TB memory card to essentially shoot an infinite number of photos at a single shoot in order to ensure that you get a few worth keeping. Instead, you’re stuck with 36 exposures on a single roll before you need to swap out for a new one. And those rolls of film are increasingly expensive. As a result, each frame is precious. It forces students to slow down and carefully consider if something is worth taking a photo.

The act of slowing down and recognizing that each frame is a limited commodity also impacts composition. I noticed a significant difference in the compositions of students who learned on film versus digital. Students shooting film were generally much more intentional with how they framed shots. They paid more attention to the edges of the frame and were more thoughtful in how they composed their images. Instead of taking multiple images with slightly different compositions, students put more thought into a single shot of one scene.

Learning Exposure with Film

Another benefit to slowing down and shooting film is the impact it has on learning what exposure actually is and the impact of aperture and shutter speed. Since you can’t instantly see your results and adjust your settings based on that (and because each shot is precious), you’ll need to slow down and think carefully about your settings to try to get it as close to perfect the first time around. While you certainly can edit the scanned image of your film shots, those files won’t provide the same leeway as a RAW file, so it’s even more important to get things right in camera.

Being that intentional with your settings allows you to learn exposure basics much more in-depth. You must become intimately familiar with aperture and shutter speed before taking loads of photos if you want them to turn out well. Those who learn on film also learn about the relationship between those settings (exposure reciprocity), which impacts the final look of the images and how efficiently one can change the settings. With film cameras, you also have to learn how to read and understand the light meter (including how it works) and how to analyze a scene to create an accurate exposure.

Long story short, it takes a lot of learning upfront before taking many images. If you don’t want to waste a lot of film, that is.

Putting the Benefits of Film in Practice with Digital

It should be said that the above lessons can be learned with digital cameras. It takes much more intention than it does on film, forcing a mindset change. As discussed, at its core, film teaches users to slow down, which has a trickle-down effect on just about everything. So, if you can teach yourself to act that same way with digital, you can gain the same benefits.

If you’re looking to learn or improve your photography and don’t want to invest in film, there are some things you can try. On your next shoot, pretend that you have a limited number of exposures. Resist the urge to look at the playback menu. Make each individual shot count, considering the entire frame before pressing the shutter. Learn to use your light meter and work to understand how the light meter reads the scene, working towards getting the exposure right in-camera on the first try. After shooting, upload the shots to your computer and spend time reflecting on how you did and what could be improved.

Conclusion

All of the above techniques will make you a better photographer. They will help you improve your shots and make you quicker in responding to a given scene. When you have a thorough understanding of the basics of photography and the technical side of the medium, you can instead focus on creativity. It opens up the ability to come up with novel ideas and create unique shots. And, if you’re making money off your photography, it makes you more efficient, so you get more money per shot, which is never a bad thing.

Image credits: Photographs by Abby Ferguson

For landscape photographers, the choice of camera is one that can have a significant impact on their workflow and the images they can create. The recent surge in the popularity of Micro Four Thirds (MFT) camera systems, once thought to be too small a sensor for the genre, now presents an intriguing option for landscape photography enthusiasts.

Coming to you from Jason Friend Photography, The video centers on a six-week experiment with micro four thirds. Valued for its portability and cost but often overlooked for its sensor size, micro four thirds has experienced a resurgence in recent years. Friend’s experiences, ranging from initial disappointments in woodland shoots to later appreciations of the system’s creative flexibility, provide a nuanced perspective. Particularly striking is his realization that the MFT system demands a different approach to post-processing and shooting technique. This insight is important for photographers accustomed to full-frame systems, as it underscores the importance of adapting to the camera’s capabilities to achieve the desired results.

However, the journey is not without its challenges. Friend encounters limitations in dynamic range and struggles with certain shooting conditions. Yet, these hurdles do not deter him; instead, they lead to a deeper understanding and appreciation of the MFT system’s strengths, especially its compact size and versatility. The ability to carry lighter equipment and experiment with various lenses and accessories like extension tubes for macro photography significantly enhances the creative process. This shift in focus from technical perfection to creative possibilities is a crucial takeaway for photographers considering a similar transition.

If you’d like to find out if micro four thirds is right for you, give the video above a watch for the full rundown from Friend. 

NORFOLK, Va. (WDBJ) – Photographs taken by Paul McCartney offer a unique perspective on the rise of Beatlemania and they are now on display at the Chrysler Museum in Norfolk.

The exhibition is titled “Paul McCartney Photographs 1963–64: Eyes of the Storm” and has been on display for several weeks.

The Curatorial Affairs Director Mark Castro explained this exhibit is making its U.S. debut after its display in the National Portrait Gallery in London earlier this year.

“It’s a moment when the Beatles go from being a sort of local phenomenon to be a global super phenomena,” Castro said. “We’ve all seen photos of the crowds that greeted the Beatles, but now you’re seeing them for a very different perspective, you’re seeing them from the perspective of one of the Beatles themselves.”

There is no admission fee for the museum or this show. The exhibition runs through April 7th.

The Chrysler Museum has also scheduled special programming.

And a celebration on February 9th will mark the 60th anniversary of the Beatles’ first appearance on the Ed Sullivan Show.

Copyright 2023 WDBJ. All rights reserved.

The first female in professional photography in Bangladesh, Sayeeda Khanam, was remembered by her family and friends on Friday.

Drik and Yukto publications jointly launched the extended version of her book Satyajit Ray in My Eyes at an event to mark the photographer’s 86th birth anniversary at DrikPath Bhaban in the city.

Eminent educationist and cultural activist Kazi Gulshan Nahar Madina who was a close friend of Sayeeda Khanam, accepted the book on behalf of everyone.

Speakers said that she inspired generations of Bangladeshi women and opened doors for female photographers and photojournalists in the country.

They said that Sayeeda was more than her achievements and her personal collection of photos remained largely unexplored.

Eminent educationist and cultural activist Kazi Gulshan Nahar Madina said that she first met Sayeeda in the 1950s.

‘It was very surprising to see Sayeeda Khanam with her camera in the 50s that women also could be photographers. She was an inspiration for me and many women,’ added Kazi Madina.

Photographer Shahidul Alam said that he did not consider Sayeeda Khanam as a ‘female photographer’ but a photographer and a rebellious figure.

Speakers at the event said that Sayeeda Khanam was so brave that she entered the field of photography during a time when they were more strictly confined to certain socially structured roles.

They also stressed the need to preserve her works by showcasing her photographs for many enthusiast photographers.

Sayeeda Khanam was born on December 29, 1937, and died on August 18, 2020.