Issued on: 22/12/2023 – 16:12
13:04
German photographer Juergen Teller gives Eve Jackson a tour of his Paris show “I need to live” at the Grand Palais’ massive temporary space in Paris. In the exhibition he displays around 800 works, including photos of Kim Kardashian, Victoria Beckham, Yves Saint Laurent and Vivienne Westwood, as well as more personal works of himself naked on his father’s grave and images where his baby Iggy, named after Iggy Pop, recreates his most iconic photographs.
It’s been five years since the Sony a7III was released, and in my opinion, this camera changed the photo industry. But is the Sony a7III still relevant?
I can still remember the day I got my Sony a7 III. At the time, I was already very much in love with mirrorless cameras and was photographing weddings full-time on Fuji mirrorless cameras. To me, these Fuji cameras were as close as I had seen a mirrorless camera get to the performance of a high-end DSLR setup. But the key word here is “close”. Although these Fuji cameras were great, they were still not as good as their DSLR counterparts. However, for me, the benefits of mirrorless were enough to overlook their shortcomings.
Then, on a whim, when the Sony a7III was announced, I decided to get a loaner just for review purposes. I had no intention of even considering purchasing this camera. I simply thought it would be fun to play around with. But after the first hour of use, I quickly realized just how good this camera was. So much so, that I immediately sent an email saying that I would not be sending the camera back and asked for the best way to send payment for the gear. I then wrote an article explaining why I think the Sony a7 III is the best camera you can buy for wedding photography.
But why? For me, this camera was a game-changer for the mirrorless industry as a whole. It was the first camera I had used that not only surpassed the autofocus speeds of my DSLR while being in the low $2,000 price range but also was the first affordable and fully capable full-frame mirrorless camera on the market. The a7III had the perfect resolution for my needs at 24 MP, providing great dynamic range, low light ability, in-body image stabilization, dual card slots, and so much more. All this in a smaller and compact size. Not only that, but the autofocus was faster, more accurate, and offered more features than my Fuji setup and my past Nikon DSLR setup, with innovations like Eye-AF, which has since become a staple in every up-to-date camera.
Now, the a7 III wasn’t perfect, and the camera market has evolved a ton since its release. So, why am I even talking about it? The main reason is the price. While the release price was part of the reason that this camera was so successful, the current price drop has brought this camera back into the limelight. Currently, it’s listed at $1,298, which is $700 off its release day price.
At this price, I think this camera would make an easy buy for anyone trying to get into photography, wanting to go full frame, or even for those that have held on tight to their DSLR not wanting to pay to upgrade. While there are cameras out there that have better features, I’d argue this is the best bang for your buck deal on the camera market. So, if you want to upgrade from one of those entry-level cameras and step into a professional setup, but can’t justify the prices of the most recent releases, I think the Sony a7 III could be the answer for you.
DIORAMA – a series of three freestanding mixed media sculptures by artisans Amy Cushing and Lara Sparey – distills a variety of multidimensional scenes into an amalgam of colored glass and black metal artifacts to offer respite from the din of existence. This collaboration between the unique graphic stylings of public artists Cushing, maker of bespoke colored glass, and Sparey, a metalwork artist, is born from friendship, a deep appreciation for the other’s specialty, and a fusion of robust industry knowledge.
All objects in the series are one-off pieces – roughly 12 x 9 x 6 inches each – composed of powder coated steel, either black or off-white, with dichroic kiln-formed glass and mica accents. Though seemingly contrasting crafts, the partnership indicates where the artists are in exploring the boundaries of their work, respectively, as Cushing experiments with metal’s structural implications and Sparey accentuates the precision of her material against a second element.
DIORAMA Sculpture – Foundry on view with Smithson Projects
The joint endeavor holds great potential for scaling up, with aspirations to interrupt or activate architectural spaces of the interior and exterior kind, as the duo are slated to develop this visual language further. Fresh colorways and designs are in progress due to launch February 24, 2024.
DIORAMA Sculpture – Lunar on view with Smithson Projects
Contemporary art is often a byproduct of arrogance or a symptom of the maker’s ego with very little to say. DIORAMA does not shirk the responsibility to have meaning behind the minimalist aesthetic. Instead, it invites the viewer to participate in an active dialogue with each piece by speaking to individual imaginations and unique human experiences. “In a world of chaos, there is something reassuring and inspiring about creating one’s own joyful place, getting lost and disappearing,” Cushing and Sparey say when asked of the series’ greater context. “That is what we did when creating the work, and that is what we hope for people moving forward.”
DIORAMA, by Amy Cushing and Laura Sparey, on view to create a continuous vista
DIORAMA Sculpture – Vista
Vista
Rural landscapes are made more romantic as Vista captures rolling hills and light leaks through tree canopies across a sun-drenched countryside.
DIORAMA Sculpture – Lunar
Lunar
An urban skyline flirts with the moon as it pierces a cloud in the ethereal moment emulated by Lunar’s dream-like architectural cityscape.
DIORAMA Sculpture – Foundry
Foundry
A nod to the trade, Foundry borrows bits and bobbins from vague machinery forms, factory rooftops, and the concept of production.
Artists Amy Cushing and Lara Sparey
Amy Cushing’s principal source of inspiration is color and the language it conveys. Her glass work is material and process led, often abstract and site-specific having been multidisciplinary trained in Public Art. Amy has an extensive knowledge of the technical and aesthetic compatibility of glass colors; hand-crafting unique artwork, sculptures, and large scale installations.
Lara Sparey is a metalwork artist creating large scale work for public spaces. With a strong graphic and bold illustrative quality, much of Lara’s work uses precise CNC manufacturing processes such as water jet and laser cutting, sandblasting, and routing. Lara also teaches design and is an established printmaker.
Photos in situ and biographies courtesy of Smithson Project.
Silhouetted photography by Agata Pec.
“Best of Show” prize in the 2023 DPG Masters Underwater Imaging Competition has been awarded to Italian photographer Marco Gargiulo for The Passenger, his split-shot (above) of a juvenile imperial blackfish riding a jellyfish beneath the Mount Vesuvius volcano. The Italian’s photograph also took the Gold award in the Over-Under category.
The winning images and short films entered in the annual contest have just been announced, with the website DivePhotoGuide, which organises the event, saying that thousands of photographers and film-makers from dozens of countries had competed in what it describes as the “world championship” of international underwater imaging events.
Entries in the seven image categories and video section were judged by a panel of photographers comprising Stephen Frink, Renee Capozzola, Scott ‘Gutsy’ Tuason, Allison Vitsky Sallmon, Matty Smith and Amanda Cotton.
Top three and Highly Commended awards are given in each category, with the winners sharing prizes valued at US $75,000. As in previous competitions, 15% of the entry fee proceeds is earmarked for marine conservation.
“It’s not often you see snow on the Vesuvius volcano here in the Gulf of Naples, where I live in Sorrento,” said Gargiulo of The Passenger. “It soon vanishes due to the mild temperatures. I’ve always wanted to take a photo, and I finally managed to get into the water to do it.
“During my walk along the Marina Grande in Sorrento, my usual place for winter night-diving, the wind pushed a large quantity of jellyfish along the coast. I was lucky to find one that had a small passenger on board.”
“Most remarkable for me is the juxtaposition of a blackwater subject against wide-angle topside with sunlight,” commented judge Capozzola. “I initially thought this must be a composite, so to learn this photograph was one image clinched the decision in my view.”
“Possibly the highest compliment I can give an underwater shot is wondering: ‘How did they do that?’,” added Frink. “I look at this over/under and marvel at how perfectly aligned the interface is between the topside and the underwater, despite the surface chop.
“The blend of strobe light for the underwater subject and the ambient light in the background is masterful. Combining artistic vision with significant technical mastery makes this the winner for me.”
(Taken with a Nikon D850 + 16–35mm f/4 @ 35mm, Nauticam housing with 9in dome, dual ONEUW One 160X strobes, f/13, 1/200th, ISO 110)
Gold in the Traditional category went to Sea Lions At Work by Fabien Michenet from France, a photograph taken in Baja California. “Every year, in the south of Magdalena Bay on the Pacific coast of Mexico, a sardine run occurs between October and November,” says Michenet.
“As millions of Pacific sardines gather over seamounts, fin whales, humpbacks, striped marlin, mahi-mahi, Pacific sea-lions and other predators are attracted by the feast.
“After a few hours of searching, we found this baitball of densely packed sardines, and we observed marlin and mahi-mahi – particularly abundant this year due to the El Niño phenomenon – feeding on the fish.
“Suddenly, a group of sea-lions took over the area, denying other predators access. Keeping the sun at my back, I positioned myself so that the scene was illuminated symmetrically, taking a few images as the ball of churning fish, surrounded by sea-lions, moved away.”
(Taken with a Nikon Z8 + AF-S 16-35mm f/4 @ 16mm, Nauticam housing, f/7.1, 1/400th, ISO 640)
UK diver Byron Conroy, whose work scored highly in several categories of the competition, won in the Macro category with Gone Fishin’, taken in Indonesia’s Lembeh Strait, Sulawesi. “For a long time, I have been an admirer of frogfish,” he said. “The way they hunt fascinates me, so the challenge was to capture this special behaviour in all its glory.
“To get this shot, I had a snoot positioned on my camera locked in place, and waited patiently for the moment when the lure came out. A shot like this can take patience, as the fish needs to be relaxed to exhibit its usual behaviour.
“The snooted subject with the black background draws the eye into the action, and the black negative space was chosen to give the idea that any potential meal could be about to enter the scene.”
(Taken with a Sony a7R Mark V + FE 90mm f/2.8 macro lens, Nauticam housing, Retra Pro strobe + LSD snoot, f/11, 1/200th, ISO 80)
Gold-winner Wishing Well, showing a crab-eating macaque gazing at the water from the edge of a rocky platform, as seen through Snell’s Window {where everything topside appears through a 96° cone of light), was taken in Thailand by Kuwaiti photographer Suliman Alatiqi while on a tour of the Phi Phi Islands.
“I noticed that the animals tend to stay on cliffs close to the water during the day,” he said. “This made me think about the possibility of capturing an underwater perspective of the animal with the scenery above.
“The biggest challenge was lighting a subject completely above the water, as I did not want a silhouette. After some experimenting, I waited patiently for the right opportunity and managed to get this moment on breath-hold. The macaque seemed inquisitive about my approach, which made the photo possible.”
(Taken with a Nikon D850 + AF-S 8-15mm f/3.5-4.5 fisheye lens, Nauticam housing, dual Sea&Sea YS-D2J strobes, f/20, 1/250th, ISO 280)
“When we went out to sea in the morning, we passed a small island and saw the fishermen on the island cutting up sharks and throwing the unused parts on the beach,” said Chinese photographer Yinan Liu of his winning shot in the Conservation category, Massacre. Like the winner of the Traditional category, it was taken in Magdalena Bay in Mexico’s Baja California.
“When we returned in the afternoon, due to the high tide, the abandoned parts had been brought out into the sea, allowing me to go under water and capture this heartbreaking scene. I hope that through this photo, more people can work together to protect sharks. If there is no trade, there will be no killing.”
(Taken with a Canon EOS 5DSR + 8-15mm f/4 fisheye lens @ 15mm, Nauticam housing, f/10, 1/250th, ISO 200)
Another image captured in Mexico was Parallel Universes by Martin Broen, but this time it was taken in Cenote Xa’ay Ha, Tulum on the Yucatan peninsula. The US photographer had also topped the Black & White category in the previous two years, as well as scooping the Grand Prize on both occasions.
“Over the year, I have had the pleasure of capturing the beauty of over 250 different Mexican cenotes,” he said. “One of the most fascinating aspects of these cave systems is their stunning formation enclosure and decorations, and the ability to move freely to explore them in every direction and in a perfectly translucent environment.
“Nothing exemplifies this freedom of movement more than breaking from your bi-dimensional constraints and jumping into vertical opening tunnels – as if entering a parallel universe.”
(Taken with a Sony a7R Mark III + Canon 8-15mm f/4 fisheye lens @ 15mm, Nauticam housing, dual Bigblue 15,000-lumen lights, f/6.3, 1/50th, ISO 6400)
Gold in the Blackwater category went to the colourful Flamenco Pose by Sweden’s Magnus Lundgren, taken in Anilao, Batangas in the Philippines.
“It was a night filled with drama when I encountered one of my dream subjects in Balayan Bay,” he says. “The Taal volcano was erupting, sending fireworks into the dark sky like a huge dragon, and the deep, thundering sound of earthquakes rolled through the ocean.
“At the same time, this female blanket octopus appeared from nowhere, out of the dark, in front of my camera. She started rolling out her long blanket, ending up in this Batman-like pose.
“False eyes decorating her flamenco-style webbing between her arms stared back at me. It is believed that the blanket is probably used to spook or confuse predators.”
(Taken with a Nikon D850 + AF-S 60mm f/2.8 macro lens, Nauticam housing, Inon Z-330 strobes, f/16, 1/250th, ISO 320)
The Magic Triangle tells “an illusory story of an ocean-lover who dives through a hole in the ice and experiences the bizarre beauty of the tropical ocean”, explained videographer Alfred Schaschl, who shot his Short Film winner in Weissensee, Carinthia, in his home country of Austria, and also in Dauin in the Philippines.
(Taken with Panasonic Lumix GH5s, Isotta housing, three Olympus lenses: 60mm f/2.8 macro, 8mm f/1.8 fisheye and 12mm f/2 wide-angle, Nauticam SMC-1 diopter, Atomos Ninja V recorder/monitor, Backscatter MW-4300, Weefine Solar Flare 5000 and X-Adventurer M15000 video lights)
Five UK divers featured among the runners-up, including further successes for Byron Conroy (Silfra Sunrise, Silver / Black & White and Speedy Boxfish, Honourable Mention / Macro); Simon Hilbourne (Problem Props, Bronze / Conservation); Annie Guttridge (Trio, Bronze / Wide Angle); Francis Glassup (Amongst Clouds of Sediment, Honourable Mention / Black & White); and Michael Fafalios (Beneath the Horizon, Bronze / Short Film).
All the winning images and videos can be found at UnderwaterCompetition.com.
Also on Divernet: Spitting image scoops pool in contest, Planet Ocean: Tides Are Changing winners, Winning images for World Oceans Day 2022
All images © Steeven Salvat, shared with permission
Sprouting between windows and tucked around corners, Steeven Salvat’s wheatpastes add a dose of natural history to everyday urban life. The French artist has spent the last few years meticulously rendering gem- and mechanic-encrusted beetles and butterflies, amassing a vast insectarium that draws attention to the intersections of art, science, and history and underscores the preciousness of each creature.
During the last two years, though, Salvat has begun to consistently work outdoors and on walls, creating public pieces that capture his painstaking linework on a larger scale. Whether painted in acrylic or slathered with wheatpaste, the realistic renderings are similarly detailed and delicate, conveying the smooth fur of a field mouse or the fluffed plumage of a bird mid-flight. Many of his recent works, part of the ongoing Petite Nature project, pair renditions of oversized dried flowers with tiny creatures “to awaken awareness on the fragility of ecosystems such as grasslands and natural water points, often sacrificed in the name of urbanisation.”
In addition to the wall works, Petite Nature also features smaller drawings on paper, which will be on view in January at Le Cabinet d’Amateur in Paris. Salvat generously shares glimpses into his process on Instagram, and you can find originals, prints, and postcards in his shop.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Finely Rendered Birds and Animals Cling to Dried Flowers in Steeven Salvat’s Wheatpastes appeared first on Colossal.
When we asked stalwart KC photographer Courtney Crutcher-Staton for a brief, but all-encompassing bio, she led with this: “I’m a firm believer that I am not for everyone. I can be loud, goofy, and borderline ridiculous,” she says. “I say what I think and mean what I say. I am too much for many. That’s okay, they can go find less.”
Well, as the “unapologetically different” owner of Stag & Bird Curated Photo Experiences, Crutcher-Staton must be doing something right. She recently cleaned up in The Pitch’s Best of KC 2023, sweeping three separate categories: Best Engagement Photographer, Best Wedding Photographer, and Best Photography Business. 
The take-no-prisoners shutterbug is clearly making an impact in the metro—along with some priceless memories for families, newlyweds, and grads. “I make sure to run my business in the same way I live my life—no bullshit, no unnecessary fluff with a lot of heart, talent and love for what I do,” she adds. “Getting to know my clients and their unique stories is my favorite part of the job. When it comes to my work I’m a fan of the funky and fun—and I love trying new things in composition and technique.”
We caught up with the lensmaster extraordinaire between shoots to bombard her with our bananas-bonkers questionnaire. We’re still seeing spots from the litany of flashbulbs that went off every time she’d finish answering a question.
The Pitch: What’s a super-secret photography hack that we absolutely must know?
Courtney Crutcher-Staton: The super-secret hack is there is no secret. People take things way too seriously and don’t take photos for the sake of taking photos anymore. They do it just to post online for likes. Stop trying to create content and instead focus—pun intended!—on making art.
When we get back to taking photographs of things, people, and places we love then we will learn to cherish more. The hack? Take the damn photo. Pull out your crusty, rusty iPhone 6 for all I care.
Just. Take. The. Photo.
What’s been your biggest cooking and/or kitchen mishap?
I’m a terrible cook, mostly because I get sidetracked and cannot stay focused on the task. My former father-in-law used to say that we knew the food was done when my smoke alarm went off.
I once was tasked with simply “keeping an eye” on a steak warming up on the grill on my covered deck. I was doing the dishes inside and happened to glance out the window to see a brand-new, super-nice grill up in flames. At the same time, my backyard neighbors were sprinting across the lawn to try to save me (or maybe just the grill). Luckily, I didn’t burn the house down and barely any paint peeled. The grill though? She was done-zo.
Finish this sentence: The world’s funniest comedian is …
… Iliza Shelesinger. I don’t know many comedians but she’s funny as shit. Really nails that “elder millennial” thing. Sometimes I think she’s speaking my life back to me. I wish I could imitate her dragon sound. I’d walk around the grocery store making that noise if I could. 
Folding laundry or putting away the dishes—which is infinitely worse?
Look, man—I am not a domestic goddess. Both the dishes and laundry are bad, but since you narrowed it down to folding and not the putting-away-part. I can fold all damn day. I’ll fold my clothes, my fiancé’s, my teenager’s. Hell, I’ll even match my 9-year-old’s socks. But, put them away? Nope.
I don’t even have a dresser any more. I love good fashion pieces but they better hang well or be okay shoved in the drawer. The catch is I still do the Kon-Marie method of very particular folding. But to actually put them away so neatly? Nah, hard pass.
Bonus 5th Question: Describe the perfect pillow in extreme detail. And how much are you willing to spend on it?
I have yet to find the perfect pillow. A few years back I splurged and bought these fancy-schmancy memory foam pillows that are flat on one side and curved on the other. The only thing they got right was the size. Otherwise, they’re absolute trash.
Both my fiancé and I hate them—and I’m mad I spent money on them. They were like $100 each. I’m better off going to Target once a year and buying the $15 extra firm, king sized, overstuffed pillows and then tossing them when they get too balled up. If someone can make a pillow for a back and side sleeper that stays cool and fits my neck right that would be great. But also, I am no longer willing to spend money on pillows—so it better be a $30 price point.
Indian designer Palaash is co-founder of soft-geometry alongside his wife, Utharaa Zacharias. Their San Francisco-based studio practice is focused on making collectible furniture, lighting, and objects centered around softness and hand-making.
Texas-born and Chicago-based, Holly is a triple-threat with a good business mind, great taste, and striking instincts. Her 50-year career in interior design has inspired change and innovation throughout the industry, particularly in its approach to showrooms.
San Francisco Eichler Photo: Seth Smoot
Christine is the principal and founder of Form + Field, an interior design firm promoting joy and well-being through empathetic and creatively integrated interiors. A multi-disciplinary creative, she cultivates every project as a partnership.
The Grand Mulberry Photo: Glen-Gery
What Morris, founder and principal of Morris Adjmi Architects, is best at is revitalizing post-industrial neighborhoods and historic districts with architecture that bridges the past and the present.
Ironic Meets Iconic Photo: Corey Szopinski
Amy describes her approach as subtractive, peeling back the layers of a space to find the soul of every home. Her resulting modern rebuilds use thoughtful materials to enhance – not overwhelm – the space underneath.
Utah European Modern Photo: Amy Bartlam
Molly, co-founder and principal designer at Light and Dwell, studied interior design as she grew up, fascinated by creativity and transforming spaces. Now, she designs homes where families can gather, entertain, and lounge while creating memories.
Harlem Brownstone Staircase Photo: Duplex Imaging courtesy Courtney Bolster
Anna is CEO and co-founder of Bolster, a New York City-based firm offering in-house design, architecture, and build services. So far, she has completed 100+ renovations throughout New York City and in Mexico, where she’s originally from.
Photo courtesy RISD Social Gretel
The New York-based graphic designer is Head of Design at Gretel. Dylan’s expertise lies in translating core values, strategy, and voice into striking visual executions for big name clients.
Rudolph Project Photo: Haris Kenjar
Steve, partner, AIA at Hoedemaker Pfeiffer, is a third-generation Seattle native whose life always brings him back to the region and his family farm located in the San Juan Islands. He even names the plot as one of his most treasured possessions.
MENU Stance Vase Photo: Rich Stapleton
Colin has mastered how to execute and capture visual storytelling through the arranging of objects. The experience has led him to make an unspoken promise to the forgotten corners of the home, that he would transform them into something worthy of attention.
Check out the rest of Design Milk’s end of the year coverage here!
Many creative professionals are worried that artificial intelligence may soon take their jobs. This includes fellow photographers. Whether this is a legitimate cause of concern or not is certainly a complex debate we could spend hours on. One thing is for sure, though. As industry professionals in such a cut-throat industry, being able to adapt is of the utmost importance. We might fall behind otherwise. I know I am taking advantage of every tool at my disposal, and have definitely used AI to make my professional photography better. I will give you some clear examples in this post.
Edgar Cervantes / Android Authority
As a product photographer, I am not always totally familiar with the products I shoot. Of course, my expertise is tech, so I can always think of clever images that portray what the client wants for these types of items, but there are subjects I’m not very familiar with.
For example, I was recently hired to shoot images of artificial grass. As a lifetime renter with no interest in landscaping, I must admit I was left with a big blank concerning this shoot. What is it that artificial grass customers even look for? Instead of digging through forums, product pages, and more, I turned to AI for some help.
After a quick query, here’s what Google Bard suggested:
And just like that, I had a great proposal for the product photography project. Of course, I happen to like Bard, but you can also use competitors like Bing Chat or ChatGPT.
Edgar Cervantes / Android Authority
Communication is an art. In fact, people make communication a career and sharpen their social skills for years just to communicate with people effectively. This is what makes journalists, reporters, public relations representatives, and human resources specialists so special.
While my social skills are pretty good, if I do say so myself, I can often use a little help. I always use Google Bard to improve emails before sending them to my clients. I often want emails to sound professional, welcoming, and friendly. Whenever I write an email for a client, I run it by Google Bard and ask it how the email reads. If I am not convinced by the results, I can just ask it to give me suggestions on making it a better email.
Additionally, I often find myself asking Bard for help creating an email from scratch. An example of a query would be something like: “Create a template for an email in which I am sending a photography client a quote.”
Edgar Cervantes / Android Authority
Here’s a very helpful one. People often underestimate the time and effort it takes to plan a photo shoot. Doing something at the studio may be more predictable, but things get much more complex once clients ask for lifestyle photos. And they most often do.
I like to think of AI as my personal assistant. Luckily, this one doesn’t require a salary! How can an AI chatbot help? Mostly for planning. For example, I had to shoot some gift boxes earlier this year. The client wanted the session done at a very famous park in San Diego, CA. I used Bard to find out details like the weather, foot traffic, the local golden hour time that day, and things like any admissions or other costs a photo shoot there would require. Most importantly, I made Bard research any details on possible required permits that would be necessary for a commercial shoot at this location, whether they are enforced by the park or the City of San Diego. We don’t want to get fined, right?
Of course, Google Bard can make mistakes, so it’s always best to double-check everything. That said, Bard can also provide links to official sites with more information regarding all these topics. At the very least, it’s a good main source of information to shorten your research time.
Do you take a lot of photos of smaller objects? I do. For example, here at Android Authority, we shoot photos of a bunch of smartphones, smartwatches, accessories, tablets, etc. If you find yourself in a similar boat, you will know how impossible it is to avoid dust particles and lint in your photos. Seriously; it doesn’t matter how much you clean the area and products, these little peskers will always show up! Removing them is a very time-consuming and annoying process, too.
AI can help with this! And I use artificial intelligence to spot heal dust particles and lint all the time. My favorite tool for this is Luminar Neo. While not perfect, it usually takes care of most of the work in seconds. I can then go in and manually handle what it missed. As a result, I can get rid of all the dust and lint in about a minute, something that would otherwise take me 10-15 minutes.
Just keep in mind that Luminar Neo is not free. It requires a subscription plan that starts at $14.99 per month. You can also get a lifetime subscription that costs $599 if there are no promotions running, but there usually are.
While editing a photo on Luminar Neo, you can just expand the Erase option and select Remove Dust Spots.
Here’s a sample of how well this works:
As mentioned above, AI is not perfect. There are still some dust specs in there. It also made some pretty significant mistakes. For example, it got rid of the front-facing camera on the main device, as well as the speaker hole in the phone to the left. Those are things I can manually fix in a few seconds, though, and the tool saved me a ton of work.
Luminar Neo is my favorite AI photo editor, but we also have a list of the best AI photo editors if you want some alternatives. That said, the reason why I like Luminar Neo is because it seems to find a good balance between control and AI aid. Some other AI editors can take away some control and will often output something photographers aren’t completely happy with. I like being able to fine-tune my edits.
All that said, Luminar Neo, to me, works more as a tool to speed up my editing workflow. Aside from removing dust particles from an image, I can do things like increase the eye size, make a body thinner, focus on only face thinning, improve eye details, make lips redder, etc.
The software will analyze the image and recognize all these elements in the photo. It knows which are the eyes, the face, the torso, the arms, etc. Once you make your changes, you can dig deeper into each setting and further customize these enhancements, to make them look as you wish.
Let’s use the following image as an example:
I did a quick edit as a sample, to show you what AI photo editing can do. OK, so I manually edited the exposure and contrast a bit. The fun starts with the other edits, though. Using AI help, I brought out some detail in the face skin, which is mostly the focus of the image. Luminar Neo can also recognize eyes and eyebrows. In this image, the subject’s eyes are an important element, so I gave the iris more brightness, detail, and color intensity. It also knows how to recognize eyebrows, so I made them a bit darker to draw more attention to the general direction of the eyes. The AI can also recognize lips, so I used the sliders to make these a bit brighter and redder. You may notice I also made her overall body slightly thinner.
Time is money, and thanks to AI I can save myself a bunch of it.
Of course, these are all edits any proficient photo editor can do. The trick here is that, after timing myself, I found that all these edits took me two minutes and 34 seconds. If I had done all of this manually, it would have taken me about 15 minutes or so. At least to do it carefully and make it all look realistic enough. To be honest, without AI, I likely wouldn’t have bothered with some of these edits, such as the eyebrows and making the body thinner, unless asked to.
Just keep in mind that Luminar Neo is still meant to be a more professional editor than most. You will have to already know most photography terms and concepts, as well as which slider and setting does what. It will definitely cut down your editing time, though.
As they say, time is money, and thanks to AI I can save myself a bunch of it.
How do you guys use AI to improve your professional photography? I would love to get more tips. Also, if you use AI in other fields, it will be very interesting to learn about your experience with this innovative tech.
Most AI photo editors don’t just edit photos for you. They are mostly meant to aid you in the process of editing, or make it much easier so you can speed up your workflow. Of course, there are AI image generators that can just create images from queries, and some other AI photo editors can make editing much easier than traditionally done.
I don’t think AI will replace actual photographers anytime soon. This is an artistic career, and the human element continues to be a very important part of the equation when it comes to photography. Good photos are meant to evoke feelings, which AI likely doesn’t understand quite as well as we do. Additionally, AI-generated images don’t look very natural yet, lacking that human ingredient that allows people to connect with a good photo. This may change soon, though, and many clients might prefer the ease, speed, and convenience that AI offers. Not to mention, AI tools are either free or much cheaper than paying someone.
