Check out this eye-popping capture of the World Cup celebration in Buenos Aires, and see pilot Ale Petra’s Instagram feed for lots more FPV goodness:

The ongoing California storms have beaten the hell out of beloved little communities like Capitola, where the pier & cute seaside bungalows have gotten trashed. I found this effort by local artist Brighton Denevan rather moving:

@brighton.denevan

PERSEVERE 💙 • 1-6-2023 • 3-5:30 • 8 Miles

♬ original sound – brightondenevan

The Santa Cruz Sentinel writes,

In the wake of the recent devastating storm damage to businesses in Capitola Village, local artist Brighton Denevan spent a few hours Friday on Capitola Beach sculpting the word “persevere” repeatedly in the sand to highlight a message of resilience and toughness that is a hallmark of our community. “The idea came spontaneously a few hours before low tide,” Denevan said. “After seeing all the destruction, it seemed like the right message for the moment.” Denevan has been drawing on paper since the age of 5 and picked up the rake and went out to the beach canvas in 2020 and each year I’ve done more projects. Last year, he created more than 200 works in the sand locally and across the globe.

Obsessive (in a good way) photographer & animator Brett Foxwell has gathered & sequenced thousands of individual leaves into a mesmerizing sequence:

This is the complete leaf sequence used in the accompanying short film LeafPresser. While collecting leaves, I conceived that the leaf shape every single plant type I could find would fit somewhere into a continuous animated sequence of leaves if that sequence were expansive enough. If I didn’t have the perfect shape, it meant I just had to collect more leaves.

[Via]

Happy Friday. 🫧

“My whole life has been one long ultraviolent hyperkinetic nightmare,” wrote Mark Leyner in “Et Tu, Babe?” That thought comes to mind when glimpsing this short film by Adam Chitayat, stitched together from thousands of Street View images (see Vimeo page for a list of locations).

I love the idea—indeed, back in 2014 I tried to get Google Photos to stitch together visual segues that could interconnect one’s photos—but the pacing here has my old man brain pulling the e-brake after just some short exposure. YMMV, so here ya go:

[Via]

Who’s got two thumbs & just pulled the trigger? This guuuuuy. 😌

Now, will it be worth it? I sure hope so.

Fortunately I got to try out the much larger & more expensive One R 1″ Edition back in July & concluded that it’s not for me (heavier, lacking Bullet Time, and not producing appreciably better quality results—at least for the kind of things I shoot).

I’m of course hoping the X3 (success to my much-beloved One X2) will be more up my alley. Here’s some third-party perspective:

This little guy looks like a kick in the pants to fly, and “turtle mode”—which gives the drone the ability to flip itself over & fly again after a collision—seems really smart:

Somehow I totally missed this announcement a few months back—perhaps because the device apparently isn’t compatible with my Mavic 2 Pro. I previously bought an Insta360 One R (which can split in half) with a drone-mounting cage, but I found the cam so flaky overall that I never took the step of affixing it to a cage that was said to interfere with GPS signals. In any event, this little guy looks fun:

Speaking of 360º vids, Stewart & Alina share a range of great points on “reframing with purpose” (serving the storytelling), plus technical details on relative sharpness (it’s much greater towards the center), color profiles, and more.

At nearly twice the price while lacking features like Bullet Time, the Insta360 One RS 1″ had better produce way better photos and videos than what come out of my trusty One X2. I therefore really appreciate this detailed side-by-side comparison. Having used both together, I don’t see a dramatic difference, but this vid certainly makes a good case that the gains are appreciable.

I love seeing how Anthony Schmidt, a 13yo photographer with autism, treats his neuroatypicality & resulting hyperfocus as a blessing. It’s a point I try to gently impress upon my own obsessive son about our unusual brains. Check out Anthony’s story & his pretty damn impressive model-car photography!

Cristóbal Valenzuela from Runway ML shared a fun example of what’s possible via video segmentation & overlaying multiple takes of a trick:

As a commenter noted, the process (shown in this project file) goes like this:

1. Separate yourself from the background in each clip
2. Throw away all backgrounds but one, and stack up all the clips of just you (with the success on top).

Coincidentally, I just saw Russell Brown posting a fun bonus-limbed image:

View this post on Instagram

A post shared by Russell Preston Brown (@dr_brown)

Well, they do call themselves a camera company… ¯\_(ツ)_/¯ This little contraption looks incredibly lightweight (pocketable, even) and easy to use. Visual quality (particularly stabilization) seems a little borderline, but I dig its person-centric nature, including tracking & AR effects (segmentation, cloning, etc.). Check out a great review—including a man-machine “romantic montage” (!):

Great to see Adobe AI getting some love:

Adobe Super Resolution technology is the best solution I’ve yet found for increasing the resolution of digital images. It doubles the linear resolution of your file, quadrupling the total pixel count while preserving fine detail. Super Resolution is available in both Adobe Camera Raw (ACR) and Lightroom and is accessed via the Enhance command. And because it’s built-in, it’s free for subscribers to the Creative Cloud Photography Plan.

Check out the whole article for details.

Good lord!

PetaPixel writes,

Finnish photographer Juha Tanhua has been shooting an unusual series of “space photos.” While the work may look like astrophotography images of stars, galaxies, and nebulae, they were actually captured with a camera pointed down, not up. Tanhua created the images by capturing gasoline puddles found on the asphalt of parking lots.

Check out the post for more images & making-of info.

Waaaay back in the way back, we had fun enabling “Safe, humane tourist-zapping in Photoshop Extended,” using special multi-frame processing techniques to remove transient elements in images. Those techniques have remained obscure yet powerful. In this short tutorial, Julieanne Kost puts ’em to good use:

In this video (Combining Video Frames to Create Still Images), we’re going to learn how to use Smart Objects in combination with Stack Modes to combine multiple frames from a video (exported as an image sequence) into a single still image that appears to be a long exposure, yet still freezes motion.

Roughly forever ago, when I was pushing the idea of extending the Photoshop compositing pipeline to include plug-in modules (which we did kinda succeed with in the form of 3D layers—now sadly ripped out), I loved the idea of layers that could emit & control light. We didn’t get there, of course, but I’m happy to see folks like Boris FX offering some cool new controls:

In Death Valley a couple of weeks ago, my 12yo Mini Me Henry & I had fun creating little narratives in the sand. I have to say, it’s pretty cool how far a kid can get these days with a telephone & handful of plastic bricks! Here’s a little gallery we made together.

Elsewhere, I’m perpetually amazed at what folks can do with enough time, talent, and willpower:

My son Henry & I were super hyped to join Russell Brown & his merry band last Monday at Nevada’s deeply weird International Car Forest of the Last Church for some fire photography featuring pyrotechnic artist Joseph Kerr. As luck would have it, I had to send Henry on ahead with little notice, pressing my DSLR on him before he left. Happily, I think he did a great job capturing the action!

View this post on Instagram

A post shared by John Nack (@jnack)

Russell of course caught some amazing moments (see his recent posts), and you might enjoy this behind-the-scenes footage from Rocky Montez-Carr (aka Henry’s kindly chauffeur 😌🙏):

View this post on Instagram

A post shared by Russell Preston Brown (@dr_brown)

Lately I’ve been drawn to bold lighting of the face & body, both for black & white and stunning color:

Therefore I really dig this music video from Lusine, which leans into the myriad possibilities inherent in moving lights around a face:

[Via Cameron Smith]

Some 20+ years ago (cripes…), 405: The Movie became a viral smash, in part thanks to the DIY filmmakers’ trick of compositing multiple images of the busy LA freeway in order to make it look deserted.

Now (er, 8 years ago; double cripes…) Russell Houghten has used what I imagine to be similar but more modern techniques to remove car traffic from the streets, freeing up the concrete rivers for some lovely skateboarding reveries:

I’m headed out to Death Valley on Friday for some quick photographic adventures with Russell Brown & friends, and I’m really excited to try photographing with burning steel wool for the first time. I’m inspired by this tutorial from Insta360 to try shooting with my little 360º cam:

“Just don’t be horrendously disappointed if it doesn’t turn out quite like this,” advises Henry, my 12yo aspiring assistant. Fair enough, dude—but let’s take it for a spin!

If you’ve ever shot this way & have any suggestions for us, please add ’em in the comments. TIA!

Wait for it…

A year ago, I was shivering out amidst the Trona Pinnacles with Russell Brown, working to capture some beautiful celestial images at oh-dark-early. I’m wholly unsurprised to learn that he knows photographer Michael Shainblum, who went to even more extraordinary lengths to capture this image of the Milky Way together with the Golden Gate Bridge:

PetaPixel writes,

“I think this was the perfect balance of a few different things,” he explains. “The fog was thick and low enough to really block out most of the light pollution from the city, but the fog had also traveled so far inland that it covered most of the eastern bay as well. The clouds above just the eastern side around the cities may have also helped. The last thing is the time of evening and time of the season. I was photographing the Milky Way late at night as it started to glide across the western sky, away from the city.”