We’re back again with another installment of our reader photos roundup from the Photography Bay Flickr Group.

Clicking on the photos will take you to its Flickr page where you can read more about the shot, leave a compliment or connect with the photographer.

As always, thanks for being a part of Photography Bay and sharing your work with the rest of us.

If you missed out on this round of reader photos, feel free to join in on the fun and add your photos to the Photography Bay Flickr Group and maybe we’ll get you next time.

*Note: You must allow image embedding from your Flickr account if you want your images to be selected for the weekly photo roundup. We only embed from Flickr so you have full control of if/when your images are displayed. You are welcome to contribute images to the group without them appearing on Photography Bay; however, embedding must be turned on to share them here.

B&H has the new WD 22TB Elements desktop USB 3.0 external hard drive now in stock. This is a single 3.5-inch SATA hard drive. It comes formatted NTSF for Windows; however, it’s easy to reformat the drive for Mac as well.

The WD 22TB drive is priced at $549.99 and is shipping now. Check it out here at B&H Photo.

We’re back again with another installment of our reader photos roundup from the Photography Bay Flickr Group.

Clicking on the photos will take you to its Flickr page where you can read more about the shot, leave a compliment or connect with the photographer.

As always, thanks for being a part of Photography Bay and sharing your work with the rest of us.

If you missed out on this round of reader photos, feel free to join in on the fun and add your photos to the Photography Bay Flickr Group and maybe we’ll get you next time.

*Note: You must allow image embedding from your Flickr account if you want your images to be selected for the weekly photo roundup. We only embed from Flickr so you have full control of if/when your images are displayed. You are welcome to contribute images to the group without them appearing on Photography Bay; however, embedding must be turned on to share them here.

As we watch algorithms and AI do their thing, we’re all wondering where they will take photography. Back in the early days of DSLRs (and still today, if we’re being honest), many professional photographers lamented the rise of the technology that took the high bar of access to the profession down in cost for both the purchase and the practice. Gone were the days of film and the time and skill to develop that film. With the DSLR, anyone with a memory card could now have instant feedback on whether the exposure at hand was good or bad.

Of course, this lower bar brought its own set of problems and challenges that we’re still sorting out. I’ve heard photographers hand-wringing over the glory days of film and how soccer moms with a Canon Rebel ruined the wedding industry. The difference between good enough and great is a tough standard to sell a photography customer and maybe that’s what the grumpy photographer is talking about there.

But we’re past all of that now – for the better, I think. While I love my old film cameras, I’m not grabbing a film camera on most days when the convenience of digital allows me to increase the volume of images with virtually no additional cost.

Smartphones changed the photography game again in the post-iPhone era. We still have this lower bar of quality to answer at the industry level for digital photography. Quick editing apps on a phone took some timesuck away from editing and made casual photos look better with little effort.

And now computational photography and AI are driving photography to a different place again. But is that okay for the art of photography? Is this another film-to-digital transition? Is it like the death of the compact camera in the 2008-2012 era? Or is it a whole new thing?

What is Computational Photography?

At its core, computational photography involves using advanced algorithms and software to process and manipulate image data, extending or enhancing traditional photography techniques. We’re leveraging the power of modern processors, machine learning, and artificial intelligence to achieve results previously thought impossible or impractical. Key algorithms that contributed to this revolution along the way include HDR+ by Google, Deep Fusion by Apple, and EnhanceAI by Skylum.

From HDR Imaging to Simulating Bokeh

One area where computational photography truly stands out is in High Dynamic Range (HDR) imaging. HDR works by intelligently merging multiple exposures, allowing photographers to capture a broader range of tones and colors in a single image. While this technique has been around for years, the proliferation of advanced computational methods has made it more accessible, particularly in smartphones like Apple’s iPhone, Google’s Pixel, and Samsung’s Galaxy lines.

However, the real magic of computational photography lies in its ability to simulate optical phenomena, such as bokeh, through the use of depth-mapping technology and algorithms. Some of us remember struggling with depth mapping plug-ins in Photoshop to add more shallow DOF to images that were otherwise a little too ordinary. Virtually every new smartphone is now capable of producing a convincing bokeh effect by analyzing depth information and applying selective blur to different parts of the image. And they just do it. Automatically! Even the most casual users expect their phone selfies to pop with pleasing bokeh.

Improving Low-Light Performance

Another significant breakthrough in computational photography that we’ve seen over the years is the improvement of low-light performance. Night photography has always been a challenge due to noise and limited dynamic range. However, computational methods, such as multi-frame noise reduction, have significantly improved the quality of images captured in low-light conditions. By stacking multiple exposures and using advanced noise reduction algorithms, cameras like the excellent Sony RX100 line and smartphones like the Samsung Galaxy S21 can now produce cleaner, more detailed images with less noise, even at high ISO settings.

The Blurred Lines Between Computational Photography and AI-Generated Images

As computational photography continues to evolve, we can expect to see even more advanced features that enable photographers to capture images in challenging situations. For instance, AI-driven autofocus systems, which can intelligently track subjects and predict their movements, are a standard feature in all serious cameras from Canon, Nikon, and Sony, among others.

But AI is doing even more. AI now allows us to take the photographer out of the equation and just ask for what we want to see in an image.

Are AI-generated images considered photography, and where do we draw the line between computational photography and AI-generated photos? The artistic lines are undoubtedly blurred, as both techniques involve manipulating image data and employing algorithms to create visually stunning results.

There is definitely a skill to crafting the appropriate prompts for AI-generated images that successfully depict the requestor’s intent. Does a higher level of skill at crafting such a prompt rise to the level of art? If it does, is that photography?

Anddddd there ya go. Could see this coming from miles away. Headshot photographers are poised to become the first genre of photography to become obsolete due to AI. https://t.co/DnUcKPmiuX

— Jeremy Cowart (@jeremycowart) March 17, 2023

You could also argue that the primary distinction between the two lies in the origin of the image data. In computational photography, the initial image is captured by a camera or smartphone, with subsequent enhancements and manipulations applied by the device’s software. On the other hand, AI-generated images are entirely synthesized by algorithms, with no initial photographic input. And then, of course, there is all of the training data from which the AI learned its image-generating skills.

Another controversial example of this blurred line is the Samsung Galaxy S21 Ultra’s moon photography feature. The smartphone has been accused of replacing users’ photos of the moon with built-in or stock images of the moon (but is a little more complicated than that), raising questions about the authenticity of the images and whether they can still be considered photography.

Final Thoughts

Computational photography is a powerful tool that is pushing the boundaries of what is possible with image capture and processing. As the industry continues to develop, we can anticipate more innovative features that will allow photographers to capture the world in previously unimaginable ways. The blurred lines between computational photography and AI-generated images present fascinating questions about the future of photography as an art form and technology’s role in shaping it.

We’re already seeing the potential for massive impacts from AI-generated images in corporate headshot photography. What’s next?

Aside from the potential impact on the profession of photography, how do computational photography and AI tools impact your outlook on the art and craft of photography?

We’re back again with another installment of our reader photos roundup from the Photography Bay Flickr Group.

Clicking on the photos will take you to its Flickr page where you can read more about the shot, leave a compliment or connect with the photographer.

As always, thanks for being a part of Photography Bay and sharing your work with the rest of us.

If you missed out on this round of reader photos, feel free to join in on the fun and add your photos to the Photography Bay Flickr Group and maybe we’ll get you next time.

*Note: You must allow image embedding from your Flickr account if you want your images to be selected for the weekly photo roundup. We only embed from Flickr so you have full control of if/when your images are displayed. You are welcome to contribute images to the group without them appearing on Photography Bay; however, embedding must be turned on to share them here.

The Panasonic Lumix S5 II and S5 IIX are 24MP full-frame cameras with impressive video specs and improved autofocus.

Panasonic Lumix S5 II Key Features

• 24.2MP Full-Frame CMOS Sensor
• 6K30p 4:2:0 10-Bit Video Recording
• C4K/4K60p 4:2:2 10-Bit Unlimited
• 3.68m-Dot 0.78x-Magnification OLED LVF
• 3.0″ 1.84m-Dot Tilt/Free-Angle Touch-LCD
• 779-Point Phase-Detection AF System
• 5-Axis Sensor-Shift Image Stabilization
• ISO 100-51200, up to 30 fps Shooting
• Dual UHS-II SD Slots; Wi-Fi & Bluetooth
• Weather-Sealed Construction

The S5 II captures up to 6K 30p video and features a new 779-point phase-detection AF system. It continues to build the L-Mount Alliance with Leica and Sigma. It looks like an impressive outing from Panasonic at a reasonable price of $1997 for the body-only. It’s available for pre-order now and expected to ship at the end of January. Check it out here at B&H Photo.

The S5 IIX is a supercharged version of the S5 II with enhanced video features that include HDMI RAW video data output, USB-SSD recording, ALL-Intra recording, and ProRes recording. It retails for $2197 and should ship at the end of May 2023. Check it out here at B&H Photo.

We’re back again with another installment of our reader photos roundup from the Photography Bay Flickr Group.

Clicking on the photos will take you to its Flickr page where you can read more about the shot, leave a compliment or connect with the photographer.

As always, thanks for being a part of Photography Bay and sharing your work with the rest of us.

If you missed out on this round of reader photos, feel free to join in on the fun and add your photos to the Photography Bay Flickr Group and maybe we’ll get you next time.

*Note: You must allow image embedding from your Flickr account if you want your images to be selected for the weekly photo roundup. We only embed from Flickr so you have full control of if/when your images are displayed. You are welcome to contribute images to the group without them appearing on Photography Bay; however, embedding must be turned on to share them here.

The Vello FreeWave Plus II is a wireless shutter release that can trigger the shutter from up to 320′ (~97m) away. The FreeWave Plus works with most cameras that have a remote port, including Canon mirrorless and DSLRs, Nikon, Sony, Olympus, Fuji, and Panasonic, among others. I’m using the Canon version, which ships with both a Canon 3-pin cable, as well as a 2.5mm sub-mini cable.

I’ve always carried the old Canon RC1 wireless remote in my camera bag; however, it occasionally has a limitation for me in everyday use due to the limited range of around 20 feet, thanks to the optical infrared triggering. I’ve also found issues when using the RC1 to trigger group photos that I’m in where there is a bright light source behind the camera (e.g., the sun). Additionally, the Canon RC1 requires line-of-sight to trigger the camera’s shutter, which is not required for the Vello FreeWave Plus.

The Vello FreeWave Plus uses a 2.4 GHz radio system with 16 available channels to avoid interference. The 2.4 GHz frequency is what we find in older WiFi. It’s a longer wavelength than the modern 5 GHz frequency. As a result, the signal travels further and maintains integrity through solid objects. The downside of the 2.4 GHz frequency is that it is ubiquitous among wireless devices like older routers, microwaves, Bluetooth devices, baby monitors, garage door openers, and more. Again, the 16 available channels allow you to set aside a channel within the trigger’s range to avoid other interfering devices. In practice though, I haven’t experienced any interference with the Vello FreeWave Plus.

The FreeWave Plus receiver attaches to the camera’s hot shoe. It also has a 1/4-20 socket on the bottom if you don’t have a hot shoe available. The receiver then plugs into the camera’s remote port. You power on the receiver by holding the power button for 2 seconds. The same process is used to turn it off. The LED indicator lights will light up for a second during power on and flash four times quickly when powered off. While on, the LED lights blink red every 2 seconds to indicate the power is on.

Both the receiver and transmitter are powered by a pair of AAA batteries, which are included with the remote (yay!). The channel is selected via four dip switches that are found in the battery compartment of the transmitter and receiver. Just match the dip switch configuration on both devices and you’ll be on the same channel.

The transmitter gives you four shooting modes: single-shot mode, continuous mode, bulb mode, and self-timer mode.

In single-shot mode, press the shutter button on the transmitter halfway to focus the camera. There is a noticeable stop halfway on the shutter button – just like on the camera’s shutter button. The LED on the transmitter lights up blue. Press the shutter the rest of the way to take the photo and the LED will flash red.

In continuous mode, it works just the same as single shot mode except holding the shutter button down on the transmitter triggers the camera to take photos at 1-second intervals until you release the shutter button on the transmitter. It will behave this way even when the camera is in single-shot mode. To use your camera’s highest-speed burst mode, you need to set the shooting mode on your camera to continuous shooting and set the FreeWave Plus to B (bulb) mode. Press the transmitter’s shutter button once to begin the high-speed burst shooting. Then, press it again to stop the burst.

In bulb mode, set the camera to bulb mode as well as the transmitter. Press the transmitter’s shutter button to begin the exposure. The shutter will remain open until you press the transmitter’s shutter button again.

In self-timer mode, the camera should be in single-shot mode. When you press the transmitter’s shutter button, it will trigger the shutter after a four-second delay.

Finally, if you don’t have a wired remote in your bag and you want to trigger the camera’s shutter without any vibration input from your hand, you can remove the receiver from the hot shoe and use the button on the receiver with the short remote wire attached to trigger the camera’s shutter. If you’re doing a lot of this kind of shooting or need more advanced features like an intervalometer, I do recommend the more feature-rich Vello ShutterBoss remote timer, which is designed for this kind of interaction.

At short distances of 50 feet or so, I’ve had zero issues with the FreeWave Plus triggering through multiple walls and outside line-of-sight. While the remote is rated to trigger up to 320 feet, when I specifically tested the distance in an open field, the trigger became less reliable beyond 250 feet. Of course, 250 feet is still pretty solid for reliable performance and is beyond what I really ever need for triggering a remote camera. There are higher-end solutions for long-distance remote triggers but the FreeWave Plus is a solid option for the $60 asking price that can always be in your kit. Highly recommended.

The Vello FreeWave Plus II is available from Photography Bay’s trusted retail partner, B&H Photo, at the following link:

• Vello FreeWave Plus II

By making your photography purchases at B&H Photo through these links, you are helping Photography Bay continue to bring quality camera tests, news, and reviews. Thanks for your continued support.

Disclosure: B&H Photo provided a product sample of the Vello FreeWave Plus II for the purposes of this review. This never changes the opinions of the products I review – good or bad.

We’re back again with another installment of our reader photos roundup from the Photography Bay Flickr Group.

Clicking on the photos will take you to its Flickr page where you can read more about the shot, leave a compliment or connect with the photographer.

As always, thanks for being a part of Photography Bay and sharing your work with the rest of us.

If you missed out on this round of reader photos, feel free to join in on the fun and add your photos to the Photography Bay Flickr Group and maybe we’ll get you next time.

*Note: You must allow image embedding from your Flickr account if you want your images to be selected for the weekly photo roundup. We only embed from Flickr so you have full control of if/when your images are displayed. You are welcome to contribute images to the group without them appearing on Photography Bay; however, embedding must be turned on to share them here.

Nikon has officially announced the NIKKOR Z 28mm f/2.8, a compact and lightweight prime lens for Z-mount, FX format mirrorless cameras. It’s the smallest and lightest offering Z mount prime lens to date – only 1.7 inches long and weighing under 5.5 ounces.

The new lens is available for pre-order for $300 and should ship in December. Check it out here at B&H Photo.