DPReview TV: Photo lingo 101 – a guide to common photographic terms

It's back to basics in this week's episode as Chris and Jordan break down some common photographic terms that might not be familiar to newer photographers. Learn all about IBIS, BSI and CIPA, as well as a, shall we say, 'creative' origin story for the word 'bokeh.'

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

It is now illegal to drink and drone in Japan

Japan's parliament passed a law this week outlawing the operation of a drone while under the influence of alcohol. If authorities catch anyone flying an unmanned aerial vehicle while intoxicated, offenders will face up to a year in prison and a fine of 300,000 yen (roughly $2,763.00). 'We believe operating drones after consuming alcohol is as serious as (drink) driving,' a Japanese transport ministry official told the AFP news agency.

This latest legislation was passed to also address the growing popularity of drones coupled with the reckless and illegal activity taking place in the country's more tourist-friendly areas. Dangerous stunts, which have become more common, including quickly plunging a drone towards crowds, can result in a fine of up to 500,000 yen ($4,607).

Areas where drones are now banned include a distance within 985 feet of Japan's armed forces, U.S. military personnel, and 'defense-related facilities' without prior permission from the Minister of Land, Infrastructure, Transport and Tourism. The new restrictions follow an earlier ban on approaching nuclear power plants, Japan's parliament buildings, and the prime minister's office. Stadiums and other sites hosting the forthcoming 2020 Olympic festivities are also off-limits.

The new law covers drones weighing more than 200g (close to half a pound). Operating a drone in Japan does not require a license. However, remote pilots much abide by a series of regulations including:

  • Staying below 150 meters (492 feet)
  • Avoiding airports
  • Avoiding crowded areas
  • Only flying during daylight
  • Keeping the drone in sight at all times

Anyone who is caught violating any of the established regulations could face a fine of up to 500,000 yen (or $4,607).

Weekly Photography Challenge – Iconic

The post Weekly Photography Challenge – Iconic appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is ICONIC!

Go out and iconic buildings, subjects, products, or places. Just be sure they are iconic! They can be color, black and white, moody or bright. You get the picture! Have fun, and I look forward to seeing what you come up with!

 

Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting anything ICONIC

5 Ways to Photograph Travel Icons

Tell A Different Story Of A Timeless Icon

Travel Photography Subjects: Icons

9 Creative Architecture Photography Techniques for Amazing Photos!

How to Tell Stories with Architecture Photography

Tips for Different Approaches to Architecture Photography

 

Weekly Photography Challenge – ICONIC

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSiconic to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Iconic appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Adobe Research and UC Berkeley create AI that can find and undo portrait manipulations

Researchers with Adobe Research and UC Berkeley are working together on the development of a method for identifying photo edits made using Photoshop's Face Aware Liquify tool. The work is sponsored by DARPA's MediFor program, which funds researchers who are working to 'level the digital imagery playing field' by developing tech that assesses the 'integrity' of an image.

Both DARPA and Adobe highlight the issue of readily available image manipulation technologies, including some tools that are offered by select Adobe software. The company says that despite being 'proud of the impact' these tools have had, it also recognizes 'the ethical implications of our technology.'

Adobe said in a blog post on Friday:

Trust in what we see is increasingly important in a world where image editing has become ubiquitous – fake content is a serious and increasingly pressing issue. Adobe is firmly committed to finding the most useful and responsible ways to bring new technologies to life – continually exploring using new technologies, such as artificial intelligence (AI), to increase trust and authority in digital media.

As such, Adobe Research and UC Berkeley researchers have published a new study detailing a method for detecting image warping edits that have been applied to images of human faces. The technology involves a Convolutional Neural Network (CNN) trained on manipulated images that were created using scripts with Photoshop and its Face Aware Liquify tool.

To ensure the method can detect the types of manipulations performed by humans, the image dataset used to train the AI also included some images that were altered by a human artist. 'This element of human creativity broadened the range of alterations and techniques used for the test set beyond those synthetically generated images,' the study explains.

To test the deep learning method's assessment skills, the researchers used image pairs featuring the original unedited image and the image that had been altered. Humans presented with these images could only detect which had been altered with 53% accuracy, whereas the neural network was able to pick the manipulated image with accuracy as high as 99%.

In addition, and unlike the average Photoshop user, the technology is able to pinpoint the specific areas of a face that had been warped, which methods of warping had been used, and calculate the best way to revert the image back to as close to its original state as possible.

Adobe researcher Richard Zhang explained, 'The idea of a magic universal 'undo' button to revert image edits is still far from reality. But we live in a world where it’s becoming harder to trust the digital information we consume, and I look forward to further exploring this area of research.'

The research is described as still in its 'early stages,' and is only one part of Adobe's body of work on image integrity and authenticity. The results come amid the growing sophistication of artificial intelligence technologies capable of generating highly realistic portraits and performing complex edits to images.

Sony investor calls for complete spin-off of sensor division

Sony's semiconductor division (which makes its image sensors) has for years been one of the most successful business units within the Japanese company, generating 16 percent of Sony's total operating profit in the fiscal year ended in March. It was spun off as a separate company in 2015 but remained a wholly-owned subsidiary of Sony that’s under its full control and direction.

Now several business publications report that American activist investor Daniel Loeb who owns a $1.5 billion investment in Sony is calling on the company to separate its sensor business completely 'to unlock the Japanese group’s true worth as a global entertainment powerhouse.'

The investor wants the business unit to become a completely independent public company with its own stock listed in the Japanese stock exchange.

The investor wants the business unit to become a completely independent public company with its own stock listed in the Japanese stock exchange. This would allow Sony to focus on its entertainment businesses, including gaming, music, movies, and television while the image sensor business could thrive on its own.

'When you think of Sony, you think of the Walkman, you think of the consumer electronics business, you know they own a movie studio and some music, but you don't think of them as a Japanese national champion in technology, with a $20 billion going to $35 billion valuation business in sensors,' Loeb told the Financial Times. He later says:

'As a standalone public company listed in Japan, Sony Technologies would be a showcase for Japan’s technology capabilities. Rather than just an uncut rough stone buried inside Sony’s portfolio, Sony Technologies would be visible as a Japanese crown jewel and technology champion.'

However, a Reuters report lists a few reasons why a total separation could not be such a great idea. 90 percent of Sony’s chips revenue comes from smartphones which makes the unit particularly vulnerable to the business dispute that is currently being fought out between Washington and Beijing. Chinese smartphone maker Huawei, which has been banned from working with US technology firms is a major Sony customer, which is why recently analysts at Jefferies have decreased the Sony chip business' operating profit forecast by 45%.

On the other hand, smartphones use more and more cameras per device and the demand for cameras and image sensors is increasing in other sectors as well, for example automotive.

National Geographic announces winners of its 2019 Travel Photographer of the Year contest

2019 National Geographic Travel Photographer of the Year winners

Cities 1st place – and Grand Prize winner
Photo and Caption by Weimin Chu / National Geographic Travel Photographer of the Year Contest | GREENLANDIC WINTER

National Geographic has revealed the Grand Prize winner of this year's Travel Photographer of the Year contest. Photographer Weimin Chu has taken home the Grand Prize award—as well as 1st place in the Cities category—with a moody image from a small fishing village in West Greenland. The caption of the winning photo reads:

Upernavik is a fishing village on a tiny island in west Greenland. Historically, Greenlandic buildings were painted different colors to indicate different functions, from red storefronts to blue fishermen’s homes—a useful distinction when the landscape is blanketed in snow.

In addition to Chu's winning photograph, National Geographic has announced the winners, runner-ups and honorable mentions in three other categories: Cities, Nature and People.

The above gallery takes a look at the final photographs from each of the categories alongside the photographer, title and caption of each image. In addition to a full gallery of images on its own site—which allow you to download the winning photographs as wallpapers—National Geographic has a feature on the winning image and the photographer behind the camera.


Photo credit: images used with permission from National Geographic

2019 National Geographic Travel Photographer of the Year winners

Cities 2nd Place
Photo and Caption by Jassen Todorov / National Geographic Travel Photographer of the Year Contest | IN THE AGE OF AVIATION

There are four runways at San Francisco's International Airport (SFO). This is a rare look at the approach end of runways 28 left and right. I had dreams of documenting the motion at SFO and [arranged] permission to fly directly overhead. What a windy day it was. Winds atSFO were 35-45 miles per hour, which meant a bumpy flight, and itwas much harder to control the plane while photographing. The flight was challenging, but it was also so thrilling that I couldn't sleep for several days afterward.

2019 National Geographic Travel Photographer of the Year winners

Cities 3rd Place
Photo and Caption by Sandipani Chattopadhyay / National Geographic Travel Photographer of the Year Contest | STREETS OF DHAKA

People pray on the street in Dhaka, Bangladesh during Ijtema. Bishwa Ijtemais one of the major Islamic religious gatherings which is [observed] annually in Dhaka and millions of Muslims visit [during this time]. Dedicated prayer grounds are not [large] enough to handle this huge number of people, so large numbers of people come to [Tongi], the main street of Dhaka. All the ground transportation and [pedestrian crossings] are suspended during that time.

2019 National Geographic Travel Photographer of the Year winners

Nature 1st Place
Photo and Caption by Tamara Blazquez Haik / National Geographic Travel Photographer of the Year Contest | TENDER EYES

A gorgeous griffon vulture is seen soaring the skies in Monfragüe National Park in Spain. How can anyone say vultures bring bad omens when looking at such tenderness in this griffon vulture's eyes? Vultures are important members of the environment, as they take care of recycling dead matter. Vultures are noble and majestic animals—kings of the skies. When looking at them flying, we should feel humbled and admire them.

2019 National Geographic Travel Photographer of the Year winners

Nature 2nd Place
Photo and Caption by Danny Sepkowski / National Geographic Travel Photographer of the Year Contest | Geometry of the Sun

What happens before a wave breaks? That question has been my assignment this past year. On this particular day, I decided to shoot the sunset on the east side of Oahu, Hawaii. About 100 photographers were out in the morning, but I had the evening to myself. The textures from the trade winds [created] subtle colors from the west and blended well using my 100mm lens. I had to look into my viewfinder while this wave was breaking. Not an easy task when a wave is about to crush you.

2019 National Geographic Travel Photographer of the Year winners

Nature 3rd Place
Photo and Caption by Scott Portelli / National Geographic Travel Photographer of the Year Contest | DUSKY

Dusky dolphins often travel together in great numbers in the deep canyons of the Kaikoura, New Zealand in search of food. They glide through the ocean effortlessly, coming up only to breathe. Dusky dolphins are fast and will often keep pace with a speeding boat. I waited on the bow of the boat as the Dusky dolphin almost broke [through the surface]. Their elegance and streamlined bodies are built for speed and maneuverability—accentuated by the smooth, clear water of the New Zealand coastline.

2019 National Geographic Travel Photographer of the Year winners

Nature Honorable Mention
Photo and Caption by Jonas Schafer / National Geographic Travel Photographer of the Year Contest | KING OF THE ALPS

A herd of ibexes in Switzerland’s Bernese Oberland cross a ridge above Lake Brienz. Their powerful and impressive horns show who the king of the Alps are. Ibexes are ideally adapted to live at dizzying heights. The continuing ridge path and the rising fog show the natural habitat of these animals. After a few hours of observing the animals, I spotted the ibex herd on one side of the ridge. Several ibexes stopped at the transition [to view the world around them].

2019 National Geographic Travel Photographer of the Year winners

People 1st Place
Photo and Caption by Huaifeng Li / National Geographic Travel Photographer of the Year Contest | SHOWTIME

Actors prepare for an evening opera performance in Licheng County, China. I spent the whole day with these actors from makeup to [stage]. I’m a freelance photographer, and the series “Cave Life" is a long-term project of mine. In China's Loess Plateau, local residents dig holes in the loess layer [to create cave living spaces, known as yaodongs] and use the heat preservation properties to survive cold winters. This series mainly records the life, entertainment, belief, labor, and other [daily] scenes of the people living in the caves.

2019 National Geographic Travel Photographer of the Year winners

People 2nd Place
Photo and Caption by Yoshiki Fujiwara / National Geographic Travel Photographer of the Year Contest | DAILY ROUTINE

This photo was taken at a public park at Choi Hung House in Hong Kong. When I visited during the afternoon, it was very crowded with many young people taking pictures and playing basketball. But when I visited at sunrise, it was quiet and a different place. [The area] is [designated] for neighborhood residents in the early morning, and there was a sacred atmosphere. I felt divinity when I saw an old man doing tai chi in the sun.

2019 National Geographic Travel Photographer of the Year winners

People 3rd Place
Photo and Caption by José Antonio Zamora / National Geographic Travel Photographer of the Year Contest | HORSES

Every year on the feast of Saint Anthony the ceremony of the purification of animals, called Las Luminarias, is celebrated in Spain. In the province of Avila, horses and horsemen jump over bonfires in the ritual that has been maintained since the 18th century. The animals [are not hurt], and it is a ritual that is repeated every year. To make the photo, I moved from Seville to San Bartolomé de Pinares because I am very interested in photographing ancestral rites.

2019 National Geographic Travel Photographer of the Year winners

People Honorable Mention
Photo and Caption by Navin Vatsa / National Geographic Travel Photographer of the Year Contest | MOOD

I captured this layered moment during sunrise along the banks of the Yamuna River in Delhi, India. This boy was thinking silently, and visitors were enjoying the loud musical chirping of thousands of seagulls. The early morning golden light from the east mixed with the western blue light, creating a [ethereal atmosphere]. I am a regular visitor [here] and have photographed this place for the past three years. Now, many national and international photographers have begun visiting [too].

Researchers develop new anti-face-distortion method for wide-angle lenses

Ultra-wide-angle lenses are becoming increasingly popular on smartphones in both rear and front cameras. Especially the latter are frequently used for portraiture in the shape of selfie images of both single subjects and groups.

Unfortunately when capturing people pictures with a wide-angle lens a problem becomes apparent: faces that are located close to the edges of the frame are distorted, showing signs of unnatural stretching, squishing, and/or skewing, an effect that is also known as anamorphosis.

A group of researchers at Google and MIT led by YiChang Shih has now found an efficient way of dealing with the issue. In their paper titled “Distortion-Free Wide-Angle Portraits on Camera Phones,” they describe an algorithm that is capable of correcting the effect, making for more natural selfies and wide-angle portraits.

Previous solutions were capable of correcting distortion on faces but in turn introduced other artifacts to the background and other elements of the image. The new method works around this by creating a content-aware warping mesh and applying corrections only to the part of the frame where faces are detected and maintaining smooth transitions between faces and the rest of the image.

The researchers say good results were achieved on photos with a wide field-of-view ranging from 70° to 120° and the algorithm is fast enough to work “at an interactive rate”. More information is available on the project website.

3 Lenses Every Beginner Photographer Needs [video]

The post 3 Lenses Every Beginner Photographer Needs [video] appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video by MiketheMathMan, he outlines what he believes to be three lenses that every beginner photographer needs.

3 lenses every beginner photographer needs

In the video he lists the following:

1. Wide-Angle Lens

The “see everything lens” because of their ability to capture a wide field of view. These lenses are handy for shooting landscapes, interiors, cityscapes and anything where you need to capture a wide field of view.

2. Telephoto Zoom

They are great for capturing details from a distance for better detail.

3. Fast Prime Lens

A fast prime lens has a wide aperture. These are great for use in low-light and for creating beautiful bokeh with shallow depth of field. Prime lenses are fixed focal lengths, for example, 35mm, 50mm or 85mm. They are great for portraits/headshots, milky way photography/astophotography.

What lenses would you add to this list? Share with us in the comments below.

You may also find the following helpful

 

The post 3 Lenses Every Beginner Photographer Needs [video] appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Capture One Pro – Should You Make the Switch?

The post Capture One Pro – Should You Make the Switch? appeared first on Digital Photography School. It was authored by Darina Kopcok.

This may be a familiar scenario? You’re on a shoot, and you’ve tethered your camera to Lightroom. Everything is going well, but you still have many shots to do. The clock is ticking, and you can feel the time crunch. Out of the blue, Lightroom crashes, and you have to unplug everything and restart your computer. All while your client is tapping their foot and breathing impatiently down your neck.

Welcome to the reality of tethering in Lightroom.

Now don’t get me wrong, Adobe Lightroom is a great program.

I have used it for years. It’s a powerful database for your image files. Lightroom has excellent color management tools and other features, such as noise reduction and spot removal, that make it the only program that many photographers use. In fact, the speed and stability of tethering in Lightroom is one thing that has improved by leaps and bounds in 2019.

But if you shoot a genre of photography that requires tethering, like food or still life, or if you’re a portrait photographer, you still may want to consider moving over to Capture One Pro (COP).

For years, I personally resisted making this change. I didn’t want to learn yet another program or complicate my workflow. But when Lightroom kept crashing and freezing on a career-changing shoot with a big ad client, I decided to make the switch. As a still-life shooter, I find that COP is unbeatable.

If you’re a pro-shooter, or semi-pro, I would say Capture One Pro is a must. If you’re a hobbyist, you still might find learning this image processor worth your while.

This article is not meant to be a tutorial. Rather, I want to walk you through the features and benefits of using Capture One Pro. There are tons of resources online if you want to learn how to use the program, many of them found in Capture One Pro when you log onto the interface.

What is Capture One?

Capture One Pro is a RAW file editor and management system. It’s been around for about 20 years and is made by Phase One, a Danish manufacturer of open platform-based medium format cameras.

The software supports Phase One’s own cameras of course, as well as over 400 DSLR’s, such as those made by Canon, Nikon, and Sony.

In fact, COP has entered into a relationship with Sony. If you’re a Sony user, Capture One Express is a free imaging editor that comes with your camera that includes some of the essential editing and workflow features found in Capture One Pro.

Getting started with Capture One

The first thing to know when getting started with this software is that the interface is nothing like Lightroom. For those used to using Lightroom, Capture One Pro will be confusing to you.

This is often what frustrates Lightroom users in the beginning, causing them to give up before they get started.

There are many differences between the programs. What has become intuitive for you to do in Lightroom, may not work in COP.

COP has the library features of Lightroom with the advantages of Photoshop to work in layers.

It’s an all-in-one solution for many photographers.

Advantages of using Capture One

So why is Capture One worth a new learning curve? Let’s take a look:

Superior tethering

As you may have gleaned from the introduction, tethered shooting is incredibly stable in COP, whereas Lightroom is known to be super-glitchy.

Another advantage is that COP has a built-in Live View function.

If you’ve used the Live View function on your camera, you may have noticed that you can only use it in natural light, or when you’re using a constant light source like an LED or the modeling lamp on a monohead.

However, Capture One offers a Live View function within the program itself.

If you’re a food, product or still life photographer, this feature will drive your productivity through the roof. You and your stylists can make the incremental tweaks necessary in still life photography, all while viewing the components within the frame on a computer or laptop monitor.

In addition, it has an Overlay feature. It allows you to upload cover art, such as a product packaging layout or a magazine cover, so you can make sure that your subject fits into the parameters required by the project.

Sessions versus Catalogs

Both Lightroom and Capture One Pro double as RAW photo editors and organization software for your image files. However, their organizational structures are not the same.

Lightroom can open one Catalog at a time. These Catalogs can be divided into multiple Collections and Collection Sets.

In COP, photos are organized into Sessions. These are ideal for separating single client sessions, and various collections. For example, stock photography or personal photos. This is a better approach to large sets of images.


Similarly to Lightroom’s Collections, you can create Session Albums and move your images from several folders on your hard drive to a Favorite Session folder without physically moving them.

COP creates an automatic folder structure within the Session. It creates four default folders every time you start a new session: Capture, Selects, Output, Trash.

The Capture Folder contains all the images that were shot tethered or imported from your SD card. Once you make a selection of your favorite images, they will automatically be moved to the Selects Folder. If you want to delete specific images, they will be moved to the Trash folder by default. However, they are not permanently erased – you can move them back.

The Output Folder is the folder where your exported images will be sent unless you choose a different folder.

The power of Layers

Capture One Pro offers the functionality of the Lightroom Library interface, with the power of Photoshop Layers.

Both Lightroom and COP provide global adjustments that alter the entire image, as well as a set of tools for local adjustments you can apply to smaller portions of the image.

However, COP includes the option to create local adjustments on multiple layers. Lightroom users have to switch from Lightroom to Photoshop to access multiple layer adjustments.

COP’s layers options are less powerful than those in Photoshop but more powerful than Lightroom’s single layer tools.

Sure, you can do some masking type of adjustments with Lightroom with the adjustment brush and other tools. After all, the adjustment tools in Lightroom have improved with every upgrade.

But if you’ve made several adjustments and need to go back a few steps, remembering which adjustment you made can be confusing.

With COP, you have a clear overview over of all the adjustments that you applied to the image.

You can create radial masks and linear masks, and you can fill masks over the whole layer and erase parts of the mask. Also, you can create masks by luminosity, applying adjustments to only the highlights or shadows in your photo.

Last but not least, you can change the opacity of these masks.

For example, if you’ve have created a color treatment you had in mind, but the colors are too saturated and bold, you can turn down the opacity to reduce the strength of those colors. All while keeping your color treatment intact.



Better color management

There is so much flexibility when it comes to color management and color grading in COP.

First of all, Capture One has individual color profiles for every camera. So, when you import the image files, you get something similar to the preview on the back of your LCD screen.

Lightroom files, however, have a more neutral starting point. This is great for photographers who favor more muted palettes.

Conversely, in COP, the colors look brighter and more vibrant before you make any adjustments. The adjustment options in both programs will give you similar results, but the starting point will be slightly different.

The color tools in COP are also incredibly powerful and versatile.

While Lightroom has the HSL (Hue-Saturation-Luminance) panel with sliders and RGB curves adjustments, COP offers a few more ways to work with color.

You can use the Levels Tool, Tone Curve, Color Editor, or the Advanced Color Editor.

The color options include shadow, mid-tone, and highlight adjustments for Color Balance and a channel dedicated just to adjusting skin tones. COP also has a luminance curves adjustment option.

Some disadvantages to using Capture One

One caveat to using Capture One is that as a less-popular image processor, there are far fewer options when it comes to supporting third-party products like presets and plug-ins.

However, COP has a feature called Recipes, which are similar to presets.

The other major disadvantage is cost.

For US$10 a month, you can have both Lightroom and Photoshop.

COP is US$20 USD a month if you choose the subscription option. It’s $180 USD if you pay for an entire year at once.

Unlike Adobe, however, Capture One also offers the option to buy the latest version of the software outright for $299. Adobe now offers a subscription-based service only – much to the ire of many photographers.

Take Capture Pro for a test run

The best way to get started with Capture One Pro is to download the 30-day free trial and import some of your images from your hard drive.

Set aside some time to go through the tutorials and really get to know the program. Think about how you might set up a workflow were you to make the switch from another RAW editor such as Lightroom.

To sum up

Like any program, there are advantages and disadvantages and there. There is no perfect program.

The bottom line is that you want to make an informed choice. Hopefully this introduction to Capture one Pro has helped you understand some of its benefits.

Do you use Capture One Pro or considering making the switch? Share your thoughts with us in the comments below.

 

capture one pro - should you make the switch?

The post Capture One Pro – Should You Make the Switch? appeared first on Digital Photography School. It was authored by Darina Kopcok.

Hong Kong photojournalists attend press conference in riot gear following protests

Yesterday, the Hong Kong Police Force (HKPF) witnessed an unusual sight as they held a press conference following a series of city-wide protests regarding a controversial extradition bill. Photographers and journalists who attended the meeting were clad in various riot and protest gear, including high-visibility vests, helmets, gas masks and more following a request from the Hong Kong Journalist Association as a means of meta-protesting the HKPF's treatment of citizens and journalists throughout the month-long protests taking place in the city.

The bill, officially called the 'Fugitive Offenders and Mutual Legal Assistance in Criminal Matters Legislation (Amendment) Bill' was first published by the Government of Hong Kong on March 29. Immediately, the bill faced backlash, as Hong Kong residents, civil rights organizations, journalist organizations and foreign governments fear the bill will require the city and its residents to abide by Chinese law and subsequently subject them to a China's court system if suspected of a crime, even if the individual has never stepped foot on Chinese territory.

Protests have been ongoing since the bill was first revealed, but on June 9, hundreds of thousands of protestors took to the streets of Hong Kong to object to the bill and call for for the resignation of Hong Kong Chief Executive Carrie Lam. In the days following, the Hong Kong Free Press has reported the HKPF has used excessive force on photojournalists, journalists and protestors, including the use of more than 150 rounds of tear gas and multiple instances of firing bean bags at protestors.

The solidarity to show up to the press conference covered in riot gear came after the Hong Kong Journalist Association called upon the media to show up in protective gear, according to a report (tweet embedded above) from the Hong Kong Free Press.

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