DEADLINE: 1.25.12
]]>DEADLINE: 1.25.12
]]>The post Win your solo exhibition in art gallery, “Le collectif du hérisson” takes your work in Arles, France appeared first on Photocompete.
]]>This is a unique OPPORTUNITY to EXHIBIT YOUR WORK in a gallery, partner of the « VOIES OFF – Parcours libre » (free program) Festival, in Arles.
The theme is free. You submit as many photographs as you want up to 20 and you may propose several themes.
A jury composed by professionnals, all linked to photography will examine your work
and will designate the winner.
The prize is a free exhibition during one week in Arles this summer.
Many of participants at this contes twill receive a free, benevolent and constructive review by our jury too if they will drawn.
The Gallery of Le Collectif du Hérisson is located in the center of Arles.
The surface is 30 square meters and there is two walls of 6 meters each to exhibit your work.
You will be associated with the free festivities of Voix OFF, registered in their program and indicated on the map gave to the visitors. We will ensure the guarding of the gallery, and promote your exhibition via display, internet advertising, and distribution of flyers.
Our association will highlight your work, and of course accept the sale of your works. We will not take any percentage on your sales.
HOW TO ENTER THIS PHOTOGRAPHY COMPETITION
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Original article: Win your solo exhibition in art gallery, “Le collectif du hérisson” takes your work in Arles, France.
]]>Beautiful day. More snow on the way. Fuji pix (red chair March 2 edition) when I get back online .
Mike (from my iPhone)
]]>This has been Bizarro-World Winter: we had who knows how many 50+ and 60+ degree days in February and set who who knows how many records for high temperatures for various dates. Yesterday morning it was downright balmy and the very last trace of former snowbanks had melted away.
And then—whaaam. I stopped at the grocery store last evening and it was jammed—more cars in the parking lot and more people in the store than I think I've ever seen. Woke up this morning and saw the reason why!
Look closely and you can see our old friend the red chair.
Lost a big tree from the hillside, too. I heard it come down with a great whump and clatter early this morning, and went to investigate. It wasn't the one I thought would go. But I'm just as glad it came down—seeing it in pieces on the ground it's obvious it was dead.
Wonder how much last night cost me? I'll have to call around and get prices for clearing away fallen trees.
Now I've got to suck it up and get on the snowblower...a task I dread. Never get a single-stage snowblower if you have a gravel driveway! No, amend that—just never get a gravel driveway. (They're a giant pain.)
They say March comes in like a lion and goes out like a lamb. That's what February did, though.
Onward! Life on life's terms.
Mike
Original contents copyright 2018 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.
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]]>Oh, and one more news blip: I finally found the picture I was missing for the Must-Be-Color Baker's Dozen. Finally remembered the guy's name and how to search for it. So that could actually happen this weekend. (I know it's already too late for the the people who were holding their breath.) It's your fault, though, people: I got something like 250 submissions and they're all good. My normal methods of editing aren't working as well as they usually do. Just too many good photographs.
Mike
Original contents copyright 2018 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.
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]]>(This is a video, but it will take only a few seconds of your time. Unless you watch the rest of the video, but that's on you.)
The relevant part happens just after the three minute mark, if this doesn't open at the right place for you...I set the time a few seconds early so you can dismiss the ad.
Plop! Ouch! Okay, I have to admit I this made me "laugh out loud." Which means this might be a good time to define the German loan-word "schadenfreude" which you might have seen but might not know the meaning of: "pleasure derived from another person's misfortune."
I did laugh, but then groaned. I'm not heartless.
I'm back online, by the way...
Mike
Original contents copyright 2018 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.
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]]>I worked on the comments to the podcast post very late last night and now I’m glad I did! Check those out, there is a wide range of opinion.
More soon I hope!
– Mike
PS Oh, and it’s beautiful here. :-). I’ll post pictures when I’m back online.
]]>The post Emotion and Energy of Color 2018 Competition appeared first on Photocompete.
]]>We welcome and encourage all entries, which can be created in artistic genres from representational to abstract. Submissions for consideration can be expressed in any of the following aspects: representational, expressionism, surrealism, or abstraction.
Recipient of the “Christopher E. Burke Fine Art Grant” will receive $500.00.
The post Emotion and Energy of Color 2018 Competition appeared first on Photocompete.
Original article: Emotion and Energy of Color 2018 Competition.
]]>Hi guys i just started learning about photoshop last week and i cant find any tutorial of it. I have a hard time putting an image under an image. For example is a shirt but the arms is covering some parts of the shirt. How do i put the image under without covering the arms. My way is that i select the arm and cut it into a new layer then put it under. Is there any easier way? Sorry for the bad english and uses of words hope you can understand me. Thank you in advance.
Hi guys i just started learning about photoshop last week and i cant find any tutorial of it. I have a hard time putting an image under an image. For example is a shirt but the arms is covering some parts of the shirt. How do i put the image under without covering the arms. My way is that i select the arm and cut it into a new layer then put it under. Is there any easier way? Sorry for the bad english and uses of words hope you can understand me. Thank you in advance.
The service I'm looking at has a phone app that would have the podcast, links to B&H and Amazon, and (hopefully) updates about the latest posts on the website.
At this point I'm sort of imagining I might do a weekly podcast reading relevant sections of the posts from the week, plus some of the featured comments, and adding commentary to that.
Those of you who like the written posts needn't worry. That will always be the core of TOP and it's not in any danger (at all) of going away any time soon. (As Nelson Pass once pointed out, eventually the sun will expand, and after that the Universe will experience heat death. So I can't guarantee that TOP will always be there. But for the foreseeable, is what I'm saying.)
Mike
Original contents copyright 2018 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.
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]]>Transcript
Hey everybody. This is Mike Johnston of the Online Photographer, coming to you from the beautiful Finger Lakes region of Upstate New York, in the USA. And this, believe it or not, is a podcast. Or maybe it's an Ur-podcast, or the zygote of a podcast or something. Or possibly I'm just playing around.
[Here's where the theme music would swell up if I had any idea what I was doing. You'll just have to imagine that. <—I forgot to read this line! Sorry.]
So, last week we were talking about video reviews of cameras, and most of the brilliant TOP Commentariat agreed with me that we prefer written reviews. That makes perfect sense, because I'm a writer and most of the people who read my words are people who read. So we all harrumphed happily together about the shortcomings of video reviews and the superiority of the written word. And I still agree with that.
So, cased closed? Maybe not quite. One commenter said something I thought was very astute, and as the next few days went by it stuck in my mind. His name's Jim. I don't have any other way of identifying him, because he didn't leave his email address. I'm going to read you what he wrote. I've edited this slightly, but here's what Jim had to say:
I second your comments re video vs. written reviews, and that from someone who has created over 100 highly technical videos, mostly lectures, that have over 2.5 million views. I have two 30-something techie kids, and I know other age groups, and I think the deal with video is 'CPA'—continuous partial attention. You cannot read an article and do much else, but you can watch a video with some attention and do other things.
The bane of our existence [Jim added] is the CPA on phone calls when you can hear the clicking of a keyboard in the background.
That last part made me laugh, because my brother Scott and I have a friend who does that. I think he knows who he is.
Well, the key phrase for me was that "CPA," continuous partial attention. And I think Jim's right about that. When you read, you have to sit in front of what you're reading and put your eyes on it. That means you have to give it your full attention, or something resembling your full attention. I can listen to music from my office on the porch when I cook, for instance, but I can't read while I cook. And I can listen to comedians on Comedy Central when I drive, but I can't read a novel when I drive. CPA or continuous partial attention is a real thing, I think, and, it seemed to me, that it's an actual advantage.
So I tried making a video of myself. I set my iPhone on the windowsill and read the post from February 20th from the computer screen while occasionally glancing at the camera lens. There were two problems with what I came up with. The first is that, from inside me, I'm 35 years old! But the camera somehow insists on showing a 61-year-old. Which happens to be my actual age, but that's not how I like to look at myself. If I made videos, I'm not sure I could stand to be reminded of the relentless march of time and my own mortality so remorselessly on such a regular basis. The other problem is stage fright. Stage fright is a funny thing. For instance, my personal experience of it is that I have no problem talking to fifteen students in a classroom, but I was borderline terrified of talking to 200 of the same students in an auditorium. I have no idea why that should be—it makes no logical sense—but that's the way it was. But stage fright doesn't just involve stages. Let me give you an example. Over the years I've invited several commenters to write posts for TOP—original posts—and in a couple of cases I've been surprised at how difficult it was for them. Their comments were casual, and relaxed, and confident, but when they tried to write whole posts their writing got stiff, and formal, and rigid. Something about the idea of writing formally for thousands of people gave them a version of stage fright. I would have a lot of trouble talking to two hundred of you in a room, but I have absolutely no problem writing for two thousand of you. Or twenty thousand. In fact, the more people there are out there reading, the better I like it. I would absolutely love to have a hundred thousand readers a day and I would have no trouble with that at all. The problem is that appearing in a video feels like the former to me, not the latter. It triggers my personal stage fright in a way that writing doesn't.
And then there's the issue of video production. I admire people who are good at video production, and I appreciate their work very much, but I just have no eagerness to learn it.
So anyway, the video experiment was pretty much a bust. It became clear to me quickly that I'm never going to learn how to produce TOP videos, and certainly not star in them, just as it's always been clear to me that I don't want to become a creative videographer. Not that there's anything wrong with that.
So I figured I'd experiment with a podcast version of The Online Photographer. My son Xander listens to podcasts on his way to work, and you could listen to TOP while you drive but you couldn't read TOP while you drive. So the news from here in the Finger Lakes this morning is that I've just unboxed my fancy new USB microphone—it's called a Blue Yeti—that came from B&H Photo yesterday, and I'm trying it out for the first time. This also might be the very first time in my life I've ever deliberately spoken into a microphone for any length of time, and I don't know yet how to make edits in GarageBand, so if this is going to become a regular occurrence, we will all just have to hope that I will get better at it as I go.
In the meantime, I'd like to hear what you think of the idea. The podcast, such as it is, if it ever comes to exist on a regular basis, will just be a spoken edition of what you can read for yourself on the site, so it would not replace most of the regular content. You'd still be able to come to the site and read it as normal. It would just be another way of getting the same information. But you could listen to it while you chop vegetables in the kitchen. And we all know how important it is not to be looking somewhere else while you energetically wield a razor sharp knife in close proximity to your fingertips. I don't know about you, but I'm clumsy, and when I chop vegetables I cut myself relatively easily.
Okay. So here is where you'll have to imagine my catchy sign-off, because I haven't come up with one yet. And...cue the imaginary music again. That's all.
Mike
(Thanks to Jim)
Original contents copyright 2018 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.
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Len Salem: "Started listening to your podcast and had a shock! I've been following you since forever and always, always, in my head, you've had an English accent—in fact my own speaking voice. I realise that's pretty stupid, since I knew full well you must speak with what I call an American accent, not that I had ever given it any thought. So I wonder—does everybody read the written word in their own voice? Would an English speaking French person, for example, give you a French accent in their head?"
Mike replies: You just gave me a great idea for a prank, but it's too late. I should have read the first few paragraphs in a thick accent, to make people think that's the way I really talk, before letting them in on the joke. Rats! I wish I had thought of that!
...Many people don't like pranks, though. Maybe it's better I didn't.
Glen Rowe: "This is only my second time commenting on a TOP article, but I've been visiting almost daily for over five years. In fact, despite my primary interest in TOP being the photography articles, it was through Ctein's off-topic (OT) articles that I was inspired to become an aficionado of tea, and through your own OT articles that I started to follow professional snooker on YouTube. Thus, TOP has enriched my life in unexpected and much appreciated ways. Thanks for that! Today I am writing to let you know that I think your idea of doing an audio podcast version of each of your TOP articles is excellent, and you did a perfectly satisfactory and sufficient job of your first effort. To my mind, there is no need to make it any more sophisticated than it already is, unless you want to do so for your own interest."
Kenneth Tanaka: "Personally I'm not a fan of podcasts. They're background noise. People just blowing air out their...faces. I understand the attraction of people to produce them; they're easy and require no real thought or meaningful content, as listeners are almost certainly simultaneously doing something else. I do not listen to any podcasts and, sorry, would not listen to yours, either. I greatly prefer a more thoughtful, premeditated written presentation over intestinal gas."
Mike replies: Well, gee, Ken, I wrote out the script first, and then practiced reading it four times before I recorded it, revising the content and smoothing out the words as I went so they'd be easier to say. About the same degree of rewriting I do on any other post. Finally, I went over the text while listening to the recording—twice!—to make sure the two matched up. What's unpremeditated about that?
s. wolters: "Excellent Mike! If I only had read you proposal I probably would have reacted negatively. But you have a very good clear pleasant voice and you formulations are so good, that you could even present them in print.
"Interesting how things work and sometimes don’t. Laurel and Hardy were even better with sound than without. Chaplin was done.
"Some music is only good when playing it loud. Some music is good for background. Some music is for headphones. Only a few musicians are great at all levels. Grant Green is the first one that comes up. I can dream away with his playing or he can help me peeling the potatoes."
Dave Riedel: "A nice alternative and you have a pleasant speaking voice. I would enjoy future editions of the spoken TOP."
Jim Simmons: "I read TOP every day. I won't be listening to any TOP podcasts, as podcasts are outside my media consumption patterns."
Mike replies: You won't have to, Jim. I added an "addendum" post today that gives a little better idea of what I have in mind. I'm really not sure what, if anything, it will be—it's got to evolve naturally—but it won't replace the written posts.
Not THAT Ross Cameron: "Does this mean we have to post comments in kind? :-) "
Eric Rose: "Should we respond with audio files of our comments? Just joking."
Mike replies: Ross and Eric, I think Phil heard you:
Phil: "Hi Mike, Great idea. I have some observations and so I...recorded them. Cheers, 'Phil from Vancouver' P.S. Yes, this is very cheeky. :-) "
Bahi: "Loved this. You'd do really well on a podcast. Emailing you about doing one has been on my to-do list for years. Get guests on (using Skype). Thumbs up!"
John: "I hate podcasts even more than videos. There are bloggers I avidly read, but never listen to. Sorry, Mike."
M. Howard Edwards: "Mike—I have been reading you for nearly a hundred years. I do not need the podcast despite the melodious allure of your spoken voice."
Jamie Pillers: "I like it, I think. Lets have a few more, just to be sure. :-) "
JH: "I'm the 'Jim' who is behind that response. We have been doing tech lectures and seminars for close to 40 years and therefore have a reasonable knowledge of what makes an audience pay attention. I started doing videos for our tech customers over 30 years ago in the early VHS tape era. We've been using the Internet for video for about 15 years and YouTube for more than a decade.
"We have a big advantage over entertainment videos—our watchers are people who want to learn about some technical topic.
"Here are two examples: Fiber Optics 'Live' (90K views) and How to 'Talk' Fiber Optics (65K views).
"We follow some very strict guidelines to developing one of these videos. We develop them as a seminar with PowerPoint slides and notes on each slide that is the script. We have several people who review it and help finalize it. Then we export PPT slides to JPEGs, import them into Apple iMovie along with any relevant video and overdub the narration on my Mac. All just like we would give a seminar. Then we export as a complete video and upload to YouTube.
"Part of our guidelines is one big issue—no talking heads! Most people hate looking at someone standing there talking, so we combine video and slides to provide relevant visuals. We do have a cartoon character we use in some of our videos—the guy on the title slide, and we've looked at animating him but even that seems lame.
"Do people pay attention to these videos? Well, I often have people come up to me at meetings and stare before interrupting and asking if I'm the guy in the FOA (Fiber Optic Association) videos. And many, many people have asked about our birds! We used to have a bunch of tropical birds in the house and in some of the videos you can hear them chirping happily in the background."
Eolake (partial comment): "Stagefright is indeed weird. I’ve given lectures, and appeared on radio programs with no problems at all, in fact it is tremendous fun. But once I phoned in to a radio program, and I almost seized up."
Neal: "You know what, Mike? Don't learn about editing. Just do podcasts like you did this one. When I read your posts, it feels like a conversation with a friend at a coffee shop. Nothing fancy, nothing formal, just casual chatting. That’s what we do when we chat, isn’t it? We choose a different word or phrase, mid word or phrase, we clear our throats, we just...well, chat. I get this feeling from Robin Wong, and I got it from Gordon Lewis when he wrote his Shutterfinger blog (and his occasional guest post here). I imagine if they did podcasts, they would sound like yours. Conversations with friends. The world could use more of them."
PaddyC: "TL;DR. Mind putting this in a video?"
]]>Dear {Contributor},
Today, we're announcing that after six years of connecting agencies, brands and creators, we will be closing down ImageBrief's photographer marketing services.
We're proud of the products and apps we built, but even more so, we're grateful for the community that enabled them to grow. More than 70,000 creators earned millions of dollars collaborating with 12,500+ global agencies and brands in 169 countries.
There has never been a better time for creators to thrive. Demand for content has increased, and the tools to create world-class creative are more accessible than ever.
Our talented team of engineers, designers, developers, and curators have worked tirelessly to make ImageBrief a success in a competitive and rapidly evolving landscape, and our immediate priority is to help you transition to other services to support your business.
In the coming days, our team will be in contact with you directly with detailed information about your specific account, license history, and services. Over the next week, we recommend logging into ImageBrief to download and retain your license history and related assets. Further details can be found in the FAQ's below.
We want to thank you for your participation and loyalty, and look forward to working with you in the coming weeks to ensure a smooth transition.
Sincerely,
Team ImageBrief
FAQ'SWhat will happen to images I have uploaded?ImageBrief does not distribute your images through third parties. All photos you have submitted to the site will be permanently removed from our servers within the next seven days.
How do I get copies of my licenses?For the next seven days, you will be able to login to www.imagebrief.com if you require additional copies of your licenses. Download your license and associated schedules. You are legally obliged to continue to adhere to all terms and agreements of your licensed images.
What will happen to my personal and credit card Information?We will permanently remove your personal information where it is no longer required, protecting your personal information from unauthorized access, disclosure, loss, misuse, and alteration. ImageBrief uses Stripe and does not store private credit card information.
What will happen to payments due to me?Over the next 90 days, our finance team will continue to manage accounts on behalf of contributors for images recently licensed. You will be contacted directly regarding the specific status of outstanding payments and paid within 30 days of receipt of the client's payment.
ImageRights ServicesIf you activated ImageRights and via the ImageBrief platform, images you have synced to ImageRights will remain in your ImageRights account.
You can use the email you used to signup with ImageBrief, but you'll need to reset your password to be able to login to ImageRights directly. Head to the login page at www.imagerights.com/login and select the 'Forgot Password' link. Cases will continue to be pursued while your account remains open. You can submit an account cancellation to ImageRights by emailing support@imagebrief.com.
Dear {Contributor},
Today, we're announcing that after six years of connecting agencies, brands and creators, we will be closing down ImageBrief's photographer marketing services.
We're proud of the products and apps we built, but even more so, we're grateful for the community that enabled them to grow. More than 70,000 creators earned millions of dollars collaborating with 12,500+ global agencies and brands in 169 countries.
There has never been a better time for creators to thrive. Demand for content has increased, and the tools to create world-class creative are more accessible than ever.
Our talented team of engineers, designers, developers, and curators have worked tirelessly to make ImageBrief a success in a competitive and rapidly evolving landscape, and our immediate priority is to help you transition to other services to support your business.
In the coming days, our team will be in contact with you directly with detailed information about your specific account, license history, and services. Over the next week, we recommend logging into ImageBrief to download and retain your license history and related assets. Further details can be found in the FAQ's below.
We want to thank you for your participation and loyalty, and look forward to working with you in the coming weeks to ensure a smooth transition.
Sincerely,
Team ImageBrief
FAQ'SWhat will happen to images I have uploaded?ImageBrief does not distribute your images through third parties. All photos you have submitted to the site will be permanently removed from our servers within the next seven days.
How do I get copies of my licenses?For the next seven days, you will be able to login to www.imagebrief.com if you require additional copies of your licenses. Download your license and associated schedules. You are legally obliged to continue to adhere to all terms and agreements of your licensed images.
What will happen to my personal and credit card Information?We will permanently remove your personal information where it is no longer required, protecting your personal information from unauthorized access, disclosure, loss, misuse, and alteration. ImageBrief uses Stripe and does not store private credit card information.
What will happen to payments due to me?Over the next 90 days, our finance team will continue to manage accounts on behalf of contributors for images recently licensed. You will be contacted directly regarding the specific status of outstanding payments and paid within 30 days of receipt of the client's payment.
ImageRights ServicesIf you activated ImageRights and via the ImageBrief platform, images you have synced to ImageRights will remain in your ImageRights account.
You can use the email you used to signup with ImageBrief, but you'll need to reset your password to be able to login to ImageRights directly. Head to the login page at www.imagerights.com/login and select the 'Forgot Password' link. Cases will continue to be pursued while your account remains open. You can submit an account cancellation to ImageRights by emailing support@imagebrief.com.
Most smartphone cameras aren't ideal for long-range shots and carrying a bulky DSLR is just too much of a hassle. I mean, in the age of minimalism, everyone aims to travel light and keep things flexible.
This is why we've come up with a list of the best cameras that can give you the range of a DSLR without the weight. A truly effective compact camera can prove to be a true blessing!
This is what makes the 'travel camera' genre so popular. These are compact cameras, barely larger than a regular point-and-shoot model, but with massive 20x or 30x zoom lenses. You get the portability of a regular camera, but with much more scope for shooting different kinds of subjects.
You're not going to get the same kind of quality you'd get from a DSLR or a mirrorless camera because the only way to make cameras with big zooms small enough to go in a pocket is to use a smaller sensor. But the picture quality is still pretty good, and perfect for sharing with friends and family.
If you're not sure this is the kind of camera you need, check our step by step guide: What camera should I buy?
Otherwise, keep reading, because here's our list of the top compact travel cameras you can buy right now.
The Nikon Coolpix W300 is made for those who love capturing adventurous moments as they happen. Though the GoPro series already exists in the market, the W300 has more access to features found on a conventional digital camera.
It's rugged and waterproof, replacing the older Coolpix AW130, but very little is different in terms of technical specifications. It's worth it to point out that this camera will survive in depths up to 100 ft and can withstand a drop from 7.9 ft. In addition to also being dust proof, it's freeze proof to -10 degrees Celsius.
Another thing that's different is that It also has a SnapBridge feature that allows users to easily transfer the images to any mobile device via Bluetooth Low Energy connection. The in-built GPS can pin point your location in any photo and the mapping feature along with the altimeter and depth gauge, gives you a holistic understanding of your photography.
Read the full review: The Nikon Coolpix W300
Supposedly an upgrade from the HX300, very little is different between the two models.
The camera comes with Optical SteadyShot anti-shake technology making it ideal for on-the-go photos that will develop without blurs. The 1080p Full HD video is an upgrade from the 720p HD options on the older model, but in the age of 4k, it still seems a behind the times.
This bridge camera (in between professional and pure point-and-shoot) mimics its design from traditional DSLRs making it very hard to differentiate for laymen. That is to say, its extensive controls and solid built makes it look more expensive than it actually is.
Read the full review: Sony Cybershot HX350
The Canon PowerShot SX730 HS is something of a 'tale of two halves'. The good news is that it exhibits a fine build and is generally pleasing to use, with good response across most aspects of operation.
If you want a no-nonsense camera with a broad zoom range, and most of the decision-making left to it, the SX730 HS may just be what you’re after. The flipside of this is that the PowerShot SX730 HS lacks several of the features of its rivals, despite being one of the dearest options of its kind.
4K video, touch operation, an electronic level, even the option to move the focusing point - if you want any of these you'll have to look elsewhere.
Read the full review: Canon PowerShot SX730 HS
The P900 stands out because of it's 83x optical zoom and remains the market leader in this respect. The issue with this camera is that due to crazy large zoom, it's one of the larger cameras on the list.
Its manual control feature is something that's immensely useful for enthusiasts but it's shadowed by the fact that you can't shoot pictures in RAW format especially since its biggest competitor, the Canon SX60 HS, does support RAW.
As a travel camera, most of your images will turn out beautiful since most shots will be taken in bright light. It's ideal for bird or wildlife photographers, even for users who want to take pictures of the moon, since these things are normally out of range for most lenses. But, if you have plans for low-light photography, you should probably look at other options.
Read the full review: The Canon Coolpix P900
What makes this camera special is its built-in optical image stabilisation (IS), giving almost 2.5 stops of stabilisation. There are a bunch of scene modes that come pre-programmed for different situations as well as an auto mode that for beginners that don't care for too many settings.
There's a focus assist lamp in the front to help the camera focus in low light locations where as the pop-up flash is manual. You'll have to open and close it on your own even in auto mode.
Even though it has an A/V out and USB socket, it lacks a HDMI port making direct connections to a TV a bit of a pain. The screen isn't gapless making the LCD view ineffective in bright light situations. You know, when you have to cup your hand over the screen so that you can see what's going on? That.
The basics of the camera measure up well. Performance delivers decent results with good color composition. Despite having no HDR or backlighting scene mode, the camera comes paired with an iContrast that serves the purpose of expanding the dynamic range that the camera can capture.
Overall, for travelling, this camera will give you value for your money!
The Sony Cybershot Mark III is a unique camera that outshines the others in its price class. Unlike most of the other pocket-sized camera, this camera comes with a viewfinder (EVF). It helps with the composition of the photograph in bright light and helps you concentrate on the image.
An upgrade from the RX100 II, it manages to keep all the amazing features of it's predecessor while adding a whole bunch of improvements. It's 1-inch sensor is capable of recording high quality photos and the wide aperture enables the user to fully control over depth of field.
The camera scores on all fronts, from being to easy to use to producing quality images.
Read full review: Sony CyberShot RX100 III
The Sony WX500 is an attractive camera with solid specifications, which brings the user all the same features as the HX90 and should even deliver the same image quality.
What's the difference?
That it's cheaper.
Since the sensor in camera is smaller in order to make the huge zoom feasible, one would assume that photographs wouldn't come out as well. But, the Exmor R CMOS sensor does a pretty good job. The Bionz X engine negates the qualm about over smoothing of images to hide the noise in photos.
The auto-focus is pretty snappy, even in low light situations and handles its colors well.
This camera is meant for users looking to save money without compromising on quality.
Read full review: Sony WX500
]]>These waterproof cameras are handy and you can easily take them up to a depth of 30-meters underwater. They are specially designed and tested to survive in any condition, which means they are shockproof, dust-proof and freeze-proof as well.
These cameras also offer connectivity options like Wi-Fi, NFC and Bluetooth, which makes transferring files easy and quick.
If something waterproof isn't what you specifically looking for, then check out the best travel cameras that offer extended zoom and are compact to carry around.
Meanwhile, we've compiled a list of some of the best waterproof cameras that you can own, to capture those precious moments no matter where you go.
As the name suggests, the Olympus Tough TG-5 is a tough camera with a solid build. Replacing the TG-4, Olympus made a bold move by actually reducing the pixel count from 16 mega-pixels (MP) to 12MP to produce better image quality - since the pixels are packed in quite as densely.
The dual panel glass keeps the camera from fogging up during extreme temperature changes, making it ideal for any situation.
The camera is equipped with various field sensors like GPS, thermometer, barometer and compass that can record the related data while shooting. The user can transfer this data onto any smartphone using the Olympus Image Track app making sharing oh-so-easy.
It also has different shooting modes including Underwater mode and a Pro-Capture mode for split-second movement.
Dive up to 15-meters into the sea, drop it from a height of 2.1-meters, crush it under a 100-kilo rock (don't actually do this one, ok?) or hike up to meet the Yeti at temperatures down to -10 degrees Celsius, this camera can do it all.
Read the full review: Olympus TG-5
The Nikon Coolpix W300 is made for those who love capturing adventurous moments as they happen. Though Nikon has the GoPro series for this purpose, the W300 is packed in with more features.
The unique selling position of this camera is that it's rugged and able to operate at depths up to 30-meters, handle a drop from a height of 2.4-meters and function in temperatures as low as -10 degrees Celsius.
It also has a SnapBridge feature that allows users to easily transfer images to any mobile device via Bluetooth Low Energy connection. Even though it's available in orange, yellow and black - the camouflage version is especially badass.
Read the full review: Nikon Coolpix W300
Always have an issue finding the click button or switching between the different modes on a camera? The Canon PowerShot D30 solves that problem by giving users a camera with a good ergonomic design and big sized controllers.
Waterproof up to 25-meters with GPS tracking abilities, it's considerably more rugged than it's predecessor, the PowerShot D20. Its 12.1 megapixel sensor with DIGIC 4 processor may be dated, but delivers good quality images with high details and clarity.
The only complaint that we have is that it lacks Wi-Fi connectivity and can't record altitude or depth data, which is a bit of a let down in comparison to what other cameras in this segment are capable of providing.
Read the full review: Canon PowerShot D30
Do the cameras above seem a little pricey for your budget? Well, the Nikon Coolpix W100 is inexpensive while still being tough and waterproof.
The camera is decent with a 14.1 megapixel sensor. It also has the SnapBridge features allowing users to transfer files to their smart devices. It's connectivity capabilities go a step further with Wi-Fi and near field communication (NFC) making it all the more appealing.
Most waterproof cameras have fixed lenses, which can be a hassle for some users. But that's a problem that the Nikon 1 AW1 solves.
It was the first mirror-less camera with interchangeable lenses, and it's waterproof, dust proof, shock proof and freeze proof as well. Its internal specs are the same as the Nikon 1 J3 including the 14.2-megapixel sensor that's capable of capturing some really good pictures and can shoot videos in HD.
The only thing is that the selection of toughened lenses is limited so the focal lengths and maximum aperture available to you are also limited.
Read the full review: Nikon 1 AW1
We've rounded up all of the best GoPro prices, so that if you do want to buy one, you can get the best deal. Our GoPro prices are checked every day to make they're all up to date.
If you're just after a regular camera deal, be sure to check out our guide to the best cheap cameras.
We've ordered the GoPros on this page in order of prestige. You can get some seriously discounted GoPro deals if you opt for some of the older models or the relatively new unnumbered GoPro Hero Session, which offers all the best GoPro features but in an easy to use and very affordable model. Naturally, we've updated our cheap GoPro deals page with the brand new Hero 6 Black deals for those of you looking the best GoPro action camera yet.
4K recording has never been better in the GoPro range, as the new GoPro Hero 6 Black now records at a super smooth 60 fps (frame per second). Image stabilization is super important given the active lifestyles most GoPros record, so it's great to see this newest model improve even further. Even the 1080p recording has been improved with a boost to 240fps - excellent for maximizing those slow-motion shots!
The Hero5 Black is the GoPro we always wanted. The new waterproof design out-of-the-box makes it more resilient and the new camera has enough to make it a convincing update. The picture quality is better, it finally has video stabilization and the touchscreen makes it easier to use than any other GoPro. Sale items aside, it's cheaper than most prices for the older GoPro Hero 4 Black now too.
The GoPro Hero5 Session is a capable 4K action camera with a minimalist design that pushes the specs to the max within its cube-shaped confines. The Hero5 Session is also a major specs boost for GoPro's tiniest action camera. It now shoots stabilized 4K video and has a variety of new field of view modes. It's more expensive than its predecessor, but worth the upgrade.
The model, simply called the GoPro Hero Session, has replaced the very similar GoPro Hero 4 Session. They're the same price and considerably cheaper than the most recent GoPro Hero5 Session. Actually, looking around at the various GoPro models, this looks like the cheapest of the lot seeing as the older GoPro Hero is proving hard to get a hold of nowadays. So if you want an entry level GoPro, this could be the one to go for.
Compared to the models before it, the GoPro Hero4 Black offers the best image quality, plus a 2x more powerful processor that delivers super slow motion at 240 frames per second. High-resolution 4K30 and 2.7K601 video combines with 1080p120 and 720p240 slow motion to enable immersive footage of you and your world.
With the arrival of the newer Hero5 and Hero6, expect to see prices drop soon. As things stand many retailers are selling it for more than the Hero5! So it may be worth checking out the deals on the newer model (see above) before opting for this one.
UPDATE: This model has now been discontinued in Australia, but retailers could still have some stock available.
The GoPro Hero4 Silver was the first-ever GoPro to feature a built-in touch display. Controlling the camera, framing shots and playing back content is very convenient with this model – just view, tap and swipe the screen.
This GoPro captures 1080p60 and 720p120 video, plus 12MP photos at 30 frames per second. It's not the best anymore, but it often cheaper than the GoPro Hero4 Black model above.
Update: No longer available at most UK and Australian stores. This model doesn't record in 4K, but it does offer 1080p 60fps video and 10MP photos at speeds of up to 10 frames per second. Built-in Wi-Fi enables you to use the GoPro App to control the camera remotely, preview shots and share your favorites on Facebook, Twitter and more.
Compatible with all GoPro mounts, you can wear it or attach it to your gear for immersive POV footage of your favorite activities.
Looking to take to the skies with your GoPro camera? There are certainly cheaper camera drones available, but this is one of the best premium setups out there. You can buy the drone on its own (often listed as 'GoPro Karma Light' or 'GoPro Karma with harness'), or get it bundled with the excellent GoPro Hero5 Black camera.
We've also included price comparison charts for both below, but you may be able to save a bit of cash by buying the drone and camera separately (check out the GoPro Hero5 Black deals near the top of this page). You'll find the best GoPro Karma prices below though.
]]>Prices alone might not be enough though, so we've given each of these Instax Mini cameras a rundown of information to help you choose the one that's right for you.
The Fujifilm Instax Mini 8 is one of the most popular instant cameras on the planet thanks to its super cheap price and bold, cheerful and colourful design. Simple to use and with brightness controls, built-in flash and cool 1.8-inch x 2.4-inch images printed straight from the camera, this really is a bargain. But could you be tempted by the newer Instax Mini 9?
The Fujifilm Instax Mini 8 requires two AA batteries and is available in black, grape, raspberry, pink, blue and yellow.
There's really only one difference between the Instax Mini 8 and the Instax Mini 9 and it's a tiny little mirror. The Instax Mini 9 has a small mirror next to the lens, making lining up selfies much easier and ensuring a more accurate picture. The newer Mini 9 is slightly more expensive than the Mini 8, but consider this: if you're likely to be taking a lot of selfies, the mirror could save you a small fortune on film costs as you'll have fewer wonky, poorly framed snaps. If the price is right for the colour you want, this is the one we'd go for.
The Instax Mini 9 requires two AA batteries and is available in cobalt blue, flamingo pink, ice blue, smoky white and lime green.
There's certainly an argument that the Instax Mini 8 is aimed towards a younger or more casual market with its bright pastel colours and chunky build. But there are some slicker options available for not much more - namely the Fujifilm Instax Mini 70.
The Instax Mini 70 features more control options and shooting modes than the Mini 8/9 and takes better pictures in the dark. It comes with the selfie mirror as standard too. With a smoother metallic paint job, it loses the toyish vibe of the above models for something much more professional looking while maintaining the compact instant camera vibe. If you'd feel silly holding the Instax Mini 8, but want a similar design, this is your best bet.
The Fujifilm Instax Mini 70 runs off two CR2 batteries and is available in moon white, canary yellow, island blue, passion red, stardust gold and midnight black.
If you're looking for something with a more retro feel then it's hard to beat the Fujifilm Instax Mini 90 and its traditional leather-style binding. As you can see in the price comparison chart below, it's also the most expensive of the Instax Mini cameras in Fujifilm's range.
You're not just paying for the old-school vibe though. Bulb modes ensure you won't get pictures that are too blurry or dark. On the other side of the scale, this is the first Instax Mini camera that allows you to turn off the flash, meaning you won't get any images with way too much white light. A double-exposure mode allows you to put two images on one piece of film too.
The Fujifilm Instax Mini 90 instant camera is powered by a rechargeable NP-45A lithium battery making it the only rechargeable Instax Mini camera from Fujifilm. Colour options are much more modest than the other Instax Minis as the only differences are in the leather-style wrap finishes where you can choose between brown or Neo Classic (black).
Looking for some extra Fujifilm Instax Mini film packs? We've compared the best deals from multiple retailers in our price comparison charts below. The cheapest packs usually have 10 or 20 Instax Mini film papers to print out your latest photos. Take a look at the options further down the chart and you'll see prices for larger packs too.
These film packs are compatible with all the cameras on this page. You might not see the Mini 9 mentioned on the packaging or item description, but that's only because the Instax Mini 9 is still quite new and the film packaging hasn't caught up. The Instax Mini 9 takes the same film as the Instax Mini 8.
Kodak Alaris, the imaging division of the old Kodak that was spun off to satisfy the demands of the UK pension fund, has continued to produce both black-and-white and color films. Recently it re-introduced the famous T-Max P3200 in 135 size.
Which makes me feel old—I remember when the film was brand new. In fact I remember it before it was brand new—I was an official beta-tester for the T-Max films before they were released to the public.
I don't claim expertise in very many areas, but I was an expert with P3200. Dick Dickerson was the head of B&W products at Kodak when it was developed, and Sylvia Zawadski was the emulsion scientist who led the development team. Dick and Sylvia became consultants after they retired, and I enlisted them to write articles for Photo Techniques magazine. Although the magazine has gone the way of all things by now, they went on to write many articles for it, most of them after I left. Sadly no longer online.
The first thing you should know about P3200 is that it never had an ISO rating—at least in the old days it didn't. It was never submitted for the protocol. Depending on the developer, it tested as either an E.I. 800 or E.I. 1000 film. ("E.I." is short for "exposure index," the proper term for a film speed that does not have an official ISO rating, or for a speed that departs from the official ISO rating. Used in a sentence: "I shoot ISO 400 Kodak Tri-X at E.I. 200." This is not conventional with digital but it's proper with films.) I preferred to shoot it at E.I. 1000. You'll get a little more speed out of it with T-Max Developer, and that works well, but I preferred straight (undiluted) D-76 because I liked the grain better.
Another thing you'll hear is that it has "huge grain" or "golf-ball grain" or other such clichés, but that's not true. Properly used it has visible but pleasant grain structure that can be quite moderate. It can look very nice and perfectly tolerable as long as the film is exposed, processed, and printed correctly. Yes, you can make the grain look excessive and/or ugly if you try, or if you just don't know what you're doing, but then, I could make Tri-X or even 100 speed films look grainy too if I wanted to.
You might also hear that it's not sharp because no grainy film can be sharp. Also not true (or, again, simply ignorant). That's confusing micro resolution with sharpness. Actually P3200 can have a very high subjective impression of sharpness and very good contrast. In fact, grainier films look sharper than fine-grain films, depending on your definition of "sharpness." It just won't resolve as well as a slower film. But the number of pictures that actually need high resolution to either function for their purpose or look good is very low.
Another tip: there's no need to store it in the refrigerator. Makes no difference. But keep it away from stray sources of radiation—the legend was that when Kodak first developed it, they stored the stocks in a disused salt mine to minimize the effects of background radiation! Unconfirmed. But I can tell you that if you pull a little bit of film out of the cassette and set one of the old radioactive Takumars on it in the dark, it will record fog within a few days. It does fog easily, so handle accordingly. Keep it in the can in the camera bag, don't let it roll around loose.
A few recommendations for use:
• Don't shoot with it at E.I. 3200. :-)
• Develop it immediately after shooting. Silver halide crystals "migrate" in the emulsion after exposure, and many films that are allowed to sit for long periods of time after exposure lose contrast and edge sharpness and the quality of the grain can become "mealy." This is especially pronounced with P3200. As a test, I shot two rolls of P3200, developed one within the hour, and let the other sit for a year (or was it two? Ah, memory) before developing. The difference was eye-opening. Many B&W films will look their best if processed very promptly—an advantage granted to pros and testers, the only two groups who routinely processed film very soon after exposure even if they didn't know they should.
• Don't bother shooting it in good light. It doesn't do very well outdoors in daylight—at least, I never liked it. Shoot with a slower film in good light and reserve P3200 for "available darkness," where it excels.
• Be mindful that enlarger light sources can have a large effect on the appearance of a film. Roughly speaking, the range from collimated to diffuse goes: point-source, true condenser, partial condenser, dichroic-style, cold light (actinic/fluorescent). The test I did—and used to have prints for—was that I printed the same Ilford XP2 negative with a Leitz Focomat II (true condenser) and an LPL 4500 (dichroic style). The difference was not subtle at all—the two prints looked like they were made with two completely different films. I suggest light sources at the diffuse end of the range for printing P3200.
• Beware other peoples' developer recommendations—you never know what qualities other people are looking to emphasize. In particular, many people will recommend developers based solely on getting higher speed out of P3200. That's a bad strategy, in my opinion, and anyway it's completely moot now, when you can shoot a high-DR FF camera at ISO 5000 and get excellent B&W. Shoot P3200 for the joy and the beauty of it—it can be a lovely film if skillfully used—and shoot digital if you truly need high ISOs. Back to P3200, try a few developers with it and go with what looks best to you. Or at least I should say, if you try a recommended developer and don't like it, don't give up, try something else.
I'll probably think of a few other things to say as the day goes on, except that I have a full plate today. I'll edit later if anything else occurs to me. I might go out to the barn and crack open a few portfolio cases and see if I can rummage around and find some T-Max P3200 prints to show you. Don't hold your breath.
Oh, and, visitors, you do not have permission to copy this whole post and stick it on a forum somewhere. It's copyrighted and that's a violation of copyright law. You're of course welcome to link back to it if you care to—the URL you can use is:
https://tinyurl.com/y9dfrc92
Mike
"Open Mike" is the often off-topic, anything-goes editorial page of TOP, in which Yr. Hmbl. Ed. writes about anything he wants, and yes, this is sometimes indistinguishable from any other day. But that's the format and I'm stickin' to it, dang 'er.
Original contents copyright 2018 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.
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(To see all the comments, click on the "Comments" link below.)
Featured Comments from:
John Camp: "Interesting. Do silver halide crystals also migrate in slower films? What would this mean for the thousands of undeveloped rolls of film supposedly held by Garry Winograd's estate? Are they slowly degenerating, or is the actual problem low enough that it won't make any difference given his style of shooting?"
Mike replies: Actually that's an excellent example. The undeveloped rolls Garry left behind (about 9,000 if memory serves, although my memory for numbers is notoriously bad) when he died in 1984 were developed and proofed under the supervision of John Szarkowski of the Museum of Modern Art with the help of a grant from Walter Elisha of Springs Industries in the late '80s. John presented about two dozen of those pictures at the end of the book Figments from the Real World (the reprint is still available and not too expensive) and if I remember correctly (my copy is out in the barn, alas) you can see even from the reproductions the effects I'm talking about.
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]]>HOW TO ENTER THIS PHOTOGRAPHY COMPETITION
The post Verzasca FOTO Festival Awards 2018 appeared first on Photocompete.
Original article: Verzasca FOTO Festival Awards 2018.
]]>This panther brooch (brooch, n., an ornament fastened to clothing with a hinged pin and catch) by Cartier is for sale at M.S. Rau Antiques for $38,500, coincidentally just about exactly the median household annual income in the village nearest where I live.
• The great British author Virginia Woolf was a photographer—here's an article featuring her snapshots of the Bloomsbury Group.
• The most popular book by our friend John Camp a.k.a. John Sandford is Storm Prey (2010) according to Goodreads. It's #20 in the Lucas Davenport Series. I just met a local guy who could hardly believe I know John—he fixed me with an intent stare and said, "he's one of my guys. I read ev-er-y-thing he writes."
• Canon has introduced a new mirrorless camera. The new M50 has a 24-MP sensor, an electronic viewfinder, and is the first camera in the Canon's M series to include 4K video. It costs $899 with its compact 15–45mm kit lens and is available in white. It is said to be targeted to beginners.
• This is a snapshot no lover of photography (well, none who knows who these guys are, anyway) will fail to appreciate—William Klein and Daido Moriyama snapping pictures of each other at Akio Nagasawa Gallery in Tokyo, on Instagram.
• If you ever in a past life enjoyed smoking those funny marryjehoochie cigarettes, Master KK's latest "Up the Box" (NSFW, n.b.) will make you laugh and groovealong. Includes some super-rare tracks. You might enjoy it even if you are not, um, high. (And please, I know I've opened the door, but let's not discuss illegal substances in the squeaky-clean TOP Comments section. Thenk-yew, the Ed.)
• Yesterday saw the introduction of the Sony A7III, the third iteration of the basic level of the highly popular A7 series. B&H Explora has posted the launch. Sony typically does not stint in letting its best technologies trickle down, and the A7III loads into the sub-$2k (barely) basic A7 camera many of the advances of the A9 and A7RIII. It is not yet available for pre-order.
Provenance unknown, from a show called Gathered: Snapshots from the Peter J. Cohen Gift and Works by Carmen Winant and Luke Stettner, an exhibition from late 2016 that celebrated the gift of more than 200 amateur photographs from the collection of Peter J. Cohen to the Columbus (Ohio) Museum of Art. Although the body had its identity elided, doubtless the missing head was clipped out in order to be treasured in a locket or honored in miniature frame, so no need to mourn the headlessness of the anonymous subject.
• Speaking of detachable heads, Frankenstein by Mary Shelley, one of the most remarkable masterpieces in Western literature, is celebrating (if that's the right word) its bicentennial this year. It was published on January 1, 1818. (The link is to the 1818 first edition text.) The book and myth is incredibly rich; it resonates with meanings that range from from slavery, to feminism, to the usurpation of God, to the heartlessness of science, to the emotion of revenge, to the experience of crushing loss and the longing for the dead to rise—Mary Shelley in her life was devastated by the loss of successive children, and she outlived most of her illustrious parents and her even more illustrious circle of friends that included her husband the poet Percy Bysshe Shelley and Lord Byron.
• The China Institute at 100 Washington Street in Manhattan will for most of this year be showing Art of the Mountain: Through the Chinese Photographer's Lens:
Art of the Mountain will consist of three sections: Revered Mountains of China will introduce the geography, history, legends, and culture that are associated with Chinese mountains and will include photographs by Hou Heliang, Kang Songbai and Kang Liang, Li Daguang, Lin Maozhao, Li Xueliang, Lu Hao, Zhang Anlu, Xiao Chao, Yan Shi, Wang Jing, Zhang Jiaxuan, Zhang Huajie, and Zheng Congli. Landscape Aesthetics in Photography will present Wang Wusheng’s photography of Mount Huangshan, also known as Yellow Mountain, to reflect the renowned Chinese landscape painting aesthetic and its influence. New Landscape Photography includes the works of Hong Lei, Lin Ran, Lu Yanpeng, Shao Wenhuan, Taca Sui, Xiao Xuan’an, Yan Changjiang, Yang Yongliang, Yao Lu, Zeng Han, Gao Hui, and Feng Yan, who express their thoughts on the role of mountains in society.
Mike
(Thanks to Ned Bunnell)
Original contents copyright 2018 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.
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(To see all the comments, click on the "Comments" link below.)
Featured Comments from:
Steve Rosenblum: "I first read "Frankenstein" as part of an undergraduate literature course on science fiction taught by Prof. Eric Rabkin at the University of Michigan in 1971 or 1972. It was a rigorous, wonderful course and I think that Eric may still be teaching it. "Frankenstein" was the first reading for the course. I had low expectations of it, and was totally entrhalled by what a wonderful book it is, as well as the amazing story of Mary Shelley, its writing, and the interlocking lives of Mary, Lord Byron, and her husband the poet Shelley. It is nothing like the movie made in the 1930's. Speaking of movies, I also highly recommend "Young Frankenstein" to anyone who hasn't seen it. IMHO the funniest movie ever made."
John Camp: "And Mary Shelley's circle also included John Polidori, Byron's personal physician. She, Percy Shelley, Byron and Polidori one night agreed to write 'ghost stories.' Hers eventually evolved into Frankenstein. Polidori's, published a year after Frankenstein, was called 'The Vampyre,' and is generally acknowledged to be the first vampire story and the model for the character Dracula (the Dracula story itself was written 70 or 80 years later by another guy.) The stories by the two famous writers didn't amount to much."
Geoff Wittig: "The 'Art of the Mountain' show sounds fabulous. While my ignorance of Chinese art and photography are profound, my understanding is that photographs and especially paintings of the iconic Yellow Mountain region of China are perhaps analogues to heroic 'Western' art in American culture. To my eye, archetypal Western landscape paintings by Bierstadt and Moran are very similar in their heroic motif to Ansel Adams' equally dramatic photographs. Traditional Chinese painting by contrast tends to be more gestural, suggestive and subtle. So too are the Chinese mountain photographs I'm familiar with. Wang Wusheng's lovely 2005 photo book Celestial Realm: The Yellow Mountains of China is full of delicate, moody fog-draped images. And it's still available new. Just sayin'.
"On an unrelated matter, is it just me, or is Canon's M50 the ugliest mirrorless camera we've seen yet? Fujifilm's X-T2 is a lovely piece of photo jewelry; Panasonic and Olympus mirrorless cameras look purposeful. But Canon's M50 and M5 are photo-Edsels. Lumpy, inelegant and dull. Maybe it works great, but it's so homely I'd be embarrassed to pull it out to take a shot. 'Course, it could just be me."
cdembrey (partial comment): "For me the most interesting recent announcement was Canon's new flash. From my POV, seen one camera and you've seen them all—YMMV."
Ken Tanaka: "I was delighted to see one of Peter Cohen’s found photos in this story! A good friend of mine, Peter has amassed one of the largest and richest collections of anonymous and found photographs anywhere. That’s how he enjoys photography. And it turns out he’s not alone, as there’s a very lively community of similar collectors out there. In recent years Peter has opened his collection to museum curators (The Met, The Art Institute of Chicago, The Columbus Museum of Art, et al) who have created some very unique and memorable shows from the collection. In 2011, for example, Michal Raz-Russo here at the Art Institute of Chicago created a show titled 'The Three Graces' after she and Peter noticed that so many of the snaps contained three women. In 2015, Mia Fineman, an associate curator at The Met, published a cute book titled Snapshots of Dangerous Women with images also mined from Peter’s collection.
"Yet another example of how photography and photographs can be enjoyed and used toward creative objectives...without using a camera."
]]>Entry-level DSLRs deliver a big step up in image quality from a compact camera or smartphone, offering far more manual control and the ability to change lenses to tackle a huge variety of projects. Don't worry though – there are also a host of auto modes to help you out until you're comfortable with the more creative controls that a DSLR offers.
Obviously, the more features you want, the more you'll pay, but do you actually need them? Our top camera is one of the cheapest on the market, but still offers impressive performance and image quality, plus enough features to handle most assignments, especially if you're still learning.
You may also want to consider a mirrorless camera as an alternative. If so, you'll find our video above or Mirrorless vs DSLR cameras: 10 key differences guide very useful. Or, if you're not sure what kind of camera you need at all, then read our easy-to-follow guide to camera types: What camera should I buy?
If you're buying your first DSLR, it makes sense to buy it as a kit, which generally includes the camera body along with an 18-55mm lens. Often referred to as a 'kit' lens, this covers a pretty broad zoom range, perfect for everything from landscapes to portraits, but that's just the start.
They're more than adequate to get started, but the key advantage of DSLRs over compact cameras is that you can add to your kit with additional lenses. For example, wide-angle and telephoto zoom lenses, a flashgun, and other accessories, to make the most of whatever types of photography you're into.
Canon and Nikon offer the largest collections of DSLR lenses, but Pentax and Sony also offer decent ranges. You're not limited to own-brand lenses either, with the likes of Sigma, Tamron and Tokina selling quality lenses at prices that are often lower than the camera manufacturers' equivalent lenses.
Nikon's D3400 builds on the brilliant D3300, which was until recently our top pick. Sharing pretty much the same design and specification as its predecessor, the D3400 adds Nikon's SnapBridge bluetooth connectivity to transfer images directly to your smart device to make it that much easier to share images. The 24.2MP sensor resolves bags of detail, while the D3400 is also a very easy camera to live with. Its clever Guide Mode is a useful learning tool that gives real-time explanations of important features. There's no touchscreen though, but otherwise this is our favorite entry-level DSLR right now.
Read our in-depth Nikon D3400 review
The EOS Rebel T7i (known as the EOS 800D outside) sits at the top of Canon's entry-level EOS DSLR range. Sporting a newly designed 24.2MP sensor that delivers an improved high ISO performance over older models, the Rebel T7i's autofocus also gets a boost, now with a 45-point arrangement that's backed up by excellent live view AF system. There's also newly designed graphical interface that will certainly make this camera even more appealing to new users, but the absence of 4K video and the quality of the exterior materials disappoint. Perhaps the most expensive option out there, but definitely one of the best.
Read our in-depth Canon EOS Rebel T7i review / Canon EOS 800D review
The D5600 competes directly with Canon's EOS Rebel T7i / EOS 800D at the upper end of the entry-level DSLR market. Where Nikon's D3000-series cameras are designed as cost-conscious introductory DSLRs, the D5000-series is preferable if you want to get more creative. The D5600 sports a large 3.2-inch vari-angle touchscreen, and while the live view focusing speed could be quicker, the 39-point AF system is the best you'll find in a entry-level DSLR. There isn't much wrong with the D5600's 24.2MP sensor either, delivering excellent results, while the logical control layout of the D5600 makes it easy to use.
Read our in-depth Nikon D5600 review
Replaced by the D3400 last year, the D3300 and D3400 share a very similar set of features (and design for that matter). The biggest difference between the two though is the D3300's lack of connectivity - if you want to transfer your images to your smartphone or tablet, you'll need to invest in Nikon's cheap plug-in Wi-Fi adapter that plugs into one of the ports on the D3300. With stocks running down as the D3400 takes hold, the D3300 is becoming less easy to come by, but if you do track one down at a good price, then you'll get yourself a great beginner DSLR.
Read our in-depth Nikon D3300 review
The EOS Rebel T6i (Called the EOS 750D outside the US) may have just been by the EOS Rebel T7i / 800D last year, but is still a great option if the price of the newer model puts you off. While the sensor isn't quite as good as the one in the newer T7i despite sharing the same resolution, it's still very good, while the vari-angle touchscreen is still one of the best around. AF performance could be better though, but overall this is still a very capable entry-level DSLR.
Read our in-depth Canon EOS Rebel T6i review / Canon EOS 750D review
The D5300 was around for little more than a year before the D5500 technically replaced it (which has in turn be replaced by the D5600). It shares the same 24.2MP sensor with an identical maximum ISO25,600 sensitivity as the D5500, whilst the D5300's EXPEED 4 image processor and 39-point autofocus system have also been carried over to its replacement. The D5300 doesn't sporta fancy touchscreen control, you do get GPS instead, while the D5300's 600-shot battery life will still outlast a Canon T6i / 750D. All in all, it may not be the latest entry-level DSLR, but the D5300 is still a smart buy.
Read our in-depth Nikon D5300 review
Canon introduced the EOS Rebel SL1 (EOS 100D outside the US) to compete with the influx of compact system cameras and it was the smallest DSLR available when it was introduced in March 2013. Now replaced by the EOS Rebel SL2 (EOS 200D), its slightly bulkier proportions make it feel more like a slightly pared-down Rebel T7i / 800D than anything unique. It's not a bad option for new users, but there are better-value alternatives available at the moment.
Read our in-depth Canon EOS Rebel SL2 review / Canon EOS 200D review
Stick the EOS Rebel T5i (EOS 700D outside the US) next to the T6i or the T7i and you'll struggle to tell them apart. The EOS Rebel T5i is really intuitive to use, regardless of your ability, but the T5i's sensor can trace its roots back to the T2i that was released in 2010 and it's now outclassed in terms of noise suppression and dynamic range. The 9-point autofocus system is also dated and you don't get Wi-Fi connectivity. The T5i's slashed price does make it a tempting proposition though, but the T6i or T7i is a more future-proof choice.
Read our in-depth Canon EOS Rebel T5i review / Canon EOS 700D review
The EOS Rebel T6 (known as the EOS 1300D outside the US) is Canon's cheap and cheerful entry-level DSLR. While not featuring quite the same impressive spec as pricier models up the Canon range, you still get a solid set of features for the beginner including Wi-Fi and NFC technology built-in. This means you can transfer images to your smartphone for super-quick sharing. Images from the 18MP sensor are more and adequate, but is starting to show its age against rivals with higher pixel counts. Canon's just announced its replacement, the EOS Rebel T7 / EOS 2000D, so you might be able to track this down at an even more tempting price before it disappears for good.
Read our in-depth Canon EOS Rebel T6 review / Canon EOS 1300D review
Pentax is renowned for producing DSLRs with maximum bang per buck, and the K-70 is no exception. Weatherproof DSLRs that are rain and dust resistant usually cost a packet, but the K-70 offers this protection at a reasonable price so you can shoot in all conditions. Just remember that you'll have to partner it with more expensive WR (weather resistant) lenses to get the full benefit. Regardless of the lens you use, the new hybrid live view autofocus system makes live view shooting an enjoyable and practical alternative to using the viewfinder. Pentax's in-camera Shake Reduction system cuts camera shake and can even correct slightly skewed horizons. The only reason the K-70 isn't higher on our list is Pentax's relatively restricted lens range.
Read our in-depth Pentax K-70 review
The OM-D E-M10 Mark III is a great alternative to an entry-level DSLR. Some will criticise the smaller Micro Four Thirds sensor format (roughly half the area of APS-C) but the effect on image quality is minor and it means that the lenses are as compact and lightweight as the camera itself. Sporting a 5-axis image stabilization system, decent electronic viewfinder, an impressive 8.6fps burst shooting speed and 4K video, it's no toy – the E-M10 Mark III is a properly powerful camera.
Read our in-depth Olympus OM-D E-M10 Mark III review
]]>The post Wheels Photo Contest appeared first on Photocompete.
]]>Theme: Wheels
HOW TO ENTER THIS PHOTOGRAPHY COMPETITION
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Original article: Wheels Photo Contest.
]]>The post 5 camera hacks and tips in 95 Seconds you should try appeared first on Photoshop Roadmap.
]]>It’s not easy to be creative every day and little hacks will certainly help you try something new and different with your camera. Of course, imagination is always your limit, but you can always use some help.
Pierre has been using some of these tricks for years (like the lamp under the cocktail glass & reflector) with his clients. It’s not always easy to carry big pro gear when traveling so it is a good habit to be creative with little things that are easy to carry.
Tricks found in this video:
#1: The phone dark reflection (a classic but works really well for people if you can find some cool background lights to reflect a nice bokeh in the glare)
#2: The phone light: turn it on and place it under a cocktail glass or any transparent surface you want to lit up. I’ve literally used that one to create a cool cocktail shot that is still being used by bars!
#3: the fairy lights. Super famous but we tend to forget it! Awesome for portrait even more at night! Super romantic for couple shoots
#4: CD, using a CD reflect the light to create a rainbow. Useful for trends… but also for party/night event photography.
#5: Aluminum foil reflector combined with a hanger. Works amazingly when you can’t afford to carry a big reflector. For example when you travel. In my case, I can’t carry a reflector around the world so whenever I need a nice portrait this is my go-to!
Bonus: for people who do video. Using the scarf to hold the lens and the sling makes a 3-way sling which works great to have smooth motion.
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]]>It replaces the Alpha A7 II that was launched back in 2014, and Sony has lavished much of its latest tech on the Alpha A7 III, aiming to redefine what we should expect from an entry-level full-frame camera.
While the resolution remains the same, the new sensor in the Alpha A7 III features a back-illuminated design that delivers a much faster readout speed than the older model. Coupled with the latest BIONZ X image processor, the new A7 III is capable of shooting at 10fps (double that of the A7 II), with the option to use the silent shutter at this speed as well.
Not only that, but the buffer has also been greatly improved, and is now capable of shooting 177 consecutive JPEG images before the camera needs to take a breather, compared to 52 on the A7 II, while raw performance is still impressive at 89 shots.
The sensitivity range has also been greatly improved, now with an extended ISO ceiling of 204,800 – the same as the Alpha A9, and two stops better than the A7 II's 51,200 limit. Sony also reckons it's managed to achieve a dynamic range of 15 stops.
We didn't expect to see this on Sony's 'basic' full-frame camera, but the Alpha A7 III gets the same 693-point AF system that's impressed us on the Alpha A9. It's a massive improvement over the 117-point arrangement on the Alpha A7 II, while the coverage also matches that of the A9 at 93%. Sony's clever Eye AF functionality also features, while the system is capable of focusing in light levels as low as -3EV.
To help keep things steady, the Alpha A7 III gets Sony's latest 5-axis built-in image stabilization system, offering up to five stops of compensation.
As you'd expect, the Alpha A7 III offers 4K video recording (3840 x 2160), using the full width of the camera's full-frame sensor and without pixel-binning. With a 6K readout, the Alpha A7 III collects 2.4x the amount of data required, with footage then oversampled to produce what Sony believes will be 4K footage with exceptional detail and depth.
As we've seen with the Alpha A7R III, the Alpha A7 III features a new HLG (Hybrid Log-Gamma) profile that supports an Instant HDR workflow, allowing HDR (HLG) compatible TVs to play back 4K HDR footage.
As well as this, both S-Log2 and S-Log3 are available for increased color grading, while if you want to shoot Full HD footage you can do so at up to 120fps.
One area where mirrorless cameras have struggled against their DSLR counterparts has been battery performance, so it's great to see the Alpha A7 III's battery rated for up to 710 shots – that's a huge improvement over the 350 shots of the Alpha A7 II, while it also has the edge on the Alpha A9's 480-shot battery life.
The Alpha A7 III sports dual SD slots, with support in one slot for UHS-II type SD memory cards. There's now a dedicated AF-On button on the rear of the camera, and touchscreen functionality on the tilt-angle display. Proportionally the body is pretty much identical to that of the Alpha A7R III.
The Alpha A7 III is expected to be available in March priced at $1,999 / £2,000 / AU$3,099 for the body only, and £2,200 with the 28-70mm f/3.5-5.6 standard zoom lens. US and Australian pricing for the lens kit is still to be confirmed.
]]>The post Together Photography Contest appeared first on Photocompete.
]]>AWARDS:
HOW TO ENTER THIS PHOTO COMPETITION
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Original article: Together Photography Contest.
]]>Canon’s Speedlite 470EX-AI does a test flash, and then based on the bounce automatically adjusts the angle of the flash head in order to deliver perfect lighting for your shot.
With a 180-degree range of motion left to right, and a 120-degree range of motion up and down, the full-auto mode allows the Speedlite 470EX-AI a vast range of control over flash angle.
If you’re a little more ‘pro’ and don’t want your camera dictating where the flash is pointing, there is another function that we can imagine getting a fair amount of use: semi-auto mode allows you to set flash angle, which stays constant, even when you move the camera from landscape to portrait mode.
The Speedlite 470EX-AI can recharge to full power in 5.5 seconds with 4 AA/LR6 batteries, or 3.5 seconds with rechargeable NiMH batteries. It also has a high-speed sync function which enables the flash to be fired several times in rapid succession, giving you a higher shutter speed for great action shots.
With a Guide No of 47m2, and a lens coverage from 24mm to 105mm (even stretching to 14mm with an adaptor), it certainly looks like a capable flash.
The Canon Speedlite 470EX-AI will be available in April 2018 for $400 (£499.99). Pricing for Australia is yet to be determined, although Canon usually does leave it to the discretion of the dealers.
This is before you consider cumbersome battery packs and flash heads that require Arnie-esque arms to lug around.
Cactus thinks there's an easier way and its latest RQ250 bare-bulb wireless monolight (due for release this summer) boasts a high output portable flash with consistent light quality for location shooting that fits in the palm of your hand.
According to its maker, there simply wasn't a flash tube available to meet the expectations, so the Chinese company designed and built one from scratch.
The result is the unique TubeOne flash head design that is said to deliver power with 'maximum efficiency', resulting in a reliable light source that is free from hotspots when used with the detachable, built-in reflector.
A clever uni-body design means it can be used with the frosted glass lens to produces a 'beautiful and evenly spread of light', according to Cactus.
Or, remove the reflector and it can be used with a bare-bulb flash, which, 'excels in even light distribution when paired with soft boxes and studio umbrellas'.
A new Lithium-ion battery delivers 400 full-power 250Ws flashes on a single charge, while the compact unit also features a fan-cooling mechanism, so it can be pushed to limits no matter the conditions.
Also, diminutive package comes with an on-axis LED modelling light, which also functions as an AF assist.
Comprehensive connectivity sees it supported on Canon, Nikon, Olympus, Panasonic, Pentax, Sigma, and Sony camera systems, while Wireless TTL and HSS are also supported.
Plus, a built-in wireless receiver works seamlessly with Cactus V6 II and V6 IIs for Sony.
There is currently no official wording on price but it will be available in summer 2018.
]]>The EOS Rebel T7 / EOS 2000D / EOS 1500D replaces the EOS Rebel T6 (known as the EOS 1300D outside the US), Canon’s previous entry-level DSLR. It’s a pretty minor upgrade, though – while the APS-C CMOS sensor gets a significant boost from 18MP to 24.1MP, the DIGIC 4+ image processor and nine-point autofocus system are the same. The camera also has the same upper sensitivity limit of ISO6400 (expandable to ISO12,800) and burst shooting speed of 3fps.
The camera features Canon’s Scene Intelligent Auto mode to help novice DSLR users get good results without having to worry too much about settings, and a selection of creative filters. The EOS Rebel T7 / EOS 2000D / EOS 1500D can also capture Full HD video – Canon's still being a bit coy with 4K video on its DSLR line-up with the exception of the EOS 5D Mark IV.
There’s a 3.0-inch LCD on the back, although – oddly for a camera designed to appeal to smartphone users – it’s not a touchscreen. Images can be shared to social media, and backed up to Canon’s Irista cloud storage service, via Wi-Fi; and there’s also NFC (Near Field Communication), enabling a Wi-Fi connection to a compatible Android phone to be established by tapping the device against the camera. Battery life is rated at approximately 500 shots.
The EOS Rebel T7 / EOS 2000D / EOS 1500D, along with the EOS 4000D / EOS 3000D and EOS M50, will go on sale in March, and are available to pre-order now. The EOS Rebel T7 / EOS 2000D /EOS 1500D is priced $549.99 / £469.99 / AU$729 with Canon’s EF-S 18-55mm kit lens.
The EOS 4000D /EOS 3000D slots in below the EOS Rebel T7 / EOS 2000D / EOS 1500D in Canon’s lineup, and is its cheapest DSLR to date, aimed at those looking to make the step up from a typical camera phone or basic compact.
The specs match the bargain-basement price, with a resolution of 18MP, simplified controls and a plastic rather than metal lens mount, not to mention a 2.7-inch LCD monitor (as opposed to the 3-inch TFT LCD display on the EOS 2000D / EOS 1500D). The other specs are largely the same as those of the EOS 2000D / EOS 1500D.
The 4000D is priced at £329.99 body-only, or £369.99 with Canon’s EF-S 18-55mm IS lens. In Australia, where the camera has been named EOS 3000D, Canon has left the pricing at the discretion of the dealers.
At the moment at least, it doesn't look like the EOS 4000D will be coming to the US.
The EOS M50 is a new mid-range mirrorless camera, and is claimed to be Canon’s “most intuitive and technologically advanced mirrorless camera yet”. It’s notable for being the first M-series camera to offer 4K video, while it’s also the first mid-range M-series to get an electronic viewfinder and a Vari-Angle touchscreen, and the first EOS camera of any kind to get Canon’s latest DIGIC 8 image processor.
The combination of the processor and a 24.1MP sensor promise to deliver strong low-light performance, with a standard maximum ISO of 25,600, expandable to ISO51,200, and burst shooting speed of 10fps. The camera is equipped with Canon’s Dual Pixel CMOS autofocus system, which should offer fast and accurate focusing.
The EOS M50 is priced at $779.99 / £539.99 body-only in the UK and US, or $899.99 / £649.99 with the EF-M 15-45mm lens. In Australia, the camera is available for pre-order with the EF-M 15-45mm lens for AU$1,199.
]]>The post The Power of Fonts in Web Design appeared first on Photoshop Roadmap.
]]>Fonts have the power to draw a viewer in and tie the entire web design together. Your website must be as straightforward as it is aesthetically pleasing, and the fonts a designer picks can achieve both. Fonts can be an extension of a brand or an individual. According to Webinsation, typography and font faces impact several aspects in web design such as readability, mood, and user experience, among others.
These may not be evident to non-designers, but here are reasons why fonts are a web designer’s best friend:
Because a website is composed of several pages, a designer needs to develop a system of presenting information. This can be done using font colour and font size. Both can be used to emphasize and set apart certain portions of your content.
When reading a web article, you’ll notice that the titles stand out from the text. It may have a bigger font size and a different colour. The bigger the font, the more it will catch a reader’s eye. The same applies when you use a different colour for the title than the rest of the text. This communicates the message that the portion with the bigger font and different colour is important. As viewers browse your website, they will be able to identify the most important to least important information using the font size and colours alone.
The same principle applies to the type of information presented across web pages. Market8 identifies three types of web content: main, secondary, and navigation. These types of content serve a variety of purposes and may appear simultaneously.
The main content is what the specific webpage is about. For example, an About page’s main content is the information presented about the company and its affiliations. In the same way, a Contact Us page’s main content may contain an address, phone information, and other relevant contact details. The secondary content is what you find presented in the side columns of web pages. This can include related content, tags, outbound links, and the like. Navigation content refers to what users click to go about your website. With these types of content, a user must be able to identify which is which.
Using different fonts for each type of content makes your website easier to understand. This way, confusion can be avoided and users will be able to immediately differentiate the types of content without headings or labels. This is especially true for websites that contain a large number of web pages.
As users navigate a website, they will be able to associate the information presented to them based on the typographical system established by the designer. Most users can tell the difference but won’t be able to identify why. This ties together the entire website and is the ultimate marker of good design.
The type of font a designer uses conveys the character of the webpage. In a similar manner, it portrays the purpose of the company, product, or individual. This is where fonts that match the adjectives used in the content applies. A tech company probably won’t use cursive font faces in their logo. Nor would a classic French restaurant use funky fonts on their website. Certain fonts are appropriate depending on the industry, purpose, or the context.
The power of fonts is that it speaks visually. You won’t need to spell out everything. Certain fonts communicate a sleek and classy aura. Other fonts exude vibrancy and fun. Still other fonts give off a relaxed vibe perfect for your Sunday afternoon viewing pleasure. All these messages are at the disposal of the designer.
Typography accounts for 90% of any design piece, both print and digital. This means that when you get your fonts right, your design is already 90% aesthetically successful. It may take time and extra effort, but it’s worth it. Dmity Kirsanov says, “No other design discipline requires so much learning and training as fontography, and by no other aspect can amateurs be so easily distinguished from professionals. To be font literate, a designer has to study the history and principles of font design.” Being able to master the art of typography gives the designer the power to compel and speak to the audience without using words.
The post The Power of Fonts in Web Design appeared first on Photoshop Roadmap.
]]>According to custom I should be four years from retirement, but, as I like to joke, "My retirement plan is to keep working." (That might not be so funny one day, but you know what they say: oh well.)
So how did your project go this past week?
I had a rocky week. I found myself procrastinating too often. But I didn't get discouraged. I kept after it. I'm finding that if I don't make progress on my 275 x 2 words every day, I make that much progress on average. I'll have an unproductive day or two, then bash out 2k words.
The resolution is still to "touch it every day."
Psychological resistance is a bear. If you resolve to spend just a few minutes on your project every say (set a goal of ridiculously few minutes—three, or five, or seven), it gets you over the obstacle of that initial resistance to getting started. How hard is it to do something for three minutes? So just do it.
TOP reader Ken White wanted me to see his presentation of a short documentary project he created. It's a video-based still-photo essay of Paul Cauthen and his band, and Ken's comments about a performance in Luckenbach, Texas. It's called "Sometimes Magic Happens" and I thought it was great. Only takes two minutes to watch.
My upstairs "workstation," where I work on my books.
It's a luxury to work on projects that are a stretch for me.
As long as I sit down at the upstairs computer every day and open a book file and putter for a few minutes, I forgive myself if I have an unproductive day. My resolution is to keep after it and not get discouraged.
I made a wise move in setting up a second workstation upstairs. I spent the money and took the time to set it up properly and I like it up there...it's a pleasant place to work. (I still don't have offsite backup, despite all the good suggestions, for which thanks. I'll work on that.)
Update from 'Weigh In'
By the way, I made a decision about the camera indecision—I decided to become a Panasonic photographer again for a while. Without deciding which Panasonic. I'm going to get either a G9 or GX9 or GX8, or maybe two of the three, or maybe all three. Maybe I'll put the 12–35mm zoom on a G9 and the 20mm ƒ/1.7 on a GX9. Of course, I can't afford to do all that at once...but then, you've got to have goals.
Forget your shortcomings—they don't matter
I enjoyed being sixty last year. The way I look at it, I was "extremely young for an old guy." Still true! Good thing I'm so young; I have goals this year.
Hope you made progress on your own goals last week. Take a few minutes to review. If you didn't make progress, forgive yourself and forget about it. A new week starts now. So get going!
Mike
P.S. Top illustration: Fuji X-T2 with 14mm ƒ/2.8.
iPhone 7+ version of the same shot, processed similarly:
Original contents copyright 2018 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.
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(To see all the comments, click on the "Comments" link below.)
Featured Comments from:
Trevor Johnson: "Retirement? Artists never retire."
Mike replies: That's a compliment!
JohnMFlores adds: "The only writer that I know of that retired is Philip Roth. He was prolific though, so it's understandable.
And I'm writing more and more precisely because I don't plan on retiring in the traditional middle-class sense; I don't like sans-a-belt slacks and find golf boring. Keep at that novel and Happy Birthday!"
kirk tuck: "Hi Mike, Happy Birthday!!! I have the same retirement plan. As I always tell my financial planner: 'If I take late retirement and early death I'll just about make the spread.' I'm jealous though. I'm 62 and I'm still hauling around lights, cameras, lenses, multi-carts, light stands, and more two or three times a week on day long shooting assignments. Video has added to the burden. I dream of a time when I can sit in a beautiful room in the rural wilderness and do my job with just my brain and my fingers.... At that point I'd probably stop using ellipses....
"Birthdays are great days for walking with cameras."
Rick Denney: "My 60th is this year, but procrastination knows no age. As I get older, though, I'm more likely to forget what I was procrastinating about, but that's another problem. In the music world, the most difficult thing is to simply take the instrument out of the case. A close friend teaches his students that way: Take the instrument out of the case. Sit down with it in your hands. Then decide if you are going to practice. That removes the pressure of accomplishment from the simple act of removing the instrument from the case. Of course, once I'm sitting with the tuba in my lap, I'm there for usually at least two hours. It becomes a greater burden to put it back in its case than to continue playing it. My problem with writing projects is that the thing is already out of the case, and when I sit down to it, I find more tempting modes of procrastination, this website not least among them. But, as with music, once I start, I find it difficult to stop."
RubyT: "Happy Birthday! I was going to congratulate you on being a prime, but then I have a weird preference for primes. :)"
Kent Phelan: "Happy Birthday Mike! I had a good week. Yesterday I finished Week 51 of my OC/OL/52 project. That would be: one camera, one lens, 52 weeks. I decided when I embarked on this gig to use my Fuji X-T2 with the 23mm ƒ/2 lens. I see in the 35mm FOV. Always have. I cannot remember all of the 35mm lenses I have owned. The little Fujicron was a natural for this. I have cheated a bit, however, in that during the project I bought an X100F with, as you know, the same 23mm lens. I have interchanged them since. One 'keeper' photograph per week has been daunting at times. Along about week 20 I thought 'Oh gawd man, what have you gotten yourself into!' Then came the changing seasons and winter here in the Pacific Northwest, which brings a steady stream of Zone V: rain-rain-gray-rain. Day after day; good thing the X-T2 is WR. Today begins Week 52. Feeling good."
]]>The post London Photo Show Competition appeared first on Photocompete.
]]>Every single entry to the competition will be printed by us (approx size 7x5in), and displayed alongside your name at 5th Base Gallery, off Brick Lane, on 13-15 April 2018.
HOW TO ENTER THIS PHOTOGRAPHY CONTEST
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Original article: London Photo Show Competition.
]]>The post Mobile Photo Festival appeared first on Photocompete.
]]>We will look for and select stories told through visual narratives of all kinds, from
documentary approaches conveying important context to this theme, to currently
interesting and relevant narratives about it.
The photos from essays will be printed by mObgraphia and later exhibited in a dedicated room at MIS during the Festival.
HOW TO ENTER THIS PHOTOGRAPHY COMPETITION
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Original article: Mobile Photo Festival.
]]>I know that last one's a ringer, but those seem to be the five that keep rattling around in my head. Man, I'm really having a hard time this time around.
Mike
P.S. Still plugging away on the Baker's Dozen. People really did not make this one easy for me at all. Or maybe I've just been feeling particularly indecisive lately.
P.P.S. I was thinking today about why you choose any given camera. The first imperative, it seems to me, is that you should like the look of the results and that you not get pictures that are spoiled or ruined by technical flaws or limits on printability (or usability, however you end up using them). This would include a consideration of the lenses you prefer. The second is that it be an object/possession that appeals to you and that you enjoy exercising (this would encompass your features and ergonomics preferences). The third would be that it make economic and practical sense for you, and that would include things like compatibility with lenses you already own, as well as things like affordability and the SAF (spousal approval factor).
[UPDATE: I've really enjoyed all the comments—thanks. I was negligent when I wrote this, however—I should have explained (again) that the thing I'm looking for that I don't have now is in-body image stabilization (IBIS). I've been writing about it for a long time, starting perhaps in 2006 here and here and elaborating more recently here and many other places. I shoot in low light a lot, and it's a non-negotiable feature for me in the next go-round. That's why I'm not going to stick with the X-T1 and X-T2, which in almost all other ways are superlative and exceed what a guy like me needs.]
Original contents copyright 2018 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.
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Featured Comments from:
Geoff Wittig: "Beats me.
"Okay, I guess I should elaborate. For me, a camera system is like a marriage. I've been in the same ecosystem (Canon 'full frame' DSLR) since the original EOS-1Ds in 2002. So I'm still using lenses I bought 15 years ago, and it would take a lot to move me to a different system.
"If you need (or want!) access to a decently wide system of lenses, I think it's a no-brainer. Fuji has gorgeous native fast primes and zooms for their mirrorless APS-C bodies, and they continue to introduce lovely new glass every year. That would settle it for me. The Panasonic bodies have some really neat features, but that doesn't seem compelling enough. I'm probably betraying my ignorance but the Micro 4/3 universe by comparison doesn't seem robust enough. I don't think Ricoh/Pentax have a secure enough future in the camera business to consider them, no matter how lovely the K-1 is."
James: "OK, you must have IBIS. You must love at least the system 35mm equivalent lens. (Or is it the 50mm? [35mm-e —MJ]) You already love Fuji lenses. The X-H1 has the same sensor as the X-T2. Put the X-T2 you are foster parenting on a tripod and take a picture. Do you L O V E it? If so, try an X-H1 and see if you like the size/feel/handling. If you do, buy it. If you don't, go Micro 4/3. Easy."
Miguel Tejada-Flores: "The GX8. Because it's so beautifully proportioned and thought out. Because it just feels right in the hand, the way so few cameras truly do. Because of the new sensor which truly is head-and-shoulders above the previous generations. Because of the amazing EVF and its tilting capabilities which raise the bar a notch or three. But mostly because of the marriage of form and function. I know this is going to sound like heresy to many, but what could euphemistically be called the form factor of the GX8 is classic, elegant, functional and usable—in ways which very, very few other cameras I have ever used were. The Leica III. Some early Contaxes. The old Pentax Spotmatics. Yes, it's really that good. And with the currently discounted prices—it may be or become the bargain of not the year but the decade. But all of the foregoing really just boils down to one thing: because it's so fun to use. (The GX9 is cool in many ways but the tiny EVF, while usable, won't come close to the shooting experience of looking through the GX8's wonderful electronic viewfinder. The G9 is another story. It may be worth picking up at some point—but in relative terms of degree-of-satisfaction-vis-a-vis-degree-of-cost, its pricing, for the foreseeable future, puts it in a different bracket than the currently eminently affordable GX8.)"
John Krumm: "I think perhaps the Fuji. You want stabilization, and you like to shoot black-and-white, and you think Fuji has a mysterious something extra for black and white photos. Also, you have some lenses for it already. The Pentax is a good contrarian purchase, but you might become irritated at its DSLR quirks, and it's basically a Big Dragoon with IBIS and a flippy screen. Also we would be interested in a blog post or two on your experience with the new Fuji. And I personally would not want to listen to laments about your unused lump of Pentax with declining resale value. :-) "
Dave Stewart: "'I'd definitely go with the Ferrari 599.'"
[See here. —Ed.]
Richard Man: "You are 'doing it wrong.' You're supposed to tell your readers what they should get, not the other way around. ;-) First: leave any 'not available right now' off. Otherwise, you will ask the same question later. Second, get the first one your gut tells you is the right one...."
Daniel K (partial comment): "In the tradition of people on the Internet not answering the question asked, just keep using your current one."
Gaspar Heurtley: "Although I’ve never used a K-1 (or will in the foreseeable future), you should definitely get one. It’s hard to explain, but Pentaxes have a way of convincing you to love their quirks.
"My wife snores and always (literally always) forgets something in the house when I’m waiting in the elevator, but she makes me immensely happy and can’t think of a life without her. Nikon? Hate their menus and couldn’t use them easily. Sony? Even worse. Canon? Unless you use a million dolar body those feather weight things seem practically hollow. And even if you do, whose idea was to put the control wheel right where my cheek is?
"And then there’s Pentax. Crappy-old interface. Weird looking. Super heavy. But then you look through that 100% viewfinder, put an old prime lens on and you can’t help but make a huge smile. If I’m lucky enough, I’ll spend the rest of my life in the elevator waiting for the Pentax."
Max Young: "Definitely Panny G9. I've had one of everything over the years and this is the best all-round camera I have ever used. Hands down. Panny 12–60mm ƒ/3.5, Oly 45mm ƒ/1.8 and you're set. Handheld shots at one or two seconds are a doddle. Amazing hi-res function. Huge viewfinder. Outstanding (and hugely improved JPEGs) and the handling eats Olympus alive. I was (and still am sort of) a Fuji fanboi, but this camera has completely sold me on the Micro 4/3 system. Max from Down Under."
]]>The post 2018 Nature Photography Contest appeared first on Photocompete.
]]>Theme: Natural Wonders: Big and Small.
Divisions:
Judge: Bill Smith
Finalists and Winners Announced: late-August 2018
HOW TO ENTER THIS PHOTO COMPETITION
The post 2018 Nature Photography Contest appeared first on Photocompete.
Original article: 2018 Nature Photography Contest.
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