Photo News

Press Release

CALGARY, Alberta, June 25, 2010 – iStockphoto® has untethered its community today with the delivery of an iPhone application that allows users to browse iStock’s vast library of photos, illustrations and audio files from an Apple iPhone or iPod Touch. The application uses iStock’s industry-leading search engine to help customers find the perfect file quickly and easily. Customers can access and manage lightboxes of stored files from their existing iStockphoto account or create new lightboxes to save files for future viewing or purchase. The app also allows files to be e-mailed to clients and colleagues for discussion and evaluation.

In addition, the new app allows the more then 80,000 contributing artists whose work is sold on iStockphoto, to track their sales and view download statistics, even while on the go.

Here's an excellent article from DP Review about lens distortion in smaller compact cameras and the micro four-thirds system. 

In-camera distortion correction Can software ever take the place of optical excellence? 
Richard Butler looks at the trend towards cameras correcting lens distortion
and what it means for photographers.

What's more important, the final image or how it's achieved? Over the past year or so, we've encountered an increasing number of cameras with lenses that capture significantly distorted images which are then corrected using in-camera software. It's a process that has divided the forums, with some arguing passionately that it's cheating and that the lenses aren't really as good as they appear, while others maintain that it's the final results that matter, rather than how they're achieved.

In the film era, distortion correction had to be designed into the imaging lens, and this was (and remains) true for digital SLRs too (the need for the captured image to match what the photographer saw through the viewfinder limits what the camera can do to the shot once taken).

The advent of live view digital cameras (fixed and interchangeable lens) not only allows software correction of distortion (something impossible in an analog camera), but crucially also lets you see the result of whatever distortion corrections are being applied at the point of shooting, so the preview image matches the captured image.

There's no reason to believe this is a particularly new approach for camera makers (it would help explain the sudden trend for including 28mm equivalent wide-angle zooms in compact cameras), but its appearance in enthusiast cameras such as the Panasonic DMC-LX3, which output RAW data, means it has become potentially visible to the end user.

With the arrival of Micro Four Thirds, we now have an interchangeable lens system with many lenses that require software correction of distortion. So what are the manufacturers playing at? Why are they releasing lenses with distortion, what effect does it have, and should dpreview review the distorted or the corrected output? We spoke to a series of leading camera and lens makers, as well as the creators of leading RAW converters to find out just what's going on.

continue reading...

I found this press release from the Pictures of the Year International website and it looks like a really good thing to do if you are into making photo documentaries. The deadline is short though, May 31, so have a look at the press release below, and then go to this page to read about the contest in more depth and download the Emerging incentive guide from the page and the Application form. Good luck!

COLUMBIA, MO--(Marketwire - April 29, 2010) - For some it might be a passion, for others a hobby and to a few, maybe a dream not yet accomplished. Now, with the assistance of a new project from Pictures of the Year International(POYi), a program of the Reynolds Journalism Institute (RJI), amateur and semi-professional photographers will have the opportunity to do work of global significance.

POYi, the oldest photojournalism program in the world, has announced the "POYi Emerging Vision Incentive." The incentive will fund and showcase documentary work on social issues or political trends by aspiring documentary photographers. The Emerging Vision Incentive recipient will receive up to $10,000 to assist in developing a photo story that reflects daily life, social issues, cultural trends or news events.

"We are excited to be able to provide the environment and inspiration for emerging photographers to do work of worldwide importance," said Rick Shaw, director of POYi. "We hope this program will help educate and motivate the next generation of social-conscious photojournalists and allow them to explore and expand avenues of publication that are currently unavailable to them."

In addition to financial assistance, the recipient will have the opportunity to have his or her proposal displayed at RJI and The Annenberg Space for Photography in Los Angeles during their exhibit of winning images from the 67th Annual POYi Competition which opens in June 2010. The Emerging Vision Incentive recipient will also receive a full day of career-development during the annual POYi Education Seminar and Awards Program.

The POYi Emerging Vision Incentive program is made possible through financial support from the Reynolds Journalism Institute and the Annenberg Foundation. For more information about the program or to enter, visit: www.poyi.org.

About the Donald W. Reynolds Journalism Institute 
The Donald W. Reynolds Journalism Institute engages media professionals, scholars and citizens in programs aimed at improving the practice and understanding of journalism. Part of the Missouri School of Journalism, RJI collaborates with news and technology companies, professional associations, foundations and individuals to generate and test innovative models and technologies for journalism and advertising. Six Donald W. Reynolds Fellows spend an academic year at RJI, working with Missouri faculty and students and RJI staff to develop new ways to gather, process and deliver news, information and advertising. RJI was launched in 2004 with an initial $31 million grant from the Donald W. Reynolds Foundation. In 2009, the Foundation awarded the Institute an additional $15 million for operating support.

About The Donald W. Reynolds Foundation

The Donald W. Reynolds Foundation is a national philanthropic organization founded in 1954 by the late media entrepreneur for whom it is named. Headquartered in Las Vegas, Nevada, it has committed more than $100 million to its National Journalism Initiative in the United States.

I don't know how useful this lens is to the casual photographer, and it's awfully expensive, but it is a nice piece of glass. My old favorite lens when I shot with Nikons (waaay back in the day before Canon introduced the EOS-1) was the 500 f/4 so this somewhat the same a little shorter optically, but with the conversion ratios on most DSLRs, it's the same. Here's the press release from Nikon: 

Amsterdam, The Netherlands, April 27th 2010 – Nikon Europe today announces a new super telephoto zoom lens – the AF-S NIKKOR 200-400mm f/4G ED VR II. This lens replaces the highly acclaimed AF-S Zoom NIKKOR 200-400mm f/4G IF-ED VR and features the new generation of Vibration Reduction technology (VR II), Nano Crystal Coat and a new A/M mode, making it an ideal, versatile choice for sports and wildlife photographers. This type of super telephoto zoom lens remains unique on the market and reflects Nikon's continued dedication to innovation and quality in the industry.

The evolution of this lens reflects Nikon's commitment to developing a range of products tailored to photographers' needs, and it strengthens the line-up of high-performance NIKKOR lenses.

Did you get a copy of Lightroom, install it on your computer, take one look at it, play around for ten minutes and then went back to using Photoshop or something you are already familiar with? It's understandable, Lightroom is a big complicated program, but if you get a handle on it, you can definitely increase your workflow speed. We are fortunate to have found a blog on DPNow which walks you through the basics of Lightroom. So if you are interested, follow the link and see what you can learn.

SECAUCUS, N.J., April 19 - Panasonic today announces pricing for the Panasonic LUMIX G2 and LUMIX G10 – the latest additions to the company's award-winning LUMIX G Series Digital Singles Lens (DSL) Micro Four Thirds cameras. Both available in late-May 2010, the LUMIX G2, which will come in red, blue and black models, will have a suggested retail price (SRP) of $799.95, while the LUMIX G10 will have an SRP of $599.95.

The Panasonic LUMIX DMC-G2 is the world's first* digital interchangeable lens system camera with a movable LCD that allows for touch-control, and the successor to the award-winning and revolutionary LUMIX G1, which was the world's first DSL Micro Four Thirds digital camera. The intuitive touch-control shooting elevates the camera's operability, letting the user adjust auto focus (AF) simply by touching the subject on the large 3.0-inch 460,000-dot high-resolution LCD. The LUMIX G2 also shoots 720p High Definition video using the AVCHD Lite format.

With the touch-screen operation, users can even snap a photo by touching the LUMIX G2's screen. Additionally, the touch-screen operation excels not only for shooting but also during playback. Users can touch one thumbnail viewed among many to quickly and easily see the full size of the desired photo. Also, to view images one-by-one, photos can be dragged across the screen to browse as though flipping the pages of a book. Once a user locks onto a subject, the LUMIX G2 enables AF Tracking and will track the subject as it moves within the frame. Then, with a touch on the screen, users can select the part and the size of AF area with the 1-area AF. The Multi-area AF sets a group of AF points according to the composition. With touch operation, menu settings can be changed quickly; cutting the time it takes to navigate using standard cursors. However, all setting changes can still be made using the control pad, if preferred.

The LUMIX G2 records 1280 x 720 HD videos in the AVCHD Lite format, which increases recording capacity and is highly compatible with audio-visual equipment. With a dedicated video record button, users can easily start recording a video. To complement its high-quality video capabilities, the LUMIX G2 features advanced audio options, as sound is recorded with Dolby Digital Creator and an optional accessory stereo microphone can be attached. A Wind Cut function further enhances the sound as it helps reduce noise caused from background wind.

From DP Review: Olympus has announced a firmware update for all three of its PEN Series cameras (The E-P1, E-P2 and E-PL1). To be released on April 22, the latest updates promise faster auto focusing speeds and improvements when using the recently announced 9-18mm lens. There are also improvements and bug fixes for individual cameras. The company has also announced a stand-alone Digital Camera Update software application exclusively for camera and lens firmware updates.

Firmware details:

All PEN models (E-P1, E-P2 and E-PL1)

• Higher AF speed in still image taking (with all lenses)

Additional functions for E-P1 & E-P2

• Higher AF tracing capacity in C-AF of movie taking (M.ZUIKO 9-18mm & 14-150mm) to same level of the E-PL1

Additional functions for E-P2 and E-PL1 only

• When using the VF-2, the flexibility to display the MENU and played image on the LCD (instead of on the VF-2)
•  Flexibility to display the REC-VIEW on the LCD (instead of on the VF-2)

Improvements with M.ZUIKO 9-18mm (all PEN models)

•  Frame rate adjustment of the live view when used with the new M.ZUIKO 9-18mm (without new firmware, the frame rate may be smaller on the live view)

Fix of minor technical issues

• Example : The E-P2 displays strange horizontal lines on the EVF when combined with no lens (or old manual lens) and "Grainy Film" setting.

When Olympus posts the release we'll have a link to the page. 

Canon has announced a firmware update for the EOS 7D and it incorporates the following improvements and fixes:

1. Extends the timing at which the high temperature warning indicator is displayed and the timing of automatic shut down of the camera due to a rise in internal temperature during Live View or EOS Movie functions.
2. Optimizes program shift when the ISO setting of the camera is set to AUTO.
3. Corrects a misspelling in the French-language menu.
4. Corrects a phenomenon in which vertical magenta-colored banding appears in still images taken in movie-shooting mode. (This only occurs when in Manual exposure mode and when the ISO speed is set to "H". Note that this phenomenon only affects units with Firmware Version 1.2.0)

Firmware Version 1.2.1 is for cameras with firmware up to version 1.2.0. If the camera's firmware is already version 1.2.1, it is not necessary to update the firmware.

Note that cameras with firmware Version 1.2.1, 1.2.0 cannot be downgraded to a previous firmware version (such as Version 1.1.0).

To download the firmware, please click on the Canon page here. 

How about this, the season finale of the TV program "House" was shot entirely on a Canon EOS-5D. That's quite an endorsement for Canon. Here's the link to the article. According to the guy who shot the episode, Canon is bringing out some cine-style lenses to make it easier to actually shoot a lot of video with the camera. Interesting. 

A big congratulations goes out to Mary Chind from the Des Moines Register for her win in Breaking News Photography and Craig F. Walker from the Denver Post for his win in Feature Photography. Personally I think it's great when the committee awards a single photographer for a body or work or a single image rather than a bunch of photographers from a newspaper or agency for a bunch of pictures. In my opinion if the AP or Reuters or Getty or the New York Times can't win the Pulitzer with their best photographers on the biggest stories of the year with 20 of their best pictures, then they need to hire new photographers. I don't even think the committee should let packages be entered unless it's by one photographer. Ms. Chind beat out the AP's team of Afghanistan photographers and the staff of the New York Daily News for its coverage of the plane downed in the Hudson. Nice work Mary!

construction worker Jason Oglesbee dangling from a crane, reaching down to grab Patricia Ralph-Neely from the roiling water. (Des Moines Register/Mary Chind)

In Feature Photography Craig F. Walker from the Denver Post won for his intimate portrait of a teenager who joins the Army at the height of insurgent violence in Iraq, poignantly searching for meaning and manhood. It's a really nice series and you can look at in its entirety on the Denver Post's website here.

Walker beat out two other single photographer entries, both from newspapers, Mary F. Calvert, freelance photojournalist, for her courageous work published in The Washington Times that vividly documents how rapes, by the tens of thousands, have become a weapon of war in Congo; and Robert Cohen of the St. Louis Post-Dispatch for his sensitive portrayal of homeless suburban families camping in motels during the recession, often recording memorable emotional moments.

Again, I think it's great to see that photographers are being recognized for their outstanding contribution to the public debate and knowledge base instead of teams of photographers reporting from big foreign stories. And it means to all you folks out there shooting in your communities on a daily basis there are plenty of good stories to tell and lots of good pictures to be had, right around the corner from your house. 

Congrats again to all the winners. On a personal note, my brother's paper, the Washington Post won four awards which was a real nice vindication for his stewardship of the paper. Nice work Marcus.