Monkmarch
Posted on March 22, 2008 - Filed Under Photo | Leave a Comment
“Buddhist Monks chanting in a Temple”. Taken by jazzz.mine
Olympus E-420
Posted on March 19, 2008 - Filed Under Digital | Leave a Comment
Olympus E-420 digital reflex camera : Olympus announces the extremely portable E-420 digital SLR. The Olympus E420 is perfect for everyone who wants to step up to the power and performance of a digital SLR (single lens reflex), yet enjoy the ease of use and ability to compose images on the LCD common to point-and-shoot cameras. The lightweight 10-megapixel E420 DSLR offers heavyweight technologies. Weighing a mere 380 grams (13.4 ounces), the Olympus E-420 is 20 to 40 percent lighter than competing DSLRs. Good things come in this small package, including Live View, which enables users to hold the camera away from their faces and interact with their subjects - ideal when capturing photos of children, for example. Olympus E-420 Live View LCD screen The 10-megapixel Olympus E420 offers heavyweight technologies, including a bigger, more viewable 2.7-inch LCD and consumer-friendly fast On-Screen Autofocus, Face Detection, Shadow Adjustment Technology and Perfect Shot Preview to get the most out of the Live View experience. Additionally, when it comes to Live View, not all LCDs are created equal. At 2.7-inches, the portable Olympus E-420 LCD is large enough for users to compose and review images without squinting. The small camera’s LCD is not just larger, it is part of a camera with technologies intelligent enough to take advantage of the Live View photography experience. Olympus E-420 digital SLR technologies The innovative technologies include: • On-Screen Autofocus works as seamlessly as a point-and-shoot to display subjects in focus on the LCD the instant the shutter is pressed half way • Face Detection Technology targets and locks on up to eight faces to ensure they are in focus and crystal clear for amazing portraits • New and Improved HyperCrystal II Technology delivers twice the contrast and better viewing in extreme lighting conditions, a broader range of color detail, and a wider angle of view on the LCD so you and your friends can see it up to 176 degrees off-center • Shadow Adjustment Technology captures detail in the bright areas of a frame and opens up detail in the shadows that other cameras would render too dark or underexposed • Perfect Shot Preview enables you to view and select your favorite effect right on the LCD, and see how the image will look before you even capture it, so you know that what you see is what you get. Professional image quality with the Olympus E420 “The Olympus E-420 delivers the professional-grade image quality of a digital SLR with the simple operation of a point-and-shoot camera,” said John Knaur, senior marketing manager - DSLR, Olympus Imaging America Inc. “Thanks to the camera’s small size and lightweight body, users can take the Olympus E420 everywhere, and they will never miss another shot because the of the camera’s straightforward controls. Additionally, our innovative technologies help consumers get more from Live View.” Small size & Lightweight body A camera designed to be held away from the face lets you take great photographs without weighing you down. The Olympus E-420 is small enough to fit into a purse or a jacket pocket and light enough to shoot with comfortably all day. Measuring 5.1 inches by 3.6 inches by 2.1 inches (excluding protrusions), it is the world’s smallest digital SLR. And at a featherweight 13.4 ounces, only its predecessor (E-410) weighs less. The Olympus E-420’s new ergonomic grip on the front of the body allows for easier one-handed operation and ensures a secure hold in the most challenging shooting conditions. Olympus E-420 SLR lenses The world’s smallest DSLR deserves a similarly compact lens, and Olympus has it: the ultra compact Zuiko 25mm f2.8 digital specific lens. This 0.9 inch-thick lens offers a fixed 50mm equivalent angle of view. Together with the E-420, the Zuiko 25mm f2.8 lens will offer the ultimate combination of ease of use and portability. Photographers can also purchase the Olympus E420 in a kit with a compact, Zuiko Digital 28-84mm equivalent (ED 14-42mm Four Thirds) f3.5-f5.6 lens that perfectly matches the imager so light strikes the sensor directly to ensure rich, accurate colors and edge-to-edge sharpness. Both lenses (Zuiko 25mm f2.8 and 28-84mm f3.5-f5.6) are part Olympus’ expanding line of 100 percent digital lenses - designed specifically for digital photography. Unlike other camera companies, Olympus does not rely on old film lenses, which often result in images with soft edges or other imperfections. Live View LCD on the Olympus E420 Olympus was the first to bring Live View to a consumer DSLR (the E-330 in 2006), and Live View has revolutionized DSLR photography. Anyone who has photographed young children knows that you get the best reactions when you hold the camera away from your face and maintain eye contact and an engaging smile. If you have tried to take photos high above the heads in a crowd or low near the ground, you will appreciate that it is easier to use a swivel LCD screen than to climb a ladder or lie on your stomach. The Olympus E-420 solves these problems with its Live View LCD, which enables photographers to hold the camera away from their faces and at angles they just cannot reach by using the optical viewfinder alone. The E-420’s new Live View autofocus functionality now simplifies the process by working just like a point and shoot. By simply pressing the shutter button halfway, your subjects come into focus on the LCD, so when the perfect moment occurs it is easy to capture sharp images. Olympus E-420 HyperCrystal II LCD display A viewable LCD is where a great Live View experience begins. Few things are more annoying for a photographer than squinting to see an image on an LCD screen in bright sunlight or a dimly lit room. The Olympus E420 solves this problem with its large, bright 2.7-inch LCD display that incorporates new HyperCrystal II technology. This display offers twice the contrast for better viewing in extreme light conditions (i.e. when the sun is at your back), a broader color gamut that displays a greater range of color detail, and a 176-degree viewing angle. Olympus Face Detection technology A camera this consumer-friendly is perfect for taking portraits of friends and family while out and about. The Olympus E-420’s Face Detection feature distinguishes between people’s faces and the background. It tracks up to eight faces within the image area and automatically focuses and optimizes exposure for sharp, brilliant portrait pictures. Even if your subjects are moving, the camera continuously tracks their faces. Olympus Shadow Adjustment Technology Shooting scenes with shadows can be tricky because of the extreme contrast between dark and bright areas. The Olympus E-420 addresses this challenge with Shadow Adjustment Technology that compensates for extreme contrast when shadow areas are underexposed and lack visible detail. Now users can preview and capture images with the same fine contrast they see with their own eyes. Olympus E420 Pre-set scene select modes With 18 pre-set scene-select modes for every imaginable shooting scenario and full manual controls, the Olympus E-420 offers a world of possibilities to photographers. Additionally, Perfect Shot Preview enables users to preview and select various photographic effects on a live, multi-window screen on the LCD before snapping the shot. This feature shows photographers what their images will look like beforehand under various settings, ensuring that they capture exactly what they want. It is an ideal way for novice users to learn about the effects of different photography techniques, such as exposure compensation, white balance and metering. Olympus E-420 Live MOS image sensor Capturing, enlarging and displaying amazing images on your wall is a snap thanks to the Olympus E420’s 10 million pixels for high-resolution photos. The 10-megapixel sensor gives users the flexibility to enlarge prints to the sizes supported by many of today’s printers, or crop the image to print only a part of the image that is important to them. The high-performance Live MOS image sensor in the Olympus E420 delivers excellent dynamic range for accurate color fidelity and a new state-of-the-art amplifier circuit dramatically reduces noise and captures fine image details in the highlight and shadow areas. Olympus E-420 White balance Many digital SLR users want to focus their attention on things other than white balance while they are on the move. As a result, the Olympus E-420 features an improved automatic white balance performance with a new algorithm for more accurate color. Olympus TruePic III Image Processor Olympus’ TruePic III Image Processor produces crystal clear photos using all the pixel information for each image to provide the best digital images possible for every photo with accurate color, true-to-life flesh tones, brilliant blue skies and precise tonal representation in between. TruePic III also lowers image noise by one step to reduce graininess in images shot at higher ISO settings, enabling great results in low-light situations. Worried about missing the winning goal at the soccer game? The image processor on the Olympus E420 enables it to shoot up to 3.5 frames per second in sequenced shooting mode, which means that photographers will be able to capture fast-paced action as it happens. Olympus E-420 Dust Reduction system Life moves too fast to spend time worrying about dust ruining your images. Olympus’ proven Dust Reduction System produces spot-free photos with the exclusive Supersonic Wave Filter. The patented ultrasonic technology vibrates to remove dust and other particles from the front of the image sensor and captures it on a special adhesive membrane every time the camera is turned on. These spot-free photos liberate users from hours spent retouching photographs at the computer or sending their cameras back to the manufacturer to remove dust trapped inside. Flash memory for the Olympus E420 Accepting both CompactFlash Type I & II, Microdrives, and xD-Picture Cards, the Olympus E-420 provides a choice of data storage options for enhanced flexibility, and it is possible to transfer image files from one card to the other right inside the camera. Wireless electronic flashes compatibility If you decide to venture into the arena of advanced lighting, the E-420 is ready to meet the challenge. The Olympus E420 is compatible with the Olympus FL-50R and FL-36R wireless electronic flashes that are designed exclusively for digital photography. When these flashes are used in combination with the E-420, wireless multi-flash photography is possible. The Olympus E420 can control up to three wireless flash groups independently, with several flash units per group. Olympus E-420 Availability The Olympus E-420 Digital SLR will be available in May 2008. It includes: E-420 Body, USB Cable, Video Cable, Li-Ion Battery Pack (BLS-1), Li-Ion Battery Charger (BCS-1), Shoulder Strap, OLYMPUS Master Software CD-ROM, Manuals and Warranty Card. Olympus E-420 Prices • Olympus E-420 body Estimated Street Price: $499.99 • Olympus E-420 with ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens Street Price: $599.99 • Olympus E-420 with ED 25mm f2.8 Zuiko Digital Lens Estimated Street Price: $699.99
Phoenix Rising
Posted on March 18, 2008 - Filed Under Photo | Leave a Comment
“The Golden Temple in Kyoto, Japan. Covered in gold leaf, with a golden phoenix on top”. Taken by K Owusu
Marc Asnin: 27 Years with Uncle Charlie
Posted on March 18, 2008 - Filed Under News, Photo | Leave a Comment
Asnin photographed in 2008. For the most part, Uncle Charlie, a diagnosed schizophrenic, has embraced the process. When Asnin was awarded third place in Life magazine’s 1987 New Photographer’s contest, and published a page of images, his uncle saw it as a way to be heard. “He thought it would change his life, that someone might adopt him. He thought people would see what he had to put up with and what had been done to him,” he says. Over the years, Asnin has become less critical of his uncle as he has learned of Charlie’s loveless upbringing by an abusive, womanizing alcoholic and low-level Mafia wise guy. The series captures the thematic parallels between father and son of addiction, alienation and extreme loneliness. In one image, Uncle Charlie sits in front of a window in his darkened apartment, unclothed except for socks and shoes, smoking and holding a handgun. In Charlie’s own words that accompany images in a searing 1992 Mother Jones magazine feature, he says to his children, “You are going to come visit me and see me sitting in a chair like you used to see grandpa.” While Asnin has produced other difficult and disturbing photo-essays, including a feature on hatemongering Skinheads, photographing family presents unique and sticky emotional territory. “It has been complicated dance to keep the project going,” he says. He is currently estranged from his cousins, whom he concludes are deeply unhappy with his plan to publish a book, and embarrassed by the images, which have appeared in numerous magazines. “It sucks that a major consequence of the project was the disintegration of my relationship with my cousins. Unfortunately, it was part of the process,” Asnin says. While his subject lives in his own backyard, Asnin sees no distinction between himself and more geographically diverse documentary photographers. “I’m no different than [James] Natchway doing Darfur,” he says. “I didn’t create their lives, I documented them.” Second-guessing himself is not a consideration. “I can’t look back because without the photographs, I wouldn’t know Uncle Charlie the way I do,” says Asnin, who is not interested in talking too much about how the project has affected him. “That’s just intellectual masturbation. My story is not about my trip. It’s a documentary about my uncle, his children and his past before I knew him.” When the book is published he hopes people understand that poverty and AIDS have not disappeared and that this is a family that had social woes. More important to him though, is that the book serves as an eye-opening example of the devastation that comes from parental neglect, abandonment and substance abuse. “My goal is that some people read this book and think, ‘I’ve got to stop participating in this [behavior].’ ” Time, and the intensity of bearing microscopic witness to Charlie’s life, has made it clear to Asnin that his childhood perception of his uncle as hero “was just a fantasy.” But his gut instinct was on target when he first decided to approach his godfather through the lens. “[The project] is my deeper way of connecting with him,” says Asnin. “I will never stop photographing Uncle Charlie.”
First Winners of Getty Images 2008 Grants
Posted on March 14, 2008 - Filed Under Art, News, Photo | Leave a Comment
The first 2 winners of the Getty Images 2008 Grants for Editorial Photography have been announced. Ian Martin and Lorena Ros will each receive $20,000 in funding, enabling them to pursue new documentary photography projects. Ian Martin’s project, “Hidden Minority: South Africa’s White Poor,” looks at the little-known problem of white poverty in post-apartheid South Africa. Lorena Ros’ project “Silent Witness” documents the impact and prevalence of childhood sexual abuse in America. Martin and Ros were selected from 139 applicants from 29 countries. Getty Images Announces First Two Winners of 2008 Grants for Editorial Photography Ian Martin and Lorena Ros each receive $20,000 to pursue photojournalism projects NEW YORK – February 28, 2008 – Getty Images announced today that Ian Martin and Lorena Ros will each receive $20,000 in funding, enabling them to pursue new documentary photography projects. In addition, each grant recipient receives collaborative support from Getty Images photo editors as they implement their winning projects. Ian Martin’s project, “Hidden Minority: South Africa’s White Poor,” looks at the little-known problem of white poverty in post-apartheid South Africa. He plans to use the Getty Images Grant for Editorial Photography to spend two months expanding his coverage of this “minority of a minority,” people living on less than $40 (US) a month. By taking intimate, humanizing photos that require time and trust to make, Martin hopes to reveal poverty where many people don’t expect to find it, and in doing so, coax viewers to see all poverty, black or white, with new, less jaded eyes. Martin lives in Oakland, California, with his wife and daughter. Lorena Ros’ project “Silent Witness” documents the impact and prevalence of childhood sexual abuse in America while providing survivors with a safe, respectful way to address and share their experiences. She plans to use her Getty Images Grant for Editorial Photography to photograph, make audio interviews and collect supporting narratives from 30 survivors throughout the US over a period of one year. The project will demonstrate both the diversity of the survivors’ experience and their common threads. The prospective outcome will be a book and traveling exhibition to be displayed in various communities in conjunction with events involving multimedia educational outreach. Ros, from Barcelona, Spain, currently lives in Brooklyn, New York. Martin and Ros were selected from 139 applicants from 29 countries, by the following judges: · Simon Barnett, Director of Photography, Newsweek · David Griffin, Director of Photography, National Geographic · Alison Morely, Program Chair, International Center of Photography · Rosanna Sguera, Photojournalism Editor, Vanity Fair Simon Barnett commented, “I was impressed to see such a collection of quality entries representing a wide range of photographic styles competing for this year’s Getty Images Editorial Grants. The judges had a spirited day of arguing, debating and defending our choices, and we believe we identified two winners whose projects may contribute to understanding difficult issues.” “It was wonderful to see such a variety of inspiring and passionate projects submitted by the photographers,” said Rosanna Sguera. “The organization of nearly 140 proposals was impressively seamless. I have to commend everyone responsible for the grant for giving photographers around the world an opportunity to work on projects that may not otherwise be funded.” Three additional grants will be awarded in September. For more information about the grants program, the judges, the winners’ projects and portfolios, please visit http://www.gettyimages.com/editorial-grants.
Olympus Introduces Super-Compact E-420 Digital SLR
Posted on March 14, 2008 - Filed Under News, Photo | Leave a Comment
Click photo to see more images of the Olympus E-420. Olympus has added an extremely compact new model to its line of Four-Thirds format digital SLRs. The 10-megapixel E-420 weighs just 13.4 ounces and combines manual controls with many of the automatic functions that snapshot photographers are accustomed to finding in a point-and-shoot. It’s equipped with a 230,000-dot, 2.7-inch live-view LCD with a 176-degree viewing angle; a pentamirror optical viewfinder that shows 95 percent of the image frame at 0.92x magnification; and a built-in dust-reduction system. The LCD’s live viewing system allows the autofocus system to function seamlessly while the screen is being used as a viewfinder, and Olympus claims the HyperCrystal II LCD delivers twice the contrast of the previous generation of HyperCrystal screens, as well as a broader color gamut. That should allow it to show more detail and offer better visibility in difficult lighting conditions. The E-420 has dual CompactFlash and xD-Picture Card slots, with the ability to transfer image files from one card to the other in-camera. The E-420 offers a top ISO setting of 1600 and a shutter speed range of 1/4000 to 60 seconds, plus Bulb mode. Among its notable automatic features are 18 scene modes, face-detection, Olympus’s Shadow Detection function for opening up shadow areas and preserving details in high-contrast shots, and Perfect Shot Preview, which displays a preview of the effects of setting changes on the LCD. Controls that will appeal to more advanced photographers include a 2 percent spot meter, tracking autofocus, a Super FP mode for flash sync at speeds up to 1/4000 second, and white-balance compensation. Olympus says it has improved this camera’s white balance system over its predecessor the E-410. Another enhancement is its faster drive mode, which is rated to shoot at 3.5fps for both JPEGs and RAW files (although there’s an 8-shot burst limit for RAW files). A nice touch is the inclusion of Highlight and Shadow spot metering modes that are designed to favor whiter whites and blacker blacks, respectively. There are also numerous color and effects modes to select from, including monotone filter effects. Olympus has also added a commander function to the E-420 for wirelessly controlling up to three remote flash unit groups. It is compatible with the Olympus FL-50R and FL-36R wireless electronic flashes. The E-420 will be available in May 2008 for $499.99 (body only). It will also be sold in a $599.99 kit with Olympus’s ED 14-42mm f3.5/5.6 Zuiko Digital lens, and in a $699.99 kit with the new ED 25mm f2.8 Zuiko Digital. Olympus does not plan on making a vertical grip for the E-420. Also check out our Hands On Preview of the Olympus E-420 by Senior Editor Dan Richards.
Apple opens faster Aperture
Posted on March 10, 2008 - Filed Under Digital, Reviews, Photo | Leave a Comment
Apple has launched the latest version of its Aperture raw-conversion and photo management software. The latest version has a redesigned interface that aims to be more accessible and intuitive. As well as adding "over 100 new features," version 2 is faster than V.1.5.6 (about two thirds of a stop faster?), and more attractively priced. Mac users who already own Aperture will be able to upgrade for $99, while the purchase price drops to $199 for newcomers. Users who bought Aperture 1.5 since January 1st 2008 can, before March 14th, upgrade for $9.95. Press release: Apple Releases Aperture 2 Major Upgrade Features Improved Interface, Faster Browsing & Enhanced Image Processing CUPERTINO, California—February 12, 2008—Apple today introduced Aperture™ 2, the next major release of its groundbreaking photo editing and management software with over 100 new features that make it faster, easier to use and more powerful. With a streamlined user interface and entirely new image processing engine, Aperture 2 also introduces new imaging tools for highlight recovery, color vibrancy, local contrast definition, soft-edged retouching, vignetting and RAW fine-tuning, and lets users directly post their portfolios on the .Mac Web Gallery* for viewing on the web, iPhone™, iPod® touch and Apple TV®. At a new low price of $199, anyone can easily organize, edit and publish photos like a pro. “Many of the most respected photographers on assignment all over the world trust Aperture to organize, edit and deliver their images,” said Rob Schoeben, Apple’s vice president of Applications Product Marketing. “With its simpler interface and lower price, anyone can take full advantage of Aperture’s power.” “At the end of the day, it’s all about the quality of the image,” said Sports Illustrated contributing photographer David Bergman. “Even before I begin making adjustments, Aperture’s new RAW processing gives me better images with more visible detail and better color rendering than any other program I’ve tested.” “I used to have so much stress about post-production on a shoot, having to juggle multiple applications to make sure they all worked,” said Bob Davis, PDN Top Knots Wedding Photographer 2007. “With Aperture that’s no longer a factor. I can do everything all in one application.” Featuring a new, easier user interface designed to be more intuitive and accessible, Aperture 2 now lets users navigate between Viewer and Browser modes with a single key command. Screen real estate is maximized for images with an all-in-one heads up display that allows users to toggle between library, metadata and adjustment controls in a single tabbed inspector. The All Projects view, modeled after iPhoto’s Events view, provides a poster photo for every project and the ability to quickly skim through the photos inside, and the integrated iPhoto® Browser offers direct access to all the events and images in the iPhoto library. Performance has been enhanced in Aperture 2 so it’s faster to import, browse and search large volumes of images. Embedded previews let photographers caption, keyword and rate images as they are being imported, and with the ability to export images in the background, photographers can continue working while images are processed to JPEG, TIFF, PNG and PSD file formats. Quick Preview allows users to browse RAW images in rapid succession without having to wait for files to load, and the Aperture library database has been re-architected to provide fast project switching and near instantaneous search results, even when working with extremely large libraries of 500,000 images or more. Aperture 2 delivers powerful new imaging tools for getting the most out of each photograph. Apple’s next-generation RAW image processing is at the core of Aperture 2 offering uncompromising image quality and precision controls that let users fine-tune the image profile for each of their cameras. New tools for improving and enhancing images include Recovery for pulling back “blown” highlights, Vibrancy for selectively boosting saturation without adversely affecting skin tones, Definition, which offers local contrast for adding clarity to images, Vignette & Devignette filters for providing professional visual effects and a true soft-edged Repair and Retouch brush for quickly and easily removing blemishes, cleaning up sensor dust and cloning away problem areas. Aperture 2 works seamlessly with Mac OS® X, iLife®, iWork™, .Mac and Apple print products, so any image in the Aperture library can be accessed directly from within other applications, such as iMovie®, Keynote® and Pages®, and even from within Leopard™ Mail. Now with .Mac Web Gallery support, Aperture users can publish their photos once to view them on the web, iPhone, iPod touch and Apple TV. Books in Aperture 2 feature new theme designs, layout tools, customized dust jackets (including full-bleed) and foil stamped covers. Pricing & Availability Aperture 2 is available immediately for a suggested retail price of $199 (US) through the Apple Store® (www.apple.com), Apple’s retail stores and Apple Authorized Resellers. Owners of previous versions of Aperture can upgrade to Aperture 2 for just $99 (US). Full system requirements and more information on Aperture 2 can be found at www.apple.com/aperture. *The .Mac service is available to persons aged 13 and older. Annual membership fee and Internet access required. Terms and conditions apply.
Book Review: Adobe Photoshop CS3 Studio Techniques By Ben Willmore
Posted on March 10, 2008 - Filed Under Culture, Photo | Leave a Comment
Adobe Photoshop CS3 Studio Techniques came to be when the author, while looking at all the Photoshop books at the local chain bookstore, realized that there were fundamentally two types of Photoshop books. First there are the "cookbooks" that taught you Photoshop in a step-by-step manner. These, which while showing how to do something, never seem to explain why you should do these steps in enough detail to make you feel you understood. Secondly, there are the technical books that are so technical that, unless you knew Photoshop, they were too hard to understand and left you frustrated. Enter Adobe Photoshop CS3 Studio Techniques. The goal here is to explain, in everyday language, how to use Photoshop, taking everything from the simplest feature to the most advanced technique an distilling it down so that you can understand it. As an instructor, the author has used this approach for many years and hundreds of seminars and workshops. His goal with this book is to take you from "going through the motions" to "at last, I really understand." The book is 592 pages long and divided into 16 chapters (there are five bonus chapters on the CD which required no update for CS3 and so I will concentrate on the 16 printed chapters and list the bonus material below). It is also divided into three basic areas. Working Foundations Chapter 1, "Tools and Palette Primer," is all about effectively managing your workspace and finding your way around all of the features that has made Photoshop the industry standard that it is. Here you will learn about the palettes, tools, and panels that you will be working with in this book. Chapter 2, "Selection Primer," will take you through what many consider to be one of the most central techniques to Photoshop success: the ability to make selections. This is because when you want to be able to edit a portion of an image you must first select it. Here you will work with the marquee tools, lasso tools, crop tools, selection tools, magic wand tool, and others. Chapter 3, "Layers Primer," examines what is another fundamental Photoshop device - Layers. The Layers palette is what helps you keep everything organized. While on the surface it may appear to be complex, it really is very simple to learn. Throughout this chapter the author shows you how to use Layers while teaching you all sorts of tricks that will prove invaluable later in the book. Production Essentials Chapter 4, "Optimizing Grayscale," explains that when working with grayscale, your adjustments and corrections are tonal in nature and therefore you only have to deal with the brightness and contrast of the image. Here you will learn about all of Photoshop's tools for working with these tonal adjustments which will be of use as well later when you get into working with color. Chapter 5, "Understanding Curves," will show you the power of Curves and how they are like the Swiss Army Knife of the Photoshop world. This is another really great chapter in that the author, by way of explanation, shows you how the curves dialog box works before you realize that you really do understand it. Chapter 6, "Color Management," is another one of those areas that seems too complex to grasp, but by dissecting it down into non-technical jargon, it can be made much easier to understand. Here you will learn how color works, the problems with color, and how you can implement color management to make colors consistent among devices. Chapter 7, "Color Correction," now shows you how to control the colors in your images. Here you will learn how to get rid of the color casts in your image by using gray to fix your colors. Don't worry, you will use color as well, it just won't be of a hit-or-miss nature.page 1 | 2
Lens Test: Nikon 14-24mm f/2.8G ED AF-S
Posted on March 8, 2008 - Filed Under Reviews, Photo, Cameras | Leave a Comment
Nikon 14-24mm f/2.8G ED AF-S The fastest and widest of Nikon’s full-frame zooms, this pro lens ($1,800, street) scales up to 21-36mm on the Nikon D300. Introduced with the full-frame D3 and unofficially matched to Nikon’s 24-70mm and 70-200mm f/2.8 lenses, this superfast, constant-aperture, full-framer is almost in a class by itself. HANDS ON: A large chunk of glass, with a fixed lenshood, this internal-focusing Nikon weighs a hefty 2.19 pounds. It incorporates expensive, high-tech aspheric and low-dispersion glass elements. Distinguished by a large black-on-gold “N” (for Nikon’s flare-resistant Nano Crystal Coating), its matte-black finish, large ribbed and rubberized focus and zoom collars, and bright gold markings make for a very attractive package. Both collars turn well, although the zoom action is a little uneven and rough, and manual focusing a bit loose. Autofocus is absolutely silent, fast, and accurate on our test camera, the D3. As you would expect from such a big lens, when mounted on the smaller D40x, it throws a shadow at all zoom settings when used with the camera’s built-in flash. Due to its ultrawide angle of view and fisheye-like convex front element, this lens is that rarity that makes no provision for front- or rear-mounting filters. IN THE LAB: Sharpness and contrast, as measured by the SQF system, were in the Excellent range at the three tested focal lengths. DxO Analyzer 2.0 distortion tests revealed its true forte: Visible barrel distortion at 14mm (0.51%); Slight barrel at 18mm (0.12%); and Imperceptible pincushioning at 24mm (0.02%) — incredible distortion control by ultrawide, full-frame standards.
Slap it On
Posted on March 7, 2008 - Filed Under Photo | Leave a Comment
“Outside Slam City Skates shop in Neal’s Yard, Covent Garden, London”. Taken by Rich