Casio announces Exilim EX-FH20 high speed camera
Posted on September 29, 2008 - Filed Under Digital, Photo, Reviews | Leave a Comment
Casio has launched the Exilim EX-FH20 high speed digital compact camera. Building on the interest in its EX-F1 model, the FH20 offers a burst rate of up to 40fps and movies at 1000fps. The camera is built around a 9.1MP, 1/2.3” CMOS sensor and 20x zoom lens (26-520mm equiv) Priced at £399, the EX-FH20 is considerably less expensive than the EX-F1 and will be available from October.
The EX-FH20′s burst mode allows up to 40 7.1MP images to be recorded in burst of anywhere between 1 and 40fps. The camera also offers a pre-record mode that buffers images before the shutter release is pressed. Sensor-shift image stabilization is also included, along with a flash that can operate for up to 5 frames in continuous mode.
Press Release:
Casio High Speed EXILIM Digital Camera with
Ultra High-Speed Burst Shooting and HD movie functions
New Camera Takes 40 shots per second and records high speed movies at 1000 fps
London, September 16, 2008 – Casio Computer Co., Ltd., today announced the release of its newest EXILIM® digital camera, the HIGH SPEED EXILIM EX-FH20. This remarkable new camera is capable of ultra high-speed burst shooting at 40 fps and can record high speed movies at up to 1000 fps.
Its speed and ease of use truly puts this camera in a class of its own. In recognition of these unique characteristics, with today’s release of the new EX-FH20, Casio has launched the new HIGH SPEED EXILIM series, which includes this camera and the EX-F1, launched in March 2008. Casio expects the revolutionary capabilities of its HIGH SPEED EXILIM cameras to generate entirely new applications for digital photography.
Priced at £399, the EX-FH20 will be available from October at all good camera stockists.
Key product highlights include:
9.1 effective megapixels and a high power, wide angle zoom lens
The EX-FH20 is equipped with a 26 mm-equivalent wide angle zoom lens that can close in on subjects with a powerful 20x optical zoom. The camera also features a CMOS shift anti-shake function to support power-zoom shots.
Never miss a photographic opportunity, with high speed burst shooting up to 40 fps
The EX-FH20 can capture action in high definition, 7 megapixel (3072 x 2304 pixel) images with ultra-high speed burst shooting at up to 40 fps. Users can select from seven burst settings, allowing them to capture from 1 fps up to 40 fps in a single burst. Further, users can prerecord up to 40 still images not just at the instant they press the shutter button, but before! Even if they press the shutter a little late, they will still catch that vital moment.
High speed movie recording at up to 1,000 fps
The EX-FH20 can record high speed movie footage of motion too fast for the human eye, for ultra slow motion playback. Users can select from recording speeds of 1,000 fps, 420 fps or 210 fps and can also switch from the standard speed of 30 fps to high speed recording at 210 fps during recording at the touch of a button. The EX-FH20 makes it easy to capture critical moments on video.
High Speed Anti-Shake function
This function corrects images by automatically synthesizing multiple images captured during high speed burst shooting.
High Speed Night Scene setting
With or without a tripod, this feature ensures that high speed night shots come out clear and beautiful.
HD Movie function
The EX-FH20’s HD Movie function records at 1280 x 720 pixels, at 30 fps.
Casio EXILIM EX-FH20 specifications
| Sensor |
• 1/2.3" Type CMOS |
|---|---|
| Image sizes | • 3456 x 2592 • 3456 x 2304 (3:2) • 3456 x 1944 (16:9) • 3072 x 2304 • 2304 x 1728 • 1600 x 1200 • 640 x 480 |
| Movie clips | • 1280 x720 (HD 30 fps) • 640 × 480 (STD, 30 fps) • 480 × 360 (HS, 30-210 fps) • 224 × 168 (HS, 420 fps) • 224 × 56 (HS, 1000 fps) |
| File formats | • Still:RAW (DNG)JPEG (Exif Version 2.2), DCF 1.0 standard, DPOF compliant • Video: AVI format, Motion JPEG, IMA-ADPCM (monaural) |
| Lens | • f=4.6 to 92.0mm • Approx. 26 to 520mm • F2.8 (W) to 4.5 (T) • 14 lenses in 11 groups, including aspherical lens |
| Image stabilization | CMOS-Shift |
| Optical Zoom | 20x |
| Digital zoom | 4x |
| HD Zoom | 108.0x |
| Focus | • Contrast Detection Auto Focus • Auto Focus, Macro Mode, Super Macro, Manual Focus |
| AF area modes | Spot, Free or Tracking |
| AF assist lamp | Yes |
| Focus distance | Approx. 12cm to 50cm (W) |
| Metering | Multi-pattern, center weighted, spot |
| Flash | • Built-in • Range: Approx 0.4 to 7.0m (W) Approx 1.3 to 4.4m (T) |
| ISO sensitivity | Auto, 64,100, 200, 400, 800,1600. |
| Exposure comp. |
-2EV to +2EV (in 1/3EV steps |
| Shuttter speed | 1 to 1/2000 second |
| Aperture | F2.8 to F4.5 |
| Modes | • BEST SHOT Included: 18 scenes • Prerecord Still Images • Prerecord Movie • YouTube™ Capture Mode Included • Face Detection |
| White balance | • Auto WB • Daylight • Overcast • Shade • Day White FL • Daylight FL • Tungsten • Manual WB |
| Self timer | 10 seconds, 2 seconds, Triple Self-timer |
| LCD monitor | • 3.0-inch wide TFT color LCD • 230,400 dots (960 x 240) |
| Connectivity | • USB/AV port, AC adaptor connection (DC-IN) • AV out |
| Storage | • SDHC Memory Card, SD Memory Card, MultiMediaCard, MultiMediaCardplus compatible |
| Power | AA-size alkaline battery (LR6) x 4, AA-size rechargeable Ni-MH battery (HR6) x 4, AC adaptor |
| Weight (no batt) | 483 g |
| Dimensions | 123 (W) x 81 (H) x 85 (D)mm |
Adobe unveils Photoshop CS4 imaging software
Posted on September 29, 2008 - Filed Under Digital, Photo | Leave a Comment
Imaging giant Adobe has announced Adobe Photoshop CS4, promising enhanced features to help boost photographers’ productivity.
Claimed improvements include more refined, natural results using the Dodge, Burn and Sponge tools, enhanced Auto-Align and Auto-Blend and new 360 degree panoramas.
Adobe claims the new software will unleash ‘unrivalled editing power’.
‘New Adjustments and Mask panels slash the time it takes to make non-destructive colour and tone adjustments and create and re-edit feathered, density controlled pixel and vector masks,’ claims the firm.
A more advanced version, CS4 Extended, adds features such as 3D editing and multi-media workflows, including ‘richer motion graphics capabilities’.
UK prices had yet to be announced at the time of writing.
Canon EF 24mm lens
Posted on September 29, 2008 - Filed Under Digital | Leave a Comment
Canon EF 24mm f1.4L II USM fast aperture prime lens : Canon strengthens its line-up of EF-series lenses with the introduction of a new fast aperture prime lens: the EF 24mm f1.4L II USM. Replacing the EF 24mm f/1.4L USM, the EF 24mm f1.4L II USM has been completely redesigned to provide an exacting partner lens to Canon’s new EOS digital SLRs, the EOS 50D and the EOS 5D MKII. Featuring a 13-element, 10-group lens, the EF 24mm f1.4L II USM is designed to achieve the highest standards of image quality. Two high-precision GMo aspheric lenses are employed to correct various forms of aberration such as curvature of field and distortion, with a floating mechanism ensuring crisp corner-to-corner detail throughout the focal range.
Canon EF 24 mm f1.4L II USM lens
In addition, two UD lenses reduce the chromatic aberration common in wide-angle lenses. A fast, ultra-large maximum aperture of f/1.4 delivers excellent low-light performance, with the circular aperture offering the potential for creative out-of-focus highlights. A focal length of 24mm and a USM focus motor providing full-time manual focus also make the EF 24mm f1.4L II USM ideal for situations where a wide-angle, high-performance lens is required.
Lens coating on the Canon 24mm EF
Reflections off a digital camera’s image sensor can compromise images with ghosting and flare. To help reduce this, the inside of EF 24mm f1.4L II USM’s front element is treated with Canon’s new Sub Wavelength structure Coating. Developed specifically to work with Canon optics, this anti-reflective coating helps reduce flare and ghosting – for consistently crisp, undistorted images.
Canon 24mm lens design
Weighing just 650g, the EF 24mm f1.4L II USM is designed to withstand the rigours of even the most testing shooting environment – with Canon’s advanced weather and dust sealing making it the perfect choice for photojournalists and landscape photographers.
Canon EF 24mm f/1.4L II USM features
• Fast f/1.4 aperture
• Aspherical and UD lens elements for correction of chromatic aberration
• Sub Wavelength structure Coating (SWC) to dramatically reduce ghosting and flare
• Circular aperture for creative blurred highlights
• USM for full-time manual focus
• Lead-free glass (RoHS compliance)
• Lens hood and pouch supplied
Book Review – Real World Color Management: Second Edition by Bruce Fraser, Chris Murphy, and Fred Bunting
Posted on September 28, 2008 - Filed Under Culture, Photo | Leave a Comment
No matter how much thought and preparation a photographer, artist, or designer puts into the color scheme for a project, unless that color is transposed to the correct output, all of the work is for naught. If your results do not meet the expectation, you may as well not waste your time, money, and energy.
The goal of Real World Color Management, the revised second edition, is to ensure that you know everything that you need to know about color management so that whether your final output is print, web, or film, your expectations will be met and you will achieve the color fidelity that you need to get your job done. Real World Color Management Second Edition is 608 pages in length, contains 18 chapters and divided into four parts. I will highlight the breakdown of the four parts
Part I, "Introduction to Color Management," encompasses the first four chapters and it lays the groundwork for the remainder of the book. Here you will explore topics such as what is color? Computers and color, color management, and examine what profiles are. While you don't have to be a color expert to use color management, you do have to have understanding of the fundamentals to understand the problems that color management addresses.
You also must understand the fact that computers know nothing about color except what people tell them. Because computers understand numbers, to get devices to understand what you mean when you say "red" you must learn to communicate to these different electronic devices with kind of numbers that they understand. To do this you will learn about color management and how they relate to device profiles; a file that correlates device color values with corresponding device-independent color values that represent the actual color that people see.
Part II, "Building and Tuning Profiles," explains the fact that color management succeeds or fails based on the accuracy of the profiles that we use to describe the way our color reproduction devices behave. In these next five chapters you will look at real world techniques for creating, evaluating, tuning and maintaining device profiles. You start by learning about measurement, calibration, and process control. Then you learn about building display profiles so that you can see the correct color on your display.
Next you will see how to build input profiles; a profile for an input device such as a digital camera, or scanner, because until you are sure that what is coming in is correct there is no way to really measure what is going out. Then you move on to the output profile which is what is used to calibrate devices like printers, or profiling devices. Next you learn how to evaluate and edit your profiles. By learning to evaluate, you see how far off you really are from the desired output. Getting good profiles requires attention to detail and persistence. Getting a great profile takes even more work.
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Visa pour l’Image at 20
Posted on September 27, 2008 - Filed Under News, Photo | Leave a Comment
I returned from Perpignan, France, recently, where I spent a week covering the 20th anniversary of the Visa pour l’Image festival with American Photo editor at large Jean-Jacques Naudet. While there we saw every exhibition, attended every press conference, and talked with as many photojournalism professionals as we could. Of course we wanted to bring our readers comprehensive coverage on our State of the Art blog, but also, once I was reminded of all the amazing documentary images we never see, I felt a compulsive need to see as many as I could.
I don’t have to tell anyone it’s a rough time for photojournalism: newspapers and magazines have slashed staff photographer positions and cut budgets and pages for freelancers; the value of each image has dropped significantly as competition for coverage has exploded; and online publishing, although full of potential, is currently paying small dividends and making it easier than ever to use images without payment or even attribution. Some of the most visible casualties of the industry’s un-glory days have been the big photo agencies, which have closed their doors or gotten rolled into bigger conglomerations at an alarming rate. In Perpignan I spoke with two agency heads: JP Pappis, a long-time Sigma guy who launched his own agency, Polaris, in 2002; and Christian Caujolle, the legendary semi-retired (he calls it “reorganized”) founder of Agence VU. Both of them lamented the state of photojournalism: Pappis saying he is working twice as hard today for the same results as yesterday, and Caujolle nostalgic for a time when the art of the images was appreciated as much as their monetary value. In such a climate, a gathering like Visa becomes even more important, they both said. “It’s extremely important because it’s the only place where you have all the ingredients of the photojournalism world: photographers, agencies, magazines, exhibitions, slide shows,” said Pappis. “It keeps hope alive.” Indeed, I heard several people characterize Visa as facilitating more deals in one week than happen the rest of the year.
But Visa is about refilling emotional coffers as much as financial ones. You can call it flocking together or licking wounds if you want, but I really didn’t hear too many people feeling sorry for themselves. More people were reminding each other (and themselves) that despite the hard times, photojournalists and the people that love them still think they have the greatest jobs in the world. “They can’t stop something that we love so much we’ll do it for free,” as multimedia guru Brian Storm put it so well. My favorite question of the week was, “What has gotten better in photojournalism over the past two decades?” After the initial groans and pouting “nothing” responses, here’s what I heard: 1) Visa, like the rest of the industry, continues to get more international and better connected every year; 2) the quality of the work continues to climb; 3) tons of new students are studying photojournalism, which creates its own crisis, but at least means the next generation sees the importance of the art. Now if the current generation can manage to heed pleas like Friday’s (read it, seriously, you’ll be glad you did) from Stanley Greene to respect the art, the photographers, and the people in the frame, we might be looking at a future that is not so grim after all. (Another good reason to read the comments from Greene and other top conflict photographers: With the September 11 anniversary in our minds, it’s a great way to remember the photographers who brought us the images that defined the conflicts it precipitated, and many more before.)
When I interviewed Visa’s grand master, Jean-Francois Leroy, the last day I asked him that same question: What has improved in 20 years of photojournalism? He skirted sweeping observations and instead focused on what he’s most proud of this year at Visa: He convinced 15 magazines to give 15 legendary working photojournalists interesting, long-term photo assignments. The number of images shown at Perpignan that have or ever will be published publicly seems to dwindle year-to-year, so getting 15 projects published, not just exhibited, was indeed a triumph. Considering the passion and resilience evident everywhere in Perpignan, I have hope that in another 20 years every image at Visa will be (and will have been) widely viewed by the public.
Poli-tricks
Posted on September 26, 2008 - Filed Under Photo | Leave a Comment
“Was the war in Georgia just an agreement between Putin and Bush? One Latvian NGO put this posters all over Riga as part of their project”. Taken by Biljana Klisarova
iLovePhotos Public Beta
Posted on September 25, 2008 - Filed Under Art, News, Photo | Leave a Comment
iLovePhotos has announced the official release of its public beta. iLovePhotos is free desktop software for Macs that uses facial detection, visual tagging, automated sharing, and intelligent slide show technology to manage your digital photos. Alongside the launch of its public beta, iLovePhotos has also introduced a new Flash-based version of its Mac application. Users can access the online software from any Mac or PC without downloading any software.
iLovePhotos Press Release
iLovePhotos Moves into Public Beta; Adds Web-based Version
Free Mac software and Flash-based web app rescues billions of photos from the ‘digital shoebox’ with automated photo sharing and visual tagging
Honolulu, Hawaii, Sept. 22, 2008 – iLovePhotos announced the official release of its public beta. The free Mac software takes a fresh approach to addressing the billions of photos that are left unorganized and forgotten on people’s hard drives each year – leveraging face detection, visual tagging, automated sharing, and intelligent slide show technology to let people effortlessly organize, share, and enjoy their photos – and all the memories attached to them.
iLovePhotos first unveiled this innovative photo sharing platform in private beta at DEMOfall2008 and is launching its public beta with an enhanced user experience now that the crowds are home from DEMOfall and TechCrunch.
With the public beta, people can organize and enjoy their photos with the following capabilities:
· Automated sharing: With automatic sharing feeds, iLovePhotos takes all the work out of keeping family and friends connected with your photos. For example, share pictures of your baby’s first smile, bath, trip to the park, and baseball game with close friends and relatives. Every time you tag a photo of your baby, it’s automatically uploaded to the iLovePhotos.com website and all recipients receive an email with a link to the new shots.
· Intelligent slide shows: Like a great radio station for your photos, iLovePhotos can bring back long-lost photos and favorite memories. It intelligently creates slideshows based on the people in your photos, how frequently they appear in your collection, and who they’re with most often. And these portable slide shows can be embedded on Web sites, blogs, and social network profiles and also be distributed and played across multiple platforms, including iTunes for syncing directly with iPods, iPhones, and Apple TVs.
· Face detection and visual tagging: iLovePhotos makes it easy to tag and organize photos. Instead of photo albums and folders, iLovePhotos organizes photos based on the people in them. Simply click on a friend’s photo to show every photo they’re in.
Alongside the launch of its public beta, iLovePhotos introduced a new Flash-based version of its Mac application. Users can access the online software from any Mac or PC without downloading any software. And people can even bring their photos straight in from Flickr.
About Blue Lava Technologies
Blue Lava Technologies was founded in December 2005 by Lorenz Sell and Henk Rogers with the goal getting your photos back into your life. The company is headquartered in Honolulu, Hawaii and has received $3.2m in funding led by Henk Rogers and Kolohala Ventures. For more information, visit BlueLavaTech.com or iLovePhotos.com.
Photographers gear up for Photokina
Posted on September 24, 2008 - Filed Under Digital, Photo | Leave a Comment
Photographers are preparing to jet off to the world’s biggest photography show which kicks off in Cologne, Germany, next week.
Photokina 2008 is set to pull in eight times more visitors than the annual PMA trade show in the United States.
Open to the trade and public alike, the biennial event will eat up 230,000m2 of exhibition space spanning eight halls equal to more than 32 Wembley-sized football pitches.
As well as new equipment, the giant kit fest will give visitors an insight into key product trends.
Photokina 2008 is open to the public from 23-28 September (10am-6pm). A day ticket costs 21 (booked online in advance) or 28 (if bought on the day) Tues-Fri.
Day ‘weekend’ tickets cost 12 (in advance) and 16 (on the day). The show takes place at Koelnmesse GmbH, Messelplatz 1, 50679 Koln, Germany.
For other ticket options and details visit www.photokina-cologne.com/
‘s News and Technical teams will be among the 162,000 visitors expected to attend Photokina 2008. Check out all the breaking news from the show on the AP website next week, and in the printed magazine. For background stories behind the latest kit – and key product trends – look out for the AP , which will come free with the magazine’s 18 October issue
Phase One introduces 3.5/45mm TS lens
Posted on September 22, 2008 - Filed Under Digital, Photo, Reviews | Leave a Comment
Pre-Photokina 2008: Phase One has announced the 3.5/45mm TS, a tilt-shift lens developed in collaboration with Hartblei. The 45mm lens offers up to 12 mm shift (combined with a 360 degree rotation) and 8 degrees tilt. In addition, it is bundled with Phase One’s Capture One 4 Lens and Focus optical correction technology.
Press Release:
Phase One Introduces Tilt/Shift Lens
Based on Collaboration with Hartblei
Copenhagen, September 3, 2008 – Phase One A/S today announced an exclusive strategic alliance with Hartblei to drive medium format photographic lens innovation. The first product of this alliance is the Phase One 3.5/45 mm TS lens, based on the popular Hartblei 45 mm f/3.5 Super Rotator lens.
Specially designed for the professional photographer, this small, lightweight tilt shift lens is ideal for location or studio applications. It offers up to 12 mm shift and 8 degrees tilt for maximum flexibility.
Together Phase One and Hartblei have engineered important design advancements with this lens, including:
- New 2008 batch optical glass with multi-layer coating
- Improved 12 blade aperture design
- Mechanics with tighter tolerances
- New interior antireflection coating
- More streamlined mechanical design
When used with the Phase One 645 camera system, the Phase One 3.5/45 mm TS lens offers a simple, alternative to more advanced technical cameras. With it, photographers can adjust the plane of focus without changing the depth of field, correct perspective and selectively sharpen and soften an image – quickly gaining creative possibilities that cannot be realized in post-production.
The Phase One 3.5/45 TS lens comprises a simple eight-lens optical system. Each element is coated with a multilayer anti-reflective coating to reduce internal reflections, increase image transmission efficiency and enhance contrast. The new lens is also is supported by Phase One’s Lens+ and Focus+ optical correction technologies available in Capture One 4.
Pricing and Availability
The Phase One 3.5/45 TS lens is 2.990€ / $3,990 and may be ordered now. It will be demonstrated at Photokina, at which time more details will be available. Volume shipment is expected in Q4 2008.
Phase One 3.5/45 mm TS lens specifications
| Compatible Cameras | Phase One 645 / Mamiya 645AFD |
|---|---|
| Focal length | 45 mm (equivalent to 24 mm focal length for a 35mm camera) |
| Focusing | manual |
| Maximum aperture |
1:3.5 |
| Aperture range | 3.5 – 22 (manual) |
| Optical Construction | 8 elements in 7 groups |
| Angle of view |
83° (98° with optical unit shifted) |
| Minimum focusing distance |
1.15 ft (0.35 m) |
| Filter size | Ø82 mm |
| Lens movement |
Individual rotation of both tilt and shift in any direction |
| Rotation movement range | 360°, with click stops every 15° |
| Shift movement range | 0 to 12 mm in any direction |
| Tilt movement range |
0 to 8° in any direction |
| Standard Accessory | Flower-shaped lens hood |
| Compatible Mount |
For Canon, Nikon, Pentax, and Sony |
| Weight | 880 grams |
| Dimensions | 96×110 mm |
The Children’s Love, Peace and Understanding Tree. Santa Barbara, September 2008.
Posted on September 21, 2008 - Filed Under Photo | Leave a Comment
According to the sign, this huge fig-tree became Children’s Love, Peace and Understanding Tree to celebrate John Ono Lennon’s birthday (October 9th) as the International Day of Peace. It grows just behind Amtrak train station is Santa Barbara.