Tag Archives: Image

Reminder: Change the Clocks in Your Cameras for DST

Reminder: Change the Clocks in Your Cameras for DST

Daylight saving time started this past Sunday. Unless you’ve been operating an hour off from those around you, you probably remembered to change the clocks around your home and in your car… but did you remember to change the clock in your camera?

Image credit: Reminded by kayakeverywhere

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The Best Photography May Come From an Obsession with The Medium Itself

The Best Photography May Come From an Obsession with The Medium Itself

Here’s a quote by photographer Richard Benson on Lee Friedlander’s approach to photography (from his afterword in In the Picture: Self-Portraits, 1958-2011):

Lee has often worked without a specific project in mind, simply making pictures of what he saw, in order, as Garry Winogrand said, to see what it looked like photographed. This way of working led him to look at his contact sheets (of which there have been an astonishing number) to find out what was there that he might not have expected. His shadow, and more clearly defined versions of himself, turned up with regularity. At some point early on Lee realized that he was making self-portraits along with many other photographs that were defining a new landscape for all of us who saw his work. There is a great lesson in this for photographers of today who dedicate themselves to one project or another, failing to understand that the best work might come from an obsession with the medium rather than the personally oriented choice of what might be done with it. Lee always has a camera with him and is constantly making pictures. How much better the work of today might be if all the young and dedicated photographers took up this habit.

If you’re in a creative rut and can’t think of a “project” idea, don’t worry — just be obsessed with photography itself and constantly be ready to photograph what interests you.

(via valerian via tokyo camera style)

Image credit: Self Portrait Series – Untitled 4, Barcelona (2012) by Mooglio

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March 06, 2012 at 06:40AM

Viral Photographs Bring Instant Success

Photographers used to spend lifetimes building up their portfolios and networks before their work became widely known to a global audience, but with the advent of the Internet, the fact that anything can “go viral” is completely changing the equation for success.
Wired has published a fascinating behind-the-scenes piece on Seth Casteel, whose underwater portraits of dogs became a global phenomenon just last month.

Before the photos spread across the world, Casteel was doing okay as a freelance photographer. He sometimes struggled to pay the bills, but his list of clients was growing.

[…] Now everything has changed. On that fateful February 9th, the photos mysteriously landed on Reddit, Facebook, Google+ and then Warholian, becoming one of the hottest trends amongst viewers on at least five or six continents.

More than 1,000 people all over the world have subsequently asked him to shoot photos of their pets. He’s got a line of publishing houses fighting to get the rights to his forthcoming book of underwater dog photos, and he’s made appearance on, or in, most major American news publications from the The New York Times to Good Morning America.

While PetaPixel wasn’t the first to share Casteel’s dog photographs — we were actually late to the game because we were waiting for permission from Casteel — we did play a huge role in another set of dog photographs. Back in July 2011, we shared Carli Davidson’s photos of dogs shaking off water.

That post was soon shared hundreds of thousands of times, causing Davidson’s photographs to go viral all over the Internet. PhotoShelter researched her story and published an interesting piece on the viral evolution of her images.

It’s a perfect example of a concept called “tastemakers” that YouTube trends manager Kevin Allocca recently spoke about at TED. The talk was about how videos go viral, but the points are quite relevant for photography as well. Here’s talk:

Basically, if you want your photography to go viral, you’ll need three things: tastemakers, communities of participation, and unexpectedness.

First, make sure your photographs are truly unique and unexpected. Photographic cliché are a dime a dozen, and it’s the eye-catching and creative ideas that people feel compelled to share.

Having work that’s unique and share-worthy is a necessary first step, but you’ll probably need a tastemarker to get the ball rolling. This could be a Tweet from a famous individual or a post on a blog or news site. Just like how nuclear bombs need to be detonated to get the nuclear reactions started, this is what causes the “viral” chain reaction to begin. Viral photos, videos, and stories are often published long before tastemakers cause them to go viral.

Finally, community participation encourages sharing. It helps if people can recreate or remix your original idea for their own derivative work. In terms of photographs, having a creative idea that anyone can try their own hand at encourages sharing much more than something that’s inaccessible to the general public (e.g. dogs shaking off water vs. microscopic photography).

If you think you have all these ingredients in your photography already but have yet to see your photos go viral, don’t be discouraged — there’s also a huge element of luck involved. The tried and true ingredients of hard work and perseverance will also go a long way!

Image credits: Photographs by Seth Casteel and Carli Davidson

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February 22, 2012 at 04:40AM

Fully-Functional Twin-Lens Reflex Camera Created Using LEGO Bricks

After seeing the LEGO large format camera we featured last year, Norway-based photographer Carl-Frederic Salicath set out to create his own LEGO camera. Rather than go with large format, he decided to build a more complicated Rolleiflex-style twin-lens reflex camera that uses 120 film. Aside from LEGOs, he also used some matte ground glass, a mirror, and lenses taken from a binocular.
Here’s a diagram showing how the camera works, and a few more views of the camera from different angles:

The film chamber uses brackets and rods from a LEGO technic kit to hold two film rolls in place and guide to film to the shutter plate. There’s also a fancy rewind lock that prevents the film from unrolling itself:

You frame shots with the camera by looking into the viewfinder at the top of the camera. Focusing is achieved by moving the lens box back and forth to change the focal point:

Here are a couple sample photographs captured with the camera:

If you’re interested in creating your own “LEGOflex”, Salicath has a pretty detailed description of how he went about building the camera over on his blog.

Legoflex B1 [Mørkerommet]

Image credits: Photographs by Carl-Frederic Salicath and used with permission

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February 16, 2012 at 04:55AM

“When I Borrow Someone’s Car for a Couple of Hours I Slip Them Fifty Quid”

Last week we reported on a dispute between photographer Jonathan Kent and The Telegraph over the newspaper’s “use first and ask/pay later” policy. After contacting the paper over an image of his that was used without permission, Kent received a response from picture editor Matthew Fearn, who informed him stating that their policy is standard and due to the “ever-shifting nature of news”. In response, Kent wrote up a tongue-in-cheek letter likening the paper’s actions to borrowing a car for a joyride and paying for the use afterward.
Here’s the original letter sent from Fearn to Kent:

Dear Mr Kent

Thank you for your 8 February email, which has been passed to me.

You will appreciate that ours is a fast-moving industry and the ever-shifting nature of news – in particular with the advent of online publishing – is such that it is not always possible to secure copyright clearance before pictures are published.

Our industry therefore adopts the stance that if a picture has no overwhelming artistic value and if there is no issue of exclusivity (ie it is already being published online or elsewhere) then no reasonable copyright owner will object to its being republished in exchange for a reasonable licence fee. The only alternative to such a stance is not to publish pictures at all unless they come from a commercial library, the available range of which will inevitably be inadequate.

Clearly it is open to the copyright owner to adopt the position that we have “violated” their copyright. The legal position in cases of breach of copyright is generally that the publisher is required to pay double the industry rate to take account of any ‘flagrancy’ of the breach. Inevitably the outcome is that publishers tend not to use pictures from such copyright owners in future.

In this instance, and in light of what you have told us, we have no reason to doubt that you are the copyright owner for this picture. However the blog from which it was taken gave no indication as to the copyright owner and no contact details. We therefore used it (in fact we inadvertently used it again for some four hours this morning) in the normal way, which is to say that we were always prepared to pay the industry standard rate.

The rate for online-only use of a picture such as this is £25. For using it twice (as we have now done) we would normally pay £50. Were you to adopt a legal route and succeed in proving ‘flagrancy’ (which we deny) we believe you would be awarded £100 in damages in total.

We readily appreciate that the commercial rates available for online picture licences are depressingly low. We have no wish to make life difficult for photographers – our business depends heavily on them – which is why you were immediately offered £200 for a single use of your picture. This was eight times the industry rate. Since we have now used it a second time (albeit only very briefly) we are prepared to increase this offer to £400 in full and final settlement. We note that you are taking legal advice and it therefore seems reasonable to keep this offer open for a period of 24 hours.

We hope this is of some assistance.

Matthew Fearn

Picture Editor

…and here’s Kent’s response to Fearn:

Dear Matthew

About your motor. I was passed an email by a colleague and you make your position quite clear. You’re quite obviously upset that I borrowed it yesterday afternoon without asking you.

Now, and I don’t want to be patronising here, we live in a changing world. I move in fast circles. I have places to be, bars to visit, restaurants to enjoy and an unbelievable number of glamorous women to impress.

So there I was yesterday afternoon when I got a call from the hottest girl I know. She wanted me to take her to The Fat Duck and when needs must the devil drives – well actually I drive, but I couldn’t lay my hands on an appropriate vehicle.

Then blow me if I didn’t spot your Aston. Now call me stupid but there it was, parked on the street, in full view of the public. I would have liked to have asked you but, and I’m putting this down to the fact that you don’t know how people like I work, you failed to leave a piece of paper under the wipers with your name, address and number on so I could check first that it was OK for me and Shazelle to take a spin in it.

So, and I accept this, I just opened the door (I’ve got a pick that does most Astons, so no damage), hotwired it and drove down to Bray.

You’ll be pleased to know it wasn’t a wasted trip. Heston is on cracking form, and so is Shaz for that matter. I took some tissues with me so you shouldn’t notice any staining on the leather, not that there’s much room in the back seat of a DB7.

I notice that you use the word ‘stole’. It’s an ugly word ‘stealing’. I’d suggest that all I was doing was making appropriate use of the car. After all it’s designed to be driven and that’s all I did.

But it’s a fair cop. I didn’t ask. So here’s what I’ll do. Normally when I borrow someone’s car for a couple of hours I slip them fifty quid. I know it’s not a lot but what with the number of city boys what can afford Astons these days they’re two-a-penny and it’s easy to find one who never gets out of Canary Wharf and could use a little cash to buy a bit of Charlie to make lunchtime pass faster.

So in view of the misunderstanding I’ll make it a hundred. Mind you, the rule of thumb is that if someone kicks up and demands extra wonga I don’t rent their car again, so you’re doing yourself out of the opportunity to earn the odd fifty quid in future.

Now what with you having roped in yer lawyer and all, perhaps I can go to £200, but there’ll be bad blood between us. Shazelle thinks you’re a bit out of order too. But the offer’s there. I’ll give you 24 hours or I’ll blow it all down Annabel’s.



P.S. Sorry about the scratches. I reckon it’ll buff up a treat with a dab of T-Cut so no harm done eh?

What’s your opinion on this dispute and the newspaper’s policies?

Image credit: Aston Martin DB7 Zagato by Ed Callow [ torquespeak ]

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February 08, 2012 at 04:12AM

High ISO Performance of DSLRs From the 2001 Super Bowl Versus Now

Want to see how far DSLRs have come in the past decade? Lee Morris of Fstoppers published these two photos taken at Super Bowl halftime shows. The crop on the left was captured in 2001, possibly with the Nikon D1H at 2.7 megapixels and ISO 800 (state of the art specs at the time). The slice on the right was from this past weekend, and was shot with a Nikon D3s at 12MP and ISO 12,800. What’s crazy is that the quality of top-of-the-line DSLRs in 2001 falls far short of what entry-level DSLRs can do nowadays!

Image credits: Photographs by Lonny Krasnow/AP and FilmMagic

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Camera Glitches as Electronic Art


Camera Glitches as Electronic Art

If you saw any of these images on the back of your digital camera after snapping a photograph, you’d probably want to get the camera checked out. Phillip Stearns, on the other hand, feels a sense of accomplishment. The Brooklyn-based shutterbug has a project called Year of the Glitch in which he publishes electronic glitches as art.

Year of the Glitch is a 366 day project aimed at exploring various manifestations of glitches (intentional and unintentional) produced by electronic systems.

Each day will bring a new image, video or sound file from a range of sources: prepared digital cameras, video capture devices, electronic displays, scanners, manipulated or corrupted files, skipping CDs, disrupted digital transmissions, etc.

The images in this post were created by cameras ranging from a Olympus C-840L compact camera to a Canon Digital Rebel DSLR.

Year of the Glitch (via Photojojo via Boing Boing)

Image credits: Images by Phillip Stearns

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Strange and Beautiful Crop Patterns Photographed From Space


Strange and Beautiful Crop Patterns Photographed From Space

Farmlands might look pretty ordinary from ground level, but photograph crop fields from space (or even from an airplane) and you’ll see strange and beautiful patterns.

(via Wired)

Image credits: Photographs by USGS and NASA

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Detailed Fuji X-Pro 1 specs


Detailed Fuji X-Pro 1 specs

Here are the detailed Fuii X-Pro 1 specs:

  • Number of effective pixels 16.3 million pixels
  • Image sensor 23.6mm×15.6mm(APS-C)X-Trans CMOS with primary color filter
  • Sensor Cleaning system Ultra Sonic Vibration
  • Storage media SD memory card / SDHC memory card / SDXC(UHS-I) memory card
  • File format (still image) “JPEG (Exif Ver 2.3 *2), RAW (RAF format), RAW+JPEG
  • Movie: H.264 with Stereo sound
  • Number of recorded pixels
  • L:4896x3264 4896x2760 3264 ×3264
  • M:3456x2304 3456x1944 2304 × 2304
  • S:2496x1664 2496x1408 1664 ×1664
  • Motion Panorama
  • L  Vertical:7680x2160 Horizontal:7680x1440
  • M Vertical:5120x2160 Horizontal:5120x1440″
  • Lens mount FUJIFILM X mount
  • FUJINON LENS XF60mmF2.4 R Macro”
  • Sensitivity
  • Equivalent to ISO 200 – 6400  (Standard Output Sensitivity)
  • AUTO mode : AUTO(400)/AUTO(800)AUTO(1600)/AUTO(3200)
  • Extended output sensitivity equivalent ISO 100, 12800 and 25600
  • Exposure control TTL 256-zones metering, Multi / Spot / Average
  • Exposure mode Programmed AE, Shutter priority AE, Aperture priority AE, Manual exposure
  • Exposure compensation -2.0EV – +2.0EV, inclement with 1/3EV step
  • Shutter control Focal Plane Shutter
  • Shutter speed
  • with mechanical shutter, P mode, 1/4 sec. to 1/4000 sec.
  • All other modes 30 sec. to 1/4000 sec.
  • Bulb (max.60min)
  • Time: 2 to 30 sec
  • Continuous shooting: Max 6 / 3 fps selectable
  • Auto bracketing: AE Bracketing (±1/3EV, ±2/3EV, ±1EV)
  • Film Simulation Bracketing (Any 3 type of film simulation selectable)
  • Dynamic Range Bracketing (100%, 200%, 400%)
  • ISO sensitivity Bracketing (±1/3EV, ±2/3EV, ±1EV)”
  • Auto Focus
  • Single AF / Continuous AF/MF, Distance Indicator
  • Type: TTL contrast AF, AF assist illuminator available
  • AF frame selection: Area (EVF/LCD:49 areas with 7x7, OVF:25 areas with 5x5)/ Multi
  • Changeable size of AF frame: among 5 type
  • White balance
  • Automatic scene recognition
  • Custom, Color temperature selection (K)
  • Preset: Fine, Shade, Fluorescent light (Daylight), Fluorescent light, Fluorescent light, Incandescent light, underwater
  • Dynamic range setting AUTO(100-400%, 100%, 200%, 400%)
  • Self-timer Approx. 10sec. / 2sec. Delay
  • Flash modes Hot shoe with TTL contacts; sync terminal
  • Red-eye removal OFF: Auto, Forced Flash, Suppressed Flash, Slow Synchro. Rear-curtain Synchro
  • Red-eye removal ON: Red-eye Reduction Auto, Red-eye Reduction & Forced Flash, Suppressed Flash, Red-eye Reduction & Slow Synchro, Red-eye Reduction & Rear-curtain Synchro”
  • Hot shoe Yes ( dedicated TTL Flash compatible)
  • Flash synchro Terminal X terminal, synchronized Shutter speed:1/180 sec or slower
  • Viewfinder: Hybrid Multi Viewfinder Optical viewfinder (Reverse Galilean viewfinder with electronic bright frame display)
  • Magnifications : 0.37x / 0.6x
  • Coverage of frame area v.s. capturing area : approx. 90%
  • Electronic viewfinder
  • 0.47-in., approx.1,440,000-dots color LCD viewfinder
  • Coverage of viewing area v.s capturing area : approx. 100%
  • Eye sensor installed
  • Eye point : approx. 14 mm
  • LCD monitor 3.0-inch RGBW (White) LCD monitor, approx. 1,230,000dots (Approx. 100% coverage)
  • Movie recording 1920×1080 pixels, 1280 x 720 pixels (24frames /sec.) with stereo sound
  • Individual movies can not exceed 29 minutes in length.
  • Photography functions “Select custom setting, Motion panorama, Color space, Color (Saturation), sharpness, Dynamic range, Film simulation, Gradation, Auto red-eye removal, Framing guideline, Frame No. memory, Histogram display, Preview depth of focus, Focus check, Electronic level, Multiple exposure, Date input, Fn button setting (RAW, Movie, etc)
  • Playback functions RAW conversing, Image rotate, Red-eye reduction, Photobook assist, Erase selected frames, image search, Multi-frame playback (with micro thumbnail), Slide show, Mark for upload, Protect, Crop, Resize, Panorama, Favorites
  • Other functions PictBridge, Exif Print, Languages selection, Time difference, Quick start mode, Power save mode, Silent mode Terminal (Video output)
  • USB 2.0 High-Speed
  • HDMI mini connector
  • Power supply “NP-W126 Li-ion battery (included)
  • Dimensions “139.5 (W) mm x 81.8 (H) mm x 42.5(D) mm / 5.5in.(W) x3.2in. (H) x 1.7 in. (D) (Minimum depth: 34.1 mm/ 1.3 in.)”
  • Weight Approx. 450g / 15.9 oz. (including battery ) and memory card) Approx. 400 g /14.1 oz. (excluding accessories, battery and memory card)
  • Operating Temperature 0℃ – 40℃
  • Operating Humidity 10 – 80% (no condensation)
  • Guide to the number of available frames for battery operation approx 300 frames
  • Starting up period “Approx. 0.5 sec. ( Approx 1.0 sec, when QUICK)
  • Accessories included
  • Li-ion Battery NP-W126
  • Battery Charger BC-W126
  • Shoulder strap
  • USB cable
  • Body cap
  • Metal strap clip
  • Protective cover
  • Clip attaching tool
  • CD-ROM (Viewer software, RAW File Converter etc. *3 )
  • Owner’s manual ”
  • Optional accessories “Li-ion battery NP-W126
  • Battery charger BC-W126
  • Shoe Mount Flash EF-20、EF-42、EF-X20
  • Interchangeable lens FUJINON LENS XF18mmF2 R
  • Interchangeable lens FUJINON LENS XF35mmF1.4 R
  • Interchangeable lens FUJINON LENS XF60mmF2.4 R Macro
  • Protector Filter PRF-52 52mm
  • Protector Filter PRF-39 39mm
  • Hand Grip HG-XPro1
  • Leather Case LC-XPro1


Make a Custom Snow Globe Using Photos of Your House

Here’s a fantastic project/gift idea for those of you who are both tech-savvy and artsy: make a custom snow globe of your house. The process involves capturing photographs of the house from all sides, turning the images into a 3D model of the home using a 3D modeling program (e.g. Google Sketchup), turning the 3D model into a physical object using a 3D printing service (e.g. Shapeways), and then sticking the object into a custom snow globe kit. Qarl has published a step-by-step tutorial on the process.

the weather outside is frightful (via Boing Boing)