Digital Journal of Photography

Thursday, 28 April 2011

Phase One release Capture One 6.2 adds support for Fuji X100

Hot on the heels of yesterday's announcement by Adobe Phase One has today announced Capture One 6.2. As well as adding support for the Fujifilm X100, as well as a number of other new (and not so new) cameras), C1 6.2 includes several new features and enhancements. For a full list of the supported cameras and features, please see the summary below.

The new Capture One 6.2 release offers enhanced options for local adjustments, additional camera controls for Canon and Nikon and improved XMP metadata functionality.

The release also adds camera support for the latest Samsung, Fuji, Ricoh, Panasonic, Canon, Sony and Nikon camera models as well as camera support for Phase One IQ180, IQ160, and IQ140 including tethered support.

Capture One 6.2 includes the following new features and enhancements:
- Local adjustment of saturation and clarity
- Invert local adjustments mask
- Copy local adjustments mask from other layer
- Auto sync of XMP metadata (sidecars only)
- Additional camera controls for Canon and Nikon
- Improved OpenCL and 64 bit performance

Capture One 6.2 offer support for the following new cameras and hardware:
- Phase One IQ180, IQ160 and IQ140 including tethered support
- Canon 600D/Rebel T3i and 1100D/Rebel T3 including tethered support
- Fuji X100
- Nikon D5100* and tethered support for Nikon D-7000 (*preliminary)
- Panasonic DMC-GH2 and DMC-GF2
- Ricoh GR DIGITAL, GR DIGITAL II, GR DIGITAL III, GX100, GX200, GRX S10, GXR P10, GXR A12
- Samsung NX5, NX10, NX11 and NX100
- Sony SLT-A55, SLT-A33, NEX-3 and NEX-5

The upgrade and release notes (pdf) can be found here.

Wednesday, 27 April 2011

Sony World Photography Awards 2011 L’Iris D’Or and winners announced

Press release:

Sony World Photography Awards 2011 L’Iris D’Or and winners announced
www.worldphoto.org

•    Argentinean photographer Alejandro Chaskielberg wins the coveted L’Iris D’Or Sony World Photography Awards Photographer of the Year 2011
•    Chan Kwok Hung announced as overall Open winner
•    Professional category winners and Student Focus Award winner revealed
•    Bruce Davidson receives the Outstanding Contribution to Photography Award

Argentinean photographer Alejandro Chaskielberg has tonight, 27 April 2011, been announced as this year’s winner of the illustrious L’Iris D’Or, the 2011 Sony World Photography Awards Photographer of the Year. Over 105,000 images were entered into the 2011 competition from 162 countries. Chaskielberg was presented with the award during the Sony World Photography Awards Gala ceremony at the Odeon Leicester Square. Previously held at Cannes' prestigious Palais des Festivals, this is the first year that the awards have been held in London.

Beginning his career at the age of 18 as a photojournalist for a local newspaper, 34 year old Buenos Aires born Chaskielberg has spent 16 years developing a highly successful career as a photographer. His winning photographs offer a rare and insightful look into the lives of a community of islanders who live on the Parana River Delta. Devoting himself entirely to his ‘High Tide’ project, Chaskielberg lived with the islanders for two years, immersing himself in their daily life in order to document the way they live and work. Chaskielberg said of his series of striking night time portraits, “Using photography I have been able to present another version of the Parana River Delta and its community that has been photographically ignored throughout the years.”

Chaskielberg was chosen as the winner of the L’Iris D’Or by a panel of 12 judges. In addition to winning a $25,000 cash prize plus Sony digital SLR camera equipment, he joins previous L’Iris d’Or winners David Zimmerman, Vanessa Winship and Tommaso Ausili as a member of the World Photographic Academy. Attending the gala award ceremony at the Odeon Leicester Square, Chairman of the 2011 Honorary Judging Committee Francis Hodgson said, "The judging process is never straightforward when comparisons are made between imagery of so many different types on such a wide range of subjects. Yet this year's panel of judges found no great difficulty in agreeing to honour the powerful work of Alejandro Chaskielberg's series High Tide. These carefully directed pictures tell solid truths - about toil and communality and marginal economic survival - in a splendidly allusive way."

The Sony World Photography Awards Open Photographer of the Year title was awarded to Chan Kwok Hung for his stunningly dramatic image ‘Buffalo Race’. The 37 year old jewellery manufacturer from Hong Kong was at the awards ceremony to collect his $5,000 cash prize as well as Sony digital SLR camera equipment. Chan purchased his first SLR camera in 2006 and using books and the internet taught himself basic photography skills. He began to develop a passion for travelling to undeveloped places, and hearing about the buffalo race, Chan made a special trip to Indonesia in search of his spectacular image. After an early start and hours of waiting, Chan’s patience paid off, and what he describes as an unforgettable trip culminated with his winning photograph.

Other announcements on the night included the professional category winners, covering Current Affairs to Commercial, Travel to Fine Art Portraiture. Among the winners are Javier Arcenillas from Spain who, after being shortlisted in four categories, triumphed in the Current Affairs and Contemporary Issues categories, and the UK’s Adam Hinton, winner of the Commercial Campaign category, who began his photographic career at the age of 12 when his father bought him an SLR camera.

Astrid Merget, Creative Director, said: “Alejandro’s spectacular winning images are testimony to the incredibly high standard we have seen this year. We have been extremely impressed with the quality of entries across all categories, notably the standard of entries for the Open competition. The Student Focus Award also continues to flourish year on year and it is very exciting to be working with the next generation of photographer.”

Tatsuya Akashi, Vice President of Digital Imaging at Sony Europe, said: “This year's entrants have once again amazed and enthralled us with the sheer diversity and high caliber of entries submitted from across the globe. We would like to congratulate all the winners on their fantastic achievements."

The Winners’ Showcase is the flagship exhibition and one of several photography exhibitions running as part of the World Photography Festival at Somerset House, London, 26 April – 22 May. Featuring a vast collection of international contemporary photography, spanning genres including documentary, sport, portraiture, landscape, fashion and much more, the Showcase captures a unique view of the world in 2010/11 as recorded through the lens of winning photographers who entered this year’s competition.

Outstanding Contribution

A further highlight of tonight’s gala ceremony was ground-breaking photographer Bruce Davidson receiving the Outstanding Contribution to Photography Award. Davidson, 77, has a career spanning more than half a century, and is one of America’s most distinguished photographers. An exhibition of his work is being shown as part of the World Photography Festival at Somerset House. The exhibition, selected by Bruce Davidson with Simon Baker, curator of photography and international art, Tate, will include some of his most famous works from the East 100th Street and Circus collections.

Student Focus

Tonight’s Leicester Square event also saw student photographer Louis Boulet from École Nationale Supérieure Louis Lumiere, France announced as the winner of the Student Focus award. Recognised as the world’s most high-profile student photography prize and open to universities worldwide, Louis fought off fierce competition from entries from over 200 institutions across six continents.

Created in partnership with the Young Tate Online, Tate’s digital programme for young creative’s, photographers from each of the shortlisted institutions were given one month to produce a series of images on the subject of ‘Actions speak louder than words’ with Sony Alpha cameras. Having been flown to London to receive his prize, Louis has been awarded approximately 45,000 Euros worth of Sony digital imaging equipment for his school.

Focus Award 2011/12

Each year WPO collaborates with an international charity for the special Focus Award, dedicated to using photography in order to raise awareness on a particular global issue. As part of the ceremony, WPO and Sony announced a partnership for the 2011/12 Focus Award with Save the Children.

Chosen by the 2011 Honorary Judging Committee, chaired by Francis Hodgson, the professional category winners are:

PHOTOJOURNALISM & DOCUMENTARY

Current Affairs
•    Winner: Javier Arcenillas (Spain)
•    2nd: Robin Hammond (New Zealand) / Panos
•    3rd: Ahmad Masood, (Afghanistan) / Reuters
Contemporary Issues
•    Winner: Javier Arcenillas (Spain)
•    2nd: Christian Lutz (Switzerland) / Agence VU
•    3rd: Balazs Gardi (Hungary) / basetrack.org
People
•    Winner: Alejandro Chaskielberg (Argentina)/ Michael Hoppen Gallery
•    2nd: Denis Rouvre (France)
•    3rd: Lucia Herrero (Spain)
Sport
•    Winner: Pavel Wolberg (Israel)
•    2nd: Javier Arcenillas (Spain)
•    3rd: Palmer + Pawel (United Kingdom)
Arts and Culture
•    Winner: Amit Madheshiya (India)
•    2nd: Tommaso Bonaventura (Italy)
•    3rd: Mahesh Shantaram (India)

COMMERCIAL

Campaign
•    Winner: Adam Hinton (United Kingdom) / Saatchi & Saatchi
•    2nd: Richard Bailey (United Kingdom)
•    3rd: Tomg Meng (China)

Travel
•    Winner: Liz Loh-Taylor (Australia)
•    2nd: Javier Arcenillas (Spain)
•    3rd: Andrew McConnell (Ireland) / Panos
Lifestyle
•    Winner: Saja Seus (Germany)
•    2nd: Frank Bayh & Steff Rosenberger-Ochs (Germany)
•    3rd: Fabrizio Cestari (Italy)

FINE ART

Architecture
•    Winner: Alnis Stakle (Latvia)
•    2nd: Frank Meyl (Germany)
•    3rd: Frank Bayh & Steff Rosenberger-Ochs (Germany)
Portraiture
•    Winner: Alain Willaume (France)/ Tendance Floue /Galerie Vu
•    2nd: David Kretschmer (Germany)
•    3rd: Paolo Verzone (Italy) / Agence VU
Landscape
•    Winner: Florence Iff (Switzerland)
•    2nd: Guido Castagnoli (Italy) / Periscope Creative
•    3rd: Frank Day (United States)
Still Life
•    Winner: Renhui Zhao (Singapore)
•    2nd: Peter Franck (Germany)
•    3rd: Charles Emerson (United Kingdom)
Conceptual
•    Winner: Paul Gisbrecht (Germany)
•    2nd: Ana Cop (Canada)
•    3rd: Zhongyin Gao (China)

Adobe updates Lightroom to 3.4 adds support for Fuji X100

Adobe has announced Lightroom 3.4 with additional camera support for several new camera models, including the Canon Rebel T3i (600D / Kiss X50), Nikon D5100 and Fuji FinePix X100. Additional updates include Adobe Camera Raw 6.4 for Photoshop, Photoshop Elements and DNG Converter 6.4

The updates can be found here .

Nikon updates 50mm f/1.8 to AF-S

After being inadvertently revealed briefly on the Nikon US website a week or so ago now the company has officially announced the AF-S Nikkor 50mm f/1.8G . Not only does the new 50mm boast similar spec to the AF-S 50/1.4G, with the inclusion of a SWM and M/A focus switch, the optical construction is a new 7-element design incorporating an asphere - an unusual addition at this level. Unlike the earlier AF-D offering, the new lens will autofocus on all Nikon DSLRs and will be available in June for a estimated price of $220 / £200 / 232 Euros inc tax.

Press release:

Evolution Of The Classic: The New AF-S Nikkor 50mm F/1.8G Lens

MELVILLE, N.Y. (April 27, 2011) -- Nikon Inc. today announced the AF-S NIKKOR 50mm f/1.8G lens, a fast, compact lens that affords photographers the versatility of the classic 50mm focal length and the benefits of a fast aperture for photos and D-movies. Whether a new D-SLR enthusiast or a seasoned pro, users will appreciate the tack-sharp image quality, extreme low-light performance, shallow depth of field and Nikon core technologies that improve upon the original to make a great lens even better.

"The 50mm lens has been a staple for photographers since the 35mm film days, and this new lens enables Nikon customers that shoot photos and movies to discover the creative benefits of this traditional focal length," said Lisa Osorio, general manager of marketing at Nikon Inc. "This f/1.8 prime lens offers exceptional image quality and control, and benefits from modern Nikon technologies to enhance performance such as the Silent Wave Motor and use of an aspheric lens - it's a very attractive package for any shooting discipline."

Lightweight, compact and affordable, this lens will easily become a favorite and find a home in any photographer's gear bag. With the unique ability to mimic the focal length of the human eye, the AF-S NIKKOR 50mm f/1.8G lens is ideal for travel, general photography, low-light, landscape shooting and portraiture. This lens continues the tradition of NIKKOR precision optics to provide photographers with sharp, high-resolution images and the ability to focus as close as 1.48 feet, with amazing depth of field control for intimate details. The integration of an ultra-compact Silent Wave Motor ensures fast, whisper-quiet AF operation, which is essential when recording movies. Optimized for Nikon FX-format cameras, this lens is also a great option for Nikon DX-format photographers seeking a fast, sharp lens for capturing images with amazing color and contrast.

The new 50mm f/1.8 lens construction consists of seven elements in six groups, with one aspherical lens element to reduce instances of coma and aberration, even when shooting wide open. A rounded diaphragm opening combined with the seven-blade aperture contributes to a substantially more circular bokeh for a more natural appearance of out-of-focus background elements. Additionally, instances of lens flare and chromatic aberration are suppressed using Nikon's exclusive Super Integrated Coatings, which also help ensure vividly accurate color balance.

The AF-S NIKKOR 50mm f/1.8G lens is scheduled to be available at Nikon authorized dealers beginning June 16, 2011 at an estimated selling price of $219.95.* For more information, please visit www.nikonusa.com.

Tuesday, 26 April 2011

Fujifilm X100 concise review

Fujifilm’s X100 is a relatively compact digital camera with a rangefinder-like layout with a APS-C size 12-megapixel sensor and fixed single focal length 23mm (35mm eqiuvalent FoV) lens with a high-speed f/2.0 maximum aperture. What’s really intriguing about this camera though is the unique hybrid viewfinder. At first sight the viewfinder looks like any high-quality reverse-Galilean optical viewfinder, but thanks to an integrated prism, shooting data can be overlaid much like the bright-frame lines of a rangefinder camera.

It’s not just frame-lines and a focus target that can be seen though, the 1.44 million dot LCD screen hidden at a right angles to the optical viewfinder can overlay an extensive range of data, including exposure settings, histogram, EV-shift, parallax error and even the focus distance with a useful depth of field scale. It’s an oversized, bright, clear image too but there’s more to it than that. You can even switch from the optical viewfinder to the built-in LCD screen to use as an electronic viewfinder for composing instead, as well as viewing images in playback mode.

Mixing old and new seamlessly is pretty slick, and the nod to the internal workings of the 35mm rangefinders of yesteryear won’t be lost on the technically minded. Externally, the layout resembles a rangefinder too though thanks to light-weight magnesium alloy top and bottom plates the camera weighs in at a featherweight 445g. Viewed in isolation the weight and balance feels good but it’s not quite as solid as you might expect. In terms of build then, it’s much more like the dainty Leica X1 than the M9, but that’s not un-expected at the price.

Knurled metal control dials are a nice touch, with one dedicated to EV compensation, the other selecting shutter-speeds and semi-auto aperture priority. There’s even an aperture ring on the lens, complete with knurled metal ‘wings’. While this allows full-stop selection only from f/2 to f/16, a semi-auto setting where f/22 would normally be for shutter priority is a surprise. Set the lens and camera to auto and you have Program. It’s all quite retro then, proven even, but proven for film when there were just three settings to be made, four maybe if you include focus. Even with auto-focus, the X100 is actually rather complicated in use. Where the M9 scores so highly is in its simple, intuitive and time-honored operation; it’s pricey alright but there are few real concessions to the change to digital. By contrast the X100 is slightly uncomfortable with its skin.

At the rear is a mix of dials and buttons seemingly arranged in a haphazard fashion, while a proximity sensor located by the viewfinder automatically switching between that and the rear 2.8-inch high (460k dot) resolution LCD adds to the sense of loss of control. At first it’s tempting to switch it to program and hope for the best, but the small size and portability entices you to take back control.

One area that’s difficult to master is focusing. Without engaging a macro setting first using one of the rear control dials, the minimum auto-focus distance is 80cm, and just a bit too far away for portraits. For candid shots it’s a counterproductive operation, though if you know you’re going to take portraits for a session indoors perhaps the focus range of macro setting is generous, officially up to 2m but in practice much more like 5 or 6m or so making it more workable. However, if you switch to manual focus you still have the same problem. The long throw and ultra-fine adjustment using the small focus ring is a bit tardy, but the AFL button to the rear will automatically focus the lens and still allow manual fine-tuning. The upper command control, more a rocker switch has far fewer uses than it should but can be used to magnify the image covered by AF target for checking accuracy. It’s rather neat once you get the hang of it.

Walk to work, Fuji X100 23mm (35mm equiv AoV) , f/2.8, ISO 200 (in-camera JPEG).

Street shooting, arguably one of the most likely uses, is something the X100 does reasonably well with, providing you’re in control. Any distance set manually is remembered after powering back up while the handy distance scale is shown in the viewfinder along with the depth-of-field, which is essential for zone focusing. Some slight shutter lag seen previously from the AF is now negligible but there are still a few points to watch out for. The main control dial located lower on the body is small fiddly and overly sensitive, making menu selection a haphazard affair. By contrast the centre Menu/OK button requires a bit more force delivered with pin-point accuracy otherwise you end up with some random selection. It’s exasperating when you’re in a hurry to say the least.

Looking Glass, Fuji X100, 23mm (35mm equivalent AoV) @ f/5.6, ISO 200 (in-camera JPEG).

Although likely a bug, the X100 doesn’t memorize ISO settings across exposure modes, and nothing faster than a 1/1000sec shutter speed is available at f/2.8 or larger thanks to the lens-based leaf-type shutter. If lighting conditions are bright you’ll have to adopt the 3-stop ND filter if you want to shoot any wider. On the up-side vibration is dramatically reduced as there’s no focal plane shutter (or reflex mirror), meaning handheld shots can be a little lower than DSLRs and goes some way to counter the argument by some detractors of the need for built-in image stabilization.

Start up takes around 3 seconds, although if you’re waiting for the rear screen to energize it can take around 9 or 10 seconds. That’s disconcerting at first, but you can press the shutter button to activate it ahead of that time. Write speeds are slow, even when using fast cards. And, while normally this isn’t too much of an issue, with the X100 you’re effectively locked out from making any adjustments until the files are written. A handy 5fps option (8 Raw files maximum) is buffered by the memory but still takes around 20 seconds from the last frame to clear. In terms of picture quality the X100 scores highly.

Equivalent to the angle of view of a semi-wide angle 35mm, the 23mm f/2 lens has very high central sharpness though the edges are quite soft until f/4, where resolution improves significantly. The optimum is f/8, but the performance is very different to that of the Elmarit 24mm f/2.8 ASPH used by Leica X1. There’s some slight distortion bordering on complex moustache type but it’s negligible in everyday use.

Clock Tower. Fuji X100 23mm (35mm equivalent AoV) f/5.6, ISO 200.

As in past Fujifilm cameras, such as the S3 Pro, the X100 has a wide number of processing options for in-camera JPEGs. Fuji’s film simulation modes replicate the look of their film range Provia (std), Astia (soft) and Velvia (vivid), while the Dynamic Range mode returns for control of contrast. Left to auto selection, higher values (200-or-400 percent) are chosen to reduce loss of detail in high contrast scenes but the 200-percent option is only available to set manually at ISO400 and above, the 400-percent option at ISO800. The effect is subtle too, but at least there’s the option if it’s required.

Noise levels are low and well balanced throughout the range to ISO6400 but luminance noise is quite noticeable at the extended ISO12800 setting. That and the ISO100 setting are only available when shooting JPEG, so it’s moot if you intend to shoot RAW. Fuji bundle the Silkypix raw converter, a popular choice in Japan but less so elsewhere. None of the larger more popular raw converters support the X100 at this time, though you could take a look at smaller independent publishers such as Iridient Digital’s excellent RAW Developer (1.9.1). Movie capture isn’t bad but clips are limited to 10 mins and there’s no digital stabilization nor external mic socket so it's really best left for occasional use.

After the Nikon D200 based S5 Pro it’s good to see Fuji return with such an intriguing proposition. Even given their background with cameras such as Hasselblad’s XPan (also known as the Fuji TX-1 / TX-2 in Japan) few could of predicted the X100. At this price its main rival is the Leica X1 (see review). But while that’s a capable performer, the lens especially, it’s much dearer, lacks a built-in viewfinder and is slower to focus. It’s hard not to like the X100, the image quality is outstanding, but the poor user-interface choices seem like it was hurried. None are truly deal-breaking and could easily be improved with one or two firmware updates, including the overly sensitive rear command dial. However, while the X100 is not without shortcomings, it’s certainly one of the most compelling cameras of recent times and likely a future classic.

4.5/5 HIGHLY RECOMMENDED

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Thursday, 21 April 2011

Nikon Teams Up With Arthur Edwards Royal Photographer At The Sun For Tips & Tricks To Capture The Royal Wedding

To celebrate the Royal Wedding, Nikon has teamed up with Arthur Edwards, royal photographer at The Sun, to give some expert tips and tricks on how to capture the big day. From finding the right spot at the procession to taking must-have shots at a street party, the attached guide makes sure you get photos worthy of the family album.

Nikon also commissioned some research which revealed that a staggering 327 million Royal Wedding-related photos will be taken on digital cameras on Friday 29th April, as the nation aims to capture the big day.

Picture this

According to research commissioned by Nikon, a staggering 327 million Royal Wedding-related photos will be taken on digital cameras on Friday 29th April, as the nation aims to capture the big day. A survey of 1,421 UK adults found that:

•    The most coveted photo to get will be the first glimpse of William and Kate as a married couple (35.1%), followed closely by the balcony kiss (27.3%)
•    Nearly half of respondents (49%) said that taking their own shots was their way of recording an historic moment, and a quarter (24.7%) said it would help them have their own memory of it.
•    65 million photos of wedding-related events will be shared on social networking sites
•    23% of people questioned plan to attend a street party, and 15% plan to travel to London to view the procession

Expert advice

With over three decades’ experience of photographing the Royal family, Nikon professional photographer Arthur Edwards knows better than anyone what should be priority on the big day:

“The balcony kiss is THE picture to get. Half of the photographers missed the iconic balcony kiss in 1981 at Charles and Diana’s wedding because they were changing film. We won’t be able to use that excuse this time around! All the great things that have happened in this country are marked with a celebratory picture on the balcony.”

ARTHUR’S TIPS

1. Get there early and make sure you’re in position.

2. Make sure the camera is fully charged and keep it in your hand ready to take a picture.

3. Get as close to the action as you can, but don’t worry if you’re not front row. Take advantage of the super-zoom cameras on the market, so that even if you feel miles away, you can still get up close to the subject in your photos.

4. Don’t be frightened to ask people to move to the left or right in order to get a clearer view.

5. Shoot the best possible quality setting – photos are not just about volume but you also want as high resolution as possible, so you can make quality enlargements later if you want to. Just make sure you have a few memory cards on you.

6. Don’t just focus on the Royal couple – there will be numerous other top notch guests around, especially entering and leaving the Abbey.

7. Don’t forget to take some crowd shots and pictures of all the venues and, of course, get a picture of yourself there.

8. Make the most of the HD video available on many of the Nikon COOLPIX cameras, and record the sound of the bells at Westminster Abbey and the parade.

9. The route is a lot shorter than the route Charles and Diana took – if you have continuous shooting on your camera then use it, as it could be your best chance of getting a picture of them as they pass by – just make sure you hold it really still. Try steadying your arm against something solid.

10. Be ready for anything – the beauty of being there on the day is that you’re ready to capture the unexpected.

Jeremy Gilbert, Group Marketing Manager at Nikon UK, comments: “Photography has now become so accessible that with such a momentous event on the horizon, it’s natural that everyone will want to capture their own memories of it. Nikon’s COOLPIX compact cameras are easy to use, yet image quality is second to none so you’re sure to capture images you’ll want to treasure. On the wedding day, make the most of features like zoom lenses to bring the balcony scene right up close, Vibration Reduction technology to prevent blurring when moving with the procession, and the Smart Portrait System which makes sure everyone looks their best.”

Joe Little, Managing Editor, Majesty Magazine adds: “Large-scale royal occasions happen rarely, so when they do it is vital that they are captured for posterity with good-quality, well-composed photographs. The eyes of the world will be on London on 29th April. It is important that we get our coverage – both in words and pictures – just right.”

Street Parties

There are lots of different ways to capture the big day if you are not heading into London. Arthur advises: “If you’re having a street party or another kind of celebration, make sure you try to capture the mood of the nation – get dressed up in your finery and make sure you take lots of pictures of the kids. These pictures will be so important for them in years to come, and when they are older they can look back and say “this is what I was doing when the future King of England celebrated his wedding day”. Even if you’re taking advantage of the Bank Holiday and going abroad, still make sure you get dressed up for the camera.”

Wednesday, 20 April 2011

Simon Norfolk, new show, new book

Simon Norfolk is exhibiting new photographs from the war in Afghanistan after his last visit to the worn-torn region in 2002. His return after ten years has culminated in a exhibition to be shown at the Tate Modern, London from May 6th May to July 11th, 2011 and at Hoppen Contemporary, London, 13th May to 16th June. Norfolk will also show his work in 2011 in Berlin, New York & Los Angeles and in 2012 in Cork. A new book containing images from the exhibition, BURKE+NORFOLK, Photographs from the War in Afghanistan is to be published May 9th 2011. His 2002 book, Afghanistan: chronotopia, won the European Publishers Award For Photography and was published in six editions in six languages with a number of reprints.

Press release:

Burke+Norfolk, Photographs from the War in Afghanistan

£40.00 / $65.00 quarterbound large-format hardback
168 pages, 100 colour & duotone plates
290mm x 365mm
ISBN: 978-1-907893-11-7
Publication Date: May 9th 2011
With the support of The Wilson Centre for Photography

Simon Norfolk’s 2002 book Afghanistan: chronotopia is now recognised as a classic of photography. It established Norfolk’s reputation as one of the leading photographers in the world and the work has been exhibited at more than thirty venues worldwide.

In 2010 Simon Norfolk returned to Afghanistan. This time he followed in the footsteps of the 19th century Irish photographer John Burke, a superb, yet virtually unknown, war photographer. Burke’s eloquent and beautiful photographs of the Second Anglo-Afghan War (1878-1880) provide an extraordinary record. Using unwieldy wet-plate collodion negatives and huge wooden cameras he shot landscapes, battle-fields, archaeological sites, street scenes, portraits of British officers and ethnological group portraits of Afghans in what amounts to a richly detailed record of an Imperial encounter. The range is tremendously broad, yet suffused with a delicate humanism. These are also the first ever pictures made in Afghanistan. With this book, one hundred and thirty years too late, John Burke’s time has come at last.

Norfolk’s new work looks at what happens when you add half a trillion US war dollars to an impoverished and broken country such as Afghanistan. Very loosely re-photographic in nature, the work is presented as an artistic collaboration between Burke and Norfolk. It features photographs by Burke never before published, as well as Norfolk’s new pictures from Kabul and Helmand.

Simon Norfolk has received innumerable awards including The European Publishers Award for Photography, The Olivier Rebbot Award (Foreign Press Club of America), and The Infinity Award (ICP, New York). His work is in major public and private collections throughout the world. His most recent exhibition, in March 2011, was shown at the Queen’s Palace in the Bagh-e Babur garden in Kabul. Supported by The World Collections Programme and the Aga Khan Trust for Culture, it incorporated both Norfolk and Burke’s photographs alongside work resulting from a series of workshops by Simon Norfolk with Afghan photographers.

Links:
More information can be found here.

Photographer Tim Hetherington killed in Libya

The BBC is reporting that 41 year old British journalist and photographer Tim Hetherington, co-director of the Oscar-nominated documentary Restrepo, has been killed today in a mortar attack in Libya. Two other journalists are thought to have been injured on a main road leading into Misrata, an area of intense fighting in the region.

Source BBC.

Epson Masterclass with Gary Wornell, part I

Epson Europe has released a mini Masterclass with Gary Wornell, a certified Digigraphie printmaker, photographer and artist. Filmed at Photokina last year, Wornell describes some of his practices printing on a range of media, some from Epson as well as hand-coated Japanese papers, even aluminium, and steel. Running time is a shade under 5 minutes.

Links:

Epson Digigraphie site, please click here .

Featured photographer's site, Gary Wornell, please click here.

Saturday, 16 April 2011

Sony making just three stills camera models

According to an article at Japan based DC.Watch, Sony is making just the full-frame A900, the SLT A55V (pictured above) and NEX-5; none of the plethora of other models we've seen lately are in production. If you're thinking of buying anything else I would pick it up sooner rather than later, before stock disappears. We don't believe this has anything to do with the tragedy in Northern Japan, more likely the company is dedicating manufacturing capacity to new models.

Source DC.Watch (Japanese)

Fuji X100 sample images

We've had a Fuji X100 for a few days prior to reviewing for a print magazine, and the X100 is quite a camera to come to terms with. It's quite complicated in its nature, and takes days to become accustomed to its quirks and shortcomings (no camera is perfect but some are closer to perfection than others). We may get time to produce a concise review here, and if there are any questions we'll try answer them in the write-up. In the meantime, we've posted a few shots as an indication as to what you might be able to expect from the camera. The images are small unfortunately and can't be downloaded for viewing.

1/1000sec at f/2.0, ISO200. Out of camera JPEG 'Velvia'

1/550sec at f/2.0, ISO200. Out of camera JPEG 'Provia'.

1/110sec at f/5.6, ISO200. Out of camera JPEG 'Provia'

1/1000sec at f/2.0, ISO200. Out of camera JPEG 'Velvia'

1/900sec at f/2.0, ISO200. Out of camera JPEG 'Velvia'

Read our concise review of the Fujifilm X100 here.

Fujifilm X100 concise review

Fuji resume X100 production

Pre-Order Your Fujifilm X100 Now

Fuji film X100 Final Specs Announced

Fuji reveal more about the X100

Fujifilm outs X100 rangefinder-esque compact

Birmingham plays host to outdoor exhibition 'take to the streets'

The popularity of 'street photography' appears to be increasing in this country. The Colmore Business District in Birmingham, UK will stage ‘take to the streets’, an outdoor exhibition of street photography showcasing over 100 images by seven of Magnum Photos’ most prolific documentary photographers. The exhibition runs from 18th May and will culminate with book of the event. For more information please read the press release below.

Press release:

2011 is unquestionably the year of street photography with a number of exhibitions and festivals exploring the genre taking place in cities across the UK. Starting from 18 May, the Colmore Business District in Birmingham will play host to ‘take to the streets’, an outdoor exhibition of street photography showcasing over 100 images by seven of Magnum Photos’ most prolific documentary photographers. The exhibition is Birmingham’s contribution to this national phenomenon.

Originally created by FORMAT International Photography Festival, Magnum Photos and Birmingham Library and Archive Services, take to the streets has been brought to Birmingham by a range of public and private sector partners including Colmore Business District, Birmingham City Council, Birmingham City University, Marketing Birmingham, Colmore Plaza, Birmingham City Centre Partnership, Derby City Council, and QUAD.

In addition to showcasing work by some of the world’s leading photographers the outdoor show demonstrates the way in which these partnerships can help transform the public realm through innovative and engaging cultural projects.

Inspired by the work of the Magnum photographers, staff, students and graduates from Birmingham City University’s photography courses will create a new series of pictures in a range of businesses and locations across Colmore Business District. The project will culminate in a book and a small touring exhibition and the photographs will be added to Birmingham Library’s Collections, creating an important new chapter in the history of street photography in the city.
Gary Cardin, Chair of Colmore Business District, said:

“We are delighted to sponsor and present such a diverse and intriguing outdoor collection of photography for people to enjoy. We want to bring art to Colmore Business District’s streets to rejuvenate and refresh them, and also deliver interesting cultural projects to people in the District in an accessible way. You can visit this exhibition on your way to and from work, in between meetings or at the weekend.”

Professor Chris O’Neil, Executive Dean, Birmingham City University, said:

“Birmingham City University are delighted to be developing partnership projects with Birmingham Library Services and Magnum Photos. We hope that the extraordinary work made by the photographers in streets and cities around the world inspires people to look again and see the beauty and significance of everyday life in the heart of our own city. We hope that the exhibition also encourages photographers to explore the Colmore Business District and to capture, preserve and reveal what many people do not see, those magical and weird moments that vanish faster than the blink of an eye.”

For more information please visit here.

Wednesday, 13 April 2011

Think Tank Photo add Retrospective 5 for mirrorless cameras

Think Tank Photo has introduced the Retrospective 5 for smaller DSLRs, mirrorless cameras and rangefinders. The pro-level bag will be available in a choice of colours, Pinestone (grey) or Black, and will start to ship in May priced at $129.00.

Think Tank Photo to Release New Bag for DSLR, Micro Four Thirds and Rangefinder Cameras

Santa Rosa, Calif. – Think Tank Photo announces that in May it will release the Retrospective® 5, a soft-sided shoulder bag designed for DSLR, Micro Four Thirds, and rangefinder camera equipment. Like the other bags in Think Tank’s Retrospective series, the Retrospective 5 was created as an homage to classic photographers such as Henri Cartier-Bresson and Robert Frank.

Designed for the professional photographer who wants to remain inconspicuous in any situation, its "old-school" look mixes with "new-school" features giving tribute to the days when bags were visually simple but highly functional. It is available in two colors, black and Pinestone.
The Retrospective 5 easily accommodates a standard size DSLR and two lenses. This shoulder bag's compact size also makes it convenient for carrying a Micro Four Thirds or rangefinder camera gear.

The Micro Four Thirds system (MFT) is a standard created by Olympus and Panasonic for mirrorless interchangeable lens digital cameras and camcorders. In one sample configuration, the Retrospective 5 can hold an Olympus PEN E-P2 camera body, a 17mm lens attached with the VF-1 optical viewfinder, a 14-42 mm lens, 40-150 mm lens, a FL-14 Flash, a SEMA-1 External microphone adapter set, a charger, cable and extra battery, and the VF-2 Electronic viewfinder.

Key features include:
• Perfectly sized for DSLR, Micro Four Thirds, and rangefinder camera systems
• Shoulder strap includes cushioned non-slip pad for long-term comfort
• Sound Silencers eliminate hook-and-loop noise when opening bag
• Zippered pockets and organizational pockets for accessories
• Removable divider set for layout customization included
• Convenient carrying handle for quick transport
• Seam-sealed rain cover included
• Business card window under the front flap for identification
• Expandable front pocket fits a pro size DSLR body or accessories
• High quality YKK zippers
• Soft, flexible and lightweight

Product Specifications
Retrospective® 5
Interior Dimensions: 9.5" W x 7.8" H x 4.5" D (24 x 19.5 x 11.5 cm)
Exterior Dimensions: 10" W x 8.5" H x 6" D (25.5 x 21.5 x 15 cm)
Weight: 2.3 lbs (1 kg)
Price: $129.00 (US)

More information can be found via our affiliate link here.

Sony announce HVL-F43AM Flashgun

Sony has announced today the HVL-F43AM shoe-mounted, bounce and swivel (Quick Shift) flashgun for A- and E-mount cameras. It has a guide number of GN43 (105mm ISO100 m) and is said to be dust- and moisture-resistant. There's no word yet on price but it will be available soon (Spring 2011).

Sony has also announced the VCT-55LH multi-purpose bracket, as well as a new VCT-55LH case (not pictured) and hood for DT 35mm F1.8 SAM and 85mm F2.8 SAM lenses (not pictured).

Press release:

HVL-F43AM external flash
With a powerful output of GN43 (105mm ISO100 m), the compact yet versatile HVL-F43AM flash from Sony is optimised for superb results with all A-mount cameras.
As featured on the HVL-F58AM, the innovative Quick Shift Bounce system allows flash head position to be adjusted instantly when switching between horizontal and vertical compositions. This maintains consistent shadow positions regardless of camera orientation, allowing easy creation of natural-looking ‘bounce’ effects.
Smart flash functions open up even broader creative lightning possibilities.

Wireless Ratio Control makes it easy to select light emission ratios for up to three separate flash units*. This allows quick creation of sophisticated multi-point lighting effects without the need for complex professional equipment. Ideal for everyday shooting and more serious applications, its dust- and moisture-resistant design makes the HVL-F43AM ideal for demanding assignments, indoors or outside.

Flash power levels are switchable in 22 increments, from 1/1 through to 1/128 level in 1/3 steps. High output power is complemented by a quick 2.9 second (approx.) recycling time. Despite the flash’s extensive functions, operation is refreshingly clear and simple via the high-quality LCD screen and direction buttons.

VCT-55LH bracket
The VCT-55LH is a versatile mounting bracket that offers space for mounting additional ISO cold shoe accessories. A useful add-on for all A-mount cameras by Sony, the bracket can also be used with E-mount cameras such as the NEX-5, NEX-3 and the Handycam® NEX-VG10E HD camcorder.
Other accessories – like a shotgun microphone – can be securely mounted while the camera’s main shoe is occupied. The VCT-55LH is ideal for use with the CLM-V55 clip-on LCD monitor that offers a clear, high-resolution view of images during video and still shooting.

Soft Carrying Case LCS-AMB
The LCS-AMB carry case protects your A-mount camera and attached standard zoom lens while you’re travelling. A special suspended partition cradles the camera securely while allowing quick access. Finished in durable black polyester material, the case can be slung over a shoulder using the supplied strap, carried by the grab handle or attached to a belt. It also features handy pockets with space for up to two extra batteries, spare memory card and lens cap. (NB: Not compatible with DSLR-A900/A850).

Lens Hood ALC-SH111
Compatible with DT 35mm F1.8 SAM and 85mm F2.8 SAM lenses, this round-profile hood shades from direct sunlight to prevent glare and lens flare.
See all accessories by Sony for the α camera system here.

The new HVL-F43AM external flash, VCT-55LH bracket, LCS-AMB soft carrying case and ALC-SH111 lens hood for α cameras by Sony are available from Spring 2011.

Main specification for external flash HVL-F43AM

HVL-F43AM external flash

VCT-55LH Bracket

Landscape Photographer Mike McFarlane to put UK conservation in the frame

Landscape photographer Mike McFarlane starts a 12-month tour of The Wildlife Trust's 112 landscape-scale conservation schemes for the organisation's major new project, A Living Landscape. McFarlane will produce more than 100 stunning 360x180° panoramic photographs and VR tours over the 12-months on the road, and, to reduce his carbon footprint, will travel using mainly public transport and a bicycle. You can follow McFarlane's travels via his website www.mikemcfarlane.co.uk or on Twitter @mikejmcfarlane.

Press release:

Shot of the landscape

Visual arts project will put UK conservation in the frame

Landscape photographer Mike McFarlane will today (Wed 13 Apr) set-off on a 12 month tour of the UK as part of a unique conservation-inspired visual arts project, commissioned by The Wildlife Trusts.

Using mainly public transport and a bicycle, Mike will cover thousands of miles as he travels around the UK visiting places - from the Isles of Scilly up to the highlands of Scotland, including the Isle of Man and Alderney - until May 2012.

The project, funded by the Tubney Charitable Trust, will see the creation of more than 100 stunning 360x180° panoramic photographs and VR tours of landscape-scale conservation schemes in the UK. The Wildlife Trusts believe these images will inspire people about the natural world and illustrate the variety, scope and importance of the conservation organisation’s vision for A Living Landscape.

By touring The Wildlife Trusts’ 112 landscape-scale conservation schemes - covering more than one million hectares - Mike McFarlane will capture stunning colour images and create high resolution panoramas and VR tours.

On completion of the tour Mike McFarlane will produce a complete set of 360° photographs for each scheme. The Wildlife Trusts will use the visual materials in visitor centres, at events and on websites as part of its centenary celebrations.

Paul Wilkinson, The Wildlife Trusts’ head of Living Landscape, said: “We believe this project will help illustrate how closely nature ties in with the way we live our lives. Over the next 12 months, Mike will cycle thousands of miles highlighting the importance of wildlife moving freely through our countryside; something it needs to be able to do if it’s to adapt to climate change.

“The Wildlife Trusts have spent 100 years safeguarding wildlife havens. Now our nature reserves need to form an integral part of wider functioning landscapes. We are working to create more natural landscapes - involving landowners, farmers and local communities - in rural and urban areas. These large-scale schemes, driven by local people, help alleviate floods, control pollution and help us cope with extremes of temperature.”

Mike McFarlane is a landscape photographer, specialising in landscape, architectural and 360° virtual reality tour photography. Through his use of public transport and cycling, Mike’s carbon footprint will be substantially less - 45% less - than driving the route by car.

Previously an engineer, he gave this up in 2002 in order to follow his passion for composing inspiring images. Mike’s keen eye for detail and need to convey his feel for the landscape make his photography captivating and unique. He feels each photograph should educate and enthrall the viewer. A photograph of a landscape should not only be a ‘pretty picture’, it should stimulate the viewer to be more positive about the natural world and perhaps even inspire them to want to protect it.

This is particularly true of the 360x180° VR tours. They offer the chance for true immersion in the subject of the photograph. Each panorama is made up of 45 High Dynamic Range (HDR) photographs. The rich visual content is linked with location specific audio, video and online content to make the experience of the photograph interactive.

In setting up his business Mike was keen to ensure that it has multiple bottom lines. He makes a donation for each print and article that is sold through his website to charities concerned with the care and preservation of the environment. He also ensures the suppliers he deals with have a good ethical background and look to minimise their own environmental impact.

Mike said: “When I left my job as an engineer to pursue a career as a landscape photographer I very much wanted my business to be ethical and environmentally-friendly and, not only entertain people, but to educate and inspire. To improve the environment is to improve the future quality of life for everyone who lives, works and plays there. But A Living Landscape promises more. I’m excited to see how The Wildlife Trusts’ schemes are capturing the imagination of entire communities, bringing people together for long-lasting positive change.

“Ultimately, I want to be able to show people we have plenty of beautiful places in the UK worth protecting for the next generation and beyond. What better way to achieve that aim than helping raise awareness of The Wildlife Trusts’ vision for A Living Landscape.”

You can follow Mike’s travels via his website www.mikemcfarlane.co.uk or on Twitter @mikejmcfarlane.