Archive for the ‘Uncategorized’ Category

This video compares a $50 Sony camcorder with a $50,000 RED Epic Dragon

28 Jul

Ever wonder whether a more expensive camera is truly worth the cost? Sam and Niko of Corridor recently set out to compare footage from a $ 50 Sony HD camcorder and the RED Epic Dragon, a $ 50,000 6K cinema camera. As you’d expect, the differences are immediately apparent, cost aside, when the two cameras are put side-by-side: the RED camera’s lens alone is about the same size as the entire Sony camcorder.

The RED Epic Dragon has proven capable many times throughout its life, with perhaps one of the model’s most notable achievements being a trip into space where it was used by NASA astronauts to capture images from the International Space Station. The RED camera has also been used for several major Hollywood movies. The Sony HD camcorder used in the video, however, is a simple model with a low price point aimed at the average consumer.

At nearly 15 minutes in length, the comparison video above runs through several major aspects of both cameras’ footage, looking at things like noise level, exposure, low-light performance, post-processing results and more. As expected, the RED camera dominates in each category. More of the team’s videos can be found on the ‘Sam and Niko’ YouTube channel.

Via: iso1200

Articles: Digital Photography Review (


The Vertical ELPH: remembering Canon’s PowerShot TX1 hybrid camera

28 Jul

Buried among the February 2007 announcements of Canon’s PowerShot SD750 and SD1000 Digital ELPHs*, and the A560 and A570 IS was the PowerShot TX1. It took the main features of camcorders at the time, namely the vertical design, rotating display and long-ish lens and put them into a stylish body about the same size as your average Digital ELPH. Add in 720/30p video and it quickly became obvious that the TX1 was created to bridge the worlds of photo and video shooting.

* The SD750 was known as the IXUS 75 while the SD1000 was the IXUS 70 outside of North America.

Behind that metal door was an F3.5-5.6, 39-390mm equivalent lens.

The PowerShot TX1 was based around a 1/2.5″, 7.1MP CCD, which was paired with Canon’s DIGIC III processor. While the F3.5-5.6, 10X zoom lens was quite long for that day, it had a focal range of 39-390mm equivalent, so wide-angle work was out. The lens featured Canon’s excellent image stabilization system – a necessity when capturing video at long focal lengths. Keeping with the stylish look of the ELPH/IXUS lineup, the TX1’s lens hid itself behind a door when powered off.

The 1.8″, 114k-dot LCD could rotate a total of 270 degrees, fitting in perfectly with the TX1’s camcorder-like design.

Canon had to cram a lot of buttons into a small area on the diminutive TX1. The result was a camera with pretty lousy ergonomics. DPReview’s Simon Joinson sums up the TX1’s ergonomic issues nicely in this paragraph:

‘Sexy looks aside, in use the design is nothing short of a disaster, and has the unique ability to make you feel like you have too many fingers on your right hand. Once you’ve mastered not blocking the lens the challenge is to take a picture without jolting the camera, change settings without dropping it, or use it to take a vertically orientated picture at all. It’s better if you use two hands, but not a lot.’

Ouch. Something that came along with the small body was a small battery. The TX1’s CIPA rating of 160 shots per charge was probably the worst I’ve seen in almost 20 years of reviewing cameras.

The TX1 took SD and MMC cards, and you needed a big one to store more than a few minutes of video.

Ergonomics and battery life aside, the PowerShot TX1 took pretty nice photos. Its resolution was competitive with other 7MP cameras, distortion was relatively mild and its noise levels weren’t too bad at ISO 400 (going much higher than that on a compact was a bad idea). As with most compacts, the TX1 had some image quality shortcomings: clipped highlights, purple fringing and redeye were all problems, though the latter could be fixed in-camera.

For those hoping that the TX1 would be a camcorder replacement, it wasn’t. Its 1080/30p video is noticeably softer than what you’d get from an HD camcorder and the use of the Motion JPEG codec meant that each second of video took up 4.5MB on your memory card.

Photo courtesy of

The TX1 didn’t have an HDMI port (but what camera did then?) so if you wanted to hook into a nicer TV, it took a lot of cables. On the right in the photo above are component video cables, which take up one port on the camera. Naturally, you’d want to listen to the high quality stereo sound recorded by the TX1, which required a second cable: the composite one you see above-left. It ended up being quite the rat’s nest.

In the end, the Canon PowerShot TX1 generated a lengthy list of pros and cons and was the recipient of DPReview’s ‘Recommended (but only just)’ award.

Sample Gallery

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Did you actually have a PowerShot TX1 and want to share your memories? Leave ’em in the comments section below! As always, suggestions for future Throwback Thursdays can be left there, as well.

Articles: Digital Photography Review (


Meizu Pro 7 Plus comes with dual-cam and dual-screens

28 Jul

Chinese manufacturer Meizu has released its latest flagship smartphone and the Pro 7 Plus is quite a remarkable device in a number of ways. Like most recent high-end devices it comes with a dual-camera on the back. However it also offers a secondary AMOLED display on the back as a standout-feature. It can be used for music playback, date and weather-related information, or as viewfinder when taking selfies with the rear cameras.

In addition the Pro 7 Plus is also the first device to be powered by MediaTek’s new Helio X30 10nm chipset with 10 cores in three clusters. There are also 6GB of RAM, 64GB and 128GB storage options a 3500mAh battery and a 16MP front camera. Images can be viewed on a large 5.7″ QHD AMOLED display.

In the dual-camera the Meizu uses a very similar configuration to the Motorola Moto Z2 Force Edition that was announced two days ago. Two 12MP 1/2.9″ Sony IMX368 sensors with 1.25 µm pixel size, one RGB and one monochrome, are combined for depth-effects and improved image quality. The lenses come with F2.0 apertures and phase detection AF is on board as well.

If you think the Pro 7 Plus might be too large for your liking, there is also the standard Pro 7 with a smaller 5.2″Full HD panel and less powerful MediaTek Helio P25 chipset. The camera setup is the same as on the Pro model though. No information on pricing and availability has been provided yet.

Articles: Digital Photography Review (


Sony full-frame CineAlta 4K motion picture camera teased ahead of launch

28 Jul

Sony has teased its video-focused customers with news of an upcoming announcement: it will soon take the wraps off a new CineAlta motion picture camera, one sporting a 36x24mm sensor. There’s still a bunch details forthcoming, but thus far Sony has revealed that the new CineAlta model will be capable of multiple aspect ratios and will be compatible with many existing CineAlta accessories.

Sony has only revealed a handful of details about the camera at this time (below), explaining that it is developing the model ‘through careful research and close collaboration with creative professionals.’ The company doesn’t state when the camera will be available, nor when the full announcement will be made.

Technology highlights and key benefits:

  • Full Frame 36x24mm sensor exclusively designed for this Digital Motion Picture Camera
  • Aspect ratio-agnostic – including Full Frame, Super35 4K 4-perf 4:3 Anamorphic and 4K spherical 3-perf 17:9
  • New image sensor enabling exceptional picture quality
  • Maintains the workflow established with Sony’s 16bit RAW/X-OCN and XAVC
  • Compatible with current and upcoming hardware accessories for CineAlta cameras (DVF-EL200 Full HD OLED Viewfinder, AXS-R7 recorder, AXS-CR1 and AR1 card reader, AXS and SxS memory cards).

Via: DIYPhotography

Articles: Digital Photography Review (


Sony a7S II sends 4K video from the International Space Station to Earth

28 Jul

Last December a Japanese rocket brought cargo 249 miles above the Earth to the International Space Station. On that rocket was none other than a Sony Alpha a7S II, which was soon mounted on the outside of Japan’s KIBO module to take photos and videos of the mothership, so to speak.

Mounting a camera to a space station isn’t like putting a GoPro on your handlebars – the a7S II is enclosed in a specially designed aluminum housing with a radiator to keep it at a comfortable temperature in the vacuum of space. It’s mounted on a two-axis gimbal so, unlike prior cameras on the ISS, it’s not constantly looking straight down. The camera itself is basically the same as what you could buy off the shelf, and has an FE 28-135 F4 G OSS power zoom lens attached.

Head on over to Sony’s website to learn more about why the company’s high-sensitivity full-frame camera was chosen and how it all works. You can also find additional 4K videos to enjoy.

Articles: Digital Photography Review (


Richard Prince must face lawsuit over image theft, judge rules

28 Jul

Controversial artist Richard Prince must face a lawsuit over his unauthorized use of photographer Donald Graham’s photo ‘Rastafarian Smoking a Joint,’ a federal judge has ruled. The ruling concerns a 2015 lawsuit Graham filed against Prince after he failed to heed a cease and desist order. Prince and Larry Gagosian, owner of the Gagosian Gallery where the pilfered image and others were displayed, had claimed the work is ‘transformative’ in an effort to have the case dismissed.

Real Bongo Nyah man a real Congo Nyah ? repost @indigoochild

A post shared by Jay Kirton Kwame Ka Asante (@rastajay92) on

Though Prince has managed to escape past lawsuits unscathed, this latest one may prove different. Talking about the ‘transformative’ claims, U.S. District Judge Sidney H Stein stated, “The primary image in both works is the photograph itself. Prince has not materially altered the composition, presentation, scale, color palette and media originally used by Graham.”

Graham’s version of the image was acquired from another Instagram account where it was featured; he had it enlarged and printed with his own Instagram-style comment beneath the original user’s caption. The exhibit at Gagosian contained a total of 38 of these ‘borrowed’ images, including the Rastafarian photo cited in the lawsuit. The court’s ultimate ruling on the lawsuit could set a major precedent for fair use as it relates to Instagram images.

Via: New York Times

Articles: Digital Photography Review (


Capitol Hill photographers asked to delete protest images, claim journalists

27 Jul
Photo by Phil Roeder, licensed under Creative Commons

Journalists photographing a protest in the US Capitol building report that they were told by Capitol Police to delete photos and videos of arrests. The events unfolded yesterday in the third floor Senate wing of the building as demonstrators protested the vote that would begin an effort to repeal the Affordable Care Act.

As police handcuffed and removed protestors from the hallway outside of the Senate chambers, journalists were reportedly told by police to stop taking photos, and were instructed to delete photos and videos they had captured.

Official policy for press in the Senate Gallery states that photography is indeed prohibited in that area. However, the ACLU spoke up to remind press that police may not force anyone to delete a photo or video without a warrant, no matter the circumstances.

Articles: Digital Photography Review (


GoPro launches QuikStories feature for automated story-telling

27 Jul

GoPro’s Quik app for making short and shareable videos from your GoPro footage has been available for a while. Now the new QuikStories feature is taking things one step further by generating clips automatically and making them as easy as possible to share on social media and get them off your GoPro’s memory card.

QuickStories is integrated into the latest version of the GoPro app. After a day of shooting video with your GoPro the app will search your camera for new clips and automatically create a shareable version, complete with edits and music. It’ll also picks brief elements from longer clips and you can still interfere manually though and change the order of clips or the music. You can also add other media from your phone into the mix if you want to.

As you would expect, QuikStories integrates with most social networks you already have on your phone but you can also export the finalized video to use it in any way you want. The video below gives you a pretty good idea of how the feature works.

Articles: Digital Photography Review (


Nikon marks 100th anniversary with new scholarship program

27 Jul

Nikon is marking its 100th anniversary in many ways, including the creation of a new scholarship program for ‘future visual creators’ in the USA and Canada.

The scholarship will consist of two programs: ‘The Nikon Storytellers Scholarship’ will award ten college students with academic scholarships of $ 10,000. In addition, Nikon will identify rising stars on digital platforms and recognize them as a part of a curated ‘Nikon100 List.’

Criteria for consideration will be announced later this year, and submissions will be reviewed, selected and awarded prior to the 2018-2019 school year.

Press Release:


Imaging Leader Allocates $ 100,000 in Scholarship Funds to invest in Next Generation of Students Pursuing Photography, Film, Journalism, Visual and Fine Arts Degrees

NEW YORK, NY (July 27, 2017 at 10:00 a.m. EDT) – Today, Nikon Inc. announced two new programs to recognize and support the next generation of visual creators. “The Nikon Storytellers Scholarship” will award ten college students with academic scholarships of $ 10,000. Additionally, Nikon Inc. will identify rising stars on digital platforms and recognize them as a part of the curated “Nikon100 List.”

“For the past 100 years, Nikon has been at the forefront of optical innovation and exploration,” said Kosuke Kawaura, Director; Marketing, Communications & Planning, Nikon Inc. “We have never been more excited about the future of imaging and are committed to supporting the next generation of photographers and creators that are eager to capture and share their world.”

This fall, Nikon will announce the criteria for students throughout the United States and Canada to be considered for the scholarship program. Submissions will be reviewed, selected and awarded prior to the 2018-2019 school year. Recognizing the value of education and creative collaboration, Nikon is using their 100th Anniversary milestone to celebrate current and future creators.

“Nikon understands the dedication it takes to pursue and become successful in creative fields, and we are honored to play a role in supporting students’ achievement in academic excellence,” added Kawaura.

In addition to the scholarship, Nikon will identify and curate a list of rising stars in photography. The “#Nikon100 List” will identify photographers on Instagram that are creating inspiring work and telling amazing stories. Throughout the 100-day campaign, Nikon will highlight one new photographer to follow each day and will share that individuals’ photos on the Nikon Instagram channel with hashtag #Nikon100.

These new programs build upon the deep commitment Nikon has made to supporting imaging talent. Nikon is the founding sponsor of the Eddie Adams Workshop, an intense four-day gathering of top photography professionals and 100 carefully selected, gifted students. Nikon also has a robust product loan program for students to learn the art of photography at 33 colleges and universities throughout the country. For some students, this is their only opportunity to access photography gear to learn and share their creative point of view. Nikon has also been teaching photographers of all levels for over 30 years through their Nikon School program which offers online and offline courses.

Students interested in the Nikon Storytellers Scholarship and those looking to learn more about the “#Nikon100 List” can follow Nikon on Instagram , Facebook, Twitter or Snapchat (@NikonUSASnap) or visit this fall for more details.

Articles: Digital Photography Review (


Pursuit: A spectacular storm-chasing time-lapse made from 90,000 photos

27 Jul

Storm chaser and award-winning photographer Mike Oblinski has done it again: he’s created a time-lapse that will blow you away. Captured over the course of three months, across 10 states, and involving 28,000 miles of driving and over 90,000 time-lapse frames, Pursuit is the result of utter determination.

Oblinski tells the story behind this time-lapse in the video’s description, explaining how this season of storm chasing nearly broke him.

After 12 straight days on the road and away from his family, he left once again, just 24 hours after getting home, to chase another storm on June 12th. But doubt got the better of him, and he found himself 80 miles away from the spot he needed to get to.

“I got back in the car and as I drove, the pain got the better of me and the tears came,” he writes. “It may not be easy to understand why, but when you work as hard as I did this spring, a moment like that can break you. I felt like I let my wife down. But mostly I let myself down. I forgot who I was and that’s not me. Or it shouldn’t have been me. I failed myself. And it seemed like the easy choice to just give up and head for home.”

But he didn’t head for home, he decided to keep going, got out ahead of the storm, and captured one of the best structures he’d seen all spring.

The result of that decision not to give up, to keep on going even when it seemed like he had utterly failed, is one of Oblinski’s best time-lapse films yet… and that’s saying something if you know his previous work.

To see more from Oblinski’s portfolio, head over to his website or give him a follow on Facebook and Instagram.

Articles: Digital Photography Review (

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