Month: December 2016

  • Medium-format meets the modern age: Hasselblad X1D-50c shooting experience

    Hasselblad’s X1D-50c caused quite a stir when it was announced over the summer, as its mirrorless design and relatively tiny size defied what we thought we understood about the relationship between sensor size and body bulk in digital cameras. All previous digital medium-format models, other than the Leica S series, have been DSLRs with spacious mirror box housings and forward projecting architecture, but the X1D-50c breaks that mold and harks back to the Mamiya 7/Bronica RF compact rangefinder style. More exciting perhaps is the adoption of the features that we associate with mirrorless compact system cameras, such as touch focusing and an electronic viewfinder, that bring this usually lumbering format into the modern age.

    Although the price of the system is higher than those centered around 35mm-style DSLRs, it is also a good deal less than we have come to associate with the 6×4.5cm digital format. The combination of the X1D’s design, features and price made the camera popular immediately. Hasselblad has said that it took more orders in the first ten days than it had expected to take for the year – but now, of course, it has to actually deliver the product to those who pre-ordered it. My understanding is that it is almost ready and I’ve been able to shoot for a short while with the latest pre-production X1D with a 45mm F3.5 lens.

    The camera itself is finished but the firmware is still being added to and refined. As such, this article should give you a good general idea of what the camera will be like when it is all done and a pretty clear idea of the image quality we can expect from the finished product.

    Body and handling

    The Hasselblad X1D-50c isn’t all that much bigger than a Panasonic Lumix GH4 and it will displace less water than the Nikon D810 (don’t try that at home). Size-wise, then, it feels very much like a standard DSLR. The grip is well pronounced which makes the camera very comfortable to hold and to carry, and which makes it feel secure in the hand. The controls feel quite chunky, deliberate and designed to reduce the chances of pressing something by accident. Although the dials are in slightly different places it seems as though they and the shutter release button came out of the same parts bin as those used on the H6D body. These exaggerated features lend the X1D-50c the feel of a big camera but without the size.

    I’m pleased Hasselblad has adopted new buttons for the top plate instead of the slightly spongy ones used around the info panel LCD of the H6D, and it has changed the feel of those running down the side of the rear screen. The exterior of the body houses only nine control buttons plus a depth of field preview and the on/off button, so the space feels un-cluttered and simple to navigate.

    The menu system is very much the same as that used in the backs for H6D, with bold icons and a large shouting print that will require reading glasses less often than the GUIs of most DSLRs. All the features are activated by touch and options can be scrolled through using the touch screen or the traditional control wheels.

    Those used to traditional DSLR and CSC menus might find that of the X1D-50c sparsely populated when it comes to features and options – and it is. The menu will be gradually fleshed out as Hasselblad develops the camera, but don’t expect it to have the same number of options as a regular DSLR.

    The 3″ rear LCD is clear and bright, and its 920k-dot resolution makes the display useful when focusing manually. The EVF is also very clear and its 2.36 million-dot display feels very detailed. The firmware version I was using didn’t allow playback in the viewfinder so I couldn’t check to see what that would look like, but Hasselblad tells me that will be coming soon in a further update.

    Articles: Digital Photography Review (dpreview.com)

  • Time Machines: Langdon Clay’s Gritty Cars Of New York City

    [ By Steve in Art & Photography & Video. ]

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    Photographer Langdon Clay captured New York‘s bruised & battered road warriors at rest, evoking a dirtier and more dangerous era of the city that never sleeps.

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    New York City in the 1970s was a city on the slippery slope to disaster; a major metropolis whose decline into bankruptcy, pervasive corruption and rampant crime portended a grim dystopian future fit for the likes of Snake Plissken. Armed with only his trusty Leica camera and rolls of Kodachrome film, Langdon Clay ventured into the Big Apple’s littered streetscapes, finding a fitting iconography for troubled times amongst the oft-filthy and snow-encrusted parked cars sheltering under the unforgiving glare of sodium-vapor streetlights.

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    Langdon Clay, a native of NYC born in 1949, grew up in New Jersey and Vermont before moving back to the city of his birth in 1971. Like many photographers of the era, Clay cut his teeth on black and white composition but once immersed in New York’s unique urban milieu, inspiration struck. “I experienced a conversion of sorts in making a switch from the ‘decisive moment’ of black and white to the marvel of color,” relates Clay, “a world I was waking up to every day. At the time it seemed like an obvious and natural transition. What was less obvious was how to reflect my world of New York City in color… I discovered that night was its own color and I fell for it.”

    Checkered Past

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    From 1974 through 1976, often in winter and always after dark, Clay roamed the streets of New York and nearby Hoboken, New Jersey seeking out likely land-barge subjects. Most – though not all – of his photos depict used and abused Detroit iron of the Malaise Era with a few stubborn survivors of the Space Age tossed in for good measure. Of course, no expose of New York’s cars would be complete without a Checker or two: the pair above includes one once-ubiquitous New York cab and a rarer, privately-owned Checker Marathon.

    Apple Spread

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    We’re not sure why it took Clay forty-odd years to publish his collection of mid-seventies car photos… perhaps, like fine wine, a significant passage of time was required to imbue his subjects (and their surroundings) with the flavor of their long-passed era. In the event, “Cars – New York City 1974 – 1976”, published by Steidl, features 96 photographs spread over 132 pages.

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    Time Machines Langdon Clays Gritty Cars Of New York City

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    [ By Steve in Art & Photography & Video. ]

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  • Time’s running out to enter 2017 Sony World Photography Awards

    2017 Sony World Photography Awards Last Call for Entries

    Cash prizes and Sony gear are on the line as deadlines for entry to the Sony World Photography Awards are approaching. With a little less than a month left to enter, the competition has released some early contenders. Head to the competition website to learn more, and take a look at some of the early standouts here.

    Panopticon #1 The prison San Vittore Milan. © Jelena Kostich, Serbia, Entry, Open competition, Architecture, 2017 Sony World Photography Awards

    The project named after social theory Panopticon, originally developed by French philosopher Michel Foucault in his book Discipline and Punish. The ìPanopticonî refers to an experimental laboratory of power in which behaviour could be modified, and Foucault viewed the Panopticon as a symbol of the repressive, disciplinary society of surveillance. I made photographs of the prison San Vittore in Milan, Italy. To show the boundary that is standing between those ones outside the prison, and those once inside the prison. That those outside the prison can’t actually see what is going on behind the walls of the prison.

    2017 Sony World Photography Awards Last Call for Entries

    Untitled. © Adit Merkine, Israel, Entry, Open competition, Wildlife, 2017 Sony World Photography Awards

    I was laying on the bank of Kerkini Lake, Macedonia, Greece on 27 January 2016. This lake is known as the most important wintering habitat of the Dalmatian pelican in Europe. At this time of the year the Dalmatian pelicans are in their breeding plumage. It was in the mid-morning. A group of five Dalmatian pelicans came closer and closer, probably looking for some fish from the fisherman on shore. They stopped for a short time in a lined row staring at my camera, like posing for a family shot. It was very exciting and I took the shot.

    2017 Sony World Photography Awards Last Call for Entries

    GOTHS. © Peter Dench, UK, Entry, Open competition, Portraits, 2017 Sony World Photography Awards

    Two Goths share a portion of chips on Southend promenade, UK.

    2017 Sony World Photography Awards Last Call for Entries

    Malaysia Independence Spirit. © Mohamed Shaiful Azre Allias, Malaysia, Entry, Open competition, Motion, 2017 Sony World Photography Awards

    Hundred of student hoisted flags during 59th Malaysia Independence Day celebration at Merdeka Square on 31 August 2016 in Kuala Lumpur, Malaysia. Malaysia celebrates its 59th National Day on August 31. I took this photo using a telephoto lens and wait for the show to begin.

    2017 Sony World Photography Awards Last Call for Entries

    Waiting a Next Turn. © Mankichi Shinshi, Japan, Entry, Open competition, Culture, 2017 Sony World Photography Awards

    After I heard that it is “one of the most crowded places in the world,” I decided to visit the beach in Qingdao, China. But Qingdao in May was chilly and foggyóit was still off-season. I could sense that this place had at one point been full of exuberant people, and in the subsequent emptiness, I felt a sense of loss.

    This photo is the scene of wedding photo sessions around the sea. Although It was very bad weather, maybe they had to do that because of the full reservations of the popular spot in China.

    2017 Sony World Photography Awards Last Call for Entries

    Al Ain City. © Andrzej Bochenski, Poland, Entry, Open competition, Architecture, 2017 Sony World Photography Awards

    2017 Sony World Photography Awards Last Call for Entries

    Lava, Etna. © Placido Faranda, Italy, Entry, Open competition, Nature, 2017 Sony World Photography Awards

    Solidified lava river vs Forest – Volcano Etna, Sicily. Aerial view from a drone.

    2017 Sony World Photography Awards Last Call for Entries

    Feeding Frenzy. © Noel Guevara, The Philippines, Entry, Open competition, Wildlife, 2017 Sony World Photography Awards

    Wolf Snappers feeding on plankton. German Channel, Ngemelis Island, Republic of Palau. Taken in miso soup visibility but one of my favorite shots from the trip. I took this while the three Mantas we were shooting were making their huge U-turn for another pass at the cloud of plankton. This was at around 3 meters and the energy was electric all around.

    2017 Sony World Photography Awards Last Call for Entries

    X-flies. © Peter Csakvari, Hungary, Entry, Open competition, Still Life, 2017 Sony World Photography Awards

    Who killed the flies?

    Articles: Digital Photography Review (dpreview.com)

  • National Geographic announces 2016 Nature Photographer of the Year

    2016 National Geographic Nature Photographer of the Year

    National Geographic has selected the winners of its 2016 Nature Photographer of the Year competition. In addition to overall winners, there were also selections for landscapes, environmental issues, action and animal portraits. This year’s grand prize winner was Greg Lecoeur’s ‘Sardine Run.’

    Grand Prize + 1st Place for Action photography: Greg Lecoeur: ‘Sardine Run’

    During the sardine migration along the Wild Coast of South Africa, millions of sardines are preyed upon by marine predators such as dolphins, marine birds, sharks, whales, penguins, sailfishes, and sea lions. The hunt begins with common dolphins that have developed special hunting techniques to create and drive bait balls to the surface. In recent years, probably due to overfishing and climate change, the annual sardine run has become more and more unpredictable. It took me two weeks to have the opportunity to witness and capture this marine predation.

    2016 National Geographic Nature Photographer of the Year

    First Place, Animal Portraits: Varun Aditya: ‘Dragging you deep into the woods!’

    I shot this at Amboli, Maharashtra, India, on July 24, 2016, during a morning stroll into the blissful rain forest. Ceaseless drizzles dampened the woods for 10 hours a day; the serene gloom kept me guessing if it was night or day. The heavy fog, chilling breeze, and perennial silence could calm roaring sprits. And there I saw this beauty. I wondered if I needed more reasons to capture the habitat, for I was blessed to see this at the place I was at. I immediately switched from the macro to the wide-angle lens and composed this frame.

    2016 National Geographic Nature Photographer of the Year

    1st Place, Environmental Issues: Vadim Balakin, ‘Life and Death’

    These polar bear remains have been discovered at one of the islands of northern Svalbard, Norway. We do not know whether the bear died from starving or aging, but more likely if we see the good teeth status, it was from starving. They say nowadays that such remains are found very often, as global warming and the ice situation influence the polar bear population.

    2016 National Geographic Nature Photographer of the Year

    1st Place, Landscape: Jacob Kaptein, ‘Struggle of Life’

    Last year I participated in the Marius van der Sandt Beurs. This scholarship stimulates photography by young photographers. For a whole year I was guided by some excellent nature photographers to realize a project I wanted to accomplish. I chose a natural stream restoration project of a nature organization in the Netherlands. The first time I entered this patch of forest, I immediately saw this little beech. I came back several times to photograph it. One evening, just after sunset, all the light conditions were perfect. I stood in the cold water for more than an hour making many photos while I experimented with different shutter speeds.

    2016 National Geographic Nature Photographer of the Year

    2nd Place, Action: Tori Shea-Ostberg: ‘Approach’

    An EF2 tornado bears down on a home in Wray, Colorado, on May 7, 2016. As soon as we were safe, as the tornado roared off into the distance through a field before roping out, we scrambled up the hill to check on the residents. Thankfully, everyone was all right, and we were grateful for that. As I was checking in with a young woman coming out of the basement, we became very aware of a strong new circulation right above our heads. We needed to run for cover and did so before saying a proper goodbye.

    2016 National Geographic Nature Photographer of the Year

    2nd Place, Animal Portraits: Michael O’Neill: ‘Proud Mama’

    A female peacock bass guards her brood in a Miami, Florida, freshwater lake. She will protect her young fry from a variety of predatory fish until they are large enough to fend for themselves. This tropical freshwater species, also known as the peacock cichlid, was introduced in Florida in the mid-1980s from South America to control the tilapia population, another invasive species. Throughout its native range (and in Florida) it’s a prized sportfish known for its fighting spirit.

    2016 National Geographic Nature Photographer of the Year

    2nd Place, Environmental Issues: Chris McCann: ‘Outside Facebook HQ’

    Eighty percent of the San Francisco Bay Area wetlands—16,500 acres—has been developed for salt mining. Water is channeled into these large ponds, leaves through evaporation, and the salt is then collected. The tint of each pond is an indication of its salinity. Microorganisms inside the pond change color according to the salinity of its environment. This high-salinity salt pond is located right next to Facebook headquarters, where about 4,000 people work every day.

    2016 National Geographic Nature Photographer of the Year

    2nd Place, Landscape: Alessandro Gruzza: ‘Wild Rink’

    The first cold days of winter have frozen the surface of a pond, and the first snowfall has revealed its delicate beauty. In low-pressure conditions, southwest winds push the clouds against the vertical peaks of the Pale di San Martino. At dusk, a long shutter speed enhances the movement of the clouds around Cimon della Pala, one of the highest peaks in the Dolomites.

    You can see additional photos from the competition on National Geographic’s website.

    Articles: Digital Photography Review (dpreview.com)

  • Threading Rainbows: Spectral String Art Looks Like Strands of Light

    [ By WebUrbanist in Art & Sculpture & Craft. ]

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    Using a simple material palette of thread, wood and nails, artist Gabriel Dawe‘s latest cascading color creation combines thousands of threads to make a remarkable interior rainbow.

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    Plexus #35 is on display at the Toledo Museum of Art (images by Andrew Weber), a featured highlight in the center of the Great Gallery illuminated against dark red walls and framed oil paintings via a skylight above.

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    The entire color spectrum is represented, meticulously organized strand by strand — a single twist between a pair of origin and termination lines ensures that the work appears different from every angle.

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    Other works by Dawe feature similar themes in different hues and shades, often intricately woven to create overlaps. By comparison, this is one of his simplest pieces yet arguably one of his most powerful.

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    “Originally from Mexico City, Gabriel Dawe creates site-specific installations that explore the connection between fashion and architecture, and how they relate to the human need for shelter in all its shapes and forms.”

    “His work is centered in the exploration of textiles, aiming to examine the complicated construction of gender and identity in his native Mexico and attempting to subvert the notions of masculinity and machismo prevalent in the present day.”

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  • A fresh look at Dorothea Lange’s censored photos of Japanese internment

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    Dorothea Lange’s photos of Japanese interment in America are less well-known than her other Farm Security Administration works like ‘Migrant Mother’ – and there’s a reason for that. The unflinching view of the events captured in her photos landed them in the US National Archive, with many labeled ‘impounded,’ where they sat for decades.

    Following the attack on Pearl Harbor, the US government announced the mandatory relocation of people of Japanese ancestry, the majority of which were American citizens, to internment camps. Lange was commissioned to photograph the events, both as people were displaced from homes and business, and later as they reported to assembly centers and were ultimately sent to the camps.

    Lange’s photos painted a brutally honest picture of every phase of the internment, and were seemingly met with displeasure from the military as they were quietly impounded and archived. A 2006 book put the censored images front and center for the first time. You can see a few of the images here; Anchor Editions has published some information about the images and is offering prints with half of proceeds going to the ACLU. 

    Articles: Digital Photography Review (dpreview.com)

  • A fresh look at Dorthea Lange’s censored photos of Japanese internment

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    Dorothea Lange’s photos of Japanese interment in America are less well-known than her other Farm Security Administration works like ‘Migrant Mother’ – and there’s a reason for that. The unflinching view of the events captured in her photos landed them in the US National Archive, with many labeled ‘impounded,’ where they sat for decades.

    Following the attack on Pearl Harbor, the US government announced the mandatory relocation of people of Japanese ancestry, the majority of which were American citizens, to internment camps. Lange was commissioned to photograph the events, both as people were displaced from homes and business, and later as they reported to assembly centers and were ultimately sent to the camps.

    Lange’s photos painted a brutally honest picture of every phase of the internment, and were seemingly met with displeasure from the military as they were quietly impounded and archived. A 2006 book put the censored images front and center for the first time. You can see a few of the images here; Anchor Editions has published some information about the images and is offering prints with half of proceeds going to the ACLU. 

    Articles: Digital Photography Review (dpreview.com)

  • Panasonic Lumix FZ2500 / FZ2000 real world samples gallery

    Straight-out-of-camera JPEG. 132mm equiv., ISO 125, 1/640 sec, F4.5. Photo by Carey Rose

    The Panasonic Lumix FZ2500 / FZ2000, the company’s followup to the popular FZ1000, comes with a whole new 24-480mm F2.8-4.5 lens in front of its 20MP 1″-type CMOS sensor. It also comes with a built-in neutral density filter, 4K video and 4K photo modes and Panasonic’s Depth-from-Defocus (DFD) technology for quick and accurate autofocus.

    We’ve taken advantage of some rare sunny weather in the midst of this Seattle winter to put together a samples gallery from this stills and video superzoom – take a look.

    See our Panasonic FZ2500 / FZ2000 real world samples gallery

    Articles: Digital Photography Review (dpreview.com)

  • Affinity Photo for Windows now available, Mac version updated to 1.5

    Following the beta announced last month, Serif has officially launched the finalized version of Affinity Photo for Windows. The new application follows in the footsteps of Affinity Photo for Mac and aims to offer photo editing capabilities similar to that of Photoshop, only at a lower $ 39.99 cost. In addition to the new Windows version, the Mac edition of Affinity Photo has received a substantial update to version 1.5.

    Affinity Photo for Windows launches with the same features arriving in Affinity Photo for Mac version 1.5, ensuring the two applications match each other for better cross-platform support. In addition to the features found in older versions of Affinity Photo, both the Windows and Mac 1.5 editions offer, according to Serif:

    • Macros to record and replay a set of commands
    • Advanced HDR merge producing deep unbounded 32-bit images
    • A full tone mapping workspace for both HDR and LDR images
    • Focus stacking to achieve large depth of field from multiple images
    • Full batch processing to process large folders of images in one go
    • An all-new way to edit 360 degree images
    • Direct PSD write-back
    • 32-bit editing including OpenEXR import & export
    • Automatic lens corrections based on profiles of thousands of lens & body combinations

    Anyone who owns an older version of Affinity Photo for Mac can download the 1.5 update for free now. The Mac and Windows versions are both priced at $ 49.99 USD, though Serif has dropped the price to $ 39.99 / £29.99 / €39.99 until December 22.

    Via: Serif

    Articles: Digital Photography Review (dpreview.com)

  • Have your say! DPReview Readers’ Choice Awards open for voting

    All five initial categories of our 2016 Readers’ Choice Awards are now open for voting. Help decide which cameras and lenses take home the ultimate bragging rights. Vote now

    Articles: Digital Photography Review (dpreview.com)