The Tamron 35-150mm F2.8-4 is being marketed as a dedicated portrait lens, offering focal lengths appropriate for both traditional long lens portraiture as well as wider-angle environmental portraits and lifestyle shots.
It’s the kind of lens that might find a place in the kitbag of a wedding shooter as well as a street photographer. We’ve been shooting the 35-150mm on the Canon EOS R for a few days, and we’re pretty impressed. Check out our sample gallery via the link below.
Take a look at our Tamron 35-150mm F2.8-4 sample gallery
The GF 50mm F3.5 is the closest you’ll find to a pancake lens for Fujifilm’s GFX digital medium format system. This 40mm equiv. is dust/weather-sealed, lightweight and most importantly, very sharp. We’ve been shooting with the 50mm F3.5 using the Fujfilm GFX 50R for a few days and we’ve just added some pictures taken on the 100MP flagship GFX 100.
Check out our sample gallery via the link below, and click here to read our full review of the Fujifilm GFX 100.
With a pop-up EVF, 24-120mm equiv. lens and a pocketable form-factor, the Canon G5 X Mark II just begs to be taken on adventures. We brought it along on trips to the great outdoors, ferry rides, walks around the block and much more. Take a look at how it performed.
See our Canon PowerShot G5 X Mark II sample gallery
Though it lacks some of the bells and whistles that the G5 X II offers, the Canon PowerShot G7 X Mark III adds a newer 1″ sensor design and some useful upgrades to an already impressive compact. Faster readout speeds make it possible to shoot up to 8.3 fps with continuous autofocus, and video shooters will now find 4K/30p and direct YouTube streaming on a camera that was already popular among vloggers.
Take a look at some of our first shots from the G7 X III and keep an eye out for our full analysis soon.
See our Canon PowerShot G7 X Mark III sample gallery
One of three lenses announced alongside the Nikon Z7 last August, the Z 35mm F1.8 S is part of a new generation of primes designed from scratch for mirrorless. We’re working on a full review, but in the meantime, take a look at some sample images, taken in London, Seattle, and all over the Pacific coast this year.
View our sample gallery from the Nikon Z 35mm F1.8 S
The post Photo “Stolen” From Art Gallery, Used on Magazine Cover Without Permission appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Last week, The Big Issue published an interview with renowned filmmaker David Lynch.
And the magazine put a headshot of David Lynch on the cover.
All of this would have been fine…
…except that the headshot of David Lynch wasn’t actually a headshot at all.
Instead, it was a photo of a framed David Lynch photo. The original was taken by Nadav Kander and displayed as part of a gallery exhibition.
In other words, a photographer attended Kander’s exhibition, took a photo of the framed David Lynch portrait, and the photo ended up on The Big Issue’s front cover. Note that this thoroughly violates copyright law, as Kander has ownership over all of his gallery images.
Kander vented his frustrations via Instagram:
[A] ”photographer” goes to one of my exhibitions and photographs my framed print of David Lynch…Unbelievable blatant copyright infringement. Sad behaviour and more. I would never have wanted this photograph sold.
View this post on Instagram
READ THIS: a”photographer” goes to one of my exhibitions and photographs my framed print of David Lynch. He uploads this picture to a stock site called Alamy. Now this week The BiG Issue which is a magazine in the U.K. publishes a interview with David and buys this despicably shot picture of my photograph, crops in and uses it on the cover of the mag this week. Unbelievable blatant copyright infringement. Sad behaviour and more. I would never have wanted This photograph sold…So photographer who did this, kindly call my studio and we should talk. My alternative is to just go up an avenue that is less than pleasant for you. I wish now I had not got your name taken down off the BI site. Then all could have seen you and “your picture”. My god I work hard to make my work what it is… but this is doubly insulting because added to this your site states clearly that permission should be sought before using your work!!! Go figure. #copyright #copyrightingringement #impissedoff
A post shared by Nadav Kander Studio (@nadavkander) on
How it happened
But how did this happen? How did The Big Issue, a reputable magazine, end up with a stolen photo on its cover?
As it turns out, The Big Issue did not purchase the David Lynch image directly. Instead, the image came from the stock site Alamy, which sold the image to The Big Issue.
The Big Issue writes, in response to Kander’s anger:
Hi Nadav, we’re very sorry you feel aggrieved. This image was sourced by the art team. They discovered it on Alamy. It’s a great image that we felt would help move the magazine. We told Alamy what we were doing and neither tried to pull the wool over anybody’s eyes nor get away without paying.
The first we discovered about the issues with the image was when your agency got in touch at the start of the week. Clearly, Alamy have some explaining to do. We would never intentionally do this. As an organisation that serves the complex needs of thousands of our vendors each year, we understand the need to meet emotional distress with sensitivity. We hope this goes some way to explaining the situation. If you would like to discuss further, please DM us.
This apology would probably be fine, putting the blame squarely on Alamy and the photographer. Except that it turns out the stock image purchased by The Big Issue is different from the image that appears on the magazine cover.
Specifically, the David Lynch photo-of-a-photo acquired by The Big Issue showed a clear frame, as well as an information plaque. It also included shadows that fell across the glass:
But The Big Issue cropped out the frame and the information plaque, apparently oblivious to the photo’s illegal nature.
(Since then, the photo has been removed from The Big Issue’s website, as well as from Alamy.)
So…
Who do you think is to blame for this fiasco?
Is it the fault of the photographer, who took the picture and sold it to Alamy?
Is it the fault of the stock agency, Alamy, who put the photo up for sale on its site? Or is it the fault of The Big Issue for using a questionable photo in the first place?
Let me know right now in the comments!
Featured image photo by Samuel Zeller on Unsplash
The post Photo “Stolen” From Art Gallery, Used on Magazine Cover Without Permission appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Canon’s RF mount is still in its infancy, but that’s not stopping the brand from flexing some muscle and releasing the ultra-fast, ultra-pricey 85mm F1.2L – a lens that arguably doesn’t yet have a sensible camera to attach it to. Nonetheless, as you can see from our sample gallery, it offers jaw-dropping performance.
Ultra fast and ultra heavy, the Samyang XP / Rokinon SP 35mm F1.2 is one serious lens. The focusing ring is huge and well-damped for incredibly smooth operation, and it’s one of only a handful of 35mm F1.2 lenses on the market that will cover a full-frame sensor. It also comes with full electronic contacts, so aperture is controlled from the camera and metadata is intact (and it works perfectly with Canon’s RF adapter and a Metabones adapter on Sony).
Is it perfect wide-open? No, but it’s darn good. From portraits to landscapes, take a look through our sample gallery to see what F1.2 could do for you.
The Lumix S 24-105mm F4 Macro OIS is Panasonic’s standard zoom and kit lens for L-mount cameras including the Lumix DC-S1R and Lumix DC-S1. We’ve been using this lens a lot lately, and though it doesn’t carry the ‘Pro’ designation like Panasonic’s other two L-mount lenses, it’s still a solid performer. Let us know if you feel the same in the comments below.
We’ve been hard at work on our Panasonic S1 and S1R camera reviews, and over the course of testing have had an enormous amount of time to gather samples with the Panasonic S Pro 50mm F1.4. Launched alongside the aforementioned cameras, this lens has become a staff favorite thanks to its stunningly sharp results. Have a look for yourself.