Following a series of firmware releases earlier this month, Panasonic has released additional firmware updates for a large number of camera models, including several of its Micro Four Thirds offerings, many compact digital camera models and a couple of full-frame camera models. The updates add a number of new features and improvements ranging from expanded media and wireless transmitter compatibility to improved autofocus performance and ‘enhanced’ video functionality.
The updates were released on Tuesday, November 19, and are available to download from Panasonic now via the links below:
DC-GH5: Version 2.6
DC-GH5s: Version 1.4
DC-G9: Version 2.0
DC-GF9/GX800/GX850: Version 1.2
DC-GF10/GX880: Version 1.2
DMC-GX80/GX85: Version 1.3
DC-TZ90/TZ91/TZ92/TZ93/ZS70
DC-TZ200/TZ202/TZ220/ZS200/ZS220
DMC-LX10/LX15
DC-S1: Version 1.3
DC-S1R: Version 1.3
Some of the firmware updates are more notable than others. The G9 model, for example, has received support for recording 4K 30p/25p 4:2:2 10-bit video, as well as support for 4K 60p/50p 4:2:2 10-bit HDMI output. The model has also received variable frame rate shooting and HDR video support.
Photo credit: Misan Harriman/Iconic Images, used with permission
Only two months back, Peter Lindberg, Charlie Cole, Fred Herzog, and Robert Frank passed away within days of each other. Now the photography world has lost another icon. Terry O’Neill, best known for capturing the essence of the ‘Swinging Sixties’ with his photographs of legendary performers from the era including The Beatles, David Bowie, Elton John, Barbara Streisand, and Clint Eastwood, succumbed to a long battle with prostate cancer on Saturday night at the age of 81.
O’Neill was known for capturing his subjects authentically and in an unconventional manner. As Elton John reflects, ‘looking at Terry’s photographs is like gazing through a window at the most extraordinary and exciting moments of my life.’ Born on July, 30 1938 in Heston, West London, O’Neill was on track to become a priest but found his true calling in music. ‘I was told I had too many questions to be a priest,’ he remarked.
Terry O’Neill took the most iconic photographs of me throughout the years, completely capturing my moods. He was brilliant, funny and I absolutely loved his company. A real character who has now passed on.
Photography would find O’Neill by accident. An aspiring jazz drummer, he sought out employment at British Overseas Airways Corporation (BOAC), now British Airways, in hopes that as a steward he could travel to New York City’s jazz clubs in between work breaks. There weren’t any steward positions open at the time. Reluctantly, he took a job in the airline’s photography department.
Working with Peter Campion in BOAC’s photography department is what changed the course of O’Neill’s career. Campion immediately knew he had an eye and would give O’Neill photography books to peruse for inspiration. A chance encounter with then Home Secretary Rab Butler, asleep on a bench in a BOAC terminal, would yield a photo that was published in the Daily Sketch. O’Neill was immediately offered a job on the Fleet Street beat and worked at the paper for a few years before striking out on his own.
One of his earliest assignments happened to be of a musical group that would define a generation. ‘I was asked to go down to Abbey Road Studios and take a few portraits of this new band. I didn’t know how to work with a group — but because I was a musician myself and the youngest on-staff by a decade — I was always the one they’d ask. I took the four young lads outside for better light. That portrait ran in the papers the next day and the paper sold out. That band became the biggest band in the world; The Beatles,’ recalls O’Neill in a quote published by his agency, Iconic Images.
To one of the greatest photographers of our time. He was able to capture amazing images of each era. Bringing us closer to our idols with each image captured.
Terry O’Neill CBE, 30 July 1938-16 November 2019. RIP ??
Here is one of my favs – The Beatles pic.twitter.com/sA5iCKeVB9
— K&L Casting CDA (@KateandLouCast) November 18, 2019
He would go on to photograph The Rolling Stones during their formative years. Their manager, Andrew Loog Oldham, credited O’Neill’s images as being fundamental to the band’s success. ‘Terry O’Neill captured us on the street, and that made all the difference. Terry captured the time.’ He continued on his path, photographing more famous faces that defined the 60s including Michael Caine, Audrey Hepburn, Elizabeth Taylor, Terence Stamp, Jean Shrimpton, and Frank Sinatra. Notably, he was one of the first photographers to work with Sean Connery as he portrayed James Bond. O’Neill worked as a photographer on all the Bond films in the coming decades.
We are very sorry to hear that British photographer Terry O’Neill has passed away at the age of 81. Terry photographed all of the Bonds. Our thoughts are with his family at this sad time. pic.twitter.com/DleMwrNaTR
— James Bond (@007) November 18, 2019
Although most of O’Neill’s work focused on the glitz and glamour of celebrity life during his six decades as a photographer, he also captured prominent athletes and politicians. He photographed the Queen of England twice and also caught Winston Churchill leaving the hospital in 1962. ‘Terry was a ‘historian’ whose camera captured the resurgence and energy of this revolution,’ says Michael Caine. ‘I can think of no other photographer who has contributed so much to our heritage.’
Thanks for the kind words about my Elton photo. Bowie – like Elton – was an original. But of all my photos of DB, I get asked about the “jumping dog” one the most. He really did jump at the camera flash. And Bowie didn’t move a muscle. pic.twitter.com/yE7G3PG0ym
— Terry O’Neill CBE (@Terry_ONeill) October 19, 2019
O’Neill went on to capture classic images into the 70s including David Bowie’s ‘Jumping Dog,’ which premiered at the V&A Museum in London, along with riveting moments from Elton John’s ‘Rocketman’ tour – many that were used as reference material for the recent film. It was his portrait of actress Faye Dunaway, ‘Faye at the pool,’ that would establish him as an icon. Dunaway brought her Oscar statue, an award for her role in the 1976 film ‘Network,’ to the Beverly Hills Hotel pool the morning after she won. This atypical ‘day after’ take is recognized as one of Hollywood’s most iconic images to this day. O’Neill and Dunaway would go on to marry in 1983 before splitting in 1987.
Thanks for the kind words about my Elton photo. Bowie – like Elton – was an original. But of all my photos of DB, I get asked about the “jumping dog” one the most. He really did jump at the camera flash. And Bowie didn’t move a muscle. pic.twitter.com/yE7G3PG0ym
— Terry O’Neill CBE (@Terry_ONeill) October 19, 2019
At the start of the 21st century, O’Neill started focusing more of his efforts on exhibiting, publishing, and discussing his work. In 2011, he was awarded the Royal Photographic Society Centenary Medal in recognition of his significant contribution to the art of photography plus an Honorary Fellowship of The Society. Earlier this year, he was awarded a Commander of the British Empire (CBE) for services to Photography in this year’s Queen’s Birthday Honours list.
Winner is a dreamer who never gives up
Ph Terry O’Neill, Muhammed Ali, Dublin, 1972 #blackandwhitephotography #photography pic.twitter.com/cxCjoy8X1c
Robin Morgan, the former editor of The Sunday Times Magazine and CEO of Iconic Images, the agency that represents O’Neill’s work, sums up his career with the following statement; ‘No other photographer worked the frontline of fame for so long and with such panache. Terry chronicled the cultural landscape for six decades from HM Queen Elizabeth II, Winston Churchill to Nelson Mandela, The Beatles to Amy Winehouse, Muhammad Ali to the biggest stars of film and stage. They all dropped their guard to his mischief, charm and wit.’
Adds Morgan, ‘By the end of his life his work was hanging in more than 40 galleries and museums around the world.’ To this day, O’Neill is one of the world’s most collected photographers. He is survived by his son, actor Liam Dunaway O’Neill and current wife Laraine Ashton.
College life can be very hectic and challenging. Once you get into a higher education institution, you get sucked into the whirlpool of lectures, assignments, workshops, conferences, and new acquaintances. At time, you may feel overwhelmed by this new breakneck pace of life and reluctant to go on your education quest. According to PapersOwl, a writing company that handles hundreds Continue Reading
The post Some Fresh Ideas For Students appeared first on Photodoto.
Ricoh has announced the Theta SC2, a second-generation ‘enthusiast’ 360-degree camera that’s a part of its growing Theta lineup.
The Ricoh Theta SC2 serves as a successor to the Theta SC and brings with it new and improved features. Inside, it features a 14-megapixel 1/2.3-inch CMOS sensor capable of capturing 4K video (3840 x 1920 pixels) at up to 30 frames per second. In addition to 14GB of internal memory, the Theta SC2 offers a Micro SD card slot as well.
Ricoh has added three new shooting modes to the SC2: a ‘Face mode,’ which recognizes human faces in the frame and automatically applies skin smoothing; a new ‘Night View’ mode that helps to shoot low-noise footage in low-light environments; and a lens-by-lens exposure mode that controls the cameras independently for situations where one side of 360-degree exposure might be brighter than the other.
One small external upgrade from its predecessor is the addition of a small OLED display. Although smaller than the screen on the Theta Z1, the OLED display can be used to keep tabs on settings and battery life. There’s also a new self-timer button.
The Theta SC2 features built-in Bluetooth and Wi-Fi connectivity for connecting and controlling the camera with Ricoh’s dedicated smartphone app.
The Theta SC2 will come in pink, blue, beige and white (the same colors the SC shipped in) when it ships ‘mid-December 2019’ for a suggested retail price of $ 299.95 / £269.99. Ricoh is currently taking pre-orders. We’ll have our Theta SC2 review out an hour after this post goes live, so keep an eye out.
RICOH THETA SC2
An Easy-To-Use 360° camera that’s simple to operate and capable of capturing high-quality spherical images and videos
LONDON, 18 November 2019 – Ricoh Company, Ltd. and Ricoh Imaging Europe S.A.S. are pleased to announce the release of the RICOH THETA SC2. The SC2 is the “Enthusiast” level model of the RICOH THETA 360° camera series, capable of capturing 360° still images and video footage. The RICOH THETA SC2 is easy to use, simple to operate, and features a variety of functions.
Since its release in 2013 as the world’s first hand-held 360° camera 1, “RICOH THETA” has been used in a multitude of environments and offers unlimited potential for image expression. 360° photography has become increasingly relevant, due to the rapid growth of the Virtual Reality market, the increasing number of social media services that are compatible with 360° images, and the growing demand for 360° images in the business market.
The new RICOH THETA SC2 is an easy-to-use model, perfect for the 360 enthusiast, allowing anyone to capture high-quality spherical images. It snaps photos at approximately 14 megapixels, as well as smooth, immersive 360°spherical video at 30 frames per second in 4K (3840 x 1920 pixels). Additionally, the RICOH THETA SC2 comes with a variety of shooting modes such as “Face” mode, which recognizes human faces and applies skin smoothing, and “Night View” mode for shooting low-noise footage after the sun goes down. These modes allow the photographer to configure the camera with minimal effort.
The status OLEDdisplay (Organic EL display) in the lower section of the RICOH THETA SC2 body, allows at-a-glance checking of a range of information such as setting modes and remaining battery power. RICOH THETA SC2 also features a new button that lets the user switch to self-timer mode, making the camera much easier to operate in a standalone manner. Staying true to the product concept of a compact, lightweight body, the RICOH THETA SC2 can be used as a live blogging camera that people can carry with them to record the events of their day. The line-up features four different Fresh Colours, allowing users to select a colour of their choice. This is the perfect camera for people who enjoy sharing pictures and videos on social media, or for those who wish to start using a 360° camera.
Note 1: For consumer products, this refers to the fact that the camera can capture the entire space surround the photographer, not just in a half-sphere or horizontal direction, but in a single shot. (As of October 2013. According to Ricoh research.)
The post News: Demand for DSLRs is Still Strong, According to Canon appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
If you were hoping for a flagship, pro-sports mirrorless camera from Canon, you may be waiting for longer than expected.
Earlier this month, DPReview sat down for an interview with two key Canon representatives and came away with some key information regarding Canon’s transition from DSLR to mirrorless.
The number one takeaway:
The demand for DSLRs is still strong. They are performing well, so Canon is continuing to work hard on its DSLR lineup. And a professional-grade mirrorless camera may not be ready anytime soon.
In other words, Canon won’t be making a full-throttle transition to mirrorless at present.
Of course, a rapid transition to Canon’s mirrorless systems was never a guarantee. But reports of the declining DSLR market, combined with Canon’s teasing of a professional-grade mirrorless camera, had led many to believe that a significant shift to mirrorless was on the way. Instead, it seems like Canon may continue to strike a balance between their DSLRs and mirrorless cameras.
What triggered this hesitation regarding mirrorless systems?
As explained by the Canon representatives:
“[A]s of now, we…see a lot of demand from photographers asking for DSLRs, specifically [because of] the benefits of an OVF.”
The reps go on to explain that “there are huge benefits to mirrorless, and we implemented, or combined as much of that [technology] as we could into the [EOS-1D X Mark III].”
For Canon fans still waiting for their dream mirrorless camera, this may not be an adequate consolation. But even as Canon staves off a true move to mirrorless, you can expect plenty of mirrorless features to be integrated into new Canon DSLRs.
It’s certainly interesting to hear that professional Canon photographers have been asking for an optical viewfinder over an EVF. One thing to keep in mind is that Canon is mostly listening to sports and action photographers, who prioritize viewfinder tracking over other features (such as WYSIWYG depth of field). Yet the Canon representatives note that there’s a generational split here, explaining:
At this point in time the biggest difference [between DSLRs and mirrorless cameras] is the finder. The fact that you can see everything in real time, without any layers in the way. That’s really big for a lot professional sports photographers. On the other hand, we do see a lot of the younger generation of professionals favoring EVFs, because what you see is what you get.
What do you think about this generational split in terms of OVFs and EVFs? If you’re a sports photographer, which do you prefer?
And how do you feel about Canon’s choice to maintain a focus on DSLRs (for now)?
Share your thoughts in the comments!
The post News: Demand for DSLRs is Still Strong, According to Canon appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post Lessons from the Masters: Sally Mann appeared first on Digital Photography School. It was authored by Adam Welch.
Photography can be mischaracterized as a “safe” medium. More often than not, photographs are geared towards improving the way we view the world and ourselves. Generally speaking, photography appeals to the lighter side of our senses. Whether it’s the calm aesthetics of a serene landscape or a hauntingly sublime portrait of an elegant model, when we think of photography, we immediately think about all the ways it can make the world seem more beautiful and more safe.
But the world isn’t always beautiful. The world isn’t always the safe and secure menagerie of perfection we often see displayed in the photographs on social media and other corners of the internet. For all its effectual nature, photography, which displays only the conventionally pristine faces of our world, is at best, a blissful half-truth and at worse, blatant hypocrisy. We are surrounded by uncomfortable realities that are easier ignored than embraced or even acknowledged.
This leads me to the work and life of a photographer who is surrounded by as much controversy as she is by her works enigmatic magnetism. In this edition of “Lessons from the Masters,” we take a close look at the photography of Sally Mann. We see why and how she has become such an oddly iconic herald of the merits of unconventional photographic content.
Mann’s photographs epitomize the harsh internal conflicts we all face in our work and our lives as we walk the fine line between tactful self-expression and creative freedom. We’re going to find out what lessons we can learn and apply (or avoid) to grow as photographers.
Who is Sally Mann?
Photo: Michelle Hood [CC BY-SA 3.0]
In 1951, the girl who becomes Sally Mann was born in the small southern town of Lexington, Virginia where she still lives today.
Her path to photography was first facilitated through her physician father (also an artist) with whom Sally would have an admittedly complex relationship throughout her life. She holds a BA and an MA in creative writing from Hollins University in Virginia. It is remarkable to note that Sally Mann has never formally trained in the craft of photography.
Although she has produced work across all photographic mediums, she gravitates toward photographing things closest to her home in the southern United States. The large body of her photographs centers around the investigation of death, sensuality, history, childhood, and the visceral (often painful) realities of life.
Many of her most known photos are products of antiquated photographic techniques such as wet plate collodion. She captures these using an antique 8×10 view camera with equally-aged lenses. Incidentally, this type of photography plays an enormous role in one of the most important lessons we will learn from Mann.
Sally Mann has published numerous books of her photographs as well as produced multiple major exhibitions and is a Guggenheim fellow. She has been the subject of two documentary films with one nominated for an Academy Award and the other an Emmy.
In 2001, Mann was named “America’s Best Photographer” by Times magazine.
The following two images are from Sally Mann’s A Thousand Crossings exhibition.
A post shared by A Thousand Crossings (@a_thousand_crossings) on
Now, let’s look at some lessons we can learn from Sally Mann.
Photographic opportunities are everywhere
We are fortunate today as photographers in that we can make photographs at literally any time. Through the progression of photographic techniques, our cameras have become smaller, cheaper, and generally more qualitative than ever before.
And yet, we sometimes find ourselves at a loss for what to photograph.
I’ll admit, I’m guilty of this mental photo block myself. Sometimes we can convince ourselves that we need to “go somewhere” to make photos. It’s easy to forget that it’s not necessarily the location or the subject matter that makes for a great photo. Instead, it’s how we inject our own creativity into the making of the photo that truly matters.
In the case of Sally Mann, the majority of her work takes place on and around her property, with concentrations on simple subject matter.
The lesson:
The next time you feel like there’s nothing to photograph, remember to look a little deeper at the things surrounding you at any given moment. Light transforms textures and can produce incredibly dynamic compositions from even the most common subjects.
As a measure of solidarity, I made three photos using my cell phone here in the room where I’m currently writing. They are incredibly basic objects: my hand, a spoon, and a book, with the entire process only consuming about ten minutes. I made all of these using available window light and then quickly processed them in Adobe Lightroom Mobile.
Much like Ed Weston and his simplistic photos of common objects, Sally Mann teaches us that it can pay to look deeper at the things we encounter every day.
Embrace the flaws
Nothing is or ever will be perfect, especially our photographs. Coming to terms with the truth that perfection is unattainable is a constant difficulty that we all must face as photographers. Sally Mann takes this one step further by actively welcoming flaws and imperfections into her work.
Many of Mann’s most iconic works carry a measure of impurity, which somehow lends itself to completing the total impact of the photo.
From one of my own photo projects. A sheet of 4×5 film shot in the Mojave desert and developed from the back of my car. Complete with dirt, scratches and water spots.
Sally Mann refers to this mercurial facet of her work as the “angel of uncertainty” in reference to the somewhat unpredictable nature of the photographic processes she employs. It’s this complete surrender to the happenstances of the work that gives Sally Mann’s photos their unique qualities.
The lesson:
Try to strike a balance between proficiency and cautioned spontaneity when you make your photographs. Keep in mind that a “perfect” photo doesn’t exist and try not to become so preoccupied with your technique that the creative nature of your work suffers.
Allow yourself to be yourself, and that will shine through in your photos. Welcome all the little intricacies and glitches, which come along with making photographs, and you will likely find more enjoyment from the images you make.
Recognize the power of photography
As much as Sally Mann’s work is revered by some it is reviled by others. Her expressions of death, decay and especially her highly controversial images of her children have made here somewhat of a polarized figure. It speaks to the incredible power held within photographs which can move people in a multitude of directions.
Photo by Adam Welch
The lesson:
Photography is not just a two-dimensional art form. The power of photography can transcend the medium itself with many legendary photos serving as a model for social and environmental change.
To that end, we must always remember that our work can affect our viewers on levels we might not fully comprehend.
It’s true that we can impact the lives of those who see our photos in a positive way. Yet, it is also true that our photos can have the opposite effect and can potentially cause pain. In the case of Sally Mann, the public reception may include entirely different attitudes than was originally intended.
In closing…
No matter if you’re a professional or hobbyist, being a photographer today means constant reminders that our photographs could always be better. If we only had this or that piece of gear, or maybe if we travel to this place or that, our images will somehow finally reach that magical Nirvana we always hoped they could achieve.
And then we have Sally Mann – a photographer that has managed to become arguably one of the most influential photo makers of the last fifty years.
She seems to defy the conventions of today’s photographic climate by shooting close to and in her home using tools and techniques that are more than a century old.
Her work is famous – and at times, infamous.
In fact, many of her more notable works can’t even be shown within this article. Yet, the work of Sally Mann reminds us all that we are making photographs with similar intentions; to express ourselves using whatever means satisfy us most.
Perhaps the greatest lesson we can learn from Sally Mann is that we all share a common complexity best translated through photographs in the absence of words. That somehow we find perfection through imperfection, and that we are all mortal.
You may also like:
Lessons you can learn from master photographers – Minor White, Ansel Adams, and Syl Arena
More Lessons from the Photography Masters: David Burnett and Vivian Maier
Lessons from the Masters: Robert Capa and Jerry Uelsmann
Lessons from the Masters: Morley Baer
Lessons from the Masters: Imogen Cunningham
The post Lessons from the Masters: Sally Mann appeared first on Digital Photography School. It was authored by Adam Welch.
The Sony a7R IV is a 60MP full-frame mirrorless interchangeable lens camera, which offers a suite of powerful stills and video features.
We follow photographer Micael Bonocore as he tells the story of Igram Askar, a young eagle huntress in Mongolia. Everything in this video was filmed and photographed using the Sony A7R IV.
A viral video shared by photographer Greg Riegler over this past weekend highlights the problem of carriers mishandling packages — in this case, a package containing a $ 1,500 Canon lens. The video was captured by a video doorbell security camera and recently detailed by Riegler on Reddit.
The video shows an individual claimed to be a delivery driver in training carrying the box across the lawn, only to throw it across what appears to be 10-15ft onto the porch and into the door. The entire process was pointless, as the video shows the trainee walking back to the unmarked van, only to return with a second individual wearing the FedEx logo. A slip was ultimately left at the door and the package was returned to the truck.
In a comment on Reddit, Reigler said:
This happened yesterday, I’ve been in contact with FedEx and the local distribution center. It’s a contractor, and the guy tossing the box seems to be training, which is crazy he already doesn’t care about his job … I know packages are supposed to be packed in a way they can handle drops and what not, but they shouldn’t be intentionally mishandled.
Riegler reports that an actual FedEx employee, not a contractor, delivered the package the next day and that the lens appeared to be unharmed upon inspection.
Skylum software’s Luminar 4 image editing application is now shipping. The company had been giving us a few glimpses at the software’s new AI-powered editing tools over the past few months, including the AI Skin Enhancer and Portrait Enhancer filters, the AI Sky Replacement filter and the AI Structure filter which selectively enhances textures and detail in images. Now the package is finally available to users.
In addition to the new tools there’s also a revamped user interface that, according to Skylum, will shorten the learning process for new users and, thanks to customizable tools, should provide ease of use for beginners and veteran users of Luminar alike.
Luminar 4 is available is a standalone application but can also be used as a plugin for Adobe Photoshop, Lightroom Classic and Photoshop Elements, as well as Apple Photos for macOS and Aperture.
The full version will set you back $ 89, an update from a previous Luminar version will cost you $ 74. Mixed-computer households can share the same product key for Mac and PC which can be activated on 2 devices. More information is available on the Skylum website.
SLR Magic has launched four EF-mount lenses as part of its APO-MicroPrime line:
APO-MicroPrime CINE 25mm T2.1
APO-MicroPrime CINE 32mm T2.1
APO-MicroPrime CINE 50mm T2.1
APO-MicroPrime CINE 85mm T2.1
The APO-MicroPrime lenses feature optical elements paired with a ‘unique optical design’ to correct longitudinal chromatic aberrations, according to SLR Magic. As a result, the company says bright and dark transitions in images are rendered without colorful artifacts, particularly when it comes to highlights.
Each lens has a 150-degree focus throw, T22 – T2.1 aperture and an 82mm intenal filter size alongside an 85mm outer front. As well, all four new CINE lenses weigh around 900g (1.9lbs) and feature nearly identical designs. All four lenses will retail for $ 1,499 USD with planned availability starting in December 2019.
If you were hoping for a flagship, pro-sports mirrorless camera from Canon, you may be waiting for longer than expected.
