The new Canon EF 85 mm F/1.2 L II lens (Mark II) is the successor of Canon EF 85 mm F/1.2 L with better auto focus speed and it is now compatible with E-TTL II flash metering algorithm.
SAMPLE PHOTOS (last updated: 17.02.07)
- Canon EF 85 mm F/1.2 L II Sample Photos - Tasoart
- Canon EF 85 mm F/1.2 L II Sample Photos - Alfieris Gallery
- Canon EF 85 mm F/1.2 L II Sample Photos - Flickr
- Canon EF 85 mm F/1.2 L II Sample Photos - Pbase
The L-series is Canon’s flagship professional lens range, designed and built to meet the needs of the most demanding professional photographers. The superb optics of the EF 85mm f/1.2 II USM and other L-series lenses represent the pinnacle of optical performance, enabling focal length/speed/quality combinations not readily attainable using traditional optical technologies.
more at: http://www.dphotojournal.com/canon-ef-85-mm-f12-l-ii-lens-mark-ii/
http://www.ct-graphics.com/aquatic/blenny-fish-2584.html
http://www.ct-graphics.com/domestic/page4.html
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Saturday, February 17, 2007
Exploring the Lens Baby
full article and images at: http://www.photocritic.org/2007/lensbaby/
A good while ago (see this post), I discovered the phenomenon of the lensbaby lens. Basically, it’s a bendable lens that you can use for creative effect. It means that you get what essentially is a tilt/shift lens which allows you to work with creative selective focus, extreme macro photography, and lots of creative freedom.
I recently got my grubby paws on a Lensbaby, and ever since, I’ve been a complete convert. I recently spent 4 days exploring Madrid, and despite of having a lot of expensive glass, I ended up only using the Lensbaby lens throughout the whole trip.
Using the Lensbaby 3G
The lens I have is the Lensbaby 3G, which is the newest and funkiest Lensbaby created to date. It’s a funky-looking little lens which has a vast range of versitility. You can use it like the original lensbaby, by just squeezing it (to focus) and bending it (for selective focus) by hand, or you can lock it off. When you lock the collar, the little sticks that stick out through the lens come to their own: They’re actually threaded, so you can twist them to fine-adjust the focus and selective focus of the lens. In addition, there’s a focussing ring you can use to get focus right, rather then compressing or stretching the whole bellow.
For something that basically started out as a toy, the Lensbaby is growing into its own shoes as a pretty damn important and impressive player in the photography scene.
For Aperture, the Lensbaby has a really clever solution, too: instead of a shutter-based aperture, the lens uses small black circular bits that are held in place in front of the lens element by magnets! It sounds completely ridiculous, but it works surprisingly well.
Getting used to the Lensbaby takes a long time, perhaps because it initially seems so damn counter-intuitive. Focussing, selective focus, and tilt/shift theory is pretty confusing stuff. But then the same happens to you as what happened to me: Suddenly, it just clicks, and the whole thing becomes a three-dimentional photography experience. You have the shutter speed, ISO, the disc-based aperture control, and the bendy-lens goodness.
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A good while ago (see this post), I discovered the phenomenon of the lensbaby lens. Basically, it’s a bendable lens that you can use for creative effect. It means that you get what essentially is a tilt/shift lens which allows you to work with creative selective focus, extreme macro photography, and lots of creative freedom.
I recently got my grubby paws on a Lensbaby, and ever since, I’ve been a complete convert. I recently spent 4 days exploring Madrid, and despite of having a lot of expensive glass, I ended up only using the Lensbaby lens throughout the whole trip.
Using the Lensbaby 3G
The lens I have is the Lensbaby 3G, which is the newest and funkiest Lensbaby created to date. It’s a funky-looking little lens which has a vast range of versitility. You can use it like the original lensbaby, by just squeezing it (to focus) and bending it (for selective focus) by hand, or you can lock it off. When you lock the collar, the little sticks that stick out through the lens come to their own: They’re actually threaded, so you can twist them to fine-adjust the focus and selective focus of the lens. In addition, there’s a focussing ring you can use to get focus right, rather then compressing or stretching the whole bellow.
For something that basically started out as a toy, the Lensbaby is growing into its own shoes as a pretty damn important and impressive player in the photography scene.
For Aperture, the Lensbaby has a really clever solution, too: instead of a shutter-based aperture, the lens uses small black circular bits that are held in place in front of the lens element by magnets! It sounds completely ridiculous, but it works surprisingly well.
Getting used to the Lensbaby takes a long time, perhaps because it initially seems so damn counter-intuitive. Focussing, selective focus, and tilt/shift theory is pretty confusing stuff. But then the same happens to you as what happened to me: Suddenly, it just clicks, and the whole thing becomes a three-dimentional photography experience. You have the shutter speed, ISO, the disc-based aperture control, and the bendy-lens goodness.
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Friday, February 16, 2007
News Photos
Find old news photographs in millions of old newspaper pages
NewspaperARCHIVE.com, the largest newspaper database available online, recognizes that every newspaper story is about someone – your ancestors, political leaders, celebrities, classmates or even you! With access to more than 58 million historical newspaper pages, including rare content from small towns, finding information that's important to you is easy – just search with a name or keyword.
It's is a great resource for genealogical research, as historic newspapers contain detailed information about the lives of previous generations.
With rare newspapers dating back to 1759, NewspaperARCHIVE.com contains interesting, and sometimes surprising, historical content. Members use the archive in countless ways, from finding information about their ancestors and building a family tree to reading about the first world series.
It's a very interesting Search. Check it out at http://www.newspaperarchive.com/
http://www.ct-graphics.com/miscellaneous/fire-hydrant-2583.html
http://www.ct-graphics.com/domestic/page3.html
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NewspaperARCHIVE.com, the largest newspaper database available online, recognizes that every newspaper story is about someone – your ancestors, political leaders, celebrities, classmates or even you! With access to more than 58 million historical newspaper pages, including rare content from small towns, finding information that's important to you is easy – just search with a name or keyword.
It's is a great resource for genealogical research, as historic newspapers contain detailed information about the lives of previous generations.
With rare newspapers dating back to 1759, NewspaperARCHIVE.com contains interesting, and sometimes surprising, historical content. Members use the archive in countless ways, from finding information about their ancestors and building a family tree to reading about the first world series.
It's a very interesting Search. Check it out at http://www.newspaperarchive.com/
http://www.ct-graphics.com/miscellaneous/fire-hydrant-2583.html
http://www.ct-graphics.com/domestic/page3.html
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Laurels for lensman
MYSORE: A photograph by freelance press photographer M.S. Basavanna of policemen caning an unruly mob during a "chicken mela" held at the Town Hall here in March 2006 bagged the first prize in the All India Exhibition of Photography 2007 organised by the Photographic Society of India recently.
http://www.thehindu.com/2007/02/16/stories/2007021602050200.htm
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The award-winning photograph will be displayed at 58th All India Exhibition of Photography 2007 to be held at the Jahangir Art Gallery in Mumbai from February 19.
Mr. Basavannaa also won a certificate of merit in the same competition for a photograph taken during an air show held during the Dasara at the Bannimantap Grounds in 2006.
Chairman of the 58th All India Exhibition of Photography Gopinath Sawanth has invited Mr. Basavanna to attend the inauguration of the event. He will be given the award and a certificate of merit on the occasion.
Two other photographers from Mysore including M.A. Sriram, staff photographer of The Hindu, have bagged certificates of merit.
full story:http://www.thehindu.com/2007/02/16/stories/2007021602050200.htm
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Thursday, February 15, 2007
Hands On with Lightsphere II
By Dan Havlik
The good news for photographers is that advances in imaging sensor technology have made available light photography at high ISOs a relatively low-noise proposition. Despite such progress, there are still many situations where you really are going to need a flash.
I shot an afternoon wedding with a friend last summer and, fed up with the "deer-in-the-headlights" look our Speedlites were giving us, we made a pact to only use natural light. We got some very nice images, but the extra time spent in Photoshop tweaking exposure was a pain, and there were several extreme low-light shots that just weren’t salvageable.
At the time, I didn’t know about a product called Lightsphere II, but it probably would have made me rethink our "natural light only" experiment.
Light of His Life
Invented by now-retired wedding photographer Gary Fong, Lightsphere II is an inverted dome diffuser made of soft, pliable vinyl that fits directly on the head of your attachable strobe unit. The "soft, pliable vinyl" part is important to note since it makes the Lightsphere II very easy to squeeze into your camera bag, unlike an earlier version which was made of hard plastic.
Even more important is what Lightsphere II is designed to do: diffuse the harsh light of your on-camera flash to make it appear more natural and evenly balanced. I recently tried out the Lightsphere II system on my Canon Speedlite 430EX flash gun attached to a Canon EOS 1D Mark IIN with a Tamron AF28-300mm F/3.5-6.3 XR Di lens.
For my test, I compared the effect of direct flash from the Speedlite on my subject versus bouncing it off the ceiling. I then used Lightsphere II, which you slide on top of your flash and turn upward to produce a more even bounce with greater diffusion.
To see how it would fare versus studio lighting, I took shots of a model at a friend's studio using his Dynalite strobe system and compared them to Lightsphere II with just the house lights on. Overall, I was quite impressed with images I shot using the device.
Lightsphere II looks like a small plastic lampshade which you pull over the head of your flash. There’s an elaborate sizing chart on Gary Fong’s website and if you’re considering this product, make sure you consult it. The model I tried fit snugly on my 430EX.
The Lightsphere II comes in two flavors – a "Clear" version which is designed to produce cooler, more contrasty diffusion for photojournalistic work; and a "Cloud" version for softer, warmer light for portraiture. While I generally preferred the warmer tone I got with the Cloud model, the difference between the two was not dramatic. Both come with hard plastic inverted dome caps that fit on top of Lightsphere II to reduce light by about a stop.
In a Flash
For my first test, I photographed a friend in her apartment with two lamps as the only light source. As expected, aiming the 430EX directly at her washed out her skin and made it look overly oily, while increasing shadows behind her head. Bouncing the flash off the ceiling produced better results, but created long shadows under her eyes, making her look tired.
Attaching the Cloud Lightsphere II with the inverted dome cap on top – since it was a low ceiling – did noticeably reduce the shadows around her face, giving her skin a healthy even glow. In a couple of instances, the Lightsphere II also added pleasing catch lights in her eyes, though it only reduced but did not eliminate the shadows behind her head.
While the Lightsphere II was no match for the studio lighting which did a great job of blowing out the background and calling attention to my model, it was far superior to pointing my Speedlite directly at her.
Because the model I photographed in the studio had dark skin, shadows were less noticeable under her eyes when I simply bounced the flash off the low ceiling. Still the effect with Lightsphere II was better, producing skin tones that rivaled the studio lighting while bringing out the bold reds in her lips.
As a final test, I took the Clear Lightsphere II outdoors on a cloudy day and, as recommended, pointed the unit directly toward my model for a series of horizontal and vertical shots. Though the difference between direct flash and direct flash with Lightsphere II wasn’t noticeable on my camera’s LCD, when I took the images home and opened them in Photoshop, sure enough, the Lightsphere II had produced even exposure in the face, while direct flash created several nasty hot spots.
While Lightsphere II is not likely to alter my love of shooting in natural light without a flash, the next time I find myself in a situation where I need to fire up my Speedlite, I can’t imagine shooting without it.
www.garyfong.com.
Pros: Produces warm, even skin tones; extremely portable; no-brainer to use
Cons: Still creates some background shadowing; difference between Clear and Cloud versions not dramatic
Pricing
Lightsphere II: $49
ChromeDome attachment (increases light output) : $39
AmberDome attachment (warms up light): $14.95
Source:
http://www.pdnonline.com/pdn/prodtech/reviews/article_display.jsp?vnu_content_id=1003545988
http://www.ct-graphics.com/other/water-drops-2582.html
http://www.ct-graphics.com/domestic/page2.html
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Photographers have forged an uneasy relationship with on-camera flash over the years, one born more from necessity than affection. No one really likes using attachable flash units, but we turn to them when dim conditions prevent us from shooting otherwise.
The good news for photographers is that advances in imaging sensor technology have made available light photography at high ISOs a relatively low-noise proposition. Despite such progress, there are still many situations where you really are going to need a flash.
I shot an afternoon wedding with a friend last summer and, fed up with the "deer-in-the-headlights" look our Speedlites were giving us, we made a pact to only use natural light. We got some very nice images, but the extra time spent in Photoshop tweaking exposure was a pain, and there were several extreme low-light shots that just weren’t salvageable.
At the time, I didn’t know about a product called Lightsphere II, but it probably would have made me rethink our "natural light only" experiment.
Light of His Life
Invented by now-retired wedding photographer Gary Fong, Lightsphere II is an inverted dome diffuser made of soft, pliable vinyl that fits directly on the head of your attachable strobe unit. The "soft, pliable vinyl" part is important to note since it makes the Lightsphere II very easy to squeeze into your camera bag, unlike an earlier version which was made of hard plastic.
Even more important is what Lightsphere II is designed to do: diffuse the harsh light of your on-camera flash to make it appear more natural and evenly balanced. I recently tried out the Lightsphere II system on my Canon Speedlite 430EX flash gun attached to a Canon EOS 1D Mark IIN with a Tamron AF28-300mm F/3.5-6.3 XR Di lens.
For my test, I compared the effect of direct flash from the Speedlite on my subject versus bouncing it off the ceiling. I then used Lightsphere II, which you slide on top of your flash and turn upward to produce a more even bounce with greater diffusion.
To see how it would fare versus studio lighting, I took shots of a model at a friend's studio using his Dynalite strobe system and compared them to Lightsphere II with just the house lights on. Overall, I was quite impressed with images I shot using the device.
Lightsphere II looks like a small plastic lampshade which you pull over the head of your flash. There’s an elaborate sizing chart on Gary Fong’s website and if you’re considering this product, make sure you consult it. The model I tried fit snugly on my 430EX.
The Lightsphere II comes in two flavors – a "Clear" version which is designed to produce cooler, more contrasty diffusion for photojournalistic work; and a "Cloud" version for softer, warmer light for portraiture. While I generally preferred the warmer tone I got with the Cloud model, the difference between the two was not dramatic. Both come with hard plastic inverted dome caps that fit on top of Lightsphere II to reduce light by about a stop.
In a Flash
For my first test, I photographed a friend in her apartment with two lamps as the only light source. As expected, aiming the 430EX directly at her washed out her skin and made it look overly oily, while increasing shadows behind her head. Bouncing the flash off the ceiling produced better results, but created long shadows under her eyes, making her look tired.
Attaching the Cloud Lightsphere II with the inverted dome cap on top – since it was a low ceiling – did noticeably reduce the shadows around her face, giving her skin a healthy even glow. In a couple of instances, the Lightsphere II also added pleasing catch lights in her eyes, though it only reduced but did not eliminate the shadows behind her head.
While the Lightsphere II was no match for the studio lighting which did a great job of blowing out the background and calling attention to my model, it was far superior to pointing my Speedlite directly at her.
Because the model I photographed in the studio had dark skin, shadows were less noticeable under her eyes when I simply bounced the flash off the low ceiling. Still the effect with Lightsphere II was better, producing skin tones that rivaled the studio lighting while bringing out the bold reds in her lips.
As a final test, I took the Clear Lightsphere II outdoors on a cloudy day and, as recommended, pointed the unit directly toward my model for a series of horizontal and vertical shots. Though the difference between direct flash and direct flash with Lightsphere II wasn’t noticeable on my camera’s LCD, when I took the images home and opened them in Photoshop, sure enough, the Lightsphere II had produced even exposure in the face, while direct flash created several nasty hot spots.
While Lightsphere II is not likely to alter my love of shooting in natural light without a flash, the next time I find myself in a situation where I need to fire up my Speedlite, I can’t imagine shooting without it.
www.garyfong.com.
Pros: Produces warm, even skin tones; extremely portable; no-brainer to use
Cons: Still creates some background shadowing; difference between Clear and Cloud versions not dramatic
Pricing
Lightsphere II: $49
ChromeDome attachment (increases light output) : $39
AmberDome attachment (warms up light): $14.95
Source:
http://www.pdnonline.com/pdn/prodtech/reviews/article_display.jsp?vnu_content_id=1003545988
http://www.ct-graphics.com/other/water-drops-2582.html
http://www.ct-graphics.com/domestic/page2.html
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All it takes is a camera and tripod to shoot the moon
If you can see it, you can photograph it.
credits:
http://www.signonsandiego.com/news/science/20070215-9999-1c15star.html
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This is one of the many rules of thumb I've dubbed "Mammana's Laws of Sky Photography." As concise as it may sound, this statement has encouraged many to aim cameras skyward to create their own celestial portraits.
I began shooting the sky as a youngster in the mid-'60s, and one of my favorite subjects – even to this day – is the lovely pairing of the crescent moon and Venus against a colorful sky at dusk or dawn.
The next such conjunction occurs Monday, followed by similar pairings this spring and summer on March 20 and 21, April 19, May 19, June 17 and 18, and finally July 16 and 17.
Photographing these scenes isn't that difficult. All you need is a camera and a tripod; a telephoto lens will produce a larger image, but it certainly isn't necessary.
The moon-Venus pair appears low enough in the west for you to frame the scene nicely with a foreground subject. With medium-speed film (ISO 100 or so), or with a digital camera set to ISO 100, set up your camera and tripod and compose your shot to include a dramatic tree, a building, a person or some other terrestrial feature. This helps anchor the image and provides a sense of scale.
Because lighting changes so rapidly after sunset, it's impossible to suggest an exact exposure. However, if you begin shooting about half an hour after sunset, begin with the recommendation of your camera's light meter, or try an exposure of 2 seconds at f/8. To assure that something comes out, always “bracket” by taking several shots over and under this exposure (e.g., 8, 4, 2 seconds, 1 second, one-half second). Shoot a few sequences as the sky brightness and color change.
The advantage of using a digital camera, of course, is that you can know immediately if you are succeeding.
Follow these suggestions and you should be able to capture a great photo of this beautiful celestial sight. To see the types of images possible with this technique, visit my Web site, www.dennismammana.com. And please e-mail me if you get some nice shots – I would love to share in your success.
One final piece of advice: Take good notes so you can learn from the experience. You will most likely want to try this again next month.
© Copley News Service
credits:
http://www.signonsandiego.com/news/science/20070215-9999-1c15star.html
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Wednesday, February 14, 2007
Register Now For Raw File Photography
From Camera to Archive With Peter Krogh, February 25 - March 3, 2007
This spring the Santa Fe Workshops welcomes Peter Krogh teaching his week¬long workshop "Raw File Photography: From Camera to Archive." Mastering the process of Raw file photography makes possible a higher level of productivity as well as a greater degree of satisfaction from your photography. This workshop helps you achieve both of these goals. Registration is limited to twelve participants. For more information or to register for this workshop, call (505) 983-1400.
(PRWEB) February 14, 2007 -- This spring the Santa Fe Workshops welcomes Peter Krogh teaching his week¬long workshop "Raw File Photography: From Camera to Archive." Mastering the process of Raw file photography makes possible a higher level of productivity as well as a greater degree of satisfaction from your photography. This workshop helps you achieve both of these goals.
Digital photography has revitalized the spirit of photography all around the world. As the capabilities of the camera continue to expand, allowing photographers to shoot in new ways, a different approach to thinking about taking pictures and handling images becomes essential.
This workshop, examines how Raw file photography works, reviewing its strengths, and learning how best to leverage them. Covering exposure and white balance techniques, image quality issues, and creative use of the medium, we get an overview of the entire imaging workflow from camera to archive.
The week provides several opportunities to make new photographs in the beautiful New Mexico environment. Experimentation is encouraged as we push our photographic vision to new places through composition and the use of interesting light.
Back in the lab, participants try out the integrated workflow that Peter created for his groundbreaking publication, The DAM Book, to achieve greater productivity and efficiency. We practice the time-saving features of Adobe Lightroom and Photoshop, learning how to use these programs to create the best image possible.
Other topics covered include safe and efficient archiving of photographs with iView MediaPro, the leading digital asset management application for photographers. Participants leave with an understanding of how to use the software to create Web galleries, slide shows, movies, and proof prints.
Peter Krogh has been a professional photographer for more than 20 years, working for magazines, agencies, and corporations worldwide. An Alpha Tester for Adobe, with a specialty in archive and workflow issues, he is the author of The DAM Book (O'Reilly, 2005), the most widely used reference on digital asset management for photographers. Peter's work ranges from landscapes and architecture to images about light and color, to intensely personal photographs of family and friends. He revels in all forms of photographic expression and loves the experimental and offbeat.
Registration is limited to twelve participants. For more information or to register for this workshop, call (505) 983-1400.
The Santa Fe Workshops, an inspirational resource for image makers for the past 18 years, is a educational center covering a wide range of topics, digital, color, and black ¬and ¬white photography as well as year¬round digital programs. Each season, imagemakers of every kind travel to Santa Fe to engage their imaginations and rekindle their passion for photography. To find out more, call (505) 983.1400, or log onto http://www.santafeworkshops.com.
source: http://www.emediawire.com/releases/2007/2/emw504644.htm
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This spring the Santa Fe Workshops welcomes Peter Krogh teaching his week¬long workshop "Raw File Photography: From Camera to Archive." Mastering the process of Raw file photography makes possible a higher level of productivity as well as a greater degree of satisfaction from your photography. This workshop helps you achieve both of these goals. Registration is limited to twelve participants. For more information or to register for this workshop, call (505) 983-1400.
(PRWEB) February 14, 2007 -- This spring the Santa Fe Workshops welcomes Peter Krogh teaching his week¬long workshop "Raw File Photography: From Camera to Archive." Mastering the process of Raw file photography makes possible a higher level of productivity as well as a greater degree of satisfaction from your photography. This workshop helps you achieve both of these goals.
Digital photography has revitalized the spirit of photography all around the world. As the capabilities of the camera continue to expand, allowing photographers to shoot in new ways, a different approach to thinking about taking pictures and handling images becomes essential.
This workshop, examines how Raw file photography works, reviewing its strengths, and learning how best to leverage them. Covering exposure and white balance techniques, image quality issues, and creative use of the medium, we get an overview of the entire imaging workflow from camera to archive.
The week provides several opportunities to make new photographs in the beautiful New Mexico environment. Experimentation is encouraged as we push our photographic vision to new places through composition and the use of interesting light.
Back in the lab, participants try out the integrated workflow that Peter created for his groundbreaking publication, The DAM Book, to achieve greater productivity and efficiency. We practice the time-saving features of Adobe Lightroom and Photoshop, learning how to use these programs to create the best image possible.
Other topics covered include safe and efficient archiving of photographs with iView MediaPro, the leading digital asset management application for photographers. Participants leave with an understanding of how to use the software to create Web galleries, slide shows, movies, and proof prints.
Peter Krogh has been a professional photographer for more than 20 years, working for magazines, agencies, and corporations worldwide. An Alpha Tester for Adobe, with a specialty in archive and workflow issues, he is the author of The DAM Book (O'Reilly, 2005), the most widely used reference on digital asset management for photographers. Peter's work ranges from landscapes and architecture to images about light and color, to intensely personal photographs of family and friends. He revels in all forms of photographic expression and loves the experimental and offbeat.
Registration is limited to twelve participants. For more information or to register for this workshop, call (505) 983-1400.
The Santa Fe Workshops, an inspirational resource for image makers for the past 18 years, is a educational center covering a wide range of topics, digital, color, and black ¬and ¬white photography as well as year¬round digital programs. Each season, imagemakers of every kind travel to Santa Fe to engage their imaginations and rekindle their passion for photography. To find out more, call (505) 983.1400, or log onto http://www.santafeworkshops.com.
source: http://www.emediawire.com/releases/2007/2/emw504644.htm
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Photography Is Not A Crime
In January, while on leave, I started photographing people who were climbing up the rocks at Wattamolla Beach, in the Royal National Park, and jumping off. I got four frames away over ten minutes or so, as I was keeping an eye on my son swimming nearby, and then I copped an earful. "Take a picture of my daughter and I'll rip ya f___ing head off." Here we go again I thought... I explained that I was just shooting people jumping off the cliff and that my lens included everything from that tree to that rock. "Yeah, and if you take a picture of my daughter I'll I'll rip ya f___ing head off."
Obviously she thought I was up to no good. I couldn't be bothered arguing. I muttered something under my breath and walked off. I was there with my wife and son, and friends from the UK. I wasn't in the mood for a fight. I didn't want to be part of a public scene at that time.
Later though, I started feeling angry about the assumptions she made and sad about the impact that they had on an activity that I enjoy and see as being valuable, both for myself, and culturally. I'm a photographer, both professionally and otherwise, and I didn't appreciate the uninformed opinion she had made of me nor the fact that she had so publically aired that opinion. The anger on her face was intense.
LEGAL: In Australia, in public, photography is legal (for now) and consent does not need to be obtained for those people being photographed. Even taking a picture over someone's fence is OK. Go on, try it... Do it every day though and it will become stalking...
Councils have tried to ban photography (unsuccessfully) and the Commonwealth government reviewed all aspects of 'unauthorised' photography in 2005 (discussion paper - 296Kb PDF). The Coffs Harbour Eisteddfod Society was so afraid of breaching child protection laws it banned parents from photographing the performances featuring their children. Whether it had the right to do so was never tested.
Basically though, if you are on public property, you can shoot it*. Public property and publicly accessible places are two different things. Train stations and beaches are public property, the QVB and Westfields aren't.
PRIVACY: "A person, in our society, does not have a right not to be photographed." So stated Justice John Dowd in a 2001 case (R v Sotheren) in the NSW Supreme Court. In Australia there is no right to privacy. If you don't want to be photographed sun-baking topless on a beach then don't sun-bake topless on a beach. Oops! You did it again? You got out of a car after forgetting to don some undies and now your genitals are all over the internet? That's your problem, or one of them at least.
Indeed, if you don't want to be photographed then you should think twice about leaving your home. If you go to a shopping centre, service station, train station, carpark, office block (your office block) then you are probably being photographed. Stuck in traffic? Your on RTA-cam. Have you ever asked yourself who controls the footage? What policies are in place regarding its use? Are the people who have access to it screened? How secure are the systems? It's easy to whip up fear around photography, but the worst is perpetrated by a very small minority.
The community-at-large's attitude to candid photography seems to have changed dramatically since I entered the industry some 14 years ago, and especially over the last few years. Our government would have you believe that cameras are dangerous as they feature heavily in the anti-terror "if you see something, say something" posters. Most of the fear and paranoia comes from the use of 'unauthorised' pics on dodgy kiddie-porn websites. This post isn't about how or why attitudes have changed. Suffice to say that this is a rallying cry. My camera can't undress you more than you already are, nor does it blow stuff up. It takes pictures. It keeps light.
GENDER:The situation is also undoubtedly more difficult for male photographers. SMH photographer Narelle Autio travelled for over a year around Australia recently with her partner Trent Parke and photographed extensively on and around beaches, documenting Australia's love-affair with the coast. She told me that she has never had a problem when photographing people, including kids, on beaches. The late Ingeborg Tyssen's advantage as a female might be the only thing that would make it possible for her to produce this series called Swimmers, shot in the early eighties, today.
SYDNEY: On my travels I've not had any problems photographing people in public areas. From India and Nepal to the UK, Greece and the US, it seems that Sydney-siders are the most paranoid about what a photographer may be doing. Sydney is a very aggressive city, with what seems a lot of un-vented anger that comes out occasionally, most often on the roads, but also in other ways at times (see Cronulla, Redfern, Mac Fields etc). Several of my colleagues at the SMH, including an American, share this view.
LIFE: Candid photography is one aspect of photography that has many advocates and followers around the world. Photographers interested in working this way see themselves as documenting life as it occurs, and by interfering as little as possible in the scene they help portray the state of affairs on planet earth in a particular place at a particular moment in time. There have been many wonderful candid photographers (street photographers - documentary photographers - call them what you will) and there are many working today.
Try and imagine the world of photography without Henri Cartier-Bresson's contribution. Or that of contemporaries like Alex Webb, Eugene Richards etc. Imagine not having Robert Frank's The Americans in your bookcase. When the 35mm camera freed them from their tripods, pioneering photographers realised the potential for capturing reality and for my mind we are all richer for it.
I don't have a one-size-fits-all solution for dealing with the harassment and interference that may be levelled at photographers. My colleagues employ a variety of methods . Brendan Esposito says he carries every bit of gear he can manage, to make himself look obviously like a professional or newspaper photographer. Peter Morris says he won't even try to take candid pictures on a beach anymore. He will always try to introduce himself to those who are prominent in the frame. I've introduced myself on occasions, though it almost certainly tends to ruin any candid spontaneity that might otherwise occur. On one occasion, even after introducing myself as from the SMH, I was still harassed by a non-related third party who took it upon himself to object to what I was doing (a story on the cleanliness of Sydney's harbour beaches.)
Just because photography is legal and there is no right to privacy doesn't provide carte blanch to photographers. There are defamation laws that apply to published images. The national classification system also applies to published works and any image used for commercial purposes requires a model consent for anyone recognisable in the image. Offensive behaviour laws may also apply, and this was what brought down Peter Mackenzie, 25 of Coogee, who was photographing topless women on the beach with a camera-phone.
RESOURCES: A good overview of the rights and restrictions has been written, in plain english, by Blue Mountains based photographer and programmer Andrew Nemeth and can be found here. Nemeth, in conjunction with Koyla Miller has produced a PDF of photographers rights in NSW. It's written from the perspective of someone being photographed. If you shoot on the street it would be a good idea to print it and carry it around. Also, the Australasian Legal Information Institute has this page on privacy in photographic images. Here's a response from the Arts Law Centre of Australia to the Attorney General's Discussion Paper, which looks at it from an arts perspective, and includes the wonderful quote from Diane Arbus that "I really believe there are things nobody would see if I didn't photograph them."
So if you see someone photographing on the street, or in the park, or near a beach, why not watch them a while? Are they a tourist or a street photographer (is their camera silver or black? - a dead giveaway) See if you can determine what they seem to be interested in. Is it someone's bum? Or one of life's delightful little tableaus?
Is someone photographing your dog? It's probably just Marco Bok (or Elliot Erwitt). If you like to leap tall buildings in a single bound maybe James Brickwood has already got you. Are you coming down from Mardi Gras at an 'unofficial' laneway recovery party? Then you probably can't swing your handbag without hitting a photographer or three. I like to occasionally shoot bins, not because I want to put bombs in them but because I like the way they look.
Hmmm.. bins.
A relatively small group of people are out there using photography to amass collections of semi-clad kiddie-pix to be made available on the dark back-waters of the internet. They're not photographers, but they use cameras. They don't care about the image, only the subject. Thousands or millions more, real photographers, are out there around the world poking their lenses into life's goings-on, without asking the permission of everybody involved, and generally doing no harm.
*There are some cavaets, though a thorough reading of the resources mentioned and linked-to here should have you well-enough informed.
full article by Jon Reid here: http://blogs.smh.com.au/photographers/archives/2007/02/photography_is_not_a_crime.html
http://www.ct-graphics.com/scenery-sights/hoover-panorama-2581.html
http://www.ct-graphics.com/aquatic/page2.html
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Obviously she thought I was up to no good. I couldn't be bothered arguing. I muttered something under my breath and walked off. I was there with my wife and son, and friends from the UK. I wasn't in the mood for a fight. I didn't want to be part of a public scene at that time.
Later though, I started feeling angry about the assumptions she made and sad about the impact that they had on an activity that I enjoy and see as being valuable, both for myself, and culturally. I'm a photographer, both professionally and otherwise, and I didn't appreciate the uninformed opinion she had made of me nor the fact that she had so publically aired that opinion. The anger on her face was intense.
LEGAL: In Australia, in public, photography is legal (for now) and consent does not need to be obtained for those people being photographed. Even taking a picture over someone's fence is OK. Go on, try it... Do it every day though and it will become stalking...
Councils have tried to ban photography (unsuccessfully) and the Commonwealth government reviewed all aspects of 'unauthorised' photography in 2005 (discussion paper - 296Kb PDF). The Coffs Harbour Eisteddfod Society was so afraid of breaching child protection laws it banned parents from photographing the performances featuring their children. Whether it had the right to do so was never tested.
Basically though, if you are on public property, you can shoot it*. Public property and publicly accessible places are two different things. Train stations and beaches are public property, the QVB and Westfields aren't.
PRIVACY: "A person, in our society, does not have a right not to be photographed." So stated Justice John Dowd in a 2001 case (R v Sotheren) in the NSW Supreme Court. In Australia there is no right to privacy. If you don't want to be photographed sun-baking topless on a beach then don't sun-bake topless on a beach. Oops! You did it again? You got out of a car after forgetting to don some undies and now your genitals are all over the internet? That's your problem, or one of them at least.
Indeed, if you don't want to be photographed then you should think twice about leaving your home. If you go to a shopping centre, service station, train station, carpark, office block (your office block) then you are probably being photographed. Stuck in traffic? Your on RTA-cam. Have you ever asked yourself who controls the footage? What policies are in place regarding its use? Are the people who have access to it screened? How secure are the systems? It's easy to whip up fear around photography, but the worst is perpetrated by a very small minority.
The community-at-large's attitude to candid photography seems to have changed dramatically since I entered the industry some 14 years ago, and especially over the last few years. Our government would have you believe that cameras are dangerous as they feature heavily in the anti-terror "if you see something, say something" posters. Most of the fear and paranoia comes from the use of 'unauthorised' pics on dodgy kiddie-porn websites. This post isn't about how or why attitudes have changed. Suffice to say that this is a rallying cry. My camera can't undress you more than you already are, nor does it blow stuff up. It takes pictures. It keeps light.
GENDER:The situation is also undoubtedly more difficult for male photographers. SMH photographer Narelle Autio travelled for over a year around Australia recently with her partner Trent Parke and photographed extensively on and around beaches, documenting Australia's love-affair with the coast. She told me that she has never had a problem when photographing people, including kids, on beaches. The late Ingeborg Tyssen's advantage as a female might be the only thing that would make it possible for her to produce this series called Swimmers, shot in the early eighties, today.
SYDNEY: On my travels I've not had any problems photographing people in public areas. From India and Nepal to the UK, Greece and the US, it seems that Sydney-siders are the most paranoid about what a photographer may be doing. Sydney is a very aggressive city, with what seems a lot of un-vented anger that comes out occasionally, most often on the roads, but also in other ways at times (see Cronulla, Redfern, Mac Fields etc). Several of my colleagues at the SMH, including an American, share this view.
LIFE: Candid photography is one aspect of photography that has many advocates and followers around the world. Photographers interested in working this way see themselves as documenting life as it occurs, and by interfering as little as possible in the scene they help portray the state of affairs on planet earth in a particular place at a particular moment in time. There have been many wonderful candid photographers (street photographers - documentary photographers - call them what you will) and there are many working today.
Try and imagine the world of photography without Henri Cartier-Bresson's contribution. Or that of contemporaries like Alex Webb, Eugene Richards etc. Imagine not having Robert Frank's The Americans in your bookcase. When the 35mm camera freed them from their tripods, pioneering photographers realised the potential for capturing reality and for my mind we are all richer for it.
I don't have a one-size-fits-all solution for dealing with the harassment and interference that may be levelled at photographers. My colleagues employ a variety of methods . Brendan Esposito says he carries every bit of gear he can manage, to make himself look obviously like a professional or newspaper photographer. Peter Morris says he won't even try to take candid pictures on a beach anymore. He will always try to introduce himself to those who are prominent in the frame. I've introduced myself on occasions, though it almost certainly tends to ruin any candid spontaneity that might otherwise occur. On one occasion, even after introducing myself as from the SMH, I was still harassed by a non-related third party who took it upon himself to object to what I was doing (a story on the cleanliness of Sydney's harbour beaches.)
Just because photography is legal and there is no right to privacy doesn't provide carte blanch to photographers. There are defamation laws that apply to published images. The national classification system also applies to published works and any image used for commercial purposes requires a model consent for anyone recognisable in the image. Offensive behaviour laws may also apply, and this was what brought down Peter Mackenzie, 25 of Coogee, who was photographing topless women on the beach with a camera-phone.
RESOURCES: A good overview of the rights and restrictions has been written, in plain english, by Blue Mountains based photographer and programmer Andrew Nemeth and can be found here. Nemeth, in conjunction with Koyla Miller has produced a PDF of photographers rights in NSW. It's written from the perspective of someone being photographed. If you shoot on the street it would be a good idea to print it and carry it around. Also, the Australasian Legal Information Institute has this page on privacy in photographic images. Here's a response from the Arts Law Centre of Australia to the Attorney General's Discussion Paper, which looks at it from an arts perspective, and includes the wonderful quote from Diane Arbus that "I really believe there are things nobody would see if I didn't photograph them."
So if you see someone photographing on the street, or in the park, or near a beach, why not watch them a while? Are they a tourist or a street photographer (is their camera silver or black? - a dead giveaway) See if you can determine what they seem to be interested in. Is it someone's bum? Or one of life's delightful little tableaus?
Is someone photographing your dog? It's probably just Marco Bok (or Elliot Erwitt). If you like to leap tall buildings in a single bound maybe James Brickwood has already got you. Are you coming down from Mardi Gras at an 'unofficial' laneway recovery party? Then you probably can't swing your handbag without hitting a photographer or three. I like to occasionally shoot bins, not because I want to put bombs in them but because I like the way they look.
Hmmm.. bins.
A relatively small group of people are out there using photography to amass collections of semi-clad kiddie-pix to be made available on the dark back-waters of the internet. They're not photographers, but they use cameras. They don't care about the image, only the subject. Thousands or millions more, real photographers, are out there around the world poking their lenses into life's goings-on, without asking the permission of everybody involved, and generally doing no harm.
*There are some cavaets, though a thorough reading of the resources mentioned and linked-to here should have you well-enough informed.
full article by Jon Reid here: http://blogs.smh.com.au/photographers/archives/2007/02/photography_is_not_a_crime.html
http://www.ct-graphics.com/scenery-sights/hoover-panorama-2581.html
http://www.ct-graphics.com/aquatic/page2.html
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Tuesday, February 13, 2007
Samsung Ultra Smart F700
Using the new F700, business and creative professionals are able to view content on a stunning 2.78" color display. The device features first class entertainment with a top-of-the-line 5 mega-pixel camera with auto focus and Bluetooth. With 7.2 Mbps HSDPA, it makes it easier to watch videos, listen to songs, or share high-quality photos on the move.
The latest multimedia Ultra phone will be shown at 3GSM in BarcelonaSeoul, February 8th, 2007:
Samsung today announced a new addition to its Ultra portfolio with the introduction of Ultra Smart F700. This revolutionary mobile phone will be showcased at 3GSM World Congress, the largest telecommunications event, next week. The F700 features unrivaled design and brings a superior range of multimedia experiences to consumers.
The Ultra Smart is a part of Samsung’s Ultra portfolio which boasts a full touch screen as well as QWERTY key pad. It reflects the recent trend in telecommunications industry of touch screen user interface and, for users who are not yet familiar with a touch-screen-only user interface, it also implements a QWERTY key pad and VibeTonz technology which allows them to feel the buttons accompanied by responsive vibrations.
Specs and More: http://www.picturecorrect.com/phonereviews/207/samsung_ultra_smart_f700_review.htm
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Face Recognition for Online Photo Searches Sparks Privacy Fears
A new type of search engine using facial recognition technology could soon be able to pinpoint images of a person among the billions of photos posted online—even if their name does not appear.
A Swedish company named Polar Rose plans to launch its service for facial searches tied to the photo-sharing site Flickr within a couple weeks.
In the next few months the firm hopes to expand the service to search images across the entire Web.
The technology promises enhanced photo finding that would make it easier to find people on the Internet.
But privacy advocates are concerned that Polar Rose and similar facial-mapping search engines will violate people's rights and potentially aid criminals.
Lee Tien is an attorney at the Electronic Frontier Foundation, an Internet watchdog group that focuses on privacy and civil liberties.
"Photos [posted online] are effectively anonymous now," Tien said, unless they are labeled with some sort if identifying text. "But if Polar Rose works the way they say it will, that's all going to change."
Tien said that this kind of technology could aid stalkers in tracking down their victims, or it could allow employers, insurance companies, and the government to pry into people's lives more than some of us would like.
(Related news: "Privacy Fears Intensified by Tech That Knows Where You Are" [October 20, 2006].)
"People are going to have to be more careful about picture-posting and figure out ways they can prevent pictures from being [analyzed] by these search engines," Tien said.
User Input
Current image searches are based on the text surrounding a photo. Images of your neighbor, for example, should only be found if his or her name is in an associated caption or article.
Polar Rose's system works by analyzing a photo to create a three-dimensional sculpture of a person's face, which can account for changes in angle and lighting.
The company developed a computer system that takes about a second and a half to roughly guess what a person looks like in 3-D based on a photo.
The service then encodes the 3-D portrait as a set of numbers describing the face, which they call a "face print." Different face prints can be compared to see if they appear to be the same person.
The system is more than 90 percent accurate when combing through a set of about 10,000 photos, Nyholm said.
But the Web contains vastly more photos, so there are more images of people that look similar enough to trick the system.
"If we searched purely on face prints, it wouldn't be reliable enough," said Polar Rose CEO Nikolaj Nyholm. "That's why we need the help of users."
Polar Rose's system will ask users to input the names of people they recognize in photos online.
With users' help, the company will build a huge database linking together various photos of a person along with other information about them.
This database will then be able to sift through the billions of online photos and tell the difference between, for example, a girl and her sister.
"We do believe we'll be harnessing the collective intelligence rather than just the intelligence of single users," Nyholm said.
Nyholm added that Polar Rose is concerned about privacy.
The firm plans to give people ways of removing photos from the company's database or to avoid having their online photos analyzed and catalogued in the first place.
Reliable Results
Privacy fears aren't the only potential obstacle for face-mapping searches.
Reliable search results are also an issue, and it remains to be seen whether Polar Rose's service will work as well as advertised.
Riya, another company experimenting with visual searches, abandoned their face-recognition project, in part because it wasn't working well enough to meet people's needs.
"A million years of biology have trained you to be a face recognition machine," said Munjal Shah, CEO of Riya.
"You are better at this task than almost any other task you do, and I'm not sure computers are ever going to meet the satisfaction of users."
(See results from a 2005 survey testing how well people can read emotions in the faces of strangers.)
Instead the firm offers a service called Like.com, an image-searching tool that sifts through online catalogs of things such as shoes, handbags, and jewelry to look for items that have similar color, shape, texture, and other qualities.
The site can even pinpoint items in photos—such as a pair of designer shoes that starlet Lindsay Lohan wore to a movie premiere—and search online stores for look-a-like products.
"For these aesthetic items, they're very hard to describe in words," Shah said, and different people use different words for them.
This means, Shah contends, that these kinds of things—not faces—are best suited for visual search technology.
credits:Mason Inman for National Geographic News
http://news.nationalgeographic.com/news/2007/01/070105-photo-search.html
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Monday, February 12, 2007
A New and Extensive Wedding Photography Tips Section Has Been Added to All-Things-Photography.com
All Things Photography have just added a complete and free tips section on Wedding Photography to their site. It includes everything you need to get started in wedding photography including a 50 image gallery complete with exif data and comments. It has been written by a working professional wedding photographer with over 20 years experience and all images were taken by the author.
London, UK (PRWEB) February 12, 2007 --
All Things Photography release a huge, free 90-page tips section for all you budding wannabe wedding photographers out there.Having taken over 6 months to write and upload, these extensive and detailed wedding photography tips include:
• Getting the Clients
• Meeting the Clients
• Preparation
• Shooting on the Day
• Processing
• Marketing
• Pricing
• Gallery
• Resources...and much more...
For anyone with a love of photography hoping to get into the wedding photography business, it can be a daunting and difficult struggle…where do you start?
These free tips at All Things Photography literally take you from marketing yourself and getting the clients right through to providing you with all the information you need to present your work at its very best.
The tips, written by a professional working wedding photographer, also include links to all the useful suppliers and resources so that you can get started on the road to success straight away…all you need is a decent camera kit and a lot of determination.
All Things Photography maintain the intention and have pride in keeping as much information hosted on the site free and available for all to read. No registering or monthly fees necessary, just a computer and a coffee and you are set.
So, put the kettle on and follow the link below to visit the new section at All things Photography, and here's to a successful first shoot and healthy, prosperous wedding photography career.
http://www.all-things-photography.com/wedding-photography-tips.html
http://www.ct-graphics.com/aquatic/fish-school-2579.html
http://www.ct-graphics.com/people/baby-phone-2625.html
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London, UK (PRWEB) February 12, 2007 --
All Things Photography release a huge, free 90-page tips section for all you budding wannabe wedding photographers out there.Having taken over 6 months to write and upload, these extensive and detailed wedding photography tips include:
• Getting the Clients
• Meeting the Clients
• Preparation
• Shooting on the Day
• Processing
• Marketing
• Pricing
• Gallery
• Resources...and much more...
For anyone with a love of photography hoping to get into the wedding photography business, it can be a daunting and difficult struggle…where do you start?
These free tips at All Things Photography literally take you from marketing yourself and getting the clients right through to providing you with all the information you need to present your work at its very best.
The tips, written by a professional working wedding photographer, also include links to all the useful suppliers and resources so that you can get started on the road to success straight away…all you need is a decent camera kit and a lot of determination.
All Things Photography maintain the intention and have pride in keeping as much information hosted on the site free and available for all to read. No registering or monthly fees necessary, just a computer and a coffee and you are set.
So, put the kettle on and follow the link below to visit the new section at All things Photography, and here's to a successful first shoot and healthy, prosperous wedding photography career.
http://www.all-things-photography.com/wedding-photography-tips.html
http://www.ct-graphics.com/aquatic/fish-school-2579.html
http://www.ct-graphics.com/people/baby-phone-2625.html
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Guatemala City to host seminar on sports photography
Photographers and photojournalists from Latin America who cover sports are invited to participate in a seminar in Guatemala City.
Scheduled for February 22 and 23, the seminar will be led by Horacio Villalobos, director of photography and photographer in chief at the European Pressphoto Agency. The seminar is organized by the Inter American Press Association (IAPA). The seminar will cover a variety of techniques associated with sports photography including: creating a psychological profile of a star and recording an individual or a team’s road to victory. Registration costs US$450.
Participants must bring a digital camera of professional quality and a photo portfolio on CD. For more information, contact IAPA’s Alfonso Juárez, telephone (1-305) 634 2465 or visit (in Spanish) http://www.sipiapa.org/espanol/seminario/deportivo.htm.
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Scheduled for February 22 and 23, the seminar will be led by Horacio Villalobos, director of photography and photographer in chief at the European Pressphoto Agency. The seminar is organized by the Inter American Press Association (IAPA). The seminar will cover a variety of techniques associated with sports photography including: creating a psychological profile of a star and recording an individual or a team’s road to victory. Registration costs US$450.
Participants must bring a digital camera of professional quality and a photo portfolio on CD. For more information, contact IAPA’s Alfonso Juárez, telephone (1-305) 634 2465 or visit (in Spanish) http://www.sipiapa.org/espanol/seminario/deportivo.htm.
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Sunday, February 11, 2007
Wide format photography gets popular
http://www.letsgodigital.org/en/12717/wide_format_photography/
Ralf Jurrien :
Epson and Panasonic have teamed up to address the growing demand in the Middle East for true 16:9 format cameras, printers and photo paper by introducing new products to meet the needs of photographers who want to shoot, view and print in 16:9 format which brings wider breadth and deeper perspective into the picture. While Panasonic has introduced its Lumix LX2 digital camera to feature a 16:9 CCD sensor and LCD screen, Epson is launching Premium Glossy Photo Paper 16:9 that features a smooth, bright white resin-coated layer for a vibrant high-gloss finish. The photo paper is compatible with a range of Epson printers including the new Epson PictureMate PM 240 and PictureMate PM 280.
As an introductory offer Epson and Panasonic are joining together to provide a trial sample of the new 16:9 Premium Glossy Photo Paper with every purchase of the Panasonic DMC-LX2. The Panasonic Lumix DMC-LX2, 10.2-megaixel advanced compact camera, is unique in that it incorporates triple-wide features of 28 mm wide angle Leica DC lens, 16:9 wide CCD and 16:9 wide LCD. The DMC-LX2 also features MEGA O.I.S. (Optical Image stabilizer) and Intelligent ISO control to compensate for any kind of blur caused by hand shake and subject movement. It is not only the DMC-LX2 but all other Lumix cameras that can record 16:9 aspect photos to support this new photographic experience
Epson PictureMate PM 280 & PictureMate PM 240
The Epson PictureMate PM 280 and PictureMate PM 240 are premium quality 10x15cm photo printers, incorporating Epson's latest printing technologies, PhotoEnhance and Advanced Variable-Sized Droplet technology. Both work in standalone mode, so users do not even need to connect to their computers. To print 16:9 ratio photos, simply insert the digital camera memory card into the printer, select the 16:9 Epson Premium Glossy Photo Paper option and print. Exclusive to the PictureMate PM 280, is an internal CD drive allowing users to print directly from a CD or save images from the digital memory card to CD. Both printers also provide direct printing from digital camera memory cards, USB DIRECT-PRINT, PictBridge and an optional Bluetooth adapter.
Panasonic wide format photography
Yasuo Kimoto, Product Manager, Panasonic Marketing Middle East said, "Panasonic has established a new photo culture for the digital age with our Lumix range. The 16:9 ratio is close to our natural way of seeing things, and is more in proportion with the way we view scenes. It is no surprise that customers are increasingly demanding it. Panasonic is meeting their needs through our wide range of products including High Definition plasma TVs, DVD recorders and digital cameras. We believe the 16:9 photography is a key function for digital imaging and Epson's new printers and 16:9 papers are also playing an important part."
Panasonic Lumix digital cameras
Panasonic Lumix DMC-FX30
Panasonic Lumix DMC-TZ3
Panasonic Lumix DMC-FZ8
Panasonic Lumix DMC-FX12
Panasonic Lumix DMC-FX10
Panasonic Lumix DMC-LZ7
Panasonic Lumix DMC-LZ6
Panasonic Lumix DMC-LS75
Panasonic Lumix DMC-LS60
Panasonic Lumix DMC-TZ2
Epson wide format photography
Khalil El-Dalu, General Manager, Epson Middle East said, "The growing global trend among consumers looking for the 16:9 ratio in digital photography has caught on in the Middle East as well, and Epson is responding to this demand aptly. Where Panasonic has provided the technology to ensure it is possible to shoot images in true 16:9, Epson has used its expertise to provide a premium quality photo paper and printer range. The result is that digital photographers can produce perfect 16:9 format photos without losing any part of the image or sacrificing quality."
About Epson
Epson is a global leader in imaging products including printers, 3LCD projectors and small- and medium-sized LCDs. With an innovative and creative culture, Epson is dedicated to exceeding the vision and expectations of customers worldwide with products known for their superior quality, functionality, compactness and energy efficiency. Epson is a network of 102,025 employees in 120 companies around the world, and is proud of its ongoing contributions to the global environment and to the communities in which it is located. Led by the Japan-based Seiko Epson Corp., the Group had consolidated sales of 1549.5 billion yen in fiscal 2005.
About Panasonic
Best known by its Panasonic brand name, Matsushita Electric Industrial Co., Ltd. is a worldwide leader in the development and manufacture of electronic products for a wide range of consumer, business, and industrial needs. Based in Osaka, Japan, the company recorded consolidated net sales of US$76.02 billion for the year ended March 31, 2006. The company's shares are listed on the Tokyo, Osaka, Nagoya and New York stock exchanges.
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Ralf Jurrien :
Epson and Panasonic have teamed up to address the growing demand in the Middle East for true 16:9 format cameras, printers and photo paper by introducing new products to meet the needs of photographers who want to shoot, view and print in 16:9 format which brings wider breadth and deeper perspective into the picture. While Panasonic has introduced its Lumix LX2 digital camera to feature a 16:9 CCD sensor and LCD screen, Epson is launching Premium Glossy Photo Paper 16:9 that features a smooth, bright white resin-coated layer for a vibrant high-gloss finish. The photo paper is compatible with a range of Epson printers including the new Epson PictureMate PM 240 and PictureMate PM 280.
As an introductory offer Epson and Panasonic are joining together to provide a trial sample of the new 16:9 Premium Glossy Photo Paper with every purchase of the Panasonic DMC-LX2. The Panasonic Lumix DMC-LX2, 10.2-megaixel advanced compact camera, is unique in that it incorporates triple-wide features of 28 mm wide angle Leica DC lens, 16:9 wide CCD and 16:9 wide LCD. The DMC-LX2 also features MEGA O.I.S. (Optical Image stabilizer) and Intelligent ISO control to compensate for any kind of blur caused by hand shake and subject movement. It is not only the DMC-LX2 but all other Lumix cameras that can record 16:9 aspect photos to support this new photographic experience
Epson PictureMate PM 280 & PictureMate PM 240
The Epson PictureMate PM 280 and PictureMate PM 240 are premium quality 10x15cm photo printers, incorporating Epson's latest printing technologies, PhotoEnhance and Advanced Variable-Sized Droplet technology. Both work in standalone mode, so users do not even need to connect to their computers. To print 16:9 ratio photos, simply insert the digital camera memory card into the printer, select the 16:9 Epson Premium Glossy Photo Paper option and print. Exclusive to the PictureMate PM 280, is an internal CD drive allowing users to print directly from a CD or save images from the digital memory card to CD. Both printers also provide direct printing from digital camera memory cards, USB DIRECT-PRINT, PictBridge and an optional Bluetooth adapter.
Panasonic wide format photography
Yasuo Kimoto, Product Manager, Panasonic Marketing Middle East said, "Panasonic has established a new photo culture for the digital age with our Lumix range. The 16:9 ratio is close to our natural way of seeing things, and is more in proportion with the way we view scenes. It is no surprise that customers are increasingly demanding it. Panasonic is meeting their needs through our wide range of products including High Definition plasma TVs, DVD recorders and digital cameras. We believe the 16:9 photography is a key function for digital imaging and Epson's new printers and 16:9 papers are also playing an important part."
Panasonic Lumix digital cameras
Panasonic Lumix DMC-FX30
Panasonic Lumix DMC-TZ3
Panasonic Lumix DMC-FZ8
Panasonic Lumix DMC-FX12
Panasonic Lumix DMC-FX10
Panasonic Lumix DMC-LZ7
Panasonic Lumix DMC-LZ6
Panasonic Lumix DMC-LS75
Panasonic Lumix DMC-LS60
Panasonic Lumix DMC-TZ2
Epson wide format photography
Khalil El-Dalu, General Manager, Epson Middle East said, "The growing global trend among consumers looking for the 16:9 ratio in digital photography has caught on in the Middle East as well, and Epson is responding to this demand aptly. Where Panasonic has provided the technology to ensure it is possible to shoot images in true 16:9, Epson has used its expertise to provide a premium quality photo paper and printer range. The result is that digital photographers can produce perfect 16:9 format photos without losing any part of the image or sacrificing quality."
About Epson
Epson is a global leader in imaging products including printers, 3LCD projectors and small- and medium-sized LCDs. With an innovative and creative culture, Epson is dedicated to exceeding the vision and expectations of customers worldwide with products known for their superior quality, functionality, compactness and energy efficiency. Epson is a network of 102,025 employees in 120 companies around the world, and is proud of its ongoing contributions to the global environment and to the communities in which it is located. Led by the Japan-based Seiko Epson Corp., the Group had consolidated sales of 1549.5 billion yen in fiscal 2005.
About Panasonic
Best known by its Panasonic brand name, Matsushita Electric Industrial Co., Ltd. is a worldwide leader in the development and manufacture of electronic products for a wide range of consumer, business, and industrial needs. Based in Osaka, Japan, the company recorded consolidated net sales of US$76.02 billion for the year ended March 31, 2006. The company's shares are listed on the Tokyo, Osaka, Nagoya and New York stock exchanges.
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