THESE ( http://www.thisisyork.co.uk/display.var.1247408.0.stunning_images_of_our_fragile_world.php )stunning images are among those shortlisted for a top photography competition highlighting "our fragile planet".
Entrants summed up the theme in a variety of ways, taking in extreme weather conditions, pollution and the rise of genetically modified crops.
Those photographs shortlisted include a poignant image of a doll drowning in a filthy, garbage infested waterway; the devastation caused by flooding; discarded tyres nestled in undergrowth and various pictures of industrial smog.
Judges for the competition, which is organised by the York Festival Of Science And Technology, selected the shortlist from more than 200 entries.
Entrants were asked to think about how the world around us is changing with images depicting technology amid nature, the use of recycling, perhaps the impact of pollution - any photograph illustrating the delicacy and vulnerability of our world.
Martin Oates, picture editor of The Press, said: "We've been particularly impressed this year by the high standard of entries. It's evident that people have put a lot of thought into capturing the competition's theme.
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"Use of digital processes to enhance images was less evident this year, with most entries relying upon the natural landscape to capture a stunning image."
Entrants spanned the generations, from a seven-year-old, to a photography enthusiast in their seventies.
Sunflower, James Faulconbridge, Heslington, York (adult)
Festival patron and competition judge Adam Hart-Davis was delighted by the entries in the category for seven to 11-year-olds.
He said: "I thought these were amazing for such young photographers; arguably the most interesting bunch of pictures."
Also on the judging panel were Garry Fry, senior photographer at York's Central Science Laboratory (CSL), and scientist Fabien Deswarte, of the Green Chemistry Centre Of Excellence.
Those shortlisted will discover if they have won at a prize-giving ceremony on Sunday, March 18, in the Tempest Anderson Hall, at the Yorkshire Museum, York.
The winner of the adult category will spend a day shadowing Mr Fry at CSL and will be awarded up to £200 in photography vouchers.
In addition to an individual prize of a digital camera and printer, winners in the under-16s categories will win £200 for their school.
Winning entries will also be put on public display during the high profile BA Science Festival, being held in York in September.
credits: Matthew Woodcock
http://www.ct-graphics.com/scenery-sights/mojave-dunes-2602.html
http://www.ct-graphics.com/architecture/page4.html
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Saturday, March 10, 2007
HP Extends Digital Photography Offering with the Most Connected Experience for Consumers and Pros
LAS VEGAS --(Business Wire)-- Mar. 8, 2007
HP (NYSE:HPQ) today made a series of announcements designed to make its digital photography offering the most complete and highly connected experience for consumers, professional photographers and graphic artists.
Foremost among the announcements, the company introduced HP DreamColor Technologies, the industry's first highly integrated system that delivers the highest level of digital color consistency across a series of devices.
HP DreamColor will make it easy for graphic artists and professional and advanced amateur photographers to accurately match color to prints or digital sources and automatically deliver predictable color in a wide variety of applications, from photos to marketing collateral to posters.
Also introduced at the Photo Marketing Association (PMA) tradeshow, the new HP Designjet Z3100ps GP Photo Printer is one of the first products to implement HP DreamColor. Designed for professional photographers and graphic artists, the 12-ink printer uses HP Vivera pigment inks to produce exquisite prints that can last more than 200 years.(1)
Over the coming year, the company plans to implement support for HP DreamColor across a range of markets and product categories, including PCs and monitors.
HP also launched 12 new digital photography products, technologies and services for home users as well as retailers. Highlighting this lineup, the HP Photosmart R837 Digital Camera is the first digital camera featuring the ability to tag photos inside the camera, which allows for easy searching and organization within Microsoft Windows Vista(TM).
"From our ease-to-use solutions for consumers to back-end infrastructures for retailers, HP is truly the only company with the depth and breadth to create a seamless and scalable photography experience - in the home, online and at retail," said Vyomesh Joshi, executive vice president, Imaging and Printing Group, HP. "Through our innovation, we are enabling our customers to realize the true power of digital, freeing them from the constraints of analog and enabling them to tell their stories through photos."
Today at PMA, Joshi will deliver a keynote address during which he will be joined on stage by key DreamColor collaborator, Jeffrey Katzenberg, chief executive officer and director of DreamWorks Animation SKG. The two will discuss details surrounding the conception and user benefits of HP DreamColor.
Read more about it here: http://www.cameratown.com/news/news.cfm/hurl/id%7C3805
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HP (NYSE:HPQ) today made a series of announcements designed to make its digital photography offering the most complete and highly connected experience for consumers, professional photographers and graphic artists.
Foremost among the announcements, the company introduced HP DreamColor Technologies, the industry's first highly integrated system that delivers the highest level of digital color consistency across a series of devices.
HP DreamColor will make it easy for graphic artists and professional and advanced amateur photographers to accurately match color to prints or digital sources and automatically deliver predictable color in a wide variety of applications, from photos to marketing collateral to posters.
Also introduced at the Photo Marketing Association (PMA) tradeshow, the new HP Designjet Z3100ps GP Photo Printer is one of the first products to implement HP DreamColor. Designed for professional photographers and graphic artists, the 12-ink printer uses HP Vivera pigment inks to produce exquisite prints that can last more than 200 years.(1)
Over the coming year, the company plans to implement support for HP DreamColor across a range of markets and product categories, including PCs and monitors.
HP also launched 12 new digital photography products, technologies and services for home users as well as retailers. Highlighting this lineup, the HP Photosmart R837 Digital Camera is the first digital camera featuring the ability to tag photos inside the camera, which allows for easy searching and organization within Microsoft Windows Vista(TM).
"From our ease-to-use solutions for consumers to back-end infrastructures for retailers, HP is truly the only company with the depth and breadth to create a seamless and scalable photography experience - in the home, online and at retail," said Vyomesh Joshi, executive vice president, Imaging and Printing Group, HP. "Through our innovation, we are enabling our customers to realize the true power of digital, freeing them from the constraints of analog and enabling them to tell their stories through photos."
Today at PMA, Joshi will deliver a keynote address during which he will be joined on stage by key DreamColor collaborator, Jeffrey Katzenberg, chief executive officer and director of DreamWorks Animation SKG. The two will discuss details surrounding the conception and user benefits of HP DreamColor.
Read more about it here: http://www.cameratown.com/news/news.cfm/hurl/id%7C3805
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Friday, March 09, 2007
Inkjet Kiosk With a 9-Cent, 4x6 Print Being Shown To Prospective Buyers
How would you like to have an inkjet kiosk that costs about $2,000, outputs 4x6 prints for about nine cents worth of ink and paper, spits out each print in two seconds and takes up less than two square feet of counter or floor space?
It's not a Las Vegas fantasy. There is an actual, operating kiosk that can fulfill this list of specifications being shown to prospective buyers of the components and technology for such a kiosk. Unfortunately, it is being shown by invitation only in a private meeting area supplied for hush-hush sessions like this here at PMA.
A brand new firm, Memjet Photo Retail U.S., Inc., Poway, CA., has been created to be the OEM supplier to any manufacturer wishing to incorporate its Memjet inkjet technology into its own kiosk product. It will not be offering a branded kiosk with anyone's label on it.
The CEO of Memjet U.S. is David Clark, a physics PhD and a veteran of the photo industry having spent time with Kodak as its director for digital research and with the Kodak-HP Phogenix project where he served as chief technical officer until the doors were locked and he returned to Kodak to work on inkjet printer development.
The technology for the Memjet system was developed by Silverbrook Research, Sydney, Australia, described in an independent website article as a "low profile company" which in 2003 "filed more patent applications in Australia than any other organization." The firm claims to hold more than 1,300 US patents.
The heart of the memjet technology, according to David, is a large, four-inch print head which contains 32,000 densely packed nozzles compared to only a few thousand in other inkjet methods. Being the full width of the paper, the head does not move, as in typical inkjet printing systems, but is stable as the paper moves through it, he said. Such a system, he claims, substantially reduces cost.
He said that there are five rows of nozzles per print head: two with cyan ink, two with magenta and one with yellow, and that the proprietary dye-based ink "meets the industry standard of longevity equal to silver halide prints."
As to the quality of the print, I'm no maven, but having served retail customers in my own eight labs for a number of years, the prints looked very saleable. David's description: "It meets the benchmark for consumer photos." Its literature states: "True 1600 dpi print quality."
Memjet Photo Retail has been established to take on the roll of introducing the technology to manufacturers in the photo industry that would incorporate it into their own kiosk design and sell the finished product through their established channels. Memjet will be the supplier of the proprietary ink and compatible inkjet paper to its customers. David said his firm will not offer a kiosk finished product—only the components and technology for others.
David said that the system had been shown to certain prospectives in past months and met with considerable interest. He would not reveal any names at this point but there is a rumor that one manufacturer will be introducing a kiosk here in Las Vegas that incorporates the memjet system.
As to the nine-cent cost for media and ink for a 4x6 and the $2,000 cost for the kiosk, David said that setting the selling prices would be up to each manufacturer as it takes the finished product to market and could vary. However, his presentation to buyers is very specific to these numbers.
Nine cents would bring the 4x6 print cost closer to the magic goal of matching the cost of a silver halide print of about 5-6 cents and is somewhat below existing dye-sub media, in the 12-15-cent range, and the inkjet systems from Noritsu and HP which are a few cents cheaper.
The operating unit being demonstrated in Las Vegas is described by David as "a simple system." It incorporates a 10.5-inch touch screen monitor in a tabletop unit that will accept all common memory cards and PictBridge connection. It measures 10-inches wide and 20-inches deep.
The software approach is also 'simple.' According to David it is designed to have a consumer come up to the kiosk, insert a media card, select which images to print, how many of each image, or print the entire file. The prints start dropping out immediately at the rate of one every two seconds, or 30 per minute. When the order is for the entire file, he said, it prints the last image first and the customer can halt the process at any time.
Forget cropping, zooming, color correction, etc. These features are not in the demo software though David said a manufacturer could add whatever software he chooses.
As demoed, the printer is set up with ink and sheet media to output 1,000 prints. A service module kit loads the kiosk with new consumables and the empty module will be returned for re-loading, according to David.
While the memjet system is expected to be incorporated in a consumer-operated kiosk, David said that it could be networked for use as a dedicated 4-inch printer behind the counter, feed from a roll rather than cut sheets and output 1,800 prints an hour. HP has a 4x6-only, behind-the-counter unit with its Microlab PS-1000, a 700-print/hr. unit which employs the inkjet print engine used in its Express kiosk.
As for availability, David said the 4-inch memjet system would be available later this year. For the future, an 8-inch width print head is being developed which, he claims, should be ready in about 18 months.
In addition to David's activity with Memjet Photo Retail, there are companion programs to incorporate the memjet system into home and office printer systems.
thanks to Jerry Lansky
http://www.imaginginfo.com/article/article.jsp?siteSection=49&id=2345
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Fall into the Romance of Fashion Photography
Bruce Smith knows it is the space between people that can bring them closer together.
Whether across the room or up close to his subject, this British-born photographer recognizes that the energy he projects is channeled through the space between his model and himself.
"I find that by doing the poses and expressions in my face that I want, my models seem to mirror mine," he said. "If I act daft, they act daft. If I laugh, they laugh. If I pull a sad face, they pull a sad face - which always makes them smile."
Though the Liverpool-based fashion image maker has worked in some of the most exotic locales on the planet with the world's most beautiful women, he's still down-to-Earth and passionate about his romantic, mysterious and classic style of capturing couture.
Like most success stories, however, his journey was an evolution; tracks that led him toward a fulfilling life.
He began his auspicious 30-year career by getting fired as a photo assistant after two years of brewing tea, sweeping and fetching equipment for several studio photographers.
"I believe there's a reason for everything," he said in a recent radio interview. "I learned a lot from getting sacked." This was a time when Smith's life was largely unfulfilling. He decided to go solo, setting up a tiny photo studio in behind his brother's hair salon in Liverpool. He snapped portraits of children and families and some weddings.
Soon Smith discovered he didn't have any passion for this kind of studio work. He felt stifled working in one place and was searching for another challenge when fate stepped in. His brother's friend was holding a hairstylist event at a local salon and asked him to shoot some of the more "adventurous" hairdos.
Attracted to the fast-paced nature, the beautiful models and the added challenges of the gig, Smith realized there were other avenues he could take in photography. Without another thought he switched gears toward fashion and editorial work.
His first big break came together in a series of coincidences. First: he nervously introduced himself to an exotic, panther-like model who he eyed in a Liverpool nightclub. With sweaty hands, he clumsily offered her his business card along with invitation for a photo shoot. But Smith never heard from the six-foot beauty until the day he was attending a casting call. One of the models at the agency was the same beauty from the nightclub. Realizing Smith was the real deal, she apologized to him and the two set a date for a test shoot.
Next, Smith was charged with finding a designer to clothe his new model. He arranged to borrow clothing from Helen Anderson, a designer of couture gowns sold at upscale stores such as the Harrods in London.
Upon visiting the designer, another common link was unveiled; Smith's model was the one she chose to model her collection with another photographer. When she met Smith, she changed her mind and asked him to shoot the collection.
"What I was trying to set up as a test became a job," said Smith, who has also shot couture collections and bridal wear from Lyn Ashworth and Sacha James.
One of the many lessons Smith has learned over the years is to focus on capturing the fashions, not the models. In fact, his mother helped with this realization. One day, as a fledgling shooter, Smith asked his mother, a very stylish woman herself, to critique his work: "Nice pictures," she said, "but they are just pictures of pretty girls not fashion pictures." A shift in focus was needed from the models to the clothing. He listened to his mother's advice. "The model is your prop," he realized. This revelation changed his entire approach to shooting fashion. Good business sense is as important as passion when it comes to longevity in this business. Rather than arguing his vision with the client he often shoots an assignment two ways: the client's and his. This way the client sees the difference for him or herself, explained Smith. This technique worked with designer Anderson, who had a preconceived notion of what she wanted for her collection photos—more posed, forced shots. But Smith wanted to take freer images that contained his emotions and feelings. In the end, she used all his pictures, which gave him the confidence to move forward in his career.
And the self-discovery continues today. While undergoing a period of self-examination when a friend questioned him on how he achieved his style, Smith decided to try shooting with wider lenses to vary his ubiquitous bridal-wear pictures. For years, Smith shot with medium-length telephotos. At times, he was so far away that his models couldn't hear his directions.
"While moving in closer to my model, I noticed a big difference in the expressions in her face and her body language‑-they changed, as I got closer," he says.
"Not only could I see better, it also created a much better flow of the energy and communication between my model and me."
He found this method allowed him more control over his photos as well.
More than traveling to any exotic locale, from Morocco to Thailand, the spiritual journey allowed him to discover the true source of his inspiration: "the classic line of a beautiful gown and the energy exchanged between me and a good model."
Using all digital these days because of the speed it affords, Smith prefers photographing with a Nikon D2X, with a 17 to 55, f2.8 Nikon zoom, with ambient light and the California Sunbounce System of diffusers and reflectors.
Somehow the Brit has also managed to bridge the oceanic divide between the U.S. and Europe and work on two continents. He teaches workshops in the U.S. and the U.K as well as Milan, Tuscany and Venice.
But, he added, there are differences between the desired photographic styles:
"European markets are not as heavily-styled or stylized, but lately they are becoming very similar [to the U.S.]."
Smith is currently offering a host of fashion photography courses and workshops in the U.S. and Europe. For more information, visit http://www.brucesmithphotographer.com/workshops/, or to view more images check out http://www.brucesmithphoto.com.
credits: Alysha Sideman
http://www.ct-graphics.com/transportation/global-positioning-2601.html
http://www.ct-graphics.com/architecture/page3.html
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Whether across the room or up close to his subject, this British-born photographer recognizes that the energy he projects is channeled through the space between his model and himself.
"I find that by doing the poses and expressions in my face that I want, my models seem to mirror mine," he said. "If I act daft, they act daft. If I laugh, they laugh. If I pull a sad face, they pull a sad face - which always makes them smile."
Though the Liverpool-based fashion image maker has worked in some of the most exotic locales on the planet with the world's most beautiful women, he's still down-to-Earth and passionate about his romantic, mysterious and classic style of capturing couture.
Like most success stories, however, his journey was an evolution; tracks that led him toward a fulfilling life.
He began his auspicious 30-year career by getting fired as a photo assistant after two years of brewing tea, sweeping and fetching equipment for several studio photographers.
"I believe there's a reason for everything," he said in a recent radio interview. "I learned a lot from getting sacked." This was a time when Smith's life was largely unfulfilling. He decided to go solo, setting up a tiny photo studio in behind his brother's hair salon in Liverpool. He snapped portraits of children and families and some weddings.
Soon Smith discovered he didn't have any passion for this kind of studio work. He felt stifled working in one place and was searching for another challenge when fate stepped in. His brother's friend was holding a hairstylist event at a local salon and asked him to shoot some of the more "adventurous" hairdos.
Attracted to the fast-paced nature, the beautiful models and the added challenges of the gig, Smith realized there were other avenues he could take in photography. Without another thought he switched gears toward fashion and editorial work.
His first big break came together in a series of coincidences. First: he nervously introduced himself to an exotic, panther-like model who he eyed in a Liverpool nightclub. With sweaty hands, he clumsily offered her his business card along with invitation for a photo shoot. But Smith never heard from the six-foot beauty until the day he was attending a casting call. One of the models at the agency was the same beauty from the nightclub. Realizing Smith was the real deal, she apologized to him and the two set a date for a test shoot.
Next, Smith was charged with finding a designer to clothe his new model. He arranged to borrow clothing from Helen Anderson, a designer of couture gowns sold at upscale stores such as the Harrods in London.
Upon visiting the designer, another common link was unveiled; Smith's model was the one she chose to model her collection with another photographer. When she met Smith, she changed her mind and asked him to shoot the collection.
"What I was trying to set up as a test became a job," said Smith, who has also shot couture collections and bridal wear from Lyn Ashworth and Sacha James.
One of the many lessons Smith has learned over the years is to focus on capturing the fashions, not the models. In fact, his mother helped with this realization. One day, as a fledgling shooter, Smith asked his mother, a very stylish woman herself, to critique his work: "Nice pictures," she said, "but they are just pictures of pretty girls not fashion pictures." A shift in focus was needed from the models to the clothing. He listened to his mother's advice. "The model is your prop," he realized. This revelation changed his entire approach to shooting fashion. Good business sense is as important as passion when it comes to longevity in this business. Rather than arguing his vision with the client he often shoots an assignment two ways: the client's and his. This way the client sees the difference for him or herself, explained Smith. This technique worked with designer Anderson, who had a preconceived notion of what she wanted for her collection photos—more posed, forced shots. But Smith wanted to take freer images that contained his emotions and feelings. In the end, she used all his pictures, which gave him the confidence to move forward in his career.
And the self-discovery continues today. While undergoing a period of self-examination when a friend questioned him on how he achieved his style, Smith decided to try shooting with wider lenses to vary his ubiquitous bridal-wear pictures. For years, Smith shot with medium-length telephotos. At times, he was so far away that his models couldn't hear his directions.
"While moving in closer to my model, I noticed a big difference in the expressions in her face and her body language‑-they changed, as I got closer," he says.
"Not only could I see better, it also created a much better flow of the energy and communication between my model and me."
He found this method allowed him more control over his photos as well.
More than traveling to any exotic locale, from Morocco to Thailand, the spiritual journey allowed him to discover the true source of his inspiration: "the classic line of a beautiful gown and the energy exchanged between me and a good model."
Using all digital these days because of the speed it affords, Smith prefers photographing with a Nikon D2X, with a 17 to 55, f2.8 Nikon zoom, with ambient light and the California Sunbounce System of diffusers and reflectors.
Somehow the Brit has also managed to bridge the oceanic divide between the U.S. and Europe and work on two continents. He teaches workshops in the U.S. and the U.K as well as Milan, Tuscany and Venice.
But, he added, there are differences between the desired photographic styles:
"European markets are not as heavily-styled or stylized, but lately they are becoming very similar [to the U.S.]."
Smith is currently offering a host of fashion photography courses and workshops in the U.S. and Europe. For more information, visit http://www.brucesmithphotographer.com/workshops/, or to view more images check out http://www.brucesmithphoto.com.
credits: Alysha Sideman
http://www.ct-graphics.com/transportation/global-positioning-2601.html
http://www.ct-graphics.com/architecture/page3.html
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Thursday, March 08, 2007
Adobe plans two editions of Photoshop CS3
Adobe plans hardcore version of Photoshop
Adobe Systems stole the show at the Photo Marketing Association (PMA) event with news that it plans to offer two editions of Adobe Photoshop CS3.
Photoshop CS3 will be joined by Photoshop CS3 Extended, a completely new edition that enables cross-media creative professionals to stretch the limits of digital imaging.
Both products will be introduced on 27 March at the launch of Creative Suite 3. The software is expected to ship in spring 2007.
Photoshop CS3 Extended includes everything in Photoshop CS3 plus a new set of capabilities for the integration of 3D and motion graphics, image measurement and analysis. Photoshop CS3 Extended is also being aimed at professionals in architecture, engineering and other advanced imaging fields.
The new version harnesses Photoshop's tools for the editing of 3D and motion-based content. Film and video specialists can perform 3D model visualisation and texture editing, and paint and clone over multiple video frames. Animators can render and incorporate rich 3D content into their 2D compositions. Graphic and web designers can create animations.
"We never imagined that Photoshop would someday help make major motion pictures, let alone save lives," said John Loiacono, senior vice president of Adobe's creative solutions business unit. "Whether it's a video producer texture editing the backdrop of a film or a researcher counting hundreds of cancer cells, diverse industries are already relying on the professional standard in digital imaging."
To help in the work of the high-end imagers, the software carries tools capable of extracting quantitative and qualitative data from images. It also supports sophisticated image formats as used in life science.
Both Photoshop CS3 and Photoshop CS3 Extended will ship as Universal binaries for the Mac platform and will also be available for Windows XP and Windows Vista.
credits: Jonny Evans - http://www.macworld.co.uk/procreative/news/index.cfm?newsid=17426
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Microsoft launches cross-platform HD Photo format
Microsoft moves in with better-than-JPEG imaging format
Microsoft has announced a new file format for digital photography, HD Photo, taking on the industry-stalwart JPEG format.
The new format was announced at the Photo Marketing Association (PMA) 2007 trade show.
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HD Photo is described as offering high image quality, greater preservation of data, and advanced features for digital-imaging applications.
Microsoft also announced that it intends standardising the technology and will be submitting HD Photo to an "appropriate standards organisation shortly".
The cross-platform format claims compression with up to twice the efficiency of JPEG — higher-quality images that are one-half the file size (of JPEG). It also offers the capacity to preserve the entire original image content and higher-quality exposure and colour adjustment (than JPEG).
"With HD Photo, we're taking a new approach to creating and editing photos that simply isn't available to photographers with today's formats," said Amir Majidimehr, corporate vice president of the consumer media technology group at Microsoft. "HD Photo fully preserves the original image fidelity with high dynamic range while still allowing for significant improvement in compression size."
HD Photo offers both lossless and lossy image compression. Microsoft claims the application of adjustments to colour balance and exposure settings won't discard or truncate data.
Microsoft also announced the beta release of a set of HD Photo plug-ins for Adobe Photoshop, developed with the help of Adobe. These plug-ins enable users to both read and write HD Photo files from within Photoshop CS3 and CS2.
This plug-in will be available for Windows Vista, Windows XP and Mac OS X, though only the Windows beta is available now. Microsoft expects to release finished plug-ins, which will be free of charge, in approximately 60 days.
more at: http://www.macworld.co.uk/news/index.cfm?RSS&newsID=17429
http://www.ct-graphics.com/scenery-sights/london-dragon-2600.html
http://www.ct-graphics.com/architecture/page2.html
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Wednesday, March 07, 2007
Studio Photography This Month
Studio Photography (formerly Studio Photography & Design), serving professional photographers and imaging professionals, delivers a monthly showcase of the hottest portrait, wedding, commercial, digital, and travel photographers - supported by a selection of supplementary guides, tech tips, tutorials, and product round-ups.
In The March 2007 Issue
Cover Story
Liberation! By Martha Blanchfield
Features
Fast, Flexible, Nimble By Dan Havlik
Switching Gears By Elizabeth Friszell-Neroulas
Columns & Departments
Have A Good Show By Alice B. Miller
Marketing Strategies
Presentations: Folders & Folios Complete the Presentation By Dave Wacker
Products & Services
A Day in the Life of a Lensbaby 3G Helping to Capture the Circle of Life By Peggy Dyer
Innovations By Tara Propper
Lasting Impressions By Jennifer Gidman
Business Matters
Firefighters' Calendar a Big Success By Georgia Sheron
Are Videography Services Part of Your Product Mix? By Tara Propper
Technique & Workflow
OnOne Software's PhotoFrame Pro 3 By Scott Stulberg
Onlinephotofix.com By Bernie Walters
Shoot for Good, Not to Fix It Later By Gil Stose
Product Review
Apple Aperture 1.5 By Andy Marcus
Epson Stylus Pro 3800 By Douglas Dubler
Read More in the Studio Photography Archives
http://www.ct-graphics.com/people/sheriff-2599.html
http://www.ct-graphics.com/wildlife/page11.html
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In The March 2007 Issue
Cover Story
Liberation! By Martha Blanchfield
Features
Fast, Flexible, Nimble By Dan Havlik
Switching Gears By Elizabeth Friszell-Neroulas
Columns & Departments
Have A Good Show By Alice B. Miller
Marketing Strategies
Presentations: Folders & Folios Complete the Presentation By Dave Wacker
Products & Services
A Day in the Life of a Lensbaby 3G Helping to Capture the Circle of Life By Peggy Dyer
Innovations By Tara Propper
Lasting Impressions By Jennifer Gidman
Business Matters
Firefighters' Calendar a Big Success By Georgia Sheron
Are Videography Services Part of Your Product Mix? By Tara Propper
Technique & Workflow
OnOne Software's PhotoFrame Pro 3 By Scott Stulberg
Onlinephotofix.com By Bernie Walters
Shoot for Good, Not to Fix It Later By Gil Stose
Product Review
Apple Aperture 1.5 By Andy Marcus
Epson Stylus Pro 3800 By Douglas Dubler
Read More in the Studio Photography Archives
http://www.ct-graphics.com/people/sheriff-2599.html
http://www.ct-graphics.com/wildlife/page11.html
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majestic mountains framed prints
majestic mountains acrylic prints
majestic mountains prints
majestic mountains posters
majestic mountains greeting cards
majestic mountains photos
blue sky art
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blue sky prints
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Photographers Denied Access in Document Dilemma
Times-Picayune (New Orleans)
Several newspapers, including The Times-Picayune, were denied access to photograph the state girls high school basketball championships Monday night when they refused to sign a document limiting the right of newspapers to resell their photos to the public.
Many newspapers post expanded galleries of their photographs on their Web sites and offer prints for sale, often to family members.
The Louisiana High School Athletic Association now requires all photographers to sign a form allowing only photographs published on newsprint to be sold. Commissioner Tommy Henry said the LHSAA has an exclusive contract with Musemeche Photography to sell photos on the Internet.
A Times-Picayune photographer was in Hammond to photograph Mount Carmel Academy in its semifinal game against Southwood. Newspapers from Baton Rouge, Monroe, Hammond and Shreveport also were denied access when they refused to sign the form. Another round of tournament games is scheduled for tonight.
"We believe we have the right to decide what to do with our photographs," said Jim Amoss, editor of The Times-Picayune. "In our view, there is no difference whether we choose to publish a photo in print or on the Web."
While the issue has been bandied about for years, it came to a head just Monday.
"We were hoping to get a grace period and be able to work this out," said Pam Mitchell-Wagner, executive director of the Louisiana Press Association. "We look at this as a freedom of the press issue. We can't allow anyone to dictate how we cover an event."
"Obviously we object to this," said Kathy Spurlock, executive editor of the Monroe News-Star. "These are high school games, played in a public setting and open to the public. We are the representatives of the public and have a right to cover the event and use our material as we see fit."
more at: http://www.imaginginfo.com/article/article.jsp?siteSection=3&id=2353
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Several newspapers, including The Times-Picayune, were denied access to photograph the state girls high school basketball championships Monday night when they refused to sign a document limiting the right of newspapers to resell their photos to the public.
Many newspapers post expanded galleries of their photographs on their Web sites and offer prints for sale, often to family members.
The Louisiana High School Athletic Association now requires all photographers to sign a form allowing only photographs published on newsprint to be sold. Commissioner Tommy Henry said the LHSAA has an exclusive contract with Musemeche Photography to sell photos on the Internet.
A Times-Picayune photographer was in Hammond to photograph Mount Carmel Academy in its semifinal game against Southwood. Newspapers from Baton Rouge, Monroe, Hammond and Shreveport also were denied access when they refused to sign the form. Another round of tournament games is scheduled for tonight.
"We believe we have the right to decide what to do with our photographs," said Jim Amoss, editor of The Times-Picayune. "In our view, there is no difference whether we choose to publish a photo in print or on the Web."
While the issue has been bandied about for years, it came to a head just Monday.
"We were hoping to get a grace period and be able to work this out," said Pam Mitchell-Wagner, executive director of the Louisiana Press Association. "We look at this as a freedom of the press issue. We can't allow anyone to dictate how we cover an event."
"Obviously we object to this," said Kathy Spurlock, executive editor of the Monroe News-Star. "These are high school games, played in a public setting and open to the public. We are the representatives of the public and have a right to cover the event and use our material as we see fit."
more at: http://www.imaginginfo.com/article/article.jsp?siteSection=3&id=2353
Photography lovers who liked this also liked:
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wasatch mountains framed prints
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wasatch mountains prints
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wasatch mountains photos
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brighton framed prints
brighton acrylic prints
brighton prints
brighton posters
brighton greeting cards
brighton photos
alta art
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alta framed prints
alta acrylic prints
alta prints
alta posters
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alta photos
Tuesday, March 06, 2007
Adobe to take Photoshop Online
"Hoping to get a jump on Google and other competitors, Adobe Systems plans to release a hosted version of its popular Photoshop image-editing application within six months, the company's chief executive said Tuesday.
The online service is part of a larger move to introduce ad-supported online services to complement its existing products and broaden the company reach into the consumer market, Adobe CEO Bruce Chizen told CNET News.com."
Chizen said Adobe laid the foundation for a hosted Photoshop product with Adobe Remix, a Web-based video-editing tool it offers through the PhotoBucket media-sharing site.
Like Adobe Remix, the hosted Photoshop service is set to be free and marketed as an entry-level version of Adobe's more sophisticated image-editing tools, including Photoshop and Photoshop Elements. Chizen envisions revenue from the Photoshop service coming from online advertising.
"That is new (for Adobe). It's something we are sensitive to because we are watching folks like Google do it in different categories, and we want to make sure that we are there before they are, in areas of our franchises," Chizen said.
Chizen described the introduction of Adobe Remix and the forthcoming hosted Photoshop as part of a larger move toward integrating hosted services into the company's product mix.
Bruce Chizen
Like Microsoft, Adobe's business is built largely around packaged software, installed locally on users' PCs. Likewise, Adobe's plans to diversify its business with online services mirrors a large-scale effort at Microsoft to introduce a combination of software and services.
full article: http://news.com.com/Adobe+to+take+Photoshop+online/2100-7345-6163015.html
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The online service is part of a larger move to introduce ad-supported online services to complement its existing products and broaden the company reach into the consumer market, Adobe CEO Bruce Chizen told CNET News.com."
Chizen said Adobe laid the foundation for a hosted Photoshop product with Adobe Remix, a Web-based video-editing tool it offers through the PhotoBucket media-sharing site.
Like Adobe Remix, the hosted Photoshop service is set to be free and marketed as an entry-level version of Adobe's more sophisticated image-editing tools, including Photoshop and Photoshop Elements. Chizen envisions revenue from the Photoshop service coming from online advertising.
"That is new (for Adobe). It's something we are sensitive to because we are watching folks like Google do it in different categories, and we want to make sure that we are there before they are, in areas of our franchises," Chizen said.
Chizen described the introduction of Adobe Remix and the forthcoming hosted Photoshop as part of a larger move toward integrating hosted services into the company's product mix.
Bruce Chizen
Like Microsoft, Adobe's business is built largely around packaged software, installed locally on users' PCs. Likewise, Adobe's plans to diversify its business with online services mirrors a large-scale effort at Microsoft to introduce a combination of software and services.
full article: http://news.com.com/Adobe+to+take+Photoshop+online/2100-7345-6163015.html
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wolf prints
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Nikon Announces the D40X Digital SLR
TOKYO – Nikon Corporation is pleased to announce the D40X, a new digital SLR incorporating a 10.2-megapixel CCD. The D40X is scheduled to launch worldwide on March 29, 2007 and is a sister model to the D40, which has a 6.1-megapixel CCD. While maintaining the compact size and portability of the D40 camera body, the D40X produces even more outstanding, detailed pictures thanks to its 10.2-megapixel CCD and cutting-edge digital technologies.
Press Release about Nikon’s smallest digital SLR combines a 10.2-megapixel CCD with a simple, intuitive operation designed to take great, high-resolution pictures for everyone, and specks here:
http://www.ct-graphics.com/recreation-sports/racetrack-aerial-2598.html
http://www.ct-graphics.com/wildlife/page10.html
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Monday, March 05, 2007
Olympus EVOLT E-410
The Olympus EVOLT E-410 is a new entry level DSLR announced by Olympus today. It features a 10 megapixel sensor (Four Thirds N-MOS), a 2.5 inch LCD (with 230,000 pixels), live view mode, 49 segment iESP metering, center weighted average metering, three types of spot metering, ISO of 100-1600, shutter speed of 60-1/4000 and a large variety of scene modes.
There are a variety of pricing configurations for the Olympus EVOLT E-410 including:
EVOLT E-410 body Estimated Street Price: $699 USD EVOLT E-410 with ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens Estimated Street Price: $799 USD EVOLT E-410 with both ED 14-42mm f3.5/5.6 and ED 40-150mm f4.0/5.6 Zuiko Digital Zoom Lens Estimated Street Price: $899 USD
Olympus Evolt E-410 News Release OLYMPUS EVOLT E-410 DIGITAL SLR TAKES THE GUESSWORK OUT OF GREAT PHOTOGRAPHY
Portable Powerhouse Meets Any Challenge with 2.5-Inch Live View LCD, 10-Megapixel Imaging Sensor and Proven Dust Reduction System for Spot-Free Images
CENTER VALLEY, Pa, March 5, 2007 – Olympus today announces the EVOLT E-410 digital SLR (single lens reflex) camera – easy enough for the first-time user, advanced enough for the serious photographer. High performance and functionality are packed into a surprisingly portable and simple-to-use body. The E-410 is the best value in its class (available in three configurations beginning at $699.99 for the body) and is loaded with innovations, including:
* Live View LCD enables users to compose shots from a variety of angles other consumer digital SLR cameras just can’t match; * 10-megapixel Live MOS Image Sensor generates super high-resolution images that can be cropped or blown up to poster size without sacrificing image quality; * TruePic III for superior image quality in all lighting situations; * Dust Reduction System ensures spot-free photos, so users can spend more time taking pictures and less time removing unsightly specks from digital images with computer software; and * Extremely portable and lightweight body complemented by two new ultra-compact digital specific lenses that won’t weigh you down and encourage users to take it along on vacations or any family outing.
Innovative 2.5-Inch Full Time Live View HyperCrystal LCD The E-410 offers ease-of-shooting and greater flexibility with the Live View LCD. Composing photographs is easier as subjects can be seen on the Live View LCD, which offers a wide 176-degree viewing angle. This enables images to be effortlessly taken from angles that would typically be difficult with a traditional optical viewfinder – which is still the only option on many competing digital SLR cameras. Interacting with subjects, such as toddlers and pets, is also possible thanks to the Live View LCD, which enables pictures to be taken while holding the camera away from your face.
The E-410’s big and bright 2.5-inch LCD display with approximately 230,000 pixels includes HyperCrystal technology, which offers many times the contrast of conventional LCD monitors, and enables images to be beautifully displayed in vivid color – both in preview and playback. The HyperCrystal LCD also provides a wide viewing angle, which ensures images can be composed from even the most obscure angles. The larger LCD makes viewing icons and text on the camera’s menu a squint-free process.
“The E-410’s Live View LCD is appealing to many consumers moving up from digital point-and-shoot cameras as many of these consumers have never used an optical viewfinder,” said Richard Pelkowski, product manager, Olympus Imaging America Inc. “The Live View LCD is also perfect for capturing up-close macro shots of flowers and jewelry. Coupled with the underwater housing, the Live View LCD also makes underwater photography easy, where looking through a traditional optical viewfinder is extremely inconvenient.”
Detailed, Bright and Colorful Photos with 10-Megapixel Live MOS Image Sensor The E-410 is loaded with an impressive 10 million pixels for high-resolution photos. The 10-megapixel sensor gives users the flexibility to blow-up their prints to the large sizes supported by many of today’s printers, or crop the image to print only a part of the image that is important to them. The high-performance Live MOS image sensor in the E-410 delivers excellent dynamic range for accurate color fidelity, and a new state-of-the-art amplifier circuit to eradicate noise and capture fine image details in the highlight and shadow areas.
Dust Reduction System for Spot-Free Images Olympus’ proven Dust Reduction System produces spot-free photos with the exclusive Supersonic Wave Filter. The patented ultrasonic technology vibrates to remove dust and other particles from the front of the image sensor and captures it on a special adhesive membrane every time the camera is turned on. These spot-free photos liberate users from hours spent retouching photographs at the computer or sending their cameras back to the manufacturer to remove dust trapped inside.
TruePic III for Image Clarity Olympus’ enhanced TruePic III Image Processor produces crystal clear photos using all the pixel information for each image to provide the best digital images possible for every photo with accurate color, true-to-life flesh tones, brilliant blue skies and precise tonal representation in between. TruePic III also lowers image noise by one step to reduce noise in images shot at higher ISO settings, enabling great results in low-light situations.
Two More Lenses Added to World’s Largest Selection of Digital Specific Lenses The versatility of the Olympus E-System comes from delivering the largest selection of “Designed-for-Digital” lenses – more than any other manufacturer to date. Olympus’ Zuiko Digital Specific Lenses come in a wide range of focal lengths to achieve the best image result in any given situation, and impress with their spectacular clarity and edge-to-edge sharpness.
The E-410 one-lens outfit includes a compact, Zuiko Digital ED 14 – 42 mm f3.5 – f5.6 Lens (equivalent to 28mm – 84mm in 35mm photography) that perfectly matches the imager so light strikes the sensor directly to ensure rich, accurate colors and edge-to-edge sharpness. Its 3x ED Glass zoom lens covers the range most frequently used in everyday photography and weighs just 7.5 ounces, offering users an extremely dynamic, portable everyday-use zoom. Close-ups as near as 9.84 inches (0.25 m) are also possible throughout the zoom range.
The E-410 two-lens outfit adds the Zuiko Digital ED 40-150mm f4.0-5.6 (80-300mm equivalent) Lens, which provides users with greater telephoto power for far-away shots in a compact size. This telephoto lens is smaller than many standard zoom lens at 2.6 inch diameter x 2.8 inch length and a weight of 8.8 ounces – a real benefit for anyone who wants to pack a powerful zoom lens without taking up much space. It also has great close focusing abilities, and is able to capture a subject up-close from a distance of 31.5 inches (.8m). Consumers won’t break the bank to get this great focal flexibility. For a mere $100.00, the two-lens kit includes the Zuiko Digital ED 40-150MM telephoto zoom lens – a $279.00 value!
Both lenses are exceptionally compact, allowing unimpeded mobility. They are sized for comfortable handling and designed for maximum image quality at an excellent price. Most important, these new lenses have the world-renowned ED lenses that deliver stunning high-quality images.
All E-Series cameras support the Four-Thirds Standard whereby Olympus and various other manufacturers produce high-quality Four-Thirds-compliant lenses and accessories that are specifically designed for digital SLR image capture. Because the E-410 is part of the Olympus E-System, it is compatible with a large and growing range of Olympus E-System accessories to further enhance personal shooting styles and applications. This includes the full line-up of Zuiko Digital Specific lenses and flashes.
Underwater Photography An Underwater Case (PT-E-03), five lens ports and a flash housing enable adventurous photographers to capture the delights of the aquatic world down to depths of approximately 131 feet (40 meters). The EVOLT E-410’s Live View mode makes digital SLR photography a breeze for both the first-time or experienced underwater photographer.
Easy-to-Use, Easy-to-Handle Light and Ergonomic Design The EVOLT E-410 is extremely portable, measuring 5.1 inches (129.5mm) by 3.58 inches (91mm) and 2.1 inches (53mm), excluding protrusions, and weighing 13.4 ounces (380 grams) body only. The new camera has a classic penta-mirror design that is light and compact enough to comfortably shoot with all day. Beyond its portable size, the E-410 delivers unparalleled ease of use – from menus that make sense and buttons on the body that are easy to understand and operate, to automatic settings for every imaginable situation.
While the E-410 includes a full range of manual control options to customize your creativity, it also has 30 shooting modes designed to provide the ideal settings for a variety of shooting situations automatically. These include Digital Image Stabilization, Night Scene, Fireworks, Beach and Snow, Underwater, and Candle Light to name a few, as well as an xD Panorama mode (for use with Olympus xD-Picture Cards). Users also benefit from special color modes and the possibility to apply a variety of Black & White filters.
A new high-power rechargeable battery is included with the E-410 so that users can keep shooting for extended periods. Accepting both CompactFlash Type I & II, Microdrives, and xD-Picture Cards, the camera provides a choice of data storage options for enhanced flexibility, and it is possible to transfer image files from one card to the other right inside the camera.
Availability The Olympus EVOLT E-410 Digital SLR will be available in May 2007. It includes: EVOLT E-410 Body, USB Cable, Video Cable, Li-Ion Battery Pack (BLM-1), Li-Ion Battery Charger (BCM-2), Shoulder Strap, OLYMPUS Master Software CD-ROM, Manuals, Warranty card.
US Pricing / Product Configurations EVOLT E-410 body Estimated Street Price: $699 EVOLT E-410 with ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens Estimated Street Price: $799 EVOLT E-410 with both ED 14-42mm f3.5/5.6 and ED 40-150mm f4.0/5.6 Zuiko Digital Zoom Lens Estimated Street Price: $899
http://www.livingroom.org.au/photolog/reviews/olympus/olympus_evolt_e410.php
Thanks to Darren in our Olympus category on March 05, 2007
http://www.ct-graphics.com/transportation/service-station-2597.html
http://www.ct-graphics.com/wildlife/page9.html
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There are a variety of pricing configurations for the Olympus EVOLT E-410 including:
EVOLT E-410 body Estimated Street Price: $699 USD EVOLT E-410 with ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens Estimated Street Price: $799 USD EVOLT E-410 with both ED 14-42mm f3.5/5.6 and ED 40-150mm f4.0/5.6 Zuiko Digital Zoom Lens Estimated Street Price: $899 USD
Olympus Evolt E-410 News Release OLYMPUS EVOLT E-410 DIGITAL SLR TAKES THE GUESSWORK OUT OF GREAT PHOTOGRAPHY
Portable Powerhouse Meets Any Challenge with 2.5-Inch Live View LCD, 10-Megapixel Imaging Sensor and Proven Dust Reduction System for Spot-Free Images
CENTER VALLEY, Pa, March 5, 2007 – Olympus today announces the EVOLT E-410 digital SLR (single lens reflex) camera – easy enough for the first-time user, advanced enough for the serious photographer. High performance and functionality are packed into a surprisingly portable and simple-to-use body. The E-410 is the best value in its class (available in three configurations beginning at $699.99 for the body) and is loaded with innovations, including:
* Live View LCD enables users to compose shots from a variety of angles other consumer digital SLR cameras just can’t match; * 10-megapixel Live MOS Image Sensor generates super high-resolution images that can be cropped or blown up to poster size without sacrificing image quality; * TruePic III for superior image quality in all lighting situations; * Dust Reduction System ensures spot-free photos, so users can spend more time taking pictures and less time removing unsightly specks from digital images with computer software; and * Extremely portable and lightweight body complemented by two new ultra-compact digital specific lenses that won’t weigh you down and encourage users to take it along on vacations or any family outing.
Innovative 2.5-Inch Full Time Live View HyperCrystal LCD The E-410 offers ease-of-shooting and greater flexibility with the Live View LCD. Composing photographs is easier as subjects can be seen on the Live View LCD, which offers a wide 176-degree viewing angle. This enables images to be effortlessly taken from angles that would typically be difficult with a traditional optical viewfinder – which is still the only option on many competing digital SLR cameras. Interacting with subjects, such as toddlers and pets, is also possible thanks to the Live View LCD, which enables pictures to be taken while holding the camera away from your face.
The E-410’s big and bright 2.5-inch LCD display with approximately 230,000 pixels includes HyperCrystal technology, which offers many times the contrast of conventional LCD monitors, and enables images to be beautifully displayed in vivid color – both in preview and playback. The HyperCrystal LCD also provides a wide viewing angle, which ensures images can be composed from even the most obscure angles. The larger LCD makes viewing icons and text on the camera’s menu a squint-free process.
“The E-410’s Live View LCD is appealing to many consumers moving up from digital point-and-shoot cameras as many of these consumers have never used an optical viewfinder,” said Richard Pelkowski, product manager, Olympus Imaging America Inc. “The Live View LCD is also perfect for capturing up-close macro shots of flowers and jewelry. Coupled with the underwater housing, the Live View LCD also makes underwater photography easy, where looking through a traditional optical viewfinder is extremely inconvenient.”
Detailed, Bright and Colorful Photos with 10-Megapixel Live MOS Image Sensor The E-410 is loaded with an impressive 10 million pixels for high-resolution photos. The 10-megapixel sensor gives users the flexibility to blow-up their prints to the large sizes supported by many of today’s printers, or crop the image to print only a part of the image that is important to them. The high-performance Live MOS image sensor in the E-410 delivers excellent dynamic range for accurate color fidelity, and a new state-of-the-art amplifier circuit to eradicate noise and capture fine image details in the highlight and shadow areas.
Dust Reduction System for Spot-Free Images Olympus’ proven Dust Reduction System produces spot-free photos with the exclusive Supersonic Wave Filter. The patented ultrasonic technology vibrates to remove dust and other particles from the front of the image sensor and captures it on a special adhesive membrane every time the camera is turned on. These spot-free photos liberate users from hours spent retouching photographs at the computer or sending their cameras back to the manufacturer to remove dust trapped inside.
TruePic III for Image Clarity Olympus’ enhanced TruePic III Image Processor produces crystal clear photos using all the pixel information for each image to provide the best digital images possible for every photo with accurate color, true-to-life flesh tones, brilliant blue skies and precise tonal representation in between. TruePic III also lowers image noise by one step to reduce noise in images shot at higher ISO settings, enabling great results in low-light situations.
Two More Lenses Added to World’s Largest Selection of Digital Specific Lenses The versatility of the Olympus E-System comes from delivering the largest selection of “Designed-for-Digital” lenses – more than any other manufacturer to date. Olympus’ Zuiko Digital Specific Lenses come in a wide range of focal lengths to achieve the best image result in any given situation, and impress with their spectacular clarity and edge-to-edge sharpness.
The E-410 one-lens outfit includes a compact, Zuiko Digital ED 14 – 42 mm f3.5 – f5.6 Lens (equivalent to 28mm – 84mm in 35mm photography) that perfectly matches the imager so light strikes the sensor directly to ensure rich, accurate colors and edge-to-edge sharpness. Its 3x ED Glass zoom lens covers the range most frequently used in everyday photography and weighs just 7.5 ounces, offering users an extremely dynamic, portable everyday-use zoom. Close-ups as near as 9.84 inches (0.25 m) are also possible throughout the zoom range.
The E-410 two-lens outfit adds the Zuiko Digital ED 40-150mm f4.0-5.6 (80-300mm equivalent) Lens, which provides users with greater telephoto power for far-away shots in a compact size. This telephoto lens is smaller than many standard zoom lens at 2.6 inch diameter x 2.8 inch length and a weight of 8.8 ounces – a real benefit for anyone who wants to pack a powerful zoom lens without taking up much space. It also has great close focusing abilities, and is able to capture a subject up-close from a distance of 31.5 inches (.8m). Consumers won’t break the bank to get this great focal flexibility. For a mere $100.00, the two-lens kit includes the Zuiko Digital ED 40-150MM telephoto zoom lens – a $279.00 value!
Both lenses are exceptionally compact, allowing unimpeded mobility. They are sized for comfortable handling and designed for maximum image quality at an excellent price. Most important, these new lenses have the world-renowned ED lenses that deliver stunning high-quality images.
All E-Series cameras support the Four-Thirds Standard whereby Olympus and various other manufacturers produce high-quality Four-Thirds-compliant lenses and accessories that are specifically designed for digital SLR image capture. Because the E-410 is part of the Olympus E-System, it is compatible with a large and growing range of Olympus E-System accessories to further enhance personal shooting styles and applications. This includes the full line-up of Zuiko Digital Specific lenses and flashes.
Underwater Photography An Underwater Case (PT-E-03), five lens ports and a flash housing enable adventurous photographers to capture the delights of the aquatic world down to depths of approximately 131 feet (40 meters). The EVOLT E-410’s Live View mode makes digital SLR photography a breeze for both the first-time or experienced underwater photographer.
Easy-to-Use, Easy-to-Handle Light and Ergonomic Design The EVOLT E-410 is extremely portable, measuring 5.1 inches (129.5mm) by 3.58 inches (91mm) and 2.1 inches (53mm), excluding protrusions, and weighing 13.4 ounces (380 grams) body only. The new camera has a classic penta-mirror design that is light and compact enough to comfortably shoot with all day. Beyond its portable size, the E-410 delivers unparalleled ease of use – from menus that make sense and buttons on the body that are easy to understand and operate, to automatic settings for every imaginable situation.
While the E-410 includes a full range of manual control options to customize your creativity, it also has 30 shooting modes designed to provide the ideal settings for a variety of shooting situations automatically. These include Digital Image Stabilization, Night Scene, Fireworks, Beach and Snow, Underwater, and Candle Light to name a few, as well as an xD Panorama mode (for use with Olympus xD-Picture Cards). Users also benefit from special color modes and the possibility to apply a variety of Black & White filters.
A new high-power rechargeable battery is included with the E-410 so that users can keep shooting for extended periods. Accepting both CompactFlash Type I & II, Microdrives, and xD-Picture Cards, the camera provides a choice of data storage options for enhanced flexibility, and it is possible to transfer image files from one card to the other right inside the camera.
Availability The Olympus EVOLT E-410 Digital SLR will be available in May 2007. It includes: EVOLT E-410 Body, USB Cable, Video Cable, Li-Ion Battery Pack (BLM-1), Li-Ion Battery Charger (BCM-2), Shoulder Strap, OLYMPUS Master Software CD-ROM, Manuals, Warranty card.
US Pricing / Product Configurations EVOLT E-410 body Estimated Street Price: $699 EVOLT E-410 with ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens Estimated Street Price: $799 EVOLT E-410 with both ED 14-42mm f3.5/5.6 and ED 40-150mm f4.0/5.6 Zuiko Digital Zoom Lens Estimated Street Price: $899
http://www.livingroom.org.au/photolog/reviews/olympus/olympus_evolt_e410.php
Thanks to Darren in our Olympus category on March 05, 2007
http://www.ct-graphics.com/transportation/service-station-2597.html
http://www.ct-graphics.com/wildlife/page9.html
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Adobe sees its future on the Web
Newsmaker:
If you need more evidence of the Web shaking up the packaged software business, talk to Bruce Chizen.
The CEO of Adobe Systems oversees a company that successfully harnessed the power of an earlier technology wave--personal computers--for tasks like digital publishing and photography.
Now Adobe is looking to add Web-delivered services to its product line, says Chizen. The company has already developed an online video editor and, Chizen said, an online version of image editor Photoshop is in the works. Also in the works is Apollo, a new client development strategy due later this year.
As the company develops new products, it intends to combine the multimedia authoring skills it has in Photoshop, Premiere and other applications with the Web design and development savvy of Macromedia, Chizen said. Indeed, as Web-based applications become more functional, Adobe's acquisition of Macromedia--maker of Flash and Web development tools--looks better every day, especially as Microsoft continues to challenge Adobe with competing products.
In part one of a two-part interview, Chizen tells CNET News.com about Adobe's online strategy, discloses his plans for Photoshop, and discusses how to live with Microsoft the monopolist. In part two, to be posted later this week, Chizen talks about hidden gems in the Macromedia acquisition and how to beat Google.
We've talked about this in the past, but you have said that Adobe hasn't been concerned with the low end of the market because those are not your core customers. The creative professionals are your core customers. Is that still true?
Chizen: One thing that has changed is that the low end of the market is moving up in terms of expectations. The YouTube audience--everybody wants to be a video publisher, everyone wants to be a creative. So we are doing some things like we have just announced with PhotoBucket and Remix, where we say we recognize there is a customer there, we recognize they are not going to pay us, necessarily, directly. But we could use ad revenue as a model. Google has demonstrated that it works pretty well for certain types of applications. So that's one of the things we are doing with the Remix product. You will probably see us do that with an image editor. We'll look at ways of reaching the consumer where they don't have to pay.
That's new for Adobe, isn't it?
Chizen: That is new (for Adobe). It's something we are sensitive to because we are watching folks like Google do it in different categories and we want to make sure that we are there before they are, in areas of our franchises. And also we have technologies in which to do it. We can take the video-editing expertise of the Premiere team and the Premiere Elements team and marry it with the Flex/Flash programming framework, which meant that we could get that video Remix product out very quickly, more quickly than we could have without Macromedia.
Right now, for photo editing, a lot of people use Google's Picasa. Those people may never become Photoshop or Photoshop Elements users.
Right, and if we offered a host-based version of Photoshop, that's Photoshop branded, that was potentially better than Picasa, you'd probably go the Photoshop route because of your belief in the Photoshop brand and the quality associated with the brand name. That's something that would be obvious for us to do.
The reason why we did video first, is that in video we said that other than Jumpcut, there was really nothing else in the market (like Remix), so why not do it ourselves?
But why wouldn't Adobe do this yourself? Why work with someone like Photobucket?
Chizen: We could do this ourselves (the combined Remix and Photobucket offering). But it's nice to have the distribution channel. It's not exclusive to Photobucket. There is no reason we can't do it with the other social sites or content providers. Imagine some of the people already in the video content business, the media houses--why they wouldn't want their users to remix videos? We could offer that from Adobe directly, but offering that from Adobe directly means we have to deal with all of the host-based aspects of the business--the technical operations of collecting the advertising and handling the transactions. That's a pain.
We're giving up some revenue by doing the deal with Photobucket, but they deal with some of the things I don't want to deal with, at least at this point in time. Now, once we see that it could be a significant revenue producer, then maybe we'll want to deal with it.
full article: http://news.com.com/2008-1012_3-6164143.html?part=rss&tag=2547-1001_3-0-10&subj=news
credits: Mike Ricciuti and Martin LaMonica Staff Writer, CNET News.com
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If you need more evidence of the Web shaking up the packaged software business, talk to Bruce Chizen.
The CEO of Adobe Systems oversees a company that successfully harnessed the power of an earlier technology wave--personal computers--for tasks like digital publishing and photography.
Now Adobe is looking to add Web-delivered services to its product line, says Chizen. The company has already developed an online video editor and, Chizen said, an online version of image editor Photoshop is in the works. Also in the works is Apollo, a new client development strategy due later this year.
As the company develops new products, it intends to combine the multimedia authoring skills it has in Photoshop, Premiere and other applications with the Web design and development savvy of Macromedia, Chizen said. Indeed, as Web-based applications become more functional, Adobe's acquisition of Macromedia--maker of Flash and Web development tools--looks better every day, especially as Microsoft continues to challenge Adobe with competing products.
In part one of a two-part interview, Chizen tells CNET News.com about Adobe's online strategy, discloses his plans for Photoshop, and discusses how to live with Microsoft the monopolist. In part two, to be posted later this week, Chizen talks about hidden gems in the Macromedia acquisition and how to beat Google.
We've talked about this in the past, but you have said that Adobe hasn't been concerned with the low end of the market because those are not your core customers. The creative professionals are your core customers. Is that still true?
Chizen: One thing that has changed is that the low end of the market is moving up in terms of expectations. The YouTube audience--everybody wants to be a video publisher, everyone wants to be a creative. So we are doing some things like we have just announced with PhotoBucket and Remix, where we say we recognize there is a customer there, we recognize they are not going to pay us, necessarily, directly. But we could use ad revenue as a model. Google has demonstrated that it works pretty well for certain types of applications. So that's one of the things we are doing with the Remix product. You will probably see us do that with an image editor. We'll look at ways of reaching the consumer where they don't have to pay.
That's new for Adobe, isn't it?
Chizen: That is new (for Adobe). It's something we are sensitive to because we are watching folks like Google do it in different categories and we want to make sure that we are there before they are, in areas of our franchises. And also we have technologies in which to do it. We can take the video-editing expertise of the Premiere team and the Premiere Elements team and marry it with the Flex/Flash programming framework, which meant that we could get that video Remix product out very quickly, more quickly than we could have without Macromedia.
Right now, for photo editing, a lot of people use Google's Picasa. Those people may never become Photoshop or Photoshop Elements users.
Right, and if we offered a host-based version of Photoshop, that's Photoshop branded, that was potentially better than Picasa, you'd probably go the Photoshop route because of your belief in the Photoshop brand and the quality associated with the brand name. That's something that would be obvious for us to do.
The reason why we did video first, is that in video we said that other than Jumpcut, there was really nothing else in the market (like Remix), so why not do it ourselves?
But why wouldn't Adobe do this yourself? Why work with someone like Photobucket?
Chizen: We could do this ourselves (the combined Remix and Photobucket offering). But it's nice to have the distribution channel. It's not exclusive to Photobucket. There is no reason we can't do it with the other social sites or content providers. Imagine some of the people already in the video content business, the media houses--why they wouldn't want their users to remix videos? We could offer that from Adobe directly, but offering that from Adobe directly means we have to deal with all of the host-based aspects of the business--the technical operations of collecting the advertising and handling the transactions. That's a pain.
We're giving up some revenue by doing the deal with Photobucket, but they deal with some of the things I don't want to deal with, at least at this point in time. Now, once we see that it could be a significant revenue producer, then maybe we'll want to deal with it.
full article: http://news.com.com/2008-1012_3-6164143.html?part=rss&tag=2547-1001_3-0-10&subj=news
credits: Mike Ricciuti and Martin LaMonica Staff Writer, CNET News.com
Photography lovers who liked this also liked:
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