Saturday, June 07, 2008

4305 Cullmann Grounder/Macro Tripod

Manufactured of high-strength, super light aircraft alloy, the black anodized leg segments feature a unique octagonal profile which enhances the rigidity of the tripod. With a leg spread of nearly 6 ft., it provides maximum stability for nature, macro, architectural or portrait photography. Each leg segment is independently adjustable so that the tripod can easily be locked on uneven terrain. The center column is easily removable from the main body of the tripod via a spring-loaded locking screw. Once removed, the center column can be inserted “upside-down” with the tripod collar, facilitating close focus/macro photography. Large easily,adjustable lever locks enable fast height adjustments. Weighs less than 4 lbs. MSRP $179.

Since 1955, Cullmann GmbH has been manufacturing professional tripods and accessories for both still, digital, and video applications. In each system of tripods available, there is a variety of tripods for every purpose and every pocket. The individual tripods can be constantly extended with the many variable system accessories. Cullmann tripods are noted for their outstanding stability and ease of handling. The " quick release " system of allowing the photographer to put on and take off his or her photo equipment from their tripod was invented by Mr. Cullmann, and is now a universal system of camera mounting. Many other innovations, such as built in carrying handles, hexagonal shaped legs ( for greater stability and support ) top lock adjustment levers, and center columns which can be removed from the tripod body to be used as monopods, all add up to the most extensive line of advanced amateur and professional tripods and accessories available today.

R.T.S. is the exclusive U.S. distributor of Cullmann photographic accessories. http://www.rtsphoto.com/

credits: Shutterbug

Image of the day:
Perennial Canada ThistleHardy Shade Flowers
Canda Thistle


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Friday, June 06, 2008

The war on photography

What is it with photographers these days? Are they really all terrorists, or does everyone just think they are?

Security expert Bruce Schneier examines the war on photography in more detail in his latest blog post.

"Since 9/11, there has been an increasing war on photography. Photographers have been harrassed, questioned, detained, arrested or worse, and declared to be unwelcome. We've been repeatedly told to watch out for photographers, especially suspicious ones. Clearly any terrorist is going to first photograph his target, so vigilance is required.
Except that it's nonsense. The 9/11 terrorists didn't photograph anything. Nor did the London transport bombers, the Madrid subway bombers, or the liquid bombers arrested in 2006. Timothy McVeigh didn't photograph the Oklahoma City Federal Building. The Unabomber didn't photograph anything; neither did shoe-bomber Richard Reid. Photographs aren't being found amongst the papers of Palestinian suicide bombers. The IRA wasn't known for its photography. Even those manufactured terrorist plots that the US government likes to talk about -- the Ft. Dix terrorists, the JFK airport bombers, the Miami 7, the Lackawanna 6 -- no photography.
Given that real terrorists, and even wannabe terrorists, don't seem to photograph anything, why is it such pervasive conventional wisdom that terrorists photograph their targets? Why are our fears so great that we have no choice but to be suspicious of any photographer?
Because it's a movie-plot threat.
A movie-plot threat is a specific threat, vivid in our minds like the plot of a movie. You remember them from the months after the 9/11 attacks: anthrax spread from crop dusters, a contaminated milk supply, terrorist scuba divers armed with almanacs. Our imaginations run wild with detailed and specific threats, from the news, and from actual movies and television shows. These movie plots resonate in our minds and in the minds of others we talk to. And many of us get scared.
Terrorists taking pictures is a quintessential detail in any good movie. Of course it makes sense that terrorists will take pictures of their targets. They have to do reconnaissance, don't they? We need 45 minutes of television action before the actual terrorist attack -- 90 minutes if it's a movie -- and a photography scene is just perfect. It's our movie-plot terrorists that are photographers, even if the real-world ones are not.
The problem with movie-plot security is it only works if we guess the plot correctly. If we spend a zillion dollars defending Wimbledon and terrorists blow up a different sporting event, that's money wasted. If we post guards all over the Underground and terrorists bomb a crowded shopping area, that's also a waste. If we teach everyone to be alert for photographers, and terrorists don't take photographs, we've wasted money and effort, and taught people to fear something they shouldn't.
And even if terrorists did photograph their targets, the math doesn't make sense. Billions of photographs are taken by honest people every year, 50 billion by amateurs alone in the US And the national monuments you imagine terrorists taking photographs of are the same ones tourists like to take pictures of. If you see someone taking one of those photographs, the odds are infinitesimal that he's a terrorist.
Of course, it's far easier to explain the problem than it is to fix it. Because we're a species of storytellers, we find movie-plot threats uniquely compelling. A single vivid scenario will do more to convince people that photographers might be terrorists than all the data I can muster to demonstrate that they're not.
Fear aside, there aren't many legal restrictions on what you can photograph from a public place that's already in public view. If you're harassed, it's almost certainly a law enforcement official, public or private, acting way beyond his authority. There's nothing in any post-9/11 law that restricts your right to photograph.
This is worth fighting. Search "photographer rights" on Google and download one of the several wallet documents that can help you if you get harassed; I found one for the UK, US, and Australia. Don't cede your right to photograph in public. Don't propagate the terrorist photographer story. Remind them that prohibiting photography was something we used to ridicule about the USSR. Eventually sanity will be restored, but it may take a while."

This essay originally appeared in The Guardian.

Join the discussion ...



Photo of the day:
The Three GossipsSunset over Arches National Park
Silhouette of The Three Gossips, well ... one of them


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Thursday, June 05, 2008

Does anyone out there still use film in his camera?

Refocusing on Digital Cameras
Digital cameras are increasingly easy to use. They've gotten a lot cheaper, too—a boon to consumers, but not to camera companies.

Photo film, like typewriter ribbon, television antennas, and leaded fuel, has been reconciled to the dusty storage room of history where all once-cutting-edge technology seems eventually to land. Some diehards still insist on clattering away on their old Remingtons or tooling around the countryside in their vintage Packards, but the rest of us have moved on.
In fact, the digital camera conquest of the consumer photography business has been near-total, as the numbers demonstrate. An April, 2008, report from Forrester Research (FORR) claims more than 6 out of 10 individuals in the U.S. owns a digital camera. There are several reasons behind this rise. First, digital cameras have become easier to use; second, thanks to broadband Internet penetration, more users are able to upload and share their photographs online; and lastly, digital cameras have become a lot cheaper.

Sales Level Off
That's good news for consumers, but it presents a problem for camera makers. Like the computer, another popular device whose success eats into its profitability, digital cameras are in an increasingly mature market, as it nears maximum penetration and its rate of growth slows. (Not to mention increasing competition from constantly improving cell-phone cameras.) The trick now is to enter new markets as well as develop new technologies that will keep existing users coming back.
According to Chris Chute of research firm IDC (IDC), we will "see a gradually maturing market where sales growth gradually levels off—at about 35 million units per year in the U.S., as opposed to 38 million in 2007." He also points out that in 2007, 131 million units were shipped worldwide. This represented a 24% growth rate, compared with 15% in 2006. However, this was a reversal of the trend that has seen the digital camera market experiencing a slowing rate of growth over the previous three years.
He attributes the unexpected jump in sales growth in 2007 to a higher churn rate than anticipated—it seems a consumer digital camera's life span is probably about two years, a lot like the mobile phone, and people replace them on a regular basis. He doesn't expect this to change much, "because at these prices the cameras won't be robust enough to last more than a couple of years anyway."

DSLR Growth
But one subsector of the business has picked up the slack from the now-ubiquitous digital compact camera and is providing the double benefit of stellar growth and fatter margins for the producers—digital single lens reflex cameras, or DSLRs.
Although DSLRs capture only 8% of the global market, according to IDC, their sales grew at a 41% clip last year, almost twice that of digital cameras as a whole.
This is being driven by second- or third-time buyers who are upgrading from point-and-shoot cameras to these more sophisticated models, what the industry calls "prosumer" DSLRs. With an average price of about $800, fatter margins, and a healthy accessory market, DSLRs have really been a boon to manufacturers, particularly Canon (CAJ) and Nikon (NINOF).
Margins are helped by the fact that Canon and Nikon do not need to develop new technology for consumer DSLRs—they just adapt technology originally developed for their professional DSLRs, so these $750 to $1,500 cameras represent a very lucrative business, even if the number of total units shipped is still relatively small.
Shifting Demographics
Originally, it seemed men were pretty much the only ones sporting these status symbols around their necks. But according to IDC's Chute, in the last year the demographics have started to shift toward women as manufacturers have put a lot of effort into producing smaller and lighter models, such as the Nikon D60.
As the compact digital market has matured, cameras have become more alike, boasting the same features that vendors have figured out users want. As Brian O'Rourke, an analyst at Phoenix-based high-tech market research firm In-Stat, points out: "As sales have grown, the photographic knowledge of the typical user drops. It's not the hobbyist area it was six years ago."

Narrowing Choices
So with summer arriving fast, if you're thinking of buying your first digital camera, replacing that old four-megapixel number with the balky flash, or even upgrading to a fancy DSLR, take a look at the accompanying slide show—there is something for everybody there.
We looked at and tested a wide range of cameras from entry-level compact to consumer DSLRs and picked the best, in terms of image quality, features, and usability at a range of price points.
So, whether you're looking for a rugged point-and-shoot to take on the Appalachian Trail (the Olympus Stylus 1030SW) or a DSLR that can capture your kids' sporting achievements at three frames per second (the Panasonic Lumix DMC-L10), you will it find in the slide show.

Credits: Nick Passmore at businessweek.com
Click here to see a roundup of the best digital cameras for the buck.
Passmore is a writer and photographer living in New York City.

Picture of the day
Dooway in Stirling Castle, ScotlandTravel - Vacation Destination
Stirling Castle, Scotland


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Tuesday, June 03, 2008

Nikon Introduces Upgraded Capture NX 2 Photo Editing Software

Nikon Extends U Point to Masking In Capture NX

A new twist on U Point technology plus a slick retouching tool highlight the new Capture NX 2.
It's a crowded world on your hard disk. A lot of competent programs are competing to be part of your workflow solution. But workflow is still more work than flow.Nikon has revamped Capture NX, its image editing software, to make it about as easy (and fun) as it can get to make either global or local corrections to your favorite images. By extending U Point editing technology to masking, you can now apply 26 different adjustments to any part of an image.But the company didn't stop there. The new NX includes a retouching tool that can easily erase blemishes and dust with just a stroke of the mouse.Add configurable workspaces that are multi-monitor aware and you've got a little more flow to your workflow.

Read the review and the Original Source Press Release at imaging-resource.com/ or at pdn-pix.com.

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Wildlife Photography - Long-tailed WeaselWildlife Photograpy
Long-tailed White Weasel



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Monday, June 02, 2008

Kodak to Raise Prices for Paper, Ink Up to 20%

Eastman Kodak Co., the photography company reshaping itself in the digital age, said it will raise prices as much as 20 percent on products including paper, film and printing plates to counter higher raw material costs.

The prices take effect July 1 and will vary by product and region, the Rochester, New York-based company said in a statement May 30, 2008.

read more at : bloomberg.com

Photo of the day:

Local Events - Bull Riding at the RodeoRecreation and Sports
Bull Riding at the Rodeo


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Sunday, June 01, 2008

Extensis Portfolio

Extensis, a division of Celartem Inc., today announced highly respected professional photographers that trust their image collections to Extensis’ digital asset management solution Portfolio.
Extensis Portfolio Server 8.5 provides powerful Mac and Windows clients a complete web publishing solution and integration for CS3® applications.

About Portfolio
Portfolio 8.5 is the perfect software solution for marketing and creative workgroups—it streamlines workflows through efficient organization, viewing, routing, archiving and distribution of creative assets. A surprisingly affordable solution, Portfolio Server 8.5 ensures proper use of a brand’s creative assets across all internal and external teams, partners and vendors, while eliminating the guesswork involved in hunting down and tracking creative assets. Portfolio—trusted by IT; approved by creatives.
Individual creative professionals can also power up their workflow with Portfolio 8.5; the surprisingly affordable, easy-to-use desktop version is a top choice of graphic designers and photographers.

About Extensis
Extensis is a software developer that allows creative workgroups and professionals to streamline their workflow and secure their brand by efficiently and effectively managing their creative assets and fonts. Extensis’ award-winning client/server and desktop products are used by hundreds of Fortune 5000 companies and include Universal Type Server, Suitcase, Suitcase Fusion, and Font Reserve for font management and Portfolio for creative assets management. Extensis was founded in 1993 and is based in Portland, Oregon, and the United Kingdom. Extensis is a division of Celartem Inc., which is wholly owned by Celartem Technology Inc., (Hercules:4330). For additional information, visit http://www.extensis.com/ or call 1-800-796-9798.

About Celartem
Celartem Technology Inc. develops and sells innovative technologies for storage, access and distribution of rich media content. Celartem has developed technology in the areas of digital image compression, scalable image viewing and secure content distribution and management. Celartem is listed on the Osaka Securities Exchange, Hercules:4330. Established in 1996, Celartem is headquartered in Tokyo, Japan and has a wholly owned subsidiary, Celartem Inc. with headquarters in Seattle.

more at: Extensis



Picture of the day:

The Arches National Park, Utah - North and South WindowBreathtaking Scenery
North and South Window - The Arches National Park, Utah


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