News archive for October 2011
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Adam Koplan takes a closer look at Thames & Hudson’s Photofile series - a sort of Reader’s Digest of coffee table books. The volumes in this series are well-produced paperbacks containing approximately 60 decent reproductions each and provide a strong sense of an artist's vision. Currently the series comprises 22 books.
Adam Koplan reviews 'Figures and Fictions: Contemporary South African Photography.' Edited by curator and art historian Tamar Garb to accompany an exhibition at London's Victoria and Albert Museum, the book looks at the work of 17 photographers who have been pushing forward the country's burgeoning post-apartheid photographic scene.
Google and Samsung have announced the Galaxy Nexus smartphone - the first to use the latest version of the Android operating system. Android 4.0 (also known as Ice Cream Sandwich) features a series of enhancements for photographers, including support for what the companies are claiming is a 'zero shutter lag exposure.' The camera app included in the software also supports digitally stabilized zoom, single-motion panorama shooting and the ability to take HD snapshots as video is being shot. Ice Cream Sandwich also features a redesigned album layout and a photo editor, allowing cropping, rotation and simple image corrections. The Galaxy Nexus handset has a 1280x720 screen and 5MP camera capable of using Android 4.0's 'zero shutter lag' feature.
Former Olympus CEO Michael Woodford has launched a scathing attack on the company, following his removal from his post. Olympus had said Woodford was removed from his post over a difference in strategic direction between him and the rest of the Board of Directors. In a frank interview with the Financial Times, Woodford calls this 'utter nonsense' and states his belief that his removal relates to an investigation he had commissioned, into unusual payments and his suggestion that the board's Chairman and Vice Chairman should stand down over the issue. In response to suggestions that Olympus may try to prosecute him for disclosing this information, Woodford says: 'Bring it on.'
We've just posted studio test samples from the Nikon V1 - the Japanese manufacturer's enthusiast-targeted small sensor mirrorless camera which is built around what the company is calling a 'CX' format 10MP CMOS sensor. In the process of working on the forthcoming in-depth review of the V1, we have shot our standard studio test scene. To allow easy comparison with its peers, we have now added these shots - both out of camera JPEGs and processed RAW files (with Adobe ACR 6.6 Beta) - to our comparison tool, found in our existing reviews. The V1 can now be selected from the pull-down list within any review or in our standalone comparison tool.
We've just added Leica M9 studio shots to our comparison tool. As part of our forthcoming review of the Sigma SD1, we'll be comparing it to a range of large-sensor, high-resolution cameras, which meant including the Leica M9. The shots, actually taken with an M9-P, should not be seen as a signal of a full review of the camera but do help put its image quality in context against its peers.
How well your subjects are posed can make the difference between a photoshoot that looks professional, and one that looks amateurish. Richly illustrated, Michelle Perkins' book '500 Poses for Photographing Women: A Visual Sourcebook for Portrait Photographers' provides hundreds of examples of female portraits. Click through to read Adam Koplan's review.
Roger Cicala of LensRentals has written an article about lens and camera sample variation. The latest article builds on the several excellent pieces he's already written by subjecting a series of lenses to studio testing. As one of the few independent people in a position to test and assess sample variation with a reasonable sample size, it's well worth a read. As with all his posts, it does a good job of explaining and demonstrating the inherent variability and inconsistencies in lens behavior. It also addresses the reasonable desire (and sometimes unreasonable behavior) of photographers to get a 'good copy' of a lens.