Just a little over two weeks ago my jaw dropped even harder when I took a prototype of the Canon 1D MKIV outdoors to test it at night. I was on the road, it was late and I had just rushed back to my hotel to get to the unit. I was expecting a 1D body, with 24p, a 1.3 crop factor sensor, 10 fps for stills, a new AF system – 60 fps at 720p – and of course 1080p video.
Nothing prepared me for what happened next.
I set the ASA to high – and I pointed it towards an area lit by a single flood light. The image was overexposed by 4-5 stops. I then started to play with the settings, pointing my light into an area in complete shadow (my eye saw nothing but black) but on the rear of the LCD I saw sharp, green leaves as crystal clear as if it were shot in daylight.
INTRODUCING THE ULTIMATE MULTIMEDIA IMAGING SOLUTION: THE NEW CANON EOS-1D MARK IV DIGITAL SLR CAMERA The EOS-1D Mark IV Features a Completely Redesigned 45-Po
The EOS-1D Mark IV Features a Completely Redesigned 45-Point Autofocus System, Fast 10 fps Continuous Shooting, 16-Megapixel Resolution, Outstanding ISO Sensitivity, and Full HD Video Recording at Selectable Frame Rates
Yes. The steer skull was my point of entry. But by the time I got around to the book, I decided I wanted to get past the steer skull very quickly, because that issue had already been debated so much. And yes, Arthur Rothstein moved that skull around, and he admitted as much. And Rothstein, if anything, except for “Fleeing a dust storm,” instead of trying to create his own sense of the world, was a pretty faithful servant of the FSA
In a dramatic announcement at the National Press Club today, the U.S. Chamber of Commerce reversed its position on climate change policy, and promised to immediately cease lobbying against the Kerry-Boxer bill.
The 7th Annual Lucie Awards for photography are being held tonight in New York City.
Below is a list of Lucie honorees, plus nominees for the International Photography Awards and Lucie Awards support categories, which will be announced during the ceremony at Alice Tully Hall at Lincoln Center. Comedian Barry Weintraub is the host.
We’ll update this post to include the winners later tonight.
I hear the question all the time when I talk about photojournalism education, photojournalism internships and photojournalism careers.
Everybody knows about the what’s happening in the newspaper industry, broadcasts outlets and mainstream media all together. If there are no jobs, scant freelance opportunities and outright derision from the hate-the-media crowd, why bother?
Ironically, there are more reasons — and more important reasons — now than ever to bother being a true professional photojournalist, video journalist, multi-media journalist, visual communications journalist or whatever you want to call it these days.
Since its release, the Canon 5D Mark II has become the de facto video camera for many photojournalists. Despite some technical challenges, like the ability to f
It’s not hard to understand why the Canon 5D Mark II, and now the Nikon D300, have become so popular. But to make these files Final Cut Pro compliant there remain a number of technical hurdles.
To help with this, MediaStorm has documented our workflow with each of these cameras in two separate PDFs. These documents detail the transcoding process in Compressor, demonstrate how to use Apple’s Qmaster to get the most out of your computer’s processors, and describe how to properly set up a default Final Cut sequence setting for your respective footage.
After being kidnapped in Afghanistan, David Rohde, a Times reporter, and two Afghan colleagues were moved into the tribal areas of Pakistan. The second installment in a series offering Mr. Rohde’s account of his captivity.
On the first day there, I went to the bathroom and returned to find Tahir with a fresh cut on his calf. It looked as if someone had drawn a line across his leg in red ink. A local Waziri militant had taken out his knife and tried to cut off a chunk of Tahir’s calf, saying he wanted to eat the flesh of an Afghan who worked with Westerners. One of Atiqullah’s guards had stopped him.
In the 1930s, a photo of a cow skull leads to charges of photo-fakery and involves FDR, the Farm Services Administration and an enormous amount of press.
Three different photographs. Three accusations of photo-fakery. Of the three, only one appeared to be an out-and-out fraud, the picture of the cattle and capitol. It appeared in The New York Times on Sunday, Aug. 9, 1936, with the caption: “Cattle Invade a State Capitol. A herd driven from the drought area contentedly grazes on the Capitol grounds at Bismarck, N. D.”
“Fewer journalists are reporting less news in fewer pages, and the hegemony that near-monopoly metropolitan newspapers enjoyed during the last third of the 20th century, even as their primary audience eroded, is ending.”
In other words, the current advertising model won’t continue to support so-called accountability journalism.
The editor of The Guardian in London, Alan Rusbridger, and other Twitter users worked around a gag order that protected Trafigura, the shipping company.
Last month, a British judge ruled that material obtained by Guardian journalists about a multinational corporation had to be kept secret. Unlike other such injunctions, however, the “gag order” applied to the existence of the injunction itself. That is, The Guardian was forbidden to report that it had been gagged
Firmware Version 1.0.9 incorporates the following fixes. Improves AF accuracy during Live View shooting. Corrects a phenomenon where in rare instances, mo
The photography in “Congo/Women” — together with essays and video interviews online — explores the systemic violence against women, and the political and economic factors that sustain it. The images are provocative and disturbing: a malnourished child being measured in a clinic; the severed arm of a mother of three, lost while defending her children; a 70-year-old victim of gang rape awaiting counseling; child soldiers leaning against a fence, machine guns in tow.
A show at the United Nations about victims of sexual violence in Congo conceals identities but elevates the victims to a size larger than life, as Kassie Bracken finds.
The photography in “Congo/Women” — together with essays and video interviews online — explores the systemic violence against women, and the political and economic factors that sustain it. The images are provocative and disturbing: a malnourished child being measured in a clinic; the severed arm of a mother of three, lost while defending her children; a 70-year-old victim of gang rape awaiting counseling; child soldiers leaning against a fence, machine guns in tow.
An invitation has shown up online that hints at a new professional Canon DSLR, the 1D Mark 4. The 1D Mark III that it would replace is Canon’s oddball pro-level 1.3x crop-frame sensor DSLR (Canon has two different crop-frames in addition to its full-frame
The photography in “Congo/Women” — together with essays and video interviews online — explores the systemic violence against women, and the political and economic factors that sustain it. The images are provocative and disturbing: a malnourished child being measured in a clinic; the severed arm of a mother of three, lost while defending her children; a 70-year-old victim of gang rape awaiting counseling; child soldiers leaning against a fence, machine guns in tow.
After sifting through and evaluating more than 6,000 photographs submitted by photographers from 48 countries on six continents … the panel of judges for the Lens Culture International Exposure Awards 2009 have chosen the winners. Top prize went to Italian photographer Marco Vernaschi for his disturbing photo-essay about the effects of drug trafficking in a small West African country. Single Image Awards went to Brad Moore, Stella Johnson, and Laura Pannack. And 25 photographers from 13 countries won Honorable Mention Awards.
I grew up in newspapers. I learned my photography in newspapers. But with those lessons came rules and boundaries. I had placed myself in this proverbial box dictated by the hierarchy of gatekeepers who think they know what the readership wants to consume. The very same are now watching their newspapers fall apart because change was not on the menu.
But you couldn’t tell me this. It was obvious, especially now when I look at my work. So structured. I hate it. I have to fight against the structure still. The cleanliness of the frame is like an infestation of termites. You don’t always notice it until it is ruined.
