• How To Hack Panasonic GH1 to Shoot Super High-Quality 24p Video and More

    Canon isn’t the only game in town when it comes to hacking camera firmware. The famous CHDK firmware hacks now have a rival, at least if you are shooting with a Panasonic GH1, and especially if you are using the Micro Four Thirds camera to shoot video. The hack, called PTool, doesn’t add nearly as […]

    via WIRED: https://www.wired.com/2010/06/how-to-hack-panasonic-gh1-to-shoot-super-high-quality-24p-video-and-more/

    The hack, called PTool, doesn’t add nearly as many features as the Canon hacks, but what it does is startling. With PTool, you can up the video bitrate of the GH1 from a pedestrian 20Mbit to 32MBit in AVCHD. If you opt for Motion JPEG (MJPEG), you can shoot at an astonishing 50 Mbit/sec at a full 1080p. This, according to testers, offers better quality footage than you get from the EOS 5D MkII. Above you can see an example. To view it in its full HD glory, click through to the Vimeo page

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    Preston is on staff at The Virginian-Pilot and I’m a freelancer. I left my job at the San Antonio Express-News to live with Preston and work on personal projects. It’s a sacrifice to give up a good newspaper job in this economy but it doesn’t feel that way. It’s liberating to try something new. The idea of owning my work for the first time in my career really excites me.

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    Seattle photographer Mike Hipple reports that he has run out of money to defend himself against a copyright infringement claim by a sculptor, and he’s now trying to raise money by selling a self-published book.

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    In 2008, Chinese photographer Liu Yuan and his wife embarked on a train journey across North Korea. While riding the rails, Liu photographed out the window of his private compartment. “When a male inspector found my Canon 1Ds NMARK III with it 28-300 mm lens, he raised his eyebrows in surprise and quickly brought several of his comrade inspectors over to see it,”

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  • A Conflict Between the Press and the President in the Gulf Spills Into View

    The spill in the Gulf seems uncontainable, but the press is frustrated that information about it seems very much under control.

    via Media Decoder Blog: https://archive.nytimes.com/mediadecoder.blogs.nytimes.com/2010/06/07/a-conflict-between-the-press-and-the-president-in-the-gulf-spills-into-view/

    “I am here to tell you that you’re not alone. You will not be abandoned. You will not be left behind,” he said, but could not resist a sideswipe at the press corps in front of him. “The cameras at some point may leave; the media may get tired of the story; but we will not.”

    Oops. The press corps in the gulf had been on the story for more than six weeks, often dealing with a tight-lipped disaster communications apparatus that seemed to be in the hands of BP rather than the government.

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    That ducky has been present at many historical moments. It was with me when I witnessed women voting for the first time in Afghanistan. It was once a few feet away from President Hamid Karzai of Afghanistan at his palace in Kabul. It was with me when I crazily walked into northern Iraq from Turkey — at night, in monsoonlike rain — just before the bombing started. The ducky visited Saddam Hussein’s palace in Tikrit before the Marines arrived.

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    Associated Press photographer Charlie Riedel’s up-close images of brown pelicans soaked in oil finally brought home the effects of the Gulf oil spill catastrophe last week. They showed scenes that photographers have had much difficulty documenting, not only because of the location of the spill, but because BP and government officials have worked to keep the spill’s consequences out of sight—and out of mind.

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  • Intro

    Website of visual Artist James Pomerantz

    Link: http://www.aphotostudent.com/2010/06/07/shooting-gallery-the-limitations-of-photojournalism-and-the-ethics-of-artistic-representation/

    The winning press photos by Hetherington and Guttenfelder on the one hand and McQueen’s art work on the other can be seen as two poles defining the spectrum of possible representations of war with a camera – one employs the rhetoric of reportage, the other uses a conceptual strategy, or the rhetoric of the metaphorical. Arguably, the photojournalist has a professional and ethical imperative to capture the immediate circumstances, while the artist has the license or luxury to turn his camera away from these events, even to question the photograph’s ability to accurately represent them. Does one approach function more effectively than another? And by what criteria can we judge their effectiveness? When it comes to images of the events and consequences of war, how close is too close? And how much distance is too much?

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    Nobody covers the NBA Finals like Sports Illustrated. Two photographers, three assistants, hundreds of pounds of gear and hundreds of man-hours in set up and travel time.

    Shawn Cullen and Jordan Murph (along with Kevin Liles) worked tirelessly setting up remotes and helping SI staffers John McDonough and Bob Rosato with their coverage.

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  • matt eich – carry me ohio

    [slidepress gallery=’matteich-carrymeohio’] Hover over the image for navigation and full screen controls EPF 2010 Finalist Matt Eich Carry Me Ohio play this essay   Once known for …

    via burn magazine: https://www.burnmagazine.org/essays/2010/06/matt-eich-carry-me-ohio/

    In this series of images I show the isolated and trapped residents of Southeastern Ohio. From Hercules the German Shepherd, chained to his house in the snow to Timmy, asleep on the couch, trapped in his body and requiring around the clock care from his family. Despite their bleak surroundings there is still a sense of whimsy and beauty in the lives of the region’s occupants. They opened their homes to me and this is my love song to the place I once lived.

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    This is the 41st year of the world-renowned photo festival, Rencontres d’Arles. As always, the festival will attract a worldwide audience of photo lovers, photographers, experts, curators, scholars and collectors, who congregate in the small Roman town in the south of France for a month every year.

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    I think in some very important ways VII The Magazine is a reaction to what has happened to our industry over the last few years. Photographers have always been seen as “suppliers” (the traditional role of editorial photographers, one or two rungs up the ladder from stationers and utilities but suppliers nonetheless) to the print world. A big question now seems to be who is left to supply and why should we remain dependent on the whims of a dinosaur industry. The question VII asked is why not become publishers and control their own destiny? Obviously the answer to that is VII The Magazine. This is a huge shift in the role of the photographers and the agency that opens up a whole new world with all the possibilities of originating and distributing.

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    There’s this thing a lot of people don’t realize about running a photography business and that’s that we never sleep. We rarely have days off. We don’t have a lot of time to go out with friends or to enjoy lazy Sundays. Granted, we’re living our dreams. We’re doing exactly what we want to do but that comes at an exhausting cost some days.

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    As we pack our bags (complete with extra wet naps for a little bbq) and put the finishing touches on the event details with the folks at Digital Labrador, we thought we’d take a moment to check in with the man behind our day two shoot, Canon Explorer of Light Nick Vedros. What’s he passionate about shooting? What are his tips for building and maintaining a successful commercial career? And what’s he got up his sleeve for next weeks workshop? 

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    A new camcorder from Sony lets movie-makers use SLR lenses to shoot pro-level footage for just $2,000. The NEX-VG10 uses the same APS-C sensor as the NEX mirrorless line-up, and also uses their E lens-mount, Sony’s equivalent of the compact micro-four-thirds format. With an adapter, you can also use any of Sony’s Alpha mount lenses.

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    I’m excited to announce the Conscientious Portfolio Competition 2010, the second of its kind (after a great start last year). As before, the winner(s) will have their work featured here on this website, in the form of an extended conversation/interview. This year, two guest judges, Elisabeth Biondi (New Yorker magazine) and Susanna Brown (Victoria and Albert Museum), are joining me to pick the winner(s) – and there’s a twist.

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  • Video News – CNN

    Watch breaking news videos, viral videos and original video clips on CNN.com.

    via CNN: https://www.cnn.com/videos

    Award-winning photographer Peter Turnley talks to CNN’s Jim Clancy about his experience in Haiti and challenges ahead.

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    Award-winning photographer Peter Turnley talks to CNN’s Jim Clancy about his experience in Haiti and challenges ahead.

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    The Shadows of Srebrenica is a collection of black & white photographs by the incredibly talented Andy Spyra, and is a powerful reminder of that era, and also reminds us that many of those responsible for this genocide have yet to be apprehended, especially Ratko Mladić.

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    Al-Shabab, a hard-line Islamic militia that is waging a campaign of terror across Somalia, has banned playing soccer in many areas it controls. The al-Qaeda linked militia, along with Hezb-i-Islam, a rival extremist group, prohibited broadcasts of the World Cup, describing the sport as “a satanic act” that corrupts Muslims.

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