Ken Rockwell posted:

The Nikon 13mm is the world's widest non-distorting professional SLR lens ever made, by anyone, in any format.

Bravo TV posted:

Double Exposure" (working title) follows photographers Markus Klinko and Indrani, along with high-end stylist GK Reid, giving viewers a taste of the fast-paced world of high fashion and celebrity photography.

From album covers for David Bowie and Beyoncé to prize-winning photographs of celebrities like Lindsay Lohan and Kate Winslet, Markus and Indrani have shot virtually every contemporary boldface name and countless other iconic images for fashion campaigns and magazines.

With two former lovers working together 18 hours a day in incredibly high-stress environments, filled with deadlines, stretched budgets, expensive locations and demanding talent, it's not unusual for sparks to fly both on camera and outside the frame. Double Exposure is produced by Juma Entertainment for Bravo. Bob Horowitz and Lewis Fenton serve as executive producers.

psylent posted:

People can't tell the difference between a photo taken with the Hasselblad and a Canon P&S

brad industry posted:

I found it, it wasn't Nigel Barker, who is at least personable and has pretty good work, it was Russell James and it was called "The Shot" on VH1.

http://www.nppa.org/news_and_events/news/2007/10/the_shot.html

Fragrag posted:

I admit it, I watched lots of "Next Top Fashion Model" just to see how the photographers go about it.

Nondo posted:

National Geographic / Light painting Stonehenge

Lens Blog - NYTimes.com posted:

_{February 4, 2010, 5:15 pm}

Essay: Too Many Angles on Suffering?
_{By PATRICK WITTY}

Photographers from across the globe descended on Haiti last month after the earthquake. As the death toll grew, more photographers arrived — some with a deep history of working in Haiti or in conflict zones, some with neither. Some photographers were sent on assignment, supported by the budgets of large news organizations. Some went on their own dime.


_{Rodrigo Abd/Associated Press
A policeman aimed his rifle at looters in downtown Port-au-Prince on Jan. 26.}

At one point there were almost certainly too many photographers in Haiti. But which point? This question is scarcely new. It attends every war, every conflict; each famine, disaster and political upheaval. “I think it goes without saying that I believe it important that photographers are there to document the event,” said Uriel Sinai, a photographer for Getty Images, who was there.

Few would disagree. But the scope of coverage in Haiti seems to exist on a different scale. Ron Haviv of the VII agency said that in times of crisis, Haiti is a “haven for photographers.”

“Amazing story, people and images are there,” said Mr. Haviv, who has been traveling to Haiti for 20 years and made pictures there after the earthquake. “Being so accessible and inexpensive has always led to an abundance — and sometimes overabundance — of photographers during the various coups, insurrections and natural disasters. Quite often during these times, it was normal for three to six photographers, plus the occasional TV crew, to be all working the same scene.”

Mr. Sinai acknowledged that “it feels awkward when you get to a scene of violence, tragedy, or chaos, et cetera, and there are more photographers around a subject than there are even people at the scene.”

“When you are there in the moment, and there are photographers crawling all over the place, it simply feels weird,” he said.

It’s worth noting that in troubled areas around the world — not just Haiti — numerous photographers often are in the same place at the same time, frequently traveling there together.

“First and foremost, it’s an issue of safety,” said David Gilkey, a photographer for National Public Radio. But he does not see this as an impediment to good coverage. “Even though you are traveling with another photographer, you are almost never duplicating each other’s work,” Mr. Gilkey said. “While two people may be looking at the same thing, they’re seeing it in different ways.”

More than a dozen photographers covered the landing of U.S. troops at the ruined National Palace on Jan. 19. The scene recalled a photograph by Alex Webb of American soldiers landing on the beach in Haiti in 1994, facing what looked like a battery of news photographers. This year, many photographers were drawn to a statue, untouched by the earthquake, standing solemnly amid the destruction. Besides those in the slide show, other versions were taken by James Nachtwey, Charles Ommanney and Riccardo Venturi.

There is no question a tragedy of this magnitude demands a thousand eyes or even more. But do they all have to be staring at the same thing? When does redundant become intrusive?


_{Carl Juste/The Miami Herald (Associated Press)
Sarla Chand recovering on Jan. 14 after being buried under rubble for more than two days.}

Some photographers drew the line at themselves. Despite having worked in Haiti many times, for instance, Christopher Anderson of Magnum decided to avoid the earthquake and its immediate aftermath. “I have never felt comfortable covering natural disasters,” he said.

Christopher Anderson posted:

Wars and other types of human-made tragedies are different. There are questions of right and wrong, justice and injustice, political complications, et cetera. I feel like my voice as an observer has a purpose.

But with an earthquake or tsunami, I don’t have a purpose. There is no need for explanation or contemplation. There is only the immediate need for the news photographers to go and report what has happened.

I am not a news photographer. I would just be composing pictures of misery. Not to mention being another mouth to feed and another camera in the face of someone who has just lost everything. In the days and weeks immediately after something like this, all that matters is that the news pictures help drive a response of aid. I didn’t feel like there was anything I could add to that. They didn’t need me getting in the way.

Paradoxically, the question could soon become: are there enough photographers covering Haiti?

As celebrity television journalists begin to leave and the spotlight on Haiti dims, photography, in many ways, becomes even more crucial. Lynsey Addario, who arrives in Haiti Thursday on assignment for The New York Times, said she felt conflict about not going just after the earthquake struck. But she realized that important stories will need to be told as the recovery continues.

“While the first phase of the Haiti story is coming to an end, there is a whole new stage of people moving on with their lives, and trying to rebuild what they can in a totally shattered psychological and physical infrastructure,” Ms. Addario said. “I sometimes feel I can be a more effective photographer, and do more in-depth coverage, if I do spend more time on stories without the ‘pack’, and choose subjects that I feel are lacking coverage.”

“There will be many quiet, important features to do.”

TsarAleksi posted:

It's no different than all the shooters standing in one spot at a football game-- people just aren't really creative enough to find their own images.

TsarAleksi posted:

Just looks like panning to me... Panning into a turn can do some odd stuff.

HPL posted:

Probably took the photo from the back of a car in front of the horse or something.

Jahoodie posted:

Well, this is... interesting?

"Photographer Tony Stamolis takes food porn to new heights with the March release of his book "T&T&A" (the first "T" stands for tacos). The photos below speak for themselves, as does this endorsement by food writer and cookbook author Matt Lee: "Tony's ladies are kittens, good girls underneath the tattoos; his food images, on the other hand, are some of the raunchiest you'll ever have the pleasure to behold, and these hot tamales may arouse you more viscerally than you ever expected.""

http://www.huffingtonpost.com/2010/02/16/topless-models-with-tacos_n_463067.html?slidenumber=DtA1%2FVVtRzg%3D&&&&&#slide_image

DanTheFryingPan posted:

Time-lapse shot with a Nikon D3, creating a miniature New York:
http://www.vimeo.com/9679622

For more information, see this link:
http://aerofilm.blogspot.com/2010/02/sandpit-short-film-by-aero-director-sam.html
What's really impressive is that he's shot some of the scenes hand held. No tilt shift lenses involved either.

Kazy posted:

Canon Lens mug on eBay



As soon as I go to the bank tomorrow I am ordering one.

Helmacron posted:

the way to get noticed with your photography [...]

fronkpies posted:

Well that went well...


As a long time canon user I was handed a D3 with SB800 (I think) and told I wouldn't be taking a "few shots" I was doing the whole thing, needless to say my girlfriend was mortified, and is still quite angry. At this point all the blood drained from my body and I went into tunnel vision, then he said "just get creative" and I nearly fainted.

I couldn't find loving shutter speed, aperture, any flash controls, ANYTHING. The priest then shows me to where Im standing and talks to me for a few minutes about the routine ( I have no idea I've never been christened and am in no way religious) then it starts, and the flash feels like its got half a charge, I get a few shots, really poo poo shots, then as the priest is going on about stuff I quickly try to concentrate and figure out the controls, i find the mode button and switch to shutter speed (was previously on Program, stuck at half a second or some stupid poo poo) but the flash wont fire over 20th of a second, to any nikon user this is probably fine because your used to the system and know how to change it, I didn't.

I'm seriously nearly having a heart attack at this point, all hope was gone. I get a few more shots then the little boy gets his head splashed with the holy water, and the flash wont fire, i keep pressing but it will not fire, and i swear the only reason it did fire was because god himself was feeling sorry for me.

it wasn't fine guys, it wasn't fine at all.

EDIT: All of this happened withing a 20 minute period, and from the time i was given the camera to the time I was told where to sit by the priest was about 3 minutes.

Ringo R posted:

Helmacron: Now that I think about it, I'm pretty sure they were set to one of the C modes and that's perhaps why the wheel didn't do anything.

orange lime posted:

[e] also, I don't know if it's just the lighting in the shot or what, but would it kill Nikon to decide on one shade of yellow? I see at least three different colors. Yeesh.

DJExile posted:

I uh..... um... I um... gently caress, I got nothing here.

Can someone please explain how a hood costs $600?

Pompous Rhombus posted:

You laugh, but this was on my 24-70L when my camera bag fell off the back of my motorcycle (going like 5 mph) about a year and a half ago:



The guy gave me a UV filter instead of the CPL I wanted and I was already home by the time I realized the mistake. Only had it on that day because it was raining and I wanted to keep the front element clean when I took it out to shoot, have never bought another one to replace it.

ZoCrowes posted:

http://lens.blogs.nytimes.com/2010/04/02/showcase-147/

Jeff Jacobson is a photojournalist and cancer survivor who used his final rolls of Kodachrome to document his illness and what he views as the end of his life.

Paragon8 posted:

Ken Rockwell is that uncle you have that's into photography but likes talking more about it than taking pictures. Somehow he managed to be read by millions.

torgeaux posted:

Brian May used a cheap rear end electric guitar for years, because it had a unique sound, but it wasn't better than a more expensive, more tonally accurate guitar, just the tool suited his purpose.

spf3million posted:

Whatever happened to Friendship Waffle anyway?

Rated PG-34 posted:

Hipster cred: priceless

Pompous Rhombus posted:

The M8 is pretty much universally condemned above ISO 640 or so, at least on RFF. It's a pretty terrible camera for what you pay for, really.

orange lime posted:

So, um, what was the most important part of the camera before they invented digital sensors?

FasterThanLight posted:

One could argue that that part has always been made by Kodak...

HPL posted:

Doesn't Sony or someone else make Nikon sensors? And I know Coreco makes a bunch of medium format back sensors.

JaundiceDave posted:

Why do you care

DaJe posted:

This 28mm f/2.8 doesn't seem bad at all http://www.amazon.com/Nikon-28mm-Nikkor-Digital-Cameras/dp/B00005LE71 especially not for the price on amazon listed for $270. That doesn't seem like an unreasonable price at all to me. That might just be the thing I need.

DaJe posted:

Any particular reasons why you like those ones better than the one I found? I just want to know what I'm going to expect from each one.

quote:

What Happens When the Annie Leibovitz Debt Bubble Bursts?
_{April 6, 2010}

Buried in today's reports about another lawsuit against Annie Leibovitz is the shocking fact that her debt has ballooned to $40 million. In other words, Leibovitz has gone from being waist deep in the jaws of a shark to neck deep. It will be a miracle if she manages to pull herself out without losing her image archive.

The background: Deep in a financial hole, Leibovitz borrowed $24 million from Art Capital Group (ACG) in September 2008 to consolidate her debt. Interest and principle on that loan were due in September 2009. A couple of months before the due date, ACG sued Leibovitz for failure to co-operate with its efforts to collect the money.

The lawsuit was settled behind closed doors. Then, last month, Leibovitz managed to get the debt transferred to another creditor, Colony Capital. Terms weren't disclosed then, but they are now because Leibovitz is being sued for allegedly failing to pay a fee she owes to a third investment group--Brunswick Capital Partners--that helped her transfer her debt from ACG to Colony Capital.

The unpaid fee is 2 percent of the deal with Colony Capital, and the "Colony financing amount is in excess of $40 million," according to the complaint that BCP filed last Friday in New York State Supreme Court in Manhattan.

So to recap: Leibovitz borrowed $24 million and couldn't re-pay it, so now she's apparently $40 million in debt as a result. According to my back-of-the-envelope calculations, interest is probably accruing at $4 million or more per year. How so? Interest rates for people with good credit are at about 5 percent. But Leibovitz has lousy credit--so lousy that she had to borrow from venture capitalists, who are notorious loan sharks. They like a 20 percent return, but let's suppose they're asking Leibovitz for 10 percent because the economy is bad and they're feeling charitable (ha!). At 10 percent, interest on $40 million accrues at $4 million per year.

If she really does have a contract with Vanity Fair that pays her $2 million per year, as rumor has it, she still needs another $2 million more worth of annual income just to make her interest payments.

Can she manage that, and if so, for how much longer, given that she's now 60 years old? And what happens if Vanity Fair cuts her retainer? What Leibovitz appears to be doing is raising the ante on a bet that she can earn enough money and sell enough collateral assets--particularly real estate--to pay off the bet before her creditors call her hand.

This is starting to feel like a game of chicken at a railroad crossing. Yes, Colony Capital and Leibovitz said they had formed a marketing "partnership" for the long haul, and that she gets to retain rights to her image archive. But venture capitalists don't loan $40 million with no manacles attached. And when the honeymoon is over, money is going to talk.

If Colony Capital loses patience, Leibovitz's image collection is probably still vulnerable to a forced sale. ACG valued it at $50 million around the time it loaned her the $24 million. Getty Images allegedly offered $15 million for the collection, raising questions about what it is really worth.

Meanwhile, she has several properties, including an estate in Rhinebeck, New York that was recently on the market for $11 million (and on the local tax books at $5 million), according to news reports. She also has some real estate in New York. Her best hope? Another housing bubble that drives her property values way up and brings buyers to her door before Colony Capital forces her into bankruptcy.

As for Brunswick Capital and their lawsuit to recover a trifling $800,000 banking fee? Why, that's just a small shark, circling the waters, trying to get in a bite it is obviously worried it won't get if it waits any longer.

orange lime posted:

brad industry posted:

Chuck Close posted:

This is simultaneously photography’s great advantage and its Achilles’ heel: it is the easiest medium in which to be competent. Anybody can be a marginally capable photographer, but it takes a lot of work to learn to become even a competent painter. Now, having said that, I think while photography is the easiest medium in which to be competent, it is probably the hardest one in which to develop an idiosyncratic personal vision.

Nondo posted:

Saw these on Flickr. The guy was shooting some dog surfing event.







flickr link: http://www.flickr.com/photos/nathaninsandiego/4634788888/

Dread Head posted:

https://www.youtube.com/watch?v=I8N0zq0q5s4

Mannequin posted:

I don't know how many of you guys know (or care) about this, but there's going to be a new TV show coming to Bravo early next year about photography. The details are a little sketchy, but it seems to follow the life of two pro-photographers in NYC.

Knowing what most of the content is like on Bravo and from what I know about the show based on the press release, it's probably going to suck and most of you will hate it. However, because I don't know for a fact it's going to totally blow, it might be cool or at least mildly interesting.

I have been thinking for the longest time they need to do a Project Runway/Top Chef type of show for photography since I think it could be cool. And since photography is becoming so mainstream these days, I think there could be an audience for it. Anyway, I don't think this new show is going to be setup like this at all but it still could be interesting.

More details here:


(No real web links to point to yet as it was only announced via press release a few months back.)

What I am hoping, at least, is that the photography plays a big role and it's not just a relationship show. Time will tell.