Canon has released a firmware update for the EOS 5D Mark III with significant benefits for both stills and video shooters. Firmware version 1.2.1 allows uncompressed video output over the HDMI port as well as cross-type autofocus when working with a m…
You can now use your fingers on the Wacom Cintiq 22HD â��Â but you’ll pay a premium to do so
Wacom’s most recent tactic has been taking existing tablets, and adding multitouch support. The most recent product to receive this overhaul is the Wacom Cintiq 22HD, which is now available as the Wacom Cintiq 22HD Touch. For a pricetag of $2,499 ($500 more than the original) the touch version is nearly identical to the older tablet, but with the ability to use your fingers to interact with the artwork.
Much like the original 22HD, the 22HD Touch has a 21.5-inch, 1920×1080 display, with 16.7 million colors. It sits on a rotating stand, and can use customizable ExpressKeys and Touch Strips — and of course, the Cintiq stylus. Multi-touch support “varies by operating system and individual application,” so it will depend on your setup as to what you’ll be able to use your fingers for, but Wacom suggest that navigation and positioning your artwork may be key uses.
Unfortunately, this still isn’t the Wacom device that we really want to see. Earlier this year, the company teased a fully fledged tablet computer for this Summer. And, while the weather may be getting hotter, we still haven’t heard any news on that front.
Sometimes it is hard to get motivation or inspiration to pick up the camera. Peter Bower provides you seven “I” words to use as a starting point to get you out of the funk and shooting again. Come and share your tips and suggestions to rediscover that …
A truly classic camera has come to the end of its production run There are few cameras in the world as recognizable as Hasselblad’s V-series. NASA even used one (the 500ELs) to take photographs on the moon. Their cube-shaped bodies have been around for…
Photo by Australian Research Council Centre of Excellence for Creative Industries and InnovationNot sure which way to go with Creative Commons? This flowchart should point you in the right direction The Creative Commons licensing scheme is a tool …
For a really authentic tintype, why not go back to the original hardware used?
In recent years, there’s been something a resurgence in tintype photography, resurrecting one of the oldest methods of taking a photo. But if you want to get really authentic, why stop at using just the old methods? Why not use the old gear too? Rob Gibson is a studio photographer in Gettysburg, PA who does exactly that: he takes tintype photographs using Civil War era cameras and lenses.
In the video below, you can watch him go through the entire process, from preparing the plates, through the rudimentary exposure and aperture controls, and then into a small darkroom for developing and fixing — along with a healthy dose of the history of the process as he goes.
Gibson’s work is historically accurate enough that he’s popped up in films, and has appeared on the History Channel, PBS, and more. And looking at his work, it’s impressive just how period appropriate these old techniques still turn out.
Olympus has opened an exhibition that it’s calling the “OM-D: Photography Playground” in Berlin, Germany. Situated in the Opernwerkstaetten gallery space, it’s an installation of works by 12 artists and collectives that visitors are encouraged to expl…
A little post-processing wizardry goes a long way when resources are running short
The text for an advertisement promoting a new housing development asked, “What would life be like if everything was the same?” Lincoln Barbour, a Portland, OR-based commercial shooter, took on the creative challenge of answering that question visually in a series of images that included this shot of an all-Souzaphone high-school band.
“The ad agency hired me based on my personal work, which is quiet, subtle, and candid,” Barbour says. “So the hardest thing for me was finding my personal voice in the shot while meeting everyone else’s expectations.”
Barbour’s first challenge? Simply finding enough kids who had band uniforms and tubas. Unfortunately, he couldn’t. “We had six tubas and ten kids,” Barbour recalls. “I had to shoot the same picture three times and move the kids around with the different tubas, and then Photoshop it all together so it looked like one photo.”
Working with the agency’s art director, Barbour determined that the frames to be composited would need to be captured from the back row to the front in order to get the right overlap. “I shot six people at a time with tubas, and there was always one person on the next row below, overlapping so I could line them up as we went along,” he explains. “We had to think about the kids and where they’d be in the picture, and, yes, there are two or three repeated musicians, but who’s to say they weren’t twins?”
Barbour also faced a tough task in getting even light and lots of depth of field in the cavernous gym. He used four Profoto 7B packs and heads with magnum reflectors, bouncing the light off the high ceiling at full power. The lightstands were placed at the four corners of the frame. The exposure on his Canon EOS-1Ds Mark II was 1/125 sec at f/11 and ISO 320. The lens: a 24–70mm f/2.8L Canon EF zoom at 57mm.
“When this job came in, I took it on myself to do everything—all the production, prep work, location scouting, and prop building. I was exhausted when it was over,” he says. “I learned a lesson here: Next time, I’m going to hire stylists, a location scout, and a tech guy for all the Photoshopping.” No more allowing himself to become a one-man band!
Check out Barbour’s personal and professional work at www.lincoln barbour.com.