Billy Murray is the Editor-in-Chief of Resource Magazine. His work focuses on the convergence of creative culture, technology, and how it's shaping the future of the digital frontier. He studied journalism and art history at Purchase College, where he edited the campus' music and arts publication. Today, Billy's based in Brooklyn, living and creating above one of New York's most legendary donut spots. Follow him on Instagram @_billymurray.
Array (  => WP_Post Object ( [ID] => 40100 [post_author] => 25217 [post_date] => 2014-06-24 13:00:26 [post_date_gmt] => 2014-06-24 17:00:26 [post_content] => Becoming a successful photographer is easier said than done. While there is always a select few who seem to effortlessly master the medium, for most of us it requires dedication, work and education. But with a variety of photography programs across the U.S., choosing the one that's right for you can be tedious. And with such high tuition costs—not to mention rising student loan rates—it's probably best to get it right the first time. So, we've narrowed it down to t15 college and university photography programs in the U.S that we felt stood out to help you better make your choice.15. Virginia Commonwealth University Students in this program are taught technical and artistic skills to begin their careers as professional artists, multimedia specialists and editorial or commercial photographers. With a fairly wide range of concentration areas, this program places a great deal of emphasis on individual artistic expression. The university offers BFA and MFA degrees, while the graduate program was ranked 4th among public programs for photography and film by U.S. News & World Report.14. Massachusetts College of Art and DesignIn this BFA program, students explore the photography medium as a fine art with an emphasis on personal vision, technical excellence and experimentation. Beginning with black and white film—which is similar to most other schools—focus later shifts to extended projects and portfolio development. There are also electives available for specific themes such as landscape, documentary, portraiture and more.13. University of ArizonaThe UVA bachelors program allows students to pursue a K-12 teacher certification along with their photography degree, offering courses in traditional black and white darkroom techniques, digital and other image-forming technologies, color processes, large-scale photography, video and performance.12. Maryland Institute College of ArtMICA's BFA photography program explores a variety of disciplines from black and white digital printing, to non-traditional processes and studio lighting techniques. But it's highly competitive, as each spring seniors compete for the Meyer Photography Traveling Scholarship which gives a senior photography major the opportunity to travel in the United States or abroad for a photographic project. 11. Arizona State UniversityDespite its frat-bro reputation, the BFA photography program at ASU is considered one of the finest institutions in the country, and its graduate photography program has been ranked in the top twenty in the country by U.S. News and World Report since 2002. 10. Columbia College (IL)The Columbia College undergraduate photography program is one of the largest and most competitive in the nation. But with facilities that include a digital imaging lab with more than 200 workstations, darkrooms along with over 150 enlarging stations, highly sophisticated scanning equipment and more, it's easy to see why.9. California College of the ArtsFor undergraduates, this program is broken down into three parts: the framing of students' artistic worldview, instruction and critique from real-world visionaries and developing a photography career. Students are encouraged to participate in internships with Bay Area photography studios, art galleries and magazines.8. University of California(Los Angeles)Photography history and narrative studies are strongly emphasized in the UCLA undergraduate photo program, along with a focus on installation and video art in conjunction with photography.7.Yale School of Fine ArtThis highly selective MFA program admits only nine students per year, while students are subject to a critique panel for a final review each term. This program also focuses on a broad definition of photography as a lens based medium.6. School of Visual ArtWith cutting-edge facilities that are open until 4 a.m., SVA is known as the best choice for students looking to earn a BFA in photography in New York City. Not to mention, students in their senior year are paired with mentors that are invited from NYC's abundant art scene, while some of their recent graduates are currently represented by Julie Saul, Yossi Milo, Yancey Richardson and Daniel Cooney.5. University of New MexicoThis program offers an interdisciplinary approach to photography including video, film, sound, performance and installation. While "self-discipline is crucial and standards of achievement are high," according to the college's site, facilities include digital classrooms, computer labs and state-of-the-art darkrooms for film processing and silver-based printing. Advanced students also have access to lighting equipment, medium format and view cameras,and DSLRs. In both BFA and MFA programs emphasis is placed on the student’s personal growth through aesthetic and intellectual development.4. Rhode Island School of DesignThe RISD BFA program explores the social, cultural and historical aspects in regards to the cultural continuum of photography. A big portion of the program is learning how to "read an image," and by junior year students are taught digital printing, web projects and video, finishing the program with exhibits at on-campus galleries. "Within this exploration, photography is examined both as language and as craft," reads the college's site.3. School of the Art Institute of ChicagoThe SAIC program offers both graduate and undergraduate courses, along with a faculty filled with distinguished and practicing artists. In its senior seminar class for undergrads, students focus on professional development—an area that many other schools lack—and are paired with graduate students for collaborations.2. Rochester Institute of TechnologyUnlike most undergraduate photography programs that offer a more general photo education, RIT offers a variety of different photography majors in specific areas of study. This includes advertising photography, fine art photography, photojournalism and even biomedical photographic communications.1. California Institute of the ArtsThis highly progressive program educates students to become independent artists where courses are built to challenge the conventional notions of artistic practice, in addition to the bringing the position of representation in contemporary culture to question. Since nothing is ever stable in photography's relation to the rest of the art world, the program encourages debate and experimentation. The college offers both BFA and MFA programs.Interested in studying abroad? Check out our recommendations for the 15 Best International Schools For Photography! [post_title] => 15 Great College and University Photography Programs in the U.S. [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => college-and-university-photography-programs [to_ping] => [pinged] => [post_modified] => 2016-06-09 15:39:09 [post_modified_gmt] => 2016-06-09 19:39:09 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=40100 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 9 [filter] => raw ) => WP_Post Object ( [ID] => 40084 [post_author] => 25217 [post_date] => 2014-06-20 17:01:34 [post_date_gmt] => 2014-06-20 21:01:34 [post_content] => Each week Resource is featuring an interview with a different Instagram user of our choice. Yet as a publication that's satisfying to both the professional photographer and the hobbyist, this week we have chosen a user who may not have the most followers, but does, in fact, take awesome photos. Check out our interview with Drew English aka @drew_e, a Greenpoint, Brooklyn resident and photographer with a passion for industrial New York landscapes. Photographers are always asked how they got started, but can you sum up the start of your career for our audience?In terms of photography, I had a little 110 film camera when I was younger and didn't think much of it, so I fell out of the whole photography thing until after college. Around the time I moved to New York, I started taking pictures with my iPhone and that’s actually what got me back into it because of all the different apps you can use to treat your photos, making them feel more nostalgic or effective.So was it your iPhone photos that got you into Instagram?
Well this was before Instagram, so it went from just taking photos with my iPhone to buying a proper DSLR camera and some film cameras. Then Instagram came along and I wasn't one of the earliest adopters, I began somewhere in the middle. I still don’t have a ton of people following my feed or anything like that, but I find it to be a great platform to put some of my tastes and things that I like out there in the world.
Do you use any external lenses or filters for your iPhone photos?
No. I went down that road at one point and I have an olloclip that just sits in the drawer collecting dust. I found that I really enjoyed not being too encumbered by additional things. When I drag around my DSLR and film cameras, I have all this other stuff I have to worry about, but with the iPhone I don’t—it’s just how I see it through the iPhone and that's all I need to think about when I pull it out of my pocket.
Can you tell me about your photo work outside of Instagram?
Well I do a lot of personal work and haven’t done any still photo work professionally. I do some film-making and I’m a film editor by trade, along with some shooting with a DSLR. But on the still photography side, I've kept it mostly personal, whether it’s travel stuff when I go on vacation or walking around my neighborhood.
I've noticed you capture a lot of urban landscapes. Would you say that’s your favorite thing to shoot?
I live in Greenpoint, very close to where things get a bit industrial and I’m drawn to it. It’s one of those places where there’s a lack of people, which is a strange thing to say about North Brooklyn lately. I don’t want to say it’s run-down because it's not, it’s just more factory-like. I also find I’m still trying to get comfortable with portraiture and taking pictures of people, which is a big hurdle for a lot of photographers and is something I’m still wrestling with. For now, though, I find it very easy to wait for when the light is nice and go out walking around my neighborhood and find something that’s striking and capture it.
So if you could Instagram any one thing in the entire world what would it be?
That’s a pretty profound question because I think the answer would change depending on the kind of day or week I’m having. But, I think it would be to take whatever emotion I’m feeling at the time and capture somebody’s face that conveys all of one emotion in one shot. It sounds kind of ambiguous, but I think it’s definitely a goal for me, to put that out into the world and have people connect with it.
How do you feel Instagram has effected the photography industry, whether positive or negative?
I can’t take a stand on one side of the argument because there are pros and cons to each. The pros are that from a business standpoint, if you’re a photographer who’s been out there and established but is looking for new ways to get your work out, it’s a phenomenal platform. I also think it’s interesting in the space of brands, as I know plenty of working professional photographers who get work where they’ll take over a company’s Instagram account, do a little social media marketing.
But I also see the downside and I’ll use myself as an example: I’m a creative, visually inclined person and something like Instagram saturates that space, so what used to have a more limited number of players now has many more. I don’t want to use the word competition because I’m not really sure what I’m competing for, but in terms of just being noticed or getting your work out, [Instagram] makes things a little more challenging. I wouldn’t say it's a complete negative, but it does create some challenges that are unique to being a creative professional.
So through all of this, who would you say are your biggest influences?
I’ve actually been influenced by kids at FIT or some of the other colleges around here. I’ve taken night classes for darkroom and screen printing and college students always have awesome things going on. I always tell my girlfriend that I want to learn how to take an “art school photo.” I don’t know how to sum that up in words, but to make it more concise; the bigger picture is that I don’t like to limit my influences. There’s tons of famous photographers whose work I totally love and there’s even people, who are totally unknown, who are doing their thing really well.
Follow Drew on Instagram and stay tuned for next week's interview!
Drew English working the boom on set in Chicago. Photo by @t_sessler
Whether you jump out of planes, race down mountains or shred sweaty, two hour long jam-band shows that peak higher than the very mountains you've conquered, capturing the essence of these moments is one of the most important factors in promotion. So, whether you're filming clips that would make your grandmother faint or gaining exposure for your band, it's safe to say that a GoPro is, in fact, the most simple and efficient way of acquiring such footage. So, we've scoured the Internet to bring you "11 GoPro Tips From the Professionals."
11. Prep your equipment
Before you even think about shooting be sure to charge your battery the night before, clean your lens with preferably a microfiber cloth and clear your SD card. There's nothing more disappointing than running out of memory or power mid-shoot.
10. Check and vary your angles
Once you're set up and ready to go, you can use the GoPro app to check the positioning of the camera. While the camera itself doesn't offer any view of what you're shooting, the last thing you want to find at the end of a shoot is that you've captured nothing more than the subject's chin, leg or some other isolated body part. Also, there's nothing more boring than watching a band's entire show from the same angle—and the same goes for just about anything else you'd shoot—so be sure to switch up your angles as much as possible.
9. Get up close and personal
If you’re filming someone else, it's important to know the differences between using GoPro for P.O.V. and more traditional filming. Most GoPros use either a wide to ultra-wide or fisheye lens, which presents a wide field of view allowing more of the scene in front of the lens to be captured. Although this is great for capturing as much of the action as possible, a side effect is that it magnifies stuff happening close to the camera while shrinking the background. So, you should get as close as possible to the subject to avoid losing him or her in the background. Just don't do this when you want a beautiful portrait as the lens will distort your subject's facial features a bit!
8. Consider the subject's facial expression and body position
I know it sounds silly but does anyone really want to see footage of you or your subject's awkward pose or stank face? Seriously, though, for extreme sports you should decide if you want something either low and steezy or upright and relaxed. For anything else you should decide whether you want to be smiling, focused or just straight up having a blast.
7. Get the numbers right
720p, 1080p and now 2k and 4k are different resolution sizes, which refer to the number of pixels on the vertical axis of your square frame. 1080 is officially HD, but 720 is good enough for most computers and you’d only notice the difference on a substantial TV screen. You'll also save yourself a whole lot of memory if you film in 720.
The other number to consider is FPS, or "frame rate," which refers to the number of pictures taken per second by the sensor. With the naked eye, it's impossible to see anything faster than 25fps so you won't need anything more unless you're planning for slow motion. When it comes to slo-mo, however, the higher the frame rate the more you can slow it down before the footage gets shaky, so 50 to 60 fps is the standard slo-mo setting, while 100 to 120 fps will allow you to really, really slow everything down.
6. Consider the lighting
GoPros are great at what they do, but when taken out of the lighting conditions they're designed for things can get a bit a tricky. For example, a big thing GoPros have difficulty in dealing with is being pointed directly toward the sun. This can cause lens flare and vertical purple lines on the screen, in addition to silhouetting of the subject. However, there's nothing like a classic sunburst shot; a good way to do this is to aim the camera back at the subject with the sun behind him or her. If you catch it in the right spot the subject should be blocking most of the sun, which will avoid any of the issues we've discussed.
5. Keep a steady hand
Lay off the coffee and try keeping your hand as steady as possible. If you don't have access to a GoPro handle and mount, which can be fairly costly, attaching the camera to an old broom handle is a great way to guarantee a more steady shot—this is especially key for action sports shooting.
A GoPro does more than just film. You can set it to snap photos every second, ten seconds or sixty seconds. You can edit these into your video, and although you'll most likely throw away 200 photos you'll get at least ten that are really cool.
3. Edit your footage
Sure there's Final Cut Pro and iMovie, but GoPro also has its own software called GoPro Studio. It gives beginners the option to simply replace the program's stock clips with their own to easily create a timeline, while advanced users have the option to start completely from scratch. You are also able to add effects, vary the speed, trim clips, add audio and more.
2. Learn how to mount your camera
Before you go out buying costly handles or mounts let's get one thing straight: duct tape is your friend. While it's a great tool for setting up a helmet cam it's also necessary for rigging up haggard handles, poles and broomsticks.
1. Plan your story
There's so much GoPro material out there, but a great way to stand out is a well-thought out and planned video. Even if you're filming something as simple a single hang gliding session, adding a narrative to your film will bring you away from monotony and more toward creative.
[post_title] => 11 GoPro Tips from the Professionals [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 12-gopro-tips-from-the-professionals [to_ping] => [pinged] => http://resourcemagonline.com/2013/03/stills-and-video-at-the-same-time/ [post_modified] => 2014-06-20 14:04:53 [post_modified_gmt] => 2014-06-20 18:04:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/2014/06/12-gopro-tips-from-the-professionals/ [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 40040 [post_author] => 25217 [post_date] => 2014-06-20 13:46:28 [post_date_gmt] => 2014-06-20 17:46:28 [post_content] => Summer’s here and it’s well time to get rid of that farmer’s tan, show some skin and enjoy the weather for the first time in six months. And what better way to do this, than a hotel pool party in Williamsburg. Hosted by New York photo/video studio and production Root, #SwimRoot will take over the McCarren Hotel and Pool every other Friday complete with drinks, music and even triplets. Tonight’s party will feature a DJ set by DirtyBoogie—and of course—a kaleidoscopic pool that makes you forget you’re in New York and not Miami.The party is located at 160 North 12th St., Brooklyn and begins at 5 p.m. For an invite to #swimROOT just shoot an e-mail to RSVP@ROOTNYC.COM and don’t forget your swimsuit. Also, you can prepare for the night by watching Root’s promo video below! [post_title] => #SwimRoot - Lets Get WET! [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => swimroot [to_ping] => [pinged] => [post_modified] => 2014-06-20 13:46:28 [post_modified_gmt] => 2014-06-20 17:46:28 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=40040 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 39957 [post_author] => 25217 [post_date] => 2014-06-19 14:24:55 [post_date_gmt] => 2014-06-19 18:24:55 [post_content] => Since 1977 Tamrac has been the leading manufacturer of camera cases, until the company filed for Chapter 11 bankruptcy in January. Although Tamrac claimed in its Chapter 11 filing that its debt was due to “weakened demand for point-and-shoot cameras, the economic recession which further hampered sales, as well as a shrinking number of specialized retail outlets,” they also stated business would continue as usual and the “company’s commitment to providing outstanding workmanship remains unchanged.” But today, a press release revealed that the U.S. Bankruptcy Court has approved sale of Tamrac’s brand and assets to Gura Gear.
“This acquisition represents an exciting opportunity for Gura Gear to build upon a brand with a legacy of designing solutions for photographers and a dedicated customer following while leveraging worldwide distribution,” said Gura Gear President Gregory Schern in the press release. “We look forward to providing customers a high level of service and implementing solutions from a new perspective in a rapidly evolving industry.”
Upon the closing of the deal, Tamrac’s assets will be relocated to Gura Gear’s Ogden, Utah facilities which will then be expanded. The acquisition is planned to be finalized towards the end of the month.
[caption id="" align="alignnone" width="640"] Tamrac's website remains fully operational and products will continue to ship to customers and retail locations.[/caption]“Basically we’ve just acquired Tamrac’s assets and brand and we’ll continue to market the products of both Tamrac and Gura Gear. There won’t be any intermingling between them,” said Gura Gear’s Marketing and Public Relations Associate Braden Thompson.Gura Gear began in 2008 as “an idea on the back of a napkin” and was developed by a team of passionate photographers looking to create the perfect photography bag. Now, they've expanded to a full line of carrying solutions, including backpacks, memory card storage, stabilization and more. But for a start-up brand to purchase a historical company like Tamrac, it's clear that Gura Gear is set out to make a name in the industry and its team of young, innovative minds could be the last hope to preserve the legacy of such a historical company.[caption id="" align="alignnone" width="600"] The Gura Gear Unita as featured in the Spring 2014 issue of Resource Magazine[/caption] [post_title] => Gura Gear Acquires Tamrac Brand and Assets [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => gura-gear-acquires-tamrac-brand-assets [to_ping] => [pinged] => [post_modified] => 2014-06-19 14:40:22 [post_modified_gmt] => 2014-06-19 18:40:22 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=39957 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 39917 [post_author] => 25217 [post_date] => 2014-06-18 11:30:22 [post_date_gmt] => 2014-06-18 15:30:22 [post_content] => Adobe released its first version of Creative Cloud in 2011, and users were a bit skeptical when they announced last June that new versions of Photoshop would only be available through Creative Cloud. Now, a year later and 2.3 million subscribers strong, Adobe has unveiled its biggest software release since CS6.“Our shift to Creative Cloud has given us a broad canvas on which to innovate like never before,” said senior vice president of digital media David Wadhwani in the software’s press release. “We’ve taken bold steps with this milestone release, fast-tracking new features to industry-defining tools like Photoshop and InDesign while introducing mobile apps that turn tablets into dispensable creative tools.”Today, Adobe released its latest edition of Creative Cloud—which includes fourteen updated versions of its desktop apps—and four new mobile apps such an updated version of Lightroom Mobile and the brand new Photoshop Mix, giving users the ability to edit anything from smartphone photos to RAW images from DSLR cameras on iPhones and iPads. Although the new apps are only available through the cloud, it works to seamlessly sync the mobile apps to the newly updated desktop versions of Lightroom (which updates to Lightroom 5.5 for mobile support) and Photoshop CC so photo editing can be taken anywhere users have internet access. Lightroom Mobile, available for download in the iTunes App store, has added some top tier features including iPhone support, camera roll compatibility and sharing edited images throughout social networks, in addition to familiar Lightroom features such as the filmstrip, crop, adjustments and presets. The layout also looks similar to the desktop version, but with a simplified design to make editing easy on smaller screens. So, when combined with the brand new Photoshop Mix software, Adobe has given the photo world a more intuitive joint platform than ever before. Available exclusively on Creative Cloud, Photoshop Mix is currently accessible for iPad and can be downloaded in the iTunes app store now. While it was previously used for storing assets and gaining access to them, the software now makes it possible to do computation such as applying effects to selected areas, combining images, background swapping and more. And of course, this can all be simply transferred to Photoshop in the form of high resolution images and a PSD files, so users can conveniently finish the grunt work on a tablet and it can then be refined on a desktop using the updated Photoshop CC features. Video courtesy of Adobe.
The other mobile apps released for iPad includes Adobe Sketch and Adobe Line, along with Adobe's new cutting edge hardware the Adobe Ink and Slide—a new digital pen and ruler combination for working on the iPad. There is also an update to Adobe Voice, an animated video app for storytelling. These apps were developed using “a new Adobe SDK that unlocks over thirty years of Adobe information,” according to Adobe’s press release, bringing tablets into serious creative workflow for the first time.
The video feature proposes a new way of capturing 3840x2150 8-megapixel equivalent images from the 4K footage which is often difficult to capture in still photography, while videos can be recorded in full-HD 1,920 x 1,080 60p, AVCHD Progressive (MPEG-4 / H.264) format or MP4 at 60p. There is also a powerful 16x optical zoom with 5-step speed controls to enable smooth zoom adjustment, along with a 5-xis HYBRIC Optical Image Stabilizer with Active Mode to better compensate for vibration. All of this, however, comes in addition to Creative Video mode, High Speed video in full-HD at 120fps, Time Lapse Shot and Stop Motion Animation for a full range of video effects.
For faster response, focusing and higher mobility, the camera also integrates a dedicated motor in the focus system, along with an enhanced Light Speed AF which calculates the distance to the subject by evaluating two images with different sharpness levels while consulting the data of optical characteristics of the current lens in a moment, shortening the time to set focus. The result of this is high speed AF at approximately 0.09 seconds and wide end and approximately 0.17 seconds at tele-end, so photographers will never miss a shot.
Other features include highlight/shadow control, in camera RAW data development, Intelligent Auto Plus mode for beginners and three centimeter Macro Shooting. The FZ1000 also integrates Wi-Fi connectivity offering instant image sharing and the option to use the Panasonic Image APP, which provides the option of remotely controlling the shutter, zoom, focus, shutter speed, aperture and exposure compensations with a smartphone or tablet.
Also, there are a number of newly added optional accessories such as a GN58 powerful External Flash (DMW-FL580L) which allows high speed charging of approximately 1.7 seconds, the Stereo Shotgun microphone (DMW-MS2) which enables stereo/shotgun switch, the 62mm diameter of ND Filter (DMW-LND62), PL Filter (DMW-LPL62) and MC Protector (DMW-LMCH62), which all offer even more options for creativity.
For more about the FZ1000 and other products, visit the Panasonic site and order yours today!
Panasonic LUMIX DMC-FZ1000 Specs:
Dimensions (W x H x D)
136.8 x 98.5 x 130.7 mm (5.39 x 3.88 x 5.15 inch)
Approx. 780 g without Battery and SD Memory Card (1.72 lb) Approx. 831 g with Battery and SD Memory Card (1.83 lb)
Camera Effective Pixels
Sensor Size / Total Pixels / Filter
1-inch High Sensitivity MOS Sensor / Total Pixel Number 20.9 Megapixels / Primary Color Filter
f = 9.12 - 146mm (27 - 432mm in 35mm equiv. in 4:3) (25 - 400mm in 35mm equiv. in 3:2) (26 - 416mm in 35mm equiv. in 16:9) (32 - 512mm in 35mm equiv. in 1:1)(26 - 416mm in 35mm equiv. in 16:9 video recording / O.I.S. Off / Level Shot function Off) (28 - 448mm in 35mm equiv. in 16:9 video recording / O.I.S. On / Level Shot function Off) (31 - 496mm in 35mm equiv. in 16:9 video recording / O.I.S. On / Level Shot function On) (37 - 592mm in 35mm equiv. in 4K video recording)
Extra Optical Zoom (EZ)
22.4x (3:2 / 10M (M)), 32x (3:2 / 5M (S))
LEICA DC VARIO-ELMARIT 15 elements in 11 groups (5 Aspherical Lenses / 8 Aspherical Surfaces / 4 ED Lenses)
Changing of Zoom Speed
Optical Image Stabilizer / Five-Axis Correction
HYBRID O.I.S. +* / Yes* * Except for the 4K video recording.
Conversion Lens Compatibility
Normal: Wide 30 cm - infinity / Tele 100 cm - infinity AF Macro / MF / Intelligent Auto / Motion Picture: Wide 3 cm - infinity / Tele 100 cm - infinity
AF Assist Lamp
Yes (On / Off)
AFS (Single) / AFF (Flexible) / AFC (Continuous) / MF Normal / AF Macro / Macro Zoom, Quick AF On / Off (on in Intelligent Auto), Low Light AF, AF/AE Lock Button, AF Area Select, AF Tracking, Eye Sensor AF, Focus Peaking, One Shot AF (Set the Fn button in custom menu to AF-ON)
PHOTOfunSTUDIO 9.5PE SILKYPIX Developer Studio LoiLoScope (trial version) Adobe Reader
Please refer to "Accessories" Sheet
[post_title] => Panasonic Officially Announces LUMIX DMC-FZ1000 [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => panasonic-officially-announces-lumix-dmc-fz1000 [to_ping] => [pinged] => [post_modified] => 2014-06-11 23:37:25 [post_modified_gmt] => 2014-06-12 03:37:25 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=39779 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 39587 [post_author] => 25217 [post_date] => 2014-06-10 07:55:32 [post_date_gmt] => 2014-06-10 11:55:32 [post_content] => Alien Skin Software announced today that orders for its brand new photography effects software Exposure 6 will be shipped and the program is now available for immediate download. The software, which allows users to achieve accurate film emulation and creative effects, can be used as a plug-in to popular host software such as Adobe® Photoshop®, Lightroom® and Apple® Aperture® but also functions as a standalone program—giving users greater flexibility in one simple interface.“With Exposure 6, not only have we worked to enhance the rich feature set available to photographers, but also to streamline the software to help them focus on creating extraordinary images faster than ever,” said Alien Skin CEO Finley Lee in the software’s press release. “It’s about understanding a user’s workflow and helping photographers realize their artistic vision as quickly and easily as possible.”
Aside from the 450 preset effects, Alien Skin has carefully analyzed popular classic films like Polaroid, Kodachrome and TRI-X, allowing photographers to bring the traditional dark room style into the world of digital. The software also integrates color and black-and-white processing so there is no need to switch between tools and users can quickly achieve their desired look.
Following the theme of integration, Alien Skin’s creative focus and lens simulation program, Bokeh (which is known for its fast lens simulation, tilt/shift and motion blur effects), has been bundled into Exposure so users no longer have to switch between programs. This is all backed by a new control panel which contains sliders for global adjustments to areas such as exposure, contrast, clarity and vibrance, along with an updated image processing engine for instant previews, thus increasing functionality without taking away from the user-friendly aspect Alien Skin is known for.
Although user feedback has given praise to the limitless options to add border and texture overlays, Exposure 6 also includes a variety of new lighting effects such as realistic sun flare and authentic vintage borders, developed by world-renowned photographer Parker J Pfister. Not to mention, users are now able to import their own custom borders and textures while easily sharing and syncing them across multiple computers.
Exposure 6 is available for immediate download through Alien Skin for $149 USD. Owners of any version of Exposure may upgrade for $69 USD and free upgrades will be automatically sent to everyone who purchased Exposure 5 directly from Alien Skin Software in March 2014 or later. To familiarize yourself with the software before purchase, you can download a trial version that is fully functional but comes with a time restriction.
When Exposure 6 is used as a plug-in it requires one of the following host applications: Adobe Photoshop CS6 or newer, Adobe Lightroom 5 or newer, Apple Aperture 3 or later. Its system requirements include OS X Mountain Lion (10.8) or later for Apple users, Windows 7 or later for Microsoft Windows users and a monitor with 1280X768 resolution or greater.
To help users get started and for advanced techniques, the Alien Skin website has a packed library of tutorial videos.
[post_title] => Alien Skin Exposure 6 Available Now [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => alien-skin-exposure-6 [to_ping] => [pinged] => [post_modified] => 2014-06-09 16:30:58 [post_modified_gmt] => 2014-06-09 20:30:58 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=39587 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 39639 [post_author] => 25217 [post_date] => 2014-06-10 07:08:55 [post_date_gmt] => 2014-06-10 11:08:55 [post_content] => Recently published by The New York Times Magazine, “Quick Feet, Slowed Down” had photographer and director Dylan Coulter meeting with the world’s biggest soccer athletes. In anticipation for the 2014 FIFA World Cup in Brazil, The New York Times Magazine commissioned photo shoots with Leo Messi, Neymar da Silva Santos Jr., Andrés Iniesta, and Cristiano Ronaldo. But between the Premier League’s playoffs (La Liga) and the impending World Cup, it turns out the world’s hottest soccer players have a limited amount of free time: even when Leo Messi was available, Coulter only had eight and a half minutes to secure a cover portrait. While the ultimate goal of the photo shoots was to shoot slow motion videos and use the multiple exposure technique to blend these fluid movements into gorgeous photos, the photographer had to consistently adapt to situations in order to get the necessary coverage. When reaching out to Coulter, who had to travel through Spain to secure time with each international superstar, he talked about the challenge of these shoots and having to change intended plans ‘on the fly’: “It was important for us to be open-minded. Clearly, we knew what we wanted, but we had to be adaptable. We had stuff planned, but had to change quickly because of the player’s schedules; most were shot in less than ideal locations.”Coulter was able to film three of the players at their facilities, which was difficult enough, but he had his most challenging day with Ronaldo, who was at an old Spanish Palace for Nike. He is grateful that Nike granted him permission to film there, “but the place had one elevator that was ancient, had no power and a small amount of space—it added to the challenge of the shot.”But even with all these difficulties, Coulter remains happy with the work and thankful to the players for their time. “If photographers or directors are curious about how it all came together, it was a challenge, but in a fun way,” he summed up. All in all, The New York Times article amplifies the anticipation for the world’s biggest sporting event, which commences on June 12th with hosting nation Brazil playing against Croatia at 4 p.m. EST.See the entire slow motion video, “Quick Feet, Slowed Down”, on the NY Times Magazine website. This story first appeared on the NY Times website. All images used with the permission of the artist. [post_title] => Dylan Coulter Captures the World's Hottest Soccer Players [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => dylan-coulter-captures-worlds-hottest-soccer-players [to_ping] => [pinged] => [post_modified] => 2014-06-10 15:02:05 [post_modified_gmt] => 2014-06-10 19:02:05 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=39639 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 39590 [post_author] => 25217 [post_date] => 2014-06-09 16:22:50 [post_date_gmt] => 2014-06-09 20:22:50 [post_content] => The orphans who live in the remote village of Kibosho, Tanzania have little means of survival. Many of these children—who have suffered abuse or lost their families to AIDS—often spend their days working and harvesting crops for almost nothing. “People there don’t complain, it doesn't exist. They just finish their jobs and then go sing and dance,” recalls photographer Claudia Paul Hehr, sweeping back a wave of her trim blonde hair—a contrast to the gray skies outside the window of the coffee shop.In the summer of 2012 Hehr arrived in Kibosho located at the bottom of Mount Kilimanjaro and far from her hometown of Ingersheim, Germany. Her first time in Africa, she accompanied grassroots organization Artists For World Peace to document its relief efforts for a remote orphanage filled with young children. “There’s about twelve to fifteen [children] living there at a time but there’s a constant stream of kids coming in to eat and hangout. Afterwards, there might be someone to pick them up—but not always,” she explains, before describing one child in particular. “There was a girl who really broke my heart. She was abused by her father at a very young age but she was the happiest and cutest kid you could imagine."An organization whose goal is to “feed the hungry, house the poor and encourage peace throughout the world," AFWP helped to establish a health-center during its last trip to the village, working closely with orphanage founder Josephine Machuwa to sponsor the children so they can pay tuition costs for education and monitor their progress after they've left. “The older children are all being sponsored so they can go to a good school where they learn how to speak English and use computers," Hehr says. "The other schools around there are all very basic so if you don’t have the money to send your kids to the more official schools then they don't have much of a chance.”In July 2014 the organization will again visit the orphanage, but this time with a team of eye doctors who will set up a temporary clinic in the health-center. Once the children are individually examined, prescription glasses are to be assembled in the U.S. and shipped back to the village. "Many of the children are unable to learn to read and write because they’re unaware of their poor vision," Hehr explains. "A big issue with education [in Tanzania] is that the kids can’t read because they have problems with their eyes—but there’s no solution, nobody notices and the kids just think it’s normal.”And yet, amid the anguish and poverty Claudia believes the children live hopefully, which is perhaps due to a sense of blissful naivety along with appreciation for the things they do have—food and shelter. “They’re all just so content and they have nothing. It was life-changing and really changes your perspective,” she says.Hehr was born in Germany and began experimenting with a film camera in elementary school. After high school she moved to New York where she worked as a nanny and discovered her love for the city. "It wasn't until I first came to New York that I realized how much I wanted to pursue [photography] and make it my profession," she says. Only a year later, however, she returned to Germany and began a photography apprenticeship—attending classes part-time and assisting in a studio on the remaining days. "In Germany what you basically do is get hired by a photo studio so you're thrown into the working world right away, then you go to class so you get a good mix of both."Now more than five years have passed and Hehr is living in Harlem. Her photos, which have since been published throughout German magazines such as DIE WELT, Manager Magazin and Lufthansa Magazin, have also been featured in an anti-bullying campaign, a breast cancer documentary and cataloged the Occupy Wall Street movement in 2011. With the work of Nadav Kander, Platon and Marco Grob as some of her greatest influences, “capturing the true essence of a person” is what she strives to achieve as a photographer, in addition to raising awareness for humanitarian efforts.“I travel a lot but you never know what the expect until you’re there. It's like you feel like you're struggling but in reality you have everything,” she says, just as the sun broke through the clouds, joining forces with the photographer to bring light to the world.Although Hehr’s work has played a crucial role in raising awareness, she has not yet reached her funding goal for the upcoming Tanzania trip. To help support her cause you can watch her video from the group’s last trip and make a donation. [post_title] => Photographer for World Peace - Claudia Paul Hehr [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => photographer-world-peace-claudia-paul-hehr [to_ping] => [pinged] => [post_modified] => 2014-06-16 14:24:16 [post_modified_gmt] => 2014-06-16 18:24:16 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=39590 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 39614 [post_author] => 25217 [post_date] => 2014-06-06 16:00:27 [post_date_gmt] => 2014-06-06 20:00:27 [post_content] => Instagram has become a hot topic for debate in the photography world. Some believe it has tarnished the industry, with its increasing user volume making it difficult for photographers to stand out and be paid for their work; yet others feel it has brought forth an era of community, opportunity and the chance to have their photos instantly spread to the masses. For New York based photographer @ch3m1st aka Lexi Zozulya, however, Instagram has helped him to land jobs—and with over twelve thousand followers—it has carried him hundreds of feet above New York City skyscrapers.
In light of Instagram's success as both a mobile app and photography tool, each week Resource will be featuring an interview with an Instagram user of our choice. Check out our Q&A with @ch3m1st below and stay tuned for next week's story.
Photographers are always asked how they got started, but can you sum up the beginning of your career for our audience?
I never really considered myself much of a photographer, I’ve always just enjoyed the process of photography from a technical standpoint. But two and a half years ago, I downloaded Instagram after I moved to New York and started a new job. I then snapped a picture of the Chrysler building from my office across the street and started using it as a way to document my day. At this time last year, I had about 500 to 600 followers, which were just people that I’ve known from my travels, work, friends of friends and things like that. I then decided to start reaching out to the community and that was when it all changed. I discovered local groups, Instameets and featured accounts for different types of photography. From there it grew exponentially, and I can’t believe that I’ve pretty much had a twenty-fold increase in followers in less than a year.
Can you tell me about the gigs you’ve landed from your use of Instagram?
Slowly but surely, I’ve gotten more and more experience through Instagram. The most notable one has been with New York On Air, but the idea that they hired me for my Instagram photography is a misconception. I actually just won a silly contest for writing their name in the snow in my backyard.
Similarly, I posted a lot of pictures of bicycles because I’m a fan of the aesthetic, which led me to a photography contract with Sole’ Bicycles to shoot their bikes on Instagram. But that also wasn’t discovered through Instagram, it was actually found through Momentage, which is a different social media app for photography. Still, it all started off with social media but nothing has directly come out of Instagram yet.
In what ways do you like or dislike Momentage compared to Instagram?
Well it's a new app for creatives that’s similar to a blog, in that each entry can have multiple photos, videos and sound images. My favorite parts of it are the quality because I don't have to crop to square and I can zoom, and also, the flexibility of it because I can edit a post after the fact to add, remove or rearrange content. Plus, its got a greatly curated discover page.
Speaking of social media, can you explain the meaning behind your handle ch3m1st?
The pseudonym came about in 2007, while I was in school for a chemistry degree, which I went on to get. So I was a chemist by trade and at the time technology and “leetspeak” speak—where you use numbers instead of letter—was really cool, so I just created a new account called ch3m1st and it kind of stuck around: so I created new accounts with that name in different social networks. Now, it’s kind of recognizable to the point where I’ve gotten my hat embroidered with it, which has made for some really funny experiences where somebody’s talking about my username and the work I do, not realizing that they’re talking right in front of me until I spin my hat around and they lose their cool.
So what new work can we expect to see in future?
I now have a contract with the stock photo company New York On Air, so I get to go up in helicopter and take pictures—hopefully I get some sales off of that. I’ve also partnered up with an interior designer and an aluminum metal print of my photo Violet Vertigo is hanging in a design showroom of the Residences at the W New York Downtown. It's part of an interior design challenge called Designer Showhouse of New Yorkand it’s a commissioned fine art print.
Very soon I’ll be finishing the coding I did for a website for Sole’ Bicycles showcasing the work I did for their new product line for their city cruiser. They used to do a lot of minimalist work and they just released their line of city cruisers, and I was the first one on the east coast who was able to take it around town and take pictures of it.
[post_title] => Insta-view: Instagramer Lexi Zozulya [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => insta-view-interview-instagram-lexi-zozulya [to_ping] => [pinged] => http://resourcemagonline.com/2014/05/esqinstameet/ [post_modified] => 2017-01-31 16:24:10 [post_modified_gmt] => 2017-01-31 21:24:10 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=39614 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 39465 [post_author] => 25217 [post_date] => 2014-06-03 15:00:47 [post_date_gmt] => 2014-06-03 19:00:47 [post_content] => Biking is one of the most thrilling extreme sports. They launch, spin, flip, grind and fall; For the riders it’s dangerous, but for photographers it’s an ideal hub for action shots. Yet as a high-velocity, fast-paced sport it’s not always easy to capture the perfect frame, so we’ve put together the Golden Rules of Extreme Bike Photography.
6) Shoot in Burst Mode
Rather relying on your own judgement to snap a photo at the perfect moment, shoot in Burst Mode to take continuous shots so you’ll never miss a frame. This also gives you the option to shoot sequences, which is a great way to capture a wipeout.
5)Blur to show movement
To show movement, use a blur effect by panning with the subject and keeping the aperture as wide as possible. This will increase the effects of the blurred background while keeping the rider in focus.
4) Use your flash correctly
A flash can be crucial for freezing action in low light settings, but to have a light go off in a biker’s face as he or she launches into the air is never a good idea. So, try setting up an off-camera flash behind the rider—it’s also a great way to get the subject to pop out of the frame.
3) Pre-meter the environment
To avoid having to calculate an exposure and potentially miss a shot, pre-meter the environment so you can have all of your settings configured beforehand. This way, you can capture the rider’s warm ups with out having to warm up yourself.
2) Stay conscious of the environment
Yes, we do recommend that you get up close to the rider, but if you’re shooting at an interesting environment, such as a street spot covered in graffiti or dirt jumps out in the mountains, you may want to take a step back to fully capture the scene in all of its glory.
1) Find an interesting perspective
For any action sports photography it’s all about the angles. It’s great to get up close instead of relying on a zoom, and you can never go wrong positioning below a jump or directly to the side of it. However, there’s no set precedent for extreme bike photography angles so it’s up to you to find the spot (a good method is to take note of the direction the rider spins). But don’t forget to vary your angles—especially if the rider is switching up his or her tricks. [post_title] => Golden Rules Of Extreme Bike Photography [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => golden-rules-extreme-bike-photography [to_ping] => [pinged] => [post_modified] => 2014-06-04 06:40:55 [post_modified_gmt] => 2014-06-04 10:40:55 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=39465 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ))