Array (  => WP_Post Object ( [ID] => 65918 [post_author] => 47228 [post_date] => 2016-05-09 10:33:47 [post_date_gmt] => 2016-05-09 14:33:47 [post_content] => Like a good number of fashion photographers, modeling was Henry Hargreaves’ initial introduction to the industry. That is, until he was commissioned to shoot food in a restaurant. What he found was that still life allowed to form a clearer vision for his work, rather than depending on models as subjects. Today, he is driven by subtly playful—or sometimes raw, dark—emotion and an experimental aesthetic, notable in his Why We Fight series, where he objectively attacks the symbolistic representation of war and how it affects us as individuals.[caption id="attachment_65923" align="alignnone" width="1024"] © Henry Hargreaves[/caption]
"There were these very simple themes that jumped out to me regarding the Middle Eastern wars: oil, death, religion, and how each aspect is untrusting of the other," he said. “I wanted it to be very stark, very black and white. I think that’s how people’s opinions fall about these things. Very few fall into a passive middle ground, so I wanted to reflect that.”[caption id="attachment_65927" align="alignnone" width="1024"] © Henry Hargreaves[/caption]
This process behind series, created with set stylist Nicole Heffron and showcased in his Dripbook Portfolio, was simple: cover wartime objects in very light cloth to get the shape of the outline coming through them. At first, he attempted to do this by covering the props in motor oil, which was too thick to create a poignant outline around the objects. As a substitute, they used black paint and lighting to recreate the shine of oil.[caption id="attachment_65929" align="alignnone" width="1024"] © Henry Hargreaves[/caption]
"I think the power of a really good image is something that’s almost like looking into a mirror—something that lets the viewer draw their own conclusions, “ he said. “I'm not trying to tell anyone anything, or say that my opinions are right or wrong. Instead, I’m asking these things as a question opposed to a statement.”[caption id="attachment_65920" align="alignnone" width="1024"] © Henry Hargreaves[/caption]See more chilling shots from this series below and tell us your interpretation in the comments.[caption id="attachment_65922" align="alignnone" width="1024"] © Henry Hargreaves[/caption][caption id="attachment_65928" align="alignnone" width="1024"] © Henry Hargreaves[/caption][caption id="attachment_65924" align="alignnone" width="1024"] © Henry Hargreaves[/caption][caption id="attachment_65925" align="alignnone" width="1024"] © Henry Hargreaves[/caption][caption id="attachment_65926" align="alignnone" width="1024"] © Henry Hargreaves[/caption][caption id="attachment_65919" align="alignnone" width="1024"] © Henry Hargreaves[/caption]Visit Hargreaves’ Dripbook portfolio for more of his work. [post_title] => 'Oil, Death, Religion': Chilling Photos Show the Depravity of Wartime [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => oil-death-religion-chilling-photos-show-the-depravity-of-wartime [to_ping] => [pinged] => [post_modified] => 2017-01-31 15:05:04 [post_modified_gmt] => 2017-01-31 20:05:04 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=65918 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 65913 [post_author] => 47228 [post_date] => 2016-04-25 12:42:50 [post_date_gmt] => 2016-04-25 16:42:50 [post_content] => The World Press Photo Foundation and the Tim Hetherington Trust are happy to announce that they will be launching a fellowship together, starting in 2016. Their focus is on visual storytelling about politics, conflict, and the human experience—three major concepts that Tim Hetherington, a photojournalist, showed in his work.Hetherington traveled the world and both advocated for social rights and documented crisis. He saw the war and peace in Liberia, documented a tsunami in Indonesia, and was even involved with a children's school for the blind in Sierra Leone. Through this fellowship, these partners want to continue his streak of humanitarianism, and continue spreading his kind actions around the world.The fellowship will be committed to supporting future beneficiaries through funding new projects and connecting them to international networks, basically the photojournalists' dream. The selected fellow will receive an award of 5000 euros to start, although more financial help could be added as this fellowship starts gaining support by various other organizations. They will also receive continuous mentoring and will become a part of a network that helps choose more inducted fellows, pretty much indefinitely.The first fellow they have chosen is Nana Kofi Acquah (@africashowboy). He's a Ghanaian photographer who focuses on African issues and seeks to reposition Africa with his photography. His fellowship funding is going toward his new project about gender/women in Africa, which is contributing new discourse about the role of the African woman in the community.World Press Photo Foundation is an independent, non-profit organization based out of Amsterdam, the Netherlands. It also receives funding from the Dutch Postcode Lottery and is sponsored by Canon. [post_title] => World Press Photo Foundation Announces its 2016 Fellowship Award [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => world-press-photo-foundation-announces-its-2016-fellowship-award [to_ping] => [pinged] => [post_modified] => 2016-04-25 12:42:50 [post_modified_gmt] => 2016-04-25 16:42:50 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=65913 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 65585 [post_author] => 47228 [post_date] => 2016-04-19 10:27:51 [post_date_gmt] => 2016-04-19 14:27:51 [post_content] => The way our world is changing, whether natural or otherwise, is causing the sea levels to rise. This has a dramatic effect on the natural landmass we have access too, especially islands. As this starts to affect local populations more, we as photographers need to document the beauty of these places, so that we can archive these photos of what-used-to-be for future generations to admire... or lament.Here are 5 beautiful natural landscapes that every nature or landscape photographer should visit before they disappear completely.1. Kiribati[caption id="attachment_65622" align="alignnone" width="1600"] © Nick Hobgood via Flickr[/caption]This island is near the equator, directly south of Hawaii, and is made up of 32 low-lying atolls and one raised island. The people that live here have already had to start relocating due to rising sea levels and flooding. Their picturesque beaches and tropical climate are beautiful to photograph, as well as their marine life and coral reefs with in the Phoenix Islands Protected Area, the largest protected Marine Area in the Pacific Ocean.2. Maldives[caption id="attachment_65631" align="alignnone" width="1024"] © Nattu via Flickr [/caption]The Maldives are a set of Islands off the southwest coast of India. Not only do these islands offer a beautiful starlit sky because of the lack of light pollution, but they are home to Ostracod Crustaceans, a tiny species of crustacean that sometimes glows in the dark, underwater. And who doesn't want to photograph naturally glowing water? It looks something like this:[caption id="attachment_65633" align="alignnone" width="1024"] © Hans Hillewaert via Wikimedia Commons[/caption]However, a sea level rise of just three feet could submerge the entire country, and three feet is not a lot.3. Seychelles[caption id="attachment_65634" align="alignnone" width="1024"] © Didier Baertschiger via Flickr[/caption]Off the east coast of Africa, and northeast of Madagascar, this island is basically the definition of "island paradise." If you're a wedding photographer and are looking for a destination wedding adventure shoot, this is especially the place for you. However, rising sea levels are pushing in on the beaches that this island is known for. According to locals, tourism is already getting denser because of the decreasing amount of space. If you can't convince anyone to get all the way there for your wedding, I'm sure your their natural landscapes should suffice for your photography.4. Palau[caption id="attachment_65642" align="alignnone" width="1024"] © Matt Kieffer via Flickr[/caption]Palau is a small string of islands east of the Philippines, known for their crazy biodiversity and natural landscape. If you're especially into diving and underwater photography, then Palau is a must-see. Fortunately, rising sea levels won't do as much damage to the marine life, though for the humans living there, the land is becoming increasingly salinated, and may therefore become uninhabitable.5. Bangladesh[caption id="attachment_65643" align="alignnone" width="1024"] © Mariusz Kluzniak via Flickr[/caption]Bangladesh is rich in both culture and beauty, surrounded by the border of India and the western border of Myanmar. Unfortunately, much of Bangladesh is located in a giant valley- low lying lands that are vulnerable to flooding. Much of this land will be violently affected if sea levels rise, displacing millions of people, and flooding much of the serene landscape. Photographing the coastline and the major cities will become especially important in the next decade.[caption id="attachment_65644" align="alignnone" width="1024"] © Sakib Iqbal via Flickr[/caption] [post_title] => 5 Places Every Photographer Needs to Visit Before They Disappear [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => 5-places-every-photographer-needs-to-visit-before-they-disappear [to_ping] => [pinged] => [post_modified] => 2016-04-19 10:27:51 [post_modified_gmt] => 2016-04-19 14:27:51 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=65585 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 65340 [post_author] => 47228 [post_date] => 2016-04-12 15:03:23 [post_date_gmt] => 2016-04-12 19:03:23 [post_content] => To all of you tuning into Lytro's rocky journey, the past year has been a roller coaster for them: they coasted in and out of the consumer sphere, into VR and assumedly out of conventional still photography, and is in the midst of developing their Immerge technology. Now, they've apparently dedicated a team of developers into another zone: cinema.Their newest development shows promise in creative fluidity during capture and in post—the camera essentially allows you to reconfigure your shot, after you shoot it. The camera itself records each frame in a 3D format, recording depth, light direction, and color settings all at the same time. Because of the way this camera records data, users are capable of post capture refocus, computational frame rate and shutter angle, a depth screen feature, and light field camera tracking.The Post Capture Refocus essentially allows you to refocus your shot on anything in the frame, without you having to record it that way in-camera. The camera records information in all aperture settings, allowing the user to have a greater range of depth-of-field, and also to tweak any depth-of-field effect in post.Computational Frame Rate allows the user to use blur as a tool rather than an after thought of in camera settings. It gives you full control over both frame rates and shutter angles to get you the perfect amount of blur for moving subjects.The Depth Screen gives you the ability to select the background in post and changing it. It's like having a green screen with you at all times, without needing to actually carry a green screen. Instead, this camera tracks the depth of your subject versus the background, selects the pixels that are a part of the background based on that depth data, and voila. On top of all these features, this camera includes light tracking as well, offering detailed camera movements which makes it much easier to integrate CG effects and match moving during post production.Since this camera is clearly going to be a burning hell pit of data, their full package comes with a data processor as well as the ability to feed the data into the cloud—because no one will be able to afford that kind of space on their Dropbox accounts.At the end of the day, this camera could be a godsend for the motion picture industry. Time on set could be greatly diminished and without having to capture that "perfect shot" in the moment, you can instead tweak the shot in post. Didn't get that angle quite right? Information is there already. Aperture and blur is a little off? It's okay, fix it later. Don't like the background because it clashes with her hair? Change it in post.Lytro is definitely (hopefully) onto something here. Let's just pray this piece of technology can get them farther than what the past year has brought them.Here are some additional technical specs:
[post_title] => Lytro's New 755MP Cinema Camera is Poised to Change the Filmmaking Industry [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => lytros-new-755mp-cinema-camera-is-poised-to-change-the-filmmaking-industry [to_ping] => [pinged] => [post_modified] => 2016-04-12 15:03:23 [post_modified_gmt] => 2016-04-12 19:03:23 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=65340 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 65129 [post_author] => 47228 [post_date] => 2016-04-06 17:15:02 [post_date_gmt] => 2016-04-06 21:15:02 [post_content] => For all you film loving surrealist hipsters out there, this new art lens being released by Lomography is your dream lens for all the stylized blur and bokeh effects you could ever want. The concept behind the Daguerreotype Achromat 2.9/64 Art Lens is based upon the original lens from 1839, developed by Daguerre and Chevalier-- the key point to note being the way the lens softly drapes light over subjects when using larger apertures. This dreamy, haze-infused aesthetic is something that Lomography wants to revitalize into the modern era. This lens has a wide variety of uses; created with an aperture range of f/2.9 to f/16, a user can create softly blurred images with larger apertures, as well as intensely sharp images, after f/5.6 and on.This makes this lens versatile in what it can be used for--depending on if you are a blurred, painterly surrealist...or a saturated, color-enhancing perfectionist.[caption id="attachment_65140" align="aligncenter" width="1024"] Processed with VSCOcam with a6 preset[/caption]Though Lomography tends to gear more towards film, this lens can fit onto both analogue and modern digital cameras, such as the Canon EF and Nikon F mounts, as well as the Sony Alpha series, Fuji X-Pro 1 and Micro 4/3 Cameras. Following in the footsteps of the Lomography family tree after the the Lomography New Petzval 85, New Russar+, Lomo LC-A Minitar-1, The Petzval 58 Bokeh Control and Lomography New Jupiter 3+ Art Lenses, this special contribution comes in a sleek black or hipster gold finish, if you want to feel like you're ordering the golden ticket from Willy Wonka.TECHNICAL INFORMATION
- 755 RAW Megapixels
- Up to 300 fps
- Up to 16 stops of Dynamic Range
- Integrated High Res Active Scanning Systems
- Light Field data storage and processing on set and in the cloud
- Light Field plug-ins for existing visual effects tools
- Multiple render options, including stereoscopic and variable high frame rates
*Compatible also with a large range of other cameras using adapter mountsLomography is a global organization dedicated to the production of photography as art and a way to document the world. They love film, but will forgive you only if you occasionally use digital. No matter what kind of photographer you are, or whether you're a hipster or not, other artists are praising the lens, speaking about the intriguing blur and bokeh effects and the fact that they need to do little in post because of the lens' superior color quality. Just take a look for yourself. [post_title] => Lomography Releasing Golden "Daguerreotype" Art Lens [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => lomography-releasing-golden-daguerreotype-art-lens [to_ping] => [pinged] => [post_modified] => 2016-04-06 17:41:09 [post_modified_gmt] => 2016-04-06 21:41:09 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=65129 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 65082 [post_author] => 47228 [post_date] => 2016-04-06 11:46:54 [post_date_gmt] => 2016-04-06 15:46:54 [post_content] => Today, after much anticipation, the Huawei P9 and P9 Plus have been released, a smartphone created in collaboration with Leica. Huawei is coining the tech as "re-inventive" in the photography space, with its dual-lens system... a system which is a Godsend for people looking to really add clarity and depth to their Instagram feeds.The dual-lenses on the phone allow for the user to take both striking black and white photos, as well as detailed color photos, and supposedly works well in low-light since two lenses offer twice the amount of light coming into the sensor. One lens works as an RGB lens, capturing vivid color, the other as a monochrome lens, designed to capture intimate detail. Together, the two work in tandem to create more vivid photos, with at least 50% more contrast in each photograph than other smartphone cameras.The innovation really lies within the monochrome camera--both cameras are standard 12 megapixels, however without the RGB filtering of its sister lens, the monochrome camera can capture more photons, which means extensively more detail available to the sensor.Not only does the duel-lens model help the phone capture detail, but it allows for more manual adjustment of aperture settings, giving the user a wider range of depth-of-field, and therefore a broader creative scope. Other user settings involve color specifications, depending upon whether the user would like normal, vivid, or smooth colors, or to shoot independently of color, using the monochrome lens by itself.The phone is really no different from any other top-of-the-line android phone--it has a 5.2-inch 1080p display, 3,000mAh battery, a USB-C port, and a Huawei-invented octacore Kirin 955 processor. The dual-lens camera on the phone is really the only new claim to fame that Huawei has developed.Even though the phone has been launched as "Leica Certified," we're not exactly sure what that entails. This apparently means that the P9 has been "collaboratively developed," though they have been reluctant to comment on any specifics. Even though, this phone is sure to make waves in the smartphone photography world--Instagram is going to be far more detailed, which is what we all want anyways.The P9 has been officially released in many countries in Europe as well as parts of the Middle East, though the release in the US is undetermined. There have been rumors that the phone will have a pilot release in the United States within the next year, but those statements lay unconfirmed. [post_title] => Dual Lens Huawei P9 Released, "Reinventing" Smartphone Photography [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => dual-lens-huawei-p9-released-reinventing-smartphone-photography [to_ping] => [pinged] => [post_modified] => 2016-04-06 13:30:37 [post_modified_gmt] => 2016-04-06 17:30:37 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=65082 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 64680 [post_author] => 47228 [post_date] => 2016-03-29 13:30:16 [post_date_gmt] => 2016-03-29 17:30:16 [post_content] => To those of us who grew up in America, unless you took an interdisciplinary Spanish class in high school, Semana Santa may or may not have something to do with a fat guy with a white beard. But for those in Spain, and in other culturally Catholic countries, it is one of the biggest events of the year.Last week, I had the pleasure of attending the Semana Santa (Holy Week) procession in Mallorca, which is an island off of the east coast of Spain. Holy Week in Spain is a time when Catholics all over the country gather and throw a different series of events--one of them being a procession where dedicated men and women march through the city as a way of repenting their sins. In order to keep their anonymity, these people have to be completely covered, in a traditional dress, which, yes, resembles the known American organization, the Klu Klux Klan.Even though our cultural conditioning had led us to believe that these photos look menacing, the procession itself was actually quite beautiful. Small children are running around everywhere, making sure that candle wax doesn't drip onto the street, bands play music, and ornate, handmade floats are carried down the streets.During the procession I attended, a lone woman was so moved she started singing. Everyone around went quiet, and they held the parade until she finished. By the end of the song, many around me were crying--the woman was able to share her moment of remorse with the rest of the crowd, and move them to tears. That being said, many of my friends' reactions to my social media posts during this ordeal were something like, "Dude, that's seriously freaky," or "Really, that looks scary! Context is everything!"And it's true, context is everything. Especially since the Semana Santa outfits came before the KKK even existed, this should be a common cultural understanding. Yet, in a country where you're not taught (or not supposed to be taught) religion in schools, people don't know this context, and so looking at these photos sparks a certain prejudice. But lucky for us these days, the internet exists, so you have the ability to culture yourself, and learn things with which you can impress your friends.1. The cones on these people's heads are called "capirotes," and are supposed to represent the fact that they are ridding themselves of the sin that they have committed over the past years. The cone shape comes from the Medieval days where they would put "dunce" hats on those who were being publicly shamed. Over several decades and religious evolution, these hats turned into a way for Catholics to be publicly chastise themselves for their bad decisions.2. The robes are there for anonymity. They are supposed to make you feel like one in a collective while wearing them--not only are you publicly repenting, you are doing it with your brethren, as a commonality. This is where the brotherhoods come in, each represented by a different symbol and color. Note: the Semana Santa colors represent different brotherhoods, while the different colors in the KKK represent different positions within the organization.Third, the penitents hand out candy to children standing on the sides (my friend and I standing on the sides even got a piece of candy). Whether this is to keep the children engaged in this long procession or make them associate the procession with getting candy is a mystery.4. No one really knows why the KKK decided to adopt a version of this outfit for their organization. Some think that it loosely based upon the aspect of religion, some think it has to do with the fact that these outfits represent brotherhood and togetherness. Others think it's because they wanted anonymity. Perhaps it's a combination.5. The floats in this procession are huge--and very heavy. They are carried atop somewhere between 35-45 people underneath them, and require precision and balance for the people carrying them. Each time a float is lifted (they are put down and picked up periodically) the crowd applauds, to appreciate these people and commend them for their hard work.Even though this procession had a huge turnout, it is by far not the most impressive in Spain. Seville is known for it's dedication to this holiday--their procession attracts thousands of people, and is far more intense. People walk down the streets and whip themselves, while others walk around barefoot, and in shackles. The procession in Mallorca was light-hearted, comparatively. [post_title] => Experiencing Spain's Semana Santa & The Associated Cultural Differentiation [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => experiencing-spains-semana-santa-the-associated-cultural-differentiation [to_ping] => [pinged] => [post_modified] => 2016-03-29 12:45:48 [post_modified_gmt] => 2016-03-29 16:45:48 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=64680 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 63933 [post_author] => 47228 [post_date] => 2016-03-23 09:00:35 [post_date_gmt] => 2016-03-23 13:00:35 [post_content] => WARNING: You're about to get incredibly hungry.If you've ever worked with food photography, you know that lighting makes all the difference. The wrong lighting will make your food look artificial and unappetizing, instead of making your mouth water and stomach rumble. So how does one create this kind of natural quality, using strictly artificial light? We asked Steve Hansen, a commercial photographer who focuses on all things food-related.[caption id="attachment_63934" align="alignnone" width="1860"] © Steve Hansen[/caption]For many of his shots, Hansen uses LED lighting, which he describes as being "so close to daylight that you really can't tell the difference." Sure, natural light would be ideal in the world of food photography, but shooting food in actual sunlight isn't really realistic, especially when working with commercial clients—not to mention that it's near-impossible to have precise control over your light source.[caption id="attachment_63936" align="alignnone" width="1100"] © Steve Hansen[/caption]In addition to his still life work, Hansen also works with motion and splash food and beverage photography—like the shots you see in epic food commercials—or the mobile game Fruit Ninja. For this, he shoots with ultra-fast shutter speeds and an intense amount of light. Here, he's not only trying to make the food look appetizing, but he's capturing it at 1/8000 of a second. In situations like this, he explains that it's ideal for his setup to be portable and versatile, which is why he often works with Westcott’s Flex LED lighting line, featuring water-resistant, dust-proof light mats that can be bent, folded, and, well, flexed, to be mounted in any space and concealed in any location.[caption id="attachment_63939" align="alignnone" width="1100"] © Steve Hansen[/caption]Even though Hansen's splash shots are layered, he explains that he tries to capture as much as he can in one shot, then takes a natural approach to editing these compositions. First, he notes the "primary splash" of the liquid and how it reacts with the food to create "secondary splashes." Then, he considers the reflective properties of the fluid, allowing him to edit the color cast to mimic how it would naturally reflect on his surface. And finally, he employs his favorite lighting modifier, a 12x36 stripbank, to keep the light looking soft and organic.[caption id="attachment_63937" align="alignnone" width="1860"] © Steve Hansen[/caption]Hansen concludes that in both his still life and his motion-capture food photography, these LED lights have the ability to mimic natural light, which enhances his eye for organic scenes, making his time on set easier without undermining the quality of his work.
- Focal Length: 64mm
- Maximum Aperture: f/2.9
- Apertures: Waterhouse aperture stops, up to f/16
- Lens Mounting Profile: Canon EF and Nikon F*
- Closest Focusing Distance: 0.5m
- Focusing Mechanism: helicoid
- Image circle: 44mm
- Field of view: 37 degrees
- Filter Thread: 40.5mm
- Electronic Contacts: No
- Lens Construction: 2 elements in 1 group
____ See more of Hansen's work below and visit the Westcott site for more on their lighting products.[caption id="attachment_63938" align="alignnone" width="1860"] © Steve Hansen[/caption][caption id="attachment_63935" align="alignnone" width="1860"] © Steve Hansen[/caption] [post_title] => This Lifelike Food Photography Was Shot Using Artificial Light: Here's How it Works [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => this-lifelike-food-photography-was-shot-using-artificial-light-heres-how-it-works [to_ping] => [pinged] => [post_modified] => 2017-01-31 12:30:11 [post_modified_gmt] => 2017-01-31 17:30:11 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=63933 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 63388 [post_author] => 47228 [post_date] => 2016-02-15 17:00:17 [post_date_gmt] => 2016-02-15 22:00:17 [post_content] => Ricoh Imaging is celebrating its 80th anniversary by announcing the release of their GRII Silver Edition camera. This offer will only be available for a limited time, as they are only releasing 3,200 of these worldwide. The exclusive package includes a silver-color edition of the GR II and a genuine leather case specifically designed for this camera.The camera itself is the smallest premium digital compact camera, offering DSLR image quality as well as wifi compatibility. Additionally, the GR 18.3mm F2.8 lens has a focal length of 28mm (in the 35 mm format), as well as an APS-C-size CMOS image sensor with about 16.2 effective megapixels.Here are some things to note for all of you sentimental Pentaxians out there:
[post_title] => Pentaxians Rejoice: Ricoh Imaging Unveils Limited Edition GR II [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => ricoh-imaging-unveils-limited-edition-grii [to_ping] => [pinged] => [post_modified] => 2016-02-15 17:05:42 [post_modified_gmt] => 2016-02-15 22:05:42 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=63388 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 63125 [post_author] => 47228 [post_date] => 2016-02-04 12:18:22 [post_date_gmt] => 2016-02-04 17:18:22 [post_content] => Do you ever look up at the sky and wonder how you could take photographs of things that existed billions of years ago, without them being just little glimmers of light? To see them in detail, with color, and focus... it seems impossible when you're looking up from your backyard. But it is possible. Thanks to astronomer Edwin Hubble, we are able to observe the universe in this great detail, using the Hubble Telescope. This giant super-camera uses similar principles as with a DSLR (except on a way larger scale), and is able to observe and capture light coming from millions of light years away. But, how exactly does it work?CamerasFirst, you need to know that the Hubble Telescope isn't just one camera: it is made up of five different cameras/ sensors that each play it's own role in observing the universe. The two that are responsible for the majority of photos we see coming from the Hubble are the Advanced Camera for Surveys (ACS) and the Wide Field Camera 3 (WFC3).[caption id="attachment_63185" align="aligncenter" width="1024"] Taken with the Advanced Camera for Survey © NASA Goddard Space Flight Center via Flickr[/caption]The ACS is used mostly for viewing into the deepest of deep space. It is made up of two parts: the wide field camera and the solar blind camera. The wide field camera conducts broad surveys of the universe, of which astronomers use to observe the nature and organization of galaxies, cluing us into the evolution of the universe. When light travels vast distances, such as billions of lightyears, it tends to stretch a bit, into ultraviolet light. The solar blind camera blocks the visual light spectrum and senses this ultraviolet light in order to see the earliest points in the universe's history.[caption id="attachment_63183" align="aligncenter" width="1280"] Taken with Hubble's Wide Field Camera 3 © Hubble Heritage via Flickr[/caption]The WFC3, is the camera responsible for a lot of the most recent photos of close and distant galaxies. It's special skill is that it observes three different kinds of light--near-infrared light, visible light, and near-ultraviolet radiation. Having the ability to see all three of these light spectrums at once gives this camera a huge depth of field, and allows for a high, detailed resolution. We can observe galaxies that are closer to us using the near-infrared light, and galaxies that are billions of lightyears away with the near-infrared sensor.Optics[caption id="attachment_63182" align="aligncenter" width="1599"] © HHahn via Wikimedia[/caption]The Hubble Telescope uses principles from basic film cameras and digital cameras by combining the use of mirrors to direct light, and then sensing this light with an ultra-sensitive detector. However, this optical system does not use a lens to focus the light, it uses concave and convex mirrors in order to bounce the light back and forth until it hits a central focal point. The light comes through the aperture door and hits a set of concave, primary mirrors. This sends the light to a centralized, convex, secondary mirror which sends the light to a focal point at the detector, where the light is processed and recorded. From there, the recorded light goes through many phases of processing before it is the photo you can view in Science Magazine.Processing the Image[caption id="attachment_63180" align="aligncenter" width="1280"] © Hubble Heritage via Flickr[/caption]After many steps involving the transfer and conversion of data to a readable format by imaging software, the image may be processed into an visual image. Data from the Hubble comes in as a greyscale photograph, such as the image above, and in several chunks from different angles (since this telescope is moving at a rate upwards of 17,000 mph). People who are the most skilled in photo-editing software will be able to connect these puzzle pieces into a cohesive picture.[caption id="attachment_63187" align="aligncenter" width="4991"] Left: © Judy Schmidt via Flicker Right: © Judy Schmidt via Flicker[/caption]Once the picture is put together and the form of it is made, the editors look at other chunks of data--which kind of light is coming from where. The Hubble uses filters in order to filter different forms of light (infrared, visual, and ultraviolet), and narrow it down to the light that we can see with our eye. At the same time, these filters also separate what we can see through different forms of visual light (ie red, green, and blue)--these filters are similar to how a yellow colored piece of glass only casts down a beam of yellow light. This data comes in as separate images, and are combined in a photo processing software in order to create what (probably) the image would look if we traveled into deep space and saw it with our naked eye. Above, we see Messier 77, a galaxy, processed two different ways. The left, processed in 2012, had different data than the updated picture on the right, that was processed in 2014. For some reason, in 2012 the data had filtered a lot of blue light, but not the full spectrum. On the second try in 2014, the data showed a much broader spectrum. Though we obviously don't know what it looks like for sure, photo-editing via processed, chunked information is the most accurate information we have today.Curious how these images are processed and prepared for public distribution? Check out our detailed conversation and editorial featuring Robert Hurt, an astronomer and visualization scientist at Caltech’s Infrared Processing and Analysis. [post_title] => Understanding the World's Super Camera: The Hubble Telescope [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => understanding-the-worlds-super-camera-the-hubble-telescope [to_ping] => [pinged] => [post_modified] => 2016-02-04 12:18:22 [post_modified_gmt] => 2016-02-04 17:18:22 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=63125 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 62578 [post_author] => 47228 [post_date] => 2016-01-20 16:41:35 [post_date_gmt] => 2016-01-20 21:41:35 [post_content] => We often think about science and art as being on opposite ends of the spectrum—art is about creativity and science is about logicality. However, the link between the two are virtually inseparable, as art is largely involved with observing and processing the world around us. We forget that when looking at a work of art, we are observing and processing the meaning of it with different parts of our brains. Visually, certain aspects of a photo will trigger different responses to it. So once you understand how the brain processes information, you can understand how to make your photos better and more impactful. Here are 10 principles that describe the ways our brains operate to help you improve your photography skills.1. Similarity[caption id="attachment_62671" align="alignnone" width="1024"] © Carl Vizzone via Flickr[/caption]Similarity is a concept that'ss easy to recognize—it's simply patterns, either in color or line or both. The brain is used to creating visual patterns in order to comprehend the world around us, so using the concept of similarity, you can create a sense of unity or harmony within a photograph. 2. Continuation/ Continutity[caption id="attachment_62672" align="alignnone" width="2048"] © Mariano Mantel via Flickr[/caption]This principle is about line and directionality. Our brains like to follow lines, especially when they lead us somewhere logical. You can use this to your advantage when creating an aesthetic that leads the viewer on a path to a certain subject, or leads them around the photo in a certain order. 3. Closure[caption id="attachment_62673" align="alignnone" width="2048"] © Sven @Tria-media via Flickr[/caption]This is what our brain likes to do when there is missing information—we fill in the gaps. Similarly to a sentence where all of the letters are rearranged (for emalxpe, smoemhtig lkie tihs), you can still comprehend the sentence because our brain fills in the information. The same thing happens when we view an image. If there is missing information, or negative space, our brains will do our best to fill in the information and make a sensible image out of what isn't there. 4. Law of Pragnanz[caption id="attachment_62674" align="alignnone" width="2000"] © Bernard Ladenthin via Wikimedia[/caption]This is the overarching theory that groups continuity and closure. It describes that our brains, generally, process shapes into their simplest forms, which is why super abstract art takes more brain power to understand. If lines converge into something, or negative space plus positive space equals a figure, our brains will comprehend the form in the simplest way available. Using this, you can take note of your continuity lines and negative space to help you compose some incredible images. 5. Proximity[caption id="attachment_62677" align="alignnone" width="2048"] © Kenzie Saunders via Flickr[/caption]Our brains also like to group things together to make sense of an image. Even if something in an image is 100 feet away in reality, you can use your camera to make it look like something is sitting right on top of another person or laying right between their fingers, which could create a new, inventive version of this reality. You can also use this principle to group people or objects together to create common themes or meanings. Watch out for this one though, as proximity can also lead to issues such as a pole sticking out of a person's head or a limb growing out of an unknown origin. 6. Figure and Ground[caption id="attachment_62679" align="alignnone" width="1600"] © Sitoo via Flickr[/caption]Our eye likes to use light and shadow to differentiate a figure from a foreground and background. And if you have the right light, this is something you can have total control of. You can either choose to have your figure blend in with your background or you can have your figure pop out from the background, depending on what you're going for. The eye generally differentiates tonality—so blending will involve using similar tones throughout the piece and getting your figure out of the distance will involve contrast. Also, the simplest way to make your subject pop is by lowering your aperture down and letting more light in—somewhere between f/1.8 and 5.6 will do the trick, depending on how far you are from your subject. 7. Left Brain vs Right Brain[caption id="attachment_62680" align="alignnone" width="1024"] © Allan Ajifo via ModUp[/caption]Within psychology, it is noted that the left brain and the right brain have different purposes, yet work together. The left brain is generally geared towards logicality and analysis, linear organizing, and facts. The right brain is essentially the opposite—it processes creativity and imagination, visualization and feelings. What this has to do with photography is its effect on you; knowing if you're a right brain thinker or a left brain thinker will help you to understand the roots of your composition and how they could potentially impact other people that think differently. 8. Rule of Thirds[caption id="attachment_62683" align="alignnone" width="1280"] © Elly Waterman via Wikimedia[/caption]This is a photography term that people use to describe organization of figures in an image. However, this term stems from the fact that our brain is used to balance—processing information is easier for us when things are in alignment. The rule of thirds states that you should block your photos into a grid (say, nine squares) and use that as a guide for your figures. An off center figure could align with the left portion of the grid, while a balanced figure will lie directly in the center. You can also use this principle relationally, organizing figures according to how you want to balance them in the frame. This principle can affect how pleasing or frustrating your image can be (but more on that later). 9. Selective Attention[caption id="attachment_62691" align="alignnone" width="1024"] © Stephen Bowler via Flickr[/caption]This principle relates to the fact that our brains select certain things in our sight to pay attention to, and also the ability to block out details we don't perceive as important. This is a useful tool when determining the details of each part of your composition. What details are going to be important, and what details do you want to focus on? Do you want certain things to be blatantly important, or do you want viewers to have to take a closer look? 10. Homeostatic Equilibrium[caption id="attachment_62693" align="alignnone" width="5312"] © Joe Diaz via Flickr[/caption]This, in basic terms, is the tendency for the body to stay in balance such as your temperature or mood. In psychological terms, this refers to the body's tendency towards keeping a centered state of mind—whether you're happy or sad, your body tries to come back to a neutral state, even as outside influences tamper with this neutrality. In regard to photography, this is all about how you want to affect someone with your imagery. Using all of the above knowledge about composition and psychological aesthetic, you can make people feel uncomfortable by creating something unbalanced, or even frustrate them by blending things into the background that are not represented that way in reality. On the other hand, you can make viewers feel happy creating something balanced, repetitive, or symmetrical. By increasing or reducing tension and balance, you have the ability to tamper with people's subconscious response to what they see—a pretty impactful power to have. [post_title] => 10 Principles of Psychology You Can Use to Improve Your Photography [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => 10-principles-of-psychology-you-can-use-to-improve-your-photography [to_ping] => [pinged] => [post_modified] => 2016-01-20 16:41:35 [post_modified_gmt] => 2016-01-20 21:41:35 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=62578 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ))
- In case you were afraid that the camera wasn't going to match, the shutter release button AND the ring cap have been colored in the same way to match this majestic, silver finish. On top of everything, if you weren't feeling the peach color of that tiny GR logo on the original lens design, the GR logo's color is now white, for that elegant white-on-black design instead.
- The camera incorporates an original termination screen, for when you want to look at something unique while you're turning your camera off.
- It comes complete with a genuine leather camera case, made specifically for the camera body of the GR II. As if you couldn't ask for anything better, this camera case not only fits exactly to this camera, but has a belt loop and an easily removed top cover, of which allows you to—you guessed it—easily remove your camera. If you want to feel like a cowboy in the wild west, this camera holster will allow you to whip out your camera in a moments notice, just in case you have to catch that in-the-moment shot (or engage in an epic wild west gunfight).