SPLIT FACADES is a photographic project that explores the duality of experience and physical interaction that is manifested in the continuously changing landscape of Johannesburg city. The project aims to interrogate how the continuing push toward a globally marketable, gentrified ‘African’ city that has taken place over the past few years, ultimately fails to consider the informal but longstanding identity and ingenious culture of Johannesburg’s current inhabitants as one that is tied to the physical landscape of the city itself.

The exhibition, curated by Thato Mogotsi, will feature a series of black and white prints by Kutlwano Moagi, alongside audio and video installations. These works will suggest a new understanding of the city’s landscape as one that ought to consider the different planes of consciousness and unconsciousness which inhabitants experience when moving through the city.

Please join us for the opening reception on Thursday, 2 February at 18.30, GoetheonMain, Arts on Main.

About the Photographer:

KUTLWANO MOAGI is an independent photographer. Born in Soweto, Johannesburg, 14 April 1983. He completed a photography learnership programme at the Market Photo Workshop in 2005 and has since participated in numerous group exhibitions locally and internationally. Among these is the Reportage Atri Festival in Italy. Split Facades is his first solo exhibition.

About the Curator:

THATO MOGOTSI is an independent curator and writer with a special focus on documentary photography. She received training in Photojournalism and Documentary Photography from the Market Photo Workshop in 2006 and later went on to join the daily newspaper, The Times, as assistant photo editor and online picture researcher. Recently, she was project assistant and co-curator on several critical projects including the Wide Angle Forum on Participatory Photography Practice and the 2011 FNB Joburg Art Fair, among others. Split Facades is her first independent curatorial project.

Samsung’s NX200 is the electronic ‘giant’s’ latest flagship mirrorless camera; and one which they hope will be taken seriously as a photographic tool for beginners in order to compete against the likes of well-established brands such as: Olympus, Panasonic, Pentax, Sony, and Nikon (all of whom have many more years experience as camera manufacturers). The NX200 has a 1.5x APS-C-sized sensor. The only other mirrorless cameras to feature sensors that big are Sony’s NEX range. Panasonic and Olympus both have a 2x crop sensor and Nikon opted for an even smaller 2.7 crop. At 20.3MP, the NX200 also has the 2nd highest megapixel count for a mirrorless camera. Only Sony’s range-topper (NEX7) has more (with 24MP). At the moment, Samsung’s sensor is in fact one of highest resolution cameras on the market; regularly out-resolving many pro-level DSLR’s. On paper then: Samsung’s 2nd generation flagship mirrorless camera looks good.

First Impressions
The Samsung’s body is well built; consisting mostly of a metal construction, with solid and smooth controls. It has a very modern geometric shape which is surprisingly comfortable to hold but because the edges of the body are quite sharp, it can sometimes put uncomfortable pressure on the user’s hand (though I didn’t find it to be a major concern). The control layout is very intuitive, with well placed buttons and dials. Unfortunately, I was sad to see that the build quality of the lenses doesn’t quite match up to that of the body. I’ll talk more about the lenses later…

Due to the fact that Samsung are an electronics giant who manufacture everything from high definition TV’s, to cellphones, they are not strangers to making graphic user interfaces. The NX200 is no exception to that. Simply put: it has the most attractive graphics in a user interface that I’ve yet seen in a camera and it is also easy enough to use. The menu system looks more like that of a smart phone than a camera. Beginners should grasp it quickly.

Unlike many mirrorless cameras which I have recently tested, the NX200 has a hotshoe mount for the connecting of speedlight flashes. The downside of this is that there is no built in/pop-up flash in the body (although a flash unit does come standard when you purchase the camera with kit lens, so it will not have to be purchased separately).

In Use
Setting up the camera is easy enough to do with its easy-to-read menu system. This means that getting up and running doesn’t take much time at all. Autofocus is fast and accurate and can be switched off for precision work in manual focus mode.

One of the few problems that I had with the camera had to do with flash syncing. Even though it has a hotshoe mount, it only recognises original Samsung flashes. If any other flash or wireless trigger is connected, it does not read it; and therefore does not activate the hotshoe mount, making it very difficult to use an off-camera flash. Strangely, it did recognise Elinchrome’s Skyport triggers, but it did not recpgnise anything else that we tried.

The kit lens is quite sharp. It is not quite tack sharp, but is better than I expected (though only when shooting in JPEG). The processing applied to the JPEGs must be quite high as shooting in RAW has an alarming amount of chromatic aberration; the most I’ve ever seen in a modern digital camera. I wouldn’t suggest shooting in RAW unless you are prepared to spend a substantial amount of time post-processing in order to get the most out of the images. Speaking of the lenses; and as mentioned earlier, I was somewhat let down by their build quality. They are not bad by any means, but they do not match up to the solid feel of the body. The Samsung’s lenses are not comparable to their competition. For example: the build of Sony’s NEX range of lenses is more solid; with smoother zoom- and focus-rings.

High ISO noise quality on the NX200 is decent. It is not quite great, but is better than that of other cameras of its type which I have recently tested. I get the feeling that – had Samsung used a lower resolution sensor instead of the massive 20.3 megapixel count sensor – the camera might have been better equipped to create images that would be better at higher ISO’s.

Conclusion
I was impressed more than what I initially thought that I would be by the NX200. Considering Samsung’s short track history of advanced cameras – though they still have some way to go in some areas – it is plain to see that Samsung want to be taken seriously in the mirrorless market. Local support by dealers is not yet of the requirement needed by users who wish to expand on accessories. Third party lenses, flashes, and other various accessories are neither available, nor do many dedicated camera dealers stock original accessories such as spare batteries; making it difficult to grow on the system. However, Samsung already have several lenses available such as: standard lenses, a fast aperture wide prime, and a macro lens. This means that a few options are available for prospective buyers. The resolution is needlessly high; sacrificing high ISO image quality which is an area in which most camera brands should be and are advancing. It would perhaps have been better if Samsung had kept the accessory port below the hotshoe mount – used for connecting the optional electronic viewfinder – that was available on the NX200’s predecessor (the NX100), but Samsung omitted that from their latest model. It is good to see that Samsung opted for an APS-C-sized sensor when other brands are choosing to go for smaller sized sensors. The NX200 is a good option for users who want to become more advanced in their photography, without becoming as specialised as what a DSLR system would allow for. [o]

Related posts:

• Arriving Soon, the Samsung NX200
• Quick Post: Samsung Galaxy Tab Review
• Review: Samsung HMX-Q10BP Camcorder

Today is you last chance to complete the PhotoComment Reader’s Survey and stand a chance to win a Vanguard Heralder 38 camera bag. The easiest way to complete it is online right here.

Related posts:

• One Week Left to Win in our Reader Survey
• Win in our Reader Survey
• PhotoComment Readers Images in COUP Magazine

This is Friday post to wrap up things I wanted to share with you in terms of news and cool videos I have seen on the web. Take some time to check it out and then pack up to go home and relax. Tomorrow you can go out shooting and have some fun with your photography.

News

Tokina and Tamron

It has taken them long enough to make up their minds about this, or so it would seem as we don’t know what happens behind the scenes, but Tamron and Tokina have joined the Micro Four Thirds group with includes Olympus, Panasonic and Sigma. You can find out more about it here. Seems Mirrorless is something everyone wants to be a part of now.

Pentax

Pentax have just released a new compact camera, the Option VS20. It is not the 16mp sensor or 20x zoom that makes it exciting. It is the fact that the camera has two shutter buttons, one of which is on its side, like a vertical grip is on a DSLR. How cool is that. Check it out here.

Kenko

This is not as hot off the press as it could be, but Kenko have announced a 400mm f/8 Mirror lens for mirrorless cameras. This could be fun to see. How many of you know what a mirror lens is? Would you like us to do an article about them for you?

Web Videos

Via PetaPixel

Via PetaPixel

Lastly a documentary about Ansel Adams. Its a long one so make sure you got time and a fair bit of Data.

Via PetaPixel

Related posts:

• News Round Up: Sony XQD Cards, Kogeto’s, Camera Trace…
• News Round Up: Kodak Bankruptcy, New Sony Sensor,
• Weekly News Round Up: 23 Aug 2010

Artwell Nwaila is the Editor of SA Creative Network “a platform where creatives, thought leaders and idea engineers network”

This is my challenge to all publication managers and editors: to break away from the pack with a ‘photographic revamp’.

The state of photography in the commercial world – namely: magazines – is at its lowest. That is not to say that the photographers have lost their skill, but that the requirements and briefs have suppressed the art form. It is all about formula these days and it is pretty basic. Celeb + over-processing = sales. This formula may have been hugely successful in the mid-1990s, but not anymore.

Sales figures are all the proof I need to back up my previous statement. The internet is by far one of the strongest factors contributing to the drop in sales. Access to information and direct updates from our much loved celebrities is free and readily available. Readers are constantly bombarded with images of celebrities online and on television. Would it not then make sense to rethink the most important page image strategy?

Let me demonstrate a quick example: How many Kim Kardashian magazine covers have you seen? Which one stood out for you? Your answer – more than likely – is that none stood out; as they all looked the same. So, what does it do for the brands if they are not stepping away from the flock and capturing our imagination at that key moment? I am talking about the moment when we are at the shelves, making a decision about which magazine to purchase. It is understandable that some magazines’ core focus is celebrities. This – in itself – is a perfect opportunity for visual restructuring.

In the 1970s, Rolling Stone magazine had a strong celeb-centric focus; and it still has. Under the fine eye of the young Annie Leibovitz, celebrities were portrayed in a conceptualised manner. Ideas backed every element of the cover shoot. Iconic covers – like those featuring John Lennon and Yoko Ono, Bette Midler on a bed of Roses, and Whoopi Goldberg in a tub of milk – ‘jumped’ off the shelf and stuck in the mind. And they still do. Today, there is no such a thing as an iconic cover. Let it be noted that it was at this stage that Rolling Stone magazine was able to relocate to New York due to its growing popularity. Leibovitz fed the youth culture’s hunger, while also using creativity to sell.

So what now?

As photographers, it is almost impossible to change company structures that have been embedded for years. A collective effort with the rest of the creative team and a mock up presentation may open some eyes. Or it may shut them… but at least you tried.

I also call on editors to allow the photographers to do what they do best without constraints, even if the work never gets published. It’s a good way to see a way forward. For editors, it is understandable why they stick to a particular formula as they have to follow certain quotas, but it is also about being innovative.

My prediction and conclusion

Digital publications will be much more edgy than their print counterparts due to cost differences. Online magazines are substantially cheaper and so risks are less but if you’re like me and believe print will never die, you’ll agree that innovation belongs in our hands.

There has been little bits of news all over the web in the past week or so. Some of it bigger than others. Like Kodak filing for bankruptcy. It is sad to see a company which was actually rather innovative – after all they practically invented digital photography – fall because it was too scared to cannibalise itself in a time where their film products ruled the roost. Sad thing is, they could have owned the digital market and still had a profitable film business it seems. Read on for more on this and other stories.

Kodak

PetaPixel reported toward the end of last week (quoting Bloomberg) that Kodak’s filing for bankruptcy is just another step in the CEO’s plan to sell off the photographic division and stick to inkjet printing. What is interesting about the report is that Kodak claim their film business (both for stills and cinematography) is still profitable. Get the story here.

Minox

It was the the brand whose cameras instantly made photographers think of being a spy. Everything about the tiny silver cameras made by Minox was small, from the film to the enlarger. Sadly Minox has never really found it’s feet in the digital era. At CES the company told Amateur Photographer magazine in the UK that they would be leaving the compact digital camera space due – in part – to the growing use and quality of cameras in smart phones. Shortly after that report they came out with a statement to say that they were not getting out of digital cameras completely but would focus on niche markets. See what you make out of it. The first report can be found here and the damage control statement here.

Sony

Sony seems to have been the fastest adopter of the Backlit CMOS sensors in the compact camera and mobile phone space (at very least they were the most verbal about it). Now the company as announced a new design that will allow them to make the sensors more cost effective and compact which could mean fitting bigger sensors in the same space the old design take. This could be very good news for mobile phones in particular. Engadget have a report explaining the technology a bit more and also video showing the HDR video capability that the new sensors should be able to offer as well. Check it out here.

Canon

Being slightly overshadowed at the moment by pictures apparently of the EOS 5D Mk II replacement in the wild (Kenyan safari in fact) is the news that Canon have patented a large, backlit CMOS sensor for APS-C and Full Frame. This could be a big step forward for them in the noise level race. I wonder what has prohibited bigger sensors using Backlit CMOS before? Anyway, you can find more about this story here at 1001 Noisy Cameras.

Olympus

The last story is that Olympus may be looking to Sony for help following the financial miss management discoveries over the last couple of months that has hammered the company’s share price on the Tokyo Stock Exchange. It will be interesting to see what happens though reports are that we won’t have to wait long. Seems there could be a press release as early as next week. See Engadget’s view here.

Related posts:

• Sony Develops 35mm full frame CMOS Sensor (24.81MP)
• Weekly News Round Up: 23 Aug 2010
• News Round Up: CES 2012 Updates from Canon, Sony etc

There is just one week left for you to complete our Reader Survey and stand a chance to win a Vanguard Heralder 38 camera bag. Be sure to complete the survey at the link here. What are you waiting for.

Related posts:

• Win in our Reader Survey
• Profoto Awards 2008 – Reader Vote
• PhotoComment Magazine Jan 2012 Issue is Live

Inside this Web Pick. Take a tour of B&H in New York using Google Street View. A short documentary about Kodachrome and Bruce Dale shares his story about shooting for National Geographic over the past 30 years.

30 Years of BAD Pictures from Bruce Dale on Vimeo.

Bruce Dale

The above video about Bruce Dale who is worked for National Geographic for 30 years was shared by Outdoorphoto on their Facebook Page here.

Virtual Store Tour of B&H in New York

PetaPixel shared recently that you can take a virtual tour of the world famous B&H store in New Your thanks to Google Street view. Head on over to the article here and see the embedded tour. It is amazing.

Kodachrome Short Documentary

PetaPixel shared the above short documentary about the death of Kodachrome. Odd that I only came across it in the week following Kodak’s filing for bankruptcy. When you see what was involved in processing Kodachrome one can see it’s downfall yet you cannot help but marvel at it’s technicality.

Related posts:

• Kodak Axes KodaChrome
• Quick Post: Pictures from the Last Roll of Kodachrome
• 120 years of top quality lenses

Article by Scott Hutchison

Tristan Hall asked me last week if I would like to give my thoughts and feelings on the Leica M9. He told me that I would have free reign on length, but that I should write an article – and include some pictures – that I would be interested in reading.

“Wonderful!” I thought. “A chance to have my feelings about the pinnacle of German consumer photographic technology be read by the fine fans of PhotoComment.net and by people all around the planet!” Little did Tristan know that he had just requested work by an illiterate Canadian massage therapist/photographer who likes to shoot Sony DSLRs, film rangefinders, iPhones, and has a tendency to have his sentences run on and on… So don’t be surprised if car crashes, explosions, and full-frontal nudity find their way into my Leica M9 camera review, or – at the very least – some spelling and grammatical errors. And “review” might also be too strong of a word… Perhaps a word such as “confession” would be better suited.

First; a little about me: I’m 38-ish, Canadian, male, and am glad to say that I am almost over my photographic ‘GAS’ (Gear Acquisition Syndrome) which is in fact the reason that I am writing about the Leica M9. In the past, I have gone out of my way to research, lust after, and buy the gear (second hand and new) that I thought would make me a better photographer. Things like: shiny lenses, flashguns, bounce boards, and plastic bits for my flashguns. Some of it helped; whereas some of it just slowed me down. I needed plenty of time behind the camera lens before I could really see with the eyes of a photographer. After hundreds of dollars spent on gizmos, I discovered m42 mount lenses. You can look up this type of lens on the internet, but I will ‘bottom-line’ it for you. They are really old, full-manual lenses that you can mount on your fancy DSLR with an adapter plate. You have to switch your camera to ‘M’, for manual, and learn to focus, expose, and frame… all by yourself! There’s no auto-focus and no auto-exposure; just you, the camera’s meter, and manual settings. It’s a modern digital camera with 50-year old glass. It is a challenge and a lot of fun! A funny thing happened to me… I began to see why film and vintage cameras were so appealing to photographers. These old film cameras are pure. You use a meter (on-board, or hand-held), the f-stops of the given lens, the shutter speeds of the camera, and the ISO speeds of the film. Moving to film was easy and was just like I was using with the m42 lenses on my Sonys, but with some serious time delay to chimp the photo. The guy at the local lab hates it when I take over the entire counter to look at prints from the latest roll; making comments to myself on how awesome I am for taking pictures with 35mm film… as if I’ve discovered a cure for cancer or something. -note some great groups on Flickr devoted to m42 lenses

So I got into rangefinders: Vintage Konica, Minolta, and old Russian Zorki rangefinders started appearing in little boxes from eBay and second-hand stores. Beautiful cameras from a bygone era made of metal, glass, and a whiff of Essence of Oscar Barnak. They became an addiction, but in the back of my mind, I wanted a digital rangefinder. I wanted to see what an M9 was like…

I got an email from Leica one morning – thanks to hitting a “like” button on that website everybody seems to use – saying that they would be holding a Leica day here in Calgary Alberta. Calgary – as some of you may know – is the home to the world famous Calgary Stampede and for 10 days in July, the city turns into Disneyland, with the citizens as the cast.(Think ‘cowboy of the old west’ meets ‘drunken rave sex party’…with horses). I’ll share more on the Stampede later…

So… I signed up for the day and was very excited. A special day with the mother of all digital rangefinders! Plus, somebody was going to let me actually use one without an armed guard staring me down! I had never held a Leica before; partly because I know that they are super expensive and also… how could somebody possibly render an opinion on a camera that they picked up and held at a shop for a couple of minutes; then gave back to the nice youngster with the Polaroid t-shirt and hipster glasses? Also: why would I even look at a camera-and-lens combo that – in order to own – I would have to sell one of my kidneys to a “shady” Doctor? Really… $12k is a lot of tacos.

The day arrived and I was off to the venue to find out from Leica why I should buy their product. I had done my homework on the camera. It is a rangefinder, so I knew how to focus it (I’d been shooting with them all summer). The M9 has a built-in meter so I knew that if I could turn a dial and change an f-stop, I could make an exposure. I just didn’t know how to change the ISO, but that was sorted out ten minutes in.

The day went like this:
Got there
Got excited
Got an M9 with a 35mm summicron f2 signed out (in blood)
Got more excited
Got taught why Leica is cool
Got lunch
Got a lift to the shooting venue (Calgary Stampede Fair Gounds)
Got left alone with $12,000 worth of camera in a crowd of 60,000 potential subjects at the Calgary Stampede grounds

Got to follow a would-class photojournalist around and become his friend
Got personally asked 6 times which major paper I was shooting for

Got sad when I had to give the camera back
Got a cool Leica pen, lens cloth, and place mat.
That’s the day in a nutshell.

That inspired an small review which you can read here -à(http://www.flickr.com/photos/mshutchison81/5952493522/). However, the gist is:

***

For some, the M9 will make them want to take their current camera and toss it into the trash. For others, it will be a source of frustration and they will be left with a feeling of, “what’s the big deal?”

For me, picking up the M9 was a dream come true!

I am not going to go into the specs of the M9. You can look those up anywhere. I am going to talk about how it feels:

It is heavy, solid, and precise. The viewfinder is clear and bright and offers the world to you as you see it; not the refracted, blurry and sometimes dark way in which a DSLR will show what the camera is seeing. The rangefinder is so easy to manually focus fast. You can nail tack sharp by feel after an 1/2 hr with the M9. A DSLR in manual focus – without focus confirm – will make you pull your hair out. The M9 inspires confidence; like having the right tool in your hand for a given job.

This is where some will be upset by the M9: It is not the be and end all of cameras. It would be tough to shoot sports with it. It would be hard to do off-camera strobist stuff with it, though not impossible. With a standard lens, it is no better indoors in low light then my Sony A350 above 800 ISO. The M9 is super expensive; maybe even ludicrously expensive. I could have an A900/grip and all the nice Sony/CZ/G glass for what I held in my right hand.

Is it worth the $12,000 or so with lens? Not for a new photographer. This camera is for someone who has practiced their craft, paid their dues, and knows that they will always be learning and exploring photography. This camera for them is an instrument with which to play a symphony of light and shadow. I have a nice chef’s knife at home and I can cut up fruit without bleeding too seriously. The same knife in the hand of someone like Gordon Ramsey becomes a magical device that flashes and dances as it is used as it was intended: at a level where the ‘pro’s’ hang out and the ‘wanna be’s’ think they belong.

Would I buy an M9? One day. Is it for everyone? No.

***

That review was over six months ago. How do I feel about the M9 now? Well, to put it bluntly:

I really want a Black Leica M9 with a 35mm Summicron f2!

It’s all I think about now: the weight, the clicks of the aperture ring, the dampened click and re-cock of the shutter, the bright, clear rangefinder, the inspired confidence of a tool in hand that is not trying to be an iconic bauble slung around some pretentious ‘arse’s’ neck. It is just an extremely basic, well constructed camera; built on the values and tradition of the way things in our lives should be built: with love, attention, and a mindfulness of the end user; not the marketing department.

My feeling all of that is one thing and I know that the Leica M9 is not a magical device that poops out National Geographic covers with every shutter click. It is not going to make me a better photographer. Lots and lots of time spent behind any camera will do that.

However… it is 1/2 a year later and am I still infatuated with a camera and lens combo rounding out at $12,000? The lens hood is $200! Am I insane? Dropped on my head as a child? Too much cold weather and I’ve frozen my head?

What do you think? Drop us a line at PhotoComment and tell us where you are on your journey to ‘the land of Leica’. Are you in the middle of GAS, or have you evolved your taste to simplify to gear (however cheap or expensive) to fulfill what you want from a camera and from your photo?

Related posts:

• SA Photographers are Featured Photographers on Scott Kelby’s Guest Blog Wednesday
• Follow the Leica Explorers
• New Leica V-LUX 20

The Nikon 1 system of cameras and lenses marks quite a radical leap of change for Nikon. Having used the F-mount on their SLR’s for 55 years, spanning both the film and digital age, the Nikon 1 marks many firsts for the brand.

On paper, many things about the Nikon 1 system are simply mind blowing. To me though, on the flip side of the coin, many specs defy logic. And I suspect that I’m not the only one who sees it that way. As a result, it has taken a lot of global criticism since it’s launch, but I’ll speak more about its negative attributes later.

First impressions

The first thing that one notices about the V1 is its weight, size, and build. It feels great in your hands. It is large by mirrorless standards, but that is not a bad thing. It evokes a feeling of confidence with its chunky shape and is also extremely well built, with dials and buttons that feel solid. The body also feels very weighty which adds to its general feeling of solidity. This confidence carries through to the lens. All of the lenses – with the exception of the 10-100mm and the 10mm f/2.8 – have one ring for zooming. There is no focus ring as manual focusing is controlled electronically with the rear control dial. The lenses that do have zoom rings have a high quality rubber grip around them with smooth rotation.

Another thing that I noticed straight away is the smoothness of the LCD. When changing direction quickly, the motion conveyed on the screen is extremely responsive and has a very smooth feel. It doesn’t jitter and skip like many other cameras do in ‘live view’ mode. There is no doubt in my mind that this is as a result of its very powerful next generation processor.

Things I liked

The electronic viewfinder is of a very high quality. It has a high resolution which makes the process of composing through it very pleasurable. Many electronic viewfinders do not have a resolution high enough to make the checking of fine details possible. The 1 V1 has a viewfinder comparable to the viewfinder used in the Sony Alpha 65/77 and NEX 7, which is the best that I’ve seen.

Autofocus on the V1 is extremely fast and very accurate. The face detect feature works extremely well and it is a reliable way of shooting portraits.

I find that the most impressive feature of the 1 V1 is its frame rate. Though there are several cameras out there that can shoot with a frame rate similar to what the V1 can achieve, the differences lie in the fact that the V1 is not only faster (at 60 frames a second), but can shoot those images at full resolution; where other cameras shoot at a very reduced resolution. To put this into perspective: the 1 V1 can shoot full resolution pictures at a frame rate twice as fast as what a full HD video camera can record. If one were to use a memory card large enough and fast enough, one could record 10 megapixel video at a speedy 10 frames a second (standard video being only 24 frames a second) just by taking photos. No commercially available television can take advantage of resolution that high. Again, this can be attributed to the extremely powerful processor, which – I am fairly certain – will find its way into the next generation pro-level cameras that will end up replacing the likes of the Nikon D700, D3s and D3x. Unfortunately, that is the extent of the things that impressed me with the 1 V1. It all goes downhill from here…

Things I didn’t like

For a camera that is designed for enthusiasts and beginners, it should be rather easy to use. However, it is frustratingly annoying to work with in terms of its control-ability. All of the manual settings have to be controlled through the menu system. It has all of the full manual and semi-manual modes that a camera of its type should have, such as: aperture priority, shutter priority, and full manual. The problem comes in when you wish to change those modes, which means having to search for them in the menu which is needlessly time consuming. The same goes for changing ISO, white balance, and even the power output of the flash. The body of the camera has a very minimalist design which means that there is a lot of unused space which could be better utilized by including dials, switches, and buttons for changing the aforementioned settings. Unfortunately, for some reason, the Nikon designers decided not to make use of this space. They opted for aesthetics instead of usability. I am a big fan of form following function which makes the above a big negative for me.

Another omitted feature that makes using the V1 more challenging is the lack of a standard hot shoe mount. This means that one cannot use Nikon’s brilliant range of speedlight flashes and that one is unable to connect the camera to wireless triggers for using speedlights off-camera, or studio lights. The V1 can be used with the SB-N5 speedlight flash which is the only speedlight that fits the V1′s unique hot shoe. The SB-5N does tilt and swivel, allowing for bounce lighting, but because it is so small and weak, it requires shooting; not only with high ISO’s, but also with large apertures – with the flash on full power – to be able to get bright enough images. If the surface off of which you are bouncing the light is distant (for instance: a high ceiling) then the flash will be practically useless. One thing about the SB-N5 that I do like, however, is that it is a very ‘cute’ flash seeing as it is the world’s smallest angle-able flash. Unfortunately, ‘cute’ does not produce good photos. It would be great if it were an entry-level choice with the option of using other, more powerful Nikon flashes from the SLR line up, but Nikon chose not to go this route. Apparently, Nikon are planning an adapter to convert the V1’s unique shoe to a standard hot shoe, but until that is released, the flash available for the V1 cannot be used for serious shooting. It does not even have the ability to be used wirelessly off camera. In order to get the test shots I wanted whilst using the V1, I had to use video lights so that I had access to controllable lighting.

The most complained about feature of the Nikon 1 system – and one which I agree to have been a bad decision made by the designers – is its 2.7 times crop factor. Yes, this allows for very small cameras, but as Sony’s NEX and Samsung’s NX range of mirrorless cameras have proven, an APS-C sized sensor can be squeezed into a small camera. There are two consequences of going for such a small format which Nikon have called CX: The low light image quality of a camera with such a small sensor will always struggle against cameras with larger formats. This shows on the V1 with images starting to display high amounts of noise, even at 800 ISO (keeping in mind its lack of versatile lighting control; thereby making it harder to keep the ISO low). Another disadvantage is depth of field, or lack thereof with regard to trying to get as little as possible. The smaller the format of a camera, the more depth of field its images will have. Even when used with large aperture prime lenses, such as the 10mm 2.8, depth of field is still deep. This means that it is impossible to throw the background out of focus, even when shooting portraits.

Conclusion

The Nikon 1 system had the potential to be a great rival to the established mirrorless cameras that have been out for a few years, but due to some questionable decisions made by the designers, it will be lagging behind in critical areas. Yes, it has some brilliant features, such as: fast autofocusing and extremely fast frame rates. Unfortunately, these positives are not good enough to outweigh the Nikon’s negatives. The hot shoe and control issues could be fixed on future models, but Nikon have committed to a CX format and are now stuck with it and this is the biggest area in which Nikon have failed. In short: would I recommend the Nikon 1? The answer is no. Of all of the advanced cameras that I have tested in the past year, the Nikon 1 V1 is the camera with which I most disliked shooting.

Related posts:

• Review: Nikon D7000 – Wolf in Sheeps Clothing
• Interview with Nikon South Africa at Nikon 1 Launch
• Review: Nikon Coolpix S5100

Making the Print: Printing Techniques for the Digital Photographer by Martin Bailey is the second eBook in our Masterclass series and it’s the perfect primer regarding all things related to fine-art printing. No stone is left unturned as Martin explains in-detail everything you need to know about making beautiful, frustration-free prints.

This 65 wide-page eBook covers it all from choosing a printer and papers, to profiling and sharpening, and then he moves on to calibration, fine-tuning, adding borders, basically everything you need to get competent, which is what most of us are looking to accomplish. But he doesn’t stop there… Martin also dives head-first into creating your own canvas gallery wraps and printing for an exhibition.

A talented educator, Martin unpacks the workflow and provides the detailed explanations, step-by-step instructions, and screenshots you need to make your next printing project exciting and successful.

Martin Bailey is a Tokyo based art and assignment photographer who is passionate about creating photography that invokes emotions, and helping others to do the same.

Special Offer on PDFs
For the next five days only, use the promotional code PRINT4 when you checkout so you can have the PDF version of Making the Print for only $4 OR use the code PRINT20 to get 20% off when you buy 5+ PDF eBooks from the Craft & Vision collection. These codes expire at 11:59pm PST January 21, 2012.

Related posts:

• New Craft & Vision eBook – Making Light 2
• New Craft & Vision eBook – BEYOND THIRDS
• New eBook from Craft & Vision – The Inspired Eye, Volume 3

It is 2012 and this is the first episode of the PhotoComment podcast of the year. We recorded it last week during CES news announcements that were flying around on the web fast and furious. Check it out and comment on it of give us a thumbs up on Youtube if you like it. Also share with us what more you would like to see.

Download the HD Version of this podcast. (Right Click Save As) or find it on iTunes.

Show Notes

January Issue of PhotoComment Magazine

In the January issue of PhotoComment Magazine, you will find Armani’s review of the Nikon 1 V1, a feature on some of Vega’s 2011 final year students and also; a portfolio on Jaco Van Wyk (who won the Creative Cover theme we did as part of the Outdoorphoto Photographer of the Year competition and whose winning image is on the cover of this issue). You also have until the end of the month to complete the PhotoComment reader survey and stand a chance to win a Vanguard Heralder 38 camera bag.

To find the nearest stockist of the magazine in South Africa, head on over to our website http://photocomment.net/magazine or you can read it online too. If you want to get the magazine delivered to your post box each month, you can pay for postage on the website; with local and/or international postage options available, depending on where in the world you are.

News – CES 2012

As we record this episode, CES 2012 is half-way completed. With this in mind, we thought that we could use this episode to catch up on what has happened at the show.

The Big Announcements

There are three new cameras that were announced at CES which have more people talking than with any others.

First off is the Nikon D4. This long-awaited replacement for the D3s (though not nearly as long-awaited as a replacement for the D700 for which we continue to wait) has been announced. It has a 16MP full frame sensor and is capable of shooting at up to 11 fps. There have been large improvements in video which many have felt to be a soft spot on the Nikon range ,even after the D7000 hit shelves. The AF system has also been improved and some of the sensors are even able to offer high speed AF on lenses with an f/8 aperture. See press release here.

The second camera to cause a stir has been the Fuji X-Pro1 which – most simply put – is like a changeable-lens version of the X100, though that is actually an over-simplification. The X-Pro1 has a newly developed 16MP APS-C X-Trans CMOS sensor. It is launching with 3 lenses. An 18mm f/2, 35mm f/1.4, and a 60mm f/2.4. There will be a Leica mount adapter coming out for it as well. One is left wondering if perhaps Leica should get out of the camera business and just stick to making lenses. http://photocomment.net/news/news-round-up-ces-2012-updates-from-canon-sony-etc/

The third camera everyone is talking about is the Canon PowerShot G1X. It is a G12 on steriods. Packed inside the body is a 14MP CMOS sensor which is mildly smaller than the APS-C sensor used in their EOS line of DSLR cameras. It has a 4x optical zoom but it is not a changeable lens camera which is what many were expecting. This is the camera for which many pros have been asking in the G range for some time and – in all honesty – it may very well be a better option for them than a changeable lens system; as there is not the bulk of carrying extra lenses around.
http://photocomment.net/news/ces-2012-canon-powershot-g1x/

Some other CES 2012 news that caught out attention includes:

- Samsung announcing a few new cameras with built-in Wi-Fi (like the SH100 we had a little while back). The big thing about Samsung is that they are building an ‘ecosystem’ around all of their products. This – from a consumer perspective – is a big plus as it makes the syncing or sharing of images across devices extremely easy.

- Sigma have announced a new range of lenses called Digital Neo. These lenses are made specifically for mirrorless cameras and will kick off in the Sony E-mount and Micro Four Thirds; as used by Olympus and Panasonic. The first two lenses in the range are a 19mm and 30mm f/2.8.

- Polaroid announced a new camera at CES: the SC1630. It has a 3x optical zoom and a 16MP sensor. The big deal here though is the fact that it is actually a camera with a built in Android-powered phone. At last, I am starting to feel like Nostradamus with my yearly predictions.

- There is plenty more that happened at CES that we just cannot cover in a single episode, so be sure to head on over to the website where you can grab the details and even see some commentary on the new cameras while we wait to get our hands on review units.

Review – Epson R2000

I thought that we could end off the show by talking about the Epson R2000 printer which we have had on review in the office for the last couple of weeks. It is an A3 printer and – as one has come to expect from Epson – prints like a dream. I was amazed by how easy it is to use. I set it up in a few minutes and decided to do a print right away. The quality was fantastic, even straight out of the box. It is network and Wi-Fi enabled and takes 8 cartridges. If you are looking for an almost fulltime Black and White printer than you may prefer to still look at the R3000, but otherwise this machine is fantastic! I think that the big plus for me about this kind of a printer is that I feel that if a picture is worth printing, then A4 just does not do it the justice you really need. If I were to buy a photo-dedicated printer right now, it would be one of these.

End

That brings us to the end of this second show. Remember that you can send your feedback to us on the website, or find us on Twitter @photocomment or Facebook.com/photocommentmag

This podcast is now also available on iTunes.

The inspiration for this article comes from another that I recently read and identified with. I have had many conversations with people in the photographic, as well as many other industries related thereto. All of them came back to me with the result that the nail was hit on its flat, round head: time thieves are everywhere.

I am a photographer; not by profession, but by passion. I work for a large corporate company and I expect to be paid for the time that I spend wearing uncomfortable shoes in an office. I think that I can speak for many who go to work every day and know that they would never do it for free. So… my question is this: why do so many people expect photographers to work for free?

Did you know that it apparently costs us nothing to go out and “snap away merrily”? That seems to be a common misconception “out there”. I think that people also believe that a photographer’s bills and living expenses go “poof” with a wand too. I have yet to meet a photographer who has a “rock star” lifestyle. One of my assignments for a course was to work out start-up costs for a particular field of photography. It was an eye-opener. Let’s face it: no one will take you seriously if you “rock up” with a “happy snapper”.

*I will note my calculations at the end because that is not totally what this is about.*

What is your time worth to you? Time cannot be reclaimed; nor can it be bottled, or stored for a rainy day. People who expect photo-shoots for free are the time thieves to whom the title refers. If an agreement is in place – such as a simple trade off – or if I am the one who wants to, then I will give freely of my time. I am not a complete miser. I love photographing my friends and their kids, but those times are never formal and a cup of coffee, good company, and a laugh are enough.

I have experienced some insane requests and then some even more insane solutions; given in order to help make a shoot cheaper. My time is worth more to me than the wear and tear on the equipment, or disposable items. While I photograph your family, I am using time which I could be spending with mine. While I am helping you to build a catalog to make money off of your product, I could be creating artworks to make money for myself. I don’t think that this “beast release” is intentional, but one needs to take a step back and put oneself in a photographer’s shoes. The work doesn’t stop when the shoot is over either… There is post-processing – even if it is just a conversion from RAW to JPEG, or the colour-correcting of a few images – which again means more time as you move from a viewfinder to a computer screen.

After any work that I have done, I have always said that I will charge more the next time, and I will continue to do so until I find my “groove”. I recently photographed jewellery. I traded my time for one of the pieces I photographed. It took many hours to yield images with which I was satisfied. I can also say that whoever wants “bling” to be photographed better understand that the rate won’t be for “sissies”.

I cannot count the number of times when people have asked me when I am giving up my day job. When I hear that, I often think, “… when people start to see photography as an art and start paying for it accordingly…” My best response to questions such as: “So when will you do a photoshoot for me?” is, “When you accept my quote!”

Photographers often have many friends. I am able to pinpoint my real friends just by their reaction when I don’t take a camera out of my bag. I used to feel obliged to take my camera everywhere, but those days are decreasing in number. I want to enjoy my time and sometimes that time needs to be enjoyed without a camera in front of my face.

This is all I really have to say. This problem doesn’t only exist in this industry, but in many others where people are using their talents to try and make a living. Photographers don’t spend time playing. It is a real job and – in my opinion – deserves respect.

This is Isabel Jones, signing off! (I couldn’t help myself)

*I mentioned that I would note my calculations:

For the aforementioned assignment, I did some research for a wedding photographer and looked up the most common gear used. I then did a blue sky start up cost and then a cost for if you were to start with the lower grade stuff. The monthly costs included in this amount are only over a time period of 6 months. Included are costs such as: phone bills, internet connection, web hosting fees, marketing, storage devices (eg: hard drives and disks), computers, necessary peripherals, etc. (This doesn’t include any spare equipment, maintenance, or any necessary replacements if needed; nor does it include any rental, or payment on property.

The basic entry-level equipment, the lower grade computer, basic editing software, etc. all amounted to R43,000.00.

The Blue Sky total amounted to R131,750.00. (Please note that this was not a costing on the most expensive stuff either.) I was shocked at the cost of advertising!

Granted, I don’t believe that everything is bought “big bang” style, but one never sits down and works out how much was spent in total in order to “get going”.

It is very ambitious to say that if you take the photo properly, you won’t need PhotoShop. Unfortunately, in the real world, as soon as the image “hits” the memory card, human imperfections are not erased and decent software is needed. The “non-photographic” consumer should Google the cost of the software that takes the “bye-bye arms” (arms that keep waving when the waver has really stopped waving) away and makes the 55-year old appear 23.

Related posts:

• Time Magazine Photo Essays
• Jodi Bieber on CNN and TIME
• Incredible Time Lapse Landscapes

It is still CES week and I am very excited to see something I was predicting recently would come in the future, now on route, an Android based camera! The company bringing this to market first is Polaroid. Grab more about that and other CES news when you click on “Continue Reading” below.

Polaroid SC1630 Android Based Camera

While the Polaroid may not be the first camera with a built in Android enabled phone (see this article here) it should hopefully be the first available on a global scale. I love the idea of a camera that has the flexibility of cool photo apps as much as I like the idea of my smartphone having an optical zoom camera. The answer right now, the Polaroid SC1630. You can see Engadget’s hands on here.

Fuji X-Pro1 Hands On at DPReview

DP Review have published a hands on preview with the Fuji X-Pro1. In the preview they show the new Fuji against some of it’s competitors to show it’s size and control layout. Some of the cameras in the comparison are the Sony NEX-7 and the Leica M9-P. See the preview here.

Corel’s New AfterShot Pro, a Lightroom and Apple Aperture Competitor

Just a few days ago, news broke that Corel had bought over the RAW processing software company Bibble. Now Corel have announced AfterShot Pro (based on the Bibble software) as a competitor to Adobe’s Lightroom or Apple’s Aperture. The new software costs $99. See TechCrunch’s report here.

Snapseed by Nik for Android

Nik Software have had their Snapseed photo editing and sharing app available for iOS (think iPad mainly) for a little while now. Rob Galbraith’s site reports today that Nik will now make the application available for Mac and Android tablets running Android 4.X, also known as Ice Cream Sandwich. With the Asus Transformer Prime now getting the ICS update that means that there is at least one tablet currently out there that can run the app till other tablets start getting the update. See the story here.

Sony Xperia ion

Recently Sony bought out Ericsson from their mobile phone partnership and at CES they have announced some of the first phones that will carry the Sony name/logo all on it’s own. The Xperia ion has been the big attention grabber at the show largely due to it’s 12MP camera which is apparently the fastest camera phone around. Mashable have posted a hands on with the new phone which you can see here.

Adobe Announces Lightroom 4 Public Beta

Lets close off with the announcement from Adobe that Lightroom 4 is now available for download as a Public Beta which will run till the end of March 2012. See the story at DP Review here.

Related posts:

• News Round Up: Sony XQD Cards, Kogeto’s, Camera Trace…
• News Round Up: CES 2012 Updates from Canon, Sony etc
• New flickr App for Android

Fuji X-Pro1 Finally Official

It is official, at last. While I may have labelled the Sony NEX-7 as a poor man’s Leica, the Fuji X-Pro1 may very well be seen as a direct competitor to the prestigious dream machine that many photographer lust after but few will ever own. The X-Pro1 is, in it’s simplest definition, a changeable lens X100. It has a 16MP sensor and will at launch have 3 lenses available for it. I think on the face of it, that I want one. Price is not yet confirmed but rumour – and leaks from Amazon – put it around $1700,00 body only. See the announcement by Engadget here or the DP Review Preview here.

New Canon IXUS Models

The initial report on the two new IXUS models are coming from the USA where the IXUS is known as the ELPH so the model numbers differ in the Engadget report here. Simply put 10.1 ELPH 520 HS will be known as the IXUS 500 HS here in South Africa while the 16MP ELPH 110 HS will be the IXUS 125 HS.

Canon also spoke about new video cameras but we have had no press info from Canon SA about them so will leave them out of this update.

Samsung Launch Range of Wi-Fi Cameras

We recently had the Samsung SH100 on review in the office and enjoyed it though felt there was room to improve. Now Samsung have launched a range of Wi-Fi enabled cameras which we are looking forward to playing with. See the story from Mashable here.

Sigma Mirrorless Lenses

Sigma have announced two new lenses which are part of their Digital Neo range which is aimed at mirrorless cameras. The 19mm f/2.8 and 30mm f/2.8 will be available for Sony NEX and the Micro Four Thirds mount used by Olympus and Panasonic. DP Review have a report on it here.

Sony Launches 3 New Budget W-series Cyber-Shots

We honestly expected more news from Sony. Apart from some new Handycam video cameras the only other announcement was that of 3 budget minded Cyber-shots in the company’s popular W-series. See the announcement on DP Review here.

Wireless Added to SD Card Standard

The SD Card Association has adopted a standard for adding wireless to future SD cards which may prove to impact Eye-fi card sales in the future. Time will tell. See the report about it on Rob Galbraith’s site here.

Related posts:

• News Round Up: Sony XQD Cards, Kogeto’s, Camera Trace…
• Weekly News Round Up: 23 Aug 2010
• New Canon Camera and Printers Announced

This is quite likely the camera everyone has wanted from Canon for many years while still being the camera few people expected. It is a G-series on steroids. It features a 14.3MP CMOS sensor that is just a tiny bit smaller than the 1.6x crop APS-C sensor they use in much or their DSLR range. It is not the changeable lens, mirrorless machine many were expecting. Question is thought, for most photographers that this will appeal to, does it really need changeable lenses? Read on for the press release from Canon SA.

Press Release

Canon unveils The Master Compact – the revolutionary PowerShot G1 X

Johannesburg, South Africa. January 9, 2012 – Canon today introduces the
PowerShot G1 X – a revolutionary new compact camera with a large CMOS
sensor, designed to produce DSLR levels of image quality and control in a
highly portable metal body.

“Created for professional and serious photographers, the PowerShot G1 X
creates a prestigious new category at the top of Canon’s legendary G-series
line-up, and redefines the performance achievable from a compact camera”,
says Abri Kriegler, product manager at Canon South Africa.

A high-quality camera in its own right or the perfect complement to a
professional DSLR, the PowerShot G1 X combines EOS sensor technology with
DIGIC 5 processing power, a new precision Canon lens and extensive manual
control – creating the finest compact camera Canon has ever produced.
Designed to be highly portable, the PowerShot G1 X features a zoom lens
which retracts into a discreet, robust metal body, providing photographers
with an unimposing camera that delivers high quality images and superior
handling.

Professional levels of image quality

Incorporating Canon-developed technologies and expertise trusted by
professionals worldwide, the PowerShot G1 X offers a level of image quality
previously only possible with a Canon DSLR. It’s Canon’s first compact
camera to feature a large, 4:3 aspect, 14.3 Megapixel CMOS sensor measuring
18.7mm x 14mm – similar in height to the APS-C sensors used within EOS DSLR
models. Featuring the same pixel size and structure as the EOS 600D, and a
surface area approximately 6.3 times larger than the sensor in the acclaimed
PowerShot G12, it provides DSLR image quality in a body small enough to
carry anywhere.

The increased sensor size allows photographers to have greater control over
the depth of field, with increased potential to creatively and artistically
isolate a subject from its background. Improved dynamic range enables users
to accurately capture shadows and highlights within the same frame, while
the 14.3 Megapixel resolution allows for the output of large-sized prints,
or permits images to be cropped for more powerful compositions.

The PowerShot G1 X also features a range of benefits that result from the
advanced CMOS sensor technology developed within Canon’s EOS range. On-chip
noise reduction ensures images are clear, even at high ISO speeds, while a
4-channel read-out provides high speed image capture – ensuring fast,
responsive performance in all conditions.

Combining the large sensor with the DIGIC 5 image processor, the HS System
in the PowerShot G1 X sets new standards for low-light performance, with a
maximum full-resolution ISO range of 100 to 12800 – a level never before
seen in a Canon compact. Photographers can shoot using the ambient light in
even the darkest of conditions, capturing natural shots with incredible
detail and low noise – providing a powerful basis for low-light photography.

Precision lens technology

Developed using the same design, manufacturing and quality processes as the
world-renowned EF lens range, the lens in the PowerShot G1 X is built to
achieve professional levels of image quality. Utilising Ultra high
refractive index Aspherical (UA) elements and precision glass moulding
technology, the lens achieves both a compact size and pin-sharp clarity for
the most discerning of photographers. The lens retracts compactly into the
camera body while offering a flexible 4x optical zoom range of 28mm – 112mm,
giving photographers the option to use the zoom creatively and change the
framing and perspective of their shot. A 6 blade aperture also combines with
the large-sized sensor to produce beautiful background blur.

To help ensure optimum image and Full HD movie clarity, the lens features a
4-stop optical Image Stabilizer (IS), allowing photographers to shoot in
darker conditions and use shutter speeds up to four stops slower than would
be possible without IS. The optical Image Stabilizer is supported by
Intelligent IS which analyses the focal length, focal distance and type of
camera movement and applies the most appropriate Image Stabilizer mode[i].
For example, when a panning motion is detected, Panning IS is activated and
stabilises in only one direction for more artistic capture of movement
across the frame. Hybrid IS technology is also included to capture macro
subjects without the blur associated with shift camera shake.

The lens also includes an in-built 3-stop Neutral Density (ND) Filter,
permitting the use of wider apertures in bright light to achieve a shallower
depth of field, or to use slower shutter speeds to intentionally blur
motion.

Extensive control

Following on from the control historically offered by the PowerShot
G-series, the PowerShot G1 X offers Full Manual Control with shooting mode
and exposure compensation dials for quick and intuitive access to a range of
settings. For maximum control over the final image, the PowerShot G1 X fits
seamlessly into the EOS photographer’s workflow, supporting 14-bit RAW
capture for smooth gradations and natural colours which can be fine-tuned
using the supplied Digital Photo Professional (DPP) software.

Giving photographers the option to capture split-second action, the
PowerShot G1 X features High-speed Burst HQ, capturing bursts of six
full-resolution shots at 4.5fps to freeze fast-moving action. Alternatively,
users can shoot continuously at 1.9fps right up to card capacity in JPEG
format – ensuring longer sequences of action are captured.

High quality, Full HD movies

The PowerShot G1 X supports Full HD (1080p) movie capture instantly at
24fps, via a dedicated movie button. Taking advantage of the camera’s large
CMOS sensor, users can experience high quality movies, even in low light
conditions, with the shallow depth of field associated with a larger sensor.
Additionally, the 4x optical zoom can be used whilst filming, offering
versatility, while stereo sound is also captured.

Professional handling

With its robust, stainless steel chassis and compact design, the PowerShot
G1 X offers professional-quality handling. A large vari-angle, 7.5cm (3.0″)
PureColor II VA LCD screen allows photographers to shoot from virtually any
angle or position, to get the composition they desire. The bright,
high-resolution, 920k dot LCD provides a sharp, detailed platform for image
framing and review, while an optical viewfinder (OVF) with dioptre adjuster
gives photographers the option to shoot according to their individual style.
A newly-integrated manual pop-up flash provides the option to add additional
light to a scene, and, using the hotshoe, external Canon Speedlite flashes
can also be used.

Advanced shooting modes

A range of advanced shooting modes are provided to assist photographers in
capturing challenging scenes and situations. When shooting in very dark
conditions without a tripod for example, Handheld Night Scene captures a
high-speed sequence of shots, combining the data to produce one well-exposed
image with minimal blur. Additionally, High Dynamic Range (HDR) mode
captures scenes with a particularly high range of bright and dark tones,
taking multiple exposures and combining them to deliver rich detail in
shadows and highlights.

Expanded potential through accessories

Ideal for EOS DSLR users, the PowerShot G1 X is compatible with a range of
EOS System accessories, allowing photographers to instantly expand the
potential of the camera. Canon’s EX Speedlite flash units can be used for
creative lighting, while the WP-DC44 waterproof case provides protection to
a depth of 40m – ideal for shooting in the heavy rain or taking shots
underwater – with full access to all controls.

An optional lens Filter Adapter, FA-DC58C, also enables photographers to use
a range of filters, such as a circular polariser to enhance blue skies or
remove reflections. For more even lighting when shooting macro subjects, a
Macro Ring Lite adapter (MLA-DC1) allows Canon’s Macro Ring Lite or Twin
Lite flash units from the EOS System to be used.

Offering truly advanced levels of professional control alongside
unprecedented image quality, the PowerShot G1 X is the ideal camera for
professional and serious photographers who demand DSLR flexibility and
quality from a compact camera.

PowerShot G1 X – key features:

* Large 14.3 MP CMOS, DIGIC 5, HS System

* Compact 4x zoom; Intelligent IS

* 7.5 cm (3.0″) vari-angle LCD; OVF

* Full Manual, RAW, DPP

* Full HD, HDMI

* High-speed Burst HQ

* Smart Auto

* Extensive accessories

* HDR mode and ND filter

* Optional 40m waterproof case

Related posts:

• CES 2011: Canon with 4 New PowerShots
• News: Canon EOS 60D + New Lenses
• New Canon EOS 600D, EOS 1100D and more

Welcome to the News Round Up. These posts will serve as a way of consolidating the many news stories that can break, sometimes on a single day. News Round Up will just highlight some of the most interesting news items we want to share and be accompanied with a comment or two from us plus a link to the source.

Kogeto’s Pano Lens Comes to Android

I really, Really, REALLY, liked the Kogeto DOT project when I first saw it for the iPhone. Now the company has announced that it is coming to Android devices. But I am running ahead of myself. What the Kogeto lens does is allow you to shoot 360 degree videos from your compatible mobile phone. Initially the iCONIC (as it will be called for Android) lens will be available for the Galaxy Nexus but they have said it will come to other Android phones too. I really, Really, REALLY hope that includes the Samsung Galaxy Note cause I want one. See Engadget’s post here and visit Kogeto’s site here.

Sony XQD and Lexar Memory Card Announcements

With this week being CES there is bound to be a lot more news to come relating to cameras, memory etc. Getting things going first though are Sony and Lexar. Sony announced their first XQD cards which is a new format being adopted by several manufacturers that will allow capacity and speeds that existing formats can’t really dream of meeting. These first models do 1Gb/s write speeds! See the story here.

Lexar mean while upped the speed of their UDMA 7 CF Cards to 150MB/s or 1000x speed if you still live in the CD era (see story here).

Camera Trace

CameraTrace is a service that monitors photo sharing sites for images uploaded with your cameras serial number in the image meta data. The service costs $10,00 per camera and according to PetaPixel – where we spotted this article – has proven to be quite successful. Check out the PetaPixel story here.

Related posts:

• News: Lexar Launches 64GB plus 128GB SDXC Cards
• NEWS: New Sony Alpha A33, A55, A580, A560, Lenses
• Weekly News Round Up: 23 Aug 2010

Some of you may recall some time back that we used to have a Website of the Week feature. As time went on we focused on other areas and gradually the feature phased out. Today I want to try a new feature and get your feedback on it. Some ideas on what to call it would also be good. For the time being I am going to call it “Web Picks” and it will serve as a post to share with you some of our favourite stories on the web. Feel free in the comments to link to other great stories you may have found and want to share.

Wet Plate Photographer

Dana Geraths – Wet Plate Photographer from Kia Geraths on Vimeo.

There is something about taking photography back to it’s roots that stirs up emotions inside of me. That is why the video above – which was featured by Peta Pixel – appealed to me so much. You can click here to get their story and links to the featured photographer etc.

US Army Drone Chopper with 1.8 Gigapixel Camera

This story is more than a week old but we picked up on it this week. Engadget reported on a drone (unmanned) helicopter that the USA military will use with a 1.8 Gigapixel camera. That is like a lot of pixels. Check the story here.

Sony Stories

There have been two interesting Sony stories on the web. One at Peta Pixel was of a photographer who used Plastic or Cling wrap as a replacement for his damaged Translucent mirror on his Sony A55 – check it here. The other was a video published by Sony walking through the parts of the A77, and when I say parts I mean it’s torn down parts. See the post on the Sony Blog here or watch the video below.

Related posts:

• ODP Photographer of the Year
• Jumping The Gap (Year) & a Used Canon EOS 350D
• Happy New Year – 2011 Report Back