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Panasonic Announces Lumix G5 Micro Four Thirds Camera with Touch AF

Panasonic has announced the latest in their Lumix G lineup of mirrorless, interchangeable lens cameras—the Lumix DMC-G5. Among the updates from the G5′s predecessor, the G3, is a 920,000 dot resolution, 3-inch, rotating rear LCD, which is equipped with a new Touch AF function that let’s you set the focus on any point in the framed shot with a swipe of your finger. The camera also has an electronic viewfinder (EVF) that offers 100% field of view as well as a new Electronic Shutter mode for silent operation in quiet places. The 16-megapixel G5 also shoots full HD video and records to MP4 format, and the Touch AF function also works during video capture.

Though dates haven’t been released, we know that the Panasonic Lumix DMC-G5 will be available with a body color of either black, white or silver in various kit options. Currently, the G3 is listed at $599.99 (body only).

(Panasonic)

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Scent-o-graphy: How to Make Scratch-and-Sniff Photos

I’ve been a fan of Photojojo’s off-beat photo DIYs for a while now, but their recent tutorial for making scented photographs might be the most obscure way of getting shutterbugs to interact with their shots that I’ve ever seen. But hey, if photography is meant to capture a moment in time, then why not also include the other sensory elements of that moment?

The three techniques given by Photojojo for making aromatic shots are: Print A Whiff—in which you pay a service to make your photo scratch-and-sniff (okay, not so “DIY,” but still rad); Just Sniff, No Scratch—in which you marinate your print in a homemade scent (bonus points if the scent corresponds to the subject of the photo, like, say, a flower or a wet dog); Essential Oil Scenting—which isn’t so very different from the second process except that it seems easier. Check out the full tutorial here.

So, what do you think? Will you make scratch-and-sniff photos? Do you even print your shots after you take them?

(Photojojo via Apartment Therapy)

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Will Yahoo’s New CEO, Marissa Mayer, make Flickr awesome again?

Will Yahoo’s New CEO, Marissa Mayer, make Flickr awesome again? One fast-acting domain-purchaser certainly hopes so.

But seriously, we all know Flickr isn’t what it used to be. We at DP still love the site, which is brimming with the work of talented shutterbugs the world over (our Flickr Group pool is where we pull all of our daily closeUP shots from, and clearly there’s no shortage of amazing photography to be found there), but the user experience could be much, much improved. So with this week’s news that long-time Googler Marissa Mayer will be the new head of Yahoo (which owns Flickr), there is renewed hope that the once dominant photo-sharing site will get the attention it deserves. After all, Ms. Mayer not only has major tech chops, she is also expecting a baby this fall whom she will no doubt want to photograph the daylights out of like any other 21st Century parent.

(screenshot via dearmarissamayer.com)

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Criticism of Photographer Behind U.S. Olympic Team Portraits

Photographer Joe Klamar has become the target of much scrutiny—and in some cases, ire—ever since the series of portraits he shot of U.S. Olympic team athletes was published by CBS News. The criticism is that the photographs fall short: they’re underwhelming both visually and from a technical point of view, especially when you consider that the occasion they represent (the Olympic Games!) has likely been a lifelong dream for these athletes. Not that you can tell from these awkwardly lit and posed shots. Also, note the torn seamless paper.

Much of the aforementioned ire, as PetaPixel points out, comes from other photographers, who not surprisingly believe they could have produced better portraits. In Klamar’s defense, he’s not well-known for his portrait work but rather for taking action shots, and he shot this entire series during a likely hectic and rushed session at the 2012 Team USA Media Summit in Dallas last month. But as his critics have already expressed—and I tend to agree—no professional photographer, no matter his or her background, would feel comfortable publishing this quality of work. And, well, the biggest complaint against him is that no professional photographer worth his or her salt would even produce this kind of work.

What do you think? Are we all being too hard on Klamar, or are these photos truly sub-par? Is there an impossibly high expectation when it comes to capturing the essence of world class Olympic athletes, or are these just run of the mill poorly executed shots? See the whole CBS News gallery of Klamar’s photographs here.

(photos: Joe Klamar)

(Solstice, via PetaPixel)

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Rineke Dijkstra: Decades of the Dutch Photographer’s Striking Portraits

Rineke Dijkstra: Decades of the Dutch Photographer’s Striking Portraits
by Elizabeth Inglese

This week the Guggenheim Museum unveiled its mid-career retrospective of the work of Dutch photographer Rineke Dijkstra. Being a longtime fan of Dijkstra’s photography, I immediately made my way to the museum to check out the exhibition, which commands four floors and showcases photographs from the past 20 years as well as installations of video work.

Dijkstra’s work is at once arresting and inviting. The large-scale color prints from Beach Portraits, which were photographed over a decade from 1992-2002, feature adolescents positioned squarely in front of the camera on an empty stretch of sand, the horizon line behind them. The soft focus of the scenery trains the viewers’ attention on the details of the subject, young beach-goers in their swimwear. Their vulnerability and bravery as they pose engage the viewer in an intimate relationship.

The inspiration for Beach Portraits came during a lengthy rehabilitation Dijkstra underwent following a broken hip. Still wet from the pool in which she exercised, Dijkstra photographed herself and found her exhaustion had enabled her capture a rawness difficult to access.

She sought to recreate this candidness by photographing subjects in states of exertion: bullfighters with blood spattered across their faces and mothers following the birth of their babies. These states, in which the barrier of self-presentation dissolves, allow Dijkstra and the viewer glimpses of authenticity.

Dijkstra’s video installations utilize movement and dialogue to explore her interest in the empathetic relationship between viewer and subject. In one collection, young club-goers dance alone against a white backdrop, their timidity and their confidence both on display. In another, school children discuss their reactions to an abstract Picasso, revealing much of their own preoccupations and concerns.

While physically and emotionally exposed, Dijkstra’s subjects confront their viewers with directness. Their frankness invites us to gaze upon them, but in their bare humanity we see reflections of ourselves.

Rineke Dijkstra: A Retropective is on display at the Guggenheim Museum until October 8, 2012.

 

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