Posted by admin On March 11th, 2014

gettyflickr

Wow, more stock photographer news today! Getty is ending its 5+ year agreement with Flickr, which allowed them to invite flickr users to submit images from their Flickr stream to the Getty repository. I think Getty had pulled in close to half a million flickr images in that time.

Images they pulled in will still have the same arrangement with the contributor, but the most interesting part is (ex-flickr) contributors can now add images directly to Getty (to be screened), where as before they would have to wait for an invite. I think this is a good move, as many photographers on flickr who were contributing to Getty would have many images that were over looked and this will give them a chance now to add them.

Its also interesting that this has happened on the back of the “free for non-commercial use” news that Getty released last week. But I can also see this causing Getty a headache – and in the long run many photographers – will Getty get swamped with mundane, up there a million times already, of no use images? Will this slow getting acceptable images up there? Will Getty back out of this idea in a few months when they can’t handle the load…..

The statement from Getty:
Today we are announcing that we provided notice to terminate our existing agreement with Flickr. Our original agreement reached its end, and while we continue to be open to working with Yahoo!/Flickr, we have not agreed to a new agreement at this time.

Your status as a contributor to Getty Images is unchanged by this news. Your current agreement with Getty Images remains the same and agreements will NOT be terminated by us as a result of this change, no matter how few images you have on gettyimages.com.

For the last 5 years we’ve been very proud to provide a global platform for the work of Flickr artists, celebrating their originality and talent with our customers around the world. Those of us who are directly involved with the Flickr collection have thoroughly enjoyed and been inspired by our experience working within the Flickr community. Built to represent the best in authentic, spontaneous photography selected through social sharing, Getty Image’s Flickr collection has grown to be a tremendous success.

We have never been more committed than we are now to expanding on what we’ve started together.

What Will Change? Here are some highlights—with details to follow in the coming days and weeks:

  • Welcome to Moment: The Flickr Collection will form the basis of a new house collection called Moment.
  • Moment Mobile: Our new Moment-Mobile App provides another way for you to participate by submitting images shot on your mobile device. All Flickr collection contributors will be invited. (iOs only for now-Andriod to come). We are very pleased with the launch and early results from our Moment App, which is now being used by 3,500 contributors from 100 countries who have so far have submitted more than 30,000 images through the app. Curators: Flickr curators will continue and expand their role in identifying the best social content from a wider range of sources which, alongside our Moment App, will further grow our Moment collections.
  • The Upload Portal you are already familiar with will be updated to accommodate a slightly different workflow (see below) but your log-in will remain the same.
  • You will be in control. Since we will not be using the systems built for the Flickr partnership, we will no longer be searching and browsing through photostreams or Artist Picks looking for images and inviting them. Instead, you will be using the same procedure as all our other Getty and iStock contributors and submitting full-sized, captioned and released images to us for review and selection.
  • Support: Communication and daily guidance will continue via our GettyImages Contributor Community website and forum. We will be sending out a welcome e-mail containing the URL and your log-in credentials. These emails will begin shortly and continue over the next few weeks until everyone is covered.
  • Creative Research: You will have access to our proprietary research briefs on an ongoing basis.
  • Range of Products: You will have access to be reviewed for submissions to our other collections where appropriate including editorial, video, andPhotos.com — our new platform for wall décor, print sales, and more.
  • What should you do? Please watch for more news and information in our GettyImages Contributors Group on Flickr and watch for important emails.
  • Check your Contact information! Please make sure the e-mail address and other contact information we have for you is up to date so we can include you in our communications.

You can do this by logging in to the Upload Portal at https://contribute.gettyimages.com and clicking on “Update your profile” in the “Account Management” section.
Thanks you for all of your wonderful images and support over the past five years! We look forward to moving ahead with Moment, and with each and every one of you.

The Getty Images Creative Team

Getty fights copyright infringement by making 35 million stock images free

Posted by admin On March 7th, 2014

Getty Images is redefining the stock photography business model, by changing how 35 million of their (or your!) images can be licensed; making them free for non-commercial use. So I guess this is primarily aimed at bloggers, so hopefully we can expect to see our images legitimately popping up on WordPress, BlogSpot and whatever the next one will be!

When you find the image on Getty you have the embed option as below.

I suppose Getty are adapting to how the internet works. Are they too late to make this change? If the music industry had brought out digital business models quicker, would they have combatted piracy and the pretty much death of the CD, were the likes of Spotify too late? While not giving stuff away for free Netflix is probably the best example of a business model in the movie/TV area that are trying to keep up with the internet and digital age, they are one of the most successful online companies out there and their user count grows constantly. All digital offerings need to change and adapt to the times.

My photographs can be found on Flickr and if wanted licensed through Getty, or found on Getty directly. Now as has had happened many times before, people/companies have pulled the image directly off Flickr or done a reverse search on the Getty image and found the other source on Flickr. No money to Getty, no money to me. Now obviously this wont stop companies from stealing them as they wont embed and the embed license isn’t offered to them anyway, but maybe bloggers will use the embed method rather than steal, that way its kind of advertising for Getty/your image.

How an embedded image looks.

I don’t sell many images through Getty, as the title says, there are 35 million images in their collection, so its highly unlikely (unless you manage a one off!) someone will license my image when theres hundreds, if not thousands of similar ones, so usually its down to luck. Like my previous point, this could result in a potential sale when your image is seen on the blog that links out to the source on Getty.

I do see many photographers being outraged and cancelling their contract with Getty, but is this such a bad idea? Isn’t an officially embedded image better than a stolen one where you wouldn’t have gotten a sale anyway?  

I guess the real question is will this take on, will bloggers embed rather than steal, will other stock sources look at using the same or similar model…..the coming months will be interesting.

 

 

 

 

 

 

 

Copyright

Posted by admin On March 5th, 2014

Over the years I’ve had dozens of images stolen by companies, some of them very big. Generally they backdown and remove the image, some need to be threatened with legal action, rarely will you get an apology and never have they paid up.

Recently I’ve had the “copyright” conversation with some very ill informed people, with their believe of the term copyright ranging from you have to actually take copyright out on an image, to if you put it online its fair-game.Copyright exists the moment you take the photograph, and putting it online will  not change that matter. The only way you lose copyright is if you actually sign it away.
 
A good example is Facebook,  they do not take copyright when you upload an image, what they do get is your permission to display the image on Facebook, or any application or website that feeds from the Facebook source.

Heres a very good piece from the UK Intellectual Property Office, although the UK pretty much applies internationally.

What is a Copyright Notice?

Copyright Notices are published by the Intellectual Property Office to help explain specific areas of copyright in the UK. This notice is aimed at small businesses and individuals who may wish to use digital or photographic images on the web. It also provides advice for people who may find their own images being used online. This notice is not meant as a substitute for legal advice on particular cases, but it can help readers gauge the possible consequences of a particular course of action. It is not a conclusive view of the law – only a decision of the court can deal with that.
 
Copyright in images and photographs
 
The basics
In short, most images and photos are likely to be protected by copyright. This means that a user will usually need the permission of the copyright owner(s) if they want to copy the image or share it on the internet.
 
References to “images” in this Copyright Notice include:
• digital photos taken on mobile phones and digital cameras;
• images that were first generated on photographic film and any digital images created from them; and
• images such as diagrams and illustrations.
Please note that some of the issues raised in this Copyright Notice will only apply to photos. 
 
Who owns copyright in an image?
The person who creates an image (“the creator”), such as somebody who takes a photo, will generally be the owner of the original copyright. However, if it was created as part of the creator’s job, the employer will generally own the copyright. A creator can license the work directly themselves. They can also “assign” (transfer) the copyright to another person or allow that other person to license the work on their behalf. Licensing is giving another person or organisation permission to use a work such as an image, often in return for payment and/or on certain 
conditions.
 
What if there is more than one copyright owner?
An image might have multiple copyright owners if there was more than one creator. An example might be a cartoon created by a number of artists and illustrators, who then license use to a website owner. Images on the web may also be in a “chain”. For example, if you wanted to use image ‘A’ which also contains image ‘B’, then you would need permission from both owners of image ‘A’ and ‘B’. 
 
Simply creating copies of an image won’t create a new copyright in the new item, but when an analogue image is digitised lawfully (that is, with permission from the copyright owner), then in principle a new copyright could be created if there was sufficient skill and creativity to alter the analogue image enough for it to be a new and original work. Opinions differ on how much of a change would be needed. Generally speaking, if you are just making minor changes, then the only copyright would still be that which belongs to the person who created the original image. 

Some images which appear on the internet are controlled by picture libraries which either own the copyright in the images or have the copyright owners’ permission to sell rights to use the images. The picture libraries sometimes restrict how the copies of the photos are used as part of their contract terms when they allow people to use the images. The restrictions may not arise out of copyright law: an image library can set terms and conditions of use in respect of images it supplies, including ones which are out of copyright, through a contract. 
 
How long does copyright in images or photos last?
The length of the copyright period will depend on when the image was created. Generally speaking, copyright in images lasts for the life of the creator plus 70 years from the end of the calendar year of their death. That means that images less than 70 years old are still in copyright, and older ones may well be, depending on when the creator died.
 
For old images or photos, you may never be entirely sure if something is in copyright, but knowing the age of the photo will be a good guide to make an educated guess whether the photo is likely to be protected by copyright. There may be material in the image which helps to date it. For instance, a photo of a particular brand of motorcar may be evidence that the photograph could have been taken after the first year of manufacture. 
 
Also, in the case of an old image where copyright appears to have expired in the UK, you will need to find out whether the image was in copyright elsewhere in the EU on 1 July 1995. If it was, the standard copyright period is the life of the creator plus 70 years from the end of the calendar year of their death (regardless of whether it was protected under historic UK copyright law).
 
Is permission always required to copy or use an image?
Sometimes permission is not required to copy the image. For example, if:
• the user of the image also created it and owns the copyright in the image; 
• the image is used for specific acts permitted by law (“permitted acts”) in respect of which people can use copyright works without permission from the copyright owner, such as for private study or non- commercial research; or 
• the image is no longer in copyright.
If permission is required to use an image, permission will need to be obtained from all the copyright owners, whether it is a single image with numerous creators, a licensed image, or an image of other copyright works, for example. The key point is that using an image requires obtaining permission from the owners of all the rights in that image. Sometimes there will be one person or organisation that can authorise permission for all the rights in that image; in other cases separate permission may be needed from several individual rights owners.
 
What if I do not know who the copyright owner is?
Copyright does not disappear simply because the owner cannot be found. In a work where the copyright owner is not known or cannot be located, permission to use the work cannot be obtained. These are known as orphan works, and under the current law these cannot be copied. A forthcoming change in the law will allow people to buy licences to use these works in some circumstances.
Even if there is no evidence of an owner, any unauthorised use of the photo without permission would be an infringement of copyright. 
 
What if there is no © (copyright) symbol, year or name with the image?
The copyright symbol does not have to be present for copyright to exist, so just because there is no name or copyright symbol associated with a photo or image does not mean the copyright has expired. 
 
Sometimes uploading and downloading of digital images causes the associated metadata (which can give details of the copyright owner) to be removed accidentally. Deliberate removal of metadata that identifies the copyright owner may be unlawful.
 
Is there any way I can be completely safe when I use an image from the 
internet?
Almost any image on the internet is likely to be protected by copyright, so it is only safe to use it if there is specific permission to do so through a licence or in the terms and conditions of the website supplying the image (assuming it is the copyright owner’s website or another website which has the copyright owner’s permission to allow other people to use an image). The use of licensed images ought to be much safer than using unlicensed images.
 
What are the consequences of copyright infringement? 
When someone infringes copyright, there are various courses of action which could be taken by the individual or organisation which owns the copyright. The user of the image may be asked to purchase a licence, and a commercial arrangement might be reached after which no further action is taken. However, legal action might be taken by bringing a claim in court which could result in having to go to court for a hearing. 
 
Court cases can be expensive, as they may result in the user of the image paying the cost to use the photo, legal costs of themselves and the copyright owner and possibly other financial compensation for copyright infringement. This could amount to more than the cost of a licence to use the image. Further, the user of the infringing copy could also be asked to take down the image from websites as well, for example. 

Deliberate infringement of copyright on a commercial scale may also lead to a criminal prosecution. 

Even in situations where people may think their copyright infringement will not be detected, they run the risk of being discovered and consequently being pursued through the courts. 
 
Examples
 
I want to use my own images on the internet
If you have created the images yourself, you are generally free to use them as you wish. 
 
However, there are some instances where you may not do what you like which include situations where:
• you are working for a business or individual, and create images during the course of your employment;
• you take a photo that has as its main subject a work that is protected by copyright (for example, taking a photo of a painting at a modern art gallery) – this would result in your photo itself being an infringement of copyright; or
• you have agreed in writing that the copyright in images you have created will belong to someone else. 
 
I want to take photos on my smartphone and upload them to the web
If someone takes a photo, copyright can exist in that photo. However, people taking photos on their smartphone and uploading them to the internet on social media sites should be careful when they take photos of copyright works (such as paintings) when they are the main subject of the photo. If someone takes a photo of a work in copyright (such as a painting by an artist that is still alive), and it is the main focus of the image, using that photo on the web would be an infringement of copyright. In other words, people are allowed to take a photo of a room of paintings, but would need to be careful about copyright infringement if taking photos of specific paintings. Taking a photo of something that is not covered by copyright is not an infringement of copyright – for example, taking photos of animals, people or landscapes.
 
I want to use images sent to me by a friend or family member
You need to treat these images as you would any other images where you know the copyright owner and would need to ask for permission, unless the copyright has expired in all aspects of the image.
For example, photographs taken by a relative from a recent family event would need permission from the creator to use online.
 
I want to use images I found on the web
Images that have been found on the web may be used in the following situations: 
• you know the copyright term has expired in all aspects of the image;
• you have permission from the copyright owner for exactly what you want to do with it (for example, distribute to others) – this may be in the form of something like a Creative Commons licence or a licence you purchase from a picture library; or
• you use the images for specific permitted acts. 
 
I want to use images on my own personal website or for an online school project
Permission is required because you are displaying the photos in public – but there may be more photos available for you to use without payment. The permission may have been pre-arranged for some images by a picture library clearing them with the rights holder as a licence to you. 
 
I want to use images I found on the web on a commercial website
If you are using an image commercially, you will need to seek permission before you do so. There are licences which you can obtain to use images for commercial purposes, such as advertising your business on a website, and usually you will have to pay a higher fee than for non-commercial use. Be aware that some Creative Commons licences are for non-commercial use only, so it is important to check the licence terms if using Creative Commons-licensed material.
 
I want to link to images I found online
Sharing or posting a simple web link to images posted publicly online by the copyright owner is usually not restricted by copyright. 
 
The Court of Justice of the European Union has ruled that internet users should be free to share links to material, for example photos or videos, providing the material itself has been published freely online with the permission of the rights holder. The right to share links however doesn’t go as far as allowing users to share links that are designed to circumvent paywalls or other subscription only services.
 
Copying images and then hosting them on another website however will usually amount to copyright infringement. You should ask permission from the copyright owner before using images in this way. 
 
You may also infringe copyright if you use image tags to insert images hosted elsewhere into your webpage (even without copying and hosting the images yourself). This is more likely if the original images are posted behind a pay wall or in some other restricted access environment such as a private forum. Examples of activities in this vein that may require permission include blogging other people’s images or using aggregator services which embed images into new web pages.
 
I want to use photos taken for me by a professional photographer
Where you commission a professional to take photographs on your behalf, for example wedding photographs, the copyright will usually remain with the photographer. This means that you need to get the photographer’s permission before printing further copies of the images, sharing them with your friends or family, or undertaking other acts restricted by copyright such as posting the images to social media sites.
 
Most photographers will include licence terms setting out exactly what use you may make of images in their contract with you. If you have specific uses in mind, you should ensure these are discussed before contracts are settled. You could also agree with the photographer that the copyright will be assigned to you – this would be done by having a written and signed contract with the photographer saying you had bought the copyright from them. 
 
Where a photograph is commissioned for private and domestic purposes, the commissioner does have a right that the photographs will not be issued to the public without their permission. This means that, although a wedding photographer may own the copyright in images of your wedding, they should not post them on their own website for advertising purposes without your permission.
 
I want to stop other people using photos that I uploaded on a social media website
When you join a social media website you should check that website’s terms and conditions to ensure that they are not allowing the website operator to do something with your photographs that you do not want. Their terms and conditions may allow them to make your images available for others to use, without your prior permission or notice.
 
If people are already using your photos and you agreed to a condition that waived or re-assigned your copyright you can ask the website operator to take the photographs off the site but they may not agree to do so. In this case, this would not stop people who are already using your images from continuing to use them. If this were to happen to you, you may also want to consider what rights you may have under other areas of law (for example, privacy or defamation). 
 
I want to stop someone using the image I created in a way I do not approve of or have not approved
When people use your images with your permission, they should use them respectfully. If you have ‘asserted’ your ‘moral right’ to be credited for creating the photo, then that user should acknowledge you as the creator. 
 
“Moral rights” are known in law as a right which gives you the right to be identified as the creator of the work. 
 
It also gives you the right to object if people use your work and change it in a way that you consider negative to your reputation (known as “derogatory treatment”). For example, you could object if you have taken a high quality photo and it was modified in such a way which led people to believe that you couldn’t take good quality photos. 
 
In the UK, it is necessary for you to tell people who reproduce your work that you wish to be credited for your work (known as “assertion”). This is often done by written contract. You can also waive your moral rights which means you won’t be able to take legal action to object to the derogatory treatment of your work. 
 
 
 

Book Depository 25 hour sale

Posted by admin On March 4th, 2014

Book Depository sale is a few hours in, I missed the reminders that this was on today. No photography books yet, but theres been a couple decent things at good prices…. have picked a couple of photo books over previous sales so worth a dip in n out.


Selling your photos on stock sites

Posted by admin On March 4th, 2014

A couple of years ago Getty partnered up with Flickr to License users images, I was invited to sign up and over a couple of years contributed a couple dozen photos for inclusion on the Getty website. 

Theres a lot of debate particularly among amateur photographers on whether or not to sell their photos on stock websites, most of the complaining seems to be pointed towards the licensing split, where the photographer gets 20-30% depending on the licensing type the buyer takes out. Now I don’t have a problem with that, the licensing site is where most people go to find their images, I did it many moons ago in my website building days. 

They also host the image, good keywords, categorised, search engine, and all sizes on offer for the different needs, and have a very good billing structure in place. They also try and find and bill companies who are using (your) images without paying for it. So I’m ok with my 20-30%, its better than 0% of nothing!

But I have to admit this one did hurt! I got a whopping $5.70 for my family silhouette to be used on the History Channel website! I suppose I’m lucky they didn’t just take it for free like an ever growing list of companies have and continue to do. Its licensing models and how prices can vary vastly I guess I have the problem with, but hey thats how it goes!

But that won’t stop me from allowing the images to be licensed, I know no one knows its my image when it gets used somewhere, but its still nice to see them out there and not just lingering on Flickr or Facebook. I never took up photography to make money, I always wanted to keep it as a hobby, I don’t have the back or knees to be taking photos at a wedding all day anyway! 

One day all the $5 will add up and can go to getting a new flash card or something!




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Nikon D4s out in March

Posted by admin On February 28th, 2014

So the after months of speculations, rumours and “leaks” the D4s is on its way, coming in at a head spinning £5,200, but with some rather nice enhancements including an industry leading ISO of (extendable) 409,600! Also updated are a redesigned 16.2-megapixel FX sensor and the Expeed 4 image processor, a burst rate of 11 frames per second at full resolution, and is protected by “a tough weather-sealed full metal body.”

From Nikon: Nikon today announces the D4S, a new 16.2 megapixel FX-format flagship built to keep professionals ahead of the game.

The ultimate imaging machine has advanced: as the successor to Nikon’s acclaimed D4, everything about the D4S powers exceptional images at exceptional speed. An expanded ISO range and EXPEED 4 image processing take low light photography to another level, making the D4S a master of the dark as well as the light. Advances to AF performance offer improved acquisition and tracking at 11 fps, plus much finer control over the AF area with the new Group Area AF mode. Nikon’s RAW Size S file format accelerates image transfer onto networks and a Gigabit 100/1000TX Ethernet port enables ultra-fast connection.

 

 

  Hiro Sebata, Professional Product Manager at Nikon UK, comments:

“The Nikon D4S follows the success of the D4 and brings with it a new level of performance designed to meet the needs of the most demanding photographers.”

He adds: “Nikon engineers have taken on board valuable feedback from professional users in order to implement a wealth of improvements that will make all the difference to professionals working in the intensely competitive fields of sports, press, and nature photography. Equipped to power ahead in the most challenging environments, the D4S ensures serious photographers stay ahead of the game.”

Built upon success

Moving beyond the limits its predecessor was built to push, the D4S blazes a new trail for high-speed professional image making. The camera’s revamped sensor offers the ultimate image quality, and the expanded ISO range of 100–25600 is extendable up to an industry-leading 409600 (equivalent). Nikon’s new EXPEED 4 image processing engine boosts the camera’s overall performance to a whole new level, vastly improving image rendering and ISO performance. A true master of the dark as well as of the light, sophisticated localised noise reduction, edge sharpening and tone control ensure the D4S delivers outstanding results in the kind of ‘dirty’ low light conditions many sports and news photographers are confronted with. The burst rate of 11 fps is not compromised by ISO settings or lens choice, and details are rendered sharp and exceptionally well defined even when Noise Reduction filtering is applied. As with the D4, the D4S is built to sustain peak performance in the most demanding environmental conditions imaginable. The camera is protected by a tough weather-sealed full metal body, and features subtle details that make all the difference to handling: changes to button layout and re-shaped control buttons improve operation in damp conditions whilst the re-contoured design and smoother grip make it easier to hold out in the field.

Full throttle: stop at nothing

Everything about the D4S is built around the need for speed. In a world where the speed of transmission and networking has become as important as megapixels and ISO settings, the D4S delivers on every count. The frame-per-second with autofocus tracking has increased from 10 fps to 11 fps, making the D4S the fastest autofocus D-SLR-camera in Nikon’s history. The camera implements a Gigabit 100/1000TX Ethernet port and offers a new RAW Size S option for accelerated image transfer. When milliseconds matter, the shutter’s 42 ms lag can gain you the critical edge, taking pictures in less than the blink of an eye; and a completely new shutter and mirror mechanism reduces mirror bounce, delivering a stable viewfinder image with minimal viewfinder blackout when shooting at high speed.

Bettering the best: AF advances

The D4S takes the class-leading accuracy and usability of Nikon’s renowned 51-point AF system and advances it further. In addition to improved lock-on, expanded ‘Store by orientation’, and new options for AF mode restrictions, the D4S boasts a brand new Group Area AF mode. Designed to allow much finer control over the size of the autofocus area, Group Area AF constantly monitors five different AF fields, which can be shifted across the 51-point array as composition demands. Shooting in this mode enables fast moving subjects to be tracked with phenomenal precision over long distances, and greatly improves acquisition and background isolation when shooting subjects that are comparatively small and close to a high-contrast or distracting background. As with the D4, the AF system inside the D4S is configurable in 9-point, 21-point and 51-point coverage settings and sensitive down to -2 EV (ISO 100, 20°C/68°F).

Multi-area D-Movie evolves

For moviemaking in diverse conditions, the D4S offers broadcast-quality video in multiple frame formats and boasts a range of operational enhancements that allow more control over footage while filming and improve sound recording. D-movies are now possible at 50p/60p, and photographers can set sensitivity and select maximum ISO in M mode, plus select the sensor crop format, control power aperture, and fix shutter speed. In addition, Nikon’s 3D noise reduction reduces random noise and noise flicker when filming at high sensitivities. As with the D4, the D4S offers three sensor crop formats, FX, DX, and native crop (approximately 2.7x), and uncompressed full-resolution HDMI output to external devices. You can simultaneously record full resolution HD movies in-camera and with an external recorder via HDMI (an HDMI cable clip is provided with the camera for a secure connection). Sound recording has improved thanks to more options for audio control, including the option to select the sound range (wide/voice), and reduce wind noise when recording with the built-in microphone.

Summary of key features:

 - Revamped 16.2-MP FX-format sensor: offers the ultimate in image quality and excellent cropping flexibility.

- Phenomenal light sensitivity: ISO range of 100–25600 is extendable up to an industry-leading 409600 (equivalent).

- 11 FPS with AF: 11 fps in FX format with AE/AF superior to the D4.

- EXPEED 4: boosts the camera’s overall performance to a whole new level.

- Multi-CAM3500FX 51-point AF system configurable in 9-point, 21-point and 51-point coverage settings and sensitive down to -2 EV (ISO 100, 20°C/68°F).

- AF advances: improved lock-on, new options for AF mode restrictions, plus the new Group Area AF mode.

- Multi-area D-Movie: Full HD (1080p) movies in FX- and DX-format at 60p/50p/30p/ 25p/24p frame rates. Offers three sensor crop formats FX, DX and native crop (approximately 2.7x) and clean HDMI-out. Access the ISO range from ISO 200 up and control shutter speed, aperture and audio levels while filming. Nikon’s 3D noise reduction reduces random noise, and the camera offers sophisticated options for audio control.

- Tough in the field: weather-sealed full metal body.

- Fast track: Gigabit 100/1000TX Ethernet port and RAW Size S file format for accelerated image transfer. Compatible with Nikon’s WT-5 Wireless Transmitter.

- Colour adjustable monitor: anti-reflective 8 cm (3.2-in.), 921k-dot LCD monitor that lets you push the colour balance and brightness in any direction.

- Fast durable shutter: Kevlar/carbon fibre-composite shutter unit with 42 ms shutter lag, standard life cycle rating of 400,000 releases and a shutter speed of 1/8000 to 30s, with flash synchronization at up to 1/250 sec. A new shutter and mirror mechanism delivers a stable viewfinder image with minimal blackout during high-speed shooting.

- Spot White Balance metering: easily acquire manual, pre-set White Balance data based on the selected area within the frame: the size of the area acquired can be retained even when the image is enlarged, and consecutive data acquisition is possible.

- High-capacity EN-EL18a battery: ultra-compact and lightweight lithium-Ion rechargeable battery with a capacity of 2500 mAh (10.8V).

- Storage media: two card slots—one for high-speed CF (UDMA 7) cards, and one for high-speed, high-capacity XQD cards.

On sale at selected retailers from 6th March 2014




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New top level domains for photography fields

Posted by admin On February 20th, 2014

Recently ICANN (Internet Corporation for Assigned Names and Numbers – those people that manage and decide what domains exists), has released a load of new domain types, very much away from the standard everyone has got used to or expected.

Them seem to be standardising things by industry. There are numerous of them, most of them actual words like .company, .menu, .realestate, .club, .plumbing and a number of photography related ones:

.photography ($25/year)
.gallery ($25/year)
.graphics ($25/year)
.equipment ($25/year)
.camera ($40/year)
.lighting ($25/year)

I’m not sure yet if I’d be bothered with any of them, it’ll be interesting to see the uptake. Prices from http://www.godaddy.com, not all providers are offering them yet.

WORLD PRESS PHOTO OF THE YEAR 2013

Posted by admin On February 19th, 2014

The 57th World Press Photo results are out. This year saw 5,754 photographers covering 132 nationalities submit 98,671 photos. 

The overall winner goes to John Stanmeyer, USA, (VII for National Geographic) showing African migrants on the shore of Djibouti city at night, raising their phones in an attempt to capture an inexpensive signal from neighbouring Somalia. (26th February, 2013) 

Singles prizes include the typhoon in the Philippines, Bangladesh factory collapse,  Boston bombing, Nairobi mall massacre, a number of Syria shots, along with stories prizes from Gaza blackout, Central African Republic,  life in the Occupied Territories, and a very well shot (from above!) on sports in China.

My favourite is a shot from a stories winner, Jordanian, Tanya Habjouqa and her entry – Occupied Pleasures, and a rather amusing shot. 

07 August 2013 After encountering gruelling traffic at the Qalandia check point, a young man enjoys a cigarette in his car as the back-up finally clears on the last evening of Ramadan. He is bringing home a sheep for the upcoming Eid celebration. 

 More than four million Palestinians live in the West Bank, Gaza, and East Jerusalem, where the political situation regularly intrudes upon the most mundane of moments. People’s movements are circumscribed and the threat of violence often hangs overhead. This is an exploration of the small moments of pleasure where ordinary men and women demonstrate a desire to live, not just simply survive.

Head on over to the World Press Photo website to see another great year of photography. 



First portrait shoot in a while!

Posted by admin On January 31st, 2014

So last Sunday I had my first portrait shoot in over 3 years, it was also the first time I took the studio gear (Elinchrom D-Lite4s) out on a shoot, in fact they had been packed away since November 2010! Luckily they were more easy to put up than I remember/expected, and packed away just as easy when we were done. And more luckily the bulbs still worked, they’re about €60 a go! Anyway, I enjoyed it, think it went well….

Air Strap: A Camera Strap That Does More With Less

Posted by admin On January 4th, 2014

I hate the straps that come with a camera out of the box, I’ve straps from all my cameras, most are still in their packaging – I find straps are unusable until they are months old and have lost their rigidity. Then about 3 years ago Smug-Mug were giving away a free neoprene camera strap, I’m not sure if the offer was supposed to be outside the USA but I managed to get one. Its a lovely strap, soft, bendable, bouncy, comfortable – I share it between the cameras depending on the need, I always meant to get another neoprene one bit they always seemed overpriced.

Well enough rambling! I came across this Kickstarter, it looks like a fantastic strap for a walkaround, looks comfortable and really handy. Rewards start from $25 (plus shipping if outside USA) for the basic strap.

Have a look here for more details.




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