June 8th, 2016

Ricoh Introduces Pentax K-70 Plus New Lens

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Ricoh’s newest DSLR is built to last. The new Pentax K-70 boasts a dust and weather-resistant body alongside a few features first introduced on higher-end Pentax models.

It sports a 24-megapixel sensor with a maximum ISO of 102,400. Also new is a Hybrid AF system that uses both image-plane phase-matching and contrast-detection autofocus technology to keep pace with moving subjects. As a result, the K-70 will be the company’s first DSLR to support continuous AF during video recording.

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The K-70 also features the company’s Pixel Shift Resolution System that uses the camera’s shifting sensor to create an ultra-high resolution, low noise image from a compilation of multiple exposes, each with the sensor moved a tiny increment. The system has been updated with a motion correction function that detects a moving object in the scene to prevent blur when shooting in Pixel Shift.

Additional features include:

  • an AA Filter Simulator that effectively eliminates moiré without the need for an anti-aliasing filter
  • a variable-tilt LCD monitor
  • in-body stabilizer good for up to 4.5 stops of shake reduction
  • Wi-Fi
  • a red-light display function which keeps ambient light from interfering with astro- and nightscape photography
  • low light focusing to -3 eV
  • top shutter speed of 1/6000 sec.
  • full HD video recording

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Ricoh wouldn’t disclose precisely when the K-70 would ship, presumably because of the supply disruption caused by April’s Earthquake in Japan. However, the company said the K-70 would retail for $650.

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HD PENTAX-DA 55-300mm f/4.5-6.3ED PLM WR RE

In addition to the new DSLR, Pentax is releasing a new telephoto lens. Like the K-70, this lens is weather-resistant telephoto zoom with a 35mm equivalent focal length of 84.5-460mm. It has a minimum focusing distance of 37.4 inches.

Like the K-70, precise availability was not announced but the lens will retail for $400 when it finally hits store shelves.

 

June 8th, 2016

Richard Prince Sued Again (This Time by Photographer Dennis Morris)

An allegedly infringing work from Richard Prince's "Covering Pollack" series.

An allegedly infringing work from Richard Prince’s “Covering Pollack” series.

Photographer Dennis Morris filed a copyright infringement claim last week against appropriation artist Richard Prince in a Los Angeles federal court. The claim is the latest in a growing number of cases filed by photographers accusing Prince of stealing their photos for use as raw material for his artworks.

Morris, who is based in Los Angeles, is charging Prince with unauthorized use of several photographs of Sid Vicious, the lead singer of the Sex Pistols. Gagosian Gallery, which represents Prince, is also named as a defendant in the case.

Morris alleges that Prince copied the Sid Vicious portraits without permission from a biography by David Dalton titled El Sid, Saint Vicious. Prince then made and sold “derivative works” that incorporated the portraits, Morris says in court papers. The derivative works allegedly included an untitled quadtych featuring one of Morris’s Sid Vicious portraits alongside portraits by other photographers of Barbra Streisand, Prince (the recently deceased musician) and Sylvester Stallone.

In addition, Morris alleges that Richard Prince used several other photographs of Sid Vicious without permission in a work from a series titled “Covering Pollack.” Prince created the series in 2010. The allegedly infringing work (above) shows a photo of what appears to be a Jackson Pollack painting-in-progress, papered over with a collage of Sex Pistols band member photos, including Morris’s pictures of Sid Vicious.

Morris is seeking compensation for an unspecified amount of damages resulting from “diversion of trade, loss of income and profits, and a dilution of the value” of rights to the photographs. He is also seeking disgorgement of profits from the sale of the infringing works, and an injunction to bar further unauthorized use of the photographs in question.

Prince has not yet responded to Morris’s lawsuit.

Morris’s claim is strikingly similar to the high-profile lawsuit that photographer Patrick Cariou filed against Prince—and lost. Cariou had accused Prince of misappropriating images from a book called Yes, Rasta. Prince used the Cariou images as raw material for a series called Canal Zone. He and Gagosian earned more than $10 million on the sale of works from that series.

In 2012, the US Court of Appeals for the Second Circuit in New York ruled that most of the disputed works in the Canal Zone series qualified as fair use of Cariou’s photographs because Prince transformed them with “an entirely different esthetic.” Prince was forced to settle with Cariou over the unauthorized use of several of images, however.

Although Prince will almost certainly invoke the Cariou ruling in his defense against Morris’s claim, rulings from the Second Circuit Court of Appeals are not binding in the Los Angeles court, which is in the Ninth Circuit.

Related:
Photographer Sues Richard Prince Over Instagram Rip-Offs…At Last
“SuicideGirls” Deliver Cleverest Response to Richard Prince Instagram Appropriation
Richard Prince Did Not Infringe Patrick Cariou’s Photos, Appeals Court Says
Is the Fair Use Defense Just for Rich and Famous Appropriation Artists?

June 8th, 2016

Getty Jumps into Virtual Reality Market

SamsungVR

Getty is jumping deeper into virtual reality.

The company announced this week that it’s new Getty Images Virtual Reality Group is now live with over 12,000 360 images. It also includes high resolution gigapixel content from key events and venues. High quality VR production is also being offered through Getty Images Assignments.

The roll out of 360-degree imaging started four years ago at the 2012 London Olympics. At this year’s Rio Games, every Getty photographer will have a 360-degree camera, the company said.

“The technology is still in its infancy – as are the business models addressing how to use it – but we can expect to see VR become a leading tool for visual storytelling. It is anticipated that over 14 million consoles will sell this year alone  and we are only on the cusp of what will be a tectonic plate shift in VR” said Dawn Airey, Chief Executive Officer of Getty Images, in a statement announcing the initiative.

Last month, Getty Images said it was supplying hi-res VR content from current events around the world for Google Expeditions. Last year, Getty paired with Oculus Rift to provide 360 imagery available for users of the Oculus platform.

While it’s still early days, the market for VR content, including education, social experiences, movies, gaming and adult entertainment is expected to reach $5.4 billion in revenue, according to Piper Jaffray’s estimates. Google’s Cardboard app has been downloaded over 10 million times and there are over 1.3 million subscribers to YouTube’s 360 channel.

Read More:

The Gear You Need to Make VR Now

Popular Mechanics’ Photo Editor on VR

Should Photographers Jump on VR Bandwagon? (Subscribers)

Inside Story of World’s Best VR Camera

June 6th, 2016

The Metalens Means Cameras Everywhere

In 1958, legendary physicist Richard Feynman delivered a lecture dubbed “There’s Plenty of Room at the Bottom“– a talk that anticipated (if not actually initiated) an era of manufacturing on the atomic scale.

Fast forward to 2016 and it appears that camera lenses may have found some room at the bottom.

Several researchers from Havard have demonstrated a new optical technology that uses a metasurface–basically an ultra-thin film–with extremely small (smaller than a wavelength of light) vertical structures on it. According to the researchers, these structures comprise a “metalenses” can focus light, resolve incredibly small features and magnify objects at up to 170x.

Since these metalenses not are made from curved glass, they’re not subject to the same optical distortions that plagued conventional lenses.

Here’s a graphic from Havard of light passing through, and being focused by, these nanoscale pillars.

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Credit: Capasso Lab | Havard John A. Paulson School of Engineering and Applied Science

From the BBC:

The lens is quite unlike the curved disks of glass familiar from cameras and binoculars. Instead, it is made of a thin layer of transparent quartz coated in millions of tiny pillars, each just tens of nanometres across and hundreds high. Singly, each pillar interacts strongly with light. Their combined effect is to slice up a light beam and remould it as the rays pass through the array.

“This technology is potentially revolutionary because it works in the visible spectrum, which means it has the capacity to replace lenses in all kinds of devices, from microscopes to cameras, to displays and cell phones,” said Federico Capasso, Robert L. Wallace Professor of Applied Physics and Vinton Hayes Senior Research Fellow in Electrical Engineering at Havard and senior author of the paper in a statement releasing the findings.

If it sounds impossible to build at scale, it isn’t–at least, in theory. Capasso told the BBC these metalenses could be made alongside computer chips. In fact, modern semiconductors have components that are smaller than the sub-wavelength focusing pillars on the metalens.

Credit: Capasso Lab | Havard

A view of the horizontal planar structures that help to focus light, sitting atop an ultra-thin metasurface. Credit: Capasso Lab | Harvard John A. Paulson School of Engineering and Applied Science

Given their size (or lack thereof) the most obvious commercial applications of this lens tech are in microscopes, smartphones, contact lenses and other wearables.

“Any good imaging system right now is heavy because the thick lenses have to be stacked on top of each other. No one wants to wear a heavy helmet for a couple of hours,” said Mohammadreza Khorasaninejad, a co-author of the metalens research paper, in a statement. “This technique reduces weight and volume and shrinks lenses thinner than a sheet of paper.  Imagine the possibilities for wearable optics, flexible contact lenses or telescopes in space.”

Cameras everywhere. Sounds like the future.

June 3rd, 2016

Great Weekend Reads in Photography & Filmmaking

Afab Uzzaman | Flickr

Afab Uzzaman | Flickr

“The problem with a life spent reading is you know too much.”
Josh Lanyon

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How We Trained Software to Judge PhotographyMedium

A Disturbing Trend in PhotographyNeal Rantoul

The Afterlife of Polaroid The Nation

What I Learned When My Photo Went ViralRangefinder

VR Is Cool, But Is There Any Money In It? – ProVideo Coalition

A Crash Course on Social Issues Documentary WorkPBS

My Gear SucksKennan Hastings

Photography in a Moment of ChangeA Photo Editor

Framing Fears GUP Magazine

Photographing the Real ObamaThe Guardian

What the Guardian Gets Wrong About Photographing ObamaDisphotic

Deconstructing Structure in Photography Ming Thein

Female Cinematographers Not Hiding Behind the Camera  – NYT

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Weekend Video

Take a trip through Ansel Adams’ creative process in this 1958 documentary.

June 3rd, 2016

Time to CONNECT in NYC | June 8/9

(Sponsored) This Wednesday and Thursday at New York City’s Grace Building on Bryant Park, Le Book presents CONNECTIONS, featuring some of the world’s most important brand, advertising agency and media creatives in attendance—Apple to Tiffany; Akqa to Ogilvy; Conde Nast to Vice—and creative agencies/production companies presenting the highest level of image-makers, content creators and creative solutions. Don’t miss this opportunity to view the best in digital/film, print, experiential and social.

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Photos Courtesy of Le Book

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Le Book will also host the fifth annual Creative Selection in partnership with i-D with 50 senior brand and agency executives on an illustrious jury selecting the best work on show.

Details for special events taking place during Connections can be found here.

 

June 2nd, 2016

From Vision to Visuals: The Evolution of Duggal Visual Solutions

Sponsored by Duggal Visual Solutions

 
The early 1960s were a chaotic time in American history: The Civil Rights movement was in full swing, and the assassination of President John F. Kennedy in 1963 left the country deeply unsettled. Despite the unrest, it created an environment rich with photographic opportunities. And it was also a time that a young immigrant from Jalandhar, India, decided to start his fledgling printing business—Duggal Color—in New York City.

A portrait of Baldev Duggal.

A portrait of Baldev Duggal.

Always enthralled with American culture, Baldev Duggal came to the United States in 1957 with only $200 in his pocket. He had a knack for inventing things and a passion for photography. In the States, he worked odd jobs until coming upon a print production company looking for free help in exchange for office space. Duggal took the offer and began developing film in his bathtub, using the office space to advertise his processing services.

Photographers became Duggal’s clients, and because of his high-quality prints—not to mention the swelling of both the magazine publishing and advertising industries—there was endless demand for film production.

While Duggal Color hummed along, the turning point was Duggal’s own forward-thinking invention in the early 1970s: an automated dip-and-dunk machine for film processing, removing the need for hand-developing. What remains a universally used technology in film processing was the catalyst for what ultimately became the innovative business-meets-art powerhouse that is Duggal Visual Solutions. The new ethos of the business was cutting-edge technology that was faster and less expensive than its competitors.

Since then, Duggal Visual Solutions has grown in several iterations, currently taking up a 30,000 square-foot space in the Flatiron District of Manhattan, with several additional production facilities in Brooklyn. As of 2013, that includes Duggal Greenhouse, a sustainable event space in Brooklyn’s Navy Yards, which—among other things—hosted the Democratic debates in April 2016, proving that the company’s services extend far beyond print production.


Throughout its constant evolution of space and services, Duggal Visual Solutions has kept a core focus on innovative technology that keeps it on top of the industries it serves. In the late 1980s, it was the first brand to introduce RGB drum scanning and electronic retouching for photographers. Today, the company stays on the forefront of technological advances by offering services that include 3D printing, large-format graphic mural printing, prototype packaging and TV color correction.

A man uses a loupe to take a close look at the details in this HD C-Print® of a map on a lightbox.

A man uses a loupe to take a close look at the details in this HD C-Print® of a map on a lightbox.

Most recently, Duggal added another cutting-edge visual solution to their roster: HD C-Prints®. At 610 dpi, HD C-Prints® are printed at more than twice the resolution of standard photography prints. For artist-photographers like Spencer Tunick—who is best known for his large-scale, fine art photography of nudes en masse—the HD C-Print® quality is paramount. His prints typically run 30 x 37.5 inches or 48 x 60 inches in size, and often feature hundreds or thousands of subjects. “I’m working with people’s bodies and faces at long distances, and I know the viewer pays attention to detail, so for me, the extra sharpness is needed,” Tunick says. “Many labs in New York don’t even run inkjet at 300 dpi, and if you request it, it usually comes at a higher charge. I still shoot with film and drum scan the negative, and Duggal’s high-definition printer equals that of film printing through a large negative.”

Example of detail in Duggal’s HD C-Prints®.

Example of detail in Duggal’s HD C-Prints®.

Tunick switched to Duggal Visual Solutions in 1998 because the company was willing to negotiate its prices based on his needs, while still providing high-quality products and service. Because Tunick gifts each of his subjects a limited edition, 8×10-inch print in exchange for posing in his group portraits, he needed a rate that would make sense without sacrificing quality. As his compositions filled with more participants, he found that other Manhattan and Brooklyn printers couldn’t work with his budget. “I couldn’t afford to do my multi-person works and gift everyone a photograph who participated,” Tunick says. “Duggal gave me a great price. I suddenly had a project with the Musée d’art contemporain in Montreal where 2,500 people posed. It was important to have a lab that understood my practice and could give me a good price so I could extend that low price point to the museum.”

Examples of Duggal’s artful framing techniques.

Examples of Duggal’s artful framing techniques.

Though printing remains a key component of Duggal Visual Solutions’ business, the company is equally serious about its focus on the latest technologies in mounting and framing. The company works closely with artists to create unique mounts and frames that complement their work and add a level of gravitas. Tunick, for example, uses the company’s custom mounting services when he wants sealed plexiglass mounts, putting the emphasis on a print without any distraction. On the other end of the spectrum, New York City artist Kirsty Reeves prefers a more distinctive approach for framing and mounting her monochromatic, 30 x 30-inch photographic portraits. “Duggal mounted or framed each print in a unique fashion,” Reeves explains. “[From] the unusual combination of a float-mounted print within a shadow-box, to museum-board walls, to frames constructed from hand-finished hardwoods, [each made] specifically for my prints.”In addition to unique framing and mounting techniques, Duggal also accommodates artists who produce large-scale images. Photographer Drew Tal, for instance, enjoys Duggal’s impressive large-scale lightboxes and SEG (silicone edge graphic) frames. This past March, Duggal produced several large-scale lightboxes and SEG frames for Tal’s work to be exhibited at the 2016 Global Shop convention—where the company also garnered the show’s top awards: “Best of Competition” and “Best in Booth Design.”

Of the SEG frames, Tal says: “The results [were] stunning; I found the quality, colors, saturation, sharpness and clarity to be noticeably striking.” In addition, and of equal importance, to this was the reaction Tal received from his audience. “The enthusiastic and favorable reaction of the convention attendees and industry specialists confirmed to me that lightboxes and SEG frames are technologies I should continue to explore for my next gallery or museum exhibitions,” he explains.

An example of Duggal’s acrylic bespoke fabrication.

An example of Duggal’s acrylic bespoke fabrication.

Duggal’s dedication to technology allows artist-innovators to work with a wide variety of cutting-edge tools and techniques in order to precisely express their unique creative visions. With acrylic bespoke fabrication, for example, artists can create dimensional pieces and intricate 3D forms. If neon is on the docket, all a client needs to ask for is Duggal’s flexible laser/fiber optic strands, which bend, curve and wrap objects, simulating neon. And of course, there’s 3D Lenticular printing, which provides a holographic effect, giving a static image movement and depth.As recently as May 2016, Duggal introduced its newest innovation, Vibrachrome—a long-awaited and incredibly exciting solution for any artist who’s dreamt of durable metal printing. Using a heat transfer process via two cutting-edge, dye-sublimation machines, the Vibrachrome process results in a permanent, continuous tone print.

While the company motto—“Vision to Visuals”— is embodied with every new product, the resulting “wow, that’s so cool!” moment from the viewer is the true indication that Duggal’s products and services continue to remain at the forefront of visual technological advancements. As technology advances, so do the expectations of image makers and their audiences, and Duggal Visual Solution’s support of and respect for artists’ forward-thinking visions has turned Duggal’s once small, store-front printing business into the multifunctional, innovative outlet for creativity that it is today.

June 2nd, 2016

Instamuseum Turns Instagram Accounts into Virtual Reality Galleries

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Many photographers carefully curate their Instagram feeds to give visitors a sense of their best work. A new app dubbed Instamuseum lets visitors to your Instagram page see your work in an even more rarified setting: a virtual reality art gallery.

Using Instamuseum, you can type in the user name of any public Instagram account. The app then converts those Instagram images into a 3D rendering of a virtual reality art gallery. Pop on a pair of VR goggles and you can explore a user’s Instagram account as if you were walking the halls of a museum.

The app supports several layout options and can only show up to 90 images at once, depending on your layout selection.

The galleries are viewable using Google Cardboard headsets or the HTC Vibe today with Samsung Galaxy Gear and Oculus support coming soon.

If you don’t have a headset, or don’t want to strap one to your head, you can still render the galleries in a web browser. See below.

Instamuseum for @guillermosainz
by guillermosainz
on Sketchfab

Via: Digital Trends

June 2nd, 2016

Don’t Feed the Photography Trolls

If the Internet has taught us anything, it’s that all-too-often people shed whatever decency they possess in the comments.

For artists and photographers who share their work online, fending off online trolls and haters is a cost of doing business. But those criticisms can sting.

In this video meditation, photographer Sean Tucker offers some advice for fending off trolls and how to distinguish genuine criticism that should be taken to heart from jealousy-fueled bile.

Via YouTube

June 2nd, 2016

Sigma Issues Alert for Several Art Lenses and Canon’s 1D X Mark II

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If you own a Canon 1D X Mark II and plan on using some of Sigma’s Art lenses, read on.

Sigma UK has issued an advisory for three lenses–the 20mm F1.4 DG HSM Art, the 35mm F1.4 DG HSM  Art and the 85mm F1.4 EX DG HSM.

When mounted to a 1D X Mark II and when using center-weighted average metering or evaluative metering those lenses can result in improper exposure.

A firmware update is in the works to correct the issue.