Photo&Cameras

In 1887, a year before George Eastman introduced roll film to the world, Countess Sophia Tolstoy purchased a Kodak large-format camera. Her purpose was to photograph her husband, the famous Russian novelist Leo Tolstoy, for posterity. She quickly mastered the camera, which shot individual 5×7-inch glass-plate negatives, and she began carrying it around with her in a special road basket. This was less than 50 years after the first daguerreotypes had been unveiled in Paris. Though the Kodak box camera would soon shift photography’s paradigm, Sophia’s equipment made taking pictures physically difficult and aesthetically insecure. Yet she was undaunted by that challenge.

Sophia had tried photography once before. Twenty-seven years earlier, at the age of 16, she had dabbled in the medium for a summer. It had been necessary then to use the messy wet-plate collodion process, which required the photographer to hand-coat a sheet of glass with light-sensitive liquid emulsion and expose it in the camera before it was dry. It wasn’t easy to get everything right. Sophia photographed her family and friends that summer, and while none of those pictures survives, it’s clear that something drew her to the medium long before she came up with her documentary mission.

When Sophia took up photography again in 1887, the factory-coated dry plate had come along; though this simplified the technique, she had to learn photography all over again. She developed her glass negatives under a dark attic staircase in the family house, then made contact prints on the terrace outside. After a long exposure to daylight caused the negative’s image to appear as a developed positive on the ‘printing out’ paper it was pressed against, Sophia would fix and wash the prints, then stick them onto a window. They fell off when they were dry.

Though Sophia was dedicated to photographing her husband, she soon became her own most enduring subject. She found a way to express herself directly in her self-portraits, looking inward, not only outward. When she took pictures, she was without her usual concern for the opinions of the scores of strong people in her life. She photographed herself unsentimentally, romantically, playfully, in clothes her husband detested, and in poses and compositions that were experimental and uninhibited for her day. She often included one or more other important people in her life, including husband Leo, in these images of herself.

Self-portraiture was common in painting and other visual arts in those years, but it was rare in photography. The reason was at least partly technical. Remote control was awkward, if not impossible, and having somebody nearby to expose the plate when the moment was right was inconvenient and inhibiting for most photographers.

This was not so for Sophia. She felt at ease with family and friends who were nearby while she was photographing, and she asked any who came along at the right time to make the exposure. She didn’t keep a record of who actually operated the camera for any given picture. It just wasn’t important to her.

Souce: www.popphoto.com

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The outstanding thing to note about Mikkel Aaland's book Photoshop CS3 Raw: Get the Most Out of the Raw Format with Adobe Photoshop, Camera Raw, and Bridge is that is organized very systematically. Instead of being a breathless description of everything you can do with the software, Aaland focuses on why you would do something and how to do it. It's an effort that is fun to read and easy to reference.

Each page in the book has two-thirds of its horizontal space dedicated to screen shots and pictures. Often, menus and tabs are broken out and overlaid on the images to explain procedural instructions. A third of the same page is devoted to text. The text and pictures are lined up really well so that you don't have to endure a lot of flipping back and forth.

Sometimes this layout leaves little space for some detail that would be enlightening. But in keeping with the spirit of the book, Aaland applies the same level of consistency to the amount of information he provides – which focuses on the digital photography instead of digital processing or photography itself.

The first chapter contains a really neat, concise explanation of RAW files. A highlight of this is that Aaland dissects the pros and cons of using RAW files in a very practical way – concluding that both RAW and JPEG have a place in the lives of a professional photographer (and even provides some nifty examples). This really drew me into the book. I also liked Aaland's segue on how to use a color target in a quick and dirty way to level set your camera's color processing.

Chapter two shows you how to use Adobe Downloader to grab pictures from camera to computer. Chapter three shows you to organize them using Adobe Bridge. This chapter also contains a nice explanation of picture metadata and why it is important (for example for checking exposure, which Photoshop doesn't have a tool for). Aaland then shows you  the basic workflow of editing a photoshoot in RAW.

Aaland also quickly runs through the options (space, depth, size, resolution) and tools (navigation, zoom, hand, white balance, color sampler, crop, straighten, retouch, image orientation) in Photoshop for processing RAW files. This is mainly a feature walkthrough, but Aaland does digress occasionally to offer insights (such as using the crop tool to create a panorama).

Later you learn how to distribute tone across a picture. Aaland explains how to interpret the color histogram, pick a suitable color space, map tone and how to adjust clarity, saturation and hue. Each topic covered contains material on why each setting is important. Although it doesn't dig into the details of how Photoshop applies the effects to each picture, there is just enough explanation to make you savvy about using these settings.

My favourite chapter was Chapter 8 on Sharpening, where Aaland starts off with an excellent discussion of how Photoshop sharpens images. (A lot of the textual material here is reused from The Lightroom Adventure book.)

Finally there is a really useful chapter on how to convert RAW files to black and white. Aaland shows the simple conversion process from color to grayscale but then adds a number of useful lessons, among them: how to use the color sliders to darken or lighten certain areas of the grayscale image, how to add special effects like grainy film and cross-processing.

From: feeds.blogcritics.org

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Canon has announced the Powershot SD890 IS (or IXUS 970 IS if you’re in Europe). This confusingly polyonymous digital camera features improved versions of features such as face detection and image stabilization, Canon says. It also features 10 million pixels in a 1/2.3 " (6.2 x 4.6 mm) sensor and an ISO 3200 mode. It also has a 5x zoom (the longest ever on the SD/IXUS series), covering a 37 – 185mm (equiv.) range which would be more impressive if it was a bit wider.

Press release:

Digital IXUS 970 IS: enhanced flexibility with new 5x optical IS zoom

Amstelveen, The Netherlands, 13 March, 2008: Canon today announces a powerful new addition to its Digital IXUS range of stylish compact cameras. The 10 Megapixel Digital IXUS 970 IS features a brand new 5x optical zoom lens – the longest ever zoom in the range – together with an enhanced version of Canon’s lens-shift type optical Image Stabilizer (IS).

The Digital IXUS 970 IS also features Motion Detection Technology, which works in tandem with IS to reduce blur caused by subject motion and camera shake. Face Detection Technology with Face Select & Track and Face Detection White Balance is also included. These features provide accurate, natural-looking people shots in all situations. As with all Digital IXUS models in the first half of 2008, auto focus is enhanced for darker conditions; it is now effective in situations approximately 1-stop darker than was possible in previous models.

A bright, clear 2.5” PureColor LCD II screen and new Multi Control Dial enhance the user experience, offering a greater degree of convenience. Thanks to Canon’s optical expertise, all these improvements have been made without sacrificing the iconic design that has made Digital IXUS the ultimate style camera brand. 

“With its 5x zoom, the Digital IXUS 970 IS brings a new level of performance to Canon’s leading design brand,” said Mogens Jensen, Head of Canon Consumer Imaging, Europe. “Once again Canon is using its optical expertise to deliver powerful compact cameras in effortless style.”

Features:

• Uncompromising Digital IXUS style and build quality

• 10.0 Megapixel image sensor
• 5x optical zoom lens
• Enhanced lens-shift type optical Image Stabilizer (IS) delivering a 4-stop advantage
• High ISO Auto with Motion Detection Technology
• Face Detection Technology now with White Balance and Face Select & Track
• Automatic Red-Eye Correction in shooting and playback
• DIGIC III¹ with Noise Reduction Technology
• 2.5” PureColor LCD II plus optical viewfinder (OVF)
• Enhanced auto focus performs at up to 1-stop darker
• Multi Control Dial
• 18 shooting modes including new Sunset mode and My Colors photo effects
• Extensive movie options including VGA 30fps, Long Play and Time Lapse movie modes
• Optional accessories include Soft Case and High Powered Flash
• Easy printing with PictBridge and quick print order settings in playback mode

New zoom lens
The Digital IXUS 970 IS features a brand new 5x optical Image Stabilizer zoom lens, delivering a greater zoom reach than any previous Digital IXUS. Thanks to a comprehensive redesign by Canon’s optical engineers, the lens has a new four-group configuration incorporating UA (Ultra-high refractive index Aspherical) lens elements. UA elements help to provide the gain in zoom power, and ensure that a compact size and straight optical pathway are maintained, for easy usability and optimum image quality.

Enhanced optical Image Stabilizer
The Digital IXUS 970 IS optimises performance with its enhanced optical
Image Stabilizer (IS). The lens-shift type IS improves on the systems used in previous Digital IXUS models, now delivering a 4-stop advantage, an increase of 1 stop. The extra stop allows photographers to use shutter speeds twice as long when shooting hand held, and obtain blur-free shots. The enhanced IS also reduces the blur caused by camera shake when shooting at the telephoto end of the camera’s 5x optical zoom improves performance in low-light, enabling shots in conditions where no shot would have been possible before. This enhanced low-light capability is aided by improvements to the camera’s auto focus; AF is now capable of achieving focus in conditions of up to approximately 1 stop darker.

A touch of class
Building on the Digital IXUS ‘perpetual curve’ design, the Digital IXUS 970 IS slopes gently back towards the grip. Its two-tone finish gives a precise contrast of matte silver with muted gloss and glossy metallic, for an elegant sheen. The overall effect is one of understated individuality, complementing the camera’s discreet photographic power.

Bye-bye to blur – Motion Detection Technology
Activated in High ISO Auto, Canon’s intelligent Motion Detection Technology works to eliminate motion blur. When camera shake or moving subjects are detected, the system automatically provides an ISO boost between ISO 80-800 – counteracting motion blur to improve action shots and night snaps, without compromising shots where no ISO boost is needed. The technology intelligently combines inputs from Face Detection Technology, the optical Image Stabilizer, changes in scene brightness and changes from frame to frame to identify the subject and detect motion.

Enhanced Face Detection Technology
Equally comprehensive is Canon’s approach to Face Detection Technology. The Digital IXUS 970 IS includes Face Select & Track, which allows you to select a single face from a crowd of up to 35 detected faces. The optimum focus, exposure, flash and – for the first time – white balance will then be set for that face, tracking the subject as they move around the frame.

Canon’s Red-Eye Correction draws on Face Detection Technology to eliminate red-eye from photographs. Whenever a face is detected in a shot, red-eye is checked for. It can either be removed automatically whilst shooting or in playback mode. New AF Point Zoom allows the photographer to magnify the AF frame when the shutter button is pressed half way, so that facial expressions can be checked before shooting.

As well as powering features such as Face Detection Technology, Canon’s DIGIC III image processor enables quick response times and fast buffering speeds.  The processor also incorporates advanced Noise Reduction Technology for excellent image quality at high ISO settings.

Intuitive ergonomics, easy menus
The Digital IXUS 970 IS is made for intuitive use. From the moment the camera is powered up, the 230,000 dot high resolution 2.5” PureColor LCD II screen provides an easy way to frame up shots and navigate the easy-use menu system. PureColor LCD II offers a number of benefits over conventional LCD screens, including improved colour contrast for enhanced visibility, a wide viewing angle for easy shooting and instant image sharing, anti-glare coatings for viewing under bright light and anti-scratch coatings. Additional photo framing options are provided by the camera’s Optical Viewfinder (OVF). The Digital IXUS 970 IS includes a Multi Control Dial for the first time in the range. This wheel enables the user to change camera settings and scene modes quickly, as well as offering intuitive navigation of menus and convenient image browsing in playback.

A host of features enables users to enhance their shooting options. Users can choose from a range of 18 shooting modes, including Special Scene modes that automatically optimise camera settings for common shooting subjects.

The Digital IXUS 970 IS features new Sunset scene mode for the optimum capture of this tricky subject. Movie options include Long Play (LP) mode, which uses only half the memory of standard movies, and Time Lapse movie for the creation of fun and atmospheric accelerated film clips.

Several menu features also let users manipulate their images in-camera, without the need for computer software. The Trimming function offers image trimming to predetermined sizes. This function is integrated with Face Detection Technology – if several faces are detected in frame users can jump between faces to create instant trimmed portraits. The Image Resize function enables users to create smaller image files by reducing the number recording pixels in larger images. The original image can then be deleted in order to save space on the memory card, leaving the new file an ideal size for e-mailing and uploading to the web.

Canon SD890 IS specifications

Price	• $399 (Powershot SD890 IS Digital Elph) • €369 (Digital Ixus 970 IS) • ¥47,800 (Ixy Digital 820 IS)
Sensor	• 1/2.3 " Type CCD • 10.0 million effective pixels
Image sizes	• 3648 x 2736 • 3648 x 2048 • 2816 x 2112 • 2272 x 1704 • 1600 x 1200 • 640 x 480 • 320 x 240
Movie clips	• 640 x 480 (30 fps) • 320 x 240 (30 fps) • 160 x 120 (15 fps)
File formats	• JPEG (Exif 2.2) • AVI (Motion JPEG + WAVE mono) • WAVE (mono)
Lens	• 6.6 – 33.0 mm • 37 – 185 mm (35mm equivalent)
Image stabilization	Yes, lens-shift
Conversion lenses	With optional adapter
Digital zoom	Yes
Focus	TTL 9-point with Face detection
AF area modes	• AiAF (9-point / Face detection) • Single center point • Face detection and track
AF assist lamp	Yes
Focus distance	2 cm in Macro
Metering	• Evaluative (Linked to Face detection AF frame) • Center-weighted • Spot (Center)
ISO sensitivity	• Auto • Hi ISO Auto (Incorporating Motion Detection) • 80 • 100 • 200 • 400 • 800 • 1600
Exposure compensation	+/- 2 EV in 1/3 EV steps
Shuttter speed	• 1/60 – 1/1600 sec (Auto mode) • 15 – 1/1600 sec (Depending on shooting mode)
Aperture	• F3.2 – F5.7
Modes	• Auto • Manual • Digital macro • Color accent • Color swap • Stitch assist • Movie
Scene modes	• Portrait • Night snapshot • Kids and pets • Indoor • Sunset • Foliage • Snow • Beach • Fireworks • Aquarium • ISO 3200
White balance	• Auto (Including Face detect WB) • Daylight • Cloudy • Tungsten • Fluorescent • Fluorescent H • Custom
White balance fine tune	No
Self timer	2 sec, 10 sec, custom
Continuous shooting	1.2 fps until card is full
Image parameters	• Vivid • Neutral • Sepia • Black & white • Positive film • Lighter skin tone • Darker skin tone • Vivid blue • Vivid green • Vivid red • Custom color
Flash	• Auto / On / Off / Slow Sync / Red-eye reduction • 30 cm – 3.5 m (W) • 30 cm – 2.0 m (T)
Viewfinder	Real-image zoom optical viewfinder
LCD monitor	• 2.5 " PureColor LCD II • 230,000 dots • 100% coverage
Connectivity	• Hi-speed USB (MTP, PTP) • A/V output, dedicated connector (PAL/NTSC)
Print compliance	• DPOF V1.1 • PictBridge
Storage	• SD/SDHC/MMC card • 32 MB card supplied
Power	• NB-5L rechargeable Li-ion battery • Charger included
Weight (no batt)	155 g (x oz)
Dimensions	95.4 x 57.2 x 27.4 mm (Ai x Bi x Ci in)

Technologies explained

DIGIC III
Canon’s DIGIC III (DIGital Imaging Core) image processor manages all of the camera’s primary functions to optimize operating efficiency. Advanced image processing algorithms deliver superb image detail and colour reproduction with accurate white balance. High-speed processing results in outstanding responsiveness, rapid auto focus and extended continuous shooting ability.
DIGIC III also powers advanced Noise Reduction Technology and Face Detection Technology.

Face Detection Technology
Canon’s Face Detection AF/AE/FE/WB system automatically detects up to nine faces within a frame before adjusting the focus, exposure, flash and white balance to ensure optimal results. It is able to determine which faces are intended to be the subject, instantly reverting to the partnering 9-point AiAF system if no face is detected as the primary subject. Auto Red-Eye Correction integrates with Face Detection Technology to remove red-eye during shooting or playback.

Motion Detection Technology
Canon’s Motion Detection Technology uses several methods to detect camera and subject movement and set exposure accordingly. The brightness of subject and background, movement of the subject (based on comparison of frames over time) Face Detection information and camera shake information from the optical Image Stabilizer (IS) gyros (where available) are all taken into account. Where motion is detected the camera automatically selects the appropriate ISO level between ISO 80-800 to achieve a shot with minimal noise and blur.

iSAPS
iSAPS (Intelligent Scene Analysis based on Photographic Space) automatically optimises key camera settings before every shot. Each scene is analysed and cross-referenced against Photographic Space – a vast in-camera library of photographic data. This enables the camera to make optimal adjustments to auto exposure, auto focus and auto white balance before image capture occurs.

Enhanced optical Image Stabilizer
The Digital IXUS 970 IS uses a lens shift-type Image Stabilizer (IS) system to detect and correct slight camera shakes that can cause image blur. The IS now delivers a 4 stop advantage for improved performance in low-light conditions, when shooting at the telephoto end of the lens and when vibrations are more severe. The new IS also features increased sensitivity to low frequency vibration, such as the rocking of a boat. Minute vibration gyros detect camera movement caused by hand.

Digital Tele-Converter and Safety Zoom
Similar to placing an accessory lens on the front of the camera, Canon’s Digital Tele-Converter adds a constant zoom to every shot – 1.4x or 2.3x depending on the image size selected. While optical converter lenses cause a reduction in aperture and consequently require a slower shutter speed, the Digital Tele-Converter maintains aperture size, reducing the risk of image blur.
Safety Zoom protects the image from interpolation at high levels of digital zoom, allowing users to extend zoom magnification without sacrificing image quality.

By: www.dpreview.com

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Sony CyberShot DSC-W200 underwater review : I am in Dahab, Egypt and I am taking the Sony DSC-W200 to the seaside in an exclusive manner: on a camel. The diving spots near Ras Abu Galum are only accessible by camel from Dahab. The trip will take approximately an hour and a half. This is a good opportunity to try the Sony W200 camera on land before taking it underwater.

Sony W200 – Camel trip
To be honest, I find myself really stupid to agree with the guide on going to Ras Abu Galum. The diving areas closer to Dahab are spectacular enough and we would be able to go to them in a comfortable jeep. Why on earth would I go on a camel trip? I don’t even dare to sit on a donkey, let alone on a camel.

Diving spot Blue Hole
We meet the camels at a famous diving spot; the Blue Hole. That’s also the spot where the road ends and if you want to continue…. The camels are still having their meal as we arrive and they react somewhat irritated when I get closer to take pictures of them. They pull ugly faces at me, so I give up and retreat.

Sony CyberShot W200 Diving gear
When they finish their meal, the diving gear is loaded onto them. And thankfully the camels are laying down so we don’t have to lift the diving gear to a great height. Some camels get to carry four aqualungs and other camels receive two bags and the remaining diving equipment. This way you need as many camels as divers and it is possible to dive twice. Next, it is my turn to ascend a camel.

Text and Photography by Karin Brussaard  

Source: www.letsgodigital.org

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The new Kubota Formula Book reveals some of pro photographer Kevin Kubota’s secrets for creating stunning images. This compact book features tips such as camera settings, special equipment used and creative capture ideas. The Kubota Formula Book includes over 40 before and after images plus a DVD with video tutorials on the Photoshop techniques and Kubota Actions used on each image. The Formula Book retails for $125.

Kubota Image Tools Press Release

Kubota Image Tools Announces Expandable New Kubota Formula Book

Step-by-step instructions on how to get amazing images using Kubota Image Tools’ Actions is now available

Las Vegas, NV – WPPI Booth #723 (March 13, 2008) – Kevin Kubota, Idea Man at Kubota Image Tools, has finally created for professional photographers the new Kubota Formula Book available starting March 17, 2008 at the WPPI Show. This new book reveals some of Kevin’s secrets for creating stunning images and features tips such as camera settings, special equipment used and creative capture ideas. Then, it takes users step-by-step through the Photoshop® techniques and the Kubota Actions used to enhance the image for final presentation.

A welcome addition to a photographer’s gadget bag whether on location on a shoot or back in the studio during post-processing, this compact book includes over 40 before and after images plus a DVD with video tutorials on the Photoshop techniques and Kubota Actions used on each image.

“Photographers from all over the world have been asking me to create a Formula Book like this for years,” says Kevin Kubota. “The Kubota Formula Book is designed to grow as we create new techniques and new Actions. When available, users will have the option to purchase �Add-On Packs’ and add them to their book. We hope this will become an invaluable tool for getting creative juices flowing and will result in photographers’ creating their own award-winning images.”

Since the book is not bound, rather pages are kept together via innovative Circa metal discs, additional pages can be added whenever there are new Kubota Image Tools materials available.

The Formula Book retails for $125 and can be purchased starting at the WPPI trade show on March 17th or through the Kubota Image Tools website at: http://www.KubotaImageTools.com.

About Kubota Image Tools
Kubota Image Tools grew from the digital experience of Kevin Kubota who began pioneering the field of completely digital wedding photography in the 1990s. As one of the first photographers to master digital imaging, Kevin became inspired to share his experience and natural teaching ability with other photographers by founding the original Digital Photography Bootcampв„ў which consistently sells out. He has successfully trained thousands of photographers to make the digital transition and continuously empowers existing digital photographers with new, effective workflow ideas and outstanding PhotoshopВ® techniques.

Kevin Kubota was recently named one of the “Top 10 Wedding Photographers in the World” by American Photo Magazine. His wedding, portrait and commercial photography website is http://www.KubotaPhotoDesign.com. 

Via: feeds.feedburner.com

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“Pink Cadillac being used as a wedding car. Clearly the groom loves the bride more than the pink Cadillac! Some lyrics here“. Taken by Arvind Devalia

Source: planetearthdailyphoto.blogspot.com

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Continuing in the trend of packing more and more resolution into pocketable point-and-shoot cameras, Sony broke news Monday of its new Cyber-Shot W300, a slim new digital camera that takes 13.6-megapixel shots.

Like many cameras in Sony’s Cyber-Shot line, the W300 gets a Carl Zeiss Vario-Tessar lens, which offers 3x zoom and benefits from Sony’s Super SteadyShot optical image stabilization. It also sports a titanium covering to resist scratches and fingerprints, and manages to fit both a 2.7-inch LCD and viewfinder on its back panel.

Besides offering ultra-high resolution, the W300 also includes an “extra high sensitivity mode” that boosts camera speed to ISO 6400, which Sony says cuts down on blur in low-light situations. A new high-speed burst mode also allows it to capture strings of photos at five frames per second, albeit at a lower 3-megapixel resolution. Three different noise reduction settings also allow users to balance noise versus resolution, and there’s even an automatic “Smile Shutter” option to allow the camera to automatically snap a photo when a subject smiles.

Sony will roll the W300 out into retail stores in May, with a price tag of about $350.

By: news.digitaltrends.com

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Click photo to see more images of the Olympus E-420.

Olympus has added an extremely compact new model to its line of Four-Thirds format digital SLRs. The 10-megapixel E-420 weighs just 13.4 ounces and combines manual controls with many of the automatic functions that snapshot photographers are accustomed to finding in a point-and-shoot. It’s equipped with a 230,000-dot, 2.7-inch live-view LCD with a 176-degree viewing angle; a pentamirror optical viewfinder that shows 95 percent of the image frame at 0.92x magnification; and a built-in dust-reduction system. The LCD’s live viewing system allows the autofocus system to function seamlessly while the screen is being used as a viewfinder, and Olympus claims the HyperCrystal II LCD delivers twice the contrast of the previous generation of HyperCrystal screens, as well as a broader color gamut. That should allow it to show more detail and offer better visibility in difficult lighting conditions. The E-420 has dual CompactFlash and xD-Picture Card slots, with the ability to transfer image files from one card to the other in-camera.

The E-420 offers a top ISO setting of 1600 and a shutter speed range of 1/4000 to 60 seconds, plus Bulb mode. Among its notable automatic features are 18 scene modes, face-detection, Olympus’s Shadow Detection function for opening up shadow areas and preserving details in high-contrast shots, and Perfect Shot Preview, which displays a preview of the effects of setting changes on the LCD.

Controls that will appeal to more advanced photographers include a 2 percent spot meter, tracking autofocus, a Super FP mode for flash sync at speeds up to 1/4000 second, and white-balance compensation. Olympus says it has improved this camera’s white balance system over its predecessor the E-410. Another enhancement is its faster drive mode, which is rated to shoot at 3.5fps for both JPEGs and RAW files (although there’s an 8-shot burst limit for RAW files). A nice touch is the inclusion of Highlight and Shadow spot metering modes that are designed to favor whiter whites and blacker blacks, respectively. There are also numerous color and effects modes to select from, including monotone filter effects.

Olympus has also added a commander function to the E-420 for wirelessly controlling up to three remote flash unit groups. It is compatible with the Olympus FL-50R and FL-36R wireless electronic flashes.

The E-420 will be available in May 2008 for $499.99 (body only). It will also be sold in a $599.99 kit with Olympus’s ED 14-42mm f3.5/5.6 Zuiko Digital lens, and in a $699.99 kit with the new ED 25mm f2.8 Zuiko Digital. Olympus does not plan on making a vertical grip for the E-420.

Also check out our Hands On Preview of the Olympus E-420 by Senior Editor Dan Richards.

Souce: feeds.feedburner.com

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PhotoReview have just reviewed the Sony A350, a new 14.2 megapixel DSLR camera with a variable angle LCD screen.

“Sony’s A350 DSLR has something to offer to both digicam upgraders who are looking to buy a more sophisticated camera and photo enthusiasts who want a high-resolution camera with all the latest shooting controls. It’s a definite step up from the A200 model in both features and performance and represents very good value for money. However, for enthusiasts who want to get the best from this camera, we’d recommend buying the body alone and pairing it with a more sophisticated lens.”

Website: PhotoReview – Sony A350 Review

Via: feeds.feedburner.com

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An MP has urged the Home Secretary to issue a response following a spate of clashes between police and photographers taking pictures in public places.

Photography enthusiast John Kelly has received a letter from Michael Jack, Conservative MP for Fylde in Lancashire, explaining that he has written to Home Secretary Jacqui Smith about the matter.

In his letter to Kelly, dated 28 February, Jack writes: ‘I have no doubt the minister responsible for the Police will reply.’

Last month Kelly said he was left humiliated and feeling like a criminal after a police community support officer (PCSO) ordered him to delete his pictures В– telling him he first needed permission before taking photographs of people in public.

The incident took place in Blackpool, Lancashire on 8 February.

The officer denied she had asked him to delete all his pictures, but admitted asking him to delete one after he ’sneaked up’ behind her.

She accused Kelly of becoming ‘evasive’ when asked to produce identification showing him to be a photographer.

Kelly, however, said he was carrying an ID card showing the college photography course he is taking.

Incensed by the drama, the photographer wrote to his local MP alerting him to what he feels was unfair treatment by police.

Kelly subsequently emailed him, drawing attention to a spate of similar cases which have been reported on the magazine website.

Souce: www.amateurphotographer.co.uk

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