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Equipment

Lee bundles 100mm holder with popular filters into new Deluxe kit

DPReview.com - Latest News - Tue, 04/18/2017 - 7:49pm

Filter manufacturer Lee has announced a new Deluxe Filter kit that includes the five 100mm sized filters the company thinks most essential along with a twin-slot holder and an accessory ring for 105mm screw-in filters. The filters that make up the kit are the round Landscape Polariser that screws into the accessory ring, a 100mm Big Stopper 10x neutral density filter, two and four-stop ND medium grads and a three-stop hard grad.

The kit is obviously aimed at landscape photographers and the system is big enough to allow lenses as wide as 16mm on full frame cameras without vignetting according to Lee, even with two square filters in the slots and a round polariser in the accessory ring.

The Deluxe kit costs £605.58/$900 but users will need to purchase adapter rings to fit the system on individual lenses. Lee says the kit price represents a significant saving on buying the components separately. For more information see the Lee Filters website.

Press release

LEE Filters introduces the 100mm Deluxe filter kit

Filters are more popular than ever, and their benefits in terms of getting the image right in-camera are widely recognised. However, it can be difficult to know where to start when choosing the right ones. LEE Filters has taken the guesswork out of the process with the introduction of the 100mm Deluxe filter kit. Containing no fewer than five filters, as well as a Filter Holder that comes ready assembled with two slots and a 105mm Accessory Ring attached, it couldn’t be simpler to get started with the 100mm system.

The 100mm Deluxe kit contains:

• A Filter Holder that allows the photographer to use two drop-in filters as well as a polariser, which screws onto the 105mm Accessory Ring.

• A Landscape Polariser, which not only polarises the scene, but also adds a subtle warm tone to the image. It can be used as wide as 16/17mm on a full-frame camera without vignetting, even with two further filters in the holder.

• The hugely popular Big Stopper, which reduces the exposure by ten stops, allowing the photographer to use wider apertures in bright conditions, or to slow down shutter speeds so that seas and skies take on those classic long-exposure qualities.

• A 1.2 (four stop) neutral-density medium graduated filter, which is ideal for shooting directly into the sun at the beginning and end of the day. At these times, there’s a big disparity between the exposure values of the sky and the foreground, and the 1.2 ND grad ensures the sensor records detail in both.

• A 0.9 (three stop) neutral-density hard graduated filter, which is renowned for its versatility and is indispensible to landscape photographers.

• A 0.6 (two stop) neutral-density medium graduated filter. New to the LEE Filters ND grad line-up, the medium grad is the perfect all-round filter and is already a firm favourite with many professional photographers.

The 100mm Deluxe filter kit retails at £605.58 (including VAT) – a saving of more than £80 on the individual cost of each filter and the holder.

Please note that the kit does not include an adaptor ring, which should be purchased separately.

For further information, contact LEE Filters on 01264 366245; sales@leefilters.com; www.leefilters.com

Categories: Equipment

Canon wants to get you ready for this year's total solar eclipse

DPReview.com - Latest News - Tue, 04/18/2017 - 4:10pm

Photographers throughout the U.S. will get a rare treat this upcoming August 21: a total solar eclipse visible throughout a significant part of the country, the first of its kind to affect the nation from coast-to-coast since 1918. Ahead of the celestial event comes a new blog from Canon titled 'A Total Guide to Totality.' In it, photographers will find a library of articles detailing how to prepare for and photograph the solar eclipse.

As explained by Space.com recently, the upcoming solar eclipse will be visible to the general American public across a region spanning from the coast of Oregon to the coast of South Carolina. Canon details this and more in one of its new educational articles, as well as providing info on choosing the right lenses and the right cameras to photograph the event. 

Overall, the blog is no doubt slanted toward Canon's own array of products, but the information is applicable to all photographers regardless of which brand they use. The articles on the blog are co-authored by photographer Dave Henry and Canon Explorer of Light Ken Sklute. In addition to the blog, Canon is planning to offer eclipse photography workshops in July, though full details aren't available at this time.

Via: Canon

Categories: Equipment

Lomography launches Simple Use Film Camera

DPReview.com - Latest News - Tue, 04/18/2017 - 11:54am

If you thought the market for single-use cameras was dead, think again. Lomography today launched its Simple Use Film Camera that comes in three variations: color negative film, black & white film or the Lomography-exclusive color-shifting film LomoChrome Purple.

The cameras come with a built-in flash and Lomography says they are perfect for parties, road trips, weddings and similar occasions. Three different color gel flash filters let you tint your color or LomoChrome Purple shots and if you are feeling adventurous you can even try replacing the pre-loaded film when the roll is finished. Lomography says the camera is designed for single-use only and film replacement can be tricky, but still gives detailed replacement instructions on its website

The film sensitivity is ISO 400 for all three types and finished rolls can be developed in any lab. The camera is powered by an AA battery, and shutter speed and aperture are both fixed at 1/120s and F9 respectively. A three camera bundle is available to order on the Lomography website now for $52.92. You can also buy individually, in which case the color and black & white cameras will set you back $16.30 each, the LomoChrome Purple is $21.90. 

Categories: Equipment

Canon EOS 77D Review

DPReview.com - Latest News - Tue, 04/18/2017 - 10:03am

Introduction

The Canon EOS 77D (9000D in Japan) is a lightweight 24MP APS-C DSLR that offers impressive Dual Pixel Autofocus, good external controls and WiFi and Bluetooth connectivity. It slots between the Rebel T7i and EOS 80D, and can be thought of as the successor to the Rebel T6s; if the name doesn't make that obvious, the specifications and feature additions over its lower-end Rebel sibling should.

Key specifications

  • 24MP sensor with Dual Pixel autofocus
  • 45-point all-cross-type phase-detect autofocus system
  • Digic 7 processor
  • 3" fully-articulating touchscreen LCD
  • Top plate LCD for shooting information
  • Dual control dials
  • 6fps continuous shooting
  • 1080/60p video capture with microphone input

So is the EOS 77D more than a fancy Rebel in disguise? Well, not really. The only meaningful differentiators between this model and the Rebel T7i it was announced alongside are the dual control dials, top plate LCD and the addition of an AF ON button. Less meaningful differentiators include an extra eight grams of heft and some general button shuffling. And that's it. In other words, the same relationship was shared by the Rebel T6s and T6i.

All that said, we have to concede the name '77D' sounds a lot more serious than either the well-worn Rebel or XX0D monikers, and after all, this is a fairly well-rounded camera. It borrows an awful lot from its up-market EOS 80D cousin, and yet, comes in at a pretty steep discount. Let's see how they compare in detail.

Among the many things the EOS 77D inherits from the 80D is its 24MP sensor, which is a huge improvement over the sensors in previous 's' Rebels.
Processed to taste in Adobe Camera Raw. ISO 100 | 1/640 sec | F8
Photo by Carey Rose

Spec comparison

  Rebel T7i/800D EOS 77D EOS 80D
MSRP (body only) $749  $899 $1199
Sensor 24.2MP APS-C CMOS
Processor Digic 7 Digic 6
ISO range ISO 100-25600
(expands to 51200)
ISO 100-12800
(expands to 25600)
AF system  Dual Pixel + 45-pt all-cross-type
Shutter speed 30 - 1/4000 sec 30 - 1/8000 sec 
X-sync 1/200 sec 1/250 sec
LCD size/type 3" fully-articulating touchscreen (1.04M-dot) 
Viewfinder mag/coverage 0.82x / 95% 0.95x / 100%
('Intelligent')
Control dials One Two
AF ON button No Yes
Top plate LCD No Yes
Max Continuous 6 fps  7 fps
Video 1920 x 1080 @ 60p/30p/24p
Headphone jack No Yes
Bluetooth Yes No
Battery life (CIPA) 600 shots 960 shots
Battery grip No Optional
Weather-sealing No Yes
Dimensions 131 x 100 x 76mm 131 x 100 x 76mm 139 x 105 x 79mm
Weight (CIPA) 532 g  540 g 730 g

The EOS 77D then will broadly appeal to the same sort of consumer as the T6s/760D; namely, the photographer with enough experience to want a more hands-on approach and who must have an optical viewfinder of some sort. All of the not-insignificant advancements in the EOS 77D and the Rebel T7i make them compelling upgrade choices for users of previous Rebel (and even some X0D) cameras.

Edited to taste in Adobe Camera Raw. ISO 640 | 1/500 sec | F5.6
Photo by Jeff Keller

If you can forego an optical viewfinder, one could easily make an argument for the Fujifilm X-T20 or Sony's a6300, both of which offer 4K video and much faster burst shooting in smaller packages (though the a6300 lacks the level of direct control the 77D offers), and there's also the new Canon EOS M6, which shares an awful lot with the 77D under its skin. 

But with the addition of Dual Pixel AF, Live View shooting on the EOS 77D is arguably just as robust (if not more so, in some situations) than either the Fujifilm or Sony mirrorless options. And that gets to the heart of what really makes the EOS 77D so appealing; it may not offer the best of both the DSLR and mirrorless worlds, but it does offer a compelling balance at this price point.

So does the EOS 77D have what it takes to be your next camera? Let's find out.

Categories: Equipment

Sony interview: 'Our focus is to increase the overall market'

DPReview.com - Latest News - Tue, 04/18/2017 - 7:00am

On a recent trip to Thailand to visit Sony's Chonburi factory, where all Sony ILC cameras and lenses are assembled, our tech editor Rishi Sanyal had the honor of sitting down with Kenji Tanaka, who is head of interchangeable lens cameras globally. Also joining the discussion was Daisuke Goh, product manager at Sony, and Matt Parnell, senior marketing communications manager at Sony.

Kenji Tanaka, Senior General Manager, Business Unit 1, Digital Imaging Group, Imaging Products and Solutions Sector. Photo: Rishi Sanyal

We discussed a number of topics, ranging from Sony's intent to stimulate the market overall as opposed to segmenting it or supplanting any one manufacturer, to future sensor developments we can expect, to the role of computational photography and the internet in future cameras. It was an impressively open and honest discussion, and we thank everyone involved for the opportunity.

Please note that this interview has been edited for clarity and flow.

Thank you so much for this opportunity, Tanaka-san. Your recent market share data is quite impressive. What do you see as your widest user base, and what is your biggest target group?

Kenji Tanaka: Our biggest focus is to increase the [existing] market, not to segment it. The overall market is decreasing, and it's been a challenge to increase the market, overall. We believe we can do so by targeting professionals and enthusiasts.

'Our biggest focus is to increase the market, not segment it.'

Amongst professionals and enthusiasts, who do you feel you still need to attract to your products?

KT: There are many types of professionals. Our target for the a7R II are landscape and portrait shooters. The a7S II has been adopted by many professional videographers. Right now we are already reaching these professionals successfully. But as of last year (2016), our products have gained significant capability in terms of speed. Therefore, we would like to target sports shooters and photojournalists by continually improving the speed, performance and usability of our products.

What about wedding and events shooters?

KT: Yes, these professionals have been adopting our products as well, and they've particularly appreciated Eye AF and the resolution of our products. However, they require more durability. We are actively working to address their needs.

Matt Parnell: In particular, one piece of feedback we frequently get from all of our wedding photographers is that the low light performance of our products has changed the way they can shoot events.

KT: And wedding videographers particularly in Asian countries have invested in our products.

Technologies like Eye AF depend upon close integration between the imaging sensor, processing pipeline and AF algorithms programmed into the camera. Sony's close integration between the image sensor and camera divisions allow for quick iteration on such technologies. As photographers, we win: the compositional freedom Eye AF-C affords me for (unpredictable) newborn photography is unparalleled. Even with the pocketable RX100 V. Photo: Rishi Sanyal

Which camera do your users gravitate toward in particular for autofocus capability?

KT: Professionals largely use the a7R II for autofocus ability. a7S II for video.

The form factor of an a7S II and FS7 are very different. Do you see a convergence of these products and, if not, how will you target these user bases separately?

MP: We see many professionals and documentarians that use both the FS7 and a7S II to complement one another. A and B cameras, for example.

Daisuke Goh: But they are very different in terms of ergonomics and features, with Raw recording and high-frame rate being core technologies of the FS7. Those who need these gradually step up to the FS7, often from the a7S II.

You've stated your intention to re-stimulate this declining market via innovation. How do you think your competitors should do the same?

KT: I can't comment on other companies, but I can explain our position. The most important thing is the image sensor. As you know well, every camera function is related to the image sensor. For example, the AF sensor and exposure sensor are all based off the image sensor. So the image sensor is key, and we develop it in-house. This means we can customize our future products with more intention [by having our camera and sensor development teams working together]. This is a differentiator compared to our competitors.

'Every camera function is related to the image sensor... [which] we develop in-house. This means we can customize our future products with more intention.'

Speaking of sensors, are you interested in lowering ISO sensitivities? Particularly by increasing full-well capacities of pixels to increase dynamic range and achievable signal:noise ratios (a la Nikon D810)? I think many landscape and current medium format shooters would be interested in this.

KT: Both high and low ISO sensitivities are important. In case of low sensitivities, we are working on increasing saturation capacities, or well depth, of pixels. In case of high sensitivities, pixel size matters.

The future is certainly bright for Sony, and photography in general. One thing I'd love to see is extended (lower) base ISO dynamic range via higher saturation capacities of pixels, a la the Nikon D810 at ISO 64. While this a7R II certainly did the job perfectly well capturing this high dynamic range scene on my recent trip to Iceland, a lower base ISO that would have allowed me to give the sensor even more exposure before clipping the highlights to the left, yielding an even cleaner image. Technically speaking, an image with higher overall signal:noise ratio - the reason people love medium format images. It's great to hear that Sony's sensor division is fully aware of this need for lower, not just higher, sensitivities. Photo: Rishi Sanyal

But your a7R II, which has very similar low light stills performance to the a7S II, suggests otherwise. Could you elaborate?

KT: Think about 8K video. To get that sort of resolution on a sensor, you need larger sensors, otherwise pixel sizes are too small. To get 8K from a micro four thirds sensor, for example, the sizes of the pixels have to be very small, around 2.3 microns. I think larger sensors are important to maintain image quality as we go to higher resolution video and stills.

Right, it's more sensor size that is key.

KT: Yes, this is why we choose to concentrate on full-frame.

Is 8K video something you're already working on?

KT: We can't comment on future product plans; however, we can confirm that we are paying close attention to all trends in the video marketplace, including 8K.

And you already have products that are sampling 6K: the a6500 oversamples its 4K footage by 2.4-fold yielding extremely crisp footage. Meanwhile we have some professional videographers intent on using high-end pro- 6K and 8K products to get oversampled 4K; yet you offer it in a consumer product. I find that interesting.

KT: Yes, we already have 6K sampling.

Are you also focusing on global shutter?

KT: Yes, that is one technique to remove rolling shutter artifacts. However, there are other choices to remove this artifact, like a mechanical shutter.

Increasingly we're seeing computational approaches to get better imaging performance from limited hardware.1 When do you feel computational technologies attempting to simulate the effects of larger sensors and optics will truly challenge more traditional approaches?

KT: These approaches work in some occasions, but it's hard to realize for all scenarios. And a lot of the computational products I've seen so far need very large, fixed F-number primes [Editor's note: presumably to compensate for smaller sensor sizes].

Are you trying to build in any computational approaches into your current cameras today?

KT: No. But speaking of light field, of course we are studying it. But not at a production level.

Do you think that as megapixel counts get higher and higher, it would make sense to devote some of those pixels to light field?

KT: There's currently too much of a resolution cost. You need to devote at least a 5x5 pixel array just for one output pixel.

Do you benchmark against competitor products when developing your own products?

KT: Of course. We benchmark against the best product for any use-case. We learn from other companies. We must, because we are still beginners. The challengers.

Daisuke Goh, Manager, Product Planning & Business Management, Digital Imaging. Goh-san was product planner on the a7R II, and is pictured here looking out upon the Gulf of Thailand at moonrise during a recent trip to Sony's Chonburi factory. To say the least, talking directly to these brilliant engineers was a unique opportunity to relay our, and our readers', feedback for future iterations of Sony products. Photo: Rishi Sanyal

The convenience of the smartphone is a challenge to cameras. I'll often see friends pick up their smartphone2 instead of the ILC sitting in front of them to snap a photo of their child. What is Sony doing to help the parent, the hobbyist get assets off the camera and into a library accessible from all devices?

KT: We have apps like PlayMemories to make things easier for smartphone users. In the future, we cannot avoid making this process even easier via better integration with internet/cloud services. This is a big topic of discussion and something we are investing in. One issue with direct communication from camera to internet services is that regulation, not technical, issues make this difficult. Everyone already has a smartphone, so we want to use the smartphone.

One thing Sony can't be blamed for is a lack of caring when it comes to quality. From Betamax to Blu-Ray to LCOS displays, how do you maintain a culture of insistence on quality and innovation across such a large company?

KT: For me, Sony's founders are incredibly important. They are no longer alive, but the founders' spirits and will are alive and well.

DG: Have you had a chance to read the founders' spirits? It's written. It basically says: 'Always have a playful mind, and do something that others don't do.' This is basically in our blood.

'Always have a playful mind, and do something that others don't do.' This is basically in our blood.

That's a great philosophy. Thank you for your time!

KT, DG, MP: Thank you!

Editor's Note:

We nab every opportunity we can get to sit down with engineers at camera companies, and are particularly honored when we get a chance to speak with executives like Tanaka-san, who is head of Interchangeable lens (ILC) products globally, and Daisuke Goh, who was product planner on arguably one of the most exciting cameras we’ve seen in recent times: the a7R II.

Recent data over a two month span show Sony to have pulled ahead from #3 to #2 in full-frame ILC market share, based on revenue. Sony stresses this was no easy task, in particular given the shortages it recently experienced in delivering one of its most popular – and most revenue-generating thanks to its price – products due to the earthquake: the a7R II. It was interesting to hear Sony’s response to this (for them) exciting news: Tanaka-san stressed that the overall goal of Sony Digital Imaging products is to grow the (now declining) market, not segment it or pull ahead at the cost of its competitors. Sony believes it can do so through innovation, which should spur the expansion of the hobbyist segment. By offering imaging experiences and quality far above and beyond what is capable with smartphones, Sony hopes to rekindle interest in cameras and dedicated imaging products.

Given their focus on quality, it’s not surprising that Sony is pouring so much effort into their full frame products. It was only a little over 3 years ago that Sony launched the world’s first full frame mirrorless system, just a short year after launching the world's first full frame camcorder (NEX-VG900). Since then, Sony has seen a remarkable adoption rate: they claim they are #1 in 4K camcorder sales, and hold over 80% of the mirrorless market share in North America. The largest adoption of full frame products has been in China and the US, and Sony’s projections estimate an additional growth of 30% in the full frame market. While some may argue that is optimistic, Sony cites the general market increase with the release of the Alpha 7R II, showing that innovation drives growth.

And Sony is particularly innovating in the image sensor sector, where they claim they are investing more than most. It’s interesting to note that the smartphone industry – the very one threatening dedicated imaging products – itself helps Sony, since Sony is a major supplier of smartphone camera sensors. So when it comes to image sensors, Sony’s return on investment is multi-fold: technologies like 3-layer stacked CMOS for smartphone cameras that allow 4x faster readout speeds than conventional chips for minimal rolling shutter and 1000 fps video capture will not only make our smartphones better, but will also trickle into ILC products and allow Sony to re-invest resulting earnings in even more exciting sensor technologies. It's not just Sony that benefits from this - like smartphone manufacturers, other camera manufacturers also benefit from Sony sensor advances. What Sony has to offer though, as stressed by Tanaka-san, is the ability to work closely with the sensor team to develop better products and features around the strengths of those sensor developments. Autofocus and subject recognition improvements, for example.


Technologies like incredibly intelligent AF in 4K video with no hunting, or 24 fps Raw stills capture to nail the decisive moment (shown above), not only help professionals and enthusiasts, but arguably kindle the inner spark of us all to capture the memorable moments of our lives. Sony believes that focusing on innovation will bring more people back into photography and videography.

Sony’s approach certainly appears sound: exciting technologies offering new imaging experiences spark the curiosity of not only enthusiasts and hobbyists, but professionals looking to differentiate their work as well. And many others as well: documenting the fleeting moments of our lives is arguably a very human interest. Devices that allow us to do so more easily, more readily, and in higher quality are certain to appeal even to the amateur mother or father capturing the irreplaceable moments of their little ones’ lives. With the iteration we’ve seen in Sony ILCs and premium compacts in just the last 3 years, it’s no surprise that Sony aims to be the #1 premium imaging company. And we will all benefit from its relentless drive.

Footnotes:

1Lytro for example. More recent approaches include the Light L16, which combines lenses of multiple focal lengths to achieve high-res imagery and a large zoom range. The Google Pixel smartphone uses multi-imaging techniques to get impressive image quality out of a small sensor. iPhone 7 uses two lenses to create a depth map to simulate shallow depth-of-field. Computational approaches of recent are seriously challenging traditional cameras for general users that aren't too too attentive to the outcome.

2Largely because of the ease of backup, curation, and sharing to services like Google/Apple Photos and Facebook.

Categories: Equipment

Fujifilm GF 120mm F4 Macro sample gallery

DPReview.com - Latest News - Tue, 04/18/2017 - 6:00am

The Fujifilm GF 120mm F4 Macro R LM OIS WR is one of three lenses currently available for the company’s medium format camera system (See our Fujifilm GFX 50S review). Stabilized and weather-sealed, it is intended for a wide range of uses including close-up work, portraiture or simply as a short tele for walking around. It offers a 95mm equiv. field-of-view and features a maximum magnification of 1:2.

Categories: Equipment

Adata launches V90 SDXC cards in 64, 128 and 256GB capacities

DPReview.com - Latest News - Tue, 04/18/2017 - 3:00am

Adata has become one of the first companies to support the V90 video speed class with its Premier ONE series of SD cards that guarantee 90MB/s sustained read and write: the key specification for stable video capture.

Fast UHS-II cards already exist, promising around 290MB/s peak write speed, but these are often rated as U3 speed, meaning they don't guarantee to be able to reliably write for extended periods at anything over 30MB/s. This means you're taking a risk if you try to shoot with a camera that writes any faster than this (240 megabits per second).

The V90 speed class, announced in 2016, promises three times that performance, allowing up to 720MBps capture. The latest cards are also some of the first to rely on 3D NAND technology, one of the approaches that will be needed to allow cards to get larger and faster.

Pricing was not available at time of publication.

Categories: Equipment

Andy Warhol estate preemptively sues photographer over infringement claims

DPReview.com - Latest News - Mon, 04/17/2017 - 2:52pm

Photographer Lynn Goldsmith has been sued by The Andy Warhol Foundation following her alleged claims that the artist infringed upon a photo she took of musician Prince in 1981. The lawsuit appears to be a preemptive strike against Goldsmith; it argues that Warhol merely 'drew inspiration' from the photo to create an entirely new -- and therefore infringement-free -- image.

At the heart of the issue is a 1981 publicity photo of Prince taken by Goldsmith, who has allegedly raised issues with the artist's estate over claims that Warhol's 'The Prince Series' artwork infringes her copyright. The lawsuit seeks to establish that the artist's work (made in 1984) is a new creation, thereby preventing any future potential lawsuits brought by the photographer against Warhol's estate.

The lawsuit highlights elements of Warhol's work that deviate from Goldsmith's photograph, including, 'substantially heavier makeup' around the eyes, as well as a different angle of the head. According to The Wrap, Warhol's estate is seeking a declaratory judgement stating both that the statute of limitations has run out on any possible infringement claims by Goldsmith, and likewise that the artist's work does not violate the photographer's copyright. 

Via: The Wrap, US District Court via Scribd
Homepage photo By Jack Mitchell, CC BY-SA 4.0-3.0-2.5-2.0-1.0

Categories: Equipment

Lensrentals blog looks at off-camera recorders

DPReview.com - Latest News - Mon, 04/17/2017 - 2:39pm
Lensrentals looks at digital off-camera video recorders.

Most still cameras today are capable of shooting HD, and often 4K, video. Unfortunately, video quality is frequently limited by factors such as codecs, bit rates, or write speeds to memory cards, and often doesn’t reflect what the camera and sensor are capable of capturing when unshackled from such limitations. 

To work around this, many videographers use digital off-camera recorders that leverage a camera’s ability to output higher quality video to an external source via the HDMI port. Joshua Richardson over at Lensrentals has published a helpful article about digital recorders and why you may want to consider using one, and calls out some common models worth considering.

We’re working on on some in-depth articles about some of these recorders to bring you even more detail. Stay tuned!

Categories: Equipment

Andy Warhol estate preemptively sues photographer in over infringement claims

DPReview.com - Latest News - Mon, 04/17/2017 - 2:35pm

Photographer Lynn Goldsmith has been sued by The Andy Warhol Foundation following her alleged claims that the artist infringed upon a photo she took of musician Prince in 1981. The lawsuit appears to be a preemptive strike against Goldsmith; it argues that Warhol merely 'drew inspiration' from the photo to create an entirely new -- and therefore infringement-free -- image.

At the heart of the issue is a 1981 publicity photo of Prince taken by Goldsmith, who has allegedly raised issues with the artist's estate over claims that Warhol's 'The Prince Series' artwork infringes her copyright. The lawsuit seeks to establish that the artist's work (made in 1984) is a new creation, thereby preventing any future potential lawsuits brought by the photographer against Warhol's estate.

The lawsuit highlights elements of Warhol's work that deviate from Goldsmith's photograph, including, 'substantially heavier makeup' around the eyes, as well as a different angle of the head. According to The Wrap, Warhol's estate is seeking a declaratory judgement stating both that the statute of limitations has run out on any possible infringement claims by Goldsmith, and likewise that the artist's work does not violate the photographer's copyright. 

Via: The Wrap, US District Court via Scribd
Homepage photo By Jack Mitchell, CC BY-SA 4.0-3.0-2.5-2.0-1.0

Categories: Equipment

Alpine Labs' Spark 3-in-1 camera trigger seeks funding on Kickstarter

DPReview.com - Latest News - Mon, 04/17/2017 - 2:12pm

Alpine Labs, the company behind the Pulse camera remote, is back on Kickstarter with a more powerful and versatile triggering device. The Spark camera remote allows for triggering your camera in three ways: you can either use it as an infrared wireless remote, control, plug it into your camera with a cable and use it as a wired remote, or connect it to your smartphone and a dedicated app via Bluetooth to unlock a variety of creative trigger options. 

The app offers customizable settings and lets you shoot timelapses, HDR brackets and long exposures and can trigger up to three cameras at once. Using the infrared connection you can trigger single shots or capture time lapses at one-second intervals by holding-down the shutter button.

The cable connection offers more reliability and doesn't require line of sight to your camera's infrared sensor. According to Alpine Labs the button battery will work for over 2,000 hours of use. In addition the device works with a large number of cameras. The Spark Kickstarter campaign will be running until May 20. Until then you can reserve a Spark device for $44 which is 25 percent off the envisaged future retail price.

Categories: Equipment

Nikon D7500: Should I upgrade from my D7200?

DPReview.com - Latest News - Mon, 04/17/2017 - 6:00am

D7500 vs D7200

The D7500 is Nikon’s latest enthusiast DSLR that gains a handful of components and refinements from the higher-end D500. However, it’s also a model that loses a couple of features in order to leave a more decisive gap between the two models.

So where does that leave existing D7200 owners? It’s fairly unusual for successive models to offer enough of a change to provide a significant upgrade, so does the D7500 do that? For that matter, should would-be buyers try to pick up the last of the D7200s, while they're cheap?

Image quality

For all the hoopla about better image quality, we’ve seen little significant difference between this 20MP chip (when it appeared in the D500) compared with the 24MP sensor in the D7200. The differences that do exist become visible in side-by-side comparison at extremely high ISO settings, but don’t expect a significant uptick in noise or dynamic range performance in return for the slight cut in resolution.

The D7500’s highest native ISO rises by 1EV and its extension settings keep going to a dizzying Hi 5, which is equivalent to ISO 1.6 million (I’m not going to speculate about how Nikon’s engineers celebrated when they achieved this milestone), but the main benefits of this chip appear to be readout speed, rather than significant differences in image quality.

Autofocus improvements

For us, one of the most significant factors will be how closely the D7500 can match the D500’s autofocus. It gains the much higher resolution metering sensor used for subject tracking, along with nominally the same processing (though Nikon’s Expeed naming system doesn’t necessarily mean they have the same chip).

However, the D7500 doesn’t gain the AF module from the D500, which means it can only offer 51 AF points (15 of which are cross-type), rather than 153 points, 99 of which are cross-type. This also means it misses out on the incredibly broad AF coverage that the D500 offers.

Even so, the processing and meter module should ensure the autofocus and, in particular, the subject tracking, works better than the already rather good D7200. It remains to be seen whether it can match the uncannily good performance of the D500.

Autofocus auto fine-tune

One of the nice features to make its way down to the D7500 is the Auto AF fine-tune system. This allows you to set the focus precisely in live view such that the camera can then check this against the results of its separate phase detection AF module. Any difference is captured as a correction value.

This is a useful addition since it allows the user of the camera to calibrate their lenses without the considerable degree of trial and error required with the D7200’s AF fine-tune system (which essentially required that you guess and check a correction value).

The autofocus fine-tune system isn’t a panacea: it applies a single correction value for all focus points, so will not necessarily improve the performance of off-center focus points, which tend to be less reliable, particularly with lenses that exhibit spherical aberration.

High-speed shooting

Obviously the biggest change with the D7500 is the move from six frame per second to eight frame per second shooting. This isn’t a match for the D500’s 10 fps shooting but it’s likely to be enough for a lot of people. Hell, this is around the level of performance that the world's best sports shooters used around 2005.

As well as 8 fps shooting, the D7500 has a buffer nearly three times deeper than the D7200’s. 50 uncompressed 14-bit Raws in a burst is likely to be enough for all but the most demanding action shooters.

4K Video

The D7500 brings 4K UHD video recording and, assuming it looks like the D500’s output, it’s pretty good. It’s taken from a 1.5x crop of the sensor, meaning it’s using sub-Four Thirds sized sensor region, which means you won’t get the ‘Super 35’ style noise or depth-of-field characteristics that other APS-C cameras can offer. The significant crop also means your lenses will offer a significantly less wide field of view when shooting. A standard Nikon 18-something DX zoom will start at a fairly restrictive 40mm equivalent field of view.

Just as significantly as the addition of 4K is the gain of power aperture, which means you can change aperture in live view mode on the D7500. On the 7200 it’s a dance of dropping out of live view, changing the aperture and then jumping back in again, with no way at all to change it once you’ve hit REC.

Backwards compatibility takes a step backwards

The D7500 also loses a little in the way of backwards compatibility. Nikon has tried to keep its F mount as backwards compatible as possible, even as it’s added more modern features. The D7X00 series has, for some time now, been the lowest level of Nikon to retain a screw drive for older AF-D lenses but the D7500 sees another small element of compatibility chipped away. Specifically, the tab that checks what aperture old ‘AI’ lenses are set to (pictured, center) has been removed, meaning the camera can only use manual exposure mode with these lenses, with no aperture priority option.

For most users, this is likely to be irrelevant (manual focusing using the viewfinder focusing screen of a DX DSLR isn’t the most life affirming process), but it does mean anyone with an older lens collection will need to think about the D500 as their next step, and it’ll be another factor to consider when scouring eBay.

SnapBridge

The D7500 gains the SnapBridge system that uses a constant Bluetooth LE connection to auto-transfer 2MP images or keep the hailing frequencies open for when you want to use Wi-Fi.

We remain unconvinced by SnapBridge, especially in terms of what it offers the higher-end, more shutter-button-happy user, but it’s not necessarily worse than the D7200’s system. That may sound like damning with faint praise but, until Nikon develops more distinct ways of using SnapBridge, we feel it’s better suited to the D5600 user than it is to the more demanding enthusiast user of the D7500.

Still, the D7500 does gain a batch in-camera Raw conversion system, which we’re hoping will work well in conjunction with SnapBridge to provide an effective Raw + Wi-Fi workflow. Time will tell.

Flip-up touchscreen

The D7500 gains a flip-up/down touchscreen. The flip screen is likely to be handy for video shooting but, with underwhelming video autofocus and no sign of the D5600’s ability to use the rear panel as an AF point touchpad, we don’t think the touch sensitivity of the screen is less exciting. Sure, the D5600’s touchpad implementation only really worked for photographers who put their right eye to the viewfinder, but that at least made it a major benefit for those users.

The LCD panel itself has also changed, but don’t read too much into the lower dot count. The new panel may only be 922k dots, rather than 1.2 million, but the difference is that there is no longer a white ‘dot’ making up each pixel: they’re both displaying 640 x 480 pixels.

Battery life/battery type

The D7500’s battery life rating has fallen 15%, compared with the D7200, presumably as a result of the demands of the faster processor and possibly less energy-efficient screen.

It uses a new version of the EN-EL15 battery called the EN-EL15a. Other than coming in a lighter grey plastic case, Nikon was unable to give specifics about what’s changed. Our assumption is that it’s just Nikon making it easier to distinguish between the newest versions of the EN-EL15 and the older ones which don’t seem to get on with its newest cameras.

However, this is where you see another attempt to put more clear water between the D7500 and the D500: the 7500 no longer has a port for connecting to a battery grip. So you’ll need to stick with your D7200 or jump to the D500 if you regularly shoot beyond the capacity of a single battery or appreciate the improved ergonomics for portrait orientation shooting.

Is this really the D7200 replacement?

Yes. Absolutely.

While it’s true that the D7500 isn’t a step up from the D7200 in every last respect, it follows the D7X00 pattern in every way that matters. Twin dials, screw drive, large prism viewfinder and comparable price point. Nikon will, naturally, say that the D7200 and D7500 will sit alongside one another, but that’s what manufacturers say to avoid devaluing any stock left in retail channels.

However, it’s important to bear in mind that when the D7200 was launched, it sat at the top of Nikon’s DX lineup, whereas the D7500 has to slot in beneath the D500. Inevitably that means some users will be better served by stepping up a tier, but we don’t think it’ll inconvenience a significant number of users. 64, 128 or 256GB cards offer plenty of capacity and card errors are rare enough that a second card slot isn’t a vital feature. The D7500 is still a camera that shoots faster and for longer, and can capture better video than its predecessor, so it’s not like Nikon’s evil marketing department has left would-be D7X00 users out in the cold.

Should I upgrade?

To a large extent, the degree to which we’d recommend upgrading from the D7200 to the D7500 will depend on how its new AF system performs. If you’ve already been thinking about a camera with faster performance, though, then take a look at our D500 vs D7500 comparison: the D500 will give you a bigger performance boost.

If your needs are less action driven, it’s a much harder call and, unless the AF performance turns out to be great, the answer has to be that it’s probably not worth it. However, if you own a D7000 or even a D7100 that’s starting to show its age, the D7500 offers a host of benefits, not least better dynamic range, faster shooting and a much deeper buffer.

Overall, then the D7500 isn't better than the D7200 in every respect, but it’s at least a little better in most of the ways that will matter to most people. But, while the last of the D7200s are available at end-of-life prices, it's worth thinking about how much the extra features are worth, to you.

Categories: Equipment

Ask the staff: How are you shooting the cherry blossoms?

DPReview.com - Latest News - Sun, 04/16/2017 - 6:00am

Mention 'the Cherry Blossoms' to a Seattleite and they'll know exactly what you mean: the week or so in early spring when the University of Washington's cherry blossom trees are in full bloom on 'the Quad.' It's a thing.

It's also beautiful, if you can work around the mobs of people who flock there each year. The unpredictable, often dismal weather and the crowds make for interesting challenges to overcome, but DPR staff are always up for a challenge. So we gathered at the Quad recently, each equipped with a camera and lens of our choosing, and challenged ourselves to take our best cherry blossom shot. Take a look at the video above to see how we fared.

Categories: Equipment

Hasselblad X1D final production sample gallery

DPReview.com - Latest News - Sat, 04/15/2017 - 6:00am

Of the recent digital medium format releases, one could argue the Hasselblad X1D carries the most-revered name. Based around a similar 44 x 33mm sensor found in the Pentax 645Z and Fujifilm GFX-50S, it offers the most 'portability' of the three, especially when coupled with its smaller leaf shutter lenses. Does the image quality live up to the name? Check out our samples to find out.

View our Hasselblad X1D sample gallery

View our Hasselblad X1d beta sample gallery

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Categories: Equipment

Light's L16 camera is in final stages of testing

DPReview.com - Latest News - Sat, 04/15/2017 - 4:00am
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Light has been teasing images of its first prototype L16 cameras for a while now. Today, it offered a look inside production of its Design Verification Test cameras as well as a peek at the camera's current design, as noted by LightRumors. Next month, beta testers will receive pre-release cameras, and emails have gone out to pre-order customers with shipping details. In other words, things are getting real.

Light announced its L16 camera in 2015, presenting a compact camera with 16 lenses using folded optics. Its 16 13MP sensors can be used to create up to a 52MP composite image, and it will offer 28mm, 70mm and 150mm equivalent focal lengths. Light's website mentions that the camera will go on sale to the general public at the end of 2017.

Categories: Equipment

Keep your camera dry and look like a dork with this $60 hands-free umbrella (or not)

DPReview.com - Latest News - Fri, 04/14/2017 - 3:33pm
Uh, what’s that thing on your head?

Did you know it rains a lot in Seattle? No? Well, it does. It rains every day for 11 and a half months. Naturally, this poses some challenges for outdoor photography. Sure, more and more cameras are offering some degree of weather sealing, but staying dry is a hot commodity in our rainy city, and weather sealing can’t keep moisture off your lens.

'If only there were some sort of hands-free device that could keep me dry all the time, while also making me look like a total and complete dork,' we find ourselves musing.

"Yeah I've got a Nubrella bro."

Fortunately for us there's the Nubrella, a back-pack style umbrella marketed toward photographers. It is essentially a $60 product ($66.98 with shipping) that not only keeps you dry but makes people on the street wonder whether you're headed to Comic-Con dressed as Spaceball’s Dark Helmet.

Let's hope the wind doesn't catch that thing.

One wonders if they called it the Nubrella because you must be a certain degree of 'nu(m)b' to social norms to actually wear it. Then again, perhaps the SoloWheel-riding, vape pen-toting crowd has yet to catch on to this marvelous device that offers hands-free convenience for the small price of $66.98 and one’s dignity.

Here’s an idea: instead of wasting your money on such a silly and overpriced solution to a simple problem, our ever-wise colleague Wenmei suggests investing in an $11 umbrella hat. Not only does it serve the same purpose as the Nubrella, you can purchase one with a silver reflective lining that allows it to double as a reflector. Sure, you’ll still look like a dork wearing one, but at least you’ll be a thrifty dork.

This umbrella hat is about $10 and can double as a reflector.

After all, it’s easy to come across a product and jump to the conclusion, “I need that in my life!” That’s why infomercials continue to exist. But please, before spending any cash on some sort of expensive photography gizmo, shop around and see if there’s an affordable alternative. Because sometimes the job of a $60 wrist-strap can be done with a $6 bootlace.

Moreover, $66.98 could go a long way to purchasing photo gear that will actually, you know, make you a better or more creative photographer.

Wenmei in umbrella hat.
Categories: Equipment

Sony is now #2 in the US full-frame interchangeable lens camera market

DPReview.com - Latest News - Fri, 04/14/2017 - 1:41pm

Sony has announced that it is now ranked second in the U.S. full-frame interchangeable lens camera market, a position formerly held by Nikon. The data comes from The NPD Group, which shows a 23% increase in Sony's full-frame interchangeable lens cameras and lenses sales this year. According to Sony, its 'key models,' including the a7R II and a7S II, were large factors behind this increase.

As the graph above demonstrates, the full-frame interchangeable lens camera market as a whole benefitted from Sony's success; without it, the overall market would have experienced a 2% decrease year-on-year. Such data is based on NPD Group's sales figures for Sony from January and February 2017.

Press release

Sony Overtakes #2 Position in U.S. Full-Frame Interchangeable Lens Camera Market

Record Sales from Sony Driving Growth in Overall Full-Frame Market

SAN DIEGO, April 14, 2017 /PRNewswire/ -- Sony Electronics – a worldwide leader in digital imaging and the world's largest image sensor manufacturer, has announced today that their continued growth has vaulted them into the #2 overall position in the U.S. full-frame interchangeable lens camera market. 1

Sony's interchangeable lens cameras and lenses have seen record sales in 2017, in particular within the U.S. full-frame camera market, where they have experienced double-digit growth (+23%) 2 compared to the same period last year. The popularity of key models including α7RII and α7SII has been paramount to this success.

Additionally, Sony's rapid growth has helped to drive growth of the overall full-frame interchangeable lens camera market compared to the same period last year. Without Sony's contributions, the full-frame market would be facing a slight decline. 3

"Our commitment to the industry is stronger than ever," said Neal Manowitz, VP of Digital Imaging at Sony North America. "We are always listening to our customers, combining their feedback with our intense passion for innovation to deliver products, services and support like no other."

A variety of exclusive stories and exciting content shot Sony α products can be found at www.alphauniverse.com , Sony's community site built to educate, inspire and showcase all fans and customers of the Sony α brand.

1 The NPD Group / Retail Tracking Service, U.S., Detachable Lens Camera, Full Frame, Based on Dollars, Jan- Feb 2017

2 The NPD Group / Retail Tracking Service, U.S., Detachable Lens Camera, Full Frame, Based on Dollars, Jan/Feb 2016- Jan/Feb 2017

3 The NPD Group / Retail Tracking Service, U.S., Detachable Lens Camera, Full Frame, Based on Dollars, Jan/Feb 2016- Jan/Feb 2017

Categories: Equipment

Blue Earth Alliance: Collaboration is key for photography that makes a difference

DPReview.com - Latest News - Fri, 04/14/2017 - 6:00am

Blue Earth Alliance: Collaboration is key for photography that makes a difference

Natalie Fobes on assignment in Russia for National Geographic. Fobes is an award-winning photographer who founded the nonprofit Blue Earth Alliance in order to work with photographers to share their stories.

“You don’t have to travel overseas to make a difference with your photography. Your world starts outside your front door,” says Natalie Fobes, a Seattle-based photographer with a resume many photographers dream of. Assignments for major magazines including National Geographic, dozens of awards as well as being a finalist for a Pulitzer, a photography instructor with courses on Lynda.com, and now a successful wedding and commercial photography business in Seattle, Washington where she lives with her family.

It all might sound a little intimidating, but spend just a few minutes in conversation with Fobes and you'll come to understand not only her passion for the power of photography, but how much she wants to help other photographers succeed.

Almost 22 years ago Fobes formed the non-profit Blue Earth Alliance, along with fellow photographer Phil Borges and attorney Malcolm Edwards, who provided legal guidance. The philosophy behind Blue Earth Alliance is simple – photography and filmmaking can lead to positive change.

DPReview had the opportunity to talk with Fobes about Blue Earth Alliance, the impact of photography and the mission of Blue Earth Alliance.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

The opportunity to share her photographs and the difficulty in finding funding lead Fobes to collaborate and begin Blue Earth Alliance. Photo by Natalie Fobes.

Blue Earth Alliance was formed almost 22 years ago to help photographers. Why did you feel it was needed?

I had just had a book published, had spent 10 years traveling the Pacific Rim and was doing well and I was approached to put together a traveling exhibit. It was expensive to put on the exhibit and hard to find sponsors. I was told if I had been a 501(c)(3) sponsors could help, and I learned other photographers were having similar problems. We saw the media landscape was changing and it was going to get harder to do long documentary projects.

I think the underlying philosophy of Blue Earth Alliance is we feel an individual can make a difference in this world. There are so many things that need attention:  the environment, disappearing cultures, social issues or a local situation. These are all things that matter in our lives, no matter if you live in a small town or in New York City or Seattle. By raising awareness of these issues, you can make a difference; you can make a change. It’s a very high level look, but I think that no matter who you are -- whether you’re a professional photographer or advanced amateur -- you recognize the power of photography.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

Photojournalist Tom Reese spotlights the devastation of toxic waste in his project, “Choosing Hope: Reclaiming The Duwamish River.” Photo by Tom Reese.

Can you explain how Blue Earth Alliance works with photographers who become sponsored?

First, I need to be very clear:  Blue Earth does not provide direct funding or grants. That is a common misconception about Blue Earth. The biggest service Blue Earth provides is fiscal sponsorship. This is a huge asset to individual photographers and filmmakers since when we accept a project for sponsorship we extend our 501(c)(3) status to it. The photographer/filmmaker can then apply for grants from organizations and foundations that only donate to a 501(c)(3). After 21 years, we have a great reputation with funders for sponsoring worthwhile projects. Blue Earth provides a vetted seal of approval for donors.

Sometimes photographers and filmmakers just need encouragement for their projects. More than one photographer has mentioned that when Blue Earth selected their project for sponsorship, it encouraged and inspired them to continue their work.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

Daniel Beltra’s project has documented conservation around the planet. He has shot on all seven continents, many of his photographs are shot from the air. Photo by Daniel Beltra.

Blue Earth Alliance has sponsored more than 134 photography and filmmaking projects over the last two decades. Can you reflect on a few that have had an impact?

We have had had many, but a couple that stand out. These projects can start the conversation, even raise the visibility of some of these issues. One was a really long term project by the late Gary Braasch. He came on board in the late 90’s, early 2000 and was talking about global warming before it became popular. It was important work in that it elevated the conversation because of his photography and his dedication.

Another is Subhankar Banerjee and his story about the Arctic National Wildlife Refuge and how important it was to keep that area pristine. He had worked at Boeing and had no professional photography experience. He came to us and wanted to do this project and applied for sponsorship.

He spent a couple of years in the Arctic and showed how beautiful it was even when some senators were calling it a frozen wasteland. The Preserve is one of the last pristine areas of that particular environment and there was a lot of discussion about oil, a lot of senators wanted to open it out to oil exploration. He also contracted with a number of museums including the Smithsonian to exhibit his work from this project. In one of the Senate debates about drilling in the refuge Senator Boxer held up his book.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

Katherine Jack’s project with Blue Earth Alliance is documenting life in the Palawan Sea, in the Philippines and how changes to our marine ecosystem is affecting the life of the Palawan residents.

What are the steps a photographer would need to take to get support from Blue Earth Alliance? What are the criteria that makes a project worthwhile?

Blue Earth accepts project proposals twice a year: January 20 and July 20. The submission requirements can be found on our website. In a proposal we look for a clear description of the project, a unique viewpoint or topic and clarity around how the project fits within the Blue Earth mission. Having a project with a 501c3 status does not mean that money magically appears. Finding funding can be difficult, and it takes time to thoughtfully research funders and write grants.

When we review our project proposals one of the first things I look at their budget to see if they know what they are doing financially.

We have a responsibility to make sure funds are used as they should be. One of the first things I look for is are the photographers paying themselves, through a stipend. We are too important not to pay ourselves.

Blue Earth wants our project photographer/filmmakers to succeed, and we scrutinize all proposals in order in ensure that likelihood.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

Greg Constantine’s decade-long project, Nowhere People, focuses on the plight of people forced from their homes, without citizenship and looks at the challenges of their daily lives and their future. Photo by Greg Constantine.

What advice do you have to photographers who are looking for a way to use their photography to make a difference?

Photographers and filmmakers should try to form coalitions with other like-minded people and organizations. I believe in the strength of an individual. But I believe in the power that comes when individuals come together for a common goal.

Photographers and filmmakers also need to realize that one grant will seldom fund their entire project. They should apply for many: large, small and in-between. For my first long-term project I used my savings, a grant and assignments to fund it.

It’s imperative to create a coalition of funders. Funders like to see support from other organizations when considering an application. They see it as a third-party endorsement of the photographer/filmmaker and the project. It’s true that success leads to success.

Photographers and filmmakers often forget, or are afraid of, including friends and family in their fundraising efforts. People are often more likely to give a donation to someone they know. Crowd-sourcing websites make fundraising campaigns much easier than in the past.

If a photographer doesn’t believe they can make a difference then they won’t.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

Natalie Fobe’s captured the extensive damage of the Exxon Valdez oil spill in Prince William Sound while on a three month assignment for National Geographic. Photo by Natalie Fobes.

Your photography has included extensive work around the Pacific Salmon, wildlife and landscapes. What are you most proud of?

I think probably the work that may have had the most impact on society was the Exxon Valdez oil spill in. That was also the hardest story I photographed because of the difficulty of the working conditions and getting access. And the chaos, the chaos of the spill and the emotional impact of the destruction of the environment. The horrible pain that the animals and birds suffered and the people too.

This happened in a beautiful pristine area that was home and sustenance for the native Alaskans but also the commercial fishermen and townspeople who lived there.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

Annie Musselman's first project with Blue Earth Alliance focused on the delicate balance of human impact on wild animals. Her project Wolf Haven documents animals in sanctuaries. Photo by Annie Musselman.

What does the future hold for Blue Earth Alliance?

We are an organization with a passionate and dedicated board that donates thousands of hours each year to our mission.

We hold an annual conference “Collaborations for Cause.” This will be held in May 5-6, 2017, in Seattle. The goal of Collaborations for Cause is to put non-profits, educators, communications professionals and visual storytellers in the same room for education, inspiration and networking. Presentations and interviews of our past speakers can be viewed at photowings.org.

Our conference supports our mission to form a coalition of non-profits and visual storytellers. We hope that our photographers’ projects educate the public about important issues. Simply: we want our projects to change the world for the better.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

Photographer Tim Matsui’s project focused on human trafficking and lead to the film, 'Leaving the Life' as well as working with King County Government in Washington State to create policy around human trafficking. Photo by Tim Matsui.

DPReview also spoke with Tim Matsui, a photographer who has worked on two projects in conjunction with Blue Earth Alliance. He explains how the organization helped him to make a difference with his photography.

I first went to Blue Earth because I was ‘just a photographer’ and unable to apply to many foundation grants or other funding opportunities. I was doing grassroots fundraisers, silent auctions, even burger-beer events with local businesses willing to support my work with their proceeds. Old school.

Leaving the Life is my second project with Blue Earth. My first one, over a decade ago, used documentary multimedia—when slide projectors and dissolve units were still a thing—to create dialog about the lasting effects of sexual violence on individuals and communities.

Being accepted at that time was not only validating of the social justice work I felt compelled to do, but it opened the door to foundation grants and private donations; something I knew very little about.

The learning curve was steep, but I was no longer ‘just a photographer.’ I was in the company of others who were much more accomplished than myself. I had access to their knowledge and this helped me understand how I could increase the impact and reach of my work.

Years later, when I realized Leaving the Life and The Long Night could create impact, I reapplied to Blue Earth. This allowed me to receive a grant from The Fledgling Fund. That grant lead to the policy work I’ve done with King County government.

In fact, it was a screening of The Long Night at Collaborations for Cause where I met a King County employee who became instrumental in my work with King County. Without her, I doubt that two-year journey would have come to fruition.

Blue Earth continues to support my work as I’m now looking for investors for a follow up film to The Long Night— these are people who see their return on investment not as financial renumeration, but policy change. And through Blue Earth I’ve had the opportunity to share what I’ve learned about using film to support social and policy change. Blue Earth is grassroots, created and run by photojournalists, and helping stories have impact is woven into the fabric of the organization. That matters to me.

Blue Earth Alliance's Collaborations for Cause takes place May 5th and 6th in Seattle. You can find the speaker schedule and registration information online at blueearth.org.

Categories: Equipment

Big Sky Country: Local photographers share their favorite Montana photo spots

DPReview.com - Latest News - Fri, 04/14/2017 - 6:00am
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Montanans celebrate an unofficial holiday on April 6th every year since 'Big Sky Country' as it's known is covered by just one area code: 406. In honor of the day, Resource Travel recently rounded up a list of locals' favorite photography spots across the state. Take a look at just a few examples of Montana's gorgeous scenery and then head to Resource Travel for exact locations and more photos to whet your travel appetite.

Categories: Equipment

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