Previsualization, a term conceived in the era of film photography, described a talent that could take a lifetime of experience to hone. Considered as the ability to employ analogue techniques to manipulate an image for creative effect, previsualization as a practice allowed a photographer to anticipate in advance how a scene, captured in lens, would render in print. Key to previsualization was predictability and control — in part, to avoid incurring the costs of actual production through the wastage of materials. Read the rest of this entry »
Rebecca Frogley got to work checking out all of the features of Panasonic’s new Lumix DMC-G7K. Read about what she thought of it and what this camera can do
Over the past decade, digital video and still cameras have undergone an interesting convergence; video has begun to offer the capture of still shots, while digital cameras have steadily increased their live-action capture capabilities. I’ve often wondered where this convergence would end up — doubting that our strong brand allegiances could ever fail, nor that a range of highly specialized equipment could ever be rendered obsolete.
And, as most of us tend to be about these sorts of things, I was wrong. Along came a pivotal moment in art school, where I was advised to put down my film gear in favour of the DSLR’s moving-image capabilities. Begrudgingly, I did. And, charmed by the quality and control afforded by the DSLR, I never looked back. Several years later, there’s now very little left in terms of purpose-built videography equipment for everyday consumers. DSLRs have continued to flood this market segment, eating up the competition and leaving very few survivors. Read the rest of this entry »
We got our hands on the Tokina AT-X 11–20mm f/2.8 Pro DX lens and handed it over to Rebecca Frogley to experiment with. Read the rest of this entry »
We’ve had the Tamron SP 15–30mm f/2.8 Di VC USD lens in the D-Photo office this month and we’ve been experimenting with what it can do.
It didn’t take us very long to realize that this lens is a clear competitor for the Canon 16–35mm 2.8 II lens, as one of the few wide-angle lenses on the market that offer image stabilization. With a similar length and near match in price point, the two are fairly comparable. Could the Tamron be the next championing wide-angle lens? Read the rest of this entry »
From the country that brought us the Big Mac comes another convenience — not quite as tasty, but definitely a product that the team at D-Photo agree you should sink your teeth into.
Printicular is a photo-printing app, created by Hamilton-based app developer MEA, that allows users to select and print photos straight from their mobile device, and have them delivered directly to their door. It’s currently available on iOS and Android, and is free to download.
Printicular calls itself the “world’s fastest-growing photo-printing app”, and for good reason. They’ve grasped hold of the US market with a collaborative deal with Walgreens, and have received an encouraging nod from the Harvard Business Review. Printicular’s initial hype escalated in a frenzy of Instagram addicts, who have, for the first time, been able to print their square, digitally filtered snaps on the go. However, the app actually offers a whole lot more — you can login and upload images from wherever they are stored; with available sources such as Flickr, Facebook, Dropbox, and Picasa, to name a few. Read the rest of this entry »
Published in D-Photo Issue No. 65, we printed that the Nikon D5500 DSLR was 740g in weight (body only). This was an error and should have read 470g (body only). Here’s the corrected review for you to see what Nikon’s latest DSLR can achieve.
Richard Wong sizes up Nikon’s latest DSLR response to mirrorless popularity
Every year or so, Nikon updates its mid-range APS-C DSLR, and the latest arrival in its D5000 series is the D5500.
On paper, the D5500 is quite similar to the feature-loaded D5300: it inherits the excellent 24-megapixel APS-C sensor, 39-point autofocus system, and Expeed 4 processor. The maximum burst rate remains at a respectable 5fps. Read the rest of this entry »
We’ve reviewed it and we’d recommend it, so why not try win it? If you subscribe to D-Photo now you’ll be in the draw to win the new Panasonic Lumix FZ1000, worth $1400.
Our reviewer, Kelly Lynch, says the camera is ideally suited to enthusiast photographers who want something more serious than a point-and-shoot, with lots of options, and ultra-high-definition video.
Check out her review below and subscribe to D-Photo here to be in with a chance to win.
Panasonic’s Lumix FZ1000 is an interesting take on the bridge camera, offering a mixed bag of goodies for those wanting options in both still photography and video. It inherits the traditional bulky shape, size, and comfortable ergonomics of a DSLR but with a fixed 25–400mm (16x optical) Leica lens. It has image stabilization, and its widest aperture is f/2.8 to f/4 as the lens extends. Read the rest of this entry »
Adrian Hatwell reviews one of the photographic documentaries on offer in the this year’s New Zealand International Film Festival programme
There are few photographers more worthy of feature-length documentary treatment than Brazilian social photographer Sebastião Salgado, just as there are few filmmakers quite so gifted in the documentary craft as German director Wim Wenders. Add to this exceptional pairing the personal documentary work of the photographer’s son, Juliano Salgado, and you’ve got more than enough ingredients to make The Salt of the Earth an incomparable cinema experience.
The film opens on one of Salgado’s most well known series of images, a nightmarish overview of the Serra Pelada gold mine in Brazil, the surroundings almost completely blocked out by scores of dishevelled workers packed shoulder to shoulder. These images, part of the photographer’s wider Workers series, were well publicised and likely familiar to the viewer – but to hear Salgado recall his personal experiences and feelings on location, his eyes scanning the images and teasing out personal narratives, puts the photos on an entirely more personal level.
Captured in the documentarian’s hallmark gritty monochrome, scale and detail observed with exacting technical eloquence, the workers of the mine look like broken-down slaves; the artist likens them to the dehumanised masses used to build the pyramids and other grand tributes to human achievement. But, as Salgado notes, the only thing these people were slaves to was the idea of getting rich. Whenever a vein of gold was struck the workers in that area of the mine could take one excavated sack with them – it might contain enough gold that they never had to work again, or it could be nothing but rock.
Insights of this kind are brought to every chapter of the man’s storied career – from unlikely beginnings as an economist to his visual explorations of South America, bearing witness to the devastating damage of famine in Africa to documenting the plight of workers the world over, and following the mass migration of displaced people around the globe. Being privy to the great photographer’s emotional workings on these journeys enriches the visuals greatly, almost intolerably in some of the most grim cases. Where there was never any doubt of Salgado’s visual mastery, it is his deep empathy and compassionate spirit that truly make the film soar.
For his part, Wenders has come up with an ingenious visual device to help the photographer narrate his images without resorting to the momentum-killing talking head format. The photos are projected onto some sort of semi-transparent mirror surface, allowing the director to film both the photos and his subject peering at the images – Salgado will occasionally lean forward, head intruding through the image on screen, eyes scanning the picture, before he leans back to share another recollection, the image once again unobstructed to the viewer. It invests the footage with an immediacy and interactive energy that you seldom get with this type of documentary.
We go with Salgado pictorially as he journeys through the world and witnesses some of the most devastating and soul-destroying events of the late 20th and early 21st century – war, poverty, deprivation, disease, violence, massacres, hate. The images themselves are incredibly hard going, and the stories that accompanying them are simply heartbreaking. It’s impossible not to empathise with the photographer as he walks away from the fallout of the Rawandan genocide proclaiming he no longer believes in humankind’s capacity to be redeemed.
But the tale is not without an uplifting final flourish – not that anything can really be considered a happy ending after all that explicit misery – as an ageing Salgado finds something of a spiritual revitalisation in a huge project to reforest the devastated Mata Atlântica, which runs through his childhood home. Not only does the large-scale project succeed in replenishing the area and inspiring similar such ecological endeavours the world over, but it motivates Salgado to pick up the camera again, and begin his latest great project, Genesis, in which his masterful lens is now trained on the splendour and diversity of the natural world.
The documentary is by no measure a probing expose; it is an enamoured love-letter crafted by the photographer’s two biggest fans. But this in no way diminishes the film’s beauty and impact, in fact it is easily one of the best-made documentaries ever committed to a photographic artist. Not to be missed by fans of the photographer, of good filmmaking in general, or anyone with an interest in the rousing highs and crushing lows of the human condition.
The Salt of the Earth is showing at this year’s New Zealand International Film Festival, beginning this month – see the event’s website for screening details around the country.
Tamron’s 18–270mm Di II lens has been designed for photographers entering the DSLR market after shooting with compact cameras with 10–15x zoom lenses, or for travel photographers looking for an all-in-one lens to avoid swapping lenses on their trip. So this lens falls into the ‘super-zoom’ category and — though it is handy to not to carry around more than one lens — by trying to cover such a wide focal range there are some compromises all of these lenses make due to the physics of optics.
The lens itself is nice and light, which is good for a traveller, but with the body made up of mostly plastic and some metal it won’t stand up to a lot of abuse. When the lens is attached to a mid-sized DSLR it feels balanced, but when attached to some of the smaller models it gets top heavy. Also, when walking around with it over your shoulder it tends to suffer from lens creep, where the weight of the lens causes it to extend out on its own. There is a zoom lock on the lens to prevent this from happening but that does not help when trying to use the lens on a tripod pointing it up or down to take a long exposure. Read the rest of this entry »
The Hähnel Tuffs are, well, tough! Made up of two complementary units: a transmitter that sits on the camera’s hot shoe and a receiver with a hot shoe for the remote flash to sit in. Plug them in, turn them on and the camera is shooting in full Canon TTL mode without even consulting the manual.
They are light but made out of a strong plastic material and covered with a protective and removable silicone rubber cover, giving them a go-anywhere take-anything-you-can-throw-at-them feel. The receiver also acts as a foot for the flash, which means you can sit on a table, shelf or any level surface without extra clamps or accessories.
The buttons and controls are oversize, easily accessed but discrete, which means they are easy to use and don’t get in the way — very well thought through design and details. Read the rest of this entry »