Slow news week this week — unless you’re in the market for some Canon gear for cinematic shooting, in which case your options are about to get much, much wider. Links, as always, go to sources’ websites.
Rumor has it (courtesy of 4/3 Rumors) that the DMW-LVF2 viewfinder for the upcoming Panasonic GX camera will not be backwards-compatible with the current lineup of GF cameras. The same site also has extensive specs and the speculated pricing on the GX.
Canon pulled out all the stops on its November 3 announcement, unveiling two cinematic SLRs, plus lenses, and a concept camera while they were at it. There’s been a lot of speculation as to Canon’s failure to enter the compact mirrorless market of late, but the introduction of these cameras tends to indicate that they weren’t blowing smoke when they said they had bigger fish to fry. With Kodak’s demise seeming all but imminent, it seems wise for Canon to go all in on cinematic imaging. (Canon Rumors)
Mind the “gap”: Ricoh says that in 2012, they’ll be debuting a product meant to fill a gap in the imaging market. All well and good, only they’re not being very specific as to the nature of that gap (Mirrorless Rumors)
Nikon Rumors has a recap of Nikon’s offerings at the PDN.
Photo Rumors reports that in addition to Canon’s announcement on 11/3, RED re-announced the Scarlet, and even Lomo (makers of overpriced hipster accessory plastic cameras) got in on the movie action.
A strange thing happens when you’re out in public with an SLR around your neck: people think you know something about photography. One question I’ve gotten a lot, with variations, is, “So, is Nikon better than Canon/Sony/Olympus/Minolta?”*
The short answer I usually give is “No.” This usually causes people to look at me funny, and I can kinda understand why; I mean, if I don’t think they’re better, how come I didn’t buy some other brand? The somewhat longer answer (which follows if I get That Look) is that Nikon is a bit better. For me.
Your mileage may vary.
The somewhat-longer-still answer:
When you’re buying a camera, there’s quite a bit to take into consideration: build quality, processing speed, video quality (if you’re into that sort of thing), JPG processing if you’re not shooting RAW, pentamirror vs. pentaprism, weather sealing, ergonomics, battery life, available lenses and the quality thereof, et cetera, et cetera. There’s not a single brand that’s had an unbroken run of successes; all but the most diehard Leica fanboys will tell you the M8 was a dog, for instance, and every other manufacturer has released cameras and lenses that had their share of quirks, if not serious flaws.
Generally speaking, however, these are precision pieces of equipment, built to some pretty high specs. As long as we’re comparing apples to apples (it’s no fair comparing one company’s compacts against another’s SLR’s), there aren’t usually enormous variations in quality.** It all comes down to finding what works for you. Some cameras feel better in the hands than others, some may have easier menu navigation and button layout, or features you’re not willing to live without (or that you wouldn’t care if the camera spit them out tomorrow).
Differences in sensors and processors, meantime, are a bit like the differences between shooting with Kodachrome or Velvia back in the day. The photos coming out of a Sony will look different from those coming out of a Nikon (even though both use Sony sensors), and the photos from your compact Kodak will look different than those from a Leica (even though both use Kodak sensors).
So which brand is better? No one brand is objectively better than the others,** but they are different, and there are subjective differences among them that mean you’ll probably like one over the others. And that’s okay.
*Now that I don’t have the yellow-and-black Nikon neckstrap on anymore, I’m curious if I’ll get that question a bit less. I’m starting to understand why sometimes I see experienced photographers putting black gaffer’s tape over the manufacturer’s logo on their cameras.
**Two caveats here: First of all, I’m dealing with bodies and not lenses/accessories, though even there I’d be assuming OEM and not aftermarket stuff; there are enormous differences between some aftermarket manufacturers, both vis-à-vis each other and versus their OEM counterparts. Second, there are exceptions here. For example, Canon has set the pace with SLR video, (though Sony’s SLR’s and a couple of Panasonic’s Micro 4/3 offerings are beginning to erase that distinction), and there are still photographers who shoot Nikon just because of the Nikon CLS (Creative Lighting System, which is a fancy name for their speedlights).
I’m a researcher. Not by trade, mind you, just out of habit. If there’s something I like, I learn more. If there’s something about which I’m curious, I find out what I can about it. And if I’m going to spend my hard-earned money on it, you can bet your hard-earned money that I’m going to do my homework first. This is vital with camera gear for a number of reasons, and I’d like to give you a few pointers out of getting the most out of your research so you can get more out of your money while you’re at it.
The first step needs to start with you, before you even start doing your research. Namely, you need to figure out not only what you need, but also what you need it for. Having a ton of information’s not going to get you very far if it’s the wrong information, or all the right information on precisely the wrong piece of equipment. To simplify this a little, let’s assume you’re in the market for a new lens. The first issue is whether you own a lens of that type (let’s say it’s a long telephoto) currently. If so, you need to ask yourself why you need the new one, and be honest. In what ways would it represent a step up from what you’ve got? Reliability? Performance (i.e. more reach than what you currently own)? Or is it just the allure of owning the newest whatzit on the market? If not, what limitations are you noticing on your photography because of what you own now? Are those limitations the result of the gear, or is there something that you could/should be doing differently with the existing equipment that you’re not doing now? And so on… The point is, be clear not only on what you’re buying, but why you’re buying it. Sometimes this results in talking yourself out of a new piece of equipment for one or more reasons, but just as often it means knowing what to look out for while you’re doing your research.
Let’s say, then, that you’ve decided what you need and why you need it. You’re in the market for a long telephoto because the 18-55 that came with your camera has been fine within its limits, but it doesn’t reach quite far enough. After careful consideration, you start researching your options. One of the best ways to do this is not by visiting a single site, but several of them. Below, I’ve listed a few types of sites (with examples), and the reason why you need to visit at least one of each over the course of your research.
Start with the manufacturer’s website. The manufacturer isn’t going to give you an unbiased review of the piece (it’s the job of the Marketing folks to try to sell you more crap whether you need it or not, after all), but at the very least, you’ll find out your options (some of which you may not otherwise have considered, or even been aware of) and the specs for each. This can save you the trouble of having to redo the other steps that follow because you forgot, or missed, a viable option.
Next thing you’ll want to do is check up on one of the more established photography magazines or websites. Popular Photography, dpreview.com, the BJP (British Journal of Photography) and others of their ilk generally get their hands on the equipment first, and will usually subject it to rigorous testing.* These tests are based less on informal/anecdotal evidence than on standardized tests that will look for things like distortion, chromatic aberrations, and precise measurement of things like autofocus times. You can skip straight to the conclusion of the review, where the reviewer will usually lay out the pros and cons of a particular piece in short form, or go through the entire thing for a detailed explanation. Take notes. There’s a quiz later (I’m kidding. Probably.)
Having done that, I’d now suggest going where the consumers are, on sites like Amazon, B&H, and Adorama. Pay attention to what you find. If an issue is only mentioned once or twice in 100 reviews, you can probably chalk it up to sample variation. If, on the other hand, 48 of those same 100 say that a lens vignettes at its wide end, or has consistent color fringing, that’s something to pay attention to, because it’s much more likely to be something baked into that lens’s DNA. Also take into consideration the reviewer’s skill/experience level. Sometimes a less-experienced photographer may praise a piece of equipment because they don’t know what flaws to look for, or may give it a poor review because they don’t have the experience to put it to better use; a more experienced photographer is going to have a somewhat more discerning eye, and is also generally going to be able to use a piece as intended.
Another great resource is Flickr, since you can sort photos by camera body and lens used. Test charts have their uses, but there’s nothing like being able to see real-world results taken with the body/lens combination you’re researching. These aren’t reviews in the traditional sense, but they’re very useful information, and the discussion that takes place on some of the forums can be a lot more useful than the number of stars something’s gotten.
Perhaps most importantly, once you’ve done your research and your mind’s just about made up, get to a camera shop. Test the stuff. Take plenty of shots so you can get a feel for the piece before you buy.** I know I sound like a broken record when it comes to indie camera shops, but you’ve got someone right there who can answer your questions, you can try the gear before buying it, and if you come across a lousy sample or two, you can try others ’til you come across one that fits your needs, rather than mailing stuff back and forth to your online retailer of choice.
To sum things up: I don’t think there’s a single information source out there that’s a magic bullet. There’s no way you can safely visit just one site or store and then just decide you’re done. Your best bet is to check out multiple sources, aggregate your results, and follow what your sources, your gut, and your experience tell you.
*I say “usually” because I’ve seen occasions when they assigned a review to someone who had an obvious bias toward one brand over another, or not enough experience with something to be able to really provide useful information about it.
**I recently wandered into a camera shop to buy a strap, and was looking at a third party wide-angle lens. The person who tried to sell it to me assured me that it had “practically no distortion.” I asked if he minded me taking some shots to try it out. He didn’t. I tried a couple of shots of the shelves, and something looked a bit “off.” So, just for the hell of it, I aimed for the drop ceiling in the store and fired off a few shots at varying focal lengths. Without blowing them up, I saw some pretty serious barrel distortion. Needless to say, I didn’t buy the lens, and will avoid that salesman the next time I go to that shop.
Still feeling the pinch from the devastating earthquake and power plant meltdowns in Japan, Nikon and Sony now have further issues to deal with. The massive rainfall in Thailand — which has plagued the country since July and killed at least 250 people thus far — has now caused catastrophic flooding to an industrial complex that houses manufacturing for those companies and a multitude of others. (Adorama)
The UK treating its photographers like terrorists is nothing new, but this one’s a new high in low: a man was questioned by police for taking photos in a Glasgow shopping mall. The apparent “security risk”? He was taking snaps of his own four-year-old daughter. (BBC)
CanonRumors reports major announcements coming on October 18, with events scheduled in the Netherlands and Singapore. Their sources indicate an amalgamation of the 1D and 1Ds lines, resulting in an 18mp, 12fps full-frame camera.
EOSHD editorializes on the passing of film for filming, which would seem premature ’til you consider that Kodak is slowly circling the drain, and Canon is setting up a Professional Support Center in Hollywood ahead of their much-hyped November 3 announcement. Also, Panasonic’s GH2 is getting support for the 176 mbit AVCHD codec, which previously had been relegated to high-end (read: really expensive) video cameras.
LeicaRumors has news of the just-opened “You Are Here” street photography exhibit in LA, and also says that Leica will be releasing a firmware update that remedies the memory card issue that’s plagued the M9.
Speaking of Leica, MirrorlessRumors raises an interesting point: if Kodak goes under, Leica needs to find someone else to fabricate their sensors (the M9 uses a Kodak sensor).
A new game called “Warco” (that’s short for War Correspondent) puts a whole new spin on “first person shooter,” as the person playing the game does so from the POV of a videographer. (Nathaniel Chadwick)
Nikon has two more-or-less concurrent press events coming up, one in Morocco from October 24-26, and the other in Australia from October 23-26. The D800 is expected to be announced at some point during that time, but no word yet on whether the replacement for the just-discontinued SB-900 speedlight will also be replaced at that point. In unrelated news, Nikon is justifying its price increases on the grounds that it will cut unauthorized dealers out of the picture (nope, didn’t make sense to me, either). (NikonRumors)
Sigma releases a limited-edition SD-1 camera that’s encased in some rare hardwood or other; it reminds me of how everything made by Radio Shack ’til about 2004 had that simulated wood grain finish… Amazon shows the Fuji X-10 with a November 7 street date. Pentax, on the other hand, rather sheepishly admits that they won’t be releasing anything else this year, and that any indications to the contrary were typographical errors. (PhotoRumors)
Users of the Sony A65 and A77 may have noticed some AF issues if they’re using Sigma lenses. Sigma’s apparently noticed as well, and to their credit, they’ve moved quickly to address the issue (Leica, take note); they’re offering to retrofit users’ lenses, free of charge, to work with the newer cameras, and will rectify the problem going forward. (Sony Alpha Rumors)
…keeps the boredom away, if nothing else. There are dozens of photo-a-day sites out there, good for everything from a shot of inspiration, to a case of goosebumps. Looking at others’ best work and happy accidents can be just the thing sometimes to break us out of our own creative doldrums, or remind us of what’s possible with camera in hand. The sites below, with commentary, are a handful of my favorites (no piano-playing cats, promise).
In no particular order:
Slate/Magnum Today’s Pictures: Magnum, the legendary photo agency founded by Capa, Cartier-Bresson, Seymour, et al. and Slate, the somewhat less legendary online magazine owned by the Washington Post Company, team up daily to publish thematic photo essays assembled from the vast Magnum archives. The essays are a mixed bag, sometimes tied to current events, others to history, and some (like yesterday’s photo essay for World Sight Day) focused elsewhere.
Earthshots is essentially a perpetual photo contest. Participants from various points on the map send in their photos, with one per day chosen as the winner and featured on the site. There’s no fee to enter, the conditions aren’t onerous like they are with many other photo contests, and whether or not you choose to enter, each day’s winning entry is generally of very high quality.
A Photo A Day is exactly what it says, and consists largely of documentary photography. The site navigation is frustrating (half the links don’t go where they should, when they go anywhere at all), but the photography is worth the occasional broken link and blind alley.
A Photo A Day From Planet Earth, like Earthshots, attracts photographers from all over the globe, though in this case it’s not billed as a contest. The photos on display are as eclectic as the photographers who took them, with landscapes cheek by jowl with portraits rubbing shoulders with architectural photography and cityscapes.
PhotoColumn is a great resource… it proves that photojournalism is far from a dead art form (even if the pay isn’t quite what it used to be), gathering photo columns from several local papers. It is “…dedicated to the advancement of story telling, one picture at a time.”
Photo.net is a lively community of photographers of varying skill levels, and their site has a random image selector that trawls its database of members’ photos. It’s an easy way to kill an hour if you’re not careful.
Finally, CityDailyPhoto is a compendium of photo-a-day sites and blogs from around the globe. You can use the site to find your city of choice, or just vicariously travel the world through someone else’s eyes.
Leading with the more serious stuff this week. Links go to sources’ sites, and original articles.
Photojojo founder Amit Gupta, who recently announced that he has leukemia, needs a bone marrow donor. Details here. (h/t PetaPixel)
Collector of jazz photos and ephemera Frank Driggs passed on September 25. You may not know the name, but if you’ve seen Ken Burns’ “Jazz,” you’ve seen Driggs’s photos; that was but one of many documentaries, albums, and other venues in which photos from his collection figured prominently. Mr. Driggs was something of a polymath, producing records (like the classic “Robert Johnson: King of the Delta Blues Singers”) and writing books like Kansas City Jazz: From Ragtime to Bebop — A History, in between amassing a staggering collection of photos and albums. (New York Times)
Robert Whitaker, who used his unfettered access to the Beatles to capture some of the best-known images of the band, died on September 20. In addition to his Beatles photos, Whitaker photographed more weighty subject matter in Viet Nam and Bangladesh, as well as pictures of Dali, fashion, and pop music subjects. (The Guardian)
And, as practically everyone knows by now, Steve Jobs finally succumbed to pancreatic cancer on Wednesday. Whether you love or hate the company, Jobs was one of the most compelling businessmen in the last half century, as well as being the rarest of all birds in recent times: someone who became famous for doing something. His second tenure at Apple took the company from underdog to powerhouse; ironically, and seemingly overnight, Apple went from “the little company that could” to effectively being “the Man.” Apple products have changed how we interact, consume, and now — finally, belatedly — how we create, as well. Effusive praise for Jobs has poured in from all quarters, while Apple, in the meantime, is already starting to feel the aftershocks; their announcement of the iPhone 4s was roundly panned by the people who routinely buy everything with an Apple logo, and the company’s new CEO, Tim Cook, lacking the panache that practically elevated Jobs from cult- to cult leader-status, has fared little better. (Washington Post)
On to the photography stuff:
JVC announces an NEX-looking camera that shoots stills and video, with a ridiculous 60-shot burst capability for stills. Sigma announces a refresh of its 18-200, retooled to (hopefully) get rid of fringing and chromatic aberration. Two firsts for Adobe: 1: They’re rolling out a touchscreen version of Photoshop — for Droid, before Apple. 2. It’s affordable. Kodak stock downgraded to Junk status. (Adorama)
A smattering of news from CanonRumors, including specs ahead of the November 3 announcement, and speculation that Canon may respond to Nikon’s rumored 36MP D800 with… an 18MP camera. While Canon fanboys may threaten to jump ship, this would actually be a smart move on Canon’s part…
Nikon price increases in the offing. Soon. Like, a week from today soon. If you had your peepers on Nikon gear, it may soon cost you more. Also, if you click here and here, you’ll find that specs for the upcoming D800 (the D700 replacement, which may be announced before the year’s out, judging by the accumulation of leaks) are starting to firm up. (Nikon Rumors)
The Rotor, designed by Charlie Nghiem, is one of those “why didn’t I think of that” innovations that hopefully will make it to market one of these days; it replaces the usual profusion of knobs and buttons with a series of rotary dials, and seems like it’d be a boon to anybody who’s ever wished for more intuitive controls. In other news, Ricoh is letting Pentax keep its name. (PetaPixel)
Phonar, an open photography seminar, kicks off on October 12. Learn more here.
PhotoRumors reports that the street price in the US for the Fuji X10 will be $599.95. The same article also links to test images, which are promising. In unrelated news, the Lytro light field camera has entered production.
NYPD officer Mark DeSimone loses his shit on a civilian photographer for photographing in the vicinity of the 9/11 memorial, threatening her first with arrest, then with “problems” if she or her friends returned to the area. Hopefully, DeSimone — who lost a number of his colleagues in the 9/11 attacks — gets the help he obviously needs. (Pixiq)
Fuji announces the XS-1, a 26x zoom bridge camera built around the same sensor found in the upcoming X10. Around the time the XS-1 hits the streets (early ’12), Fuji has hinted they’ll be announcing a mirrorless interchangeable system (likely at CES 2012). No leaks yet on any of the latter camera’s specs, but word on Twitter (from The Fuji Guys) is that it will have a proprietary mount. (Pocket-lint)
Sony delays the release of the A65, and hints that a new full-frame camera is due in early 2012 (no surprise there, since Sony fabs sensors for Nikon, and their D800 is also on the horizon). The rumors have some credence, since the full-frame A900 has been discontinued. (Sony Alpha Rumors)
Not Necessarily the News: EOSHD has a timely and thought-provoking editorial on the present and future of imaging technology, wherein they argue that targeting consumers is cutting the more creative among us — that is to say, serious photographers, amateur and professional alike — out of the picture.
Here, not only the composition, but also the color, is part of the story.
Color in photography has been with us practically since the earliest days of the medium, as has the debate over whether one’s photos should be in black-and-white or color. Early on, it wasn’t a very difficult question, since color in the early days usually meant the hand-coloring of a monochrome print. When color processes were first introduced in the latter half of the 19th century, their expense and poor color rendition still left monochrome at a distinct advantage. It wasn’t until the middle of the last century that color fidelity and pricing improved enough to make color a viable mode of photographic expression, rekindling the debate in earnest.
Along with considerations about the exposure triangle (shutter speed, aperture and ISO) and composition, from time to time we all have to make the color vs. black and white decision. Here are a few things to bear in mind when making that decision for your own work.
First, let’s consider whether you should shoot in color or black and white. If you’re shooting in digital, this one’s a no-brainer. Always shoot in color.* The reason for this is that you can always convert a color image to black and white. If you’ve shot in black and white, on the other hand, it’s possible to convert to color, but not with the same degree of fidelity you’d have had if you had shot it that way in the first place. Shooting with film is a horse of a different… well, you get the idea. Since you can’t generally just change film on the fly (though some of the more advanced film cameras will allow this, most don’t), you’ll have to decide in advance which to shoot.
Color photography works best when the color itself is one of your stronger compositional elements, or tells a vital part of your story. Take autumn leaves, for instance. That blaze of color is many a photographer’s weakness (mine included), and your typical autumn scene, at least if the foliage is front and center, doesn’t have quite the same feel to it. Color also influences mood, or can give us visual cues that might otherwise be lost in a black-and-white image.
Here, it's all about line, shape, and texture.
Black and white also has its uses. If you’re photographing something that’s aged (like a building, or an old object), B&W tends to emphasize the aging (since many people associate it with older photos). One of its best uses is when the color is a distraction. Sometimes you’ve got something in the frame that you can’t crop out without ruining the overall look, but that same something, because of its coloration, draws attention to itself. Other times, it’s good when you want the lines or texture of something to tell your story.
These are, of course, personal choices. Some photographers prefer one style or the other nearly exclusively, while others take the decision on a case-by-case basis, letting the photo’s contents and the story they’re trying to tell dictate whether or not the image should be in color. Black and white is no longer strictly the province of “art” photographers, although for some people — photographers and viewers alike — it can be a kind of shorthand to signal artistic intent.** Conversely, color is no longer only the stuff of vacation snapshots. The debate will likely always be with us, but between you and I, it’s really nothing worth worrying over. It’s just another option, another tool; treat it as such. If it’s the right tool for the job, use it. If the color is a big part of what makes the shot, use it. If it looks better in black and white, use that instead. In either case, start with your composition, and let your eyes and your own good judgment be your guide.
*Well, almost always. If you’re shooting using a color filter (as is commonly done for infrared photography, and to get specific effects in B&W), you’re better off shooting in black and white, unless, of course, you’re trying to give your photos a specific color cast.
A slow news week this week, at least photo-wise. More seemed to be going on with software than with bodies or lenses. As usual, links go to sources’ full articles.
Yahoo informs everyone that they haven’t forgotten… what was the name of their photo sharing site? Oh, yeah. Flickr. There’s a real-time “Photo Session” feature now, and an Android app has also been introduced. Adobe introduces Lightroom 3.5 and ACR (Adobe Camera Raw) 6.5. And Nikon refreshes its Capture NX software with version 2.2.8, which includes support for the new V1, J1 P7100 (dpreview.com)
Nikon V1 and J1 tested head-to-head against a number of other cameras, including the NEX-5, X100, G3 and G12. It fares poorly at high ISO’s (no surprise given the smaller sensor), but also isn’t much to write home about at base ISO either (EOSHD)
Test lab/photo geeks DxO Mark have declared the sensors in the Nikon 1 series to be as good as Micro 4/3. As my training is not in gear geekery and I’m going with naked eye comparisons of image samples I’ve seen thus far, all I can say is that maybe they’re seeing something I’m not. As a side note, it’s possible that a firmware update could solve some of the noise issues at higher ISO’s, but it would likely come with a loss of detail. (Mirrorless Rumors)
Nikon updates its ViewNX image management software. And as if they didn’t have enough trouble with the tepid response to the 1 system, someone in their marketing department stepped in it big time with an ill-timed and poorly worded Facebook post: “A photographer is only as good as the equipment he uses, and a good lens is essential to taking good pictures! Do any of our facebook fans use any of the NIKKOR lenses? Which is your favorite and what types of situations do you use it for?” After getting verbally spanked on their Facebook page, they issued an apology the next day: “We know some of you took offense to the last post, and we apologize, as it was not our aim to insult any of our friends. Our statement was meant to be interpreted that the right equipment can help you capture amazing images. We appreciate the passion you have for photography and your gear, and know that a great picture is possible anytime and anywhere.” (NikonRumors)
Kodak tries to defend its still-slumping stock prices and market share, saying, “Our cameras are innovative. We even have the “share” button.” Look, I loved my Kodak camera, and would still be using it if it was still working, but telling me your cameras are great because of the “share” button is about as reassuring as walking into a hospital and having them tell you you’re in good hands because they have the machine that goes “Ping!” In other developments: Good news: You can get a free poster-sized print. Bad news: You’ll have to go to Wal-Mart to get it (PetaPixel)
Sony and Fuji release firmware updates (the former, for their A65 and A77 SLRs; the latter for their X100). I’ve lost count of the X100 firmware updates, and hope that Fuji puts a bit more thought into getting the firmware right the first time out with the upcoming X10. Sigma’s 50-150mm f/2.8, announced nearly eight months ago, is finally due to start shipping. (PhotoRumors)
I said last month that I’d feature letters in this space on a monthly basis. It’s been slim pickings, so I’ve decided to put something else in alongside the letters. The last Friday of the month, therefore, will be not only the Mailbag, but also Follow Fridays (a bit expanded from their Twitter incarnation): three photographers (and/or writers on photography) worth knowing, and following.
Three favorites this month:
Steve Coleman: Steve vanished from Twitter sometime between when I started this post and now, as I finish it. No matter. While his blog, Light In Frame, doesn’t update very often, it’s invariably worth reading when it does. Not many shooters will share not only techniques, but also their favorite spots. Steve is that rare exception who will. The photography’s an added bonus; it’s gorgeous. Website: Light In Frame/Blog here.
Chase Guttman: Chase is the son of renowned travel photographer Peter Guttman, and to all indications, the apple didn’t fall far from the tree. Guttman fils has already earned recognition for his work, which spans some 45 countries. The kicker? He’s 14 (no, you won’t believe it either). Twitter: @chaseguttman /Website here/Blog here Facebook here
Photo History: The Twitter account is a compendium of “this day in history” photographic marginalia, most of it related to historically significant photographers (some well-known, others much less so). It’s run by Jimmy Leiderman and Jeff Prinz. The web presence is a series of discussion forums covering topics like vintage photography, archival/restoration work, vintage photography news, as well as others. If you’re not only interested in the technical aspects of photography, but would also like to get a sense of context and history, this is a great place to start. On Twitter: @photohistorian/Web: Vintage Photo Forum
The Letter
Kidlet Wrangler asks: I am curious about the photographer who was arrested for videotaping the police in public. Here’s the part I’m curious about, and it’s mostly because I don’t understand how all those laws work: The photographer was told to stop videotaping, presumably by the very police he was taping. You have told us in a previous blog entry that if the person or persons you’d like to include in your pictures say no, then listen to them. How does that hold up in this example, where it’s technically legal in NY to photograph police in public, but the police have said to knock it off? Do the individuals have the right to say no, or are they included under the mass “police” law?
The laws can vary from state to state, but in NY it’s legal to photograph/videotape police activity. There is, as always, a catch: to circumvent photographers’ First Amendment rights, a number of states have included photos and videos of law enforcement under their states’ wiretap laws, meaning you technically have to get the consent of all parties (or a court order) for your “surveillance activities.”
Moral of the story: the government can conduct warrantless wiretaps; you, however, cannot (and good luck bringing up the point that you’re not conducting surveillance or wiretaps in any real sense).
What I’d written earlier about not taking someone’s picture if they ask is less a legal thing than an ethical one. If it’s a public space, individuals are technically fair game; to my mind, the photo’s not so important that you need to be a prick to get it. As for the police: if you’re in the way (obstructing their work), they have every right to tell you to get out of the area so you’re out of the way. They did, and the videoographer did as he was told, then proceeded shooting from another vantage point some distance away, whereupon they arrested him. Given that he was within his rights as far as whether he was legally allowed to tape the proceedings, and given that he wasn’t in the way, having already complied with the order, it was pretty clear that his arrest had nothing to do with obstruction (the reason given), especially when, as he pointed out, there were other people without cameras standing much closer than he was who didn’t get arrested.
The best way to handle it: basically, know your rights. The law does vary from one jurisdiction to the next, and it’s your responsibility to know the laws where you’re shooting. However, generally speaking, not only are you legally able to take those photos or that video, but law enforcement also isn’t supposed to stop you, ask to search your kit, ask to see the photos, ask you to delete them, or confiscate your camera or media. Some cops don’t know that law; others do, and hope you don’t. Best you can do is politely but firmly explain the law and see where that gets you. Just bear in mind that if they have a mind to, a cop can find any number of other things for which to search, or arrest, you, so it’s something you generally have to be careful with.
This week’s photo news. As usual, the links go to the original sources’ full articles.
Adobe announces Photoshop Elements 10, just in time for the program’s tenth anniversary. Elements 10 adds Guided Edits, which take you through several photo effects one step at a time. Adobe also states the software will have enhanced photo organization, and integration with Facebook… which, at the rate Facebook has been changing lately, will render that particular option obsolete as soon as the software comes out of the box. (Adorama)
Two interesting pieces recently in the British Journal of Photography about the iPad and photography. One concerns Mack Books’ Michael Mack, who’s skipping the bookshelf in favor of the App Store for high-end photography books. The other is an interview with Michael Nichols(no, the other one) about his decision to trade his website for an iPad app.
Photojournalist Sethu Zeya gets ten years tacked to his eight year sentence for “damag[ing] tranquillity and unity in the government” in Yangon, Myanmar (that’s Rangoon, Burma, for those of you with older atlases). His crime? Taking photos in the aftermath of a grenade attack. (DigitalRev)
The upcoming high-end Panasonic will likely be called the GFX1 and not GX1, as previously reported. Some specs starting to leak; this is apparently targeted at the same segment as Fuji’s X-100 and the Sony NEX-7. (EOSHD)
Leica press release: That memory card issue some of you were having? We can’t figure it out either. We’ll get back to you on that. (Leica USA, h/t LeicaRumors)
The American Folk Art Museum narrowly escapes closing, and will continue in a much smaller space in Lincoln Center. Not quite photography news, but it’s no less welcome for that, since the AFAM has been stubbornly committed to preserving and promoting folk and outsider art. Its closing would’ve left a noticeable void in the New York art scene. (New York Times)
With the announcement of the J1 and V1 compact system cameras, Nikon belatedly enters the mirrorless camera fray. Four new lenses, plus accessories, have also been announced. (Nikon USA)
NikonRumors reports that there will be one more announcement from Nikon in mid-October.
Not long after buying Pentax for the equivalent of 25,000 Skee Ball tickets and a handful of bellybutton lint, Ricoh may be producing a new, Pentax-developed, mirrorless camera. No word yet on which company’s name will grace the nameplate, but it might be an early clue about whether Ricoh intends to re-badge Pentax gear under the Ricoh name, much as Sony did shortly after buying Minolta. Canon won’t be the only ones making a big announcement on November 3. High-end video camera maker RED has an event slated for that day as well (to announce the RED Scarlet), and has already bragged that they’ll be stealing Canon’s thunder. (PhotoRumors)
Y’know the Canon announcement that was being talked about last week (including here)? Did you hear anything? Me either. The announcement for November 3, however, is a definite, even if nobody seems to have a clue yet what’s being announced.
That’s all the news that’s fit to print (for now).
