Canon France, in association with Images Evidence, has announced that the 15th annual Canon Female Photojournalist Award is open until 22 May 2015 for submissions from female photojournalists of any age and nationality.
Once again, the award is supported by Elle magazine and Canon France will grant the winning female photojournalist €8,000 to help her to continue and complete a photojournalistic project on a social, economic, political or cultural subject.
A jury made up of photography and press professionals will select the winner in June. Applicants will be judged by both the presentation of their project and their previous work. Among the selection criteria are the quality of the photographs, as well as the journalistic thoughts and relevance of the chosen subject.
The Award will be presented to the winner at the Visa pour l’Image international festival of photojournalism in Perpignan, France, during the professional week from 31 August – 6 September 2015. The winner will produce an ongoing one year project which will lead to an exhibition or showing at the Festival in 2016.
An exhibition of the work of the 2014 award winner – French photojournalist Viviane Dalles (Signatures) – seen above – showing images from her project on teenage mothers in the North of France will feature as part of the exhibition programme of the 2015 Visa pour l’Image festival.
The other previous winners of the Canon Female Photojournalist Award were:
2014 – Viviane Dalles
2013 – Mary F. Calvert
2012 – Sarah Caron
2011 – Ilvy Njiokiktjien
2010 – Martina Bacigalupo
2009 – Justyna Mielnikiewicz
2008 – Brenda Anne Kenneally
2007 – Axelle de Russé
2006 – Veronique de Viguerie
2005 – Claudia Guadarrama
2004 – Kristen Ashburn
2003 – Ami Vitale
2002 – Sophia Evans
2001 – Magali Delporte
To find out more about the 2014 Canon Female Photojournalist Award and download the rules and an application form to enter, please click here.
Please note: the final deadline for entries is 22 May 2015.
It is early spring here in the northern hemisphere and flowering trees, if not already in full bloom, will be so very soon.
While the spring flowering trees are incredibly beautiful, I find them a challenge to compose into an image I like. Part of the problem is that, when the trees flower, most other trees remain leaf-less and low in their color-rating. Lack of leaves reveal highly detracting power lines in many of the landscapes where these trees are planted. This leaves sky, green grass and man-made objects to provide the other good colors to compose with.
So, how does one create a good photo of this subject? A solution that often works well is to fill the frame with only the flowering tree or trees. In this case, I found a very large, densely-flowered tree, moved back to create a compressed perspective and zoomed in to frame only the flowers with a narrow aperture keeping the entire frame remaining in focus. The result is a pattern of complexity that fills the frame. I positioned the larger limbs visible in the picture so that their lines lead the viewer's eye into the frame. The bright color of the flowers becomes the predominant color of the final image.
Working with the same concept of filling the frame with the color of the tree, a close perspective with a wide aperture can be used to blur the background flowers as illustrated here.
If working with a wider angle focal length, the background is more likely to become part of the image. In this case, consider getting above the tree to use the often-bright-green spring grass as the background. Bright green often complements the color of the tree(s). Another advantage that getting higher sometimes affords is a better angle on the flowers in the image. Dogwood tree flowers, as illustrated in the just-referenced image, typically face upward. Looking downward from a ladder allowed me to see the full flower being isolated with shallow depth of field.
Incorporating flowering trees into portrait images is a strategy loved by many. My advice is to make sure that the tree colors do not steel the viewer's focus from the primary subject, your person. Using the fill-the-frame and blur-the-background strategies again work well for portraits. Use a telephoto focal length and wide aperture to isolate the subject against a completely blurred background of flowers.
Winter is past and the winter-like landscape is about to awaken, bursting into vibrant color. Go capture it!
Ability to track and focus on any subject with tap-to-focus ease wins four best of show awards at NAB introductions
Hollywood, CA and Dallas, TX - Redrock Micro, the recognized leader in affordable professional cinema accessories, today announced Halo, a system for video production that solves the challenge of accurate focus control by dynamically mapping and tracking subjects, and providing an easy to use interface for manually selecting or automatically tracking subjects for focus.
Introduced at NAB 2015, Halo was quickly recognized for its potential to shift the industry, creating intense buzz and earning three Best of Show awards.
Focus re-designed from the ground up Incorporating the same technology cars use for collision detection and avoidance, the Halo Explorer creates a real-time scene map, combining pinpoint accuracy with up to 180 degrees of view. Artificial intelligence precisely identifies all your subjects (people and objects) and tracks their distance and location in real-time. The beautifully crafted user interface shows birds-eye view of all subjects, and enables anyone to tap-to-focus, or drag to follow focus with visual audible and haptic feedback. Halo becomes the technician, handling the intricacies of focus so operators can concentrate on the creative performance.
We often refer to this as our Avatar product, says James Hurd, Chief Revolutionary at Redrock Micro. We had to wait five years for technology to catch up so we could deliver a something that solves focus and does it cost-effectively. This quote references Director James Cameron's famous quip that he waited 10 years for technology to evolve before he was able to shoot the groundbreaking feature film Avatar.
Designed for today's production environments and creative shots Production never has time for long setups, extra gear, or constant tweaking. The Halo Explorer is small and lightweight, and lives on your camera. There is virtually no setup or configuration, just power on, and you?re ready to go. Halo also performs brilliantly in a wide range of situations: total darkness or bright light (even heavy backlight), with or without human faces. Halo components can be moved between the camera and your remote AC, wherever it makes the most sense. A light footprint and wide range of usability use make Halo intensely practical.
A valuable tool for a crew of one or a crew of one hundred
Productions at any level can benefit from Halo. High-end productions can use Halo for precise reference and focus assist. Solo operators can use Halo for completely autonomous focus tracking. Any amount of assistance or automation is your choice. Whatever your camera and lens, and whatever your level of expertise for focus control, Halo is incredibly effective, easy to use and understand, and profoundly affordable.
United Kingdom, Republic of Ireland, April 16, 2015 – Canon today unveils the SELPHY CP1000, a new compact photo printer that allows you to print creative, lab-quality photos at home and on the move. Capable of printing your favourite images in just 47 seconds¹ directly from your camera², USB or memory card, with the SELPHY CP1000 now every photo can be treasured. With an elegant, compact design, the SELPHY CP1000 includes 6.8 cm (2.7”) LCD tilting screen and combines an easy-to-use interface with exceptional print quality. Plus, with the inclusion of an optional battery pack accessory, the CP1000 is the ultimate portable photo printer.
Print your favourite photos in rich, vibrant colours With ultra-high quality prints thanks to advanced dye sublimation technology, the SELPHY CP1000 produces high-resolution photos using 16.7 million colours. For even more clarity in prints the CP1000 also includes an Auto Image Optimize feature to further enhance blue skies and sunsets, correct colour cast and contrasts, as well as remove red-eye and noise. Plus, for picture-perfect selfies and group shots, the Smooth Skin mode removes facial imperfections to ensure you get stunning results every time.
Full control for creative freedom With the ability to control the heat applied to the ink ribbon on the print head, the SELPHY CP1000 offers four print finishes without ever having to use a different paper or media type. The options include a glossy finish for a durable print that will last up to 100 years, and three variations of semi-gloss for smudge and fingerprint resistant photos you can hand around.
Whether you need a standard postcard sized image or a more unusual shape, such as a 50 x 50 Instagram style or a credit card sized print, the SELPHY CP1000 gives you the freedom to make your prints your own. The SELPHY CP1000 also allows for ID Photo Printing at 43 pre-set sizes, perfect for small offices or events where you need to print ID badges in a hurry. Plus, with the ability to print two different ID image sizes on one sheet, and ID framing and cutting guide improving accuracy and precision, every print counts with the minimum of waste.
SELPHY CP1000 key benefits:
Compact and portable photo printer ideal for home or away
Quick and easy printing from camera, USB or memory cards
Make lasting memories with durable lab quality prints
Selectable finishes with standard photo paper
Create ID photos to widely accepted standards
Pricing The SELPHY CP1000 will have an MSRP of £89.99/€109.99.
Benro adds new flat base video head and tripod kits to their video lineup
North White Plains, NY – April 15, 2015 – Benro today announced the expansion of their S-Series with the S7 Video Head and Tripod Kits at NAB. The S7 is designed for filmmakers and videographers demanding compact and versatile solutions with a full set of features.
The S7 Video Head follows the same flat base head design that the S-Series is known for. The flat base provides much needed versatility for mounting on sliders, jibs and half ball adapters.
“We’re excited to add the S7 to our S-Series lineup and we think this will be the perfect balance of features and size. Having a fully featured compact system is ideal for the filmmaker on the go,” said Brian Hynes, Benro’s brand manager for marketing. “The S7 is perfect for everyone from the student filmmaker to documentary crews.”
S7 Video Head features include:
15.4 lb (7kg) payload capacity
65mm flat base
4-step counterbalance (0-3)
Continuous pan drag
Continuous tilt drag
Independent pan lock
Independent tilt lock
Illuminated bubble level
Tilt range +90°/-50°
Includes 501 compatible QR6 plate
S7 Tripod Kit features include:
Available in Carbon Fiber or Aluminum
15.4 lb (7kg) payload capacity
65mm Flat base head paired with 75mm half ball adapter
Thank you for choosing Nikon for your photographic needs.
Nikon will offer a service for updating AF-S NIKKOR 300mm f/4E PF ED VR firmware. Details of this firmware service are as follows.
Firmware update details We have confirmed that when the AF-S NIKKOR 300mm f/4E PF ED VR lens is used with the D800, D800E, D810 or D810A, images captured at shutter speeds of around 1/125 s with the VR function enabled (NORMAL or SPORT) sometimes exhibit noticeable blur.
To address the occurrence of this, we are offering a service for updating your AF-S NIKKOR 300mm f/4E PF ED VR firmware. When cameras other than the D800, D800E, D810, or D810A are used, this firmware update is not needed.
Updating lens firmware Users of the D800, D800E, D810, or D810A who are concerned about this issue may take or send their lens to a Nikon authorized service center, where your lens firmware will be updated free of charge.
When sending your AF-S Nikkor 300mm f/4 E PF ED VR lens to a Nikon authorized service center, the user must pay the cost of shipping to the service center, and Nikon will pay for return shipping.
Identifying lenses with which the firmware has already been updated Firmware for lenses with a serial number of 205101 or later have already been updated.
This very useful technique will give your workflow greater depth. You will be able to make very specific changes based on colour alone, using a Black & White adjustment layer. Sound strange? Watch and find out:
The 24-105 L IS is probably my most-ever-used lens. And the best-ever deal I've ever seen on this lens is available right now at the Canon Store. They have this lens in refurbished (like new) condition for only $530.78.
Being only a short walk from a small parking lot makes Adams Falls the easiest of the named Ricketts Glen State Park falls to access. Because this falls is not close to the other falls, special effort must be made to capture it on a day with multiple falls on the to-do list. On this rainy day, I spent some time at this falls before heading deep into the park on the falls trails.
The beauty of Adams Falls is very apparent on first arrival, but some composition challenge needs to be addressed before capturing your trophy shot here. A composition that works for me is to use an ultra-wide focal length positioned close to the foreground rocks. I oriented the camera so that the upper flow of water was contained within the frame and horizontally positioned approximately 1/3 of the way into the frame. At about 1/3 of the way from the bottom of the frame, the vertical water flow widens and transitions to a horizontal flow that leaves the right side of the frame narrowly visible. This composition leaves the water nearly completely framed within rock, though still consuming a large percentage of the frame.
A cloudy day combined with a circular polarizer filter (consider it a requirement for waterfall photography) meant that a long, water-motion-blurring 1.3 second shutter speed could be used at an ideal-for-depth-of-field (and sharpness) f/11 aperture.
A larger version of this image is available on Flickr, Google+ and Facebook. Also, if reading from a news feed reader, click through to see the framed image.
April 15, 2015 – DxO announces the immediate availability of DxO OpticsPro v10.4, DxO FilmPack v5.1.2, and DxO ViewPoint v2.5.4 for Mac and Windows. These upgrades allow the three DxO solutions to process images taken with the new Nikon D7200 and the Olympus OM-D E-M5 Mark II. Among other new features, DxO OpticsPro v10.4 now offers a one-click reset function, and includes support for several DxO Optics Modules.
Improved workflow and new DxO Optics Modules
DxO OpticsPro 10 offers many automatic tools for processing RAW and JPEG images. Its library of presets allows photographers to automatically bring out the best in their photos as soon as they open them in the application, or to adapt the processing to their tastes by applying one of many available styles or by making manual adjustments to correction settings. To further improve workflow, the DxO OpticsPro v10.4 interface now offers a new “Reset” button that lets users cancel in just one click all of the manual corrections made to an image and to return to the default preset corrections.
DxO OpticsPro v10.4 also offers support for new camera/lens combinations: XXX additional Optics Modules are available, offering support for Konica Minolta, Nikon, Olympus, Sigma, Sony, Tamron, Tokina, and Zeiss lenses for many Nikon, Olympus, Panasonic, and Sony cameras. Among these are the new Sigma 24mm F1.4 DG HSM A Canon-mount lens, the Canon EF 11-24mm f/4L USM wide-angle zoom, and the much-anticipated AF-S NIKKOR 400mm f/2.8E FL ED VR.
DxO OpticsPro v10.4, DxO FilmPack v5.1.2, and DxO ViewPoint v2.5.4 are immediately available at photo resellers.
Photographers who acquired a DxO OpticsPro 9 license on or after September 1, 2014, are entitled to a free upgrade to version 10. Photographers who bought a DxO FilmPack 4 license on or after September 1, 2014, are entitled to a free upgrade to version 5. Upgrades are free for all photographers who acquired a DxO ViewPoint license on or after August 1, 2013.